Klaus Mosettig: Drawing Painting
October 23, 2012 - March 1, 2013

Artist Biography
Klaus Mosettig
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Born in Graz 1975. Lives and works in Vienna.



1993-94          Meisterschule für Malerei, Graz (A)

1994-2000      Academy of Fine Arts, Vienna (A)

1998/99          Gerrit Rietveld Academie, Amsterdam



2011              Stadtgalerie Schwaz (A)

                      Stuart Shave Gallery, London (GB)

2010              Nature morte, Kunstraum Dornbirn (A)

2009              Pradolux, Secession, Vienna (A)

2007              Daily Output, Österreichisches Kulturforum, Tokio (Jp)

                     organisch 1, Haaaauch, Klagenfurt (with Tatiana Lecomte) (A)

2006              Niemals Genuss ohne Bitterkeit, Minoriten Galerien, Graz (A)

                     Processual Minimalism, 4Viertel Kunst bei Wittmann, Vienna

                     Holzplastik, Neue Galerie Studio, Graz

2003              Die Übergänge sind beim leidenschaftlichen Gleichgewicht, was die Dübel und

                     Verzapfungen bei einem Fachwerk sind, Galerie Martin Janda, Vienna

                     Tatiana Lecomte, Klaus Mosettig, Galerie Zell am See (A)



2012              Déjà-Vu, Kunsthalle Karlsruhe (Ger)

2011              Amoung Heroes, Kunsthalle Nürnberg (Ger)   

2010              Konstellationen, Museum moderner Kunst Stiftung Ludwig, Vienna

                     Prometheus, Kulturzentrum bei den Minoriten, Graz     

                     in:system, Schloss Ulmerfeld, Amstetten (A)                          

2009              Mary Kelly / Christian Capurro / Klaus Mosettig, Simon Preston Gallery, New York City (USA)

                     Kardinal König Kunstpreis 2009, Salzburg (A)               

                     Postalternativ, Kunstraum Niederösterreich, Vienna

                     Schönheit des Hässlichen, Forum Frohner, Krems (A)                             

                     31. Österreichischer Grafikwettbewerb, Galerie im Taxispalais, Innsbruck (A)

2008              Flora, Galerie Museum, Bolzano (It)

                     Hommage an die Zeichnung, Parlament, Vienna

2007              Gartenarchivierung, Österreichische Galerie Belvedere, Atelier Augarten, Vienna

                     30. Österreichischer Grafikwettbewerb, Galerie im Taxispalais, Innsbruck

2006              Genuine Happiness, Kunstbüro, Vienna

2005              Wisdom of Nature - Eight Visions from Austria, Nagoya City Art Museum, Nagoya (Jp)

2003              Why is everything the same?, Galerie Martin Janda, Vienna

2000              Auge:Experiment, Kärntner Landesgalerie, Klagenfurt

1999              Der ironische Blick, Museum auf Abruf, Vienna ­­­

                     Public appearances, Raum für Kunst, Graz



2010              Professor-Hilde-Goldtschmidt-Preis

                      Förderungspreis der Stadt Wien    

                      Staatsstipendium des Bundesministeriums für Unterricht, Kunst und Kultur

2009              Preis der Landeshauptstadt Innsbruck, 31. Österreichischer Grafikwettbewerb, Innsbruck

2007              Atelierstipendium Paris des Bundesministeriums für Unterricht, Kunst und Kultur

                      Preis des Landes Tirol, 30. Österreichischer Grafikwettbewerb, Innsbruck

2005              Walter Koschatzky Kunst-Preis

2000              Arbeitstipendium des Bundesministeriums für Bildung, Wissenschaft und Kultur

                      Würdigungspreis des Bundesministeriums für Bildung, Wissenschaft und Kultur



2012              Dejá-Vu, catalogue, Kunsthalle Karlsruhe

2011              Unter Helden, catalogue, Kunsthalle Nürnberg

2010             Klaus Mosettig. Nature morte, exhibition catalogue, Kunstraum Dornbirn, Dornbirn

2009             Klaus Mosettig, publication in connection with the exhibition Pradolux (20.2. - 13.4.2009) Secession, Vienna, Edition

                    Schlebrügge, Vienna

                    Postalternativ, exhibition catalogue, Kunstraum Niederösterreich, Vienna

                    K wie Kunst. Kardinal-König-Kunstpreis 2009, catalogue, Müry Salzmann Verlag, Salzburg

                    31. Österreichischer Grafikwettbewerb, catalogue, Galerie im Taxispalais, Innsbruck

                    Rolf Wienkötter, „Vom Zeichnen in der Zeit. Klaus Mosettigs abstrakter Blick auf das Konkrete", in: Parnass 1/2009,

                    Vienna, p. 74-79.

