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Titania Seidl

Titania Seidl

Artist

©Titania Seidl

ARCH GALLERY

ANNOUNCE REPRESENTATION OF ARTIST

Titania Seidl

 

Arch Gallery is pleased to announce its representation of Vienna artist Titania Seidl as its exclusive agent in China (including Hong Kong, Macau, and Taiwan). 
Titania Seidl was born in Vienna, Austria, in 1988. She graduated from the University of Applied Arts, Vienna. Her artistic activities are mainly concentrated in Europe and the United States. At the ART021 21st Shanghai Contemporary Art Fair in November 2023, Titania Seidl’s classic works were displayed at the ARCH GALLERY booth. This was the first time the artist’s works appeared in the Chinese market, and won Certain attention and market recognition.

2023| Rule of Thumb, Berlinskej Model, Prague (collaboration with Lukas Thaler)

2022| Eyes never quite catching, Nicodim, Los Angeles

2021|Their disembodied gaze, Bildraum 07, Wien

2021|Hermit’s handbag, MAUVE, Wien

2020| Prêt-à-Porter, Daihatsu Rooftop Gallery, Wien (collaboration with Lukas Thaler)

2020| For future finders, Bruch und Dallas, Köln (DE) (duo with Lukas Thaler)

2019|Mary Sue (her raw gaze), Quadrado Azul, Porto (PT)

2019| Mary Sue (her face reads like language), a271, Düsseldorf (DE)

2019|WIDDERII, white dwarf magazine, Vienna

2019|Prêt-à-porter, Centrum, Berlin (duo with Lukas Thaler)

2018|Like a tightly knotted ball of thread, refusing to unravel, destiny’s atelier, Oslo (NO)

2018| Fists with your toes, Parallel Vienna

2016| Why the long face, black sphinx, Drop City, Newcastle (UK) (with Daniel Ferstl,

Lukas Thaler)

2015| Composition w. potted plants, vases, drapery, marble,… MUSA, Vienna

2015| For Aliens When Humankind is Gone, mo.ë, Vienna (with Melanie Ebenhoch)

2014| X. marks the spot, AIRY, Kofu City (JP)

2014|a walk, a wall, some mountains, Showroom for Young Art, Vienna (with Laura Pö ld)

2013|Civility, the fine forms, the old paintings and so on, Galerie ART, Brno (CZ)

2013|Redox, Sammlung Lenikus STUDIOS, Wien (with Katharina Monka)

2012| Inversion (degree show), Reisnerstr. 9, Wien

2023|NAK Benefiz Auktion, Neuer Aachener Kunstverein, Aachen2023|Krixxi Kraxxi , Nosbaum Reding, Luxemburg (curated by Christoph Meier)2023|F M D, Steinhauser Gallery; Bratislava (curated by Michal Stolarik)2023| BROWSE / SPOT / DATE, parking space, Wien2023|Group Show, Quadrado Azul, Porto2023| Golden hour handshake, Kunstraum Konrad, Puchberg2023| Glanz und Glorie, AA Collections, Wien2023| Supermodels, Super, Wien

2023|Anton Faistauer Award, Traklhaus, Salzburg

2022| Auf der Suche nach dem kulturellen Attraktor, MAUVE, Wien

2022| Drawings, Pina, Wien

2022| Fragile Phantome. Malerische Berührungen, Galerie Zimmermann Kratochwill, Graz

2022|Angel Dust, Zeller Van Almsick, Wien

2022|Arcanes Majeurs, Maestria Collection, Paris

2021|Phoenix, White&Weiss Gallery, Bratislava (collaboration with Lukas Thaler,

curated by Michal Stolarik)

2021|Domino, Raum mit Licht, Wien; A brief affair, Galerie 5020, Salzburg

2020| Antroporary, Jan Koniarek Gallery, Trnava (collaboration with Lukas Thaler,

curated by Michal Stolarik)

2020| Unchain #1, WAF, Wien (curated by Amer Abbas)

