↳ Exhibitions

Cruel Summer Camp at EXILE

August 21, 2020

Artists: Anna Bochkova, Anna Hostek, Bianca Pedrina, Edin Zenun, Filip Dvořák and Martin Kolarov, Flavio Palasciano, Francis Ruyter, Ivana Lazic, Jackie Grassmann and Leonie Huber, Jakub Choma, Jakob Kolb, Kerstin von Gabain, Keresztesi Botond, Lukas Thaler, Marianne Vlaschits, Martina Smutná, Michal Michailov, Nika Kupyrova, Radek Brousil, Sarah Bechter, Sari Ember, Abdul Sharif Baruwa, Siggi Sekira, Siggi Hofer, Šimon Chovan, Tomáš Bryscejn, Yein Lee

Exhibition title: Cruel Summer Camp

Venue: EXILE, Vienna, Austria

Date: July 14 – August 22, 2020

Photography: all images copyright and courtesy of the artists and EXILE, Berlin

Returning from Quarantine we recognized the urgency and need to support the local art scene as a result of the troubling collapse of much of the support structures due to COVID-19. We responded by launching an Open Call for a CRUEL SUMMER CAMP.

Following the concept of previous Summer Camp (2009-2011), Irregular Reading (2013 & 2016) and last year’s OSIOS projects, we invited local and regional (≠ national) artists to submit their work. Running from mid July to late August, EXILE will give the gallery space to artists to engage and collectively present their work. The resulting format should be as much an exhibiton as also an exchange platform.

We received well over 100 applications and the selection was incredibly difficult due to the many excellent applications and the limited space EXILE can provide. As a result, the jury consisting of Veronika Čechová, Àngels Miralda, and Peter Sit created one exhibition consisting of two connected parts, running from Jul 14-Aug 1 and from Aug 4-22 respectively.

Participating artists are: Anna Bochkova, Anna Hostek, Bianca Pedrina, Edin Zenun, Filip Dvořák and Martin Kolarov, Flavio Palasciano, Francis Ruyter, Ivana Lazic, Jackie Grassmann and Leonie Huber, Jakub Choma, Jakob Kolb, Kerstin von Gabain, Keresztesi Botond, Lukas Thaler, Marianne Vlaschits, Martina Smutná, Michal Michailov, Nika Kupyrova, Radek Brousil, Sarah Bechter, Sari Ember, Abdul Sharif Baruwa, Siggi Sekira, Siggi Hofer, Šimon Chovan, Tomáš Bryscejn, Yein Lee

Please be reminded that in case of Sale of an artwork, 100% will go to the respective artist and that Austria currently is only charging a lowered 5% VAT on art purchases. Most works exhibited are by young, emerging artists with the majority of the works priced between 600 to 3.000 EUR. Any purchase made supports directly the continued practice of the artists.

HOT SUMMER STREETS
AND THE PAVEMENTS ARE BURNING
I SIT AROUND
TRYING TO SMILE BUT
THE AIR IS SO HEAVY AND DRY
STRANGE VOICES ARE SAYING
(WHAT DID THEY SAY?)
THINGS I CAN’T UNDERSTAND
IT’S TOO CLOSE FOR COMFORT
THIS HEAT HAS GOT
RIGHT OUT OF HAND

IT’S A CRUEL, (CRUEL), CRUEL SUMMER
(LEAVING ME) LEAVING ME HERE ON MY OWN
IT’S A CRUEL, (IT’S A CRUEL), CRUEL SUMMER
NOW YOU’RE GONE

THE CITY IS CROWDED
MY FRIENDS ARE AWAY
AND I’M ON MY OWN
IT’S TOO HOT TO HANDLE
SO I GOT TO GET UP AND GO

IT’S A CRUEL, (CRUEL), CRUEL SUMMER
(LEAVING ME) LEAVING ME HERE ON MY OWN
IT’S A…
BANANARAMA: CRUEL SUMMER, 1984

Cruel Summer Camp Part I

OUTDOOR

Siggi Hofer: Cruel, 2020. Two prints from original artwork on acrylic, 104 x 104cm

Siggi Hofer (*1970) is an Italian-Austrian artist based in Vienna. Hofer studied at the University of Applied Arts Vienna and at the University of Music and Performing Arts Graz. He was a lecturer at the University of Applied Arts and was awarded the Otto Mauer Prize in 2009, the BKA state scholarship in 2004 and the Ernst Schindler Scholarship (Los Angeles) in 2000 (among others). Siggi Hofer has realized numerous international and national solo exhibitions and he is the artistic director of Kunstverein Schattendorf.

