Dasha Shishkin - Where is Bull's Mama? - Etching/Farbradierung - 2005 Dasha Shishkin - Where is Bull's Mama? - Farbradierung - 2005

Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 

Opening by the Town Mayor Elke Kahr & art historian Tanja Gurke.

18:45 – 19:30 Artist Talk & Guided Tour with Sabina Hörtner  & Oto Rimele – Programme ORF Long Night of Museums

Resilience (Wikipedia)
Resilience (from Latin resilire: to bounce back, rebound, not to cling), also adaptability, is the process by which individuals respond to problems and changes by adjusting their behaviour. This process includes:

Triggers that require resilience (e.g. trauma or burdensome stress),
Resources that promote resilience (e.g. self-esteem, positive attitude to life, supportive social environment) and Consequences (e.g. changes in behaviour or attitudes).
Resilience can make an important contribution to an individual’s ability to recover or respond to challenges and change.

Resilience as a process
In this perspective, resilience is understood as the product of complex and dynamic interactions within a person as well as the person and their environment. While it is often assumed that resilience is an individual trait, most research shows that it is the result of an individual’s ability to interact with their environment and the processes that either promote their well-being or protect them from the overwhelming influence of risk factors.

Sabina Hörtner

The aesthetically sophisticated representation of extinct and protected plants as a symbol for the necessary attention of people towards all earth’s inhabitants in the kunstGarten & Street Gallery helps to strengthen everyday culture with regard to the value and importance of the surrounding phenomena. “before and now or now and then”. The artist has been working in this field for several years. The viewer’s attention is drawn to the seasons, whose appearance is manifested through nature. The awareness of this “natural” manifold beauty, which inspires the human spirit and challenges it through the confrontation with the occurring conditions, is what the artist challenges with her works. More details can be found in the supplement inserted for the time being.

sh rzg mer 89 x 24 cm, Nirosta lackiert, 2023 Sabina Hörtner

Sabina Hörtner, who comes from Bruck an der Mur, lives and works in southern Lower Austria and Vienna. She completed her studies in sculpture at the Academy of Fine Arts in Vienna from 1990-95 with Bruno Gironcoli with distinction and has had numerous exhibitions at home and abroad.













Dasha Shishkin, born 1977 in Moscow, lives in New York.
In 2001 she completed her Bachelor of Fine Arts at the New School for Social Research in New York, and in 2006 her Master of Fine Arts at Columbia University in New York.

Solo exhibitions
2020 Nancy Littlejohn, Fine Art Gallery, Houston, USA
2019 hoo hoo hoo, L21 Gallery, Palma de Mallorca, Spain
2018 but … you’re a horse, Produzentengallerie, Hamburg, Germany
cats and potatoes, Gio Marconi Gallery, Milan, Italy

Dasha Shishkin Egual Opportunity. Radierung. Etching and aquatint [2005]. Signiert. Hahnenmühle Bütten. 41 x 61 cm













Where is Bull’s Mama? (two-colour, printed from two plates) 41.0 x 61.0 cm
Egual Opportunity (printed from one plate, used with two colours) 41,0 x 61,0 cm

Paper quality: Hahnemühle handmade paper 270 gsm
Printer: Willi Jesse Art and Etching Workshop, Detlef Jäger, Berlin

At first, everything looks quite harmless: what appears to be a bustling caregiving scene turns out in “Equal Opportunity” to be a monstrous world theatre of violence and horror. Behind the façade of controlled care, nurses in high bonnets nurse their little patients in a hospital ward with iron cots, who on closer inspection turn out to be horrible freaks.

