Astoria Art Show 2026
Maria Cozma / Zone 1
Zoë Field / Main



Astoria Art Show 2026
11.09.-13.09.2026








Curated by
Gay Lord Fine Arts 

Jacob Ace / Shahan Assadourian / Henry Belden / Robert Bittenbender / Christine Burgon / François Durel / Hardy Hill / Karl Holmqvist / Brad Kronz / Adam Martin


Die Homofürsten
11.09.-17.10.2026

City Galerie Wien and Gaylord Fine Arts presents a show of ten homosexual artists, proposing gayness as its own form of genius.
Motivated by the social sensibility of the Gaylord program, the exhibition is a curation of personalities as well as artworks. The cross-disciplinary tension of the show generates a spirit of play, good humour and ideological oneupsmanship, emulating the
unique paradoxes of homosocial dynamics.




François Durel, the sun doesn’t necessarily set, sometimesit just disappers, industrial building paint, pencil, acrylicpaint, oil paint, metal, leather, 2026


Henry Belden, Untitled, found object in artist madeframe, 2026


Henry Belden, Tashi, charcoal toner and coloured pencilon rag paper, 2026


Shahan Assadourian, Rabbit with army jets, 2026
Shahan Assadourian, Tiger withangels, 2026
Shahan Assadourian, Husky with numbers, 2026


Christine Burgon, Bright Right Down, acrylic on linen, 2026


Karl Holmqvist, My First Boyfriend, marker on board, 2026.

Christine Burgon, Did a leak kill, acrylic and charcoal onlinen, 2026


Shahan Assadourian, Unitled, Fennec fox with bones, 2026
Shahan Assadourian, Unitled, Bunny with spools, 2026


Brad Kronz, Nothing, Hoover vacuum, fabric, zipper,wood, board, decorative screws, 2026

Hardy Hill, study for paper children, ink on cotton ragpaper, 2026

Robert Bittenbender, Onion, archival marker on paperand Duralar mounted on Dibond, 2026
Robert Bittenbender, Arcade, archival marker on paperand Duralar mounted on Dibond, 2026

Adam Martin, You’ve been acting squirrely lately, woodenframe, mp3 player, 13 minute sound file, digital print, 2026

Jacob Ace Aguilar, scum., 2026, video, 07:34

Julia Znoj

Fogged
31.07. - 05.09.2026

LIGHT ENERGY STRATEGY


In the dream I was on your cracked flip phone running underground in between train tracks being
chased by a fluffy gray man of a cat with a cheshire smile. He wanted something from me even
though I was clearly busy on your cracked flip phone. Then he lay down like a pillow and sent
me to an astrology space that looked just like the one on st. marks and first, the guy running it
wore the kind of cream linen suit that let you know a whole empire is behind him. Can’t
remember any of the astrology.

In the same dream, baby, I met spontaneously with you, your fashion ever better while I felt like
sporty spice. We didn't recognize each other at first and then we said, at the same time, are we in
some fake world? This doesn't feel real and you don’t look like you.

For love of a friend and a one night stand blacking out on the gig of a heartbreak. Bedazzled by
an aggressive light in the moment that it becomes soft, its existence is there to obscure, to
conceal gentle vices meant to heal the ravages existentially still of the interior. When you can’t
see everything coming your way but understand that however you react is what keeps the energy
moving, now already in twenty-twenty hindsight. Heart beating ten beats per second, vibrating
outwards, irrepressible and made of joie. In the dark I think, life feels so good it’s worth dying
for.

Save the surgeries for the big screen. The casting director asked me for your name. Then said it
wouldn’t work out because we kept looking at the audience instead of acting for the camera. She
disappeared but her voice kept on talking. The blindspot is what I miss seeing when I’m looking
for a self-reflection of my own prejudice.

I don’t feel like making anything real, you said. What would be real? Material and tangibility are
anyway usually dishonest. Everything in my life is working right now except the zipper on my
backpack. I planted some deep stakes to grow high plants before I found out they were meant to
remain babies. Nothing to poke holes in because there is nothing real there anyway. Work with
materials that hurt, bleed in bed for days.

