Gerold Tusch
Tusch, Gerold: Frames, Keramik glasiert, geknoepfte Polsterung, 2005
Bilder
Bio/Austellungen
GEROLD TUSCH
(* 2. August 1969 in Villach, lebt in Salzburg)
Ausbildung:
| 1987-92 | Lehramsstudium Hochschule Mozarteum, Salzburg, Malerei (Peter Prantstetter), Werkerziehung/Keramik (Barbara Reisinger) |
| 1992 | Stipendiat Internationale Sommerakademie Salzburg, Klasse Kiki Kogelnik |
| 1992-94 | Studium an der Gerrit Rietveld Academie, Amsterdam, Abteilung Keramik (Babs Haenen, Gert Lap, Beate Reinheimer, Henk Trumpie |
| 1993 | Teilnehmer 4th Biennial European Academies of Visual Arts, Maastricht, Masterclass Anne Ausloos |
Stipendien und Preise:
| 1993 | Keramik-Stipendium des Bundesministeriums für Unterricht und Kunst |
| 1995 | Jahresstipendium für bildende Kunst der Stadt Villach |
| 1996 | Jahresstipendium für Bildende Kunst des Landes Salzburg |
| 1997 | Förderungspreis des Landes Kärtner für bildende Kunst |
| 2003 | Atelierstipendium des Landes Salzburg in Chicago |
| 2005 | Anerkennungspreis, "Salon Europeen des Jeunes Createur - Montrouge |
Kunst am Bau:
| 1994 | "Kunststrecke", Tourismusfachschule, Wamrbad-Villach |
| 2000 | "Blick-Richtungen", Augenklinik, Landeskrankenanstalten, Salzburg |
| 2006 | "Rund um den Altar", Wettbewerbsbeteiligung für die Neugestaltung der liturgischen Orte in der ehemaligen Stiftskirche Garsten, Diözese Linz, gemeinsam mit Roland Tusch |
Austellungen (Beteiligung):
| 1992 | "Wildwuchs-Nachwuchs", Kunstverein Kärtner, Klagenfurt |
| 1994 | Galerie In-Art, Amsterdam |
| 1995 | "Kermanikpreise 1995", Galerie im Traklhaus, Salzburg |
| "Römerquelle Wettbewerb 1995", Bregenz, Salzburg, Wien | |
| 1996 | "Keramik-Skulptur", Hipp-Halle, Gmunden |
| "Keramik aus Österreich", Keramikmuseum Mettlach, D | |
| 1998 | "Genuss zwischen Wahn und Sinn", Goldegger Dialoge, Schloss Glodegg, Land Salzburg |
| "Weiß", Kunsrforum Hallein, Hallein | |
| "Bild und Text", Kunstverein Kärnten, Klagenfurt | |
| 1999 | "Am Anfang war... Text, Bilder, Poesie, Drama im Raum", Arhus Kunstbygning, DK |
| "dintorni/umgebung", Palazzo Trentini, Trento, Galerie im Traklhaus, Salzburg | |
| "Weiß", Kunstbunker Tumulka, München | |
| 99/2000 | "Augenlust", Kunsthalle Erfurt |
| 2000 | "Keramik Positionen I", Schloss Goldegg, Land Salzburg |
| "Kunst der Begegnung", Burg Straßburg, Kärtnen | |
| "artLab - 10 Positionen", Galerie im Traklhaus, Salzburg | |
| 2001 | "Keramikpreise 2001", Galerie im Traklhaus, Salzburg, Hipp-Halle, Gmunden |
| "Künstler aus Salzburg", Galerie Altnöder, Salzburg | |
| 2002 | "schoen", Schloss Goldegg, Land Salzburg |
| "art-x-ibit zum Materialbegriff der Kunst", UBR Galerie, Salzburg |
| 2003 | "catwalk", Galerie der Stadt Salzburg im Mirabelgarten, Salzburg |
| "den RAUM bezogen", Deutschvilla, Strobl am Wolfgangssee | |
| "Craft Now - 21 Artist from America, Europe and Asia", 21st Century Museum of Contemporary Art, Kanazawa | |
| 2004 | "Technical works", artLab-Galerie Hilger, Wien |
| "Konzepte auf Papier", UBR Galerie Salzburg | |
| "Crossover - zeitgenössische Kunst aus Kärnten und Slowenien", Ljyubljynskigrad, Ljubljiana | |
| 2005 | "Kunstpreise 2005 - die nominierten Künstler/innen", Galerie im Traklhaus, Salzburg |
| "Kaugummi, Nylons, Schokolade, Jazz - USA-Einfluss in Salzburg 1949-55", Galerie im Traklhaus, Salzburg, Vienna International Center, Wien, Österreichische Botschaftm Washington D.C. | |
| "Keramik, aktuelle Tendenzen aus Östereich", MAK, Museum für Angewandte Kunst, Wien | |
| "Materika", Biennale Junger Skulptur, Castello di Gorizia, Gorizia | |
| 2005/06 | "Salon Europeen des Jeunes Createurs", Montrouge (F), Amarante (P), L´Hospitalet de Llobregat (E), Salzburg, Genf |
| "Languages", Galerie 422, Gmunden, Museum für Angewandte Kunst, Frankfurt, London Gallery West, University of Westminster, London, Kunstindustrimuseet, Kopenhagen | |
