Fritz Mikesch

Klare Sicht / Clear View

1974

Alex Kiessling war der erste Mitarbeiter der Galerie in Wien und engagierte sich auch gleich dafür, Künstler seiner Generation im Ausstellungsprogramm unterzubringen. Die Ausstellung...

About the artist: From 1969 to 1976 Ritzerfeld studied at the Kunstakademie Düsseldorf under the guidance of Joseph Beuys (painting, object art and performance art) and Karl Kneidl (...

In his painting, Robert Hammerstiel is in constant search of the balance and harmony of form. In his drastic reduction to the physical essentials and the colourful placarding, he cre...

Mikesch, who had lived in Berlin as a freelancer since 1966, was originally active as a painter and graphic artist. He worked for radio from 1979. He wrote prose texts for children a...

"Das Dinner" is a typical work of Roberto Guglielmino, known for his surrealistic, figurative paitings. The artist is represented by the artgallery Ursula Stross (Austria). The artwo...

Heinz-Otto Laub was born 1944 in Cologne (Germany), studied at the KA Munich under Mac Zimmermann and is actually working in Bonn. He is known in the first place for his surrealistic...

Hurry up (Date priza) -naive art, made in green, red, turquoise, blue color. Elena Narkevich deliberately chooses naive art, like the famous artists Henri Rousseau and Niko Pirosmani...

Harmony (family kitchen) -naive art, made in green, red, blue, yellow collor. Elena Narkevich deliberately chooses naive art, like the famous artists Henri Rousseau and Niko Pirosmani...

Acrylic on canvas Carlos Sablòn Perez is a Cuban artist born in 1981 who lives & works in Châlons-en-Champagne, France. His talent is quickly recognized in the four corners of the C...

Acrylic on wooden panel

after: Joseph Shuster’s Action Comics #1 Cover (1938) and #19 Burning Flesh from Wally Wood’s, Bob Powell’s, and Norm Saunders’ Mars Attacks trading cards (1962) Framed: 9h x 9w in Continuing the exploration of Superman’s role as extraterrestrial anomaly – an alien who’s also a friend, I spent time considering how important one’s actions (on a singular occasion, in sum, alone, in collaboration with others, etc.) are in determining overall “goodness” or social value. In literally his first exposure to any reader, on the cover of Action Comics #1, Superman is shown smashing a large car against a rock, while three well-dressed men run away in fear. Taken by itself the image presents a deranged, super-strong vandal. It’s only upon reading the full narrative that we understand Superman’s action to be part of a rescue mission and the men to be gangster villains. When we allow Superman to be considered as an individual, responsible for his own actions, and over a series of events, rather than one incident, we find our hero. But when I offer Superman another alien (this one up to no good), and deny any exposure to a fuller understanding of circumstance, it’s much more difficult to separate Superman’s destructive actions from those of his new companion. Better Alone Than in Bad Company...

after: Pieter Bruegel the Elder’s The Blind Leading the Blind (1568), Akseli Gallen-Kallela’s Building (1903), and #17 Beast and the Beauty from Wally Wood’s, Bob Powell’s, and Norm Saunders’ Mars Attacks trading cards...