Artists

PHILIP MENTZINGEN

Künstlerische Reise

Solange ich mich erinnern kann, habe ich mein Atelier immer als einen Ort betrachtet, an dem ich mich bemühen sollte, in drei Dingen gut zu sein: Schöpfer, Betreiber und Schlangenölverkäufer. Es erinnerte mich an ein Büro, in dem ich in dem Moment als ich es betrat, absolut nicht die Absicht hatte, dort zu bleiben, weil es mit Arbeit verbunden war. Ein Ort, an dem Unmengen von Alkohol, bunte, verwegene Besucher und zufällige, spontane Aha-Ideen ausgepackt, demontiert und wieder zusammengebaut werden, während gleichzeitig mein Platz so reduziert wird, dass er wie ein Kreuzverhör zwischen einem Möchtegern-Picasso und einem Autounfall aussieht.

Zwischen den leeren Bierdosen, Aschenbechern, Katern und gelegentlichen Leichen fand ich fast immer und immer nur vorübergehend meinen Gott. Ein Rhinozeros.

Ich begann, wie die meisten jungen Studenten, die frisch von der Kunstschule kamen, schlechte Gemälde von Figuren zu malen, mit ein paar gewichtigen abstrakten Elementen als Zugabe. „Sie wissen schon, alle Grundlagen abdecken“, sagte ein großzügiger Professor.

„Sie sind ein Malertyp wie Rauschenberg!“ Ein weiterer Tipp von einem meiner Kunstprofessoren. Damals wusste ich nicht, was ich davon halten sollte, und ich glaube, er machte sich über mich lustig.

Sich über die Studenten lustig zu machen, war eine Art schmutzige Angewohnheit, der wir Studenten damals manchmal ausgesetzt waren, und letztendlich war es ziemlich befreiend.

Die meiste Zeit verbringe ich mit Zeichnen und Malen auf losem Papier und Leinwand, und ich gehe an meine Arbeit heran wie ein Archäologe oder ein Ausgräber, der Dinge ausgräbt und sie so arrangiert, wie ein Museum Objekte arrangieren würde, die bei einer Ausgrabung von alten Völkern gefunden wurden. Der kreative Prozess fühlt sich an wie eine Sekretärin, die auf einen Telefonanruf wartet, um eine Idee voranzutreiben und einen Dialog herzustellen: „Ok, verschiebe das hierher und klebe das fest“, ‚Stopp‘, ‚Heute nicht, mach etwas anderes‘, oder ‚Häng mich an die Wand, ich will mich selbst anschauen‘. Ich betrachte dieses Konzept als einen Imperativ, um eine zwanglose Beziehung zwischen dem Werk und mir selbst herzustellen.

Letztlich geht es mir darum, die Fläche zu vergrößern, auf der das Publikum mit meinen Arbeiten interagiert. Mein Ziel ist es, ein warmes, kuscheliges Gefühl zu vermitteln, so als würde man nach einem langen Tag voller Überstimulation und monotoner Büroarbeit in eine heiße Badewanne steigen. Ich verwende skurrile Titel, die mich daran erinnern, wenn ich morgens aus dem Bett steige und denke: „Das schaffe ich nicht“, aber dann lache ich und erinnere mich an all die Zeiten, in denen ich mich so gefühlt habe.

Selected Solo Shows: 2020 Flame Paintings, Bildraum07, Vienna, Austria./ 2019 Sneak Peak, Bildraum07, Vienna, Austria / 2018 The Walls Have Fallen, Mario Mauroner Contemporary Art, Vienna, Austria. 2016 PARALLEL,Vienna, Austria. / 2014 Back Into Flight, LOCOMOT, Vienna, Austria / 2011 Stories of the Desert, Galeria ASM28, Madrid, Spain / New Works, Galerie Saupe, Berlin, Germany / Lonely Planet Boy, Galerie Kulturreich, Hamburg, Germany / 2007 This is a long drive for someone with nothing to think about, Galerie Scala, Berlin / 2005 X Marks the Spot, Kunsthaus Wendlinghausen, Detmold, Germany /

