Eidola // VOL. XXIII
Despite renovations the Secession is open and even shows two exceptionally well fitting exhibitions.
Under the title „Eidola“ a collection of Rudolf Polanszky´s sculptural works and picture objects is on view in the main hall. The Viennese artist´s main issue could be described as the questioning of given arrangements, or their breaking open and rearrangement, or maybe the fact that reality is a subjective and instable construction. To this effect Polanszky speaks of „translinear“ and „transaggregational“ structures.
Another important element or ingredient of his work ethos is the accident. He adds this by using materials that formerly have been used differently or which have been exposed to wind and weather. But despite all this „brokenness“ Polanszky´s pieces are poetic and beautiful. To me they appear as if Andrej Tarkowski´s film „Stalker“ has been their asthetical nutrient solution.
Haris Epaminonda´s show „VOL. XXIII“ in the graphical cabinet is by several degrees more stern. The Nikosia-born, Berlin-based artist assembles and joins elements from nature and from history, as for instance an Apollo bust or Japanese kimonos, and figurines of cranes and snakes. Even though the lighting is very clear and white the atmosphere remains meditative. But still, this (one could even call it) idiosyncratic gathering has to be won intellectually.
Header: Ausschnitt aus Rudolf Polanszky, Überlagerungs- / Schleifenskulptur, 2015, Secession 2018, Foto: Peter Mochi
1: Rudolf Polanszky, Hyperpolische Räume / Schwebefaltungen, 2011, Secession 2018, Foto: Peter Mochi
2: Rudolf Polanszky, Dunkle Spiegel, 2017, Secession 2018, Foto: Peter Mochi
3: Rudolf Polanszky, Eidola, Ausstellungsansicht Secession 2018, Foto: Peter Mochi
4: Haris Epaminonda, VOL. XXIII, Ausstellungsansicht Secession 2018, Courtesy Rodeo, London; Casey Kaplan Gallery, New York; Galleria Massimo Minini, Brescia, Foto: Sophie Thun
5: Haris Epaminonda, VOL. XXIII, Ausstellungsansicht Secession 2018, Courtesy Rodeo, London; Casey Kaplan Gallery, New York; Galleria Massimo Minini, Brescia, Foto: Sophie Thun