That feeling to see your sweet foxes ✨🐺🌸traveling around the world💕✈️🗺 Foxes are coming 😃🎉 stay tuned! P.S. Thank you lovely young lady @happy_fox_family for making my heart sing 💞🎶every time I see your adorable pictures🤗😘
Der Tag startet frostig, noch bleibt der Schneepuder dadurch liegen, wie hier am Sonntag in Sievering mit seinen schönen Häuschen. Grau ist es, nebelig, soll nachmittags durch aufkommenden Wind aber bis zu 5 Grad bekommen. The day starts with temperatures around zero, so that the snow powder on the houses and trees is kept - like here during my Sunday walk in Sievering with its beautiful houses. In the afternoon, Vienna expects wind and 5 degrees, the weather change in coming, the gray will stay.
#schedulemetonight#vienna#wien#vienne#vernissage#opening at 7pm
JÚLIUS KOLLER: SUBJEKTOBJEKT
Opening: Tuesday 16th January 2018, 7 pm
Galerie Martin Janda is showing the third solo exhibition by Július Koller from 17th January to 24th February 2018.
In 1969, artist Július Koller inscribed a question mark onto the surface of a tennis court. Within the context of the artist’s practice, the semantics of the gesture were not so usual. After all, in its serpentine course, the punctuation mark had the power to throw an entire statement into flux. This made it the ideal icon for the ambiguity and uncertainty of the times, following the Prague Spring and the ensuing Soviet invasion, which had promptly wiped the “human face” off Czechoslovakia’s bespoke brand of socialism. But the question mark also had an elasticity that could stretch beyond the localized and apply to the universal. For this reason, Koller had taken up the cipher as his signature motif, branding the symbol on banners, ping-pong paddles and even the façades of old wooden houses.