Vijion Art Gallery
Vijion Art Gallery presents the artists Julia Runggaldier, Josef Kostner, Harald Plattner and Egon Digon at Art International Zurich.
With the work of these four artists, Vijion Art Gallery wants to embrace the broad diversity of Contemporary Art, ranging from abstraction to figuration with each artist's practice presented in its uniqueness and fascination.
Julia Runggaldier draws her inspiration from the sanctuary of the spirit. With a gaze fixed there, she explores a fleetingness that interrupts the accelerations of our time.
The theme of her images could symbolise serenity or silence, the stage of a journey or the achievement of a goal. Julia expresses in her art a union with herself and others and strives for universal unification. Her works speak of a life force and thus respect the greatness and fragility of humanity.
Egon Digon manipulates wood in a way that it resembles something as soft as foam rubber. He breaks the solidity of the rigid material and transforms it into a fluid mass in movement.
This is a treatment that has symbolic meaning to signify our time and that we are increasingly canalised into systems from which the artist desires to escape.
Josef Kostner seeks his artistic inspiration in the nature and landscape of his homeland in the Dolomites.
The artist is a critical and attentive observer of contemporary society, whose loss of values and ideals is at the heart of his creation and the subject of an uncompromising and merciless artistic representation. Josef's work is not only a mere representation of his ideology but is also and above all a warning and an invitation to reflect on the real values of life.
Harald Plattner's paintings explore the suggestive worlds of protection and surveillance. His paintings tell stories of young people looking directly at the viewer, returning and countering the gaze.
The canvases he paints are almost filled by the people depicted, as if they owned the pictorial space. Plattner approaches his subjects at close range and seeks eye contact with his models. He then relentlessly displays the sitters, questioning both the alienation and the self-determination of the sitters and the viewers. What may appear as superficial casualness and unintentional observation reveals moments that reveal more than what is visible at first glance.
The continuous bird's-eye view gives the impression of painted video stills taken from a surveillance camera. There is an unsettling silence, like the atmosphere in moments when one realises that there is still someone in the room, an invisible observer. This complex web of perception, observation and introspection plays the central role in Harald Plattner's paintings.
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