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ZEICHENSPRACHE. Antunes | Bayrle | Brătescu | Castoro | Pichler
Geta Brătescu, Didona, 2000
© MAK/Aslan Kudrnofsky
 

ZEICHENSPRACHE. Antunes | Bayrle | Brătescu | Castoro | Pichler
Leonor Antunes, I stand like a mirror before you, 2015; discrepancies with F.K., 2016
Courtesy of the artist and kurimanzutto, Mexico City
© MAK/Georg Mayer
 

SIGN LANGUAGE

Antunes | Bayrle | Brătescu | Castoro | Pichler

Wed, 10.02.2021–Sun, 25.04.2021

MAK – Museum of Applied Arts

Exhibition

SIGN LANGUAGE

Antunes | Bayrle | Brătescu | Castoro | Pichler

Wed, 10.02.2021–Sun, 25.04.2021

MAK – Museum of Applied Arts

The exhibition explores the manifold means of language from the perspective of visual arts. In literature, especially in poetry, language is given a poetic or musical order. The alphabet as a sign system connects all languages and the development of script mirrors the stages of modern society, its revolutions, and ruptures. Written characters represent identities and, at the same time, digital technologies aim for universal imagery. 
 
Through their individual (sign) language, the drawings, sculptures, and installations by artists Leonor Antunes, Thomas Bayrle, Geta Brătescu, Rosemarie Castoro, and Walter Pichler open a space for relationships, processes, and models. 
 
The works were purchased by the Austrian Ludwig Foundation and handed over to the MAK as permanent loans in order to support the expansion of the collection with internationally renowned pieces of art.

Opening of the exhibition: Tue, 9 Feb 2021 
 

Walter Pichler (1936–2012) regarded art as a program. The immanent tension between sculpture, body, and architecture characterized his oeuvre. His sculptural language begins as an image or symbol.
 
Rosemarie Castoro (1939–2015) developed her own language between Minimal Art and conceptual art. She combined painting, performance, stage design, and sculpture, declaring herself a “paintersculptor.”
 
Geta Brătescu (1926–2018) is interested in the dualism of geometric or industrial forms and draws on Constantin Brâncuși’s exploration of archaic forms in nature, art, and architecture. 
Leonor Antunes (* 1972) portrays stories of the 20th century on art, architecture, and design in her sculptural works and installations. She examines the language of natural materials, such as wood, fabrics, leathers, or metal. 
 
Thomas Bayrle (* 1937) investigates mechanisms of language, images, everyday objects, and creates ornaments of mass. His “superforms” such as Jesus, Mao, the highway, or the smartphone refer to political, industrial, cultural, and religious icons.
 


Media

<BODY><div>ZEICHENSPRACHE. Antunes | Bayrle | Brătescu | Castoro | Pichler</div><div>Geta Brătescu, Didona, 2000</div><div>© MAK/Aslan Kudrnofsky</div><div> </div></BODY>
ZEICHENSPRACHE. Antunes | Bayrle | Brătescu | Castoro | Pichler
Geta Brătescu, Didona, 2000
© MAK/Aslan Kudrnofsky
 
<BODY><div>ZEICHENSPRACHE. Antunes | Bayrle | Brătescu | Castoro | Pichler</div><div>Leonor Antunes, I stand like a mirror before you, 2015; discrepancies with F.K., 2016</div><div>Courtesy of the artist and kurimanzutto, Mexico City</div><div>© MAK/Georg Mayer</div><div> </div></BODY>
ZEICHENSPRACHE. Antunes | Bayrle | Brătescu | Castoro | Pichler
Leonor Antunes, I stand like a mirror before you, 2015; discrepancies with F.K., 2016
Courtesy of the artist and kurimanzutto, Mexico City
© MAK/Georg Mayer
 

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