Selected group Shows: 2021 Parallel Art Fair Vienna, Gallery Tassilo Usner, Salzburg / 2020 Parallel ArtFair Vienna, Gallery Tassilo Usner, Salzburg /2019 Art Brussels, Gallery Mario Mauroner, Vienna / Austria./Art Austria, Gallery Mario Mauroner, Vienna, Austria.2018 Vienna Contemporary, Gallery Mario Mauroner, Vienna, Austria. / Parallel Fair, Gallery Mario Mauroner, Vienna, Austria. / Code Art Fair, Gallery Mario Mauroner, Vienna, Salzburg Austria/ Black Mirror, Galerie Mario Mauroner, Salzburg, Austria / Art Austria, Galerie Mario Mauroner, Vienna, Austria /Art Brussels, Gallery Mario Mauroner, Vienna, Austria / 2017 Art Miami, Miami, USA / Art Düsseldorf, Düsseldorf, Germany / Kunstsalon Burg Perchtoldsdorf, Perchtoldsdorf, Austria / Vienna Contemporary, Galerie Mario Mauroner, Vienna, Austria /Parallel Art Fair, Die Psyche und die Architektur der Leere, Galerie Mario Mauroner, Vienna, Austria / Transitions, Galerie Mario Mauroner, Salzburg, Austria / Chronos: Kairos, Galerie Mario Mauroner, Salzburg, Austria / Sommeraustellung Sammlung Urban, Waidhofen/Ybbs / 30 Contemporary Artists, Enter Art Foundation, Berlin, Germany / Katz X Cabinet, Similarities, Katz Contemporary, Zurich, Switzerland / 50 Contemporary Artists, Enter Art Foundation, Berlin, Germany. / 2016 Im Kabinett with David Mase, Galerie 3, Klagenfurt, Austria. / 2015 FACES The ArtScouts, Berlin, Germany / Group Show, LOCOMOT Contemporary Art, Vienna, Austria / Group show Schloss Heltorf, Düsseldorf, Germany / 2014 Insights through shapes and drawings, Katz Contemporary, Zurich, Switzerland / (Un) Expected Form, LOCOMOT Contemporary Art, Vienna, Austria / Group Show The Art Scouts, Berlin, Germany / 2011 Room Art Fair, Madrid Spain / 2009 Preview, Galerie Ulf Saupe, Berlin, Germany / Portraits, Faces and People, Katz Contemporary, Zurich, Switzerland / 2008 05 Berliner Kunstsalon, Berlin, Germany / Fragile Welten, Galerie im Park, Bremen, Germany / Origin Gallery, Cill Rialiag, Ireland / 2003 Goldberg Studios, Munich, Germany.

MARIA LENIVKINA

Marfa was born in Russia, raised un Ukraine and in Austria her alias Wasted Sergej came to the world whilst dealing with social dilemma and cultural ego selfreflexion.

Project Wasted Sergej is an Infusion of autobiografical and uncoscous approaches of figurative and performative art.

Like a Loki, a trickster in us, a man, a woman, a child-they all try find a calmness within- painting as an approach to solve own conflicts and to deal with own questions.

The surface of Marfa-Wasted Sergej works becomes a synthese- a cut of thoughts of all personalities, dreams, conflicts and random images caught in the moment of the time being spent on the painting, that has to be done in one sitting in order to stay authentic.

You might describe Wasted Sergejs works like a dreamlike subconsciousness of the fourth dimension put into a canvas. It’s a dualistic approach of channeling, the attempt to bring it to the metaphoric surface in a distracted way via her hands and colors.

Unconsionsly influenced of Basquiat and Pirosmani but experimenting into a deeper naivismus she - Marfa digs into the question if its a collective understanding of Karl Jung- when painters having similar life experiences do come to similar style and motives even not being influenced by each other - or is it a spiritual awakening that had born Wasted Sergej Project, whilst looking in the Akashi chronicles?

