Arang Choi

b. 1992, Seoul, South Korea

Émulb’s series, 2021
Oil on canvas
170 x 300 cm

Fluid organism series 8, 2022
Acrylic and oil on canvas
70 x 50 cm

Arang Choi’s paintings evoke Kantian sublime in their tackling of vast cosmic subjects: erupting volcanoes, or serpentine God-like figures gazing upon the world as if gazing upon a dandelion. Playing with scale and form with a distinct painterly style, Choi taps into the spiritual dimension of sublime, a quantity as vast and unknowable in the face of technological change as it was in ancient times.

“Mixed forms, somewhere between animal, human and fantasy, botanical creations, landscapes, architectural spaces and the indefinable meet in mystical fiction,” writes Giuseppe Coco on Choi’s work. “This fluid physicality shows that emotional worlds play the central role, while appearance and style remain secondary. This fluid physicality shows that emotional worlds play the central role, while appearance and style remain secondary.”

Arang Choi is a Korean artist living and working in Vienna. She studies painting at the Akademie of Fine Arts and she did an exchange semester in 2019–2020 at the Art Academy Düsseldorf. Exhibitions include Hollerei Gallery, Parallel Art Fair, Parallel Editions, Koschatzky Art Award 21, Palmer im Galerienhaus, Förderpreis des Bodenseekreises, Semperdepot.

︎ @aaaarang_c

Pyo E

b. 1993, Seoul, South Korea

S(H)IT – An ordinary object work, 2021
Steel tube, scaffolding clamp, photo-printed fabric
80 x 100 x 90 cm

Window View – An ordinary object II, 2022
Steel square tube, mosquito net, LED strip, acrylic board, photo print on PVC
50 x 70 cm

An industrial chair built from scaffolding pipes and photo-printed cloth starts to resemble the expansiveness of the starry sky, or perhaps just the spattering of paint. A portal into the cosmos through mundane materials, Pyo E’s expanded sculptures connect humble construction materials to the industrial sublime. An accompanying work presents a vista from the window of a ship: buoys and objects bob around in the sea, while a row of small white LED strip lights form a horizontal band of illumination – perhaps the port lights of an approaching or departing city. This restrained but poetic work evokes a powerful contemplative atmosphere, implying a larger story of movement, loss, transience, migration or discovery. Deeply informed by photography, Pyo E approaches her practice as a form of storytelling or autobiographical fiction, crafting empathetic narratives onto which the viewer might map their own journeys and emotional histories.

Born in Seoul, Pyo E is a Korean artist living in Vienna. She studied photography in Korea and is now enrolled in Bildhauerei und Installation (Sculpture and Installation) at the Academy of Fine Arts, Vienna. Expanding her art practice in different media, she now works with sculpture, installation and video.

︎ @pzoyo

︎ @pyopick

Aitor González

b. 1994, Valencia, Spain

We must write in the language of the enemy, 2016/2022
Magazines, scratch-off paper
134 x 53 cm

Four magazines line up on a low plinth. In a gesture of invitation, they are left open – and yet their smooth surfaces conceal more than they reveal: a thin skin of silver foil covers each open page; the kind used on scratch cards. Fragments of text, image and colour are left visible around the borders, revealing that these are art and architecture magazines of a certain quality of design and taste, but their modernist typefaces and black and white photographs are masked over, disguised in a minimalist sheet of slightly glossy grey. Of course, in theory this could all be scratched off by a 2 pence coin or a fingernail, once again revealing the contents of the magazines – but left open, they hover in a vulnerable and liminal space between language and silence, gesture and erasure, blankness and expression.

Aitor González’ practice explores the poetic possibilities of objects, processes and stories taken from the everyday. Uprooted from their context, signs and objects are transformed in order to create new narratives. His production moves between the liminal spaces of knowing and understanding. Trained in sculpture, González has moved towards a more interdisciplinary practice incorporating drawing, painting and mixed media works. His work incorporates the themes of collective memory, family, myths, the diaspora experience and childhood. His perspective is informed by navigating spaces as a queer person – and the notions of alternative fluid histories and intimacies it entails.

González is a Quechua/Spanish artist living and working in London. He studied Fine Arts at the Universitat Politecnica de Valencia and the University of Leeds. Recently he was included in MELTDOWN, Ridley Road Project Space, London (2022); The Manchester Contemporary and an accompanying exhibition Grey Area (curated by Kevin Hunt), PINK, Manchester (2022); Preparations (curated by LateWorks), Cafe OTO, London (2021) and A bark in the night woke me up to a bed with no sheets, Robert’s Gallery, Glasgow. He is working on an artist’s book with Forma Editions.


︎ @forbidden2enterwithoutsmiling

Natalia Gurova & Nora Aaron Scherer

b. 1986, Belarus / b. 1993, Germany

Urticina eques reflex – pet me not come back, 2020
Silicone, metal
250 x 70 cm

Like a hanging Petri dish, Urticina eques reflex - pet me not come back instantly attracts and repels the viewer in equal measure. A rubbery silicone skin stretched across a metal frame with bolts and rivets, and suspended by a sleek metal chain, the work’s striking materiality speaks of both the fetish dungeon and the science lab. Flesh, sores, mould and contamination but also intimacy, touch and play come to mind. Silicone is often used in sex toys, but also in filmmaking to create masks that resemble human skin. Demonstrating the proximity of desire and abjection, Gurova and Scherer’s sculpture creates a moment of confusion to rethink ways of safe touching.

Natalia Gurova is a visual artist, sculptor and former journalist based in Vienna. Having previously studied site-specific art at the University of Applied Arts, Gurova now studies object sculpture at the Academy of Fine Arts. Her work has been exhibited at Vienna Art Week, Parallel Art Fair, Gallery Michaela Stock, MAK, Exhibit Gallery at the Academy of Fine Arts, das weisse haus and other places.

Nora Aaron Scherer is a social worker, body worker and multidisciplinary artist with a background in drama education. Their interactive, immersive and durational performance works create situations that allow them to explore social dynamics, contemporary forms of communication and intimacy. As a performer for immersive theatre projects like SIGNA, they developed the necessary stamina and refinement to question borders of human relation. Their current practice includes installation, sculpture and sound.


︎ @nataly_gurova