Play a trick on the mind’s eye. Be blindsided in a split second. Some call it betrayal. But it is also
a moment of reception. Remember, vulnerability is only a temporary opportunity. Feel it when
you can. Avoiding blindsidedness is stasis. You can always be blinded even and especially when
there’s light. You can see aurora borealis in Vienna. They say it’s a geomagnetic storm! Cosmic
dust erupts into the cool dark sky, ecstatic and charged, tricking the nervous system while it tries
to resist the mythology of the trickster.

Energy moves like conductors to shock the system, kinesis tracking through the body to push
stored momentum. Sight unseen, refracted in a mute dream, baby, broken, only its semblance, its
shadow. A fine edge becomes increasingly thinner, yet never vanishes. There is no zero point,
just more divisions.

Standing at the edge of a deep waterfall holding a giant glass paper weight in the shape of an
egg, staring down into it where people are swimming at the bottom, we were trying to take a
photo. Trying to keep from slipping off the edge, captivated by the idea of what it means to hang
on. We dropped the weight and it bounced instead of breaking into a million glittering shards.
Completely chill, and then fearless with full commitment, we followed, slipping down the
waterfall which suddenly became a solid pool at its basin, holding us on its mirrored surface,
reflecting our positions back up at us from the perspective of our footwear. We were being asked
to join the nocturnal life, to find a rhythm and make it our own.

We got the green light. The green screen let us know it would be okay, against it a grid could
form, within which objects resembling life took their place. Then, what before could only pass
for mere objects turned out to be something much more life-giving than that. Semblances of
structure, to move through in empty spaces. And at this point no need to poke holes. Giving up a
state of being because there is a right time for abandonment. Fall in love to walk away coolly.
Enamored only by thoughts from the last hour, which can only take shape over a lifetime.


-Cecilia Bien, 2026
Julia Znoj, Ravenous Ground, 2026, Dance floor, heat resistant foil, mirror film, steel poles, steel, dimensions variable


Julia Znoj,  Disentangling2, 2026, Chicken wire, wire, wood, paint, plastic, beads, dimensions variable


⁠Julia Znoj, Disentangling1, 2026, Chicken wire, wire, wood, resin, phosphorescent pigment, dimensions variable


Julia Znoj, Held or Vexed?, 2026, Stage blinder, tire chain, dimensions variable


⁠Julia Znoj and Min Yoon, Voracity, 2026, Wire, resin, phosphorescent pigment, 58 x 9 x 88cm


Julia Znoj, Specular Cast, 2026, Tin, 9 x 2 x 15cm


⁠Julia Znoj, Retina Upheaval, 2026, Plastic film, aluminium poles, steel, paper, dimensions variable


⁠Julia Znoj, After a blinding light (Mooned), 2026, Photo light, electro galvanized steel sheets, rivets, cookie tin, lipstick, chewing gum packaging, rubber band, magnet, dimensions variable


⁠Julia Znoj, Overcharged, 2026, Resin, phosphorescent pigment, silicone, 24 x 8 x 42cm

⁠Julia Znoj, Overcharged, 2026, Resin, phosphorescent pigment, silicone, 24 x 8 x 42cm

Julia Znoj, Untitled, 2026, Jacketless, screened telephone cable, electro galvanized steel sheets, rivets, vinyl, magnets, dimensions variable

Julia Znoj, Untitled, 2026, video loop, 8:32 min


We want to thank Brit Barton, Eva Engelbert, Evelyn Plaschg, Fabian Fink, Florian Hofer, Karolin Braegger, Laurids Oder, Mathias Pöschl, Matyas Bokor, Min Yoon, Nik Geene, Sophia Gatzkan, Sveta Mordovskaya and Valentina Triet.