DOWNSTAIRS (left to right)

Anna Hostek: PROP 02, 2019. Painted silk, yarn, stained wood, 60 x 40 x 20cm

Anna Hosteks spatial ensembles featuring dolls, props and stage decoration are venue for an ongoing negotiation of topics such as sexuality, coming of age, loneliness and neoliberal selfexpression. Collected textiles are cut up and are transformed into costumes, where they play their parts without the use of actual bodies. Machine processed seams become drawings of loose threads and fraying edges, when processed by hand.

Francis Ruyter: Jack Delano: Siloam, Greene County, Georgia. Storehouse along the road between Greensboro and Siloam, 2012 – 2020. Acrylic on canvas, 100 x 150cm

Francis Ruyter works with issues of recognition behind image-making and -looking, and connects this activity to social and technological forces driving contemporary experience. In 2008, he began replacing his own photographic source material with the Library of Congress’ FSA/OWI archive of depression era photographs, conceptually locating the archive as subject matter, so that the dimensions of time and storytelling can be integrated by mapping the present onto a picture of the past.

Francis Ruyter (1968, Washington DC) currently lives in Vienna, Austria where he has produced more than 30 exhibitions of other artists’ work since opening Galerie Lisa Ruyter there in 2003. He was a founder of Team Gallery in 1995/96 -2001. Collaborative work with other artists remains a high priority.

Yein Lee: Glitches’ lacemaking I + V, 2020. Acrylic on paper, 14.8 × 21cm

Yein Lee (*1988 in Seoul) is currently living and working in Vienna. She is at the program of a Magister at the Academy of Fine Arts Vienna and recieved a BFA at Hongik University in Seoul. Her artistic practice are intertwined with various signals of lifeforms in artificial and organic systems. Viewing the body as a field of autonomous agency, her metamorphic others blend into figures and images, questioning the boundary of the body, and the concept of normality. Her artistic work has been shown nationally and internationally a.o. at Exile Gallery, Loggia, Pferd, Franz Josef Kai3 in Vienna, Gallery 5020, Kunstverein Kärnten in Austria, PS120 in Berlin, MMIII Kunstverein, Hinterconti in Hamburg, in Germany, Warehouse9 in Copenhagen, Untitled Space Gallery in Shanghai, Gallery Gaia, and Museum of Hongik in Seoul, S.Korea.

Anna Bochkova: Third skin, 2020. Plaster, medical gauze, 52,5 x 69,5 x 49,5cm

Anna Bochkova (*1995, Rostov on Don, Russia) is a visual artist based in Vienna. After her studies in stage design and directing at Moscow Theatre University and Academy of Fine Arts in Vienna in textual sculpture, she works mostly sculptural with the focus on space and its politics. Architecture can be seen as an extension of our skin, since it cares the potential of protection. In the work ‘Third Skin’ I construct a utopic safe space as a metaphor to democracy, referring to ancient Greek polis. This sculptural assembly recollects architectural forms of brutalism architecture intermixed with bourgeois post imperial pathos and builds up in the middle a place for a voice, a dialogue and a common discourse resembling a classical agora. Through creating half closed half opened space, I demonstrate something what usually remains in private together with what is tend be common.

Jakob Kolb: Flowers, 2019. Oil and wax on canvas, 148 x 115,5 cm

Jakob Kolb was born in Deutschlandsberg, Austria on 24.05. 1992. From 2010 until 2017 he lived in Barcelona where he studied Fine Arts. Since 2017 he studies painting at the Academy of Fine Arts Vienna. Proceeding a musical career as well as producing sculptural & installative works he often exchanges narratives and working methods between media.

