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Don’t Touch!
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TOURDATA
Minoritenplatz 4, 3500 Krems an der Donau
How can color textures be "felt" with the eyes? Is the surface of the image truly rough – or is it just an illusion? This exhibition is dedicated to the sensory experience of images, entirely without physical contact. The works impress not only through their visual presence but also through the way their materials stimulate the imagination. They open up a new dimension of perception, where it is not just about seeing, but also about mentally exploring the materials and techniques.
Expansion of the painting through everyday materials
In the 20th century, art undergoes a significant transformation: artists increasingly turn to everyday materials. In addition to precious oil paint, gold leaf, or fresco, textiles, papier-mâché, pieces of wood, or latex find their way into artistic practice. The valuable, aura-filled, and durable – long central qualities of art – begin to waver. This development leads to a fundamental reassessment of materiality and the expansion of the classical panel painting.
Transformations of non-art materials
Adolf Frohner experiments early on with collage-like extensions of images and develops his "Material Pictures" from this. The work exhibited at the Forum Frohner from 1960 bears this title intentionally.
Rudolf Polansky takes this approach to the extreme. Since the 1990s, he has preferred to use industrial materials: plexiglass and acrylic glass, aluminum, mirror foil, or cardboard. He strips them of their original purpose and combines them with resin, silicone, wire, paint, or pigments to create new structures and assemblages. Surfaces range from glossy to matte to reflective, with complex textures and effects. His central body of work, "Reconstructions," opens up a visual field that invites viewers to immerse themselves in the materiality.
Expansion of the painting through everyday materials
In the 20th century, art undergoes a significant transformation: artists increasingly turn to everyday materials. In addition to precious oil paint, gold leaf, or fresco, textiles, papier-mâché, pieces of wood, or latex find their way into artistic practice. The valuable, aura-filled, and durable – long central qualities of art – begin to waver. This development leads to a fundamental reassessment of materiality and the expansion of the classical panel painting.
Transformations of non-art materials
Adolf Frohner experiments early on with collage-like extensions of images and develops his "Material Pictures" from this. The work exhibited at the Forum Frohner from 1960 bears this title intentionally.
Rudolf Polansky takes this approach to the extreme. Since the 1990s, he has preferred to use industrial materials: plexiglass and acrylic glass, aluminum, mirror foil, or cardboard. He strips them of their original purpose and combines them with resin, silicone, wire, paint, or pigments to create new structures and assemblages. Surfaces range from glossy to matte to reflective, with complex textures and effects. His central body of work, "Reconstructions," opens up a visual field that invites viewers to immerse themselves in the materiality.
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