| 2006 | "Der Schuh in der Kunst", Galerie im Traklhaus, Salzburg |
| 2006/07 | "Wer hat Angst vor Gianbarocco, Phänomene und Phantome des Barock", Salzburger Barockmuseum, Salzburg |
| "Form im Wandel, Gegenwartskeramik aus Österreich", MAK, Museum für Angewandte Kunst, Wien |
| 2007 | "blühend", Galerie der Stadt Wels, Wels |
| "Üppigkeit und Opulenz", Werke aus der Salzburger Landessammlung im Salzburg Museum | |
| "Luft - poetische Qualitäten und turbulente Höhenpunkte", Schloss Mondsee, Luftmuseum Amberg | |
| "bau/kunst/öffentlicher Raum", Kunst am Bau in Salzburg, Künstlerhaus-Kabinett, Salzburg | |
| 2007/08 | "Joke, Satire, Irony and serious meaning", European Triennal of small-scale Sculpture, Murska Sobota |
| 2008 | "rot, red, rouge - Studien zu einer Farbe"m Residenzgalerie Salzburg |
| "Substrat '8", UBRgalerie Salzburg | |
| "K08 - Emanzipation und Konfrontation", Stift Ossiach/Kärnten | |
| 1992 | "Papierobjekte-Keramikobjekte", Galerie im Traklhaus, Salzburg |
| 1994 | "keramik", Galerie Raum I/9, Wien |
| "Eindexamenexpositie", Gerrit-Rietveld-Academie, Amsterdam | |
| "englein", Galerie der Stadt Salzburg im Mirabellgarten, Salzburg | |
| 1995 | "GegenPole", Galerie Inge Freund, Klagenfurt |
| 1996 | "Das Ab-Bild einer Vase", Galerie Freihausgasse, Villach |
| 1997 | "formen und vasen-formen", Galerie Freihausgasse, Villach |
| "Keramik/Objekte", Galerie Eboran, Salzburg | |
| 1998 | "eine vase ist eine vase ist eine vase", Barbare Reisinger, Schauraum für angewandte Kunst, Wien |
| 1999 | "S-Kurven & C-Schwünge", Galerie Altnöder, Salzburg |
| "artLAB", Galerie Hilger, Wien | |
| "Eigene Arbeiten für 3 Schaufenster", Galerie für zeitgenössische Keramik, Wien | |
| 2000 | "fetes galantes", Galerie De Lotus, Den Haag |
| 2001 | "REINE LUST OBJEKTE", Positionenreihe 23, Rupertinum, Salzburg |
| 2002 | "Lustbarkeiten", Galerie Gmünd, Kärten |
| "mon petit poudrier", UBR Galerie, Salzburg | |
| "10 Jahre Galerie Unart", mit Gernot Fischer, Galerie Unart, Villach | |
| "avec plaisir", Kunsthalle nexus, Saalfelden | |
| "mon petit poudrier", Galerie Hafermann, Wiesbaden, Galerie G. Judenburg | |
| 2004 | "home & garden", Projectspace auf der art frankfurt mir UBR Galerie Salzburg |
| "Gerold Tusch und Rob de Vry", UBR Galerie, Salzburg | |
| 2005 | "Gerold Tusch und Rob de Vry", Galerie Haldemann, Bern |
| 2006 | "dekorum", Galerie Heike Curtze, Souterrain, Wien |
| "kindred - wahlverwandt" (mit Julie Hayward), Kunstverein Kärnten, Klagenfurt | |
| "hortus deliviarum", Emmanuel Walderdorff Galerie im Schloss Molsberg Pavillon, Westerwald |
| "dulce et decorum", Installation im Raum der Stille, Katholische Hochschulgemeinde, Universität Linz | |
| 2007 | "padded, pad and paddy", Galerie Hafemann, Wiesbaden |
| 2008 |
„Jeu d’images et jeu de mots“ – UBRgalerie, Salzburg |
Info
Gerold Tusch
The basic principle of Gerold Tusch’s artistic practice is to adapt materials and gestures to different, uncommon appearances. He endorses a genre of arts and crafts that has become quite rare, i.e. ceramics and decorations, and he lures their rules and potentials into completely redefined contexts. His forms and formations have adopted a side show of history of art, and, as if in a process of liberation, they are granted a high-level of shrewd attention. The discrepancy between genesis and emancipation brings about a kind of oscillation between discomfort and sybaritism, so that, under new signs, pillaged, abused forms like Rocaille arabesques, various types of cups and vases, charming, inexpensive china jewellery and cheap, romantic trinkets acquire new spaces of existence. Having been released from the context of slavish decoration and servility, they take on an unexpected and amazing inner, monumental feature and a contradictory independence.