2020|Why not take all of me, Kunstraum Korb, Wien (curated by Anna Khordokovskaya)

2019|Anything Goes, White & Weiss Gallery, Bratislava

2019|Destiny‘s Gratinée, Kunstnernes Hus, Oslo (NO)

2019| The Hanging of Traitors in Effigie, Belvedere21, Vienna

2019| Wiener Salon, Brüssel (curated by Antje Prisker)

2019|The Hanging of Traitors in Effigie (Part II), Pencil Factory, NYC

2019| Breathless Dromedary, In Spite Of, Porto

2019| Just a detail, Raum mit Licht, Vienna

2019| Your delicious dreaming (curated by Nika Kupyrova), Salon Goldschlag,Wien

2018| The Yips, Gallery Céline, Glasgow (UK)

2018| Framed / Unframed, Raum mit Licht, Vienna

2018| Unter Bildern, Heiligenkreuzerhof, Vienna

2018|The Eventuality Dispenser, Fettes College, Edinburgh

2018| Ergonomics, Material Art Fair, Mexico City

2018|The Serious Fraud Office, Hotel Casa Blanca, Mexico City

2018| Carved and Shaped by Proximity, Pina, Vienna

2017| A painter’s doubt, Salzburger Kunstverein, Salzburg

2017| stonewashed volume one, Vienna

2017|Monsone, Suprainfinit Gallery, Bucharest (RO)

2017| Is she Iceman or is she Goose? SORT, New York (US)

2017| Drop City, MUHKA, Antwerpen (BE)

2016|Tropical Punch, Galerie Nathalie Halgand, Vienna

2016|MAUVE, Club Pro, Los Angeles; Instagram Now! Belvedere, Vienna

2016|Summer in the City, Galerie Christine König, Vienna

2016|nonstreaming artifacts, easyupstream, Munich

2022| Das phantomastische Malbuch, VfmK

2021|A00121 (Essay for Jonas Monka), catalogue, Distanz Verlag

2019|The Painter & the Rectangle, exhibition publication for Vienna Contemporary Zone 1

2019|White dwarf magazine #08 WIDDER

2019|The Kink in the Arc, paulbecker1.xhbtr.com/

2017|TITANIA, Black Pages #77

2017| A painter’ doubt, Salzburger Kunstverein (with an Essay by Seamus Kealey)

2017|Artist Lecture Series Vienna Transcript – Titania Seidl

2016| painting regarding the present, Naives and Visionaries (with an Essay by Anré Hemer)

2016| MAUVE at Club Pro Vienna (Exhibition publication)

2015|Melanie & Titania (Exhibition publication) (with texts by Sarah Thomas, Jakob Breit)

2015| sei niemals krass zu deinen brüdern (a mauve publication)

2015|FOUNDATIONS Magazine, The Vienna Issue

2023|Staatsstipendium, Federal Ministry for Arts & Culture, Austria2023|Shortlisted for Anton Faistauer Award, Austria2019|Artist in Residence, a271, Düsseldorf2016|Mentoring Program for Artists, Arts and Culture Division of the Federal Chancellery of Austria

2015|Start Stipendium, Arts and Culture Division of the Federal Chancellery of Austria

2014|Artist in Residence, AIRY, Kofu-Shi (JP)

2013/2014|Working Grant of the Austrian Ministry of Science and Research

2012/2013|Artist in Residence at Sammlung Lenikus, Vienna

2010|Winner of the Fred-Adlmuüller Stipend

At all times both subject and object or the sister of the big skirt
2022, Oil on canvas, 200x120cm
Faces distorted into pixealted visual static voices a delayed, alien sounding crackle
2021, Oil on canvas, 200x120cm
Rushing, as if the hurried flow of words would keep me with her
2022, Oil on canvas, 200x120cm
All the new ways for things to go wrong
2023, Watercolor & oil on panel, 24x18cm

Titania Seidl makes paintings that shift between figuration and abstraction. The paintings each have both representational and non-representational elements within them, not so much as a struggle between these elements but rather as a harmony within the frame. Symbols of non-images flow in different colors on the upper utensils, to recognizable images-animals and plants, human faces, household items… All elements are not some conventional relationship, but create new relationships. narrative status.

