Welcome to n-c Austria, a week-long digital art event featuring the country's leading galleries. Until December 6, we will present over 230 artworks from 70 artists. All objects presented are available for sale via the “inquire” button. Learn more
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Eva Beresin i
Sebastian Black i
Jimmie Durham i
Christian Eisenberger i
Kerstin von Gabain i
Zsófia Keresztes i
Assunta Abdel Azim Mohamed
Johanna Odersky i
Stefan Reiterer i
Eugen Wist i
Eva Beresin
Born in Budapest in 1955, parents both Holocaust survivors with art affinity father art collector. I got passionate about drawing and painting when I was a little child while I had to sit with my parents weekly at Café Gerbeaud in Budapest. I loved to observe the “old” ladies with her wild makeup and styling.
After I finished the School of Visual Arts in Budapest I moved to Vienna.
I have been working with different media for the past 43 years and I continuously showed my figurative painting at special locations.
I’m also working a lot with interior and graphic design.
Charim Galerie Vienna has been representing me since 2015.
2015 they exhibited my biggest project there so far the artistic implementation of my mother’s diary as she wrote after her liberation from Auschwitz I only began to process it after her death. I got her still intact world from 1943 where Jews in Hungary could live in relative normality. Converted into my painting and a multi-layered representation of her history.
I also published a book ” Ninety-Eight Pages ” with the publishing house “Verlag für moderne Kunst “
I’m addicted to Instagram it’s like a new coffeehouse culture, see and be seen, communication source of information platform.
The majority of oy works from summer 2019 which was painted with oil colors directly onto old fashion magazines, depicts me and my perception of my body, which I place virtually within the time and location of Auschwitz in order to retrace my family’s tracks. Sometimes in the paintings, I am moving naked and vulnerable, in order to be able to start a dialogue with those I was never able to actually meet. I use subjects from fashion magazines because they are surprisingly easy to transfer to the extreme of the time. My courage to show all of this makes me laugh, and comforts me because, despite all the hardships, we are still here.
The last couple of months I’m still dealing with myself and my body and I feel I’m getting braver about it and this fact enjoying me very much! The story of where I come from and who I am today seems an inexhaustible source.
Sebastian Black
Sebastian Black
*1985, New York City — Lives and works in New York City

MFA, Columbia University, New York

BA, Vassar College, New York

Selected solo exhibitions

New and Used Drawings, Croy Nielsen, Vienna

Self-Portrait as a Good Boy, CLEARING, New York
Man Seeking Qualities, Princess, New York

My Interests, Clearing, Brussels

Completed Paintings, Croy Nielsen, Berlin

Tales I knows, Clearing, New York
3 New Shapes, Balice Hertling, Paris
Sample Sale (with India Donaldson), 83 Pitt Street, New York

Sebastian Black and Koenraad Dedobbeleer, Cherry and Martin, Los Angeles
Towards a Huger Terrace, Retrospective, New York
Authentix (with India Donaldson), Queer Thoughts, Chicago

–__ (with Jacob Kassay), Room East, New York
_____. (with Robin Cameron), Bodega, Philadelphia
Unique Newark, Clearing, New York
The Elements of Style, Karma Amagansett
Ge-Stilted at the Gestalt-ar, Clearing, Brussels

The Virgin Islands, Roberts and Tilton, Los Angeles
Lackawanna (with Kyle Thurman), Clearing, Brussels
Period Pieces, Puppy Paintings, Prototype, Placeholders, Clearing, New York
Ps N Qs, The National Exemplar, New York
Paperworks, Karma, New York

Period Pieces., Tomorrow Gallery, Toronto
Walk-Ins Welcome, Nymphius Projekte, Berlin

The Playful Paw-Strokes of The Wilderness, Kathleen Cullen Fine Arts, New York
Selected group exhibitions

Who’s Afraid of Red, Yellow and Blue, Proyectosmonclova, Mexico City

Two-Story, Clearing, Brussels

EAGLES II, Galeria Marlborough, Madrid
Passing Leap, Hauser & Wirth, New York

Shit Like Hair, White Flag Projects, St. Louis
Warm Math, Balice Hertling, New York
Hypothesis For an Exhibition, Dominque Levy, New York
Imitatio Christies, Galleria Zero, Milan
Painting, Galeria Zero, Milan

