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LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

LAYER BY LAYER: PINK?

Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curator: Irmi Horn

Opening remarks by:
LR Dr. Karlheinz Kornhäusl (requested),
Deputy Mayor Mag.a Judith Schwentner (City of Graz),
Art historian Marlies Schöck (Neue Galerie, requested)

Pink—whether soft rose, vibrant fuchsia, or reddish-pink—is a light hue with varying degrees of red and white. Across many European languages, its name derives from the rose. The equivalents are in French: rose, rosé and rosâtre; in Spanish: rosa, rosé, or color de rosa (= color of rose); in Portuguese: cor-de-rosa, rosa, rosa, rosé; in Italian: rosa; in Dutch: roze; in Swedish and Norwegian: rosa; in Hungarian: rózsaszín; in Polish: różowy. The English term for this color is pink, which also refers to the carnation flower.

In German, pink typically refers to bright, saturated tones resembling the shade “shocking pink”—a vivid, bluish pink introduced to fashion by Elsa Schiaparelli in the 20th century. In contrast, English uses pink more broadly, encompassing a wide palette of tones ranging  from pale blush to deep magenta.

According to the World Wide Web Consortium (W3C), shades like PalePink, LightPink, and MediumPink align more closely with the German concept of rosa, while stronger hues like HotPink or DeepPink align with pink.

The pink color is part of a continuum that ranges from an almost white pale pink and soft pink to medium light nuances to dark pink or pink. The small addition of other tones creates further gradations, on the one hand there are cooler and harder blue or purple-stinged pink tones – up to ‘pink’ (see above), mauve and the border to light magenta; on the other hand warmer and softer tones, which have a slight yellow, beige or ochre tint, up to salmon pink, which has a pale-orange tendency. The boundaries to other color ranges are fluid. Old pink is a fine, slightly darker, with little gray (and possibly also brown or beige) broken pink tone.

In her book Wie Farben wirken (1989), German sociologist Eva Heller found that adults commonly associate pink with tenderness, sweetness, romanticism, and femininity. Over 40% of respondents perceived it as “feminine” or “childlike,” while over 30% connected it with naivety or delicacy. Yet historically, pink was not always seen as feminine. Until the early 20th century, pink—viewed as a light form of red—was associated with masculinity, strength, and aristocracy. Boys wore pink; girls wore sky blue, symbolizing innocence. This gender coding began to shift post-World War I with social and industrial changes.

Pink has also carried meanings of optimism and softness. Phrases like “rosy times” or “seeing the world through rose-colored glasses” reflect its dual potential: either hopeful or naively unrealistic.

In Red: The History of a Color, historian Michel Pastoureau traces pink’s use back to the Incas, Mayas, and Aztecs, who dyed textiles with brasilin, a pigment from redwood trees. By the 14th century, pink became a luxury color in Europe, gaining prominence in aristocratic fashion, especially under Madame de Pompadour. In the early 20th century, American textile historian Jo Paoletti documented how gendered color-coding reversed: pink shifted from boyhood to girlhood. In fashion, Schiaparelli’s “Shocking Pink” turned the shade into a symbol of avant-garde femininity. Pink also gained political resonance. In the 1970s, LGBTQ activists reclaimed the pink triangle—originally a Nazi symbol used to persecute homosexuals—as a badge of pride. By the 1990s, it was largely replaced by the rainbow flag, but the legacy of pink as resistance remained.

In 2017, during the Women’s March following Donald Trump’s inauguration, thousands of protestors donned “Pussyhats”—pink knit caps symbolizing defiance and solidarity. Activists Krista Suh and Jayna Zweiman described pink as representing care, compassion, and strength—qualities too often dismissed as weak. The caps represent the protest alternative to the red baseball caps with Trump’s slogan “Make America Great Again”, but are also a reaction to the relevant sexist and misogynistic statements of the president revealed during the election campaign. Suh and Zweiman spread knitting, crochet and sewing instructions for the Pussyhats on the net and thus linked to the tradition of “Craftivism”, in which manual work is understood as subversive political work.

The swaying of the viewer – Doris Hansen’s microworlds

Microworlds form the meta-idea of all concepts and realizations of the Berlin-based artist Doris Hansen. They give them a shape in the form of installation, relief, object or as a drawing; they are extraterrestrial visions of our future.

The realizations consist of materials that are as foreign as possible, such as Styrofoam, which is invisibly hidden by synthetic textiles like a room skeleton. In recent years, the artist has expanded the microworlds with scans of her pencil drawings, which she colors digitally, as well as large-format reliefs. In the current projects, Doris Hansen combines her typical soft materials, which have a strong feel, with optical components: she is increasingly experimenting with LED lights that spread changing artificial light, or with worlds that are built in a plexiglass shell and appear like hemispheres in miniature. Especially the transparency of these object membranes or that of the shop windows, in which Doris Hansen regularly exhibits her installations, emphasize the difference between this other room and ours. The view of the viewer through these membranes fits only too well with the idea of a space that will never fully open up to us, because it escapes our imagination and leads us back to the concrete materiality of the works.

Doris Hansen draws inspiration from microbiology, from medieval worldviews and above all from comics and science fiction of the 1950s to the 1970s. This is how the microworlds also read as fictional worlds: We share the view of Flash Gordon or Barbarella, who was directed at the now many decades ago and over whose visions we can smile today, because everything turned out so differently. However, they are also – and perhaps above all – perfect worlds that do not want to reveal their manual manufacturing process, even disguise them, as if they were not manufactured in elaborate manual work, but themselves industrially and mechanically.

Doris Hansen creates multicolored, attractive, queer worlds, in which she brings about a deconstruction of the binary sexes via material and production technology: The building material Styropor attributed to masculinity is literally superimposed by feminine colors, textiles and floral motifs, the ideas of male/female, homo/hetero are deconstructed as cultural and historical assignments: tertium datur. In the microworlds the inhabitants of FIMO have no gender.

At the level of the signs, the microworlds are contradictory to receive. So the viewer feels attracted by their incredible material presence, but at the same time his thoughts collide again and again with the utopias to which the microworlds refer. There is an uncertain balance that, the longer we expose ourselves to the worlds, it falters and triggers discomfort in us despite – or precisely because of – the enormous aesthetics of the artificial. Because what do these worlds refer to? They always refer back to us and show us an empty place of our imagination, our future. Sarah Niesel (art historian)

Doris Hansen comes from Bad Oldesloe /Schleswig Holstein (1972). From 1992 to 2001 she studied German philology and art history in Trier and Berlin and completed her studies as Magistra Artium in 2001.