Šimon Chovan: Bye, vesuvian lover, 2019. Silicone, soil, plaster, rocks, concrete, nails, rust, dust, 160 x 35 x 30 cm

Šimon Chovan (*1994) is currently based in Bratislava: In my recent works I have been examining various cultural concepts of matter in order to create my own one. This process is only partly regulated – on one hand it is based on my conceptual constructions or interpretations of different theories, but quite often it is also a shamanic process, where I let myself to be used as a medium by the materials themselves.

When it comes to this piece, I dont like to be too descriptive about it, because I think it is rather primordial, something before or after the act of language. It is also primordial in that sense, that the soil used in it comes from a small spot near a pond in the place where I grew up and part of my family have lived in for decades, in hills created by volcanic activity near Banská Štiavnica. I think it comes out of tension between fragility of the material world, defencelessness even and the possibility of resistance of matter against our species – inspired by biotechnology, fictional evolutions, natural distasters and pandemies. It is also a capsule of my various ambiguous feelings – it could be a nucleus of hope, a messenger of something new but it is not clear wheter its a good or bad news.

Ivana Lazic: It’s not me, it’s you, 2019. Glazed ceramic, approx. 13 x 13cm

Working with various materials Ivana Lazic tries to materialize the absence of different kinds, shifting in meanings and relations. “It’s not me, it’s you.” is a work which deals with mimicking the phrase “It’s not you, it’s me.” since it was popularized by a 1993 episode of “Seinfeld” in which George Costanza gets dumped by a woman who uses the phrase on him.

CAGE

Parasite Salon, July 12th 2020. Collective installation

In the empty space before the opening of CRUEL SUMMER CAMP, Vienna-based PARASITE SALON annexed EXILE, hijacked the institution, but also used it as a refuge. For one day and night eight invited artist-colleagues presented and discussed their work, feasting and drinking. The remains of PARASITE SALON is the bastards’ installation in the cage by Gleb Amankulov, Albin Bergström, Gabriele Edlbauer, Julia Goodman, Jackie Grassmann, Leonie Huber, Miriam Stoney, Andrea Zabric.

UPSTAIRS FRONT SPACE (left to right)

Radek Brousil: The Imagery of Cry on Demand, 2019. Sublimation print, Veba waxed fabrics(CZ), fabric ropes with true lover’s knot, 65 x 43cm

Radek Brousil (*1980) is a Czech artist who makes installations, working predominantly with textiles, alongside ceramics, film, photography and video. His themes address social testimony, presenting an activist expression on an uncertain future. Brousil defines social, cultural and environmental problems using unexpected interpretations and terminology, and chooses rather to look at these issues on a symbolic, personal and emotional level. His interest focuses on post-colonial tendencies in contemporary artistic discourse, for example, his investigation into the issue of the origin and distribution of flowers or textiles. Through his work with textiles, Brousil emphasises their Czech origin and African destiny, enabling him to highlight the problems of market economy and its power structures. Radek Brousil graduated from the Studio of Photography at the Academy of Arts, Architecture and Design in Prague, where he is currently continuing his doctoral studies. In 2015 he received the Oskár Čepán Award for Young Visual Artists. His work is included in local and international private and institutional collections.

Marianne Vlaschits : Indigo, 2020. Oil on shaped canvas, ca. 100 x 80cm

Marianne Vlaschits, born in 1983, lives and works in Vienna. Her work explores the aesthetics and themes of science fiction and surrealism. In this painting, she combined single figures from her last series „the hypnotic spell“ to a group image of three possibly extraterrestrial creatures tangled up in a dance or a game with mysterious celestial objects. They wear carnivalesque masks who cover their identity and their extremities merge into gestural brush strokes. Their paint is made of interstellar medium and magnetic radiation.

Sari Ember: Untitled (Mask No 21). 2018. Marble, 34 x 25 x 1,5 cm Pile of eyes No1, 2019. Marble, granite, 26 x 26 x 6 cm

Sári Ember, * 1985 in São Paulo, lives and works in Budapest. She graduated with a degree in photography from the Moholy-Nagy University of Arts and Design in Budapest.

