MARTINA STECKHOLZER

Fig. 10, Limbni, 2017, 60 × 50 cm, oiltempera on canvas, 2024
Fig. 13, Limbni, 2017, 60 × 50 cm, oiltempera on canvas, 2024
Fig. 18, Limbni, 2017, 60 × 50 cm, oiltempera on canvas, 2024
Fig. 19, Limbni, 2017, 60 × 50 cm, oiltempera on canvas, 2024
Fig. 14, Limbni, 2017, 60 × 50 cm, oiltempera on canvas, 2024
Fig. 21, Limbni, 2017, 60 × 50 cm, oiltempera on canvas, 2024
Fig. 22, Limbni, 2017, 60 × 50 cm, oiltempera on canvas, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Fig. 10, Limbni, 2017, 60 × 50 cm, oiltempera on canvas, 2024
Vische, permanent, Kartaus, 2025
Vische, permanent, Kartaus, 2025
Vische, permanent, Kartaus, 2025
Vische, permanent, Kartaus, 2025
Vische, permanent, Kartaus, 2025
Vische, permanent, Kartaus, 2025
Vische, permanent, Kartaus, 2025
Vische, permanent, Kartaus, 2025
Black Concrete, mit Andreas Fogarasi, Kunstforum Montafon, 2018.
Painting Corridors, Stadtgalerie Brixen, 2020
The Doubt, 140 × 240 cm, oiltempera on canvas, 2018
The Mechanical Bird, 140 × 240 cm, oiltempera on canvas, 2018
The Movements, 140 × 240 cm, oiltempera on canvas, 2018
The Noise, 140 × 240 cm, oiltempera on canvas, 2018
The Performers, 140 × 240 cm, oiltempera on canvas, 2018
The Spaces, 140 × 240 cm, oiltempera on canvas, 2018
The Piano, 140 × 240 cm, oiltempera on canvas, 2018
Black Concrete, mit Andreas Fogarasi, Kunstforum Montafon, 2018.
Il Babuino. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
Il Dragho. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
Il Fringuello. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
Klubhaus, Vienna, 2023
Il Gufo. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
Il Ragno. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
Il Rospo. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
Klubhaus, Vienna, 2023
L'Obelisco. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
L'Uccellino. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
La Gattina. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
Klubhaus, Vienna, 2023
Il Babuino. Libri Antichi Stampe, 15 × 18,5 cm, varnished pigment on paper, 2021
Il Bagatto. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
Il Carro. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
Il Giudizio. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
Playing Cards, Hoast, Vienna, 2023
Il Matto. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
I Appeso. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
Playing Cards, Hoast, Vienna, 2023
I Amore. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
La Giustizia. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
La Morte. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
Playing Cards, Hoast, Vienna, 2023
La Ruota. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
Playing Cards, Hoast, Vienna, 2023
Il Bagatto. I Tarocchi, 53 × 24 cm, eggtempera on paper, 2021
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Le Carnaval des Animaux, Galleria Ghetta, 2024
Stringfigures, steel, permanent, Österreichisches Parlament, 2023
Stringfigures, steel, permanent, Österreichisches Parlament, 2023
Stringfigures, steel, permanent, Österreichisches Parlament, 2023
Stringfigures, steel, permanent, Österreichisches Parlament, 2023
Stringfigures, steel, permanent, Österreichisches Parlament, 2023
Stringfigures, steel, permanent, Österreichisches Parlament, 2023

Figuren gespannt
Die Demokratie liegt in unseren Händen wie ein Fadenspiel

Der riskanteste Moment beim Fadenabnehmspiel, wie auch in der politischen Debatte, ist der
Moment der Übergabe, jener Moment, der in die Zukunft führt und eine Erwiderung sucht. Da
kann alles schiefgehen. Die Gebende muss zeitgerecht loslassen und der Nehmende muss
genau im richtigen Moment zugreifen, dabei schon eine Idee habend, wie es weitergehen
könnte. Beide tragen für diesen Moment die Verantwortung.

