- Current

upcoming 2016

2017         * Atelier-Stipendium OÖ, Stonborough-Wittgenstein-Villa, Gmunden

2016    

    
* Group-Show: ZICKZACK, Salzburg, Mozarteum, Leporello-Projekt, Vernissage 16.11. 18:30
                                 im Foyer, Mirabellplatz 1, 17.11. bis 16.12.

Presse: Radio Ö1 - Horst Stein zu DURCHSICHT in "Von Tag zu Tag", link (bis 8.11. hörbar)
            und Zeitung Standard (print +online)


* Solo-Show:  Projekt DURCHSICHT
                                4.11. bis 15.11. 2016 - Vernissage:    4.11. ab 19:00
                                MO-FR 18:00 – 20:30
                                hinter dem Volkstheater, Photoatelier Setzer-Tschiedel
                                Dachgeschoss Museumstraße 5, 1070
                                im Rahmen von eyes-on, Europäischer Monat der Fotografie

                                + Katalogbeteiligung  EYES-ON 2016

                                + Podiumsdiskussion im MUSA  am 24.11., 19:00, unter dem Titel
                                   Eyes-on-Talks # 5 - Beyond Time ...
                                   Es geht um Fotografie als Medium der Erinnerung und als Instrument
                                   des  kollektiven Gedächtnisses, wie dies immer neu bewertet wird
                                   und  bewertet werden muss.
                                   Gäste: Herbert justnik, Volkskundemuseum - Frauke Kräuter, Wienmuseum                                              Georg Luks, Kurator - Horst Stein, Künstler
                                   Moderation: Andreas J. Hirsch

                               + Eyes On Walk #Beyond Time - Fr, 11.11., ab 16 Uhr
                                   Treffpunkt: Österr. Museum für Volkskunde, Laudongasse 15-19
                                   1080 Wien Dauer: ca. 2 Stunden, Ankunft Atelier Setzer ca. 17:45 +
                                   Brot und Wein

Der Krieg – zwischen Erinnerung, Sichtbarmachung und Inszenierung – ist das verbindende Thema der drei Ausstellungen, die im Rahmen dieses Walks besucht werden: Fotoalben von österreichischen und deutschen Wehrmachtssoldaten, der Iran-Irak-Krieg zwischen Original und Inszenierung und der Versuch einer „Reinwaschung“ auf Glasnegativen der Fotoateliers.

Stationen:
Österreichisches Museum für Volkskunde: Fremde im Visier. Fotoalben aus dem Zweiten Weltkrieg
Bildraum 07: Sacred Defense
Photoatelier Setzer-Tschiedel: Durchsicht

001_DURCHSICHT_Grafic_Novel .jpg

Durchsicht_pos_01.jpg

           * Group-Show: BordA
                                 10.11. bis 13.11. - Vernissage 10.11. ab 19:00
                                 im Studio III, 1120 Wien, mit Bendel und Delhougne
                                 im Rahmen von eyes-on, Europäischer Monat der Fotografie

 

            * Solo-Show:  SENDER

                                  July - August 2016, Kunstraum □□□□□■, www.llllll.at, Vienna
                                  photographie & installation

            * 2 x Painting-Performance
                                  großformatige Bilder - live gemalt zum Chor „Gegenstimmen“
                                  & improvisierenden Musikern
                                  1:     7.6.       im WERK X     (Oswaldgasse 35a, 1120 Wien)
                                  2:     20.6.     im BRUT         (Karlsplatz, Wien)

 

2015

 


  exhibition: sauvignon - selection 14/15
  mo.e
  Thelemangasse 4/1  1170 Vienna

  video & sculpture
  www.moe-vienna.org

  ant_tetra1.jpg

 

- Solo-Show: PAINTINGS, oil on canvas, "HORN, reloaded"
  Vienna, Galerie Reinthaler , opening: January 20,  2015, 19:00
  January 20  - February 28,  2015
  whole series download:  HORN_reloaded_web.pdf  (17.83 MB) 
  rieview art-magazine "HORN, reloaded": link

