Behind the exhibition title "Good Prospectives?" Is a question mark.
Is it a glimpse into the supposed future of an increasingly disintegrated society that the artist duo has caught on, or a kind of escape from reality into an imaginary world of imagination as a retreat for the maltreated and freedom-robbed individual?
The view of the protagonists, whose art is based on the objectivity, could not be more different.
If one wanted Schmalix large-format landscape paintings, on which the clear water of natural mountain streams bubbling, rattling mill wheels in staccato, mountain massifs pile up in pop colors and stretched across a wide sky, the blemish of lulling beauty chalking, you would be wrong. They are imaginary subjects, idealized landscape motifs with an archetypal character, a tense interplay between line and surface, a clear commitment to the power of painting without ifs and buts. The postcard idyl, which evokes associations with a world-obsessed Neo-Biedermeier and carries the stigma of complacency, may just be a chimera. A resident of Los Angeles, the native Grazer flirts with a beautifully-colored harmony, knowing that it does not stand up to reality.
In turn, Gabi Trinkaus uses glossy magazines as a raw material for her cleverly designed collages. In doing so, she shatters the market-rousing aesthetics of advertising in order to arrange them for socially critical statements and accentuate them with fineliner. This can be landscapes devastated by hurricanes as well as luxurious weekend lodgings on the water, where the rich and the beautiful are looking for relaxation. Trinkaus operates a witty and playful way of recycling with impressive alienation effects. You can see the exhibition at Galerie Gölles, which shows two contrary positions of contemporary art, up to and including April 7th.