2007             Agnes Husslein-Arco (ed.), Gartenlust. Der Garten in der Kunst, exhibition catalogue,     Österreichische Galerie Belvedere,

                    Brandstätter, Vienna

                    Johanna Schwanberg, „Naturkunst und Kunstnatur. Künstler als Gärtner, Forscher und Archivar", in: Parnass 1/2007,

                    Vienna, p. 50-54.

                    30. Österreichischer Grafikwettbewerb, catalogue, Galerie im Taxispalais, Innsbruck

2006             Klaus Mosettig. The transitions are for the passional balance what the dowels and mortises are to a framework, exhibition

                    catalogue, Studio der Neuen Galerie Graz am Landesmuseum Joanneum, Graz

                    Klaus Mosettig. processual minimalism, publication on the occasion of the exhibition, Wittmann Möbelwerkstätten, Vienna

2005             Klaus Mosettig, „The transitions are for the passional balance what the dowels and mortises are to a framework", in:

                    Camera Austria 91/2005, Graz, p. 62-63. 

                    Gabriele Mackert (ed.), Wisdom of Nature: Eight Visions from Austria, exhibition catalogue,     

                    Nagoya City Arts Museum, Nagoya

                    Im Schloss 2004, exhibition catalogue, Landesgalerie Linz am Oberösterreichischen Landesmuseum, Publication PN°1 -

                    Bibliothek der Provinz, Weitra

2001             Hanno Millesi, Klaus Mosettig, Traumatologie / Wie Du willst doch fort von hier, Triton Verlag, Vienna  

                    Klaus Mosettig, Südsteirische Landschaften. 87 Fragmente einer Filminstallation, Vienna

2000             Arnulf Rohsmann (ed.), Auge:Experiment, exhibition catalogue, Kärntner Landesgalerie, Klagenfurt




Press Releases
Klaus Mosettig: Drawing Painting


Klaus Mosettig

Drawing Painting


October 23, 2012 - February 1, 2013


SHAHEEN is delighted to present an exhibition of recent large-scale drawings by Austrian born, Vienna based artist Klaus Mosettig.  This is Mosettig's first solo gallery exhibition in the United States, as well as the first time that the three works comprising the show, all of which have appeared in multiple museum exhibitions, have been presented in a gallery context. 


The bulk of Mosettig's mature work has revolved around the practice of drawing from projected slide imagery, where the slide and projection become the subject of the artist's distinctly contemporary form of still life.  Neither appropriative nor ironic, Mosettig's interest in working from pre-existing imagery lies in the utility of images as readymade found objects; issues inherent in technical and visual repetition; and the process of transcription, not for the purposes of depicting an image and the contextual narrative that its reproduction can evoke, but for the hermetic and abstracted quality of an approach to the relay of visual information that is variously objective and subjective.  Through the systematic application of diagonal hatch marks of varying length and tonality, all drawn in the same direction, Mosettig methodically transcribes and re-constructs the projected slide images, transforming them into slate-like visual continuums in which layering gives way to flatness, and color is transcribed into a spectrum of blacks, whites and greys. 


Mosettig's exhibition at SHAHEEN consists of two incredibly ambitious large scale drawings, and a single work comprised of eight smaller drawings, all of which have been drawn 1:1 scale in graphite from projected slide images of specific works by Jackson Pollock -- namely the paintings Number 32 and Lavender Mist, and a smaller scale untitled work on paper from 1950.   The stark contrast between Pollock's fiery expressionistic approach to painting and Mosettig's slow, deliberate approach to art making combine with the variable quality of the slide image and constant gain and loss of visual information precipitated by the projector / projection to yield drawn transcriptions that are markedly different in their material quality and reduced level of detail than the works by Pollock they appear to "depict".  In Mosettig's hands, at close range, Pollock's spontaneous drips and splatters give way to a planar continuum of diagonal hatching and an altogether different visual and physical microstructure.  More transformative than reproductive, the resulting drawings are iconic and spectacular, yet ultimately conducive to a slow, contemplative and ever-changing visual experience.