Karin Harrasser zu „String Figure“

Stringfigures, steel, permanent, Österreichisches Parlament, 2023
G1. Eutopia, 35 × 23 cm, oiltempera on paper, 2024
G2. Eutopia, 35 × 23 cm, oiltempera on paper, 2024
G3. Eutopia, 35 × 23 cm, oiltempera on paper, 2024
G4. Eutopia, 35 × 23 cm, oiltempera on paper, 2024
G5. Eutopia, 35 × 23 cm, oiltempera on paper, 2024
G6. Eutopia, 35 × 23 cm, oiltempera on paper, 2024
G8. Eutopia, 35 × 23 cm, oiltempera on paper, 2024
Klubhaus, Vienna, 2024
G1. Eutopia, 35 × 23 cm, oiltempera on paper, 2024
Il Giudizio. Giocare A Carte,  29 × 14 cm, pigment on paper, 2021
Il Mondo. Giocare A Carte,  29 × 14 cm, pigment on paper, 2021
La Stella. Giocare A Carte,  29 × 14 cm, pigment on paper, 2021
La Torre. Giocare A Carte,  29 × 14 cm, pigment on paper, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Preferisco mantenere le superfici ruvide, Quartz Studio Torino, 2021
Il Giudizio. Giocare A Carte, 29 × 14 cm, pigment on paper, 2021
Kunst und Schnittlauch, 2024
s9.1, 35 × 23 cm, oiltempera on paper, 2024
s9.2, 35 × 23 cm, oiltempera on paper, 2024
s9.3, 35 × 23 cm, oiltempera on paper, 2024
s9.4, 35 × 23 cm, oiltempera on paper, 2024
s9.6, 35 × 23 cm, oiltempera on paper, 2024
s9.5, 35 × 23 cm, oiltempera on paper, 2024
Kunst und Schnittlauch, 2024
The Bird. A Late Afternoon,140 × 240 cm, pigment on canvas, 2019
The Collection of Leaflets. A Late Afternoon,140 × 240 cm, pigment on canvas, 2019
The Lights. A Late Afternoon,140 × 240 cm, pigment on canvas, 2019
The Me. A Late Afternoon,140 × 240 cm, pigment on canvas, 2019
The Pailing Sun. A Late Afternoon,140 × 240 cm, pigment on canvas, 2019
The Park. A Late Afternoon,140 × 240 cm, pigment on canvas, 2019
The Quiet Room. A Late Afternoon,140 × 240 cm, pigment on canvas, 2019
in situ, with Ekaterina Shapiro-Obermair, Galeria Le Carceri, Caldaro, 2019
in situ, with Ekaterina Shapiro-Obermair, Galeria Le Carceri, Caldaro, 2019
in situ, with Ekaterina Shapiro-Obermair, Galeria Le Carceri, Caldaro, 2019
in situ, with Ekaterina Shapiro-Obermair, Galeria Le Carceri, Caldaro, 2019
in situ, with Ekaterina Shapiro-Obermair, Galeria Le Carceri, Caldaro, 2019

Up from the park.
From this quiet room, with the lights off.
Afternoon sun paling outside.
In doubt is truth. In doubt I trust.
A shallow me between the pages.
Ink.
When things become apparent.
I follow my work.
I follow what I am given.
To unlearn the narratives.
Maintaining infinity.
With the birds out.

From: A late afternoon.
February 2019. Vienna.

The Bird. A Late Afternoon,140 × 240 cm, pigment on canvas, 2019
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With Martina Steckholzer painting is documentary, deconstructive and poetic. In large-format room images, she looks at exhibition architecture and stages of contemporary discourse. Steckholzer empties, abstracts and generates space. To do this, she uses the most minimal tool in painting: pigment, dense or flowing on the surface. Empty as they are, the picture spaces become open stages and foreboding documentary traces. An affirmative and projective type of institutional criticism is emerging.

Martina Steckholzer understands art, time and others in and through painting.

The gaze is more intimate in the works on paper. Here it is faces and bodies that are quickly applied to small-format paper. Dye and water react in a fleeting moment to form vulnerable surfaces. Steckholzer writes fragmentary texts for the painting and adds them to the pictures depending on the exhibition context.

—Alice Reil, 2020