She took part in various residency programmes, such as Contretype in Brussels (2012), Casa Tomada (2013) and in LabMIS and Tofiq House (2014) in São Paulo, Litomyšl Symposium in Czech Republic (2018) and Museumsquartier in Vienna (2019). Her works have been exhibited internationally both in solo and group exhibitions for example in São Paulo, Paris, Lodz, Brno, Berlin, Bratislava and Budapest. In 2017 she received the Campari Art Prize In Torino, and in 2019 the Leopold Bloom Prize in Hungary.

Her practice embraces a variety of media, she has recently mostly worked with stone and ceramics, textile, photography and paper collage. Working with materials with a strong symbolic value, and quoting forms from a big variety of references, she uses the narrative capacity of constellations of objects. She often questions the nature of representation. She is interested in the creation of hybrid images through the examination and consequent deconstruction of such classic genres as portraiture. Starting from personal and collective stories, her installations offer interpretations of parallel stories of memories, traditions, and rituals.

Filip Dvořák and Martin Kolarov: Untitled, (from series Age of No Heroes), 2019, wood and plastic, 55 x 70 x 10cm

Filip Dvořák and Martin Kolarov both have their own artistic practice, while their topics and forms meet at certain points. They often play with the interpretation of historical elements and modify them into fictional compositions. Pathetic symbolism combined with modern designs, heroes’ determination, current aestheticism, and the public combined with the private – it all can be found in their compositions. The artists are currently developing few long-term serial lines. In ‘Age of no Heroes’ they reflect common interest in history, various materials, and emphasis on experiencing everyday life and at the same time great romantic themes.

UPSTAIRS BACK SPACE (left to right)

Martina Smutná : Ethical consumerism, 2019. Oil on canvas, 100×80 cm

Martina Smutná, born 1989, is a PhD student at the Academy of Fine Arts in Prague. Her artistic work is connected to her interest and activities in the feminist field. In her doctoral subject she examines the origin and consequences of using the gender-different indication, such as “female painting”. “Ethical consumerism” is a part of the “History of (dis) obedience” series in which she raises question of the relationship between the upper classes of the 18th century and today’s middle-class bourgeoisie. Her paintings are transgressing a confines between the past, present and apocalyptic future. Smutná portraits the relation between pursuit of change and disciplined inertia, tension between power and powerlessness.

Radek Brousil: The Imagery of Cry on Demand, 2019. Sublimation print, Veba waxed fabrics(CZ), fabric ropes with true lover’s knot, 58 x 70cm

Kerstin von Gabain: Symposium on the dark ages, 2014. Analog b/w photograph, 45,5 x 45,5cm

Plaster feet, 2014. Analog b/w photograph, 45,5 x 45,5cm

Caliban, 2020. Wax, oil paint on cardboard, 42 x 7 x18 cm

Kerstin von Gabain, * 1979, lives and works in Vienna. Her photographic and sculptural works frequently engage with historic exhibits and collected artefacts; she is particularly interested in typologies and classifications as well as the principles underlying the exhibitions of historic collections. von Gabain visual language originates from her interest in various subject matters such as anthropomorphism, anime, horror movies, science fiction, medical history and the relationship between the human body, sculpture and its photographic representation.

Filip Dvořák and Martin Kolarov: Untitled, (from series Age of No Heroes), 2019, wood and plastic, 55 x 70 x 10cm

Siggi Hofer: Cruel, 2020. Two prints from original artwork on acrylic, 104 x 104cm. On view 24/7until Aug 22

Cruel Summer Camp I/II. Installation view, EXILE

Filip Dvořák and Martin Kolarov: Untitled, (Age of No Heroes), 2019, wood and plastic, 55 x 70 x 10cm

Sári Ember: Untitled (Mask No21). 2018. Marble, 34 x 25 x 1,5 cm

Sári Ember: Pile of eyes No1, 2019. Marble, granite, 26 x 26 x 6 cm

Cruel Summer Camp I/II. Installation view, EXILE

Radek Brousil: The Imagery of Cry on Demand, 2019. Sublimation print, Veba waxed fabrics(CZ), fabric ropes with true lover’s knot, 65 x 43cm

