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an outstanding walk through summer stage 1001 – LAVENDER COSMOS

Cosmopolitan Garden Europahaus Burgenland

nature´s colours correspond now with art patches

SINNESRAUSCH / Sensory Sensation is a show in the OÖ Kulturquartier (Upper Austrian Culture Quarter) in Linz with international artists and substantial participation from the Czech art project ORBIS PICTUS PLAY by Jiří and Radana Wald (artistic concept Petr Nikl).

Marianna Stránská Kuleta, 2010, a globular kinetic object

Ondřej Puchta Lichtharfe 2 / Harfii 2 , 2011

a harp with swings of light, their disruption evolves sounds in one octave

Ondřej Janoušek Kunststoffseele, 2011 – a window into the world of plastic

Ondřej Smeykal Mobiles Lichtprisma / a Prism with Scrall Bars, 2009

Ueli Seiler Hugova, Farbige Raeder / Coluered Disks, 2010, rotating optical illusions

Achtundachzig Klaviere / Eightyeight Pianos – Untersuchungen an Fluegeln, kuratiert von Georg Nussbaumer

sprouting in the OK Saal is the central exhibition component Kristalise, which during the course of time and with the participation of the public will spread across the floor of the entire room like a living organism.

in front: Petr Nikl, Sessel der Taeuschung / The Chair of Delusion, 2010 – a rotary armchair with a magnifying glass

Jiří Konvrzek,  Ques Qintett Orgel-Fahrrad, organ bicycle

in the back: Petr Nikl, Petr Lorenc Auge / The Eye, 2007 – an external camera obscura for projecting the exterior

“Wir möchten das OÖ Kulturquartier als einen außergewöhnlichen ästhetischen Erfahrungsraum etablieren”, sagt der künstlerische Leiter Martin Sturm. Bespielt werden nicht nur die klassische Ausstellungsräume, sondern auch Gänge, Stiegenhäuser, Dachböden und Teile des Höhenrausch-Daches. Der neu renovierte Ursulinensaal ist der dramaturgische Abschluss des Rundganges und wird damit auch dem Ausstellungspublikum vorgestellt.

The big “rausch” exhibitions mounted since 2009 are ambitious art outreach programs. “We have created this format with the aim of inspiring a greater appreciation for art in broad sections of the public,” says Dr. Josef Pühringer, Minister-President of Upper Austria and Cultural Advisor. Unusual exhibition locations and artworks that strongly appeal to the senses are ideal for this purpose.

Folke Köbberling & Martin Kaltwasser: transformation of the wooden bridges Linz Super Branch 2009/11 of Atelier Bow Wow into WaterTowers, 2012

Wolfgang Georgsdorf Smeller 0.1, 1096/2012, an artificial odour installation

Atelier Bow Wow (JP) , part of Linz Super Branch 2009/2011 & Conzett, Bronzini, Gartmann (CH) in cooperation with Riepl Riepl Architekten Linz

Bring in The Sun – solar system for the museumhalls down under

Wolfgang Georgsdorf Smeller 2.0 – OLFAKTORIUM

Helga Griffiths, Turbulent Souvenirs/Memories, 2005/2012

the exhibition concept of ORBIS PICTUS PLAY culminates in the pivotal work The Heart in the Ursulinensaal. The instruments and objects here are all “analog” and function without any electronics, computer technology, recorded music or film clips. They have therefore somehow “fallen out of time and are for that very reason all the more present,” says Director Martin Sturm. Human energy is the only force that can breathe life into them, setting them in motion and making them produce sounds.

the exit

SINNESRAUSCH (Sensory Sensation)

until 20. September 2012

OÖ Kulturquartier
OK Platz 1
4020 Linz

last friday at Gerersdorf, Austria: Prof.  Gerhard Kisser receives the “Award Kunstmediator 2012/ Art Mediator 2012” conferred & sculptor Franz Wieser shows his work (until June 17th) in the open air museum Gerersdorf, where the last 40 years an ensemble of old regional architecture & commodities was initially installed by founder Gerhard Kisser & a host of volunteers.

