Heinrich Dunst’s spatial interventions and performances address the hierarchies of signification and boundaries of meaning in aesthetic systems and orders of knowledge, and more particularly, the dualism of word and image. Assembling elements made from a variety of media, such as letters cut from synthetic materials, everyday objects, gestural-monochrome paintings, projections, or particleboard walls, he constructs dramaturgic ensembles that invalidate the conventional logic of meaning. To this end, he stages paradoxical formal plays, for example, between what is primary and what is subordinate, between inclusion and exclusion from the frame, between multiplication and the shifting proportions between model and exhibition. The distinctive quality of his artistic choices is the deliberate variance and openness of meaning they generate. His works may often equally well be read as standalone graphemic signs, sculptural objects, or traces of the artistic subject set in a perceptual context that includes their spatial surroundings.
Heinrich Dunst’s conceptual approach is rooted in the scene of 1980s Vienna, where artists endeavored to extend abstract painting into the exhibition space and give it contextual definition. Painting and the analysis of the functions of exhibition components remain a relevant frame of reference in his most recent works, such as the show About A B order (Galerie nächst St. Stephan, Vienna, 2013). Yet Dunst lends these issues new topicality by drawing a multifaceted picture and questioning the ostensibly unequivocal references he invokes, ultimately revealing the presuppositions on which art rests.
Heinrich Dunst was born in Hallein in 1955 and lives and works in Vienna.
The website will be permanently closed shortly, so please retrieve any content you wish to save.