Georg Kargl Fine Arts curated by Hana Ostan Ožbolt
„I Had a Dog and a Cat“

Georg Kargl Fine Arts, Schleifmühlgasse 5, 1040 Vienna
Georg Kargl BOX, Schleifmühlgasse 5, 1040 Vienna
Georg Kargl PERMANENT, Schleifmühlgasse 17, 1040 Vienna

www.georgkargl.com

Curator(s):

Hana Ostan Ožbolt More

Hana Ostan Ožbolt (born in Slovenia) is an art historian, working as an independent curator, writer, and director of the ULAY Foundation. In the last years she has worked for and with several international institutions and galleries, including Stedelijk Museum, De Appel, Galerija Gregor Podnar, Aksioma–Institute for Contemporary Art, Schirn Kunsthalle Frankfurt, König Galerie, Richard Saltoun Gallery, and Moderna galerija.

A selection of recent curatorial projects include BODY ECSTATIC BODY ECLECTIC BODY ECCENTRIC with Ana Mendieta, Annegret Soltau, Arvida Byström, Elena Tejada-Herrera, Iza Pavlina, Jeremy Shaw, Letícia Parente, Marina Abramović, Molly Soda, Sanja Iveković, Ulay, Ulrike Rosenbach (Ulay Foundation Project Space, 2021); ULAY WAS HERE (Stedelijk Museum, 2020–2021, co-curated with Hripsimé Visser and Rein Wolfs); Double Wall of Silence with Daniel García Andújar, Louis-Cyprien Rials, Driton Selmani, Ariel Schlesinger, Vangjush Vellahu (Škuc Gallery/Hestia Belgrade, 2019–2020, co-curated with Anja Obradović); Driton Selmani: Places We Leave Behind (Slovenian Writers' Association, 2019).

Ostan Ožbolt was also the initiator of HOoST (2017–2019), a framework aimed at supporting and promoting emerging local Slovenian artists while organizing their exhibitions outside the institutional frame or the white cube.

Deutsche Übersetzung

Hana Ostan Ožbolt (geboren in Slowenien) ist Kunsthistorikerin und arbeitet als freie Kuratorin, Autorin und Direktorin der ULAY Foundation. Sie hat Projekte mit und für internationale Institutionen und Galerien realisiert, z.B. für das Stedelijk Museum, De Appel, Galerija Gregor Podnar, Aksioma–Institute for Contemporary Art, Schirn Kunsthalle Frankfurt, König Galerie, Richard Saltoun Gallery und Moderna galerija.

Zu den jüngsten kuratierten Projekten zählen: BODY ECSTATIC BODY ECLECTIC BODY ECCENTRIC mit Ana Mendieta, Annegret Soltau, Arvida Byström, Elena Tejada-Herrera, Iza Pavlina, Jeremy Shaw, Letícia Parente, Marina Abramović, Molly Soda, Sanja Iveković, Ulay, Ulrike Rosenbach (Ulay Foundation Project Space, Ljubljana, 2021); ULAY WAS HERE (Stedelijk Museum, Amsterdam, 2020–2021, co-kuratiert mit Hripsimé Visser und Rein Wolfs); Double Wall of Silence mit Daniel García Andújar, Louis-Cyprien Rials, Driton Selmani, Ariel Schlesinger, Vangjush Vellahu (Škuc Gallery, Ljubljana und Hestia, Belgrad, 2020, co-kuratiert mit Anja Obradović); Driton Selmani: Places We Leave Behind (Slovenian Writers' Association, Ljubljana, 2019).

Ostan Ožbolt war die Initatorin von HOoSt (2017 – 2019), einer Plattform, die lokale, junge, slowenische Künstler promotet und unterstützt.

Artist(s):