2001-2003 she was club operator and event manager (GLAM, Invalidenstrasse and Schillingstrasse), since 2003 she lives as a freelance artist in Berlin.

Kathrin Lorenz – Paintings

Kathrin Lorenz was born in Fürstenfeld, Styria, studied Fine Arts and Painting: 1999 University of Arts Allentown, Pennsylvania, USA, 1999 University of Applied Arts Vienna, Prof. Christian Ludwig Attersee

In 2005 she graduated with distinction. From then on, numerous exhibitions followed. From 1999 to 2016 she lived and worked as a freelance artist in Vienna. In 2017, Kathrin Siegl became Kathrin Lorenz. Since 2016 she has been living and working as a freelance artist in Styria, Am Hohenberg, Schöckl and is the mother of two daughters.

Their stays abroad led them to Iceland, New York, London, Paris, Berlin, Dublin, Amsterdam, Hamburg, Stockholm, Prague, Debrecen, Umbria, Pennsylvania, Belgium, Croatia, Slovenia, southern France, Tuscany and Switzerland (Geneva, Bern). She combines knowledge and imagination in her work and wants to change the viewing angle and create the possibility of new approaches in her typical lavious use of color and brush stroke for viewers.

Flamingos have impressed her for years. When flamingos hatch, they have a gray fluff. It takes years for her plumage to stain. Only at a more mature age do they become pink or pink. And the reason for this is their food. The menu of wild flamingos includes algae of the genus Dunaliella and small crabs. Some, like the others, contain very specific color pigments: carotenoids.

Certain microbes that color water red because they are rich in carotenoids, such as the “salt bacterium”, scientifically called Halobacterium salinarum, is at the beginning of the food chain. The small crabs feed on the tiny organisms that are at home in a highly salty environment, which are then eaten by the flamingos. Flamingoes can live to be 20 to 30 years old in the wild, and over 80 years in the zoo with careful care. In some parts of the world, flamingos were used until the 20th century for their flesh. Their pink shimmering feathers, however, were never coveted. The reason? They lose their color after plucking.

Erwin Schwentner – Sculptures

With his sculpture, Erwin Schwentner tries to comment on the so-called great themes of humanity and uses his own sculptural world, which means – always coming from his head – the “whole world”. Apart from this world there is none for him, so the attempts at explanation necessarily remain imperfect. Layer by layer, he uncovers human behavior in a humorous and critical way.

Schwentner was born in 1945 in Hitzendorf near Graz, he is married, has 3 children, was a judge, and has been active in artistic activity since 1980.

Since 1982 exhibitions and exhibition participations in Germany and abroad.

“Layer by Layer: Pink?” invites viewers to consider pink not as a mere color, but as a shifting symbol—gendered, politicized, aesthetic, biological. From flamingos to feminism, from neon textiles to handcrafted protests, pink emerges as a field of negotiation between the past and the future, between personal identity and collective imagination.

Parking, Tickets, Shuttle. TICKETS ON SITE € 17 / reduced € 14 !

The different approaches to the topic are conveyed by the artists Eilert Asmervik, Gregory Tara Hari (Artist in Residence), Susanna Hofer, Ruth Novaczek dissecting, interpreting, critical, humourous and fascinating.

The different approaches to the topic are conveyed by the artists Eilert Asmervik, Gregory Tara Hari (Artist in Residence), Susanna Hofer, Ruth Novaczek dissecting, interpreting, critical, humourous and fascinating.

The different approaches to the topic are conveyed by the artists Eilert Asmervik, Gregory Tara Hari (Artist in Residence), Susanna Hofer, Ruth Novaczek dissecting, interpreting, critical, humourous and fascinating.

The different approaches to the topic are conveyed by the artists Eilert Asmervik, Gregory Tara Hari (Artist in Residence), Susanna Hofer, Ruth Novaczek dissecting, interpreting, critical, humourous and fascinating.

The different approaches to the topic are conveyed by the artists Eilert Asmervik, Gregory Tara Hari (Artist in Residence), Susanna Hofer, Ruth Novaczek dissecting, interpreting, critical, humourous and fascinating.

The different approaches to the topic are conveyed by the artists Eilert Asmervik, Gregory Tara Hari (Artist in Residence), Susanna Hofer, Ruth Novaczek dissecting, interpreting, critical, humourous and fascinating.

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787

May – June , Fr & Sa 16:00

Workshop for Ortweinschule.

FREE ENTRANCE 11:00 – 16:00

LAYER BY LAYER: PINK? Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner 

(Deutsch) Wir bitten um Anmeldung unter kunstGarten@mur.at oder +43 316262787

Reinhard Sock: Fotoprojekt [08.03.25, 16:56:07] Langzeitbelichtung mit Lochkamera, Lichdurchmesser 0,3 mm Belichtungszeit 4 bis 24 Monate Sujet: Kunstwerk und Sonnenbahnen.Long exposure with hole camera, light diameter 0.3 mm Exposure time 4 to 24 months Subject: Artwork and solar orbits

Reinhard Sock – A photographer with over 50 years of passion and a new fascination for the hole camera

Reinhard Sock is an experienced photographer who has been photographing the world with his camera for more than five decades. His passion for photography has repeatedly led him to new creative projects and exhibitions, both at home and abroad. With his tireless curiosity and commitment, he has accompanied the development of photography for decades. In recent years, however, he has turned to a very special technique: the hole camera. For three years now, Reinhard Sock has been intensively devoting himself to this traditional, yet extraordinary method of image recording.

The hole camera: A simple but fascinating photographic principle

The pinhole camera, also known as the “Pinhole Camera”, is one of the oldest and simplest forms of photography. It works without a lens, flash or modern technology – only with a small hole and a light-sensitive material.

The pinhole camera is based on the principle of light projection. A small opening (the “hole”) on a light-proof box or container allows light rays to enter the interior, where they create an image on a light-sensitive material such as photo paper or film. Exposure is a consequence of the amount of incident light and exposure time, which varies depending on the brightness and size of the hole.

One of the main aspects of the pinhole camera is its ability to create images with a unique, soft and “dreamy” aesthetic. The images are often characterized by a striking vignetting and a certain blurring, which leads to a special charm. These characteristics make the time camera an interesting tool in my art photography even today.

