exhibitions.

work resonances.

THE AMBIVALENCE OF INDIVIDUAL AND TYPE 

 

"In his series Protagonists, Georg Loewit picks up a big topic of art history:

 

the portrait. This is a topic reaching back until the very beginning of human cultural activity. Art had its beginning hundred thousand years ago by consciously picking up stones, which had the shape of faces. Today it is not possible to reconstruct the meaning of these objets trouvés for the people of the Stone Age, though transforming these natural and cultural objects through a mere intention is fascinating and indicates that they served as a sign for a general idea. 

This assumption becomes certain with the art of the early high cultures of the ancient Orient. The people of the ancient Orient portrayed what they thought, not what theysaw. The image of the pharaoh was a manifestation of the idea of divine royalty, not a naturalistic image of a real king. Since at least those times, portraiture moves between the ambivalence of naturalism and showing a type, with which Georg Loewitexplicitly plays. 

In Ancient Greece, the victors of the Zeus games in Olympia were immortalized in the form of a bronze statue. However, it was not the concrete athlete who was depicted, but rather the type: the charioteer, the discus thrower! The Kouros figures with theirnaked male bodies in the market squares in Greek cities, however, showed the youthful power and strength of the city-state.

 

It was propaganda from the elites, and stood there as a moral lighthouse of a virtuous as well as a self-confident city. 

Roman art also played on the keyboard of ambivalence of type and naturalism. In a propagandistic way, the picture supported the imperial cult, though repeatedly, particularly in the Hellenistic-influenced late antiquity, a naturalism was interwoven into the type, which made the likeness of the emperor identifiable without sinking to the level of a superficial photographic image.  

It took many centuries until the understanding became prevalent in the Renaissance that the physiognomic identity belonged to each portrait, and the portrait, as Dürersometimes explicitly noted, ad vivam effigiem deliniata, was painted as a true to life image. This though entailed the risk of letting the art of portraying sink to a mere mimetic skill. The controversy whether to draw a conclusion from the externalperspective on the inner spirit of the portrait, and how far the typical characteristics of a person or a group of people become accessible through an individual image, continues until today, and each portraitist works exactly in this tension.

Georg Loweit enrolls in this long history of portraying, and he already takes a clear position with the title protagonists. The Greek word protagonist originally defines the actor that takes over the leading role in a play. So it revolves around an individual that embodies a role, in other words stands for a type. Additionally, Loewit underlines this tension by setting a particular formal accent. He breaks the traditional en face or profile view and shows the protagonist from the back side. He renounces the face and tests whether this is required to embody the type. 

The models of his pictures and sculptures are concrete individuals whom he encountered in real in situations documented by canvas, and has selected them from the mass. They however serve as a representatives for a type, and he stylizes them to that by consciously eliminating the front side. He is not interested in the snapshot of a concrete person, caught supposedly unobserved, but he is interested in the type of the bather, the tourist. 

 

When putting the figure even on a pedestal, just like the Olympic champion was lifted onto a pedestal two thousand years ago, this no longer servespropaganda or adoration in Loewit’s eyes. His ironical enthronement of this sort rather tilts into subtle social criticism. Loewit studies the change that individuals succumb towhen they become part of a mass. 

It is the artistic analyses, that, comparable to the sociological investigations by Elias Canettis, make the relationship of the individual, mass and power a subject of discussion – dispositionally grounded by Adorno’s longing for the right life in the wrong one. Travelling, going on holiday is a grateful topic for this: for many an annually recurrent ritual of exceptional circumstanced because in reality nobody is familiar with this short-term life over the course of the year.

The artist turns into a careful as well as relentless observer when the mass loses itself in cultivating the idyll and stereotypical clichés which holidaymakers experience and providers want to sell. Even though canvasses merely turn into records of such relevant analyses, the point of such art is not teaching or the gesture of a moral superiority. Though, as art has always been allowed to claim, it teaches lessons for sensitizing and perception. 

