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Category Archives: blogart

photographer Katja Ruge from Hamburg, Germany, shot a series of photos about the stunt paint performance distributed with oil colours on canvas at the motorcycle meet TRIUMPH TRIDAYS 2011 in Neukirchen/Newchurch, Salzburg by Austrian painter Andreas Roseneder, Scot Motorcycle Stunt World Champion Kevin Carmichael & German stunt rider Dirk Manderbach. – This was the last not jet finished picture of seven works for the Tridays Undercover Series Andreas Roseneder had created after painting the poster topic with brush & rimmed motorcycle tyres by hand – on a special mission for Tridays´ mastermind Uli Brée

on a rainy Friday last week the painting tyres met their by the artist several months just imagined machines & riders…

Andreas Roseneder  Tridays Undercover Cover, oil with brush & motorcycle tyres on canvas, 220 x 120 cm, 2010

first picture of the series Tridays Undercover Cover & sujet for the Tridays 2011 poster

painter Kevin Carmichael – his favourite film:  Gladiator

Dirk Manderbach, Markus Linder, Andreas Roseneder

Andreas Roseneder, Kevin Carmichael & Dirk Manderbach 

Rainy Tridays´ Traces  oil with brush & motorcycle tyres on canvas, 220 x120 cm, 2011

Andreas Roseneder  Tyre Wire  oil with brush & motorcycle tyre on canvas

220 x 120 cm, 2011   (click to enlarge)

last picture of the series Tridays Undercover Cover

© performance photos: Katja Ruge  (view here her last  photo sessions)

more photos about the stuntmen´s real work: Tridays stunt overcross paint I

at the local reception Neukirchen / Newchurch, the scene of the motorbike meet Triumph Tridays 2011: “my” undercover cover as oversized poster & I asked myself: would Scot stuntman Kevin Carmichael  paint after my command with his bike a prepared canvas?

my foresight: “Gilbert meets George” & “George meets Gilbert” at the Hoferhaus in Newchurch – a part of the exhibition

 in reality I met the second day Kevin & Dirk:

motorbike stunt world champion Kevin Carmichael persuaded companion German stuntman Dirk Manderbach to join in the paint stunt performance. here both after the action – they had obviously fun – in spite of rain, what made with water the slippery  oil colour performance not easier

& finally both set by hand their autograph on the canvas baptized “Rainy Tridays´ Traces”

The Royal Borough of Newchurch has a Kevin Carmichael Road

Kevin Carmichael –“King of Newchurch” & ” Master of Clouds” in action

cabaret artiste as moderator: Markus Linder holds his nose, the others stop their ears

a guardsman-beefeater-wheelie – with black plastic owl in background

Kevin does the splits in drivin´…


…& examines how best to go on drawing his traces…

with these profiles:

Dirk shows a stunt together – a fabulous waltz with Wiebke Landwehr

see more photos by Katja Ruge about the stunt paint performance here

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

here some work in progress photos in my atelier about the recent art work for The Triumph Tridays 2011; always in my mind: a planned paint-stunt-performance with the Scot stuntman Kevin Carmichael in Neukirchen/Newchurch, Salzburg, Austria (the painted, printed & drawn works  will be shown at the Hoferhaus there) – I have to add: I´m no biker, just ride the rims with Bridgestone´s rubber tyre coloured with Daler Rowney Georgian oil colours under my ass…

my wheel riding trousers

oh god, that´s not water – it´s terpentine!

you may imagine the smell?

after the ride: even my skin is tattooed by parts of the Jack

Andreas Roseneder   George meets Gilbert   oil on canvas, 220 x 120 cm, 2011

(click the images to enlarge)

Andreas Roseneder   Gilbert meets George   oil on canvas, 220 x 120 cm, 2011

the cover-biker of The Triumph Tridays 2011  has found two new companions on tour!

Andreas Roseneder  The Triumph Tridays 2011 UnderCover Cover  oil on canvas, 220 x 210 cm, 2011

“By the King: Whereas, some differences hath arisen between Our subjects of South and North Britaine travelling by Seas, about the bearing of their Flagges: For the avoiding of all contentions hereafter. We have, with the advice of our Council, ordered: That from henceforth all our Subjects of this Isle and Kingdome of Great Britaine, and all our members thereof, shall beare in their main-toppe the Red Crosse commonly called St George´s Crosse and the White Crosse, commonly called St. Andrew’s Crosse, joyned together according to the forme made by our heralods and sent by Us to our Admerall to be published to our Subjects: and in their fore-toppe our Subjects of South Britaine shall weare the Red Crosse onely as they were wont, and our Subjects of North Britaine in their fore-toppe the White Crosse onely as they were accustomed.”

King James I, 1603

cit.: Fox-Davies, Arthur Charles (1904 [1986]). The Art of Heraldry: An Encyclopaedia of Armory. London: Bloomsbury Books. p. 39

Like other countries with St George as a patron, the English frequently used St George’s cross as their flag.

During the first Crusade, the Pope decided that knights of different nationalities should be distinguished by different colours of cross. French knights were allocated the red cross on white. English knights complained about this, since they considered this to be “their” St George’s cross

Andrew´s profiled trousers´ back after cross-riding the bridgestone battlax bike tires for George

The countdown is on…


19.-26.06.2011 & 23.-26.06.2011

 Undercover XXL



polythylene  patches fixed on iron rods in lavender fields, 2011

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

Andreas Roseneder   George meets Gilbert  oil on canvas 220 x 120 cm 2011

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

Andreas Roseneder   date of expiration  polyethylene patch 02 02 2011


auf der verpackung verderblicher ware ist das verpackungsdatum derselben aufgedruckt & mit ihrem erwerb wird zugleich deren ablaufdatum mitgeliefert – & dies, obwohl die ware oft meist ueber dieses datum hinaus haltbar ist.

einerseits unterstuetzt man dabei den haendler, der seine lager frueher freibekommt (wie auch seine haftbarkeit fuer eventuelle vergiftungen des kunden ausschliessen darf), andrerseits erwirbt man damit ein preisfreies zeitvolumen zwischen ablaufdatum & tatsaechlicher haltbarkeit.

bei reinigung des kuehlschrankes oder durchsicht nach eventuell verdorbenen lebensmitteln stellt man des oefteren das datum einiger waren als bereits ueberschritten fest, ohne dass die waren jedoch verdorben waeren: ein eventuell daraus zubereitetes gericht stellt sich als gratismahl mit dem reiz, eventuell enthaltene keime mitzuspeisen, dar, sozusagen als „kostenlose, risikobereicherte nahrungsaufnahme außer der zeit“ – was immer diese definition fuer den einzelnen konsumenten bedeuten mag.

„gute kunst“ stellt bei ihrem erwerb a priori den anspruch, zeitlos zu sein, es gibt dabei bloss ein entstehungs- oder etwaiges ausstellungsdatum. Dabei erwirbt der kunde jedoch im gegensatz zum lebensmittelkauf kein etwaiges ablaufdatum, sondern erwartet oder erhofft insgeheim ein sogenanntes wertsteigerungsdatum, das er am kunstmarkt verfolgen oder gar durch kunstmarktinterne aktivitaeten beeinzuflussen vermag. Der besitz eines kunstwerkes zwischen entstehungs- & offiziellem entdeckungsdatum am kunstmarkt ist also fuer den kunstkaeufer aehnlich wie oben zitiertes gratismahl: „kostenloser, risikobereicherter genuss außer der zeit“.

der marktbeobachtende kunstproduzent fraegt sich dabei: „ist nicht gerade dies erklaertes ziel aller guter kunst?“