"HORN, reloaded - arena",  125cm 160cm

HORN_reloaded_arena.jpg



 "HORN, reloaded - animal", 195cm x 160cm

animal.jpg

__________________________________________________________________

2014


- NEO GEO MOBILEPHONE, photography-objects, Vienna, art-space: moe
  opening: 11.11. 2014 - 19°°
  part of the exhibition "AROMA"
  together with Sonja Bendel und Kathrin Delhougne
  eyes on (month of photography)
  moe, Thelemanngasse 4/1, 1170 Vienna, www.moe-vienna.org
  Nov 12 - Nov 16         17°° - 21°° (sa 12°° - 23°°)

current_neo-geo-mobilephone.jpg

current_AROMA.jpg

 

- AUSTRIA ABSURD, 23 diptychs, photography, Vienna, Galerie am Park,
  opening: 28.10. 2014 - 19°°
  part of the exhibition "SOZIALARBEIT OHNE MENSCHEN"
  together with Reiner Riedler, Frank Robert, Klaus Pichler und Florian Rainer
  + catalog; eyes on (month of photography)
  1060 Vienna, Liniengasse 2A/12A (close to Gumpendorfer- / Otto-Bauer-Gasse)
  Oct 29 - Nov 7      mo-sa 15°° - 19°°

current_austria-absurd.jpg

current_SOM.jpg

 

 


 


2013

download current catalog:   catalog_photography_stein_2013.pdf  (6.80 MB) 


Rome, solo-show, Museo di Roma ... "Appearance", new selection
                                                     opening July 11, 18 00 -   till October 27
                                                     introduction words and interview by Marco Delogu:
                                                     direttore di FOTOGRAFIA = Festival Internationale di Roma
                                                   
                                                     + participation at  FOTOGRAFIA
                                                     guided tour with the artist on Oct 11, 18:00 - 19:45
                                                     + catalog (with Jeff Wall, Tim Davis, Guy Tillim, Patrick
                                                     Faigenbaum ...and others;  ISBN 978 88 7462 594 9)

                                                     catalog_FOTOGRAFIA.jpg

                                                     invited by "forum austriaco di cultura, Roma"

stein_museodiRoma_room1 .jpg 

stein_museodiRoma_room2 .jpg 

stein_museodiRoma_room3 .jpg 

 
-

magazin PHOTONEWS, Hamburg, Portfolio Horst Stein, Appearance, issue July/August 2013

 

photonews_600px.jpg

-

Fotoforum Braunau  "Appearance", new selection of works ... topic:  " In Bewegung I "
                               opening April 12, Apr 13 - May 12                     & catalog
                               curated by Petra Noll with G. Lampalzer, C. Ludwig, H. Stein
                               introduction-words by Petra Noll and Horst Stein

appearance_13.jpg

-

cover-photo "Disappearance - Sitting", magazin "LANDSTRICH" (KUNST/LITERATUR-Zeitschrift)
with articles from Bodo Hell, Friederike Mayröcker, Julian Schutting, K.F. Kratzl, M. Chobot ...
ISBN: 978-3-9502858-6-4
presentation: Alfred-Kubin-Haus, Zwickledt, June 9, 15:00

landstrich_cover_2013.jpg 




eyes-on 2012

eyes - on, month of photography Nov 2012, Vienna,
               exhibition Horst Stein / Appearance + Frank Robert / Still Lifes
               Atelier Setzer = last existing daylight-atelier from the beginning of the 20.century
               Opening: Nov 12 - 19 00 , Words: Gerald Piffl
               Nov 12 - Nov 25, ... Th, Fr, Sa, Su  16 30 - 19 30            

appearance_10.jpg 

Die Fotoarbeiten werden an einem neu zu entdeckenden, zentralen Ort für Fotografie ausgestellt:   

Im Atelier Setzer, dem letzten erhaltenen, großen Fotoatelier Wiens des frühen 20. Jahrhunderts.