By apparently omitting the viewing side, Loewit’s figures unsettle, and they break with a canonical principle of visual art. The Mannerist Benvenuto Cellini was one of the first who in the Renaissance turned seeing the sculpture from all angles into an essential quality feature. He, so to speak, took the figure from the niches of the medieval facades and positioned it, like in antique times, in the middle of the room, so that the figure had to stand up being observed from all sides. This no longer seems to count for Loewit’s figures. In truth, he plays less with the figures, and more with the room, which the figure has conquered since the Renaissance. The space of the front side is undefined, it remains open, which is surprising for the observer and challenges perception as well as the power of judgement. 

 

Like a syncope, this supposed lack creates a leap in perception, which seems to deceive us on the expected continuation of the narrated story, and invites our phantasy to complete the gap, to take the sculpture in possession, to fill it with our own experience. That the subject of the tourist is particularly well-suited, is not in the least a result of the mania of the new mobile phone culture to endlessly photograph the world, and thus experience it in a doubled view. It seems that modern society experiences comfort in digital media, and instead perceives the authenticity of the real as a threat. To this, Loewit sets a counterpoint with the old haptic materials. Like paper and canvas fit for recording, bronze cites definiteness, whereas wood allows a view on the inner structure and connotes liveliness. 

It is not least this haptic of the concrete material that allows to experience sharpening the perception for the concrete individual by presenting the typical."        

 

