Kurt Ryslavy & Renée Gadsden — HALLE FÜR KUNST Steiermark

Book Launch & Artist Talk

Panelling Ryslavy, 2023
Museum für Gegenwartskunst, Admont
© Michael Richter-Grall

Kurt Ryslavy, born in Graz, is a visual artist, poet, who also works for living. He describes himself as a contemporary artist, whose practice encompasses text, video, installation, performance, sculpture, and painting. Unique among conceptual artists, he prefers using oil paint as his medium. For nearly five decades, drawing on Dadaism, Fluxus and Viennese Actionism, for almost five decades, Ryslavy has been challenging traditional concepts and notions of art in an ironic and provocative manner.

Ryslavy studied philosophy at the University of Vienna and art at the Vienna University of Applied Arts, but did not complete either program. After living in Salzburg (1981−1983) and Boissano (1985−1986), he moved to Brussels to pursue writing and his work as a visual artist. In 1990, he bought a house on credit with friends and working to support himself due to a crisis in the art market.

Through his discursive works and well-considered exhibition concepts, Ryslavy addresses topics such as phenomena of perception, the art world, and the art market as well as the working conditions of artists. Central to his work is the absurdity of the so-called art world itself, which he repeatedly illuminates with humor.

Ryslavy also explores the aesthetic, cognitive, moral, artistic, and commercial value of an artwork. He examines both the extrinsic value determined by the art market as described by Sue Spaid, and the intrinsic value seen in the admiration of lesser-known works. He questions how visibility affects the value of art, pondering the worth of unpopular pieces or those appreciated privately. As a collector, Ryslvy is intrigued by categorization, exhibition, visibility, and revealing connections. His approach aligns with Bruno Latour’s The Parliament of Things (2009), where objects have agency and are integral to our identity.

Cultural theorist Dr. Renée Gadsden explains how Ryslavy challenges our conventional understanding of what is acceptable in art, yet he often faces disappointment when the public does not embrace his work as he had hoped. This ongoing conflict with public perception haunts him. His works transcend traditional boundaries and concepts of art to the extent that they remain incomprehensible to most people. However, this likely drives him to pursue even more radical explorations of his artistic philosophy.

Kurt Ryslavy also criticizes the market’s dominance over artistic talent and education. He questions whether academies truly promote the art canon and benefit society, or if they merely produce conformist artists who cater to the primacy of the art market. Together with the artist, Renée Gadsden, who wrote an essay for Kurt Ryslavy’s new publication, will present the book Running Metres.

We would like to thank Mr. Grabmayr from Geistthal in advance for the music and the Museum für Gegenwartskunst Admont for the culinary support and the beverage sponsorship (Dveri-Pax).

Kurt Ryslavy
Running Metres – Laufmeter

80 pages, paperback, English/German, numerous color illustrations, Autumn 2024
With text contributions by Renée Gadsden, Kurt Ryslavy, Sue Spaid

R I T T E R Klagenfurt, Graz, Wien
ISBN: 978−3−85415−674−1
Price: €29,00

Artists

Participating artists

Solo exhibitions (selection): Museum Gegenwartskunst, Admont (2023), Angelinna, Brussels (2021), Kunstverein Langenhagen, Hanover (2019), Norbert Arns Galerie, Cologne (2018), Vincent Van Gogh Huis, Zundert (2018), établissement d’en face, Brussels (2017), CC De Garage Malines (2016), White Out Studio Knokke (2015), (les halles), Porrentruy (2014), Kim Kim Gallery, Seoul (2013), Emily Harvey Foundation, New York (2012), BOZAR, Brussels (2012), MAK, Vienna (2011), Musée de Mariemont, Morlanwelz (2009), Le Commissariat, Paris (2009), Museum Admont (2008), CCNOA, Brussels (2007), Neue Galerie, Graz (2001), Kunsthalle Krems (2000), Kunsthalle Lophem (1999), Palais des Beaux-Arts, Paris (1997), Secession, Vienna (1993), Hering Kunstmuseum (1990).

Group exhibitions (selection) : Museum Gegenwartskunst, Admont (2022), Stedeljik Museum Breda (2021), ARTZUID, Amsterdam (2018), Centre Wallonnie, Brussels Paris (2017), Mumok Vienna (2016), Kunsthaus Zurich (2015), Herbert Foundation, Ghent (2014), Kunsthaus, Graz (2013), CCS Strombeek (2012), Espace culturel Louis Vuitton, Paris (2012), Maison Grégoire, Brussels (2011), Sparwasser HQ, Berlin (2008), mandrake, Los Angeles (2008), BOZAR, Brussels (2008), Mumok, Vienna (2007), Landesmuseum Niederösterreich (2007), Kunsteneres Huis Oslo (2007), Ikob Eupen (2004), Tour & Taxis, Brussels (2001), MDD Deurle, Sint-Martens-Latem (1998), Skulptur Projekte Münster (1997), Von der Heydt Museum Wuppertal (1987), Kunsthalle Bremen (1987).

Publications: Vierzeiler (1986), Yes, Ja — passende Texte (1987), Kurze Geschichten von vorn nach hinten (1988), Les formes de complexité moyenne attirent notre attention (1989), One fucking move (1989), Running Metres (2024)

is an art and cultural historian and works as a curator, art educator and author for institutions such as the Albertina Museum, the Vienna Secession, the Philosophicum Lech, the Belvedere Museum Vienna, the Pinakothek der Moderne, the Künstlerhaus Klagenfurt, the KOENIGmuseum Landshut, the Museum Moderner Kunst Stiftung Ludwig Vienna, the European Forum Alpbach and the Jewish Museum Vienna.

She holds a degree in Art History from Brown University (BA Hon.), completed postgraduate studies in Art History at the University of Vienna, and earned degrees in Sculpture (Mag. art.) and Cultural and Intellectual History (Dr. phil.) at the University of Applied Arts Vienna.

For many years, she has been working in adult education and as a lecturer at various Austrian universities. She is co-founder of the Institute for Language Arts at the University of Applied Arts Vienna, Austria’s first program for creative writing with an academic degree, and is a lecturer at the Institute for Art Theory.