Marianne Vlaschits : Indigo, 2020. Oil on shaped canvas, ca. 100 x 80cm

Cruel Summer Camp I/II. Installation view, EXILE

Martina Smutná : Ethical consumerism, 2019. Oil on canvas, 100 x 80cm

Radek Brousil: The Imagery of Cry on Demand, 2019. Sublimation print, Veba waxed fabrics(CZ), fabric ropes with true lover’s knot, 58 x 70cm

Cruel Summer Camp I/II. Installation view, EXILE

Kerstin von Gabain: Symposium on the dark ages, 2014. Analog b/w photograph, 45,5 x 45,5 cm

Kerstin von Gabain: Plaster feet, 2014. Analog b/w photograph, 45,5 x 45,5 cm

Kerstin von Gabain: Caliban, 2020. Wax, oil paint on cardboard, 42 x 7 x18 cm

Francis Ruyter: Jack Delano: Siloam, Greene County, Georgia. Storehouse along the road between Greensboro and Siloam, 2012 – 2020. Acrylic on canvas, 100 x 150 cm

Cruel Summer Camp I/II, 2020. Installation view, EXILE

Anna Hostek: PROP 02, 2019. Painted silk, yarn, stained wood, 60 x 40 x 20 cm

Yein Lee: Glitches’ lacemaking I + V, 2020. Acrylic on paper, 14.8 × 21 cm each

Cruel Summer Camp I/II, 2020. Installation view, EXILE

Jakob Kolb: Flowers, 2019. Oil and wax on canvas, 148 x 115,5 cm

Šimon Chovan: Bye, vesuvian lover, 2019. Silicone, soil, plaster, rocks, concrete, nails, rust, dust, 160 x 35 x 30 cm

Anna Bochkova: Third skin, 2020. Plaster, medical gauze, 52,5 x 69,5 x 49,5cm

Ivana Lazic: It’s not me, it’s you, 2019. Glazed ceramic, approx. 13 x 13 cm

Parasite Salon, July 12th 2020. Collective installation by Gleb Amankulov, Albin Bergström, Gabriele Edlbauer, Julia Goodman, Jackie Grassmann, Leonie Huber, Miriam Stoney, Andrea Zabric

Cruel Summer Camp Part II

OUTDOOR

Siggi Hofer: Cruel, 2020. Two prints from original artwork on acrylic, 104 x 104 cm

Siggi Hofer (*1970) is an Italian -Austrian artist based in Vienna. Hofer studied at the University of Applied Arts Vienna and at the University of Music and Performing Arts Graz. He was a lecturer at the University of Applied Arts and was awarded the Otto Mauer Prize in 2009, the BKA state scholarship in 2004 and the Ernst Schindler Scholarship (Los Angeles) in 2000 (among others). Siggi Hofer has realized numerous international and national solo exhibitions and he is the artistic director of Kunstverein Schattendorf.

DOWNSTAIRS (left to right)

Sarah Bechter: Untitled (the unloved painting), 2020. Oil on canvas, 170x150cm

Sarah Bechter (*1989) studied painting at the University of Applied Arts and is living and working in Vienna.

The unloved painting
I was pure white
You made a show–thing of me
You called me the real–thing
Your creation
No setting was too good for me
Silver–even gold
I needed gorgeous surroundings
You then sold me to another man

(F. Stettheimer, 1949)

Nika Kupyrova: Serious Callers Only, 2018. Steel, hand-cut rubberized textile, 220 x 150 cm

The work series is based on the novels by Ian B. Banks set in The Culture, post-scarcity human-machine symbiotic society that is home to a vast and varied population of machines with different levels of self-awareness — among them conscious spaceships. These thousands year-old immensely intelligent machines give themselves their own names reflective of their distinctive personalities— witty, whimsical, quite absurd, but mainly nothing like the names humans would give each other. Claimed and altered by a non-human entity, naming becomes an act of consciousness, challenging our preconceptions of humanity in a post-human age.

