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EIKON #103

Editorial Content


EIKON #103

Artists | Johannes Deutsch | Alice Q. Hargrave | Caroline Heider | Alexander Kluge | Nil Yalter |

Thomas Ballhausen | Rainer Bellenbaum | Simon Bowcock | Miha Colner |  June Drevet | Nela Eggenberger | Elisabeth Falkensteiner | Daniela Hölzl | Tania Hölzl | Ruth Horak | Bernhard Jarosch | Carlos Kong | Peter Kunitzky | Maren Lübbke-Tidow | Katharina Manojlović |  Gudrun Ratzinger | Steffen Siegel | Sabine Weier | Margit Zuckriegl

Languages | German / English
Dimensions | 280 x 210 mm
ISBN | 978-3-902250-96-4
92 pages

Price: sold out



Content

PORTFOLIO

Alice Q. Hargrave | Nela Eggenberger
Johannes Deutsch | Margit Zuckriegl
Caroline Heider | Ruth Horak
Nil Yalter | Carlos Kong
Alexander Kluge | Rainer Bellenbaum

ARTS & STUDIES

Mariia Sizikova—Elisabeth Falkensteiner

EVENT

An Exclusive Studio Visit with Gabriele Rothemann

IN FOCUS: Still Life

Obstinacy of Things, Images, Photography: Still Life in Artistic Concepts of the Present—Maren Lübbke-Tidow

EXHIBITIONS

Shape of Light. 100 Years of Photography and Abstract Art | Simon Bowcock
Alfred Seiland | Daniela Hölzl
10th Berlin Biennale for Contemporary Art | Sabine Weier
20 Propositions | Tania Hölzl
Multiply, Identify, Her | June Drevet
From Disappearance and Appearance | Steffen Siegel

COLLECTOR‘S BOOK

Vanessa Winship. she Dances on Jackson

DATES

with Thomas Seelig

PUBLICATIONS

Matthias Steinkraus: Rote Rose | Bernhard Jarosch
Philipp Goldbach. FOTO/GRAFIE, Motiv und Metapher der Schrift in der Fotografie | Thomas Ballhausen
Friedl Kubelka vom Gröller. One is not Enough | Gudrun Ratzinger
Jasmina Cibic. Nada | Miha Colner
Stephan Erfurt. On the Road | Peter Kunitzky
Psychoanalytikerin trifft Marina Abramović | Katharina Manojlović

Editorial

In the age of the omnipresent moving image—from YouTube tutorials circulating online and animated GIFs to homemade video clips, all of which, thanks to user-friendly software, are easy enough to produce for any teenager with a smartphone—there is something anachronistic about the examination of a classic genre like the still life. And yet it might just be our oversaturation with these viral moving images that has sparked the yearning of a younger generation of artists for this traditional genre, perhaps precisely because it is static, non-variable, and therefore somehow final in its appearance. It is possibly also its decelerated creative process that animates artists to endeavor this step back, for what is arranged in front of the camera’s lens is patient, at least compared to some other protagonists in human form. Add to this that it is “surely no coincidence that the still life is now once again arriving more frequently on the stage of visual consideration, for our visual cultures are in a state of upheaval and photographic images are beginning to replace language” (cf. 56).

A tradition that established itself 400 years ago is back in demand today, especially in photography, despite vigorous competition from media harboring far more possibilities. This observation was the starting point for the current exhibition at Kunst Haus Wien, Still Life. Obstinacy of Things (September 13, 2018 through February 17, 2019). In the “Focus” section of our current issue, the show’s curator, Maren Lübkke-Tidow, shares her thoughts about why this genre has recently experienced its photographic renaissance, emphasizing the range of negotiated research fields and findings using an exemplary selection of contemporary positions.
“For with the still life, the viewing tempo decelerates: its pictorial spaces allow presence to unfold,” the author concludes. We therefore wish you, dear readers, sufficient leisure to experience the compositions in their multitude of meanings.

Nela Eggenberger
for EIKON, September 2018