Stay in Love, Laurel Gitlen and Lisa Cooley, New York
The Stairs, Algus Greenspon, New York
The Writing Is On The Wall, Jonathan Viner, Kent
Very New Works, Duve, Berlin
The Wall, Marlborough Chelsea, New York
My Words Mark, 247365, Brooklyn

Dogma, Metro Pictures, New York
Ur, Room East, New York
Its Endless Undoing, Thierry Goldberg, New York
MFA Thesis Exhibition, Fisher Landau Center for Art, New York
Ten Ten, Jason Alexander, New York
Blind Cut, Marlborough Gallery, New York

Royal Rumble at Waffle House, Clearing and The Journal Gallery, Miami
Heads with Tails, Harris Lieberman, New York
Space Oddity, Kunsthalle Andtrax, Mallorca
Curatorial projects

Sex and the City, Croy Nielsen, Berlin

This a way, White Flag Projects, St. Louis
Selected Press

​“Sebastian Black”,The New Yorker, January
Bogart, Aaron, ​“Sebastian Black/​Clearing New York”, interview, Flash Art, January

Ganz, John, ​“Sebastian Black with John Ganz”, interview, The Brooklyn Rail, December
Salsbury, Britany, ​“Sebastian Black”, Artforum, May

Bacon, Alex, ​“SEBASTIAN BLACK’S ​‘Pink Blink’ and the Logic of the Screen”, The Brooklyn Rail, February

Ganz, John, ​“Sebastian Black”, Artforum, January

McEwen, Adam, ​“Dog Show: Adam McEwen interviews Sebastian Black”, Interview Magazine, August
Jimmie Durham
Born in 1940 in Washington, Arkansas, USA
Lives and works in Berlin and Rome

Artist, performer, poet, essayist, and activist Jimmie Durham is one of the most compelling, inventive, and
multifaceted artists working internationally today. After studying art in Geneva and working for the American
Indian Movement for several years, Durham became an active participant in the vibrant New York City
downtown art scene in the 1980s. There, he staged solo exhibitions and participated in group shows at
such noteworthy nonprofit venues as Artists Space, Exit Art, and Judson Memorial Church. Many of these
early exhibitions sought to bring visibility to artists of color or were organized around the most urgent
political concerns of the day, including racism, Apartheid, and the US government’s intervention into
Central America. Durham was also a committed advocate for other artists through his role as executive
director of the Foundation of the Community of Artists, where he helped edit the newspaper Art and Artists,
and as a curator and writer. In 1987 Durham chose to leave the United States with his partner, artist Maria
Thereza Alves, moving first to Cuernavaca, Mexico, and then to Europe, where they have lived since 1994.
While in Cuernavaca, he returned regularly to the States and continued to participate in the American
contemporary art community as an artist, writer, and curator, including participating in the landmark 1993
Whitney Biennial and the New Museum’s 1991 exhibition The Interrupted Life. In 1989 his major solo show
The Bishop’s Moose and the Pinkerton Men was presented at Exit Art, New York, and traveled to
Washington State and Quebec. At this time, his work was also being recognized in Europe and Mexico; he
was included in Documenta IX in 1992 and his solo show Original Re-Runs (aka, A Certain Lack of
Coherence) traveled in Europe throughout 1993 and 1994. Since moving to Europe more than twenty years
ago, however, Durham has largely chosen not to exhibit his work in the United States. The artist’s reasons
for this are numerous and understandable on many levels—at once personal, political, and practical. Even
so, his work is meaningfully, and indeed crucially, connected to important activities, movements, and
genres of American artistic production—sculptural assemblage using found objects, appropriation of
existing text and image, institutional critique, the politics of representation, performance—and, moreover,
to the colonial history and political struggles of the country.
(quot. Anne Ellgood, Hammer Museum, Los Angeles, 2017, https://hammer.ucla.edu/exhibitions/2017/jimmie-durham-at-the-center-of-the-world/)
Christian Eisenberger
*1978 in Semriach, Styria

Solo- and Groupexhibtions (Selection):

