Klaus Mosettig 

Opening: Friday, April 8, 19:00

Mosettig’s approach is marked by an analytically defined use of material, media and energy.

With precisely defined experimental procedures, Klaus Mosettig (*1975, lives and works in Vienna) continues to return to problems that affect the way we think about art, including such unusual elements as cultivated apple trees and an ant colony. These “natural” subjects serve to pose both socially relevant questions and questions immanent to the field of art. Recently, these discussions have mostly found their form in the medium of drawing. Here objects as diverse as cowpats and extreme close-ups of the moon or Jackson Pollock’s famous drippings serve as a point of departure for his work. Klaus Mosettig, for example, transferred Pollock’s color oil painting “Untitled 1” from 1950 (221 X 299.7 cm) onto paper and in full size using extremely fine pencil shading. That such meticulous care was taken in translating one of the most important works of Abstract Expressionism, an art movement that was defined by its very emphasis on authenticity, expression and a “laissez-faire” approach to applying paint in drips and splashes, makes this project all the more paradoxical and at the same time appropriate and fitting to his intents. With the transference of these “vitalist” symbols of creative genius into bureaucratic precision, Klaus Mosettig raises issues related to the different forms of desire that constitute society’s relationship to art—if nowhere else, at least here we might be witness to a different interpretation of the unrelenting creative drive and corresponding wild life of the artist. Whereas in the late 1980s such forms of appropriation art were more directed at breaking with the residual effects of the avant-garde’s demands for innovation and originality, Mosettig’s works are more concerned with a deconstruction of ideas associated with what is supposed to be “natural” or “authentic.”

Mosettig’s approach is marked by an analytically defined use of material, media and energy. His portraits of projectors such as “Pradolux.4” carefully record the traces of dust on the lenses of empty slide projectors. These reduced “pictures of dust” both register the aesthetic-technical disposition in which they come into being and show the potential that drawing might have as a means of commentary, reflecting on the specificity of different media and other fundamental theoretical questions of art.
We are glad that Klaus Mosettig will be developing new work for the Stadtgalerie Schwaz.