HERMES PAYRHUBER
_______________________________________________________________________
“STACCATO”
Tuesday, October 5, 2010 at 7:00pm. Austrian Consulate General, 31st East 69th Street, New York
dedicated to Paul Schreber
Payrhuber has named the installation "STACCATO", a descriptor of
sounds made in potentially erratic, deliberately disjunctive sequence.
It is derived from the Italian word ‘staccare’ which means ‘to
detach’. But it may also originate from the old French word
‘estachier’ which has its origins in the Latin word ‘attaccare’ that
means ‘to join together’. The installation consists of the "zipzap"
text works and the "worktitle-bonds" sculpture.
He dedicated the installation to Paul Schreber and his forbidden book
"Memoirs of My Nervous Illness" with its long subtitle (’under which
conditions can a person suspected of being mentally alienated be kept
in a mental institution against his expressed wishes?’), its two
series of addenda and the legal judgment which finally set Schreber
free (a landmark in the history of psychiatry).
The “zipzap” text works are composed of newspaper cuttings. We
encounter them here word by word, broken out of their grammar in
individually different fonts, installed between glass plates. The
respective line of text is located at the top of the varying format
sizes, which are superimposed by tinted, broken and scratched glass.
The artist suggests in the title a direction we might or might not
like to take, he provides a first indication. He likes to leave us a
clue, a hint to welcome us to enter and experience his work. Is the
artist directing us to the riots of ‘zip to zap’ in 1969, which is
also the artist’s year of birth and therefore a reference that brings
us back to him?
Or will we follow his invitation when Hermes takes meaning of the
first line from Gary Snider’s “RipRap” literally and lays down these
words on the floor and leans them towards the open structure? This
poem talks about a different kind of experience that is rooted in
pragmatism but also represents the origin of fantasy and reduces
perception to its barest form. The five structures begin to rhyme,
unfold like an accordion and take the shape of a perfect triangle.
He turns this triangle literally on its head and transforms it into a
transparent ramp. Here he invites us to actively participate on this
stage. The stage becomes the intermediary between the observer and the
performer and one can perform on it from all sides. Therefore the
roles remain exchangeable and the they can be cast afresh at any time.
They can be switched like sides without limits? They provide
protection but they also might exclude at the same time, depending on
how we set our new boundaries? They define a moment that has to be
constantly comprehended anew.
Payrhuber plays with the the notion of boundaries, raises fundamental
questions regarding perception and presentation but also about the
relationship between politics and linguistics. He investigates the
mysteries and mechanisms of human communications and transforms ideas
and experiences into something new.
"no comment - blindfold" 2008
(plaster of paris black spraypaint and plexiglass)
.gif)
"Abwesenheitsnotiz" 2005-2007
ABWESENHEITSNOTIZ
Zur Werkgruppe der Abwesenheitsnotiz von Hermes Payrhuber
In weiß gefaßten Shadow-Boxes, — das sind Rahmen, die mit Hilfe einer breiten Abstandsleiste eine tief gelegte Montagerückwand für die Fixierung eines Kunstwerkes besitzen — begegnet uns die Werkgruppe der »Abwesenheitsnotiz« als anspruchsvoll, gleichwohl unspektakulär, weil klug und ästhetisch wohlbedachte inszenierte Kunstwerke.
Klassisch betrachtet würde man diese Kunstwerke als Fotografie oder als Objekte und/oder Collage bezeichnen. Zu welcher dieser Gattungen die einzelne Arbeit jedoch genuin zuzuordnen ist bleibt ein unlösbares Unterfangen. Hier beginnt genau das Paradoxon des Hermes Payrhuber, der dieses Prinzip der Nicht-Eindeutigkeit als Leitfaden, man könnte sogar sagen als Wesenszug seiner Kunst erhebt. Ein Grenzgänger zwischen den Gattungen, der bewußt das Aufgehobensein in einem definierten Kontext und damit eine faßbare Identität aufgibt, um zu neuen Erfahrungen, zu neuen Welten aufzubrechen.
