Fritz Panzer, Konstantin Loeser, Hanna Röckel – Exhibitions at Pechter Kastowski Gallery » Leadersnet

Outline and identity
The wire twists around itself, turning into coiled lines and tiny spikes. Sometimes it branches and weakens, and bare ends remain visible – an indicator of deception. Fritz Panzer (*1945) thinks of things in terms of their features. His sculptures are based on drawings that become spatial through wire structures. Panzer recreates the outer lines, ignoring the essence, the interior, the essence and even the outer shell of things. In this gallery it is limited to black wire. The objects look like drawings that reveal themselves as ridges on their outer edges. Some of these constructions are reminiscent of hand-made placeholders, others of life-sized dolls that try to reproduce the simplicity of objects. Sometimes they seem like puppets, contemplating how to deal with emptiness, existence in the presence of nothingness.

Panzer’s wire structures do not follow any ontological experiences, but rather appear as sculptural comments on use. Panzer selects simple, everyday objects waiting to be used. He shows it with a humble presence, silent and patient. Here you will find a suitcase, a watch, an empty photo frame, two work stands and two attached neon tubes. The world of household objects appears as a relic and a trivial matter, in a note as sparse as it is succinct. All these things are familiar representatives of life, simple witnesses in the static life of the ego.

Konstantin Loser (*1976) also comes to sculpture through drawing. Loser quotes modernity. Some of his delicate structures are reminiscent of the art of the Bauhaus or the Constructivism of Antoine Pevsner, others of the mobiles of Alexander Calder or the silhouettes of early photography. While Panzer isolates objects and assigns them a familiar identity, in Loser they are more like markers of circumstance, torn apart in a topical play with a fleeting presence. In order to show that cases are never static and can be fixed in place, Loser frees his sculptures from the wall and invests great effort in exploring the angle of incidence of the view.

Loser’s wire sculptures are based on the idea of ​​open towers. In contrast to Panzer, they are less evidence of sober stock, but spatial studies of the elegance and variety of illusion. In many cases, they resemble pieces of jewelry and engraved decorations. Loser, who also makes surrealist objects, chooses noble metals for his objects, ones that sparkle and can be artfully transformed. He presents spatial outlines not just as landmarks, but in constraints and parallels, making wirework reminiscent of graphic shading. He often leaves his works hanging freely as ball-like structures. Only by circling them – whether through their movement or through the viewer’s gaze: inside – do they reveal the principle of their construction. In just one moment, the head of the image turns into a bust, a recognizable face.
Text: Thomas D. Trommer

it’s 4 o clock
Fritz Panzer / Konstantin Loser
August 26 to October 21, 2023
Pechter Kastowski Gallery
Poststrasse 48, 9494 Schaan, Liechtenstein
Wednesday-Friday. 2 pm to 6 pm, Saturday 10 am to 2 pm, by appointment: +423 798 03 35
www.bechterkastowsky.com

Hannah Rockley ©bechter Kastowsky Galerie, Vienna

Hannah Rockell
Nature is captured and reinterpreted using color frequencies. Hanna Roeckle’s design language is diverse, and the color nuances even more so.

Each object is based on a basic set derived from the nature of nature – whether crystalline forms or shapes that appear to be taken from rock formations. Once the shape is essentially fixed, it is transferred into the room using paper and cardboard – an attempt is made to bring back a basic idea taken from nature and transferred to the 2D mold into the 3D shape. If the result matches the artist’s idea, a constant calculation is made of the volume in which the object in question can be built – and when this space is ready, the part that makes each individual Roeckle object unique follows: the concept of color.

Gradient lines allow colors to flow into each other, dissolve any recognizable color boundaries and begin to truly wow the viewer. Each object lights up with x-fold color frequencies. Depending on the direction of view, depending on the location, depending on the fall of light, the color of the artwork looks completely different – ​​green becomes golden, then suddenly drifts to pink when you change position again. It’s her own technique that Hannah Rockell uses here to achieve this iridescence, this interplay of colors.

Rosetta – the Pentagon – has been reinterpreted this year by Hanna Roeckle: a new design language has emerged whose color hues are deeper and more exciting than ever before. We are now showing four of these new works for the first time. The Rosetta boom will also be part of the exhibit. Stat-defying object – a large pentagram that opens towards the middle and allows a view of the wall below. Crystal needles – which stand like stalagmites in a room – are made for both indoor and outdoor use.

Hanna Roeckle created the color concept for the room specifically for the presentation in Vienna. Each room is dominated by a colorful wall in front of which their work is displayed. Great installation – perfect presentation!

Hannah Rockles (*1950, Swiss and Liechtenstein citizen, lives and works in Zurich) The works are represented in numerous private and public collections. inside and outside. For example, at the International Criminal Court (ICC) in The Hague, the Kantonalbank Art Collection in Zurich, the Furniture in Bern, the Art Museum in Liechtenstein, the Art Collection Credit Suisse in Zurich, the First Advisory Group in Vaduz, and the Liner Foundation. In Appenzell, Hilty Arts FoundationSchann, Sal Oppenheim Collection Zurich, Kunström Collection in Seigendorf to name a few.

Hannah Rockell
From September 9 to November 4, 2023
Pechter Kastowski Gallery
Gluckgasse 3. Mezzanine, 1010 Vienna
Thursday Friday. 11am to 6pm, Saturday 11am to 3pm and by appointment: +43 1 5121609
www.bechterkastowsky.com