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Arnulf Rainer: Chio

EIKON #53 (March 2006)

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For some weeks now, the Klimt paintings that were the at the centre of the so-called "Klimt/Bloch-Bauer" affair and the ensuing lawsuit have been making waves in the media. In such circumstances, even plain sales talk in a small boutique in Vienna's city centre can end up being a discussion of cultural politics. Such things will happen if one is inclined to compare the value of a garment to the value of a world-famous piece of art by way of establishing economic parallels. In both cases, what matters is the wearer him/herself as well as the quality of the dress. Independently of the outcome of the current debate, questions over the possibility of separating the dress and the wearer without the wearer being stripped naked and the dress losing its value may well remain unanswered.

Gustav Klimt's paintings are the inspirational source for portraits by the artist duo CLEGG & GUTTMANN. Whilst metallic backdrops only serve as decorative fragments in Klimt's portraits, they function as metaphors for mirage and lighting of all sorts in the work of Clegg & Guttmann. The fact that a Viennese cow] bone is given the same importance as an Austrian art collector brings the focus back to value-related questions. Whereas the portraits of Adele Bloch-Bauer are devoid of any sociological dimension, the works by Clegg & Guttmann reflect the relationship between art and social power structures. And this, when we consider the "Klimt/Bloch-Bauer" affair, refocuses our attention on notions of fate and fatuity.

PAUL KRANZLER is another artist who makes portraits. From his project "Land.Jugend" (Contry.Youth), which was characterised by an overlapping of rural traditions and international styles, he has developed an artistic reportage highlighting the social background of a young man called Thomas R. . It is only from the entire series and not from the single image that we can discover Kranzler's main concern which, far from denunciation, aims at the visualisation of a reality where beauty is found beyond standard aesthetics.

The common aspect in the work by HUBERT SCHEIBL and DAVID THOMAS is that both use photographs as a raw material which they transform through the use of additional artistic media. Scheibl's photo-drawings illustrate his searches and associations and document this parallel reality better than mere sketches would, and they are the ideal starting point for his large format paintings. In Thomas' work, on the other hand, anecdotal photographs are the backdrop to a monochrome layer of paint which invites viewers to pause and reflect upon the concept of time. David Thomas is from a country whose photographic scene is still little known to an international public. This fact caused us to send out our photographic sleuths: In an EIKON exclusive, artist Christoph Dahlhausen set off in search of remarkable artists and photographic institutions in Australia. Among a great many interesting discoveries, he came across an opportunity to interview Alasdair Foster who directs Australia's oldest photographic exhibition space, the Sydney-based Australian Centre for Photography (ACP).

In our last issue, we focused particularly on Spanish photography for the occasion of the 25th ARCO art fair in Madrid which was held in February and for which Austria was the special guest country. It was EIKON's first appearance in Madrid. An elaborate framework gave five art magazines and 22 galleries the opportunity to introduce an international public to Austrian standpoints in art.

Thanks to the great commitment of numerous Spanish and Austrian organisers and state secretary Franz Morak in particular, the fair’s extensive programme covered the fields of photography and media art.

So for instance a one-man-show by Erwin Wurm was on the art agenda as well as a project by Margherita Spiluttini, another one by Ars Electronica and a forum on the future of media art. The exhibition "Postmediale Kondition" (Post-media Condition), which had already been shown in Graz, reached Madrid in an exciting new arrangement. You will find an extensive exhibition review in this issue of EIKON. Also, you will read a portrait of Harun Farocki, whose films are being shown in Madrid as well as at the Austrian film museum in March. They are also part of the "Kino wie noch nie" (Cinema Like Never Before) show in Vienna's Generali Foundation.

We would like to thank you for being with us in EIKON's 15th year and are looking forward to your visit on ViennAfair (April 6 – 9, 2006). On this occasion, we would like to show you our latest Edition EIKON which features a work by Clegg & Guttmann.

Elisabeth M. Gottfried
in the name of the entire EIKON team

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