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on 28.09.2023 from 6 pm
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Vienna Ice Skating Club
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1980, Mexico City – Lives and works in Vienna and Berlin
Enrique Fuentes was born in Mexico. Sometimes the effect of his paintings is explained from this circumstance. It is claimed that the enigmatic, contradictory even disturbing comes from the fact that his art is virtually an impulsive mixture of his hot-blooded temperament and all the impressions and influences with which he has been confronted since he entered the’ Ecole Nationale Supérieur des Beaux-Arts in Paris – and later in Austria, where he lives predominantly. Enrique Fuentes is driven by a powerful passion, by a tremendous urge to do exactly what he does. There is, beyond his infectious kindness, a dark side to him, a knowledge of death, disease, despair, decay. He has something of a shaman, that is, of a person who is able to look at the other side. That above all determines his art, that above all establishes the peculiarity of his works.
— (Otto Hans Ressler “Enrique Fuentes – The dark Side” Atlas Obscuro, 2018)–
born 1967 in Genova
His career begins in the 1996, in the following years as well as numerous solo and group exhibitions, he was among the finalists of Premio Cairo (2003), in the same year solo exhibitions were held at galleries Guidi&Schoen in Genoa and Ronchini in Terni. In 2004 he participated in the Anteprima della XIV Quadriennale in Rome and has exhibited at Mart in Rovereto, as well as on the occasion of his solo exhibitions at Galerie Voss in Düsseldorf and Galleria d’Arte Moderna in San Marino. In 2005 he was among the finalists for Premio Maretti and Premio Fabbri, and has presented a new series of works in a solo exhibition at d’Ac Galleria Comunale d’ Arte Contemporanea in Ciampino. In 2006 he participated in the exhibition La Donna Oggetto at Castello Sforzesco in Vigevano and Human Art at Galleria Comunale di Catania. He participated in the show Nuovi Pittori della Realtà at Pac in Milan (2007) and was among the artists invited to the exhibition Linee all’orrizzonte at Galleria d’Arte Moderna in Genoa. In the same year he was among the finalists of Premio Michetti. Between 2008 and 2010, he presented four solo exhibitions among which I still have a long way at Ronchini and Familiar Strangers in Genoa. In 2009 he began working on sculpture creating a series of public installations, for the Museum of Palazzo Bianco in Genoa and the spaces of Macro Future in Rome. In 2010 the solo show Babel dedicated entirely to sculpture was held at Guidi&Schoenand between 2013 and 2019, he presented eight solo exhibitions among which Generation Why took place at Galerie Voss, Düsseldorf Icons at Galleria Pack, Milan and People at Palazzo della Provincia Autonoma di Trento; among many exhibitions catalogs in 2008 the editor Gli Ori has published a retrospective monograph that retraces his work since 1999. Over the years he has participated in the most important international art fairs including Art Brussels (Be), Art Cologne (D), Arco Madrid (Es), Art Moscow (Ru), Artefiera (En).
born 1948 in Salzburg
Studied philosophy, then changed to study painting. Hans Weigel discovered Eigner and brought him to Vienna in 1985. In 1986 he founded the Stamperia del Tintoretto in Venice with Prof. Roberto Mazzetto. He lives and works in Salzburg, Venice and New York. Eigner can point to numerous national and international exhibitions and his works are in public and private collections as well as in museums.
Zoran Antonio Music
Görz 1909 - 2005 Venice, I
Zoran Music was already an established Slovenian painter when he was deported to the Dachau concentration camp for several months at the end of 1944. Drawings made there became harrowing documents of the times. In the post-war period, the painter settled in Venice, where he painted iconic portraits of his wife Ida Barbarigo, as well as the first unmistakable Cavallini from Dalmatia. Meanwhile, Music traced the whimsical signature of earth relief in the hilly worlds of Umbria and Tuscany.
When the Galerie de France signed him up in 1952, he moved to Paris, where he lived for long periods. Since 1948 he participated several times in the Venice Biennale, was represented with his works at the documenta I in Kassel as early as 1955, and was exhibited and awarded numerous times internationally.
In the mid-1950s, Music defined the landscape, including the pictorial protagonists, as an ornamental fabric, as it were, in his color-intensive works, soon venturing a step into abstraction. This phase, which lasted until 1963, was followed by a body of work in which Music increasingly found his way to an anthropomorphic conception of the landscape.
The indelible trauma of the concentration camp experience was again processed by the painter from 1970 in the cycle of paintings “Wir sind nicht die Letzten” (“We are not the last”). These unsparing visions of horror were followed by atmospheric paintings from Music’s adopted Venetian home as well as numerous self-portraits painted in muted tones. These are evidence of a tireless search for answers to the fundamental questions of human existence.
Source: Leopold Museum, Vienna
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