Abwesenheitsnotiz: Das klingt nach Flüchtigem, als Kurznachricht für den Adressaten hinterlassene Info wie »Ich bin kurz weg«. In der Tat sind die für diese Kunstwerke zugrundeliegende Fotografien, wenn man erstmal den Entstehungshintergrund erfahren hat, im arbeitstechnischen und prozessbedingten Sinne flüchtige ‚an sich selbst adressierte’ Momemtaufnahmen oder provisorische Dokumente des Festhaltens und Erinnerns einer anderen Werkgruppe des Hermes Payrhuber, den »Voids«.*
Diese Fotografien befreit der Künstler von seinem Inhalt, der reproduzierten Darstellung der »Voids« und läßt nur den Schatten der dreidimensionalen Kunstwerke übrig. Diese vom Sujet entkernten Fotografien, man könnte auch sagen entmaterialisierte Kunst, schichtet Payrhuber derart übereinander, daß der neu entstehende Binnenraum und die Außenkanten der Fotografien einen Körper erzeugen, nicht unähnlich einem Stapel unpräzise übereinander gelegter leerer Rahmen. Der in dieser Weise erzeugte Außen- sowie der Binnenraum im ‚Objekt’ läßt sich schwer definieren, weil die individuellen (Innen- und Außen-) Konturen der Fotografien durch die Überlagerungen und den damit verbundenen Verschränkungen ein Verwirrspiel von Linien ergeben. Dieses einerseits chaotische und doch wieder streng organisierte Liniengerüst läßt einen formal an konstruktivistische und gleichzeitig an dekonstruktivistische Momente der modernen Kunstgeschichte denken. Auch hier ist das Vexierspiel mit Identitäten wieder gegeben. Hermes Payrhuber läßt sich in seiner Kunst nicht anhand eines kunsthistorischen Kanons fassen. Eine Qualität, die sich nicht nur in überzeugende ästhetische Lösungen ausdrückt, sondern gleichzeitig eine vielschichtige Intelligenz vermitteln.
Die ursprünglich autorepräsentative Fotografie der »Voids« kreiert im Schaffensprozess der »Abwesenheitsnotizen« neue »Voids«, neue Leerstellen, die vom Betrachter neu definiert werden müssen, jedoch das Scheitern bereits beinhaltet, weil eine Leerstelle per se nicht fassbar ist. Diese Spannung der Ambiguitäten lädt den Betrachter immer wieder ein, sich diesem ästhetischen Erlebnis auszusetzen.
Die Negierung der Kunst erzeugt neue Kunst. Durch das Zerstören von Kunst (oder wie hier im Falle die Zerstörung der Reproduktion von Kunst, den »Voids«) durch das Wegschneiden des Eigentlichen wird neue Kunst geschaffen. Der Sachverhalt des Neuschaffens, ein dem Menschen seit seiner Existenz begleitender Impuls, augenfällig besonders in der Kunst- und Architekturgeschichte, wird hier zum Prinzip erhoben. Kunst entsteht durch die Zerstörung von Kunst.
Die Arbeiten von Hermes Payrhuber zeugen aber auch von seinem Humor, denn sie thematisieren einen Diskurs in der zeitgenössischen Kunst- und Medienwelt auf sehr spielerischer, allerdings auch frecher und anarchischer Weise: das Thema des reproduzierten Bildes, ‚das Bild vom Bild’. Payrhuber paraphrasiert diesen Diskurs durch das ‚Nichtbild’ vom Bild’. Ein kleiner Seitenhieb auf die oft zu theorielastige Rezeption, aber auch Produktion von Kunst.
H. N. Semjon
Berlin, im August 2007
"denuded, dainty space"", 2010, Mixed Media, edition of 15
Encounter with Hermes Payrhuber
Hermes Payrhuber’s creations generate the impression of images, inside of images spiralling and surging outside of their contour; coming at you. But, upon closer inspection, no images are there to be found at all. There are only super-imposed images; each time with the subject left out. Only the ethereal peripheries of the images are left for the eye to see. One ends up focusing on the frame or edge of the images; on their boarders. Essentially, we are always looking at an object through a frame. We never see objects outside of a frame. We never see them in their utter independence, as they really are in themselves. And, this is because objects aren’t really anything outside of our encircling focus; our orientated reality.
Similarly, with Payrhuber’s art, one sees pictures inside pictures, but there is no picture subject; no reference. It’s left out. At the end, he’s only framing voids. Also, because he’s realizing images inside images, you get the impression of a frame developing, where one (empty) image covers the other. When you see a frame, you are seduced to go on at discovering the images that might be depicted in the frame, only to notice the image is left out and covered by another empty image. One might get the hint of something represented, but it’s nothing more then a hint. Because of the presence of superimposed images, but the lack of subjects depicted in them, Hermes lures and seduces us, and, sorely disappoints our expectation. The images are not there. The real subject of his art is art, itself, as a form of seduction.
