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



until Mar 17th   zusammen sehen, Galerie Werner Klein, Cologne

since Sept '20   Spuren und Masken der Flucht, Niederoesterreichische Landesgalerie, Krems

since July '20    Constellations III, Berardo Collection Museum, Lisbon

2020                Informel (SOLO), Uma Lulik Gallery, Lisbon

2019-20           The David Plates (SOLO), Kunsthistorisches Museum Vienna

2019                The Other is Oneself, Franz Josefs Kai 3, Vienna

2018                Handwriting (SOLO), Kunsthalle Darmstadt

                       Drawing Now Artfair, Paris

2017-18           Remastering, Kunsthalle Krems

                       reduce to a maximum, Kunstraum Sellemond, Vienna

                       Planet 9, Kunsthalle Darmstadt

                       Deceleration, Galerie Bechter Kastowsky, Vienna

2016                Zeichnung, Buchmann Galerie, Berlin

                       The Gestural, 21er Haus, Vienna

                       l’air du temps, Kerstin Engholm Galerie, Vienna

                       OFF IS, Vienna

2015                Withdrawal (SOLO), Hofstätter Projekte, Vienna

2014                Roland Goeschl / Klaus Mosettig, ViennaFair, Vienna

                       Siehe was Dich sieht, 21er Haus, Vienna

                       Zu Papier Gebracht, Galerie Bechter Kastowsky, Vienna

2013               Art On Gallery (SOLO), Istanbul

                      Paper, Saatchi Gallery, London

                      Buchmann Box (SOLO), Buchmann Galerie, Berlin

                      Drawing Painting (SOLO), Shaheen Gallery, Cleveland (USA)

2012               More than meets the eye, Buchmann Galerie, Berlin

                      Déjà-vu?, Kunsthalle Karlsruhe (Ge)

                      Re-Collection, Sheila C. Johnson Design Center, New York City

2011               Unter Helden, Kunsthalle Nuernberg (Ge)

                      motifs (SOLO), Stadtgalerie Schwaz (A)

                      Stuart Shave / Modern Art Gallery (SOLO), London

2010               Nature Morte (SOLO), Kunstraum Dornbirn, Dornbirn (A)

                      Systeme, Schloss Ulmerfeld, Amstetten (A)

                      Konstellationen, Museum moderner Kunst Stiftung Ludwig, Wien / Vienna (A)

                      Prometheus, Kulturzentrum bei den Minoriten, Graz (A)

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

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

                     Von der Schoenheit des Haesslichen, Forum Frohner, Krems (A)

                     Postalternativ, Kunstraum Niederösterreich, Wien / Vienna

                     Pradolux (SOLO), Secession, Wien / Vienna



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


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