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Andreas Roseneder 1001 Lavender Cosmos Mantis I  acrylics on canvas 2011

Andreas Roseneder 1001 Lavender Cosmos Mantis II  acrylics on canvas 2011

Andreas Roseneder 1001 Lavender Cosmos Mantis III  acrylics on canvas 2011

Andreas Roseneder 1001 Lavender Cosmos I  acrylics on canvas 2011

Andreas Roseneder 1001 Lavender Cosmos I  acrylics on canvas 2011

Andreas Roseneder 1001 Lavender Cosmos I  acrylics on canvas 2011

here again – on the day of break from summer to autumn 2011:

The famous 1001 Lavender Cosmos Mantis

after a three day´s raining period the weeds – mainly plume thistle & field bindweed – overspread the lavender plants. – a hard job – no, a battle to kill colonies of thistles by hand & hoe –  normally as solitary plants declared friends in my private garden. preparing for the midsummer-opening of the Cosmopolitan Garden of the Europahaus Burgenland has begun. here the official invitation:


als politiker wuerd ich sagen, damit sei ein schulterschluss zwischen kunst, kultur & wirtschaft wie industrie gelungen.

als wissenschaftler wuerd ich auf die ambivalenten beziehungen zwischen oekonomie & oekologie hinweisen.

als kuenstler betonte ich wohl die aesthetischen synergien von kuenstlerischen wie auch kulturellen, industriellen & landwirtschaftlichen zeichensetzungen des menschen.

als maler sehe ich die vier industriellen stahltuerme im hintergrund als farbtuben, aus welchen die polyethylen-patches wie violette farbpatzen auf die landschaftpalette gequetscht & unterschiedlich mit weiß abgetoent wurden, um die farbe des lavendels zu treffen, der darunter gepflanzt wurde.

als gaertner & landschaftsarchitekt sehe ich mich bemueht, die farbpalette der kunststoffobjekte zu betonen, indem ich die weissen & violetten lavendelpflanzen dem kunstprodukt entgegensetze, soll heissen die violetten pflanzen unter die weissen objekte & die weissen pflanzen unter die violetten so in gleichmaessigem verlauf setze, dass nach zwei jahren die pflanzenreihen in der bluete aus einiger entfernung wie abgetoente pinselstriche des farbsuchenden malers erscheinen moegen.

als bauer erlebe ich ueber meine haende die pannonische erde, begreife, harke, kruemle & waessere sie, weiss bald ueber das terroir bescheid, das sich oft nach ein paar metern schon aendern kann & damit die pflanzen unterschiedlich gedeihen laesst, befreie die zarten lavendelkinder von wuchernder ackerwinde & querspriessender kratzdistel, lerne so jede einzelne pflanze kennen.

als poet sehe ich in dem wundersam wachsenden projekt eine hommage an die impressionistische en plein air malerei des neunzehnten jahrhunderts in der franzoesischen  Provence & erwarte jeden moment das erscheinen der maler Vincent Van Gogh & Paul Gauguin, um auf dem feld in vorauseilender expressionistischer manier einen kuenstlerischen streit vom zaune zu brechen, der ins zwanzigste jahrhundert fuehrt.

als zeitgenosse zu beginn des ein&zwanzigsten jahrhunderts habe ich vor ein paar monaten den initiatoren des Kosmopolitischen Gartens im Europahaus Burgenland ganz einfach hingesagt:

„ich werfe die schatten der vier tuerme dort hinten hin!“


as a politician, I would say that with this oeuvre, a junction between art, culture, economy, as well as industry has been achieved.

as a scientist, I would draw general attention to the ambivalent relation between economy and ecology.

as an artist, I very much emphasize the aesthetic synergies of artistic as well as cultural, industrial and agricultural trendsettings by man.

as a painter, I see the four industry steel-towers in the background appear as colour-tubes from which the polyethylene-patches get squashed out just like purple colourspots onto the landscape-palette, at places toned with white, so that the colour of the lavender which has been planted beneath them, is met.