But there is also a connection between camera-pinhole photography and science, in my case astronomy.

I use sunlight to create impressive images over longer periods of time and combine elements of photography, astronomy and art, with the main focus on long exposure.

For weeks, months or even years, my time cameras are continuously exposed to sunlight. They are equipped with light-sensitive paper to record the light generated by the sun over time. Unlike classic photographs, in which an image is taken within a very short time, an image is created that documents the journey of the sun across the sky in a long exposure time.

This photography requires patience and planning, both from the technical and the creative side. I have to worry about the location of the camera, since the orientation to the sun plays a central role. I experiment in different places to achieve interesting perspectives and unusual image compositions.

The aesthetic effect is particularly impressive. The images record the continuous movement of the sun and the changing light conditions in a way that offers the viewer a new perspective on the sky. The result is often fascinating lines and patterns that appear like an abstract painting painted by the sun itself.

These photographs also have a symbolic meaning. They represent not only the movement of a heavenly body, but also the transience and flow of time, which also functions as my parent project title. Continuous exposure over a long period of time reflects the unstoppable cycle of life and nature.

(Deutsch) Die Künstler*innen Eilert Asmervik NOR, Gregory Tara Hari (Artist in Residence) CH, Susanna Hofer A, Ruth Novaczek UK loten mit ihren Werken die Lebensaspekte und Lebenskonstrukte unseres Daseins in einer „globalisierten“ Gesellschaft aus.

(Deutsch) Die Künstler*innen Eilert Asmervik NOR, Gregory Tara Hari (Artist in Residence) CH, Susanna Hofer A, Ruth Novaczek UK loten mit ihren Werken die Lebensaspekte und Lebenskonstrukte unseres Daseins in einer „globalisierten“ Gesellschaft aus.

(Deutsch) Die Künstler*innen Eilert Asmervik NOR, Gregory Tara Hari (Artist in Residence) CH, Susanna Hofer A, Ruth Novaczek UK loten mit ihren Werken die Lebensaspekte und Lebenskonstrukte unseres Daseins in einer „globalisierten“ Gesellschaft aus.

(Deutsch) Die Künstler*innen Eilert Asmervik NOR, Gregory Tara Hari (Artist in Residence) CH, Susanna Hofer A, Ruth Novaczek UK loten mit ihren Werken die Lebensaspekte und Lebenskonstrukte unseres Daseins in einer „globalisierten“ Gesellschaft aus.

As part of contemporary art in graz, kunstGarten opens on the 17th of May the exhibition with the provisional working title

SEE AND REAP: MOMENTS OF LIFE & COUNTERLIFE (- 2nd of July)

With the artists

Eilert Asmervik

Gregory Tara Hari (Artist in Residence)

Susanna Hofer

Ruth Novaczek (Video)  

(Performance: Gregory Tara Hari, Henrik Sande)

Curators: Anaïs & Irmi Horn

Opening by the municipal councilor Sabine Pogner & art historian  Tanja Gurke.

The tragedy of the Renaissance concept of humanism is physically evident in the desperation and sadness visible in the later stages of life, reflected in a person’s increasingly droopy and fading expressions. Older generations often seem resigned and frequently appear dissatisfied, sometimes to a ridiculous extent. This situation prompts younger generations to reflect on important values such as virtue, responsibility, identity, and society. They may choose to give time a chance, experimenting with different aspects of experience and assessing their lives by these values. Alternatively, they may lead a risky life characterized by a frivolous relationship with drugs, which can lead to megalomania and a complacent longing for death. In doing so, they test the boundary between worthwhile and worthless living, plunging into their chosen universe of life or counter-life.

Eilert Asmervik

Born in 1997 in Trondheim, Norway, lives and works in Paris and Graz. As a visual artist, he understands painting as his main instrument in the processing of possibilities for pictorial worlds and the conditions of their creation. His painting practice is located in a constant, dynamic exchange with his parallel music/sound practice.
A superposition of image worlds satisfies the spectrum of his cross-media image production; digital, painted and printed images become links in the “chain of image and counter-picture”.

Side instruments of artistic creation include videos, sound design, publications and installations.

Asmervik studied painting at the Academy of Fine Arts Vienna with Daniel Richter (diploma 2024), at the Beaux-Arts de Paris with Nina Childress and the Academy of Fine Arts Düsseldorf with Andreas Schulze. Before studying the visual arts, he studied music (classics and jazz/improvisation) at the Birka FHSK in Sweden.

As a co-founder of the international platform InterStar, he regularly brings interdisciplinary,

Intermedial and interaesthetic forms of expression into the world, through guerrilla shows, publications, concerts and other experimental formats.

Since 2023, he and his partner, Anaïs Horn, have been running the pop-up art room Cabanon in Paris.

Eilert Asmervik, Dakini DJ’s select X: Fortunas rays lay wander-ways, 2025, 90 × 65 cm, oil on canvas/Öl auf Leinwand

Gregory Tara Hari (born 1993 in Richterswil) is a Swiss artist and actor who lives and works in Zurich. His artistic practice encompasses a wide range of media, including performance, painting, drawing, photography, video, and sculpture. Hari deals with political and social issues in his work, often intertwining historical events and current debates.

Gregory Hari completed his Master of Arts in Fine Arts from 2016 to 2020 at the Hochschule für Gestaltung und Kunst (FHNW) in Basel/Münchenstein. Before that, he studied from 2012 to 2015 at the F+F School of Art and Design in Zurich and previously attended a preliminary course at the same institution. In addition, he spent his first year of apprenticeship as a women’s tailor at StoffArt in Schwyz.

In addition to his work as a visual artist, Hari occasionally works as an actor of supporting roles in films produced in Switzerland. He played a role in the Swiss drama film 99 Moons.

Hari is known for his interdisciplinary approaches, which often cross the boundaries of traditional art forms. His works are characterized by a deep examination of social, cultural and political issues. He uses a variety of media, including performance, sculpture, painting, drawing, photography and video, to present complex concepts and provide an intense experience for viewers. Striking is his ability to transfer everyday objects and situations into an artistic context and thus create new meanings.

Exhibitions and projects

Hari has presented his work in numerous solo and group exhibitions, both in Switzerland and internationally. Among them are appearances at the Swiss Art Awards, the Helvetia Art Prize and the Performance Prize Switzerland. His works were exhibited at the Helmhaus, Zurich, the Kunsthalle Zürich and the Kunstmuseum Basel Gegenwart. He has participated in biennials and international art fairs.

