|Sa 5.2.2011 12h Gironcoli Sculptur in front of Hofburg in Innsbruck|
Untitled (The Unbegotten), 1996/2004, 500 x 560 x 330 cm, cast aluminium Courtesy Galerie Elisabeth & Klaus Thoman, Innsbruck
The big bronze-coloured figure is also called the The Unbegotten (Die Ungeborenen), a name which surfed as the title of the 1997 exhibition in the MAK Vienna. In this figure, the "Murphy" module - variations of his central theme (after the Samuel Beckett novel character) since 1968 - appears in an extremely abstract form with the backrests divides into two tapering lobes. Also Gironcoli uses here modules, such as the babies invented in the 1980s, horns and discs.
Exhibited: 1997 MAK Vienna (model), since 2004 in STRABAG House Vienna (cast 1/2), 2004-2010 Bruno Gironcoli Museum Herberstein, Styria (cast 2/2), Louvre Tuileries Paris FIAC 2010 (cast 2/2).
Gironcoli was something like an iceberg in the Austrian art scene, always present, always influential - it is always surprising to see which of the internationally successful younger artists had studied with him - while the largest part of his own output remained unknown. Wolfgang Drechsler Bruno Gironcoli *1936, died 19.02.2010. Having been the leading Professor at the Bildhauerschule of the Academy of Fine Arts Vienna 1977 - 2004, he is one of the most influential sculptors. Among his students e.g. Franz West, Ugo Rondinone. Awards a.o.: 1989 Erste Allgemeine Generali-Foundation Sculpture Prize, 1993 Großer österreichischer Staatspreis /main Austrian national prize. Important international exhibitions in the last years: 2003 Biennale Venedig Austrian Pavillon curator Kaspar König, Biennale de Lyon curator Anne Pontégnie, 2007 Gerhard-Marcks-Haus Bremen, 2005 Akademie der bildenden Künste Vienna, 2007/08 The Third Mind. Carte Blanche to Ugo Rondinone, Palais de Tokyo Paris, 2008 Mind Expanders MUMOK Vienna. Upcoming museum exhibitions: MOMCA Genf, Maison Rouge Paris, Musée Rodin Paris.
The artist has developed an unmistakable form of expression which he continues to cultivate, from his early ornate wire objects through to the enormous sculptures of the past two decades. Existential themes - such as the relationship between man and woman, sexuality, violence, and subjugation - are areas upon which he reflects in his machine-like sculptures. Along with these, Gironcoli has also created a broad spectrum of works on paper…
The concept of open sculpture, which Gironcoli developed and formulated as an artist in an extremely strict manner for years, now gave way to the extreme condensation of his objects. He ceased to purse the path he had taken with his Environments; instead, he adopted a static principle of sculpture. In the decades that followed, he developed his large monumental, altar-like sculptures. With the help of assistants, he began to work on several sculptures at the same time, which all share a common feature: a massive wood-iron structure as a supporting framework. As material for the actual sculptural shaping of the sculptures, Gironcoli once again used polyester, which he coated with the colours gold, silver or bronze in the final stage. He developed various modules that he assembled into ever new combinations for his sculptures: The so called Murphy, babies, larvae, grapes, vine leaves, sheathes of wheat, spoons, plates, food containers, spheres, spirals, scrolls, and, last but not least, the phallic and vaginal forms form the core of his sculptural vocabulary.
The bid sculptures created through combinations of this vocabulary revolve around all of Gironcoli`s central themes of the 1980s: fertility, birth, father-mother-child, masculine-feminine-androgynous; these topics are directly announced by the title of the sculptures.
Bettina M. Busse