Franz Wieser: details of iron sculptures / objects

old clock tower

taubenkobel / dovecote, originally Wohlrab from Wulkaprodersdorf

playful visitors with dandelions

Franz Wieser:  Sonnenwagen / solar carriage

Franz Wieser: Rad der Zeit / time wheel

curious visitor

Helena Wallner, art journalist & managent, holds the laudation

Gerhard Kisser with audience

Prof Gerhard Kisser gets the award sculpture Kunstmediator / Art Mediator by designer Franz Wieser himself – the winner of last year who officially should do this – Willy Puchner – unfortunately was prevented for comming.

with Mag. Hubert Thurnhofer, president of the Austrian IG galerien

Franz Wieser: miniatur II

miniatur III, diagonal, verzahnung…

Franz Wieser: verzahnung / dovetailing

Franz Wieser: geometrie / geometrie

Franz Wieser: omen

“blaudruck / blueprint” – a traditional pattern for fabrics & clothes

the hand-hewn logs with clay – mixed with chopped straw – plastered and whitewashed

after the award ceremony founder Gerhard Kisser proudly leads through the ensemble of old houses. with help of volunteers and the “thatch roof specialists” from Heiligenbrunn it was in 1976 that a small group of six buildings as “ensemble Gerersdorf” officially could be presented to the public.

Franz Wieser
Edel – Stahl

im Freilichtmuseum Ensemble Gerersdorf
vom 4. Mai bis 17. Juni 2012

A-7542 Gerersdorf Riegelbergen Ensemble Gerersdorf

Gustav Courbet L´Origine du monde / The Origin of the World / Der Ursprung der Welt

oil on canvas, 1866

Andreas Roseneder Rosa Wolke / Pink Cloud acrylics, interference & iridescent acrylics on canvas embeded in polyethylene, 2011

*

L’ORIGINE DU MONDE

für Courbet & Lacan

Die Innenlippen blinzeln aus den äußern.

Im Lebenswasser spiegelt sich das Land,

lachendes Ufer aller Landungswünsche.

Hier springt die Welt zur Welt bei der Geburt,

nachdem zuvor die Welt zur Welt gedrungen.

                                                                      Hanns Remus  (November 1996)

DER URSPRUNG DER WELT / ROSA WOLKE

die innenlippen nach aussen

nach innen die aussenlippen

es kehrt um der spiegel

die verhaeltnisse

wie der mond die erde hebt

die erde den mond erlebt

in geburt zur welt

                             René Desor (April 2012)

THE ORIGIN OF THE WORLD / PINK CLOUD

the inner lip to the outside

and inside the outer lips

the mirror reverses

the ratios

as the moon rises the earth

the earth experiences the moon

through birth to world

                                   René Desor (April 2012)

orang utans can´t feel like a new man

Andreas Roseneder  “Mizaru: see no evil”  acrylics on canvas 60×80 cm 2011

Andreas Roseneder  “Kikazaru: hear no evil”  acrylics on canvas 60×80 cm 2011

Andreas Roseneder  “Iwazaru: speak no evil”  acrylics on canvas 60×80 cm 2011

if you do not believe it, take a look here:  three wise monkeys

full of expectation at Steinbrunn / Stikapron last night…

… light AND music:

on stage:  Karl “Charly” Ratzer – with his Garage Band:

Horst Maier, Alfred Reznik, Karl Ratzer & José Prito

ok,  – not Mother´s Finest Wiesen 2011

Karl Ratzer

…but the mothers dance!…

… following day in the Cosmopolitan Garden at Eisenstadt / Željezno / Srasta:


Gerhard Hajny

Anne Tscharmann

ARTSTAGE,  Florian Schmid & Andreas Roseneder: 1001 LAVENDER COSMOS opening for autumn 2011


Andreas Roseneder  Tyre Wire Biker  oil on canvas  220 x 120 cm 2011

(click to enlarge)

 

Andreas Roseneder  Tridays Tyre Wire I  oil prints & strokes on paper 2011

Andreas Roseneder Tridays Tyre Wire II  oil prints & strokes on paper 2011


Andreas Roseneder Tridays Tyre Wire III  oil prints & strokes on paper 2011

this guy here seems to leap with his bike through his own stunt tyre traces breaking up the stripes of good old  Union Jack, right towards Newchurch in Salzburg, good old Austria, where the scene of the ambitious motorbike meet TRIUMPH TRIDAYS next week goes on stage – & me myself will take part with my imaginary art bike – wheel & brush on canvas & paper.

Andreas Roseneder  The Triumph Tridays´ 2011 Undercover Wheely  oil on canvas

220 x 120 cm  201 (click to enlarge)

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:

1001 – LAVENDER COSMOS

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


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…

 TRIWEEK and TRIDAYS 2011

19.-26.06.2011 & 23.-26.06.2011

 Undercover XXL