Dieses war eine der entscheidenden Adressen für neue Ansätze in der Portraitfotografie ... Freud, Schnitzler, die Familie Ephrussi ... Es ist im verglasten Pultdach des Hauses Museumsstraße 5,

gleich hinter dem Volkstheater und neben dem Museums-Quartier.

postkarte_setzer_hinten_web.jpg


the series Appearance is on magazin PONCZ


anikahandelt APPEARANCE April-June 2012

solo-exhibition "Appearance", gallery anikahandelt, Vienna
opening           19.4.2012, 19 00, introduction: Herbert Justnik
                      20.4. - 16.6.2012 
Artist-Talk        30.5.2012 - 19:30
                       Appearance_Text_Herbert_Justnik_Kurator.pdf  (63.71 KB) 
                       Appearance_short_text.pdf  (583.25 KB) 
                       internal link to whole series: Appearance

01_appearance_OT.jpg



atelier Rome

atelier for 3 month in Rome, 2011, Oct - Dec, granted from the Art Division of the
Federal Ministry for Education, the Arts and Culture


Camera Austria 115

publication, magazin: Camera Austria  nr 115, Forum-double-page: series Disappearance

camera_austria_2011.jpg


Fotofestiwal Łódź May 2011

"Out of Mind", participation at one of two main exhibitions,  Fotofestival Łódź,
curator: Celina Lunsford ... Artistic director of Fotoforum Frankfurt
2011, May 5-15

GUN+ catalog

works_Couple_Gun.jpg


Fotoforum Braunau (BUM) 2011

exhibition "Dangerous Minds" , Fotoforum Braunau, curator Petra Noll, BUM, + catalog, May 2011
opening April, 29th ...with Judith Pichlmüller and Johann Lurf

Dangerous_Minds_concept.doc    (48.50 KB) 

z07.jpg


SIMULATION 05 (GUN)

solo-exhibition, EyesOn, Monat der Fotografie, Vienna, November 2010, Photography

Projektraum Watt + atelier
Rückertgasse 20, 1160 Wien
selected works from SIMULATION (Stiller) 1 room + DOCUMENTATION (2 projects) 1 room +
                              1 room mixed (GUN, ...)

opening:                 3.11.2010    19 00   

open: every Monday - Tuesday 16 00 - 20 00 + upon request: 0699 11808890 ... till end of Nov.

 

part of the series APPEARANCE

 

01_appearance_01.jpg 


SIMULATION 04 Cologne

solo - exhibition, gallery LICHTBLICK, Cologne - Germany, November 2011, Photography

opening: 30.10.2010    19 00

selected works from SIMULATION

5Fishing-Record---carp1.jpg 



arT-SHIRT

arT-SHIRT news:   A     seit 08/2010 läuft auf INFOSCREEN in den Wiener U-Bahnen und anderen
                                  öffentlichen Einrichtungen österreichweit ein arT-SHIRT Film

 

                           B     Lange Nacht der Museen in LINZ im Kunstmuseum LENTOS, 2.10.2010
                                  arT-SHIRT ist Teil des Projekts HOTEL LENTOS *****

                         


arT-SHIRT

das arT-SHIRT-Projekt ist online:
ein Grenzgang zwischen konkreter Poesie, Kunst und Bestellbarkeit ... im Kleid der Ironie.
An die 600 Sprüche zu den Themen
Körper / Sex / Polit / Architektur / Kalauer / Mundart / Kunst / Mode -
darunter auch Modelle, die nicht getragen werden sollten ...

sichtbar und bestellbar als individuelles T-SHIRT ON DEMAND auf www.artshirt.at


Ausstellung am Mittwoch, dem 21.4 um 19 00 im Buchkontor, Kriemhildplatz 1, 1150 Wien
Die Produktion der Leuchttafel wurde von Cyberlab,Wien unterstützt.

