Eduard Winklhofer: Ohne Titel, 2013
geboren 1961 in St. Johann ob Hohenburg, Österreich, lebt und arbeitet in Düsseldorf und San Sepolcro. Er studierte an der Accademia di Belle Arti Pietro Vannucci in Perugia und hatte engen Kontakt zu Hauptvertretern der Arte Povera. Von 1994 bis 1999 war er Assistent von Jannis Kounellis an der Kunstakademie in Düsseldorf. Neben Teilnahmen an internationalen Gruppenausstellungen präsentierte er sein Werk u.a. in Düsseldorf, Moskau, Berlin, Mailand und Rom. 2005 erhielt er den Premio David di Michelangelo im Museo dell’Acca-demia in Florenz. Im KULTUM wurde Winklhofer in den Ausstellungen „Bertram Hasenauer, Eduard Winklhofer: nichtvonmenschenhand“ (2013), „reliqte, reloaded: Zum Erbe christlicher Bildwelten heute” (2015/16) und „VULGATA. 77 Zugriffe auf die Bibel“ (2017) gezeigt.
born in St. Johann ob Hohenburg, Austria, in 1961; lives and works in Düsseldorf, Germany, and San Sepolcro, Italy He studied at the Accademia di Belle Arti Pietro Vannucci, Perugia, Italy, and was in close contact with main representatives of arte povera. He was Jannis Kounellis’ assistant at Düsseldorf Arts Academy from 1994 to 1999. Along with participating in international group exhibitions, he presented his works i.a. in Düsseldorf, Moscow, Berlin, Milan, and Rome. He received the Premio David di Michelangelo at the Museo dell’Accademia, Florence, in 2005. Winklhofer’s works were shown in the KULTUM in the exhibition “Bertram Hasenauer, Eduard Winklhofer: nichtvonmenschenhand“ (2013).
Eduard Winklhofer: Untitled, 2013
Flutes stuck through the window panes invite you to play them. They turn the whole historical room into a breathing body whose breath makes up the polyphony of flute voices. From that angle, the flute is the mythical instrument for the melodiousness of music and thus for everything “beautiful” that only music and art can bring forth. Pan, the god of the shepherds conjured up the bucolic landscape of the peaceful paradise of eternal spring. Flutes are not only instruments of melodiousness but also the instruments of seducers. The Pied Piper of Hamelin is the best known among them. In historical reality, every dictatorship, and also every form of dominance has abused art for its own ends, or has subjugated it (down to the present day). Collected in bundles of flutes, the flutes in the one room seem fixed to the wall with barb wire; in reality, they help tables and chairs on the other side of the wall outbrave gravity. As this stability is achieved in the state of greatest tension, it is due to something that still exists before it possibly bursts. After all, the bottle might break in the end, and the barb wire, “a symbol of modernity” (E.W.) might also come loose and cause considerable injuries. The endangerment of existence is present in almost all works created by Eduard Winklhofer. To confront ourselves with the real does not enable us to bear it.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 650-653.