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Monthly Archives: January 2010

„Just a metaphorical trap“ gives Austrian painter Hubert Scheibl as response to the question of a journalist, why he had chosen the title „fat ducks“ for his current art-show of eight huge canvases, more than fifty works on paper, sculptures & a central installation in the rotunda at the Essl Museum, Klosterneuburg next Vienna. „Nowadays we are all stuffed like poultry to get slaughtered one day“, he jokes – seriously.

Hubert Scheibl refers passionately about the installation around the scull-sculpture Crocodillo inbalsamata, brings human´s & reptile´s brains in comparison, the reduction of ours faced in confrontation with friends or enemies to the standard of the reptiles, initial results by instinct… – now back to the original instinct of the painter: Scheidl startet his carreer in the 80th´s  – “I´ve bought the first picture 1983”, collector Karlheinz Essl remembers.

two overseized canvases titeled Vielen Dank für das unterhaltsame Spiel / many thanks for the very amusing game Das ist eine sehr schöne Zeichnung, Dave / that´s a very good drawing, Dave, both painted in 2008

“Particulary these large formats do put me under enormous pressure. There is always the fear that the paint may dry off. Usually I finish a painting in a day. You have to get everything just right – then it´s over. Of course things may go wrong now & then, but actually I like a piece to put me under pressure, to become an urgent necessity.” – I know that from experience. – There is no more satisfaction for a painter then the moment  the pressure finally has settled to the canvas to enliven his vision – seldom but best case even improved.

Alles verläuft nach Wunsch / everything went smoothly & Das ist eine sehr schöne Zeichnung, Dave / that´s a very good drawing, Dave, (both 2001: Odyssee im Weltraum / 2001: A Space Odyssey), painted in 2008

parts of the installation DELPHI, 2008/2009

Was da kommt, kann man nicht aufhalten (No Country for Old Men) 3.60 x 5.10 meters, 2008 – I ask Hubert Scheibel about the background of his titels. “They are often quotations from films, the Coen Brothers for instance, I like their films” – read more about in German: Markus Mittringer, Der Standard: Fette Enten ungestört im Krokoteich

the rotunda, mixed media installation, realized in 2009 – Scheibl: “We brought in 8 tons of shredded tyres. the scull is placed on original Ferrari-tyres we went for to the Salzburg-Ring.” – the smell of burned rubber fills the air.

drawing I and You e, 2009


Gottfried Wilhelm Leibniz´ binary code printed on the reptile´s scull, the human scull enbeded – “I have started out from the idea about the evolution of the brain, which has always been fascinating to me, & I have tried to trace this development of instincts & drive up as far as the emergence of cultural awareness in a playful manner. With the combination we have become more or less the most dangerous creature this planet has to offer.”

Nicotine on Silverscreen, 2009

Hubert Scheibl talks with organizer Andreas Hoffer

video von Karlheinz Essl jr. : Presseführung

the oiltraces & scratches of an engaged painter

interview

HUBERT SCHEIBL >FAT DUCKS<

29/1/10 – 02/05/10, Large Hall
Curator: Hubert Scheibl
Exhibition organisation: Daniela Balogh, Andreas Hoffer

the collector´s choice: a talk in traditional surroundings (Hundertwasser/Avramidis)

CORSO. INSIGHTS INTO THE ESSL COLLECTION

29/01 – 07/11/10, Exhibition Hall and Small Hall
Curator: Prof. Karlheinz Essl
Exhibition management: Andreas Hoffer, Günther Oberhollenzer

Alfons Schilling

Mimmo Paladino

Tony Cragg

ESSL MUSEUM – Contemporary Art

René Desor for PANNOrama 010 01

the day before yesterday I stamped with our dog against the sharp wind through the snowdrifts; today I found our footprints blown to snowsculptures by the wind

today´s visit of a living model. see post: finch on ice of last week

who takes it upon myself to sign – to deface – your reproachful glare, Mr. Finch?

Andreas Roseneder   finch on ice interference acrylic on poliethylen masterBatch 2010

some of the bird´s feathers still ahere to the windowpane he flaped against & let its body die on the glassroof beneath

seasonal aggregates I
winterwatercolourpainting

the paper tightened on a board streched on frozen snow: stress from the first moment. cold water in a cup getting a thin ice-layer on surface. I break twith a watered & frozen brushtip through the iceskin , moving the brush to defrost it in the icy water. the prepared dissolved watercolours in their metalbox are nearly frozen too, the tip of he brush must absorb them at the moment with one movement & paint the paper by rush wipers: the colours slowly run over the surface & get chilled imediately on the paper: the second stroke already moves along an icetrack, must be done fast, the third or fourth the tip of the brush will be frozen again & stop the painting. time to camber the board with the paper to crush the icelayer where wanted, to defrost the tip of the brush & the metalcase with the colours to start the proceeding a second time. doing that the colour will freeze on the first layers, colour the spots without ice  & sink into the crevices of the broken layers to the bottom of paper. in the best case you will see developing iceflowers. to conserve them on the paper keep it some days outside at weather conditions of minus degrees – the icelayers have to evaporate slowly to keep the tender & vulnerable flowers.

see also post: das obsolete aquarell

Andreas Roseneder  flagged woods, triptych, vinylic on canvas 2009

EU – flagged portrait by pip

Andreas Roseneder  guts of selfesteem drawing on paper 2009

SCHWEINEKUBUS

ich wusste plötzlich, dass ich diese vor mir liegende nacht nicht überleben würde. wusste aber im gleichen moment nicht, woher & wodurch ich diese bestimmt übermittelte botschaft erfuhr. dem moment nach der gewissheit folgend hielt ich zögernd inne, da ich glaubte, damit diese offenbarung mit all meiner den leib begrenzenden bedeutung in die welt des geerbten & erfahrenen wissens zu schicken & mich dadurch abzusichern: es ging immerhin darum, mein eigenes überleben zu sichern & jenes wollte ich mit möglichst heiler haut retten. ich hatte dabei aber nicht mit dem kubus gerechnet, der mich bereits bei vorangehender übermittlung eingefangen hatte, ein geometrisches konstrukt, das mich umschloß in all meiner körperlichkeit, eine weiße box, a white cube, in den ich plötzlich gesperrt war – & in der ich mehr schwimmend schwebte als dass ich meine gliedmaßen wie gewohnt frei durch die lüfte bewegen konnte: daselbst in retardiertem moment wie ein embryonales sein in weissem flüssigen würfel. meine haut wurde durchsichtig, ich konnte das muskelfleisch an armen & beinen, die knorpel & sehnen galertig an den knochen ansetzen sehen, dann wurden die muskelfasern & knochenröhren selbst durchsichtig, durch sie meine eingeweide im glasigen rumpf wie schlabbrig schwammige würmer einsehbar. bis dann selbst diese verglasten & eine leere meinen ganzen körper erfüllte. mein erschrecken ob dieser klaren ansicht war groß, aber damit schien der ganze ablauf noch nicht abgeschlossen: zur sicht kam plötzlich das gefühl des verlustes der inneren körperlichkeit & mit dem bewusstwerden desselben die gewissheit: ein schwein hatte mein gehirn leergefressen.
ich überlebte diese nacht auf nassgeschwitztem laken & polster. – ich mußte dabei feststellen, dass mit mir auch das schwein überlebt hatte.

Andreas Roseneder   to be in line drawing on paper 2009

Andreas Roseneder  ONEface of integration drawing on paper 2009

Andreas Roseneder  Wiener Kindl drawing on paper 2009