IRIS ANDRASCHEK | MARLENE HAUSEGGER | ALOIS MOSBACHER

Iris Andraschek

1963 * in Horn
1982 – 1986 Academy of Fine Arts, Vienna
1986/1987 Fresco School Bolzano | scuola arti ornamentali, Rome

In her drawings, photographic and filmic portraits, sculptures, installations and temporary, political actions in public space, Iris Andraschek deals with questions about the constructions and rituals in social systems of order, memory culture and the mutual dependence and exchange of categories of the private and the public, between lived everyday life and staging. She often portrays people who have freed themselves from conventional patterns of imagination and thought and refuse prescribed systems, anchoring their existence instead in a conscious life with nature.

Marlene Hausegger

1984 * in Leoben
2003 – 2010 University of Applied Arts, Vienna | École des Beaux Arts Montpellier

Marlene Hausegger subverts public space in a very subtle way.
Her interventions always refer to existing structures that lie outside our everyday perception, are characterized by a dissecting, revealing gaze that brings these repressed places back into our awareness. Contexts of meaning that we take for granted are shaken by this form of interventionism. Their manifestations in public space have a temporary character, are anti-monumental in their gesture, disappear in the course of time like ephemeral traces. Only through documentation via the medium of the photograph do they experience the duration they deserve.

Alois Mosbacher

1954 * in Strallegg
1973 – 1978 Academy of Fine Arts, Vienna

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 80-ies is replaced by a very individual pictorial conception.
“Surprisingly, Mosbacher’s art is always personal, radically individualistic, even anarchistic, unrestrainedly arbitrary, totally sovereign and manically “self-centered” and at the same time almost “neutral”, almost indifferent, almost thing-objective. At the same moment he is able to foreground the subject – as something irrational, as something inexplicable, as something unpredictable – and thereby to absolute its meaning, and yet to completely relativize the narrative as such, even to annihilate – through the par excellence “painterly” manipulations – the “narrative” that directly connects the picture with the artist’s life. (Citation: Lóránd Hegyi, Catalog Alois Mosbacher, MUMOK Vienna, 1997)