This provocative presence is contrasted with the seemingly innocent grace of formal virtuosity: china-like patterns of ornamental lines cover entire wall surfaces, delicate ornamental objects take us by surprise with their ambiguous connotations – the form of this vase, isn’t it a bit phallus-like, and these panties, aren’t they a bit feminine and sexy?
What might be perceived at first glance as beautiful, harmonious and graceful proves to be daringly abusive when it is approached more closely: smooth surfaces, silvery cloudy shapes, ornamental tendrills, exuberant vase bodies and full flower capitulum, inverted hollow spaces and creases cannot fully disguise their similarity to lascivious and sexually-charged shapes. His appropriation of shapes are based on the shoals of history of art on whose shallow edges there are plenty of gristle, tendrill and the grotesque. The artist’s points of departure are the decorative phases of Rococo and Historicism, and his enthusiasm for Gothic globosity and Medieval book painting must not be overlooked, both of which had cunningly eluded the verdict of the Roman Catholic Church on the sly, incorporating erotic scenes and burlesque allusions into rich fittings of incunabula, altars and window frames.
During the process of his artistic practice, however, Tusch’s introduction of an appropriation gesture goes hand in hand with the ironic potential of a deliberately abusive implementation that does not stop at the isolation of shapes from their context and an adaptation and adjustment into new ones. While the artist is still addressing decoration or style, familiarization is already in progress, a transformation that exposes and amuses, and the results make fun of the spectator through a split between smart appearances and ambiguous allusions.
SMART ABUSE
Margit Zuckriegl
The basic principle of Gerold Tusch’s artistic practice is to adapt materials and gestures to different, uncommon appearances. He endorses a genre of arts and crafts that has become quite rare, i.e. ceramics and decorations, and he lures their rules and potentials into completely redefined contexts. His forms and formations have adopted a side show of history of art, and, as if in a process of liberation, they are granted a high-level of shrewd attention. The discrepancy between genesis and emancipation brings about a kind of oscillation between discomfort and sybaritism, so that, under new signs, pillaged, abused forms like Rocaille arabesques, various types of cups and vases, charming, inexpensive china jewellery and cheap, romantic trinkets acquire new spaces of existence. Having been released from the context of slavish decoration and servility, they take on an unexpected and amazing inner, monumental feature and a contradictory independence.
This provocative presence is contrasted with the seemingly innocent grace of formal virtuosity: china-like patterns of ornamental lines cover entire wall surfaces, delicate ornamental objects take us by surprise with their ambiguous connotations – the form of this vase, isn’t it a bit phallus-like, and these panties, aren’t they a bit feminine and sexy?
What might be perceived at first glance as beautiful, harmonious and graceful proves to be daringly abusive when it is approached more closely: smooth surfaces, silvery cloudy shapes, ornamental tendrills, exuberant vase bodies and full flower capitulum, inverted hollow spaces and creases cannot fully disguise their similarity to lascivious and sexually-charged shapes. His appropriation of shapes are based on the shoals of history of art on whose shallow edges there are plenty of gristle, tendrill and the grotesque. The artist’s points of departure are the decorative phases of Rococo and Historicism, and his enthusiasm for Gothic globosity and Medieval book painting must not be overlooked, both of which had cunningly eluded the verdict of the Roman Catholic Church on the sly, incorporating erotic scenes and burlesque allusions into rich fittings of incunabula, altars and window frames.
During the process of his artistic practice, however, Tusch’s introduction of an appropriation gesture goes hand in hand with the ironic potential of a deliberately abusive implementation that does not stop at the isolation of shapes from their context and an adaptation and adjustment into new ones. While the artist is still addressing decoration or style, familiarization is already in progress, a transformation that exposes and amuses, and the results make fun of the spectator through a split between smart appearances and ambiguous allusions.
SMART ABUSE
Margit Zuckriegl