Karolin Braegger

Mortals & Models
28.05. - 25.07.2026




Karolin Braegger & Clara Mary Joy, Tailored, print and lazer cut on paper, 17 x 25 cm, Edition 1/30, 2026

Karolin Braegger & Clara Mary Joy, Tailored, print and lazer cut on paper, 17 x 25 cm, Edition 1/30, 2026


Karolin Braegger, Sketches, 2026, transfer print and pencil on paper, 100 x 185 x 65 cm



Karolin Braegger, Sketches, 2026, transfer print and pencil on paper, 100 x 185 x 65 cm, detail


Karolin Braegger, Slacker I, 2026, coated and dyed leathers, acrylic on stained MDF,  dimesions variable
Karolin Braegger Slacker II, 2026, coated leathers, acrylic on stained MDF,  dimesions variable


Karolin Braegger, Untitled, 2026, transfer print and pencil on canvas mounted on MDF, 30 × 40 cm


Karolin Braegger, Untitled, 2026, transfer print and pencil on canvas mounted on cardboard, 30 × 40 cm


Karolin Braegger, studio, 2026, edding on unpacked canvas, 30 x 40 x 4 cm



Karolin Braegger, Downward Dog, 2026, transfer print and pencil on paper, A3


Karolin Braegger, Fitting, 2026, transfer print and pencil on canvas mounted on cardboard, 30 x 40 cm


Karolin Braegger, Overwhelmed, 2026, charcoal on paper, A3


Karolin Braegger, Walking a Painting, 2026, transfer print and pencil on canvas mounted on MDF, 30 × 40 cm


Karolin Braegger, Untitled, 2026, transfer print and pencil on canvas mounted on MDF, 30 × 40 cm


Karolin Braegger, Shapewear, transfer print and pencil on canvas mounted on MDF, 30 x 40 cm


Karolin Braegger, One Picture Too High, 2026, transfer print and pencil on canvas mounted on MDF, 50 × 60 cm

Karolin Braegger, Cheeky Juggling Geek, 2026, honeycomb cardboard, CNC - cut, 18 x 216 x 4 cm


Karolin Braegger, Quaintrelle, 2026, coated leather, 115 x 185 cm



Karolin Braegger
1. Slacker III, 2026, coated leather, acrylic on stained MDF, dimesions variable
2. Querelle, 2026, dyed leather, acrylic on stained MDF, dimesions variable


Karolin Braegger, Soccer, 2026, transfer print and pencil on canvas mounted on MDF, 30 × 40 cm


Karolin Braegger, Untitled, 2026, transfer print on unprimed canvas, 30 × 40 cm


Karolin Braegger, contemplo, 2026, transfer print and pencil on canvas mounted on MDF, 30 × 40 cm


Karolin Braegger, Triangle, 2026, transfer print and pencil on MDF, 30 × 40 cm


Karolin Braegger, Sleeper, 2026, transfer print and pencil on canvas mounted on MDF, 30 × 40 cm

 

In a proliferating suite of drawings—works less fixed than iterable, susceptible to further mutation, reprise, deviation. Karolin Braegger stages the ongoing negotiation between a figure and the most elementary geometries: circle, triangle, rectangle, sphere, pyramid, cuboid. What appears, at first, almost pedagogical or diagrammatic soon loosens into something more mercurial. At times the figure seems to marshal these forms, arranging and mastering them with a provisional authority; elsewhere, control falters. Geometry slips its leash. Shapes acquire an obstinate autonomy, proliferating into scenes of excess, impasse, exhaustion.
Order gives way not exactly to chaos but to a kind of animated overdetermination, as though abstraction itself had become temperamental.

The exhibited drawings, together with the implication that they might continue indefinitely in altered permutations, insist on potentiality rather than completion. Each image behaves less as a resolved composition than as a notation toward further enactment. And because the drawings borrow something from the comic strip—its compressed dramaturgy, its elastic temporality, it remains undecidable whether one confronts a circle or a sphere, a triangle or a pyramid. Yet this ambiguity matters precisely because drawing arrives flatly, insistently planar, attached to the wall even when aspiring toward volume. The fiction of dimensionality is never fully stabilized.

