Faites connaissance avec un artiste original et exceptionnel : Nikolaus Gansterer
▻http://www.gansterer.org/Drawing-Now
▻http://www.albertina.at/jart/prj3/albertina/main.jart?rel=en&reserve-mode=active&content-id=1202307119317&j-cc-node=it
▻http://www.bakonline.org/en/Program/CallForDrawings?parent=Index
▻http://www.bakonline.org/media/images/W1siZiIsIjU0Y2I5YTgxMDFlYTEyZjk0NDAwMGQ2NCJdLFsicCIsImNvbG9yc3BhY2UiXSxbI
▻http://www.gansterer.org/The-Eden-Experiment-II
The process precedes the result: just as the process of thinking precedes the thought, the process of drawing precedes the drawing. In the artistic practice of Nikolaus Gansterer, the two processes, thinking and drawing, are seen as analogs, developed as synonyms and their identities analyzed. As processes they only have an ambivalent relationship to the products to which they give rise, only to then leave them behind. What seems to be preserved in the manifest thoughts and drawings are only leftovers of a process that has since moved on, turning—while thinking and drawing—to other questions and spaces. As traces they only capture what is no longer there, figures of presence and absence at the same time. In this sense, they are witnesses, testifying to the relationship that thinking and drawing have with the untenable and unstoppable. Inscribed onto the untenable is the contradiction, the argument that turns against the argumentative, reproaching itself, correcting itself, and changing itself, in order to replace the ultimate and the correct with that which is possible. When Gansterer, alongside drawing and thinking, also integrates objects into his processes, objets trouvés and things from a whole range of provenances, then it is only to test them, to plumb them in their forms and functions: in the process not only does the terminology with which one would like to describe them begin to totter but also language itself, which starts to oscillate between the nominal, the metaphorical, and the allegorical. What is sketched out—half-described and half-designated—is a horizon of design options that relentlessly distances itself from the throw in order to cling only to variability, to resistance toward the resistant aspect of the reification at which drawing gnaws, denuding the thing and its possibility. (Andreas Spiegl)