SEHN SIE TIEF 9975-15432-32718, Galerie Krinzinger, Vienna, Austria 2020, COLA BIER ENTE HERR TEE 9975/15143/32682, Kunsthalle Gießen, Gießen, Germany, TABERNAKEL Expanded, Bildraum Bodensee, Bregenz, 2020, Guernica Ikone des Friedens, Hofburg Innsbruck, Innsbruck, 2018, Ausstellen des Ausstellens, Staatliche Kunsthalle Baden Baden, 2018, Art Berlin, Soloboth, Martinez, 2018, Kunst 4.0 oder das Überleben der Malerei, Vienna Art Week 2017, Vienna, 2017, opening exhibtion Dommuseum Wien, Vienna, 2017, Karl Karner & Christian Eisenberger, Baba Wanga, Grenzkunst-Halle Jennersdorf, Jennersdorf 2016, Works on Paper and Wood, HilgerBROTKunsthalle, Vienna, 2016, Prière De Toucher, Der Tastsinn der Kunst, Museum Tinguely, Basel, 2016; Mumok, Vienna, 2015; Berlin-Klyndyke: 1. Berlin-Edition, Salon Dahlmann, Berlin, 2015; Destination Vienna, Kunsthalle Wien, 2015; instant edition. Editionen/Multiples, Leopold Museum, Vienna, 2015; Karl Karner & Christian Eisenberger, Baba Wanga, Grenzkunst-Halle Jennersdorf, 2016; André Butzer/Christian Eisenberger, Künstlerhaus Graz, 2014; Der Menschheit Würde..., MUSA, Vienna, 2014; Essen in der Kunst, Forum Frohner, Krems, 2013; Der nackte Mann, Lentos, Linz, 2012; urexazerbationtelomereliktakuterusmetabolis, Kunsthalle Krems, 2008; MP_art: MP_pro_02_SCHAM_A“, Neue Galerie Graz, 2008; „GOLD – Armut war gestern“, Forum Stadtpark, 2007

Exhibition at Galerie Krinzinger:
LAUT-LEISE, Galerie Krinzinger Pop Up in der Himmelpfortgasse, 2019, 122017 Dunkle Materie Kalte Gerüchte 9975/14129/30817, Galerie Krinzinger Showroom, 2017, AIR 2016, Krinzinger Projekte (Gruppe), 2017, DIE BERGE SCHMIEDEN SOLANGE SIE EISEN ESSEN 9975/13822/27937, Galerie Krinzinger Showroom, 2016, Schlafzimmer, Krinzinger Projekte @ Parallel 2015, Amöbe, Krinzinger Projekte, 2015, HIMMEL WEISHEIT WALD 9975/13107/27917, Galerie Krinzinger Parterre, 2014, AIR SRI LANKA, Krinzinger Projekte (Gruppe), 2013;
Residencies / Workshops: Kuberton, Croatia, Galerie Krinzinger, 2016; Ahungalla, Sri Lanka, Galerie Krinzinger / one world foundation, 2013; Participation in the symposium with Rirkrit Tiravanija, Venice, Italy., 2004; "Stone age", participation in the workshop with Jimmie Durham, Norway (K), 2003
Awards (selectin) Hilde Goldschmidt Preis, 2016; New position Award, Art Cologne, 2009; Viennafair award – best booth winner, 2008; Awards of country styria, austria for contemporary fine arts, 2006
Eisenberger – Kunst muss schön sein sagte die Fliege zum Frosch, Regie: Hercli Bundi, 2019
Kerstin von Gabain

1998 – 2003
Academy of Fine Arts Vienna

Selected solo and duo exhibitions

Artist Statement, Parallel Vienna, Vienna

Kerstin von Gabain & Thea Moeller: El Centro 2, Galerie Kunstbüro, Vienna

Gabriele Senn Galerie, Vienna

Kerstin von Gabain & Thea Moeller: El Centro, Martinetz Galerie, Cologne
Artist Statement, Parallel Vienna, Vienna

Bonalism, Soiree Berkson, Vienna
Pringle 2, Sammlung Lenikus, Vienna
Bad Pringle, Gabriele Senn Galerie, Vienna
The Art Gallery of Rogues, Wiener Art Foundation, Vienna