Susanna Hofer is a photographer and lives in Vienna and on the Pack. She studied literature and applied photography and is a co-founder of “Fountain´s Edit”. She holds a degree in german literature, studied art and communication practise, time based media and photography at the University of Applied Arts Vienna. Her work revolves around her interest in botanic constructions, “literarischer Dingsymbolik” and sculpture, juxtaposing traditional still life, Tableaux Vivants and commercial photography. As part of her practice, she collects, arranges, and archives simple everyday objects, translates one medium into another and creates surrealistic images and finely composed socio documentary themes. Characteristic of her photographic work is the transformation of finely composed still lifes into a documentary narrative. Her portfolio includes unpretentious portraits, fragmented documentation and still lifes that oscillate between the magical and the concrete.

Ruth Novaczek is an artist and curator. She studied fine art film at St. Martins School of Art in London, and an MA in Fine Art, at Central St Martins in 2000. In 2015 she earned a practice-based PhD entitled ’21st Century Avant-Garde; New Vernaculars and Feminine Ecriture’ from the University of Westminster, London and is currently a Visiting Research Fellow at the University of Westminster. She has since been making film, performance and installation work that explores diaspora, gender, humour, sexuality, cinematic language and philosophy.

Using found footage, aphorism and live action the films are diasporic stand-up, feminist mash-ups, poetic, irreverent musings. She has been a DJ and played in bands, and applies an eclectic musical compositional element to her work. She received an Arts Council of England award for her film ‘Philosopher Queen’ and has had solo shows at the New York Kunsthalle, Arsenal, Berlin, and the BFI Southbank, London.

She curated a selection of films at Catalyst Arts Belfast. Living and working in the UK, the US and the Middle East, she has been a guest, and visiting lecturer at art schools and universities in the UK, teaching film theory, world cinema and film practice.

She was Dartington Arts (UK) artist in residence in 2002, and has published three collections of her films on DVD.

Her DVD publication Radio includes an introductory essay by Chris Kraus, and Denah Johnston, reviewing her most recent film The New World called her ‘the Patti Smith of film’. She is currently working on an expanded film project and writing an experimental novel. Her work is featured in the recommended viewing section of Chris Kraus’ book ‘Akademie X: Lessons and Tutors in Art’ which was published in February 2015 by Phaidon Press.
​
2024 Jarman award nominee. © Lorna Milburn

Education

1979-1981 Courtauld Institute of Art, History of Art
1983-1986 St.Martins School of Art, Film and Video B.A. (Hons)
1998-2000 M.A. Fine Art, Central St Martins, London
2009-2015 PhD. By Practice, University of Westminster, CREAM, London

Selected Teaching 1999-2016

Guest Lecturer Barnard College, New York, Kent Institute of Art and Design, Dartington School of Arts, Devon, University of Plymouth, Exeter, Wimbledon School of Art, Vienna Kunst Akademie

Visiting Lecturer Anglia Ruskin University, Cambridge. Westminster University, School of Media Arts and Design. Dartington College, Devon, Falmouth University, Cornwall UK.

Part-time Lecturer Regents American University, London 2005-2013

Advisor Transart Institute, ongoing

Visiting Research Fellow University of Westminster, ongoing
​

As part of contemporary art in graz, kunstGarten opens on the 17th of May the exhibition with the provisional working title

SEE AND REAP: MOMENTS OF LIFE & COUNTERLIFE (- 2nd of July)

With the artists

Eilert Asmervik

Gregory Tara Hari (Artist in Residence)

Susanna Hofer

Ruth Novaczek (Video)  

(Performance: Gregory Tara Hari, Henrik Sande)

Curators: Anaïs & Irmi Horn

Opening by the municipal councilor Sabine Pogner & art historian  Tanja Gurke.

The tragedy of the Renaissance concept of humanism is physically evident in the desperation and sadness visible in the later stages of life, reflected in a person’s increasingly droopy and fading expressions. Older generations often seem resigned and frequently appear dissatisfied, sometimes to a ridiculous extent. This situation prompts younger generations to reflect on important values such as virtue, responsibility, identity, and society. They may choose to give time a chance, experimenting with different aspects of experience and assessing their lives by these values. Alternatively, they may lead a risky life characterized by a frivolous relationship with drugs, which can lead to megalomania and a complacent longing for death. In doing so, they test the boundary between worthwhile and worthless living, plunging into their chosen universe of life or counter-life.

Eilert Asmervik

Born in 1997 in Trondheim, Norway, lives and works in Paris and Graz. As a visual artist, he understands painting as his main instrument in the processing of possibilities for pictorial worlds and the conditions of their creation. His painting practice is located in a constant, dynamic exchange with his parallel music/sound practice.
A superposition of image worlds satisfies the spectrum of his cross-media image production; digital, painted and printed images become links in the “chain of image and counter-picture”.

Side instruments of artistic creation include videos, sound design, publications and installations.

Asmervik studied painting at the Academy of Fine Arts Vienna with Daniel Richter (diploma 2024), at the Beaux-Arts de Paris with Nina Childress and the Academy of Fine Arts Düsseldorf with Andreas Schulze. Before studying the visual arts, he studied music (classics and jazz/improvisation) at the Birka FHSK in Sweden.

As a co-founder of the international platform InterStar, he regularly brings interdisciplinary,

Intermedial and interaesthetic forms of expression into the world, through guerrilla shows, publications, concerts and other experimental formats.

Since 2023, he and his partner, Anaïs Horn, have been running the pop-up art room Cabanon in Paris.

Eilert Asmervik, Dakini DJ’s select X: Fortunas rays lay wander-ways, 2025, 90 × 65 cm, oil on canvas/Öl auf Leinwand

Gregory Tara Hari (born 1993 in Richterswil) is a Swiss artist and actor who lives and works in Zurich. His artistic practice encompasses a wide range of media, including performance, painting, drawing, photography, video, and sculpture. Hari deals with political and social issues in his work, often intertwining historical events and current debates.

Gregory Hari completed his Master of Arts in Fine Arts from 2016 to 2020 at the Hochschule für Gestaltung und Kunst (FHNW) in Basel/Münchenstein. Before that, he studied from 2012 to 2015 at the F+F School of Art and Design in Zurich and previously attended a preliminary course at the same institution. In addition, he spent his first year of apprenticeship as a women’s tailor at StoffArt in Schwyz.

