Martin Gostner

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Martin Gostner (2019)

Martin Gostner (born November 5, 1957 in Innsbruck ) is an Austrian visual artist . He lives and works in Düsseldorf and Innsbruck.

Martin Gostner has held a professorship for sculpture at the Düsseldorf Art Academy since 2004 .

life and work

Gostner studied painting with Arnulf Rainer and Max Weiler at the Academy of Fine Arts in Vienna. After completing his studies, he turned away from pure painting and worked in the media with installations , film, painting and photography. The main focus is on fundamental cultural criticism and artistic biography, drawing on insights from psychology , philosophy , politics and history .

Within Martin Gostner's artistic oeuvre, which encompasses both sculptural approaches and the exploration of the most varied forms of language and communication, the examination of history and memory functions as the central focal point. His interest in the history of things is by no means forgotten in the present, but rather focuses on the traces that the recent past - through brief traumatic events as well as long-lasting developments - has left on the world. Gostner's works speak in their own specific way of the inner necessity of illuminating these traces that have been imprinted on the individual and collective memory. In contrast to the historical sciences, Gostner does not work on a history of facts that aims to decipher and explain the course of the past using chains of events. With his approach, he seems rather to react to how the terrain of memory is structured - as an immeasurable fund of personal and social memories, which appear chaotic and fragmented in their superimposition, but which from a neuroscientific point of view in the memory of the individual appear in multi-part networks are organized around particularly impressed nodes and which as such are always somehow present, but often buried. Among his diverse media of expression, cotton wool, but also breading, language and graphic symbols from strategy and geography are to be mentioned.

From 2001 Gostner has been working on a complex of works which he is continuously developing under the heading of oriel culture . Gostner does not use the “bay window” primarily as an architectural building, but as a term for an individual thought system with which he identifies interventions in the genius loci of selected places. Although he transforms the term into a personal figure of thought, he derives its meaning from collective space and usage conventions. As a spatial metaphor, the bay window represents a hybrid space known in almost all cultures, which archetypically stands for the connection of two worlds - one inner and one outer. The bay window protrudes into a world, but also out of one. From the point of view of its use, the bay window is a place where life and time are enriched. It is a place where you can come to rest and think, which gives a safe view of the world and where you often collect and keep mementos of personally important experiences. It is these architectural and existential connotations that make the bay window comprehensible as a structure that enables Gostner to move flexibly between different spaces and times. The central characteristics of the bay windows are their indissoluble ties to the respective location and their independence from exhibition conventions. With the exception of their derivatives, the bay windows are beyond the reach of the art public. Gostner does give indications of existing interventions, but only after they have been implemented. You either come across the work by chance or you have to search for it yourself using GPS coordinates. Inspired by the first known graffiti tagger, the Viennese alpinist Josef Kyselak (1798–1831), who left his name in all possible and impossible places, Gostner sets up his oriels in places that arise entirely from his choice and his interests. An example of this is the bay window of the blue horses (realized on May 31, 2012). With four piles of horse apples cast in plastic on the terrace of the Neue Nationalgalerie Berlin , this intervention makes you believe in an almost physical way that the horses from Franz Marc's painting The Tower of Blue Horses (1913) have returned to the present - a painting that is owned the Nationalgalerie until Hermann Göring confiscated it for his collection during the Nazi regime and it has been lost since then. Jürgen Tabor, Gallery in the Taxispalais Innsbruck 2014

Solo exhibitions and projects (selection)

Plastic "After My Death"
  • 1993 chair for nonsense. Institute for Comparative Literature , University of Innsbruck (Austria)
  • 1994 Theses of the Counter Reformation. Forum City Park, Prague (TCH)
  • 1995 Vacant Posessions, Erratic Boulders. Studio Oggetto, Milan (I)
  • 1995 IN the zebra. Gallery Sophia Ungers, Cologne (D)
  • 1996 Stepping Into the Shit of History. Gallery Giorgio Persano, Turin (I)
  • 1997 desolate bile. Villa Merkel / Bahnwärterhaus, Esslingen (D)
  • 1997 Hello, do you also buy sculptures? Gallery Hammelehle and Ahrens, Stuttgart (D)
  • 1998 memory soft. Kölnischer Kunstverein , Cologne (D)
  • 1998 Dear old battlefield. Galerie Hoffmann & Senn, Vienna (Austria)
  • 2000 apparatus for Sunday. Rupertinum , Salzburg (Austria)
  • 2000 Video 14th Tyrolean State Museum Ferdinandeum, Innsbruck (Austria)
  • 2001 Kupferpfandl - and above. Vienna Secession (Austria)
  • 2001 All I See I Cover. New Gallery Graz (Austria)
  • 2001 Bay window 1: Promenade Des Autrichiens , from January 30, 2001, Vienna-Stadtraum, 48 ° 12'31 "N 16 ° 22'21" E 192M, cooperation with Vienna Secession (Austria)
  • 2002 Coming sideways from the prop. Gallery in the Taxispalais , Innsbruck (Austria)
  • 2003 Of Milk And Honey. Museum Folkwang , Essen (D)
  • 2004 Erker 2, Festival Of Fog , from September 11, 2004, Berlin– Stadtraum, 52 ° 31′12 ″ N 13 ° 24′36 ″ E 25M, cooperation with Büro Friedrich Berlin (D)
  • 2005 A relaxed field. Ar / ge Art Gallery Museum, Bozen (D)
  • 2005 I was the color of the meadow. Johann Widauer Gallery, Innsbruck (Austria)
  • 2006 Futurum exactum. Gallery Giti Nourbakhsch, Berlin (D)
  • 2007 Them Powers. Gallery Christian Nagel, Cologne (D)
  • 2009 Erker 3, Bar Gate , from August 20, 2009, KL Felicitas Foundation, Big Sur, 36 ° 25 '00.49 "N 121 ° 53' 01.44" W 533M (USA)
  • 2010 Bay Window 4, The War Above Me. , from September 19, 2010, Monte Cimone, 45 ° 49′19 ″ N 11 ° 20′42 ″ E 1094M (I)
  • 2011 Remedies and effects, derivations from bay windows 6. Galerie Giti Nourbakhsch, Berlin (D)
  • 2012 Erker 7, the bay window of the blue horses , from May 31, 2012, Neue Nationalgalerie , Berlin (D)
  • 2013 Erker 9, True Beauty Has Mercy , from January 16, 2013, Alhambra , Granada (ESP)
  • 2014 Matrix 1914 , Universalmuseum Joanneum KÖR Steiermark Knittelfeld, derived from Erker 4 The war over me Monte Cimone from September 19, 2010 (Austria)
  • 2015 Erker 11, Explorer And Neophytes Alike , from August 27, 2015, Kealakekua Bay Hawaii, N19 ° 28'87 W155 ° 55'16 10M (USA)
  • 2016 Erker 12, Abandoned Supply Module , from September 6, 2016, Serra de Tramuntana , 39 ° 46'37.21 "N 2 ° 53'54.11" E 178M (ESP)
  • 2017 Rescuers, games, rescuers, stage design for Ennui “Is it always going on like this?” With Franui and Peter Simonischek , Mozart Week Salzburg, Cologne Philharmonic , Wiener Konzerthaus

literature

Web links

Commons : Martin Gostner  - Collection of images, videos and audio files
personal data
SURNAME Gostner, Martin
BRIEF DESCRIPTION Austrian artist
DATE OF BIRTH 5th November 1957
PLACE OF BIRTH innsbruck