Austrian Cultural Forum Warsaw, Warsaw
Objects of China, Sotheby’s Artist Quarterly, Sotheby’s, Vienna
Raver geht ins archäologische Museum, Grafisches Kabinett, Secession, Vienna

City of broken furniture, MAK Galerie, Austrian Museum of Applied Arts, Vienna & Kunstraum der Leuphana Universität Lüneburg

Gabriele Senn Galerie, Vienna

Gabriele Senn Galerie, Vienna

Selected group exhibitions

Ballast Palast, Kunstverein Schattendorf, Schattendorf
Während alle fotografieren…, Fotohof Salzburg
Haus Wien, Vienna
Body Lotion, Zeller van Almsick Gallery, Vienna
Where the wild roses grow, Pina, Vienna

FuelSave, Vienna
Being towards the world, Sophie Tappeiner, Vienna
Augmented Personality, Büro Weltausstellung, Vienna
21+, Kunstraum am Schauplatz, Vienna

The body as a continuum in der Kunst, Gabriele Senn Galerie, Vienna
Ein Brunner Lienz – Alto Adige, Büro Weltausstellung, Wiener Art Foundation, Vienna

Ausstellung zum Kardinal König Preis, Kunstraum St. Virgil, Salzburg
Works on Paper, Büro Weltausstellung, Wiener Art Foundation, Vienna
Carrying Owls to Athens, Wiener Art Foundation Athens, Athens
PRO(s)THESIS, Picture Gallery, Academy of Fine Arts, Vienna

Painting is not the issue, Neuer Kunstverein Wien, Vienna
Die Sprache der Dinge – Materialgeschichten aus der Sammlung, Belvedere 21, Vienna
Büro Weltausstellung, Wiener Art Foundation, Vienna
Felt Book Exhibition + IfNf Prod Shop, 927 S Santa Fe Ave, Los Angeles
Final Projects – Group XLI, Mak Center Los Angeles, Los Angeles
de Oculis – Die Sammlung Aichmair im Josephinum, Josephinum, Vienna
Normalities, Austrian Culture Forum, New York

No Liability is taken for wardrobe, Angwandte Innovation Laboratory, Vienna
Famed – Privileg der Umstände, Gabriele Senn Galerie, Vienna
Lentos Kunstmuseum Linz, Linz
Objets Trouvés, Hofstätter Projekte, Vienna
Destination Vienna 2015, Kunsthalle Wien, Vienna
Der Blick und das Queren, Markhof 2, Vienna
Schlaflos, Belvedere 21, Vienna
Gabriele Senn Galerie, Vienna

WAF Review 2014, Wiener Art Foundation, Vienna
Getränke 2, Cumberland Stub’n, Vienna
Hocker, Stuhl, Sessel, Galerie im Traklhaus, Salzburg
Untitled Prints, Practice Space, Detroit

If sports is the brother of labor…, CAMP, Athens

older than jesus/younger than madonna, Wiener Art Foundation, Vienna
The Baltimore Crime Scene, Studios Samlung Lenikus, Vienna

Schrift//Bild, Galerie Konzett, Vienna
Wiener Innen Aussen, Wonderloch Kellerland, Berlin

In der Kubatur des Kabinetts, Fluc, Vienna
Psychonavigation, EEG, Westwerk, Leipzig
Transzendenz Inc., Autocenter, Berlin
Dongxi – Things, Kunstverein Baden, Baden
Collection privée – l’art que j’aime, Gabriele Senn Galerie, Vienna

Awards, grants & residencies

Kardinal Königs Preis, Salzburg

MAK Schindler Residency Program Los Angeles
Austrian Studio Stipend for Rome (BKA)

Artist in Residence, Changdong Studios, Seoul (National Museum of Contemporary Art, Korea)

Austrian Studio Stipend for Tokyo (Bmukk)

Austrian State Grant for Fine Art Photography (Bmukk)

Austrian Studio Stipend for Beijing (Bmukk)