Klaus Mosettig was born in 1975 in Graz, Austria, and currently lives and works in Vienna.  Over the past few years, his work has been the subject of one person exhibitions at Secession, Vienna; Kunstraum Dornbirn, Austria; Stadtgalerie Schwaz, Austria; and Stuart Shave / Modernart in London.  In addition, his work has been included in numerous group museum exhibitions, prestigious European institutions such as the Kunstahlle Karlsruhe and MUMOK Vienna, and will be included in the Saatchi Gallery's upcoming exhibition "The Power of Paper".




Klaus Mosettig drawings use Jackson Pollock paintings as jumping off point... / The Plain Dealer


Klaus Mosettig drawings use Jackson Pollock paintings as jumping off point for a different kind of beauty


By Steven Litt

January 24, 2013



One could easily get the superficial impression that recent monumental pencil drawings by 37-year-old Austrian artist Klaus Mosettig are nothing but monumental rip-offs of Jackson Pollock.


An installation of large works by Mosettig at Shaheen Modern and Contemporary Art in Cleveland, now in its final week, certainly looks like a roomful of Pollocks. When you look closely, however, this turns out not to be the case at all.


Mosettig's method involves projecting life-size images of enormous drip-and-splatter paintings by the 1950s Abstract Expressionist on large sheets of paper, and then transcribing every droplet, skein and splash in tightly hatched diagonal lines executed in pencil.


What looks like a Pollock, in other words, turns out to be its opposite, despite the close resemblance. Where Pollock poured paint onto raw canvas laid on the floor of his Long Island, N.Y., barn, Mosettig projects light on a wall and then tries to fix the image on paper, inch by inch, like a human copy machine.


Pollock's work is liquid and fluid; Mosettig's is dry and clenched. Pollock is improvisational and loose; Mosettig is methodical and tight.


Lest this sound like a criticism, Mosettig's approach shares a good deal with that of Chuck Close, who has made a career out of rendering photographic portraits in drawings, paintings and other media by squaring off vast grids on his source images, and then reproducing them cell by cell, millimeter by millimeter, in final works that possess a dazzling richness and complexity.


As in the case of Close, whose portraits dissolve into fields of dots, squiggles and lozenges of color when viewed at short range, Mosettig's drawings don't look at all like Pollocks when observed from a foot or two away.


They are rich, sensuous and abstract. They dissolve into delicate thickets of precisely graded tones of gray, or filaments and droplets of black, that engross the eye in their attempt to mimic, at a micro-level, what they are not and can never be.


The drawings are audacious and colossal acts of concerted and highly focused willpower, somewhat akin to walking on a tightrope for the hundreds of hours it took to produce them. Rather than reproduce Pollock, they emphasize the impossibility of translating anything faithfully from medium to medium - while also underscoring that each medium has its own unique properties.


By trying to imitate the look of Pollock's flowing paint, and to subjugate himself to the work of another artist, Mosettig has ironically emphasized the consistently ravishing beauty of his own pencil marks on paper, along with the habitual diagonal hatchmarks of his own hand. Pollock is just the jumping-off point, not the goal.


Mosettig's laborious process elevates drawing - usually considered a preliminary or preparatory medium - into something every bit as ambitious as a large, museum-scale painting.


The one commonality between Pollock and Mosettig is that the latter's drawings possess a uniform energy across the entire surface of an image. To view them as copies, however, is to miss the point.


Mosettig's drawings ultimately can't reproduce Pollock's paintings - but by failing at precise translation, they invent a beautiful new language all their own.


>>PDF version

Klaus Mosettig
Lavender Mist L+R (detail), 2009-2010
graphite on paper

Klaus Mosettig
Lavender Mist L+R, 2009-2010
graphite on paper
87 x 118 inches

Klaus Mosettig
Number 32, 2008-2009
graphite on paper
106 x 179 3/4 inches

Klaus Mosettig
Number 32 (detail), 2008-2009
graphite on paper

Klaus Mosettig
1950/2 verso+recto, 2010
graphite on paper
dimensions variable

Klaus Mosettig
1950/2 verso+recto (recto 0), 2010
graphite on paper
17 1/4 x 22 1/4 inches

Klaus Mosettig
1950/2 verso+recto (verso 270), 2010
graphite on paper
17 1/4 x 22 1/4 inches