Eveline Handlbauer

is a sculptor / visual artist 
based in Austria.




EXHIBITION VIEWS

Thick air
Parallel vienna
It´s better to get off quickly
Benefits & prototypes –
the meaning of vertical

Private room
Measuring the sky
Hang over balcony
Dickflüssig und dünnblütig




SELECTED WORKS from the last years
Egoiste / Finished fetish / Tower / Pleasure universelle / Untitled (Legs filled with oil) / Galaxy – milky way No.1 / Accidents coming out of nothing / Passenger No.2 / Corner / Your ego doesn´t like change / Master and servant / Parquet No.1 / Factors of production / Waves / Arch / Untitled (Half of an ellipse) / Heroes / Pleasure universelle / Sliced icecream / Round with edges / Stay in touch / Headrest study No.1 / Luggage / Hanging heart / When nox is minimal / Hair on rubber / Passenger No.1 / Backslash / Touchy walls / Sunset strip / Hole to go / Parkside building / Passengers No.3 / Parquet No.2 / Fixed but not stable / Comet – one, two, three bang / Untitled (Triangle) / Tongue / Elements of storage / Smile at me / They were happy, until they were not / Postcorona glamour / Untitled (Slipping) / Untitled (Statebuilding)

index︎︎︎

   


STATEMENT
Living in a material world (...) 

Dealing with the complexity of human experience and perception is of central importance to my work, for example questions about desire, meaningfulness and alienation. I see the world as a „built and constructed world“ and my sculptures are an expression of what has developed and consolidated in the course  of modernization.
            Read more︎︎︎ 



contact
instagram

︎  ︎

eveline.handlbauer@gmail.com


Responsible for the content is
Eveline Handlbauer.
The content of this website may not be shared, published or used without my permission. All photo credits are mine, except when stated otherwise.

All rights reserved © Eveline Handlbauer 2022

︎



Mark



It´s better to get off quickly

 
24th July – 28th August 2020 
K2
Art University Linz
Domgasse 1





Dressing table with red fake marble front, 2020
two-part, 120 x 51 x 125 cm (wood rubber construction)
50 x 17 x 45 cm (fake marble front)
wood, rubber, chromed metal, cement,
eisenoxid pigment, fiberglass



Single chair with high backrest, 2020
175 x 55 x 65 cm
concrete, titanoxid-pigments



Standby, 2020
75 x 33 x 32 cm
speed e-strich concrete, rubber, titanoxid pigment




Chair-like building with high backrest,
2020
3 pieces, various sizes (max height 170 cm)
concrete, polystyrene hard foam, titanoxid pigment





Mousehole, 2020
in various sizes
concrete, polystyrene hard foam, titanoxid pigment




Tower, 2020
140 x 50 x 40 cm
concrete, titanoxid pigment





Fake marble display, 2020
single plate detail, close-up
cement, chromoxid pigment, fibreglass




Green fake marble display, 2020
close-up with chair-like building in the background





Green fake marble display, 2020
102 x 102 x 202 cm
Installation: 16 plates on wood construction
cement, chromoxid pigment, fibreglas, rubber;




Chair with saddlebag, 2020
112 x 52 x 64
concrete, polystyrene hard foam, titanoxid pigment, rubber





Tower, 2020
140 x 50 x 40 cm
concrete, polystyrene hard foam, titanoxid pigment, rubber





Curtainholder, 2020

145 x 12 x 23 cm
concrete, polystyrene hard foam, titanoxid pigment, textile 




Exhibitionview




Chair-like building brutalism, 2020
44 x 28 x 57 cm
concrete, polystyrene hard foam, titanoxid pigment








July 2020
The exhibition “It´s better to get off quickly”
         
        The exhibition “It‘s better to get off quickly” is designed as a multi-part sculpture series. The choice of materials for this is clearly and minimalistically defined: concrete, rubber, wood, occasionally metal.
        Polystyrene hard foam panels serve to stabilize and reinforce the concrete sculptures. This makes the sculptures much lighter than solid castings - therefore easier to transport and process. The applied layer of concrete is often only one centimeter. However, this means that the apparently massive objects are extremely fragile and easy to destroy.
        Dealing with the complexity of human experience and perception is of central importance to my work, for example questions about desire, meaningfulness and alienation. I see the world as a „built and constructed world“ and my sculptures are an expression of what has developed and consolidated in the course of modernization. It is always about questions of stabilization, security and their comparison with the prevailing power relations.             Our material-determined world gives us an ostensibly apparent stability and security in which we move every day - physically and mentally. I understand my sculptures as a record of a constructed, material-based world. My work process is an exploration of the formal potential of artifacts or architectural elements in terms of nuanced psychological states and aesthetic experiences.

        Each of the objects is based on a certain psychology based on purpose and usability. The objects find their reflexive basis within the complex entanglements of functionality, representation and collective images.






The conceptual topic of destabilization is continued in a written elaboration in the form of a book. A publication of  450 pages is to be understood as a text-based work with concise and striking short texts. The graphic implementation in the layout is based on the graphics of warning notices and other safety rhetoric. The content of the text fragments detached from the context is found between self-optimization, finding meaning, frustration, insignificance and irony. Text scraps and chopped off platitudes that move between affirmation and negation.

︎︎︎Publication accompanying the exhibition





The second part of the book is a photo documentation of my two-year work process with concrete. The photographs do not only include finished works, but primarily images from the workshops, from the studio, process representations, material photographs and inventories of an experimental phase.








Mark