Nika Kupyrova (*1985 in Kyiv, Ukraine) grew up in Prague, studied at the Edinburgh College of Art, Iceland University of the Arts and the University of Applied Arts in Vienna. Artistic presentations include participation in II and III Moscow International Biennale of Young Art and exhibitions in WIELS Contemporary Art Centre in Brussels, Mattress Factory Museum of Contemporary Art in Pittsburgh, USA, Wien Museum MUSA in Vienna, SODA Gallery in Bratislava, Kunstraum Niederoesterreich in Vienna (2015) and Meetfactory Centre for Contemporary Art Prague. Nika is a recipient of Erste Bank ExtraVALUE Art Award, a state scholarship for emerging artists STARTStipendium and is a collaborator of a media theory research project originalcopy.

Abdul Sharif Baruwa: DER sculpture, 2020. Mixed media, 122 x 34 x 100 cm

Abdul Sharif Baruwa lives and works in Vienna. Recent exhibitions include: Cerbero con Huevo (2020), Biquini Wax, Mexico City; Field within (2019), Xhibit, Vienna; screamscream (2019), School/erformative Screenings hosted by Gallery 5020 Salzburg; Über das Neue (2019), invited by Ve.sch, Belvedere 21, Vienna; Wiping it out lovely (2018), New Jörg, Vienna

Flavio Palasciano: Klubscham (Parasol #1), 2018. Print on polyester, galvanized pole, concrete, terracotta, plastic, laundry cable, 230x200x200cm

Klubscham is the production title of body of work. While it sets its apparent narrative on the romanticisation of the South, escapism and Kitsch (and the multiple manifesta- tions of it in socioeconomic contexts), it revolves around its title, which assumes the same function as for a theatre piece or a novel.

Klubscham (Shame Club) phonetically resonates with club charme, and alludes to the Salon, private associations and closed door policies.

The parasol, being both an object of protection and of pro- jection of power, becomes a space where the main object remains the viewer, and the individual emotional responses and reflections generated by that space.

Keresztesi Botond: Melting twins, 2020. Acrylic and oil on canvas, 100 x 120 cm

The painting is part of my recent works made during the pandemic lockdown in Budapest. It is inspired by the giant metallic monuments like the statue of Genghis Khan in Mongolia, or some of the soviet public sculptures. It is a visualization of a mirrored twin figures with the body of melted chrome and metallic surfaces included the reference of Philippe Starck’s iconic lemon squeezer and a chrome crocs slipper. The twins are standing on the top of a working vulcano and just started to melting down and slowly disappear from the horizont.

Siggi Sekira: Not a Soul in My Shelter, 2019. Color pencil on paper, 59,4 x 42 cm

Siggi Sekira: Away from Countless Blessings, 2020. Color pencil on paper, 29,7 x 21 cm

Siggi Sekira (born 1987, Odessa UA) is an artist based in Vienna. She currently pursues the MFA degree at the Academy of Fine Arts Vienna.

Sekira’s ceramic sculptures reinterpret Slavic mythology and investigate the coexistence of paganism and Christianity in rural, post-Soviet Ukraine. Pottery is exemplary of Ukrainian folk traditions and a form of cultural expression of the working class. With her sculptures, Sekira creates her own worlds alongside our present-day society and shows a ceramic piece from the series „The Eve of Nymphs”, which are based on the Slavic fertility ritual of Ivan Kupala.

Siggi Sekira’s drawings are organised around the common themes of reproductive labour, female hysteria, and false expectations. They draw from a variety of sources from Slavic mythology to 1900s Wiener Werkstätte, the Soviet avant-garde, and the influx of the Western pop-culture after the collapse of the Soviet Union. Each drawing is a garland of associations, family stories, and unfortunate coincidences. The figures in Sekira’s drawings frequently shut themselves down, their eyes closed and heads floating in the black clouds among disconnected muscles and biomorphic creatures. There is a continuous sense of chaos and unease, something rather twisted but, at the same time, presented in the bright colours of 1950s Soviet animation and delicate lines mimicking botanical drawings.

