OPENING: 30. January, 2014, 19h
Exhibition Duration: 31. January, 2014 – 27. February, 2014

“Our ego crawls under the blanket of the world and then ditches this on top of our head. The universe could care less. Mother’s advice is dreadfully funny and leads onto thin ice. At home a self-created thunderstorm comes down. The ego lives in a drawer but is still unable to keep the world outside. The ideological weather situation is stormy. The siren howls new spirit into old acquaintances. We’ve lost control over ourselves, already years ago. A lot seems impossible, everything has a disillusioning prospect. New maps drawn for a closed system. Only those who are able to live in illusions can be happy. Ultimately everything goes to the dogs.” Werner Reiterer

After five years Werner Reiterer is showing his third exhibition at the Galerie Krinzinger with EGO – SUBKUTAN. The show includes his most recent sculptures from 2013-2014: EGO, THE JUDD HORN, WER WIND SÄT…, EGO-SUBKUTAN and MUTTER’s RAT/MOTHERS’S ADVICE as well as two ongoing series: a selection of The Site-Specific Mobiles and 14 works from the gezeichnete Ausstellungen (drawn exhibitions) series.

Since 2001 the artist has been creating his Site-Specific Mobiles – works in different formats (at present there are some 70 pieces.) Here he combines design drawings, as well as photographs of the completed objects and texts. As an open series it revolves exclusively around projects and interventions in public space. The projects that were implemented are contrasted with non-realized ones. The main goal is to introduce these interventions as ideas that are amenable to reception into a more open discourse.

The gezeichnete Ausstellungen series that was begun in 1996 is constantly being extended and complemented by new pieces. For this, Werner Reiterer uses exactly 19 pencils of different strengths for precisely 19 differently think gray surfaces, always working in the same format (70 x 50 cm). Since all drawings are treated “equally” in their mode of production this series is informed by a steady formalism, which thus directs the onlooker’s attention to the different contents of the individual sheets. The drawings depict works that were executed as sculptures and installations but also to ones that were never realized or were never intended to be and thus only function as a graphic idea.

His interventions in public space, sculptures, drawings, photographs and installations activate the onlooker and generally also integrate him or her. His sculptural output is informed by interactivity. The onlooker is not just incorporated in the conception and production of a piece as living material but also becomes a main element of the works.