In addition to his work as a visual artist, Hari occasionally works as an actor of supporting roles in films produced in Switzerland. He played a role in the Swiss drama film 99 Moons.

Hari is known for his interdisciplinary approaches, which often cross the boundaries of traditional art forms. His works are characterized by a deep examination of social, cultural and political issues. He uses a variety of media, including performance, sculpture, painting, drawing, photography and video, to present complex concepts and provide an intense experience for viewers. Striking is his ability to transfer everyday objects and situations into an artistic context and thus create new meanings.

Exhibitions and projects

Hari has presented his work in numerous solo and group exhibitions, both in Switzerland and internationally. Among them are appearances at the Swiss Art Awards, the Helvetia Art Prize and the Performance Prize Switzerland. His works were exhibited at the Helmhaus, Zurich, the Kunsthalle Zürich and the Kunstmuseum Basel Gegenwart. He has participated in biennials and international art fairs.

Susanna Hofer is a photographer and lives in Vienna and on the Pack. She studied literature and applied photography and is a co-founder of “Fountain´s Edit”. She holds a degree in german literature, studied art and communication practise, time based media and photography at the University of Applied Arts Vienna. Her work revolves around her interest in botanic constructions, “literarischer Dingsymbolik” and sculpture, juxtaposing traditional still life, Tableaux Vivants and commercial photography. As part of her practice, she collects, arranges, and archives simple everyday objects, translates one medium into another and creates surrealistic images and finely composed socio documentary themes. Characteristic of her photographic work is the transformation of finely composed still lifes into a documentary narrative. Her portfolio includes unpretentious portraits, fragmented documentation and still lifes that oscillate between the magical and the concrete.

Ruth Novaczek is an artist and curator. She studied fine art film at St. Martins School of Art in London, and an MA in Fine Art, at Central St Martins in 2000. In 2015 she earned a practice-based PhD entitled ’21st Century Avant-Garde; New Vernaculars and Feminine Ecriture’ from the University of Westminster, London and is currently a Visiting Research Fellow at the University of Westminster. She has since been making film, performance and installation work that explores diaspora, gender, humour, sexuality, cinematic language and philosophy.

Using found footage, aphorism and live action the films are diasporic stand-up, feminist mash-ups, poetic, irreverent musings. She has been a DJ and played in bands, and applies an eclectic musical compositional element to her work. She received an Arts Council of England award for her film ‘Philosopher Queen’ and has had solo shows at the New York Kunsthalle, Arsenal, Berlin, and the BFI Southbank, London.

She curated a selection of films at Catalyst Arts Belfast. Living and working in the UK, the US and the Middle East, she has been a guest, and visiting lecturer at art schools and universities in the UK, teaching film theory, world cinema and film practice.

She was Dartington Arts (UK) artist in residence in 2002, and has published three collections of her films on DVD.

Her DVD publication Radio includes an introductory essay by Chris Kraus, and Denah Johnston, reviewing her most recent film The New World called her ‘the Patti Smith of film’. She is currently working on an expanded film project and writing an experimental novel. Her work is featured in the recommended viewing section of Chris Kraus’ book ‘Akademie X: Lessons and Tutors in Art’ which was published in February 2015 by Phaidon Press.
​
2024 Jarman award nominee. © Lorna Milburn

Education

1979-1981 Courtauld Institute of Art, History of Art
1983-1986 St.Martins School of Art, Film and Video B.A. (Hons)
1998-2000 M.A. Fine Art, Central St Martins, London
2009-2015 PhD. By Practice, University of Westminster, CREAM, London

Selected Teaching 1999-2016

Guest Lecturer Barnard College, New York, Kent Institute of Art and Design, Dartington School of Arts, Devon, University of Plymouth, Exeter, Wimbledon School of Art, Vienna Kunst Akademie

Visiting Lecturer Anglia Ruskin University, Cambridge. Westminster University, School of Media Arts and Design. Dartington College, Devon, Falmouth University, Cornwall UK.

Part-time Lecturer Regents American University, London 2005-2013

Advisor Transart Institute, ongoing

Visiting Research Fellow University of Westminster, ongoing
​

The planning is questionable because of drastically lower funding by the state of Styria A

March 2026 RISOFORT Hamburg Kollaboration (Kurzresistenz) & Agnes Katschner, Barbara Hammer  (Styria)

May 2026 Jakob Buchner A, Mary-Audrey Ramirez  LUX

July 2026- Artists in Residence Andrea Bakketun N, Christian Tony Norum N 

Sorry, this entry is only available in Deutsch.

Sorry, this entry is only available in Deutsch.

Exhibition – May 2026

An Erasmus Project

(Deutsch) Die unterschiedlichen Zugänge zum Thema werden von den Künstler*innen sezierend, interpretierend, kritisch, humorvoll und faszinierend vermittelt.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

How to cut once-flowering and repeat-flowering roses. Application requested. 0316262787 or kunstGarten@mur.at
Prerequisite: Negative corona test. FFP2 mask! 3 persons from the same household.

How to cut once-flowering and repeat-flowering roses. Application requested. 0316262787 or kunstGarten@mur.at
Prerequisite: Negative corona test. FFP2 mask! 3 persons from the same household.

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

The exhibition features graphic works by by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp.. 15th of March to 11th of May.

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

7th ofSeptember – 1st of Oktober. HUGS. Forms of tenderness or submission. Works by Agnes C. Katschner, Ada Kobusiewicz (PL),  Linda Maria Schwarz , Karina Roosvita Indirasari (RI)

7th ofSeptember – 1st of Oktober. HUGS. Forms of tenderness or submission. Works by Agnes C. Katschner, Ada Kobusiewicz (PL),  Linda Maria Schwarz , Karina Roosvita Indirasari (RI)

7th ofSeptember – 1st of Oktober. HUGS. Forms of tenderness or submission. Works by Agnes C. Katschner, Ada Kobusiewicz (PL),  Linda Maria Schwarz , Karina Roosvita Indirasari (RI)

7th ofSeptember – 1st of Oktober. HUGS. Forms of tenderness or submission. Works by Agnes C. Katschner, Ada Kobusiewicz (PL),  Linda Maria Schwarz , Karina Roosvita Indirasari (RI)

7th ofSeptember – 1st of Oktober. HUGS. Forms of tenderness or submission. Works by Agnes C. Katschner, Ada Kobusiewicz (PL),  Linda Maria Schwarz , Karina Roosvita Indirasari (RI)

7th ofSeptember – 1st of Oktober. HUGS. Forms of tenderness or submission. Works by Agnes C. Katschner, Ada Kobusiewicz (PL),  Linda Maria Schwarz , Karina Roosvita Indirasari (RI)

7th ofSeptember – 1st of Oktober. HUGS. Forms of tenderness or submission. Works by Agnes C. Katschner, Ada Kobusiewicz (PL),  Linda Maria Schwarz , Karina Roosvita Indirasari (RI)

Geschlossene Veranstaltung.

