Ursula Hübner

From the series »Golden Nature« and »Outside«, 2010

Arch of the Triumph of the Arts, 2010

exhibition period:

June 3 - September 26 2010

exhibition space:

LENTOS Kunstmuseum Linz

Hauptplatz Linz

geboren 1957 in Salzburg, lebt in Wien

 Ursula Hübner, aus der Serie / from the series »Golden Nature«, 2010

Mischtechnik auf Leinwand / Mixed technique on canvas · 110 x 90 cm

Foto / Photo : Pixelstorm, Wien


Ursula Hübner »Triumphbogen der Kunst [Arch of the Triumph of the Arts]«, 2010

Fotos / Photos: Otto Saxinger

Sketch: Ursula Hübner

Video: Gottfried Gusenbauer, Andreas Atzlinger

Many painters paint using oil on canvas. Ursula Hübner paints using photography. The two techniques enter into a natural symbiosis in her paintings. Fragments of photos are integrated into the painting as specks of colour and dissolve into a painterly whole.

Mythical creatures – hybrid beings fusing humans, beasts, plants and objects – emerge from the reassembly of cut-up photos supplemented by brush strokes. Hübner’s creatures seem alive enough, one can almost sense their vitality. It is the alchemistic mixture of the most diverse ingredients that gives these pictures an expressiveness that goes beyond both painting and photography on their own. Fugitive gestures, fleeting emotions, the most transient moments are preserved. Subtle mental processes and normally invisible emotions suddenly become manifest. If the paintings in »The World of Interiors« series pictured lived-in interiors, in the current series, Outside and Golden Nature, Hübner’s figures leave the constricted spaces behind. Propelled by curiosity for what is going on outside, they now encounter the mysterious natural world. The hybrids wander outside and become one with their natural environment, the world of beasts and plants, and their faces express what is going on in their minds. Ursula Hübner weaves magic spells and lends poems a face.

(Nina Kirsch)

Ursula Hübner’s Arch of the Triumph of the Arts in Linz’s Hauptplatz is a symbol of the Janusheaded identity of this city, of its rough industrial side and of its many cultural aspects that are a living reality in the several institutions dedicated to contemporary art. Together they orientate the city towards the present and the future in a manner that is totally atypical of the rest of Austria. Incorporating allusions to the various historical triumphal arches and to previous contemporary adaptations, the best known of which is arguably the one in Hamburg by Luc Deleu (1989–1994), Hübner’s version is a »feminine« one, characterised by voluptuous playfulness. The iron containers are a homage to the steel city, the city of commerce. For her cast of figures Hübner did not draw on mythological or feudal models, but conceived them as a gathering of various contemporaries, whose habitus and attitudes are inspired by fashion and magazine photography: an Arch of the Triumph of the Artists and an invitation to all comers to take part in the art event.