no title (7)
oil on canvas, varnish; 53 x 63 cm; Anz/M 090031; Foto/Courtesy Galerie Elisabeth & Klaus Thoman
Due to the great successes the exhibition is prolonged from March 10th. 2011 to March 19th. 2011
Siegfried Anzinger's oeuvre is one big challenge. By using the same motifs over and over, the artist reexamines the handed-down capacities of painting and rehearses new options. With his recent works, as also exhibited until 13 March 2011 at Lentos Linz, Anzinger has extended his traditional repertoire of motifs - i.e. paradise and eros, Madonna and Child, Pietà, Holy Family, or Virgin and Child with St. Anne, as well as animals, self portrait, cart - by a Wild West theme. And so the very diverse landscapes are now also populated by saddled horses, cowboys, settler's carts, and Indians. Taking the appearance of witty comics, these are masterfully composed paintings, though. Anzinger, well aware of the painting techniques developed through the history of art, in a variety of ways combines the elements at his disposal, from the autonomy of colour as a monochrome plane to the contour line, only appearing to circumscribe the figure itself.
In his recent works, the artist pushes the boundaries of painting in a variety of ways, ultimately arriving at a situation in which painting's generic contours begin to blur with those of drawing. [...] One the one hand, graphic elements and paint are able to complement one another, but on the other, they question the specific qualities of each respective genre. It is decisive for the artist that all the components are maintained within a precarious equilibrium. On account of this, the work process in each individual painting represents a hazardous enterprise. Accordingly, the knowledge that one might fail provides a substantial motivation for each of Anzinger's works. [...] This structural principle, in which the compositional means and elements refer to one another across the surface of the canvas in a kind of formal spatial resonance, contributes significantly to the transference of the essentially sketch-like structure of the work to a context that, for its part, identifies the whole as much more than a fleeting, dashed-off compositional idea. quoted from Guido Reuter "Siegfried Anzinger Malerei, Zeichnung und Plastik: Betrachtungen der neueren Werke Siegfried Anzingers," in: Stella Rollig (ed.), Siegfried Anzinger, Cologne 2010
Siegfried Anzinger, born in Weyer an der Enns (Austria) in 1953, has been living and working in Cologne since 1982. Professorship at the Düsseldorf Art Academy since 1997, member of the Austrian art senate since 2008. Awards: Oskar Kokoschka Award (1985), City of Vienna Art Award (1990), Great Austrian State Award (2003), Upper Austrian Culture Award for Visual Arts (2006). Numerous solo exhibitions and contributions to international group shows since 1982, e.g. documenta 7 (1982), Kunstmuseum Basel (1984), Kunsthalle Hamburg and Kunstmuseum Bonn (1986), "Zeitgeist" Berlin and Biennale di Venezia, Austrian Pavilion (1988), Kunst-Station St. Peter, Cologne (1996), Museum Moderner Kunst Stiftung Ludwig, Vienna (1998), Rupertinum Salzburg and Kunsthalle Bielefeld (2000), Sammlung Essl (2002), Albertina Vienna (2004), Gemeentemuseum Den Haag (2005), Kunstmuseum Mülheim an der Ruhr (2006), Lentos Kunstmuseum Linz (2010).
We have exhibited Siegfried Anzingers works regularly since 1980 and also published four books and catalogues on his sculptures, works on paper, and paintings.