To the question of meaning of painting for Marfa aka Wasted Sergej, they answered:

„In order to get concentrated I have to do smith with my hands, only then my eye and ears can do their thing, its like dealing with adhs via painting. Also to settle my brain and to live in a moment is painting like a trick, I used it the school, now it's my life".

To summarize her, their art: its a mixture of layers - its a changing play of pain relief of a shizofrene ego of hers - them transformed to energy filled surfaces, mixed with plucks of artistry, metaphoric colors, news, self-developement thus still trying to do smth dynamically positive.

www.wasted-sergej.com

Pernes's art is deeply entwined with themes of human rights, femininity, and a sensitive closeness to nature. Her work seamlessly blends these building alternative knowledge into visual narratives that resonate with contemporary social and environmental issues. She draws on her extensive education in art and architecture, international investment, and UX design to inform her innovative approach to painting. This interdisciplinary foundation allows her to create new stylistics within the ancient medium of painting.Her style has evolved from expressionism to a unique fusion of post-humanism, undecided abstract art, and abstract movement. Pernes's technique transcends traditional methods; she uses her entire body to engage with the canvas, transforming each brushstroke into an expression of universal energy. This dynamic process infuses her work with a vivid vitality, highlighting the interconnectedness of human experience and the natural world.

INGA PERNES

Selected exhibitions:2023 Art Auction Dorotheum Vienna, AUTShe was listed with such artists like: Michael Fuchs, Gottfried Helnwein, Manfred Kielnhofer.2023 Gallery Burggasse 21 Performance Feminite Spiritual Growth Vienna, AUT2022 Spark of ART Desiderio Vienna, AUT2021 Jazz Sculpture International Airport Vienna, AUT2018 Performance Against Violence Gallery Vskladchinu St.Petersburg, RU2017 Festival Steirischer Herbst Graz, AUT 2014 Performance The Exposure of reflection at Museum Erarta St.Petersburg, RU2014 Lendoc Art Documentary Films Studio St.Petersburg, RU2013 Expressionism Künstlerbund Graz, AUTSelected publications:2024 ORF Heute NÖ Austrian TV news, AUT2023 9th Charity Art Auction Verein Auf Augenhöhe Dorotheum CatalogAlbertina Museum, AUT2021 Interview with Agni Dasein for ART Magazine Les Nouveaux Riches, Vienna, AUT 2021 got the first prize at the Vienna feminist festival Vaginale, Otto Wagner Pavillon, Vienna, AUT2017 Magazine Sobaka.RU St.Petersburg Russia2015 Magazine Jazz Parking Moscow, Russia 2014 ERARTA CROSSART museum catalog, was listed with artists Pierre Bastien, Douwe Dijkstra. St.Petersburg, RU2012 took the prize at the regional festival Hermitage-type museum Perm State Art Gallery, Perm, RU

From a young age, I’ve been captivated by the mysteries of existence, asking questions like, “Who am I?” and “What is beyond this world?” These reflections have guided my creative journey. My art is a visual exploration of realities that exist beyond the limitations of language and the boundaries of this time-space dimension.

Although I began my artistic path in childhood, studying painting, my practice lay dormant for a while. It was only after significant life changes that inspiration suddenly resurfaced. What followed was a period of creating otherworldly expressions of reality, where music and unforgettable moments in life became visual experiences. One of my paintings, for example, is an interpretation of a song I heard during a profound moment of personal transformation.

Over time, my work has evolved to incorporate ancient symbolism, intertwined with the forms and structures of nature. Each piece I create carries meaning that speaks to the subconscious, drawing from the wisdom of ancient cultures. Their echoes can be found in my work, where sacred geometry plays a vital role, offering a glimpse into the deeper sciences that these civilizations once revered.

ELENA FADEEVA

I believe that everything, including art, holds a unique vibration. With this in mind, I approach each painting with intention, embedding distinct energies and qualities into the canvas. My art is not just a visual experience—it is a translation of values and ideas that, to me, form the foundation of life.