David Maljković More

In his installations, videos, and collages, David Maljković (born 1973 in Rijeka, lives and works in Zagreb) is concerned with aspects of the eventful history of his country. The far-reaching consequences of the transformation from a communist to a capitalist social form and the linked economic and cultural impacts form the subtext of his artistic production. His works often show abandoned buildings and monuments of the 1960s and 1970s, which impressively reflect the promise of a better future, while at the same time evoke failure due to their currently ruinous state, adding a melancholy touch. In taking this step, the artist consciously uses examples where the ideas of a universal, modernistic progress are linked to a specific understanding of socialism as a potentially radical, experimentally modernistic concept. The combination makes clear the exemplary outlines of his approach, which equally counts the inclusion of research, as well as the interweaving of past, future, and present. Selected exhibitions: With the Collection, Museum of Modern and Contemporary Art, Rijeka (2020); Also on View, The Renaissance Society, Chicago (2019); Mario Merz Prize 3rd Edition. The Finalists, Fondazione Merz, Turin (2019); Again and Again, Museum of Contemporary Art Metelkova, Ljubljana (2016); A Retrospective by Appointment, the Nova Gallery, HDD (The Croatian Designers Association), the artist’s studio and Cinema Tuskanac, Croatian Film Association, Zagreb (2015); In Low Resolution, Palais de Tokyo, Paris (2015); Kunstmuseum St. Gallen, St. Gallen (2014); Morgenlied, Kunsthalle Basel, Basel (with Latifa Echakhch) (2014); Sources in the Air, Van Abbemuseum, Eidhoven (2012), traveling to BALTIC Center for Contemporary Art, Gateshead and GAMeC, Bergamo (2013); New Reproductions, CAC Contemporary Art Center, Vilnius (2012); SculptureCenter, New York (with Lucy Skaer) (2012); Exhibitions for Secession, Secession, Vienna (2011); Out of Projections, Museo Reina Sofía, Madrid (2009); Almost Here, Kunstverein Hamburg 2007 and MoMA PS1, New York (2007). He participated at the 11th Gwangju Biennale (2016), the 56th Venice Biennale (2015) and the 29th São Paulo Biennial (2010). His work is represented in the collections of Kunstmuseum Liechtenstein, MUMOK (Vienna), Tate Collection (London), Centre Pompidou (Paris), Museum of Modern Art (New York), Ludwig Museum of Contemporary Art (Budapest) and Stedelijk Museum (Amsterdam).
Michael E. Smith
Kazuna Taguchi
Josse Pyl
Denisa Lehocká
Andreas Fogarasi More

ndreas Fogarasi (*1977, Vienna) is through his installations, sculptures, videos and photographs concerned with the act of showing and of representation. He analyses how places, cities, political ideas, or historic events become images and questions the role of culture – art, architecture, and design – in this process. Underlying his works is his critical examination of the mechanisms with which political appropriation operates in the field of visual culture today: the process of culturalisation of the economy – be it through „creative“ models of working and remuneration, through culture being the motor behind urban reconstruction, or as a factor in the competition for attracting tourists, investors, and media attention. Formally informed by Minimal Art and Conceptual Art, Fogarasi’s works are at the same time documentary and autonomous sculptures. The documentary element is consciously fractured and rests on a precise balance between information and openness. The sculptural aspect is strongly architectural, often referencing iconic landmarks, commercial presentations or temporary forms of architecture such as stands at fairs, stage constructions, or pavilions. Andreas Fogarasi was recently awarded the renowned Otto Mauer Prize (2016) and in 2007 the Golden Lion for his exhibition in the Hungarian Pavilion at the 52nd Venice Biennale. His work was represented in numerous exhibitions internationally, solo exhibitions include: City Gallery, Bratislava, Georg Kargl Fine Arts, Vienna (2017), Proyectos Monclova, Mexico City (2016), MAK Center for Art and Architecture (with Oscar Tuazon), Los Angeles (2014), Galerie fuer Zeitgenoessische Kunst, Leipzig, Museum Haus Konstruktiv, Zurich (2014), Georg Kargl Permanent, Vienna (2013), Prefix Institute of Contemporary Art, Toronto (2012), Museo Reina Sofia, Madrid, CAAC, Sevilla (2011), Ludwig Forum, Aachen (2010), MAK, Vienna, Ernst Múzeum, Budapest, Grazer Kunstverein, Graz (2008), Georg Kargl BOX, Vienna (2006).
David Fesl
Katalin Ladik

Exhibition text

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Georg Kargl Fine Arts is pleased to present the exhibition "I Had a Dog and a Cat", inspired by the life and work of Josef Čapek (1887, Hronov – 1945, Bergen-Belsen), an artist and writer, who challenged the existing thinking and behaviour of his time. Featuring works by eight contemporary artists, the exhibition draws a parallel between the animals from the children's book "All About Doggie and Pussycat" (J. Čapek, 1929), which transform everyday tasks at their home into creative and exceptional situations, and the selected artists, who, each in their own way, share the involvement of combining divergent things and situations that might otherwise not meet. Collisions and contradictions, present in the ordinary and the common, give rise to truly authentic responses. The exhibition design is based on the occurrence of natural light within the existing conditions of the building and the physical experience of the body in the space.