In this exhibition, Joseph Sakoilsky presents a series of paintings that not only question the line between sculpture and painting but also the return to the origins of actionistic Painting itself. The artist recreates paintings born from an actionistic duktus. Similar to blood spatter analysis at a crime scene, via the use of string the artist analyzes his unconscious movements and the resulting paint splatters. Through this process, Sakoilsky elevates self-analysis to a pictorial level without separating it from the artwork itself.

Working in the realm of Viennese Actionism, Kata Oelschlägel’s artistic practice evolves around the exploration of the body’s materiality and the canvas’ physicality, in search of the beauty within pain. "Kata Oelschlägel: A Gentle Cut," delves into Oelschlägel's reflection on vulnerability and mortality through the examination of the human body, its organs and physical processes. Using her own body as a starting point, her delicate multi-media works question traditional actionistic tools such as blood and self-inflicted cutting and materialize bodily sensations. By transforming practices associated with pain into aesthetic experiences, she challenges prevailing concepts about the human body and creates conciliatory gestures that replace shock with ambiguity.

What began with simple still-life photos of vegetables, taken in her kitchen, quickly developed into intricate arrangements of different objects, as Spasi Sohrani revealed her innate talent. Soon, she captured attention with her evolving technical prowess and storytelling.

The show draws on the ideas of the seminal Viennese modernist architect Adolf Loos, who called for an architecture informed by the functionality of textiles (Das Prinzip der Bekleidung, 1898) and suspicious of ornamentation (Ornament und Verbrechen, 1908). But the show also questions the juxtaposition of structure and ornament, for example, by turning decorative features, such floral patterns that are widely used in textiles, into fundamental elements of structure. Most of the structures thus created or evoked are barriers of one form or another.