EIKON #60

Editorial Content Order

Artists | AES+F | Jürgen Böheimer | Noritoshi Hirakawa | Thomas Reinhold | Stefanie Schneider | Massimo Vitali | Margret Weber-Unger |

Authors | Johanna Hofleitner | Carl Aigner | Margit Zuckriegl | Lucas Gehrmann | Gerald Piffl | Petra Prahl | Florian Halm | Amrei Thaler | Elisabeth M. Gottfried | Peter Kunitzky | Julie Ryan | Naoko Kaltschmidt | Michael Freund | Olga Kronsteiner | Andrea Winklbauer | Mylène Sarant | Thomas Edlinger | Sigrid Hauser | Roman Schmidt | Christine de Grancy | Georg Schiemer

Languages | german / english
Format | 210 x 280 mm
ISBN | 978-3-902250-35-3
88 pages

Price: € 14,00 (incl. 10% VAT)

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Content

Artist Pages

STEFANIE SCHNEIDER
Lights, Camera, and Action!
Julie Ryan

MARGRET WEBER-UNGER
In the Sectrum of Fantasy
Elisabeth M. Gottfried

NORITOSHI HIRAKAWA
More Intimate than Nudity
Mylène Sarant

THOMAS REINHOLD
On the Iconography of Time and Space
Carl Aigner

MASSIMO VITALI
Horror Vacui
Margit Zuckriegl

AES+F
Models in Photoshop
Thomas Edlinger

Student Page

Jürgen Böheimer

Forum

Krüger & Pardeller
glancing the orbit
Sigrid Hauser

Gerhard Trumler Turns 70
Gerald Piffl

Art Market

Olga Kronsteiner

Exhibitions

Harry Weber: The Vienna Project
Andrea Winklbauer

Photo: Modernity in Central Europe 1918-1945
Petra Prahl

Hiroshi Sugimoto
Johanna Hofleitner

Richard Avedon - Photographs 1946-2004
Peter Kunitzky

Steichen - une épopée photographique
Roman Schmidt

Imago 1:1 - Göttliches Spiel
Christine de Grancy

Reviews (german only)

The Cinematic
Naoko Kaltschmidt

Gerald Nestler - Yx
Lucas Gehrmann

Gyula Fodor: noosphere
Michael Freund

Romantischer Konzeptualismus
Georg Schiemer

Editorial

After the showing of Coming Home (1978) at this year's Viennale, the Vienna film festival, guest of honor Jane Fonda said that the sad thing is that we still haven't learned a thing. Fonda, who stood on the front lines in the struggle against the Vietnam War in the 1970s, is today publicly engaged against the US invasion of Iraq. When asked what can be learned from movies, she answered, "We learn to love, because the planet is shrinking."

The power of images is commented upon by the Russian artists collective AES+F. The "digital paintings," with which AES+F create new contexts between the found and the invented, explore the struggle of all against all and speculate on the loss of meaning.

The large format pictures of Massimo Vitali tell of the sweet idleness of an unabashed leisure society and the artist's predilection for mass assemblies. The precisely conceived and highly virtuosic photographs from a raised standpoint attempt to illustrate the horror vacui, the abhorrence of a vacuum, as manifested on overpopulated beaches. Vitali's most recent series was done in Sicily, and is published in this issue of Eikon for the first time.

In contrast, the desert is the showplace for photographer and filmmaker Stefanie Schneider, who expresses her love of the Polaroid in complex narratives in collaboration with the new James Bond director Marc Foster. The magic of her work inheres in the magic of light, which is not just a figure in her photographs, but plays the main role.

A key figure in the new painting that established itself in the late 1970s is the Austrian artist Thomas Reinhold. In a conversation with Carl Aigner, he speaks about his quite unknown photographic work, which is formally and conceptually tied to his multi-layered paintings. His reflexive paintings, the before and behind, make Reinhold an iconographer of time and space.

Margret Weber-Unger also works across the disciplines. She is fascinated by museum collections, especially in museums of natural history. With her camera, she explores systems of order and develops the photographs to sensitive serigraphs whose virtuosic color combinations reflect nature's diversity. With these serigraphs, the young artist won the Walter Koschatzky Kunst-Preis 2007.

The work of Noritoshi Hirakawa is provocative on first glance, but the artist is not interested in voyeurism, in exposing his subjects, but rather confronting the mysterious part of female reality, the "substance of soul." Hirakawa's pictures are quite direct, but all the same there is an unsuspected poetry in them.

After our Artist Page pages comes in this issue once again the Student Page, a page reserved for students at Austria's art academies to present their work. In Forum, read an extensive interview with Gerhard Trumler, the great master of classical photography who celebrates his seventieth birthday at the end of the year. Our congratulations from all of us at EIKON! In the rubric Art Market, now a regular contribution by Olga Kronsteiner, you can find out why at Dorotheum they don't put their heads in the sand , but through a painting, and which photographer the head of Sotheby's Austria declares her favorite. Read further a contribution by Christine de Grancy on Göttliches Spiel: an exhibition where the pictures were taken with the Imago 1:1, a camera that allows for full body shots and was last year reactivated after 30 years in storage.

In addition: Harry Weber in Vienna, Hiroshi Sugimoto in Düsseldorf, Richard Avedon in Copenhagen, Edward Steichen in Paris, the exhibition Modernity in Central Europe and—last but not least—Eikon in Miami! We are happy this year to be able to visit an art fair in the US for the first time, and cordially invite you to visit our stand at PULSE Miami, where from December 5–9 we will be present as the only Austrian journal, presenting our newest edition of Eikon by Arnulf Rainer.

Welcome to EIKON 60! Have a fun and exciting read!
Elisabeth M. Gottfried and all of us here at EIKON

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