In his photographic work, ‘Abwezenheitsnotiz’, what Hermes wants to show is not a traditional subject depiction, but the artwork as a whole; with or without a subject coming out of the wall and extended into space; like architecture occupies space, in a way. So, even if there is no real subject in his art, in the traditional sense, there is ‘no nothingness’. Art itself is the focus of attention, here, and its capacity to frame whatever subject that might be; even its own concept as art. The real subject here is the expectation art creates alongside the expectation that all our mental frames create.
Hermes uses reproduction photography. He doesn’t want to create his ‘own’ image; but, uses old photos to show how images open doors. The new world that’s being laid open is only second in his approach, though. What really interests Hermes is the process of opening doors in itself, on whatever new world that might be. Hence, by avoiding a subject matter and sticking to the form, his work is rooted in the minimal tradition. But, at the same time, it transcends this tradition, because of its inherent depiction of art as a gateway; as a window into another reality.
Hence, it’s not only a matter of art working from the outside in, of art creating doors and frames to other worlds; but, also, of art working from the inside out. It stands into space, it occupies space. It stands out, and it’s this standing out that seduces the viewer into the frame alongside his interpretation of the work. The art work is depicting an inner-world in the outside world. What’s more, the work is subjected to the space-time coordinates of the viewer, whose position is also influenced by the architectural space he’s standing in. The outer material conditions are deeply part of the work itself. All these elements are part of the mechanism of seduction and attention drawing that makes an art work stand out. Discovering these mechanisms is the core of Payrhuber’s aesthetic quest.
In “THE VOIDS,” Hermes radicalizes his subject matter. The surface of his art is completely blank, now, and only its structural thrusting out from the wall remains. The mechanism of how art functions and reveals itself is here at sake. The subject itself, becomes irrelevant, and is only hinted at. To not only depict art as art, but to depict the mechanism of art in art, itself, is an astounding achievement one might never have dreamed of considering; leave alone, achieving.
Olivier Brems
Curriculum Vitae
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2010
"#426" Soloshow, Schleifmühlgasse 12-14, 1040 Vienna
"Lost Identities" Vienna-Ankara
"Transphormer*" European Month of Photographie 2010, Schleifmühlgasse 12-14
2009
Liminal : Subliminal : Sublime, Visual Aids Webgallery NYC
“Selected Artists”, James Kelly Contemporary, Santa Fe
“hybrid & muse”, Michaela Stock Gallery, Vienna
“seeing as believing”, Axis Gallery, California
“Summer Camp”, THIS EXILE Gallery, Berlin
2008
“RÄUMLICHE UND OPTISCHE UNTERSUCHUNG”, Fotogallery Vienna
„Heimat als Transformation und Identitaet“, Landhausgallery St.Poelten
„benefit “ Metro Picture Gallery, NYC
„(NOT) a Photograph“, Obalne Gallery Piran/Slovenia
ART MIAMI, James Kelly Contemporary
2007
“POSTCARDS FROM THE EDGE” James Cohan Gallery NYC
4.Kunstmesse Berlin, KSB-Gallery Berlin
SHORT CIRCUITS, Kioskshopgallery Berlin (*SOLO)
“THE WONDER FACTOR, ALTERED STATES” CWOW Gallery, NYC
2006
“WENN DIE WELT STILL STEHT” Kunstverein BLUMEN Vienna, (*SOLO)