 

artshirt_postkarte_vorne.jpg

 



Datum

Magazin Datum

Artikel:      Sender
Fotografie: Horst Stein / Text: Herbert Justnik

related link:  datum.at       (vollständiger Artikel in der Printausgabe)
related link:  horststein.eu/SENDER

6-seitiger Artikel in der Februarausgabe zum Fotoprojekt SENDER

datum_02_2010.jpg


BUM

Horst Stein: BUM

Einzelausstellung

BUM. Jede Ironie birgt eine Drohung. Über den gegebenen Verhältnissen
liegt lediglich eine dünne Kruste aus Belanglosigkeiten. Ein Zustand mit Sprengkraft.
Zündfadengeheftete Einzelbilder. Attrappe und Original ähneln einander.
Der die Lunte zündet, ist – wie wir wissen – Teil der Simulation. BUM.
Eine Fotoarbeit von Horst Stein.

Eröffnung: Donnerstag, 22. Oktober, 2009
23.10.2009 bis 9.1.2010

Yppenplatz 5/4
A-1160 Wien
www.anikahandelt.com
anikanandelt.gif


 BUM_Pressetext.pdf  (27.91 KB) 

bum_pressebild.jpg


HP Garcia Gallery

solo-show, HP Garcia Gallery
Photography - Couples


Synopsis: This solo exhibition features new provocatively bemusing photographs by the Austrian artist Horst Stein, depicting seemingly unsophisticated onlookers as models posing in front of the artist's paintings. Stein’s seductive images touch upon commodity fetishism, dissect voyeurism and pornography while exploring the complex relationship between the viewer and the artwork.

Reception: Wednesday, 10 September 2008, 6 - 8 pm
Exhibition: 9 September - 4 October 2008

Hours: Tues.-Sat. 1- 6 pm
580 Eighth Avenue, 7th Floor
(between 38th & 39th Streets)
New York, NY 10018-3080
hpgarciagallery.com
T 212 354 7333


03Couple-Gun-Giving.jpg 

read more: Summary of conversation between Horst Stein and Karen Peters


anika01

27.2. - 2.3.2008 / Brick5, Fünfhausstraße5, 1150 Wien /
Mi, Fr 15 - 20 / Do 15 - 21 / Sa, So 11 - 18

opening reception 26.2. / 19 00 / Brick5

group-show with Michaela Bruckmüller / Shailo Djekshenbayev / Peter Granser / Paul Kranzler /
Prof. Erci Lessing / Christoph Lingg / Ernst Logar / Arabella Schwarzkopf / Horst Stein

search_mouselinks_400px.jpg

www.anikahandelt.com


H P GARCIA GALLERY

Reception: Wednesday, 18 July, 2007 6 - 8 pm
Exhibition: through 13 August, 2007
Summer hours: Wednesday - Friday 1 - 6 pm

H P GARCIA GALLERY
580 Eighth Avenue @ 38th Street
New York NY 10018
212 354 7333


NOT WHAT BUT WHERE           


JOSE LUIS AGUILO           
EMILI AMETLLER           
MARTIN BERNSTEIN           
GUDJON BJARNASON           
JOSE MANUEL CIRIA           
ADGER COWAN           
MARGARET EVANGELINE           
YUTAKA INAGAWA           
KEVIN McGRATH           
KEN RESSEGER           
NATHAN SKILES           
HORST STEIN           


New Art Center

HORST STEIN

Stranded - Photographs

New Art Center is delighted to announce an exhibition of photographs “Stranded” by a Vienna based artist Horst Stein. An opening reception for the artist will take place on Thursday, March 8th from 6 to 8 pm. Horst Stein’s seductive images touch upon the ghost of commodity fetishism that circulates in today’s overheated market-driven art world. Clearly, Stein is hardly giving us images drawn from such art scenes in which connoisseurs and collectors navigate amongst other cognoscenti in fashionable city centers to buy, speculate upon or discuss the role and place of art as essential luxury goods which demarcates of the high social status of the rich and educated elite. Instead, through his framing of unprepossessing paintings in the company of seemingly unsophisticated onlookers who are posing in what might charitably be described as unceremonious and often quite prosaic conditions (which are, naturally, antithetical to the proper viewing or appreciating of artworks) Stein creates thought provoking and bemused imagery. His uncliched photographic situations address the unspoken premise that looms large in the art world: that of a higher and higher access and prestige leading to ever escalating cultural (and therefore mon-
etary) capital. His works allow a series of propositions to unravel: who (artist, gallerist, collector, museum curator) gets what (painting, photograph, video, sculpture, installation) seen in which correct (or incorrect) environment and context. Furthermore, Stein’s nimble photographs have a social edge as well in terms of asking who is the “great public” out there that “great” artwork presumably talks (often down) to?

