The exhibition from artist Martin Kramberger
also includes many other works by artists who are in the present exhibition and are not included in the show. They include Leonardos work, for example, which is found in the largest and most extensive showing of his work in this country. Kramberger has recently been invited to participate in the Stedelijks Düsseldorf program of contemporary art, a presentation that shouldnt come as a total surprise, as the artist has not only been the one who organized this show but participated in its editing as well. The show also features an impressive range of prints by artists who have been living and working in Germany for several years. The show also contains a large number of photographs by artists who have had exhibitions in their home country. This is not to be overlooked, for in its scope and data it is as important as any other group exhibition.
The exhibition from artist Martin Kramberger came with a gallery bulletin board, which contained a list of the artists contacts and a text that made an oblique comment on the curatorial process. A selection of works that include photographs and a poster in addition to the main installation made up the rest of the exhibition. Krambergers use of an abstract image as a framework for his installations—an unusual approach in the context of this years Whitney Biennial—is revealing. Rather than referring directly to the artists subject matter, Kramberger invites the viewer to enter into a dialogue with it. The alternative to the traditional photographic image is an abstract one; the photograph is the vehicle for the work of art. The metaphor is that of an abstract painting. In a similar way, Kramberger attempts to present a critique of our relationship with photography in a space that, like a gallery, is also an abstract space. He has used photo-based works as a medium for addressing this relationship. He has often used photographic images of the outside world, such as the horizon in a photograph taken from a plane. He has also used the landscape as a medium in which to issue a critique of the conventions of landscape. The horizon in a photograph is a landscape that is endlessly reproduced and endlessly reproduced, and it is the landscape, the horizon, that is the decisive element of the photograph. By placing his work in this context, Kramberger takes a position that is both critical and critical of the photographic image. He makes a distinction between the photograph as an autonomous object and the photographic image as a model of the world. The photograph is in fact a representation of reality, a representation of the world, and a representation of the reality of others. The photograph is a sign that recognizes the reality of the other. It is not an autonomous image, however, but a model of the world, and thus becomes a way of approaching the world.
ided itself into a catalogue of typical Kramberger works, with a selection of Vito Acconcis drawings, paintings, and collages, and a single sculpture, The Magic Carpet (all works 1990). As a group, these works seemed to be more representative of the artists skillful working process than of any particular work. But, as the show also evinced, there was a surprising amount of detail in the artists work that suggests an interesting range of references, from the conventional (the pattern of the wallpaper) to the unconventional (the hand-drawn image of a cigarette butt). Indeed, the exhibition seemed to suggest that Acconci was in a position to comment on the relationship between the professionalization of painting and the rise of the market economy, by exploring a relationship between painting and commerce. But he did so, and it is unlikely that he will be able to do so.
iced and rolled the flow of the chalice, casting the water as an unctuous mirror image of the water flowing through the glass, in the same way that the chalice itself was a form of water that flowed through the glass in a way that never ceased to breathe.This is not the first time that a group of students had hung a similar piece—albeit a much larger one—in the gallery of the museum. The artist had done this in 2013, when he made an astonishingly small model of an enormous pool that he had found on the beach of Balearic Greece. The piece was not only about the huge number of tiny figures in a pool, but also about the smallness of the pool, which made it impossible to see them clearly from the road. This time the model had to be placed in order to be seen, and it was a most natural step for the artist. The object had to be seen and seen by the viewer, as if it were a small miracle. But the tiny figure that stood next to it was, in fact, enormous, and it had disappeared again, in a blink of an eye. The invisible figures of the model were now visible only through the glass of the chalice, which, as it turned out, was transparent and could be seen only through the glass. The water was as hot as the sun and as cold as a hole in the earth. Krambergers piece, which had already been seen in several other artists shows, was not only one of the most beautiful and enchanting objects I have seen in a long time, but also one of the most poetic.
The exhibition from artist Martin Kramberger iced the viewer with a local faux-naïf feeling of being on the other side of the camera lens. The cameras lens seemed to be at the other end of the world, and was thus part of the exhibition, as if it had been pulled out of the gallery space to be transported to another site. With the other artists in the show, Kramberger is taking a more logical, pictorial approach to his work. The camera, the otherworldly looking lens, seems to be a mere lens. But the artists camera is also an eye, and the lens is also a tool, a mark on the canvas. In this show, Kramberger added the lens to the other lens, the camera, which is at once lens and camera. On the other hand, the lens is also the eye. As we know from the works of Edouard Manet, the lens is also the eye. These lenses are the center of the world, and they are the frame of the world. From a distance, the world of photography looks like a strange world. And from a certain distance, the world of photography becomes a strange place. The photographer must experience the world as an alien presence. He must find his own lens, as if it were an alien language. Kramberger is doing this with the help of the camera. He is a traveler who takes the camera and pushes it into the world. He is following a strange but beautiful idea, which is to search for the new lens. He is looking for a new lens, not in order to get rid of the camera, but to make it more useful.Krambergers lenses are already strange, alien objects. They are surreal, beautiful objects, at once exotic and exotic. The photography of Kramberger is in constant dialogue with the other world; the world of the camera is transformed into the world of the lens. The fusion of both is present in these lenses. They are mirror images of one another.