From 1992 to 2010, the studio of the Neue Galerie Graz served as a platform for young Austrian artists at the outset of their career. In 2017 this key instrument for the promotion and presentation of recent art in the Joanneum Quarter was re-introduced. Three studio exhibitions will be shown in 2019 and can be visited free of charge.

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Renate Krammer. slow motion

Opening: 26.04.2019, 7 pm
Duration: 27.04.–16.06.2019
Curated by Günther Holler-Schuster

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AWOL - Absent Without Leave

Opening: 03.07.2019, 7 pm
Duration: 04.07.–01.09.2019
Curated by Günther Holler-Schuster

Total Refusal – Digital Disarmament Movement is an art collective founded in Graz in 2018, consisting mainly of Leonhard Müllner, Robin Klengel and Michael Stumpf. The aesthetics and structures of video games—their relation to the real physical world—are quoted and manipulated by them in a subversive way. They translate the codes of games into real life—motions, behaviours, aesthetics. In this world, the levels of reality have long been mixed. Avatars and real people coexist more or less well with each other according to certain rules of the game. These rules, however, are constantly and fundamentally disturbed by Total Refusal. The potential of this collective lies in the anarchic joke. It creates an amazingly impressive visuality that emerges from the visual noise of today’s digital flood of images. The artists pick up the existing mechanics of the games and misuse them: Imagine it’s a war and all the tanks are just going around in circles ...

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Barbis Ruder - Touchpoint 

Opening: 12.09.2019, 19 Uhr                             

Duration: 13.09.–27.10.2019

Curated by Roman Grabner

The exhibition Touchpoint. in the studio of the Neue Galerie Graz shows the performative sculptures of performance and media artist Barbis Ruder. As the title already suggests, the show deals with touch points, interaction and direct contact. Ruder investigates the intersections between capitalism and the body, between neo-liberalism and the psyche, which shape our present in an unconsidered and lasting way. In the eponymous work, she pursues the question of how one can translate gestures of political rhetoric into space, so to say materialise them. In the same way that politics in principle wishes not only to guide a mass, but always to form it, too, so the artist’s hands touch a soft, malleable mass, in a re-enactment of these gestures. Her finger prints in the silicon cast are the touch points of power. The concern here is literally with the range of words and gestures, and with the so fundamental question of attitude.