Petra, Anton and Simon Gölles cordially invite you to the vernissage!

OPENING on Saturday, 18 November 2023 at 5.00 p.m.

Introduction by Roman Grabner, Director of the Bruseum Graz.

New works have been created by Alois Mosbacher and Katrin Plavčak in drawing cooperation. A catalogue will be published.

When I hear a word

I turn my hand,

I get an idea,

What does it look like?

(Thomas Raab)

ALOIS MOSBACHER | KATRIN PLAVČAK
The Invisible Hand

ALOIS MOSBACHER

1954 * in Strallegg

1973 – 1978 Academy of Fine Arts, Vienna

2014 Austrian Art Award for Fine Arts

2012 Distinguished Prize for Fine Arts, Cultural Award of the State of NOe

2001 Georg Eisler Prize

1994 Prize of the City of Vienna for Visual Arts

1979 Art Prize of the Province of Styria

Alois Mosbacher’s pictorial world has been figurative since his beginnings and the pictorial space is always “nature”. The emotional-expressionist formal language of the early 1980s is replaced by a very individual pictorial conception.

“Surprisingly, Mosbacher’s art is always personal, individualistic, anarchistic, and at the same time almost “neutral”, almost material-objective. At the same moment, he is able to foreground the subject – as something irrational, as something unpredictable – thereby absolutising its meaning and even annihilating – through the par excellence “painterly” manipulations – the “narrative” that directly connects the painting to the artist’s life.”

Lorand Hegyi

KATRIN PLAVČAK

1970 * in Gütersloh, D; grew up in Zeltweg, A

1994 – 99 Academy of Fine Arts, Vienna

Founded the bands 1996 “Blendwerk” | 2007 “Erste Stufe Haifisch” | 2017 “Kinky Muppet”

2002 State Scholarship for Fine Arts / Women’s Art Prize / Anton Faistauer Prize

2003 Georg Eisler Prize

2020 Klinkan Prize

Since 2022 professor at the abk – Staatliche Akademie der Bildenden Künste Stuttgart.

Katrin Plavčak’s paintings invoke figurative references to Dix, Picasso and Lassnig, as well as the practice of naïve painting, in which perspectival and spatial conditions are suspended and multiple narrative strands coexist. She explores images derived from comics, caricature and technical visual media. She follows her interest in Dada or Surrealism; art movements in which the achievements of photography, film and advertising, and thus not least popular magazine culture in methodical interweaving with montage and collage, helped to determine the avant-garde concept.

Andreas Balze