as a gardener and landscape-architect, I take care to emphasize the colour-scheme of synthetic objects by opposing them with white and violet lavender plants, i.e. arranging the violet plants beneath the white objects and the white plants beneath the violet ones in such a sympathetic way so that two years from now the plant rows in blossom, will appear from some distance like toned paintbrush-strokes set alike by the colour-seeking painter.

as a farmer, I‘m living it, my hands in Pannonian earth, am touching, raking, crumbling, and watering it, coming to know this particular terrene setup which can rapidly change within just a few meters and thus accordingly let grow plants differently, freeing the soft lavender-kids from rankly grown field bindweed and cross-sprouted plume thistle, a way to become acquainted with every single plant.

as a poet, I see in this miraculously growing project, a homage to the Provence impressionist ‘en plein air‘ painting of the nineteenth century, and I await at any moment the ghostly appearance of the painters Vincent Van Gogh and Paul Gauguin, intending to initiate a battle in expressionist manner which will then lead into the twentieth century.

– & finally as a contemporary at the beginning twenty-first century, I have just a few months ago, simply told the initiators of the Cosmopolitan Garden at the Europahaus Burgenland:

„I’ll throw the shadows of the four towers over there!“

& I did! – here some photos of the area in yesterday´s  evening sun …

… & here some photos I took during breaks of farming work:

the white hat – my T-shirt I had to take off in the heat

the rain was perfect for the lavender, too -the blossoms will open soon …

…  & the rain has changed the green colour pattern too

follow the project preceding: 1001- LAVENDER COSMOS  second run



polythylene  patches fixed on iron rods in lavender fields, 2011

follow the project preceding: 1001 – LAVENDER COSMOS  – first run

before watering the delicate young lavender plants today – a photo-tour through a special part of the Cosmopolitan Garden / Kosmopolitischer Garten, initiated by the Europahaus Burgenland, Eisenstadt, Austria:

1001 – LAVENDER COSMOS – 2011 – launched by ARTSTAGE

most people confronted with my land art installation first asked me: “why 1001?” – I really could give no answer until now – except giving  hint for general order to slow motion. –  arousing my curiosity I found googling about “1001 – Cosmos” an interesting script by NASA about the Soviet Cosmos 1001 – enterprise. – that´s definetly no answer but confirms the title of my experiment in unknown test space.

final photo-documentation by launcher ARTSTAGE: HERE

follow the project preceding:  1001 – LAVENDER COSMOS – setting

news from the Cosmopolitan Garden, Eisenstadt, Austria: the gardeners were here: I began to plant my art blossom patches (HERE photos by launcher ARTSTAGE), Manfred Plohovits set the lavender plants, smith Johann Weigl & Autobahnmeisterei Eisenstadt prepared the metal supports, printer Cicero finished the 1001-sign:

Manfred Plohovits

dancing dog rose

the entrance sign: neues gebot zur entschleunigung / new order for slow movement

follow the project preceding: a frame for 1001 – lavender cosmos

the already prepared soil – a frame for the art project 1001 – lavender cosmos –  a small part of the Kosmopolitischer Garten / Cosmopolitan Garden of Europahaus Burgenland 2011. ya, I finally see my part on the garden project entitled – see the art blossoms for the installation here, we will plant them together with lavender next week!

a tree-circle with fireplace amidst

the smell of polyethylene production sent into air while I worked on the fields

… my patches – art blossoms –  will feel at home in these surroundings …

follow the project preceding: the fifth tower

an outstanding walk through summer stage 1001 – LAVENDER COSMOS

Cosmopolitan Garden Europahaus Burgenland

nature´s colours correspond now with art patches

stage of 1001 – LAVENDER COSMOS

a short visit at Cosmopolitan Garden, Eisenstadt, Europahaus Burgenland

the white canvas of last days begins to vanish

installation scene winter 2012

Andreas Roseneder  series 1001 LAVENDER COSMOS CLOUDS  – I, II & III

acrylics on cotton 2011