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Painting, objects | Galerie Vinvin | Vienna 


Anne Schmidt

7 February - 14 March 2020

Vin Vin Gallery, Vienna

Is Anne Schmidt fake? It is certain that there is an artistic persona which operates under

this name, but various others have already been tested. There is evidence of Anne

Schmidt left on the gallery’s wall, a hole - from when she bumped into the premises

through its intriguing doorway (entering feels like squeezing oneself through a small hole,

don’t you think?). The outcome reminds the contemporary spectator of Adam Driver in

“Marriage Story”, who in rage punches a hole into the wall of his new single dad

apartment. Behind the hole is – nothing. The seemingly fragile American wall structure

appears as a fake to the North European viewer, like as if the stage design has just been

destroyed. A reversed way of breaking the fourth wall through breaking the back wall? We

are in this annoying divorce together now. In the case of the gallery the hole appears as a

trace, the legacy of the artist who, at least once, has been present.

Anne Schmidt hung one of her works on the ceiling, where it appears as a backdrop for

celestial representation. Maybe a hint of what the afterlife may look like? She mainly

thought of the Sistine Chapel and Michelangelo (with whom she is in constant

competition), when she fit the work into the vault. The painted columns, architraves and

artificial pedestals in the Vatican City simultaneously create a feeling of spatial protection

and rampant mobility through its final rooflessness. But on whichever surface, painting is

the traditional medium for optical illusion. Whereby its effects are not only used to show off

technical virtuosity, but also to mediate hidden agendas. The shattered frame glass in

Trompe-l'oeil, 1801 by Laurent Dabos for example is not only a deception of the eyes, too

tenderly lies the sharp blade of the glass splinter against Napoleon Bonaparte’s throat.

Same as with the distorted skull in Hans Holbein the Younger’s The Ambassadors, 1533,

which only becomes recognizable by the guest when leaving the room, sending him off

with the hint of a threat.

Regarding the surface of her own work, Anne Schmidt makes us think the fabric she paints

on is real silk. Just another willful manipulation.

In case you wondered, Anne Schmidt made herself a part of Nicole Wermer’s fictive allfemale

motorcycle gang and therefore created her very own robe. Fake it till you make it!

And there is another artist she pays tribute to: Francisco José de Goya y Lucientes. He

himself a man of many references, became famous through “Los caprichos”, 1797-1799.

The title could stand for many things: mood, invasion, woolly thoughts (that make your hair

stand on end) or goat (the aimless leaps of imagination). Goya was only one of many men

of his time, who had fallen in love with the feisty duchess of Alba. He self-confidently

painted her showing him a proof of love: imperiously the Duchess points to the letters

written in the sand to her feet “Solo Goya”. But Anne Schmidt’s “Signature Piece” is not

only a reference to Goya, it also appears as a recourse to other architectural fragments

and the artificial pedestals and painted columns mentioned above, or simply as a fake

marshmallow: seductive.

Pia-Marie Remmers

Vin Vin Gallery – Hintzerstrasse 4/1 – 1030 Vienna – Opening hours: Wednesday – Thursday – Friday

12:00 – 18:00, Saturday 12:00 – 16:00 Phone number: +43 699 112 096 24 –

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