The imagistic cunning of Stein’s photographs depends on his holding in suspension for us as viewers the implication that a work of art (be it painting or photography or a photograph of a painting) is both subject to the conditions under which it is made (produced, exchanged, presented, distributed) and that, moreover, the artwork, on another level, defies those very conditions. Stein has strategically incorporated references to the making of paintings and the recording of such works through another realm of image making (photography) and in so doing brings home the material and immaterial character of the representational image, photography, portrait photography, social realism, storytelling photography or blends of all of these. One might say that as certainty in postmodernism is not an appreciated value, it is the uncertainty principle in Horst Stein’s photographs that sustains their credibility and viability as cultural works of a high order.

New Art Center is open to the public Tuesday through Saturday, from 12 to 6 pm, and by appointment.
For more information and visuals please contact 212.354.2999 or info@newartcenter.net.

580 Eighth Avenue, New York, NY 10018 T: 212.354.2999 F: 212.354.8020 www.newartcenter.net


2007,solo-exhibiton, NewArtCenter, New York, Photography, March/April 2007

Painting and Enigma: the Photographs of Horst Stein

By D.F. Colman

Horst Stein’s photographs teasingly depict the displaying of paintings (either outdoors or indoors). These are seductive images formally and philosophically. The artist’s institutional critique touches upon (perhaps unwittingly or ironically, it is hard to say) the ghost of commodity fetishism that circulates in today’s overheated market-driven art world, its main international art fairs and major cities, such as New York, Miami, Cologne, Berlin, London, Beijing and London.

Clearly, Stein is hardly giving us images drawn from such art scenes in which connoisseurs and collectors navigate amongst other cognoscenti in fashionable city centers to buy, speculate upon or discuss the role and place of art as essential luxury goods which demarcates of the high social status of the rich and educated elite. Instead, through his framing of unprepossessing paintings in the company of seemingly unsophisticated onlookers who are posing in what might charitably be described as unceremonious and often quite prosaic conditions (which are, naturally, antithetical to the proper viewing or appreciating of artworks) Stein creates thought provoking and bemused imagery. His uncliched photographic situations address the unspoken premise that looms large in the art world: that of a higher and higher access and prestige leading to ever escalating cultural (and therefore monetary) capital. His works allow a series of propositions to unravel: who (artist, gallerist, collector, museum curator) gets what (painting, photograph, video, sculpture, installation) seen in which correct (or incorrect) environment and context.

Furthermore, Stein’s nimble photographs have a social edge as well in terms of asking who is the “great public” out there that “great” artwork presumably talks (often down) to? Issues of conspicuous consumption (or lack thereof), visual literacy (or lack thereof) and concomitant references to social status permeate Stein’s imagery lending it a rapier wit. The style occurs through what appears to be Stein’s visual ideology. In presenting images (photos) of images (paintings) in awkward social space with remarkable economy and directness of means the artist’s works allows us to speculate or examine the way that his photographic images makes us see the scenes his pictures represent. 

In essence Stein’s imagery isn’t invested so much in making us aware of the pictorial (that is narratological elements within the paintings themselves, that is the curious fish scenes in the Stranded Series photographs in which we see paintings whose subjects refer to mythological space and time) elements that he has painted nor the spaces in which they occupy as much as he is invested in touching upon a new seam of content.  This enlarged scope opens up a conversation about art itself being seen and evaluated as cultural capital, which inexorably involves a process of production, presentation and distribution. And yet, there is more at stake here than an implication on the part of Stein that he is observing the limits of interpretation as it relates to historical materialism. He is also through his photographic depictions of paintings in the process of being looked upon by the social bringing into sharp focus his mixed intentionalities that are the calling into consciousness the act of painting and the act of seeing. His photos paradoxically revolve around the phenomenon of presence or aura that all painting possesses by virtue of it being intended to exist as a unique image in the world made by hand at one point in time by one artist. Stein raises  questions on the broad humanistic relevance of art-making through its capacity to invoke change (even modest change) through visuality’s claim of being a “universal language” that speaks to everyone no matter what age or social class.