The white bottoms of some paintings appear to be missing, and these works are incomplete. To a certain extent, they are consistent with the blank artistic conception of traditional Chinese paintings. The presentation of these compositions and images is completely subjective, but this lack of subjectivity does not mean regret and incompleteness, nor does it mean giving up. Visual patterns emerge as if they have been in the process since before it began.From dripping paint in different colors,  to recognizable objects and living forms, such as houseplants, to outlines of human faces, to household items, discarded gloves all elements collapse together, albeit without tension, into an ongoing state of becoming. The paintings with their white under-surface of gessoed canvas are not even, in a way, complete, suggesting that this process of becoming is indeed on-going.

「KRIXXI KRAXXI」Installation view, © Nosbaum Reding, Luxemburg, 2023

But what is not present, it appears, are some of the emotive gestures found in other paintings. There is no mournfulness; there is no sense of astonishment or even giddiness. The form is presented as it is, but this is exactly the conundrum: form does not appear like this. Careful observatoon is clearly one element of her praxis as a painter, but another appears to be a certain kind of impartiality. The compositions and images are entirely subjective in their invention and presentation, but neither ruefulness nor abandon accompany this subjectivity. The paintings come into being as if they had been in this process well before they were begun.

 

Titania Seidl Solo Exhibiton「Eyes never quite catching」, Installation view ©Nicodim Gallery, Los Angeles, 2022

As a young European artist, he was initially influenced by classical paintings and contemporary vision. She specializes in oil painting and watercolor materials. Through the selection of sculptures in the picture, she performs the visual preferences and inner thinking expressed by the facial culture of the new generation of artists.

In 2024, ARCH GALLERY will co-plan with the artist to hold its first exhibition in Asia. The exhibition will focus on the artist’s research on the theme of “fruit” that is easily overlooked in classical paintings from 2021 to the present, with a sharply updated image language. At the same time, public art projects and art studio exhibition projects for artists in China will also be formulated simultaneously in 2024.

Titania Seidl’s work focuses on the informational value of images when broken down. Large and small, these paintings display themes drawn from various narrative contexts-from daily life, online media platforms, and art history. Combined with poetry, they reunite on the plane to form a new whole. Floating verses are interwoven around the work, evoking a loose narrative. Meaning is established in the moment as the artist switches between different narrative perspectives.

Titania Seidl Solo Exhibition「See it as a stranger might」, Installation view © Bildraum 07, Vienna, 2021

Her joint artistic practice with Lukas Thaler (1989) consists of drawings, objects and recordings. Their site-specific environment composed of paintings, objects, and audio recordings comprises naive “indigenous” facial cartoons, which are connected to oil paintings showing fragments of idealized human body parts. It is an absurd dialogue between objects and paintings about the possibility of being not only the head, but also the rest of the human body, forming a “full-fledged” person.

The dismantling element of the human body is also an important symbol in the artist’s creation. Their joint creation is an absurd dialogue between actual objects and paintings. The dismantled human body is a cartoonish representation of the repulsive psychological orientation of removing parts of its limbs. On the contrary, a certain vitality spreads, Discuss the reshaping of non-existent life or newly born life from a multi-sensory perspective.

Titania Seidl & Lukas Thaler,「Antroporary」Installation view ©Jan Koniarek Gallery, Trnava, 2020

A painting, for example, A painting is a great container. Perhaps the best there is. Mostly it contains itself, naturally. But undeniably it also carries the communal memory of the culture it’s produced.