(Deutsch) Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787.

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787. Sculptures exhibition – 14 of July

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787. Sculptures exhibition – 14 of July

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787. Sculptures exhibition – 14 of July

The Styrian artists Doris Jauk-Hinz, Anne Lückl and Gerhard Kubassa meet the stimulus of life’s challenges in different genres and gestures.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer /CH (installations) & Gertrud Pinkus / CH (film), Norbert PrettenThaler. Die Ausstellung geht bis zum 23. Juni.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

7th ofSeptember – 1st of Oktober. HUGS. Forms of tenderness or submission. Works by Agnes C. Katschner, Ada Kobusiewicz (PL),  Linda Maria Schwarz , Karina Roosvita Indirasari (RI)

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer / CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). – 23rd of June.

Renate Krammer / A (pictures), Heidi Kämpfer /CH (installations) & Gertrud Pinkus / CH (film), Norbert Prettenthaler / A (film). Die Ausstellung geht bis zum 23. Juni.

Renate Krammer / A (pictures), Heidi Kämpfer /CH (installations) & Gertrud Pinkus / CH (film), Norbert PrettenThaler. Die Ausstellung geht bis zum 23. Juni.

Parking, Tickets, Shuttle. TICKETS ON SITE € 17 / reduced € 14 !

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787

Please make reservations not later than 2 hours before the programme (Guided tour or concert) begins: kunstGarten@mur.at or +43 316 262787

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787. Sculptures exhibition – 14 of July

The Styrian artists Doris Jauk-Hinz, Anne Lückl and Gerhard Kubassa meet the stimulus of life’s challenges in different genres and gestures.

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

Renate Krammer / A (pictures), Heidi Kämpfer /CH (installations) & Gertrud Pinkus / CH (film). Die Ausstellung geht bis zum 23. Juni.

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787

Works by Neringa Naujokaite, Riki Schwab , Christian Prünster,  Alfred Resch-Díaz – 5 th of October 2023

Works by Anna Riess, Eva Ursprung & Christian Kri Kammerhofer. Exhibition duration: 5th of October 2024 – 9th of March 2025 

Works by Rosa Rendl, Laura Schawelka, Daniela Trost & Zhenia Jane Laptiy (UKR) 

Works by Rosa Rendl, Laura Schawelka, Daniela Trost & Zhenia Jane Laptiy (UKR) 

Works by Rosa Rendl, Laura Schawelka, Daniela Trost & Zhenia Jane Laptiy (UKR) 

Works by Rosa Rendl, Laura Schawelka, Daniela Trost & Zhenia Jane Laptiy (UKR) 

The exhibition features woodcuts by Barbara Hammer (A), colour etchings/collages by Vida Hackman (US) an a short movie by Maria Schneider. 15th of March to 9th of May.

Parking, Tickets, Shuttle

May – June , Fr & Sa 16:00

May – June , Fr & Sa 16:00

May – June , Fr & Sa 16:00

May – June , Fr & Sa 16:00

May – June , Fr & Sa 16:00

May – June , Fr & Sa 16:00

May – June , Fr & Sa 16:00

May – June , Fr & Sa 16:00

May – June , Fr & Sa 16:00

May – June , Fr & Sa 16:00

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Meeting for women. Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787

(Deutsch) Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787 for the reading.

Reviving Life – a work in progress for peace by Jane Laptiy & kunstGarten

Works by Barbara Hammer, Josef Fürpaß & Meisterklasse Ortweinschule

Works by Barbara Hammer, Josef Fürpaß & Meisterklasse Ortweinschule

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Josef Fürpaß & Meisterklasse Ortweinschule

Works by Barbara Hammer, Josef Fürpaß & Meisterklasse Ortweinschule

Works by Barbara Hammer, Josef Fürpaß & Meisterklasse Ortweinschule

Please make reservations not later than 2 hours before the programme (Guided tour or concert) begins: kunstGarten@mur.at or +43 316 262787

Exhibition: Works by Sabina Hörtner, Dasha Shishkin, Oto Rimele. 20231007 – 20240505

Works by Neringa Naujokaite, Riki Schwab , Christian Prünster,  Alfred Resch-Díaz – 5 th of October 2023

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Rosa Rendl, Laura Schawelka, Daniela Trost & Zhenia Jane Laptiy (UKR) 

Pao Kitsch (Mex/D), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Opening by Town councillor Dr. Günter Riegler and art historian Dr.in Tanja Gurke.

Works by Małgorzata Goździk, Zhenia Jane Laptiy Rosa Rendl, Laura Schawelka & Daniela Trost

Sarah Bildstein, Pao Kitsch (Mex/A), Zhenia Jane Laptiy (UKR) – REVIVING LIFE – WIEDERBELEBUNG,  Lisa Reiter (A), Hubert Schmalix (A) approach the subject in different ways with their works. Fr, Sa 15:30 – 19:00 & daily by appointment (14.05.-30.06.2023)

Reviving Life – a work in progress for peace by Jane Laptiy & kunstGarten

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

You can also visit the exhibitions today and perhaps buy a gift.

But only from 15:30 to 17:00.

We wish you a Merry Christmas and a Happy New Year!

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery. Fr, Sa 15:30 – 19:00

Works by Eilert Asmervik, Adrian Buschmann, Nigel Gavus & İlkin Beste and Sigrid Mau. 3. 9. 2022 – 23.10.2022

Works by Birke Gorm  & Anaïs Horn.

Works by Barbara Hammer, Markus Wilfling  in the kunstGarten and works by Lore Heuermann & Cy Twombly in the Street Gallery.

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022. Zu den Öffnungszeiten und täglich nach Voranmeldung!

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787
3 G von Vorteil!

With Brigitta Demus (piano) and Irma Servatius (viola) and Irmi Horn (voice). Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787. 3 G rules!

