Documenation: Simon Veres

The exhibition eye levels is the third collaboration between the four Vienna-based artists Gabriel Huth, Marlene Posch, Julian Siffert and Magdalena Stückler. They are bringing three new, jointly created works to Brussels in which they took up ideas from their previous exhibition I look up, I look down from my human height. The construction method of a cupola, as found in church buildings or representative architecture, serves as a model for an expansive sculpture. This is juxtaposed with an analog animation film showing a person‘s attempt to correct their upside-down reflection in a spoon and a spatial intervention, involving the lights of the exhibition space.

Documenation: Mina Enowaki

The process behind limited endlessness began with two small sketches that served as templates for creating wooden boxes. Using these drawings, Stückler calculated how many individual pieces could be cut from a plywood sheet while minimizing waste. She then translated this cutting template into full scale using canvas and screen printing, resulting in works (including the rolled piece) that measure 2500 x 1250 cm—the standard size of the plywood sheets from which the wooden parts were cut. The lines of limited endlessness were screen-printed in multiple stages rather than all at once, with each X shape gradually forming through the layering of various lines. This method mimicked the dra- wing process, repurposing the screen-printing technique that is traditionally used for reproduction and duplication. Text by Hana Ostan-Ožbolt-Haas

Documenation: Kunstdokumentation.com

Documenation: Flavio Palasciano

Documenation: Aaron Amar Bhrama

Magdalena Stückler’s zyx consists of a series of ceramic objects that function as flute vessels. The amorphous shapes are derived from the negative spaces of the alphabet. Stückler places the objects on supporting structures reminiscent of billboard supports, building a bridge to postmodern architecture. The influential 1972 study “Learning from Las Vegas” examined commercial structures in the city built from scratch: while elaborate decorations used to make statements about a building’s purpose, ornament-free, physical lettering now dominated, while the architecture itself remained “mute” and “empty,” as authors Denise Scott Brown, Steven Izenour and Robert Venturi state. Stückler’s work creates a resonance space that addresses the tension between language and construction.
Text by Juliane Bischoff

Commissioned by Stern & Hafferl as part of Salzkammergut 2024 – European Capital of Culture.
With support from LAUFEN and University of Applied Arts Vienna.

The four exhibit two collectively produced works. Carrier, an aluminum construction installed on the ceiling, flirts with ideas of infrastructure, the global and representative architecture as in the domes of the Pantheon, the Pentagon or the Reichstag in Berlin. It also seems to offer itself as a kind of display through a series of eye plates that are mounted on the suspended-ceiling-like structure. On the floor, copies of drawings are scattered around along a text by Leonie Huber. These quickly sketched out reproductions of a childhood memory of one of the artists show a kid, trying to correct its upside down reflection in a spoon.

Documenation: Peter Mochi