March 15th 2013 - May 5th 2013 | Minimal Compact | Christine König Galerie | Vienna
VICKEN PARSONS | NATALIA ZAŁUSKA | ANETTA MONA CHIŞA & LUCIA TKÁČOVÁ
Installation view | Minimal Compact | Christine König Galerie | Vienna
untitled, 2012 | mixed media on canvas | 160x130cm
Field, 2012 | oil on canvas | 160x120cm
(1/8) Field | 2012 | oil on canvas | 160x120cm
(2/8) untitled | 2012 | mixed media on canvas | 160x130cm
(3/8) untitled | 2012 | oil, charcoal on canvas | 120x80cm
(4/8) untitled | 2013 | mixed media on canvas | 50x35cm
(5/8) untitled | 2012-2013 | oil, mixed media on canvas | dimensions variable
(6/8) untitled | 2012-2013 | oil, mixed media on canvas | dimensions variable
(7/8) untitled | 2012 | mixed media on canvas | 55x35cm
(8/8) untitled | 2013 | mixed media on canvas | 12,5x18cm
entire exhibition view
Minimal: Reduction of formal language and color palette, evocation of nature scenes that are condensed into primary structures and abstracted. Geometric regularity and rich coloristic variations with pastel tones.
Compact: Concentration on small formats that focus the beholder’s gaze and intensify visual impressions. A certain vedute-like quality, in serial arrangements coalescing into a succession of moments of rising intensity, which, as if seen through a veil, still allow recognition of the contours of the real. Painting that is both concrete and illusionistic.
Minimal Compact: From widely diverging biographical and cultural backgrounds, the young Polish artist Natalia Załuska and the British Vicken Parsons have both come to cultivate an aesthetic of stringency and an art of quiet intensity. Pictures like haiku, giving rise to form, character and atmosphere, created with an attitude that could be described as désinvolture.
And in the midst of this artistic restraint, Clash! by Anetta Mona Chişa & Lucia Tkáčová: a pile of rocks, as if left ready for a bunch of street fighters or political activists with violent inclinations. At first glance this work also appears highly compact. Actually, the artists have created small porcelain sculptures and colored them with acrylic paints. They look like cobblestones, but are really hollow, fragile artifacts. While the little paintings by Załuska/Parsons, in relief-like protrusion, occasionally advance into the realm of the sculptural, the three-dimensional objects of Chişa & Tkáčová can be interpreted as an expansion of painting. The compact is fragile, that which is potentially threatening, vulnerable. The initial deception, and the correction of perception at second glance open an interesting dialectic between violence and danger, reality and illusion.
Thomas Miessgang, 2013