Meeting for women. Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787

Sorry, this entry is only available in Deutsch.

Works by Eilert Asmervik, Adrian Buschmann, Nigel Gavus & İlkin Beste and Sigrid Mau. 3. 9. 2022 – 23.10.2022

Works by Birke Gorm  & Anaïs Horn. Exhibition 2022-07-02 to 2022-08-31.

(Deutsch) Arbeiten von Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst – 30. Juni 2022

(Deutsch) Arbeiten von Anke Armandi, Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst 

(Deutsch) Birre beachten Sie die geltenden Coronaregeln!

Sorry, this entry is only available in Deutsch.

3YHKUK/O Ortweinschule Graz, DP.in Irmi & DP Reinfrid Horn & Mag.a Agnes Katschner.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

Parking, Tickets, Shuttle OUTDOORS 3 G, INDOORS 3 G & masque

(Deutsch) Geschlossener Workshop. Letzter Teil: Öffentliche Präsentation der Arbeiten.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 02.05.2022. Fr, Sa 15:30 – 19:00. Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G indoors, zusätzlich Maske oder negativer Coronatest.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & more, and some Russian portraits without indication.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 02.05.2022. Fr, Sa 15:30 – 19:00.Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G indoors, zusätzlich Maske oder negativer Coronatest.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 02.05.2022. Fr, Sa 15:30 – 19:00. Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G indoors, zusätzlich Maske oder negativer Coronatest.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 02.05.2022. Fr, Sa 15:30 – 19:00. Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G indoors, zusätzlich Maske oder negativer Coronatest.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 02.05.2022. Fr, Sa 15:30 – 19:00. Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G und indoors zusätzlich Maske oder negativer Coronatest. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 02.05.2022. Fr, Sa 15:30 – 19:00. Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G und indoors zusätzlich Maske oder negativer Coronatest. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 01.05.2022. Fr, Sa 15:30 – 19:00.
Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G und indoors zusätzlich Maske oder negativer Coronatest. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 02.05.2022. Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G und indoors zusätzlich Maske oder negativer Coronatest. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 01.05.2022
Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G und indoors zusätzlich Maske oder negativer Coronatest. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 01.05.2022
Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G und indoors zusätzlich Maske oder negativer Coronatest. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & Adrian Buschmann etc. Bis 02.05.2022. Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! 2G indoors und indoors zusätzlich Maske oder negativer Coronatest. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 01.05.2022
Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. 3 G! 2G indoors, zusätzlich Maske oder negativer Coronatest. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 01.05.2022
Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787. Impfnachweis erforderlich! Indoors 2G und indoors zusätzlich Maske oder negativer Coronatest. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

(Deutsch) SCHAU AUF MICH, ERKENNE DICH. Arbeiten auf LW, Papier und Folie. Bis 01.05.2022
Arbeiten von Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & a.m. darunter einige russische Portraits ohne Angabe. Die Ausstellung ist bis 2. Mai 2022 zu sehen.

January – March  IDENTITIES  Anna Riess, Eva Ursprung & Christian Kri Kammerhofer und die kunstGarten–Jubiläumspublikation PARADISE FOUND  2004 – 2024
Curated by Irmi Horn

15.th of March: Printmaking Day: Special Exhibition – The diversity of looking Patricia Tobacco Forrester, Hildegard Joos, Helga Philipp.
Curated by Irmi Horn

17. Mai – Juli: aktuelle kunst in graz SEE AND REAP. MOMENTS OF LIFE & COUNTER-LIFE.  (contemporary art in graz)

Eilert Asmervik
Gregory Tara Hari (Artist in Residence)
Susanna Hofer
Ruth Novaczek (Video)
(Performance: Gregory Tara Hari, Henrik Sande)
Curated by Irmi Horn

5. July- September: LAYER BY LAYER: PINK?  Doris Hansen (Short Residency), Kathrin Lorenz, Erwin Schwentner
Curated by Irmi Horn

September – Dezember: START AGAIN: NEW VIEW. Renate Kordon, Monika Schönbacher-Frischenschlager,  GUKUBI MATO
Curated by Irmi Horn

(Deutsch) Im kunstGarten & teilweise der Street Gallery!

Parking, Tickets, Shuttle OUTDOORS 3 G, INDOORS 2 G & masque

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Works by Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo, Louise-Élisabeth Vigée-Lebrun & and some Russian portraits without indication a. m.
Curated by DP.in Irmi Horn. 3 G, indoors 2 G.

Special Workshop for 22 students of the 1YHKUO/K HTBLVA Ortweinschule. With their art teacher Agnes Katschner and DP Irmi & DP Reinfrid Horn.

Angela Flois, Fritz Pumm

Special Workshop for 22 students of the 1YHKUO/K HTBLVA Ortweinschule. With their art teacher Agnes Katschner and DP Irmi & DP Reinfrid Horn.

David Kranzelbinder: Children portraits, Documentary, Lecture

(Deutsch) Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787
Eintritt gemäß Corona-Vorgabe: getestet, genesen oder geimpft Nachweis!

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Yes, art comes along again. And thinks about the world: Works by Petra Kapš, Gertrude Moser-Wagner, Alfred Graf, Kurt Spitaler & Pouya Gourabi.

Works by Cosima von Bonin, Karl Grünling, Maryam Mohammadi, Assunta Abdel Azim Mohamed, Walter Köstenbauer, Keyvan Paydar, Eva Ursprung in the garden and in the Street Gallery.

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787. Negative Corona test required.

Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787. Negative Corona test required!

(Deutsch) Covid-19 Vorsichtsregeln! Anmeldung unter 0316262787 oder kunstGarten@mur.at

(Deutsch) Geburtstag der Kunst = Menschwerdung

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

For Covid 19 Lockdown reasons -no LIVE-programm. Only ONLINE!

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-01).
Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at

(Deutsch) Kooperation Denngenhof-kunstGarten.

Cancelled because of COVID-19 !!

Cancelled because of COVID-19 !!

Works by Ada Kobusiewicz, Annette Phlip, Barbara Schmid, Resul Jusufi, Willy Rast. 5.th Sep – 24.th Oct

Angela Flois, Fritz Pumm

Garden & Art – Variety of Roses. Guided tour with Irmi & Reinfrid Horn. Please make reservations not later than 2 hours before the programme begins: kunstGarten@mur.at or +43 316 262787

Works by Elisabeth Gschiel, Stefanie Hödlmoser, Agnes Katschner, Alfred Graf, Kurt Spitaler. Only the STREET GALLERY shows some works!

