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21.10.2024 - 04.07.2025

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  • Afra Al Suwaidi
  • Maria Anwander & Ruben Aubrecht
  • Thomas Arnolds
  • Rozbeh Asmani
  • Cornelia Baltes
  • Alfredo Barsuglia
  • Hubert Becker
  • Wolfgang Becksteiner
  • Hans Bischoffshausen
  • Lucile Boiron
  • Brandy Brandstätter
  • Brandy Brandstätter / Kollitsch
  • Karl Brandstätter
  • Julius Brauckmann
  • Ulu Braun
  • Edward Burtynsky
  • Christopher Bucklow
  • Sandi Červek
  • Caroline Wells Chandler
  • Sandro Chia
  • Louisa Clement
  • Natalie Czech
  • Anna Daučíková
  • Violet Dennison
  • Ines Doujak
  • Lutz Driessen
  • Sophie Dvořák
  • Irena Eden & Stijn Lernout
  • Simon Edmondson
  • Cédric Eisenring
  • Jan Paul Evers
  • Lino Fiorito
  • Gernot Fischer-Kondratovitch
  • Christian Flora
  • Andreas Fogarasi
  • Dietmar Franz
  • Christian Freudenberger
  • Jakob Gasteiger
  • Michela Ghisetti
  • Antonio Girbés
  • Bruno Gironcoli
  • Gernot Gleiss
  • Dorothee Golz
  • Franz Grabmayr
  • Ernst Gradischnig
  • Vivian Greven
  • Wolfgang Grinschgl
  • Jochem Hendricks
  • Giselbert Hoke
  • Andy Holtin
  • Bernadette Huber
  • Lucy Ivanova
  • Pedro Jardim de Mattos
  • Anna Jermolaewa
  • Eva Jospin
  • Zhanna Kadyrova
  • Rohullah Kazimi
  • Soli Kiani
  • Peter Klare
  • Jakob Lena Knebl
  • Herlinde Koelbl
  • Cornelius Kolig
  • Arnulf Komposch
  • Suse Krawagna
  • Eric Kressnig
  • Robert Kunec
  • Alina Kunitsyna
  • Hans Kupelwieser
  • Ulrich Lamsfuß
  • Margaret Lansink
  • Karl Larsson
  • Tina Lechner
  • Jens Liebchen
  • Axel Lieber
  • Mevlana Lipp
  • Peter Lohmeyer
  • Gerhard Lojen
  • Constantin Luser
  • Klaus Merkel
  • Joel Meyerowitz
  • Sissa Micheli
  • Jürgen Münzer
  • Loredana Nemes
  • Ferdinand Neumüller
  • Marianne Oberwelz
  • Arnold Odermatt
  • Hans Op de Beeck
  • Bernd Oppl
  • Mohannad Orabi
  • Markus Orsini-Rosenberg
  • Aitor Ortiz
  • Olga Pedan
  • Max Peintner & Klaus Littmann
  • Ulrich Pester
  • Margot Pilz
  • Peter Pongratz
  • Arnold Pöschl
  • Hannes Rader
  • Damir Radović
  • Fabian Ramirez
  • Thomas Rentmeister
  • Markus Riebe
  • Megan Rooney
  • Evan Roth
  • Issa Salliander
  • Robert Schad
  • Julia Scher
  • Heimo Setten
  • Stefanie Seufert
  • Eva Schlegel
  • Toni Schmale
  • Ralph Schuster
  • Jon Shelton
  • Hayley Aviva Silverman
  • Tracey Snelling
  • Paul Spendier
  • Nina Rike Springer
  • Laura Stadtegger
  • Martin Steinthaler
  • Esther Stocker
  • Pier Stockholm
  • Howard Tangye
  • Vincent Tavenne
  • Wolfgang Tillmans
  • Mikhail Tolmachev
  • Martina Unterwelz
  • Oman Valentin
  • Anna Virnich
  • Karl Vouk
  • Maja Vukoje
  • Wolfgang Walkensteiner
  • Ina Weber
  • Clemens Wolf
  • Yunyao Zhang
© Paul Spendier © Paul Spendier Paul Spendier, Zeitgeber, 2018
, Series of 2 colour pigment prints, Edition 3 + 1 AP, 45 x 80 cm each
Kollitsch Collection

The natural cycle of day and night, i.e. the duration of light exposure, is the most important impulse for the earth’s living organisms and plants. In biological terms, this exogenous stimulus that influences our “body clock” and synchronises it with our environment is referred to as a zeitgeber. Similar to greenhouses, where targeted illumination, darkening or heating is used to control the growth of plants, the artist shows a fictional human intervention in nature on the example of the species Impatiens glandulifera. In a kind of field test, the natural vegetation rhythm of the plant is manipulated and even flipped around completely by experimental means, thereby effectively separating the plant from its surroundings.

— Magdalena Koschat

© Paul Spendier © Paul Spendier Paul Spendier, Zeitgeber, 2018
, Series of 2 colour pigment prints, Edition 3 + 1 AP, 45 x 80 cm each
Kollitsch Collection
© Paul Spendier © Paul Spendier Paul Spendier, Cherry tree, 2021
, magnets, screw connections, stainless steel, height approx. 320 cm, Ø 200 cm
Kollitsch Collection

Ever since the onset of the Industrial Revolution 250 years ago, humans have been influencing the planet’s ecosystem to a high degree. The wish to dominate and exploit nature, born out of pecuniary greed, has damaged the ecological balance on a global scale, sometimes irreversibly so. With Cherry tree, Paul Spendier creates the vision of nature as a construct, where the biological cycle of the tree is no longer required, having been replaced by human intervention and a simple assembly system based on screw connections and magnets. From the shape of the branches to the choice of the season or the location of the tree, everything seems subject to human whim and subjugation. The tree is denied any possibility of a self-determined existence.

— Magdalena Koschat

© Paul Spendier © Paul Spendier Paul Spendier, Downtime (2020), 2021
, Stainless steel, cotton, 76 x 65 x 137 cm
Courtesy of the artist and Galerie Elisabeth & Klaus Thoman, Vienna

In Downtime, Paul Spendier takes up the theme of economic crises and their effects such as unemployment, poverty and social decline, felt in particular by the poorer classes. The work consists of five deckchairs, representing the five most severe economic downturns of modern history, from Black Friday in the 1920s to the Covid crisis in 2020. The deckchair, usually associated with travel, relaxation and pleasure, is removed from its original context, and its armrests, intended to provide security and comfort, are replaced by pointy metal constructs that reflect the stock market charts at the time and that make a comfortable rest impossible.

— Magdalena Koschat

© Paul Spendier © Paul Spendier Paul Spendier, Downtime (1987), 2021
, Stainless steel, cotton, 70 x 65 x 131 cm
Courtesy of the artist and Galerie Elisabeth & Klaus Thoman, Vienna
© Paul Spendier © Paul Spendier Paul Spendier, Ohne Titel, 2017
, Edition 12 + 2 AP, Pigment Print, 24 x 17 cm
Kollitsch Collection
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