In Titania’s case, the paintings contain the emblems of civilised image cultures: classical ones, baroque ones, and the uncomfortably contemporary. The compositions resembling a user interface, showcasing the way which images appear to us on a daily basis. The ingratiating rythm of line and delicacy of colour could have made them reductively chic, were it not for the keen move of keeping them in a trivial, nearly A4-scale. Motifs (Star of Bethlehem flowers, vases, running dogs and fashion items) commanding monumentality, are efficiently robbed of exactly that.

An intricate text piece-that much like the paintings is almost obsessively ornate-styled like an intimate letter, spells out an unlikely and disturbing fantasy, one of achieving inhuman beauty. Titania plays a high-stakes game with desire images, presenting them in a double gesture of indulgence – and stern self-restraint.

Categories: Uncategorised

Exhibitions

过往展览

2024.3.10

Arched Wave: Beyond the Boundaries of Geography

Artists: Mutian Chen, Longing Hu, Xiaoliang Huang, Ying Li, Mingjun Luo, Bing Ma, Jianping Zou
Curator: Xinyu Wong

Arched wave: Throwing the hidden string in the discontinuity

Artists: Qiushi Chen, Yujian Guo, Mingjun Luo, Lijun Wang, Li Zhou, Wei Zhou
Producer: Wenjing

Flower For Algernon

Artists: Jing Wang/ Yiwen Zhao
Curator: Xinyu Wong

Perceptual Track

Artists: Haiqiang Guo、Hang Su、Sibo Wu、Wei Zhou
Curator: Yu Xie

Art Channel

艺术频道

ARCH REVIEW | Making Complicity

When the painting is really close to us, the first thing that appears to our eyes is this Le cimetière marin[1] written by Valéry in 1922. The curators Hu Yihang and Zhang Tingzhi, together with artist Guo Yujian, divided the exhibition “Dangerous Complicity” in the gallery into three chapters with words and symbols: imagination, a plateau, and a theatre.

ARCH INTERVIEW | Guo Yujian

Since then, I have tried to let daydream-like imagination seep into the picture, and those earlier, more symbolic images have also been naturally diluted. Perhaps, it is precisely because of the temperament that seems to be infiltrated by the picture and some image contents that are contrary to reality that cause the association like a dream.

ARCH REVIEW | Gaze in the Dim Glow

“The Task of Alchemy”, Pocono Zhao Yu’s solo exhibition at Arch Gallery, presents a subtle sense of time traveling. As the title of the exhibition alludes to, it is as if the smelting and mysterious deeds of some spiritual objects. Within the whisper that fluttering outside of time, this enormous task is under the invisible dome of time.

ARCH 采访 | 薛若哲

“绘画没有办法不诚恳,这是一种无法伪装的媒介。我对绘画的诚恳和机械的、拾得的图像产生的化学反应感兴趣,尤其是当网络图像和铜板线腐蚀这种必须要经过转化才能成型的绘制方式相遇,就形成了有意思的关系。”

ARCH 采访 | 谢燚

他的作品长期以来从“劳动”这个常用的词汇出发,不断向现实世界里以“语言”为基础的权利追问。“我只希望我认为重要的东西能被大家知道,那就是”具体的劳动“在现实世界中是如何”做功“的。”

ARCH REVIEW | 制造共犯

当画作真切地逼近我们双眼,首先出现的是这首瓦雷里1922年所写的《海滨墓园》。机构策展人胡奕航、张汀芷与艺术家郭宇剑一起,将这次拱形画廊名为《危险同谋》的展览,用文字或符号分成了几大篇章:臆想、一座高原、剧场。许是有意为之,又或是无心之举,开篇选取的这段文字,饱含着诗人瓦雷里对家乡赛特港的深沉眷念。

Tuesday – Sunday
10.00am – 6.00pm

ARCH Gallery
Yinjiachong Rd, Tianxin District
410000 Changsha

星期二 – 星期日
上午10.00 – 下午6.00

湖南省长沙市天心区殷家冲路
1123文创园一楼
ARCH GALLERY

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