​​​​​​​​​- Bernhard Braun

2020  7 Gärten, Kränzelhof, TSCHERMS, I

2020  Gallery De Twee Pauwen, Georg Loewit, DEN HAAG, NL

2019   Biennale Venedig, Palazzo Bembo, Giardini Marinaresa, VENEDIG, I 

2019   Georg Loewit, Skulpturen und Bilder, Galerie Welz, SALZBURG, A

2019   Badezeit, Kulturzentrum Noaflhaus, TELFS, A

2019   Innsbruck Inconters Matera, 1090 km viceversa, MATERA, I

2019   Protagonists, Raiffeisen Galerie Bruneck, BRUNECK, I

2019   Österreichisches Kulturforum, PRAG, CZE

2019   Solbad, Burg Hasegg, Münze Hall, HALL, A

2019   Taxis Palais Kunsthalle Tirol, 36.Österr. Grafikwettbewerb, INNSBRUCK, A

2019   Österreichisches Kulturinstitut, PRAG, CZE

2019   Biennale Venedig, Palazzo Bembo und Giardini Marinaressa, VENEDIG, IT

2019   Galerie Welz, SALZBURG, A

2019   Galerie Theodor Hörmann, IMST, A

2018   Kunstsalon Perchtoldsdorf, PERCHTOLDSDORF, A

2018   Pulchri Studio, Protagonists, DEN HAAG, NL

2018   Art3f, CANNES, F

2018   Kunstraum Pettneu, Summertime, PETTNEU, A

2018   Beukenhof Phoenix, Sculptour 2018, KLUISBERGEN, B

2018   BFI, INNSBRUCK, A

2018   Open End, Dom zu St. Jakob, INNSBRUCK, A

2017   Protagonists, RRB Hall, Haus am Milsertor, Hall i. Tirol, A

2017   Protagonists, Centre Culturel de Manoir, Cologny, Genf, CH

2016   Exposition Georg Loewit, Abbaye de Talloires, Talloires, F

2016   Protagonists, Dengel Galerie, Reutte, A

2016   Art Innsbruck, Galerie 9900, Innsbruck, A

2015   Protagonists, Representation of the European Region Tyrol-South Tyrol-Trentino, Brüssel, B

2014   Skulpturen und Bilder, Galerie Reindl, Innsbruck, A

2014   Sculptour 2014, Beukenhof – Phoenix Galleries, KLUISBERGEN, B

2014   Galerie Horst Maras, WIEN, A

2014   Part oft he game, Rechelerhaus, LADIS, A

2013   Gruppenausstellung, BFI-Innsbruck, INNSBRUCK, A

2013   Atelierausstellung, INNSBRUCK, A

2012   Art in the City, number 6, Gallery 9900, LIENZ, A

2012   Das eigene Zimmer, mit Michael Hedwig, Galerie Nothburga, INNSBRUCK, A

2011    what happened, Atelierausstellung, INNSBRUCK, A

2011    Internationale Skulpturenausstellung, Auxiliatrixpark, VENLO, NL

2010   Gruppenausstellung, BFI-Innsbruck, INNSBRUCK, A

2009   Mitgliederausstellung SOKU Soziales & Kunst, Tiroler Künstlerschaft, INNSBRUCK, A

2009   given rooms, RLB-Atelier, LIENZ, A

2009   SkulpTour 2009, Galerie Beukenhof, KLUISBERGEN, B

2009   Kunstroute Midden Limburg, Galerie Mariska Dirkx, ROERMOND, NL

2008   zwischen bildern und skultpuren, Atelierausstellung, INNSBRUCK, A

2008   Mitgliederausstellung MINIMALS, Tiroler Künstlerschaft, Stadtturmgalerie Innsbruck, INNSBRUCK, A

2008   premierentage 08, INNSBRUCK, A

2008   Blutkörper, Schloss Marchegg, MARCHEGG, A

2008   Arte Padova 2008, PADOVA, I

2007   Architektur-Proportion-Musik, Atelier Loewit, INNSBRUCK, A

2007   Rechelerhaus, LADIS, A

2007   Kunsthalle Leoben, X. Oberösterreichische Kunsttage, LEOBEN, A

2007   Jewels as Sculptures, Galerie Mariska Dirkx, ROERMOND, NL

2006   Bilder und Skulpturen, Rathausgalerie BRIXEN, I

2006   pARTy, Atelierausstellung, INNSBRUCK, A

2006   Sarkophage, Schloss Marchegg, MARCHEGG, A

2006   Solo Arte, Prepositura di San Michele, Cappella d. S. Luca, SAN LUCA, I

2006   Crossing Borders, ROERMOND, NL

2006   Galerie 90, Wolkensteinhaus, MÜHLBACH, I

2006   Così Diventano Luminosi, Chiesa di Sant´Agostino, CORTONA, I

2005   fixpunkt, Atelierausstellung, INNSBRUCK, A

2005   Bronzen und Bilder, Galerie Diogenes, LIENZ, A

2005   Solo Arte, Vernio, PRATO, I

2004   Kunst für Alois, Theodor-von-Hörmann-Galerie, IMST, A

2004   Querschnitt, Schloss Marchegg, MARCHEGG, A

