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Art exhibition: David Holzinger

17.12.2018Comments are closed.

In Januar 2019, in the Gallery and the Small gallery of the Faculty of Economics, you could enjoy an art exhibition by David Holzinger.

»3 cycles and the cutting through Changes in time, material and technique and the recognition of own states.

Successive cycles in an artist’s oeuvre always mark developments – be they leaps or fluences – and interlocking processes that need to be worked out.

After three cycles, which were to be seen in various galleries and exhibitions, which refer to the “liberation” of the self-finding and the solution of retracted structures, about a consolidation phase, the “Discretio”, in the self-created islands and glades One’s own being and becoming, right up to the actual “interference suppression”, which can only be explained as an admonitory and self-understanding analysis of the environment and social behavior, introduces a more plastic series – called “cutting through”.

The first three cycles are well-known and attract attention in various galleries at home and abroad, also because of their sophisticated technique combinations of acrylic, lacquers and plastic elements.

In contrast to Goethe, who postulated that art is not to be included in our everyday discourse, in Holzinger’s fourth cycle, the essential flaws of one of our social behavior and the associated delusions are subtly captured and outweighed with roguish and a wink.

This fits open linen, painted cut and re-opened canvases on boxes or stretcher in small to medium-sized format. In the title describe colors and gradients, of which one only sees a part, but where you can not be sure if you are not but by Holzinger cheated of their own expectation, since you will not just walk into a gallery and there the already opened or cut linen to another three, four, five centimeters further cuts. After the purchase such a behavior would still be at least very bizarre, if you bring in the presence of a gallery owner a pair of scissors or a knife to light in order to get to the bottom of the secret of the Holzinger legacy on the track.

Nonetheless, such an act of the buyer would also correspond to the understanding of capriciousness and self-determination that Holzinger attributes to his material. Thus, the age, the transience and the blemish denied any form of plastic surgery.

After the boxes and frames have been covered, after the cuts have been set, glued, tattered, repaired and the shapeless shell filled with all the artist’s will and creativity, it is up to the finished work to do what it takes. It is passed out by hand, it is given good advice along the way and wished it well, but it is released and left to itself.

Be it waves, which strikes strained linen, casts shadows and fights against gravity, be it half-hidden nail heads or cuts that accentuate doubts and despair, Holzinger releases them.

So they too can play a little, auditioning and blinding the beholder, as it is probably practiced in all societies and also in front of oneself. Nevertheless, they want to force the viewer to fresh curiosity and the often already used inflationary self-reflection.

Let’s only hope that our approach to art, which wants to draw attention to all sorts of abuses and futility with a wink, will be a matter of course. Courage for the gap“!

Herbert Brandner


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