CAGE

Parasite Salon, August 3rd 2020, collective installation

In the interim phase, before the second part of CRUEL SUMMER CAMP, Vienna-based PARASITE SALON again annexed EXILE, hijacked the institution, but also used it as a refuge. For one day and night nine invited artist-colleagues presented and discussed their work, feasting and drinking. The remains of PARASITE SALON is the bastards’ installation in the cage by Viktoria Bayer, Nana Dahlin, Jackie Grassmann, Leonie Huber, Hanna Kucera, Simon Nagy, Cecilie Norgaard, Inga Charlotte Thiele, Julia Znoj.

UPSTAIRS FRONT SPACE (left to right)

Michal Michailov: Dust to dust#105, 2020. Color pencil on paper, 40 x 40 cm

Michail Michailov lives in Paris and Vienna and his artistic practice is concerned with drawing, performance, installation and video. He studied fine arts in Veliko Tarnovo, Bulgaria, and art history in Vienna. In addition to several residencies and awards, he received the Drawing Now Paris Art Award 2018. Success and failure, self-discovery and self-doubt, the search for happiness, the crossing of boundaries are recurring themes. He uses his own personality as a metaphor for existence, the self and the striving for individual self-realization in a globalized society.

In his drawing series “dust to dust” (2014 – 2020) he dedicates to these fluffy balls of dust and stains, which have been gradually gathered in his studio, by accurately depicting them with coloured pencils on paper. By doing so he moves – on the one hand – to an unobserved running phenomenon – the gathering of dust and dirt in our consciousness and on the other, through this he uplifts the dirt into a piece of art. The intensive effort which the drawing reproduction process takes, stands in a strong discrepancy to the actual value of the primary material.

Lukas Thaler: A Disguised Form of an Old Toad (Dōnotsura), 2020. Mortar, plaster, cast marble, acrylic, fibre-reinforced foam board, oak frame 30 x 60 x 2 cm each

Lukas Thaler, born 1989, lives and works as an artist, curator and designer in Vienna. He graduated from the University of Applied Arts Vienna. Since 2012, he co-runs the curatorial project MAUVE. The central characters of the ongoing series “A Disguised Form of an Old Toad” are two figures from Japanese folklore. They are creatures with partly human and partly animal features. Hybrids of object and subject, they are driven by indistinct motives and plans, tricksters with an enigmatic character. Their appearance is characterized by constant transformation and remains indefinable. Nurikabe is a spirit that manifests itself as a wall, getting in the way of travelers and leading them astray. His name means “plaster wall”. He is often depicted as a wall that is plastering itself. The “torso-face” Dōnotsura, appears as a supposed human being, whose face has slipped into the upper part of the body out of shame. In this series of work they appear not only as protagonists, but also as bearers or narrators of their own appearance.

Ivana Lazic: It’s not me, it’s you, 2019. Glazed ceramic, approx. 13 x 13 cm

Tomáš Bryscejn: Untitled, 2019. Airbrush on canvas, 30 x 40 cm each

Tomáš Bryscejn (1988*) is Czech artist, based in Prague. He primarily works with paintings and installation. He draws inspiration from echoes of B-side movies culture and everyday experience of interaction with technology. His paintings are charged with a trance and obsession with virtuality. The result is ephemeral void without context, which rids the viewers of their existential weight.

UPSTAIRS BACK SPACE (left to right)

Edin Zenun: Untitled, 2019. Oil on Canvas, 26 x 21 cm

Edin Zenun: Untitled, 2019. Clay and Pigment on Canvas, 26 x 21 cm

Edin Zenun, born in 1987 SFRY, lives and works in Vienna. His work constantly revolves around issues intrinsic to painting: composition, materiality, surface structure, execution, brushstroke, the interplay of form and color, surface and space, the relationship between figure and ground, or between figuration and abstraction.

Jakub Choma : Yet unresolved task, 2020. Mixed media, 40 x 50 x 9 cm

Jakub Choma : X_1 (Dirty palms), 2019. Mixed media, 20 x 10 x 10 cm

Jakub Choma (*1995, Košice, Slovakia) Gradually, he has moved from pure painterly expression towards space installations, assemblages and objects. His work is essentially based on laboratory experiments with different materials such as cork, plexiglass or aluminum, but consequently references digital visual culture and the aesthetics of game environments, which strongly influenced the author’sgeneration. By his language, Choma questions techno- optimism, his work embodies some kind of a decadence of the contemporary digitally-material structures. He is interested in the topics of hyper- productivity and exhaustion, which are the very characteristics of the neo-liberal society, in D.I.Y. culture, popular science and portable technologies.

