“Once explanations and instructions have been given, once the right insight has been imparted, first come reminders, then punishments, and even these should begin with the milder ones. One does not immediately take three morphine powders, but begins with one, and if this does not help, one does not take three, but first two.”

Oppel Karl: Das Buch der Eltern, 1877

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The examination of emptiness is a central topic in the works of Georg Pinteritsch. He deals with the tense relationship in which abstracted bodies, passages and loose objects enter into a distorted environment and barren landscape. Pinteritsch combines aesthetics and the symbolic gesture of the medieval woodcut with strictly geometric lines. Sometimes these lines are only indicated by the arrangement of the objects and allow viewers to recognise a kind of superordinate structure. The drawn line, which separates surfaces and forms from each other, determines position and composition, divides the most diverse surfaces and is a fundamental component of his graphic and painterly oeuvre. The works tell of strange rituals and unnamed places, in which an invisible order is inherent and which are held together by a network of line and form constructions.

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“In certain situations, out of a certain uneasiness, I kneed together fragments, scuffed from tickets or bills. They are in my pockets and I warp them in a way, that the particles take new forms. Finally I roll them into small balls and start over again. Everything happens unconsciously, detached from any judgement. When I become aware of this activity, I often examine the objects that were produced. Mostly they are annoying sausages that I throw somewhere. I'm interested in this unconscious creative aspect, which I constantly try to emulate in the process of drawing. I stay behind and focus on details. Details that are put together to a whole through my intervention."

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In terms of content, Georg Pinteritsch plays with symbolic motifs and existentialist questions, taking into account social and technological developments and the associated changes in forms of perception. The starting point for the exhibition "Jus studieren für'n Vater" was the confrontation with social demands and norms and the resulting feeling of being constantly overwhelmed in the course of self-optimisation processes in order to be able to live up to them. In the short prose text "Kleine, scheinheilige Welt", published to accompany the exhibition, the author and essayist Alexander Wöran explores the questions arising in this context about various forms of hypocrisy, the constitution of punishment in general and the exploration of the balance between punishment and fetish. The text will be available on site during the exhibition, the author will read from it at the opening.

Georg Pinteritsch

Alexander Wöran

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Floor plan

Alexander Wöran - Kleine, Scheinheilige Welt