2004   Stiftung Monumental, Bornem, B

2004   Solo Arte, Schloss Maretsch, BOZEN, I

2004   Il Cassero, Prato, I

2004   Art Innsbruck, Innsbruck, A

2003   Altes Widum Achenkirch, Rückblick 1993 – 2003, ACHENKIRCH, A

2003   Duos 2001-2003 Katalogpräsentation, Atelier Loewit, INNSBRUCK, A

2003   SconfinArt, Trento Expo, TRIENT, I

2003   Solo Arte, Kaiserliche Hofburg, INNSBRUCK, A

2003   Kleinplastiken, Stadtturmgalerie, INNSBRUCK, A

2003   Art Innsbruck, INNSBRUCK, A

2002   Introduktion, Atelierausstellung, INNSBRUCK, A

2002   Arte Padova, PADOVA, I

2002   Art Innsbruck, INNSBRUCK, A

2001   Galerie Augustin, ST. ANTON a. A., A

2001   Stadtmuseum Weimar, Nachbarschaften, WEIMAR, D

2001   Editions of Art Innsbruck, INNSBRUCK, A

2001   Grenzenlos, Innsbrucker Innenstadt, INNSBRUCK, A

2000  Millenniumsausstellung, RLB-Kunstbrücke, INNSBRUCK, A

1999   Feuerberge, Galerie Nothburga, INNSBRUCK, A

1999   Städtische Galerie Lienz, LIENZ, A

1998   Galerie in der Sonnenburg, zwei- und dreidimensional, OBERLECH, A

1998   Galerie Augustin, INNSBRUCK, A

1998   Tirol ’98, Leopold-Franzens-Universität Innsbruck, INNSBRUCK, A

1998   Galerie Mariska Dirkx, ROERMOND, NL

1998   Editions of Art Innsbruck, INNSBRUCK, A

1998   St’Art, STRASBOURG, F

1998   Galerie am Lindenplatz, Köpfe – Skulpturen – Bilder, LIECHTENSTEIN, FL

1997   Art Multiple, DÜSSELDORF, D

1997   Galleria Due Mari, Arte Terra Mia, Rapolano Terme, SIENA, I

1997   Alpenbank Innsbruck, Zwölf Köpfe, INNSBRUCK, A

1997   Berchtolds Villa, Schmuck aus Österreich, SALZBURG, A

1995   Galerie Zollgasse 7, Art & Editions Haas, DORNBIRN, A

1995   Tiroler Kunstpavillon, INNSBRUCK, A

1995   Tan Gallery, ZÜRICH, CH

1994   Erste Österreichische Sparkasse, INNSBRUCK, A

1994   Galerie am Lindenplatz, Tiroler Künstler in Liechtenstein, LIECHTENSTEIN, FL

1994   Galerie im Traklhaus, Bergwerk, SALZBURG, A

1993   Tan Gallery, ZÜRICH, CH

1993   Ursulinenhof Linz, Tiroler Künstler, LINZ, A

1993   Schloss Büchsenhausen, Walk In, INNSBRUCK, A

1993   Kunstpavillon, Schmuckausstellung Bergwerk, INNSBRUCK, A

1993   Kunstpavillon, 13 Künstler aus Tirol, INNSBRUCK, A

1993   Galerie APP, Neue Skulpturen, INNSBRUCK, A

1992   Künstlerforum, 13 Künstler aus Tirol, Bronzeplastiken, BONN, D

1992   Stadtturmgalerie, Tiroler Künstler für Kroatien, INNSBRUCK, A

1992   Galerie EL, Bergwerk, LINZ, A

1992   V & V Galerie, Bergwerk, WIEN, A

1992   Leopold-Franzens-Universität Innsbruck, Tirol 92, INNSBRUCK, A

1991    HTL Galerie, INNSBRUCK, A

1991    Druckersaal Bank für Tirol und Vorarlberg, INNSBRUCK, A

1991    Brechthaus, AUGSBURG, D

1990   Galerie Renu, SILZ, A

1989   Theresienoptik, INNSBRUCK, A

1989   KAT, ARCO, I

1988   Galerie Dominique Lang, LUXEMBURG, L

1988   Leopold-Franzens-Universität Innsbruck, Tirol 88, INNSBRUCK, A

1988   Stadtturmgalerie, Fünf mal Schmuck, INNSBRUCK, A

1986   Stadtturmgalerie, INNSBRUCK, A

1986   Galerie im Werthaus, INNSBRUCK, A

1984   Galerie Wilpert, FREIBURG i. BR., D

1984   Kunstladen, BRIXEN, I

1984   Kongresshaus Innsbruck-Igls, Schmuckgala 84, INNSBRUCK, A

1984   Galeothek, INNSBRUCK, A

1983   Stadtturmgalerie, INNSBRUCK, A

1982   Oberes Schloss Hecklingen, HECKLINGEN, D

1982   Weihnachtsausstellung Tiroler Künstlerschaft, INNSBRUCK, A

1982   Galerie im Fürstenhaus, HALL i.T., A

1982   Galeothek, INNSBRUCK, A

1982   Galerie Gaby Stanonik, SALZBURG, A

1981    Bijourca, PARIS, F

1980   Galerie in der Töpferscheibe, INNSBRUCK, A

1979   Internationale Sommerakademie für plastische Formgebung, INNSBRUCK, A

mag.  art.  georg  loewit  

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