“NO TITLE”, Rubin Chapelle Gallery NYC (*SOLO)
2005
“COMPLEX SIMPLICITY – SIMPLE COMPLEXITY”
The Illionois Institute of Art, Chicago
2004
“WALLRELIEFS” James Trezza Gallery NYC (*SOLO)
“FRESH PAINT” Cheryl Pelavin Gallery NYC
“SITE SPECIFIC SANTA FE” James Kelly Contemporary, Santa Fe
“25 YEARS SOCIETY OF FRIENDS OF FINE ART”, Kupferstichkabinett Vienna
2003
“DEM ENTLEEREN DER WELTEN”, Pilotspacegallery NYC (*SOLO)
“WORK BY HERMES PAYRHUBER” , Showroom Robert Marinelli NYC (*SOLO)
“TWO BY TWO”, Dalles Museum of Art, Texas
2002
“RELIEF VOID”, James Kelly Contemporary Santa Fe
“NEW EMERGING ARTIST”, WSG Gallery San Francisco
“JUNGE BEGEGNUNG” Museum Modern Art, CSSR
2001
“DOTS & STRIPES” Linda Zweig Gallery, San Francisco (*SOLO)
“SPINNING BRICKS” HOSHO COUPE Gallery, NYC (*SOLO)
“OPEN STUDIO”, NYC (*SOLO)
“GROOVES” Gallery Plank, Vienna (*SOLO)
“JUBILAEUMSAUSSTELLUNG”, eco Gallery, Vienna
“LICHTECHT”, Kunst am Viktor Adler Markt, Vienna
“GOOD CLEAN FUN”, Laundromat Gallery NYC
“FAIR”, MUSEUM OF APPLIED ART, Vienna
“FAVORITE ITEMS”, Gallery Plank, Vienna
“coLABoratory” Gale Gates Gallery, Brooklyn
2000
“DIE NEUEN” Gallery Sation 3, Vienna
“SOHO IN OTTAKRING” Gallery Station 3, Vienna
“NIGHT OF 1000 DRAWINGS”, Artists Space NYC
“NATURA-MORTE, STILL LIFE” Documentation Center of Modern Art, LowerAustria
1999
“SOLO”, Gallery Viktoria Hoffman Hannover Germany (*SOLO)
“SINGLE” Gallery Plank, Vienna (*SOLO)
“ONE PIECE” K-Gallery Munich (*SOLO)
“PAPER works” Kunsthandel Feichtner & Mizrahi, Vienna
“STAEBE UND PLATTEN” Documentation Center of Modern Art, Lower Austria
“GROUNDED”, Charaz Gallery NYC
1998
“AKI” Salthouse Gallery, St.Ives England (*SOLO)
“ONE MEN SHOW” CA Gallery Vienna (*SOLO)
Gallery Plank, Vienna
“ACCROCHAGE”, K-Gallery Munich
Gallery Viktoria Hoffman, Hannover Germany
Kunsthandel Feichtner & Mirahi, Vienna
1997
“PERSEIDEN”, Kunsthandel Feichtner & Mirahi (*SOLO)
1996
“VIGIL” Gallery Ariadne Vienna (*SOLO)
“PERPETUUM MOBILE”, Theseustempel /Museum of Fine Art Vienna (*SOLO)
Kunsthandel Feichtner & Mizrahi, Vienna
1995
Kunsthandel Feichtner & Mizrahi, Vienna
Gallery Ariadne, Vienna
Art Chicago 95
Kunst und Antiquitaetenmesse, Bregenz
1994
“OPEN HOUSE DR.PAUL FERSTEL”, Vienna (*SOLO)
Gallery Ariadne, Vienna
Art Chicago 94
Decouvertes 94, Paris
Art Cologne, Cologne
1993
“Gallery Am Moelkersteig”, Vienna (*SOLO)
Acchrochage Gallery Ariadne, Vienna
Decouvertes 93, Paris
Art Chicago 93
CIAE 93, Chicago
ERLAAC 93, Montreal
1992
Art L.A. 92, Los Angeles
Art COLOGNE 92, Cologne
Erlaac 92, Montreal
CIAE 92, Chicago
Decouvertes 92, Paris
Acchrochage Gallery Ariadne, Vienna
COLLECTION
The Government Art Collection/Arthotek
The Cultural Department of the City of Vienna
Graphic Collection of the Academy of Fine Arts, Vienna
Cultural Department of Lower Austria
Art Department of the Federal Chancellery, Vienna
Society of Friends of Fine Arts, Vienna
ECO PLUS, Regional Development Agency of Lower Austria
Collection “Wr.Staedtische” (insurance group), Vienna
Collection BANK AUSTRIA, Vienna
Private Collection
AWARDS AND HONORS
Project Grant “ATLAS” Austrian Government 1996
First Prize “ART GRUENENTHAL” 1997,
Juried by Prof.Angelica Baeumer, Prof.Erich Steininger, Prof. Hollemann
Fellowship BBK, Vienna 1998
Project Grant “BERLIN”, Cultural Department of Vienna 2007
Robert Rauschenberg Award, NYC 2007
Jackson Pollock Grant, Pollock-Krasner Foundation NYC 2007
WHITE COLUMNS GALLERY, added to curated artists registry