Dasha Shishkin had already fanned out a similarly exuberant scenario in her 2004 etching series 400 series. Born in Moscow in 1977, the artist has lived and worked in the USA since 1993. Inspired by Hieronymus Bosch, Pieter Brueghel and the great graphic artists of the fin de siecle, such as James Ensor and Aubrey Beardsley, Shishkin unfolds a grotesque-satirical repertoire of images that record the abysses of humanity with graphic sharpness. As if with a dissecting knife, she outlines the contours of her figures with cool precision and embeds them in an uncertain thicket of hatching. Acrobats, animals, human and fish figures cavort in apparent unanimity, in dialogue with others or alone, always busy with something that immediately turns out to be absurd or senseless activity. Classical motifs are mixed with images of their Russian origins. Reminiscent of Brueghel’s “Wimmelbilder”, Shishkin’s etchings develop a panorama of social relationships in which fears, threats, aggressions and repressions, and at the same time isolation and loneliness, predominate. Dreams become nightmares and the banal mutates into the unspeakable. Her pictures show a world full of unease, in which the pendulum always swings between idyllic Elysium and bitter reality. The provocation of Shishkin’s works lies in the narrative flow of her pictures: Nothing is as harmless as it seems.

In recent years, the artist has created paintings, but especially drawings and etchings of unusual graphic virtuosity. For griffelkunst, works have now been created in collaboration with the Berlin printer Detlef Jäger whose graphic diversity documents Shishkin’s love of the art of etching. More than before, she has experimented with different colours and techniques in these prints. The results are not only dense, narrative depictions but also playful images. The print Where is the Bull’s Mama, for example, is a humorous homage to Goya’s Tauromaquia.

Petra Roettig


Dasha Shishkin’s intriguing depictions, though completely different, also seem to refer to everyday life in a strange way, but they reveal and unpack the sensations of discomfort, incoherence, vertigo, delirium, absurd pleasure and pleasurable absurdity that characterise lived experience.



Oto Rimele

Rimele shows 4 pictures, 3 wooden objects and a video “Berlin Portraits METAMORPHOSIS (2160)” August 23

Below you can see a photo print of a wooden work by Oto  Rimele – for the Street Gallery.

Oto Rimele O-2 (oil and acrylic colour on solid wood, 146 x 66 x 8 cm), 2018





















Rimele also connected his non-objective compositions based on the motif of colour reflection
with the motif of the ladder, which he has been actively working on since 2018. In this motif,
despite the obvious concreteness, he mainly highlights the immaterial content components,
which lead the viewer from concreteness to the dimensions of the spirit. This feature of the
ladder motif is especially evident in the Invisible Ladder cycle from from the last period.
The minimalistic compositions are realized with a transparent liquid, which is visible only when
the viewer observes closely.

Oto Rimele
wooden construction, colour, vax, 3-D metal object
116x9x5,2 cm
wooden construction, colour
101×8,8×5 cm
wooden construction, colour, vax, 3-D metal objects

The artist writes about the relationship between the glow of his lights and the ladder motif:
“The ladder is for the viewer’s mind and the light is for the viewer’s soul. The first rises, the
second glows”.

Oto Rimele
transparente liquid on paper
25,5×7 cm
transparente liquid on paper
25,5×7 cm
transparente liquid on paper
25,5×7 cm
transparente liquid on paper
25,5×7 cm


“The problem of light is that it is so self-evident that we do not see it. it is marked only by its shadow.”

Oto Rimele























Oto Rimele is a Slovenian artist whose work has been exhibited in his homeland as well as in Germany, France, Italy, Spain, Austria and the USA. After graduating from the Akasemie of Fine Arts in Ljubljana, his painterly expression initially focused on the pictorial imitation of visible reality, but then the motif was upgraded to a symbolic and non-material meaning. His final motif is light itself and the spiritual-sublime reality in the sense of exploring the optical and painterly reality of the medium of expression. The painter describes his attitude towards light with the following words: “…therefore I do not depict light in my paintings, but activate it directly as a literal sensual presence”. His personal experience of the world and the reality in which we live has led him to achieve a unique painterly expression, surpassing the classical appearance of paintings. The expansion of his painting initially led him into the realm of “painting objects”, “combined images”, painting installations and the activation of atypical parts of the painting – its hidden edges and backgrounds. Rimmele’s “sacred minimalist” compositions also include objects surrounded by a coloured aura that changes with natural light, they become “light catchers”. His paintings invite the viewer to search for the inherent beauty, the viewer and the beholder become active contributors to the picture.

About Oto Rimele