Siggi Sekira: Sad Day, Camille, 2020. Glazed stonewqare, lustre, 40 x 26 x 30 cm

Bianca Pedrina: Pompei, Pompeii, 2019-2020, Fine art prints on baryta, framed, 40x60cm each

Bianca Pedrina *1985 in Basel, lives in Vienna. She studied at Städelschule Frankfurt with Prof. Judith Hopf and at HKB Bern. In ‚Pompei, Pompeii‘ she investigates the newly implemented accessibility project in Pompeii which consists of iron elements embedded in the gaps of the historic Roman streets, and allows barrier-free access to the excavation site.

An artist book with the same title was published in 2019 by Mark Pezinger Books, Vienna.

Siggi Hofer: Cruel, 2020. Two prints from original artwork on acrylic, 104 x 104cm. On view 24/7until Aug 22

Cruel Summer Camp II/II, 2020. Installation view, EXILE

Siggi Sekira: Sad Day, 2020. Glazed stoneware, 20 x 15 x 32 cm

Jakub Choma: Yet unresolved task, 2020. Mixed media, 40 x 50 x 9 cm

Jakub Choma: X_1 (Dirty palms), 2019. Mixed media, 20 x 10 x 10 cm

Cruel Summer Camp II/II, 2020. Installation view, EXILE

Edin Zenun: Untitled, 2019. Oil on Canvas, 26 x 21 cm

Edin Zenun: Untitled, 2019. Clay and Pigment on Canvas, 26 x 21 cm

Cruel Summer Camp II/II, 2020. Installation view, EXILE

Bianca Pedrina: Pompei, Pompeii, 2019-2020, Fine art prints on baryta, framed, 40 x 60 cm

Michail Michailov: Dust to dust #106, 2020. Color pencil on paper, 40 x 40 cm

Michail Michailov: Dust to dust #105, 2020. Color pencil on paper, 40 x 40 cm

Cruel Summer Camp II/II, 2020. Installation view, EXILE

Lukas Thaler: A Disguised Form of an Old Toad (Dōnotsura), 2020. Mortar, plaster, cast marble, acrylic, fibre-reinforced foam board, oak frame 30 x 60 x 2 cm

Tomáš Bryscejn: Untitled, 2019. Airbrush on canvas, 40 x 30 cm

Cruel Summer Camp II/II, 2020. Installation view, EXILE

Ivana Lazic: It’s not me, it’s you, 2019. Glazed ceramic, approx. 13 x 13 cm

Cruel Summer Camp II/II, 2020. Installation view, EXILE

Abdul Sharif Baruwa: DER sculpture, 2020. Mixed media, 122 x 34 x 100 cm

Keresztesi Botond: Melting twins, 2020. Acrylic and oil on canvas, 100 x 120 cm

Cruel Summer Camp II/II, 2020. Installation view, EXILE

Siggi Sekira; Not a Soul in My Shelter, 2019. Color pencil on paper, 59,4 x 42 cm

Siggi Sekira: Away from Countless Blessings, 2020. Color pencil on paper, 29,7 x 21 cm

Flavio Palasciano: Klubscham (Parasol #1), 2018. Print on polyester, galvanized pole, concrete, terracotta, plastic, laundry cable, 230 x 200 x 200 cm

Cruel Summer Camp II/II, 2020. Installation view, EXILE

Sarah Bechter: Untitled (the unloved painting), 2020. Oil on canvas, 170 x 150 cm

Nika Kupyrova: Serious Callers Only, 2018. Steel, hand-cut rubberized textile. 220 x 150 cm

Parasite Salon, August 3rd 2020, Collective installation by Viktoria Bayer, Nana Dahlin, Jackie Grassmann, Leonie Huber, Hanna Kucera, Simon Nagy, Cecilie Norgaard, Inga Charlotte Thiele, Julia Znoj