Viktor Kopp’s work is both dry and whimsical, playing on notions of illusion in painting with a deep focus on the formal logic of perspective and geometric abstraction. His work begs the question of what lies behind the illusionistic space of the painting, pointing to the inherent flatness of the work and the contrivance of depicting space within. In these paintings, Kopp breaks with both flatness and representation in a space of three-dimensional illusion, one without gravity, shadow or dimension. A flat tablet of grey abstraction turns and floats within a dense white blankness of a monochromatic yet intricately painted void. His work shows abstraction as his motif and subject, peeling away to reveal only more abstraction.
Viktor Kopp (b. 1971, Stockholm) completed studies in fine art in Malmö, Gothenberg and Helsinki. His selected solo exhibitions include Bureau New York, Ribordy Contemporary, Geneva; Galleri Magnus Åklundh, Malmö and Konsthallen Passagen, Linköping. His group exhibitions include: Moderna Exhibition, Moderna Museet, Stockholm; Edstranska, Malmö Art Academy, Malmö; The Art of Cooking, Royal/T, Culver City; Underemployed, Salon Zurcher, New York; Abstract and Traces, Ribordy Contemporary, Geneva and Solid-State, Bureau, New York. Kopp teaches painting at the Malmö Art Academy and lives and works in Stockholm.
Residents from Sweden
Tobias Pils’s working method is characterized by the fact that when beginning a new piece of work he attempts to forget all past works, and engages with a motif. This motif can be anything from a traditional allegory to an abstract rhythm or harmony. His pictorial language as developed in recent years combines expressive elements with geometric structures such as grids, but never quite cuts the link with representation despite its dominant tendency towards abstraction. Intuition, inspiration and individuality are criteria relevant to Pils’s painterly oeuvre, and form the basis of his understanding of painting as a language and means of expression.
Tobias Pils (born 1971 in Linz) studied at the Academy of Fine Arts, Vienna. His selected exhibitions and projects include: Secession, Vienna, 2013; Galerie im Traklhaus, Salzburg, 2012; Jack Hanley Gallery, New York City, 2011; Tenda Gialla, Pogon Jedinstvo, Zagreb, 2010; Beijing Biennale, NAMOC Museum, Beijing; Rezan Has Museum, Istanbul; Gironcoli Museum, Herberstein; Genia Schreiber University Gallery, Tel Aviv, 2008; Tresor BA Kunstforum, Vienna and Lentos Kunstmuseum, Linz, 2007. Pils lives and works in Vienna.
Residents from Austria
Akansha Rastogi develops and mediates relationships between the exhibit, curator, artist and the exhibition space. She engages with the exhibition as a medium and as a form through her curatorial and research projects. Her interest is in different kinds of knowledge production within exhibition spaces and a study of vocabularies formulated during the process of exhibition-making. In her curatorial practice, Rastogi manufactures methods and cycles of reiteration and retrieval, mnemonic conditions, access and mesh-making, in relation to the performativity of exhibitions and exhibition spaces. Her ongoing project Grazing sidelines the narrative and produces a post-embedding, self-alluding structural field that further addresses this interiority and performative duration.
Akansha Rastogi (born 1985) is Curator, Programming and Exhibitions, at the Kiran Nadar Museum of Art (KNMA), New Delhi. She completed her degree in English literature from Delhi University and Master’s Degree in the History of Art. Her recent exhibitions include Zones of Contact: Propositions on the Museum, 2013 and the Inhabiting the Museum performance series, 2011-14, KNMA. Rastogi is part of the artist collective WALA and received a FICA Public Art Grant for performance projects. She is the recipient of the 2014-15 IFA Research Grant for studying Exhibition Histories and Practices of Indian Modern and Contemporary Art.