Curatorial and other projects

AMYGDALA Solo exhibition of Edin Zenoun, curated by Kerstin von Gabain as part of Curated By Festival, Zeller van Almsick Gallery, Vienna
Happiness Machines, curated by Marlies Wirth, https://chicane.space
Harlekin, collaboration with Rani Bageria, Vienna

FuelSave, group exhibition, Vienna

Noodle House, collaboration with GON, Vienna
Ordination, group exhibition curated together with Sophie Tappeiner, Vienna

Dollhouse of A Poem, group exhibition curated together with Nino Sakandelidize, Vienna

Public collections

Mumok – Museum moderner Kunst Stiftung Ludwig Wien, Vienna
MAK – Austrian Museum of Applied Arts / Contemporary Art, Vienna
Lentos Kunstmuseum, Linz
Österreichische Galerie Belevedere, Vienna
Zsófia Keresztes
Zsófia Keresztes (*1985 in Budapest; lives and works in Budapest)
Zsófia Keresztes’ sculptures speculate how the real world extends into virtuality, following both a technological understanding as well as Marcel Proust’s comprehension of virtuality, memory as "real but not actual, ideal but not abstract". Keresztes treats the virtual as something that is "as if" it were real, establishing game theories and What-If scenarios for how digital infestation becomes incarnated, how algorithms and digital avatars manifest themselves in the world and cannibalise sensation and perception.

Her sculptures and installations have recently been shown in, amongst others, at the 15th Lyon Biennale, Institute of Contemporary Art, Lyon; 100 artists in the city, produced by MOCO – Montpellier Contemporain and Mécènes du sud, Montpellier-Sète; Liquid Bodies, Philara Collection, Düsseldorf; Brno Art Open, Brno (2019).
Éntomos, duo exhibition with Anna Holacova, GHMP Museum, Prague; L’Esprit Souterrain, curated by Hugo Vitrani, Domaine Pommery, Reims; Orient, curated by Michail Novotny, kim?, Riga / BOZAR, Brussels / Bunkier Sztuki, Krakow (2018).
Abstract Hungary, Künstlerhaus- Halle für Kunst und Medien, Graz; Afterbirth of a Dream, Meetfactory, Prague; Letting Go, Trafó Gallery, Budapest; Endless Backup, Futurdome, Milano; Textour, Künstlerforum, Bonn (all 2017); HOLYLAND, Labor, Budapest; The Dys-Picture Generation, Art+Text Budapest; The Rings Go, The Fingers Stay, Múzeum Krt. 19., Budapest (all 2016); You dreamt with straight lines, I did with curves, which had acid shadows (with George Crîngaşu, Jaakko Pallasvuo), Trafó Gallery, Budapest (2015).
Johanna Odersky
Johanna Odersky (Swiss, b. 1993) is a visual artist and musician based in Frankfurt am Main (GER). She is a graduate from the Hochschule für Bildende Künste Städelschule where she studied in the class of Judith Hopf. Much of her work revolves around exploring how human experience is organized and embodied and how relationships between body, mind and the external world are always and necessarily situated in discursive power relations. Additionally these questions are echoed in her musical work and performances, which she produces under the name of “Iku“.
Stefan Reiterer
Stefan Reiterer (*1988, Waidhofen/Thaya) studied “Extended Painterly Space” at the Academy of Fine Arts in Vienna and the Faculdade de Belas Artes in Portugal. His works have been shown in numerous international solo and group exhibitions, including in London, New York, Berlin, São Paulo, Prague, and Los Angeles. In summer 2020 he participated in the artist-in-residence program SoArt in Carinthia, Austria. His works are represented in the Austrian Belvedere Gallery, the Lower Austria State Collection, the MUSA City Collection of Vienna and the Collection CCA Andratx, Mallorca.
Eugen Wist
Eugen Wist (b. 1989) studied Fine Arts at the University of Applied Arts Vienna (AT) and at Städelschule in Frankfurt am Main (GER). His artworks and mise-en-scène-like installations draw upon elements of longing, transience, alienation, and a sense of melancholia. His childhood migration from Russia to Germany was a turn of fate that is reflected upon throughout his practice. Eugen Wist uses a range of materials, whereby the traces of being recycled or readymade linger, echoing the ambivalence of the past and the present.
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