There is to be sure a latent element of wry skepticism that rests within these works; and it is this knowingness on the part of the artist that elevates his images. It carries them beyond the realm of social realism or narrative photography and into a speculative realm of the imagination. This element of wit can be seen in the way that the artist indicates that the claims of the traditional “fine” arts such as painting and sculpture may be specious indeed. In his photographs Stein depicts not appreciative or uplifted beholders of his painterly talents, but rather the opposite. A type of befuddlement, or boredom seems to be the response on the part of the viewers who inhabit the space of the paintings’ sites. This sort of disenchantment seems to be deliberately built into Stein’s photographic ideology; it is after all what he is after: an uncomfortable sensation on the part of the viewer that what we are witnessing as viewers of his photographs is a disconnect between people, between people and art images, and between the photographer/painter and the subjects he is portraying. The paintings we see in the photographs, that are so balefully appreciated by seemingly unknowing or unsophisticated viewers, are the works of the painter who then is photographing their interface with neighborhood friends or family members. This assumption is drawn from the look of familiarity which pervades Stein’s imagery. Yes, the photographs’ tableaux are more likely than not staged; yet the people who were recruited as stand-ins for the “masses” were not, one can conjecture, strangers (or at least do not appear to be so). Yet, of course, one of the reasons for the vitality and charm which sustains Stein’s photo works lies in the fact that there is an irresolvableness and an inconclusiveness, both, which reside within his staged photographs. These two conditions in a manner of speaking are perhaps the most noticeable “actors” in Stein’s mis-en-scenes. 

That is not, of course, to say that the pictorial facets of either the context in which the painterly images are placed (kitchen, courtyard) or the subject matters themselves are devoid, inherently, of signification. In fact, quite the opposite holds true: namely, that we can identify and relate to Stein’s artworks (that is the photograph proper) because he has so masterfully implicated the narrative structure and texture within the paintings themselves within the code of the photograph. The imagistic cunning of Stein’s photographs depends on his holding in suspension for us as viewers the implication that a work of art (be it painting or photography or a photograph of a painting) is both subject to the conditions under which it is made (produced, exchanged, presented, distributed) and that, moreover, the artwork, on another level, defies those very conditions. It is this impossible admixture which elevates cultural labor into an artwork.

In other words, there is both more and less than meets the eye in Horst Stein’s images and imagery.  Max Raphael in his study The Struggle to Understand Art and Towards an Empirical Theory of Art (1941) makes this dual process clear when he writes “Art is an interplay, an equation of three factors - the artist, the world and the means of figuration …a work of art [is] always a synthesis between nature (or history) and the mind, and as such it acquires a certain autonomy vis-vis both these elements…” Stein has strategically incorporated references to the making of paintings and the recording of such works through another realm of image making (photography) and in so doing brings home the material and immaterial character of the representational image.  Moreover, Horst Stein’s photographs are beguiling, as we cannot pigeonhole them as readily as we might think we can or might want to. The enigmatic aspect of Stein’s imagery rests on an important consideration. The photographer has effectively dismantled the category of art “families” or “genres” and “styles” within those families.  Such categorical certainties might in an earlier part of the last century have been functional but are no longer in play today. It is hard to say whether Stein’s imagery falls into the camp of documentary photography, portrait photography, social realism, camp, storytelling photography or blends of all of these. In conclusion, one might say that as certainty in postmodernism is not an appreciated value, it is the uncertainty principle in Horst Stein’s photographs that sustains their credibility and viability as cultural works of a high order.