Having studied fashion alongside fine art, Braegger repeatedly returns to questions of bodily contour, silhouette, shape, and dress. These concerns migrate into the sculptural works, where she has devised supporting structures from interlocking MDF panels: rudimentary armatures, almost theatrical in their economy. Draped across them are various leather hides. differently colored, coated, textured—resting, slumping, cascading. They function as coverings, skins, mantles.  At moments they fall with an almost liquid grace; elsewhere they gather in inert folds, extending outward onto the floor. What emerges are bodies both sculptural and staged, constituted as much through concealment as through material presence. Here too, potentiality persists: flatness coaxed into three-dimensionality through simple means, a slotting system, a modest trick of construction that nevertheless produces an improbable corporeality.

Braegger’s titles deepen this unstable anthropomorphism. She frequently adopts terms conventionally reserved for human states or actions—conditions, gestures, affects, granting the geometric and sculptural assemblages an uncanny emotional weather. One encounters not objects exactly, but figures caught in situations.

In the work of the two cut-out faces stacked one above the other, absence becomes structural rather than theatrical. The forms suggest bodies and identities held in suspension, their missing features inviting projection without ever resolving into portraiture. By layering faces on face the piece stages fragmentation as a condition of embodiment itself: they remain incomplete, contingent on the viewer’s movement, perspective, and imaginative reconstruction.

Elsewhere, the collaboration with Clary Mary Joy, an edition for this exhibition, itself is interrupted by the possibility of pushing a figure outward from its surface: language is fragmented, punctured, confronted with its own lacunae. Likewise, the flyer containing the exhibition text may be torn into separate fragments and eventually recomposed. Reading becomes dispersal and reassembly; coherence appears only provisionally, after interruption. Meaning, like the bodies and geometries Braegger stages, remains contingent, partial, always in the process of being put back together.

Antonia Lia Orsi on notes of Sabina Gmür

Thank you to Sabina Gmür, Hanna Besenhard, Paul Igel, Nino Stelzl, Sophie Gogl, Iacopo Spini, Raphael Oberhuber, Tobias Kaspar, Milena Langer, Hansi Fuchs, Joseph Bourgois, Marina Sula, Clara Mary Joy, Valentina Triet, Jonida Laçi, Felix Schmidt, Lou-Anna Ulloa del Rio.

Helena Huneke & Gabriele Rothemann

Liste Basel 2026
15.06. - 21.06.2026



For the 2026 edition of Liste, City presents two German artists of the same generation whose lives and practices took very different paths. Both address the experience of being a woman in art while engaging with similar themes in distinct ways.
Gabriele Rothemann works with photography, though not as a fixed intention, while Helena Huneke approaches sculpture through gesture, idea, and attitude.
Rothemann’s early series Haushaltshandgriffe (1984), created during her studies, shows ten photographs of small domestic mishaps—moments where everyday tasks go wrong. Huneke presents sculptures and assemblages made from familiar household objects that carry an unsettling, almost eerie presence. Their shared focus on everyday materials and situations reflects a female struggle approached through very different artistic languages.



Gabriele Rothemann, Haushaltshandgriffe I, 10-part series, 1984
original analogue c-print, artist frame
50 x 70 cm


Helena Huneke, Title Unknown (LA Kybernetik),presumably 1998
prints, glue, plaster on paper, framed
68 x 65 cm


Helena Huneke, Uhu-huh, 1999
Plastic sheet, wood, fabric
130 x 30 x 60 cm



Helena Huneke, Belzebub, year unknown
found objects, plastic bag, Acrylic paint
40 x 40 x 50 cm

Helena Huneke, Title Unknown (handsome),year unknown (between 2004-2008
fine liner and wax
21 x 29 cm

er and wax

Helena Huneke, Title unknown (Rippenbustier), 1998
plastic bag, coat hanger, string, leaves
124 x 40 cm