Garden & Art – Variety of Roses. Guided tour with Irmi & Reinfrid Horn.

• December 2022 – December 2023 REVIVING LIFE – WIEDERBELEBUNG –  work in progress for peace by  Zhenia Jane Laptiy (UKR) & kunstGarten
• Janury – April SEARCH & FIND: SUCHEN & FINDEN Barbara Hammer, Lore Heuermann, Cy Twombly, Markus Wilfling
• 15. – 18. March Printmaking Day: Looking Back and Present – Special Exhibition
•  May ALL NEW: Sarah Bildstein, Pao Kitsch, Zhenia Jane Laptiy (UKR), Lisa Reiter, Hubert Schmalix
• July FINDINGS & SENSITIVITIES: Rosa Rendl, Laura Schawelka, Daniela Trost  
• September APPLICATIONS: Riki Schwab, Christian Prünster, Neringa Naujokaite,  Alfred Resch-Díaz
• October RESILIENCES: Sabina Hörtner, Dasha Shishkin, Oto Rimele 

Permanent: STREET GALLERY 

Curated by Irmi Horn.

• January: Monika Schönbacher-Frischenschlager, Kathrin Lorenz, Frida Kahlo & russian portraits (- 10th of Mai 2022).
• 14th ofMay: OUR CHILDREN
•  Anke Armandi, Gudrun Fürlinger,  Kathrin Lorenz, Duo Plank-Poschauko, Marlene Schröder, Ludwig Wüst 
• 2nd of July: Anaïs Horn , Birke Gorm
• 3rd of September: ROCHADE  Eilert Asmervik, Adrian Buschmann, Sigrid Mau, Nigel Gavus & İlkin Beste Çırak,
• 26th of October: Barbara Hammer, Lore Heuermann, Cy Twombly, Markus Wilfling
  Ortweinschule (Klasse Mag.a Agnes Katschner)
• Curator DP.in Irmi Horn
• December 2022 – December 2023 REVIVING LIFE – WIEDERBELEBUNG –  work in progress by  Zhenia Jane Laptiy & kunstGarten

Works by Elisabeth Gschiel, Stefanie Hödlmoser, Agnes Katschner, Alfred Graf, Kurt Spitaler. Only the STREET GALLERY shows some works!

Works by Elisabeth Gschiel, Stefanie Hödlmoser, Agnes Katschner, Renate Kordon

(Deutsch) Covid-19 Vorsichtsregeln! Anmeldung unter 0316262787 oder kunstGarten@mur.at

Garden & Art – Variety of Roses. Guided tour with Irmi & Reinfrid Horn.

(Deutsch) Eine Kooperation kunstGarten & HTBL Ortweinschule – DP.in Irmi, DP Reinfrid Horn  & Mag.a Katschner.

Cancelled because of COVID-19 !!

Edith Schäfer (piano) and Zsuzsanna Litscher-Nagy (flute travers) are performing this mother day matinée! Please make reservations not later than the evening before the programme begins: kunstGarten@mur.at or +43 316 262787. Negative Corona test – not older than 24 hours, FFP2 masque!

Works by ONA B. Renate Kordon, RISOGRAD, Josef Fürpaß, Klaus Dieter Zimmer, Julian Rosefeldt – 30th of August

Works by Ada Kobusiewicz, Assunta Abdel Azim Mohamed, Annette Philp, Barbara Schmid, Resul Jusufi, Willy Rast5.th Sep – 24.th Oct

Works by Helga Philipp, Victor Vasarely, Jim Bird, Rudolf Kristoffer, Irmfried Windbichler & Alexandra Gschiel. (-2021-05-02). Covid 19 rules must be observed!

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by Elisabeth Gschiel, Stefanie Hödlmoser, Agnes Katschner on STREET GALLERY!

Works by LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY – Street Gallery

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Ida Szigethy, Catrin Bolt, Viktor Kröll, Patrick Topitschnig

Works by Karin Pliem, Anna Werzowa, Markus Hiesleitne,r Alfred Lenz, Walter Köstenbauer -1st Sep

An Exhibition to encounter and discover the artistic painted speaking and feeling of handicapt children.

(Deutsch) Irmi Horn liest aus “Maikäfer flieg!” Aus organisatorischen Gründen bitten wir um Anmeldung bis spätestens 2 Stunden vor Programmbeginn – bei einer Matinée bitte bis zum Vorabend – unter kunstgarten@mur.at oder +43 316 262787.

Closed performance.

Presenting/Opening. 3YHKUBKO ‘Ortweinschule’ Graz.

(Deutsch) Ein kommunikatives Treffen für Frauen …

(Deutsch) Öffentliche Präsentation.

Garden & Art – Variety of Roses. Guided tour with Irmi & Reinfrid Horn.

Carol Robertson, GB & Trevor Sutton, GB (Kurz-Residenz), Ana Pecar , SLO – 1. 7. 2019

Works by Karin Pliem, Anna Werzowa, Markus Hiesleitne,r Alfred Lenz -1st Sep

Carol Robertson, GB & Trevor Sutton, GB (Kurz-Residenz), Ana Pecar , SLO – 1st of July

Carol Robertson, GB & Trevor Sutton, GB (Kurz-Residenz), Ana Pecar , SLO – 1. 7. 2019
Opening by Town Councillor Mag.a Judith Schwentner & art historian Dr. Edith Risse.

Graphic & Xmas Bazaar and many other things …

Graphic & Xmas Bazaar and many other things …

Graphic & Xmas Bazaar and many other things …

Graphic & Xmas Bazaar and many other things …

Graphic & Xmas Bazaar and many other things …

Graphic & Xmas Bazaar and many other things …

Graphic & Xmas Bazaar and many other things …

Graphic & Xmas Bazaar and many other things …

Works by  LINDA LE KINFF, GERHARD RAAB, ITZCHAK TARKAY

Photograph works by Christo and Jeanne-Claude installations. Fr, Sa 15:30 – 19:00 and daily by appointment.

Photograph works by Christo and Jeanne-Claude installations. Fr, Sa 15:30 – 19:00 and daily by appointment.

Photograph works by Christo and Jeanne-Claude installations. Fr, Sa 15:30 – 19:00 and daily by appointment.

Photograph works by Christo and Jeanne-Claude installations. Fr, Sa 15:30 – 19:00 and daily by appointment.