Our Jahresgaben (“annual gifts”) exhibition is a vital annual format to support local productions and Kevin Space artists and collaborators. The Jahresgaben enable anyone interested to acquire works of art at affordable prices, while the entire profit is split in equal parts between the artists and Kevin Space. In this sense, the Jahresgaben are both a platform of visibility and income for artists associated with Kevin Space, as well as financial support of the activities of the Kunstverein.
Our members have the opportunity to preview and purchase works in advance. Supporting members, in addition, receive a 10% discount on purchases.
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Maximilian Anelli-Monto & Jojo Gronostay
Sample Book, 2022
Sample Book is a collaborative project between two artists Jojo Gronostay and Maximilian Anelli-Monti. The work was predominately inspired by Shirley’s card. A reference card- developed by Kodad used for technicians to balance exposure, colors, and hues- provided standards for the “correct” skin retouching in the following decades based on a white model named Shirley. Sample Book examines concepts in fashion such as economy, product, and value to give an audience a sense of the establishment’s capabilities in terms of paper and the way colors may appear in a final print. It also serves as a paper sample book for the fine art print and framing studio Print & Frame in Vienna, as well as a lookbook for DWMC (an art project and clothing brand founded by Gronostay).
Maximilian Anelli-Monti (*1987) lives and works in Vienna. He previously studied at the Academy of Fine Arts in Vienna and at Slade School of Fine Arts in London. His work has been exhibited at Kunstraum SUPER, Vienna (2019); Memphis, Linz (2018) and Galerie 5020, Salzburg (2017).
Jojo Gronostay (*1988) studied art at the Academy of Fine Arts in Vienna and at the Beaux-Arts in Paris. His work explores the political and economic structures between Europe and Africa and with platforms such as DWMC, he also created a structure for himself to intervene in these cycles.
Recent solo and group exhibitions include Gallery Hubert Winter, Vienna (2022); Kunsthalle Wien, Vienna (2022); Volkskundemuseum Wien (2021); VILLAGE, Lisbon (2019) and Memphis memphis, Linz (2018).
Untitled (Davide), 2022 & Document (Davide), 2022
Untitled (Davide) (an oil painting and its accompanying document) constitutes the concept of “Small Change” (dt.: Kleine Münze). The theory marks the smallest degree of the invention or of alteration that has to be applied to an object or an existing artwork, determining it as an original. Untitled (Davide) is a photo-realistic painting of an image taken on Billmair’s private iPhone while hired as a gallery technician for the purpose of documentation, archiving and insurance. The image index the often invisible but vital labor for the production, presentation, and circulation of art works and as such the creation and preservation of their value within the economy of art. Time and labor spent here are re-claimed as an artistic process, vaporizing the indistinct demarcations between artistic and non-artistic work. Such as the original photos stem from hired work conducted by the artist, he in turn commissioned someone else to execute the manual task of painting. The subtext considering the legal existence of the works is nearly invisible but poetically present in a corresponding text work. On a framed document, the chapters on the respective, decisive and similarly elusive factors “Persönliche Schöpfung” (engl.: “personal creation”) is tinted white, while the footnotes of the vanished text indicate factual information about their material constitutions, origin, and legal precedents that in the history of art law and theory circle around ever volatile definitions of the essence of ‘art’.
Julian Billmair (*1986) lives and works in Berlin and Munich, Germany. He graduated from Academy of Fine Arts, Munich, where he studied film and sculpture with Julian Rosefeldt and Klaus vom Bruch. He recently showed among others at Eres- Foundation, Villa Stuck, Munich and Goethe-Institut, Paris.
Love Streams (13), 2022
This work is a part of a larger series of works titled Love Streams, which were presented at Budor’s solo exhibition Continent at Kunsthaus Bregenz (2022). Love Streams reveal the capacity of unforeseen substances and materials to flesh out links between the body, psyche, and biopolitical power structures. Sandpaper acts as a recurring background for a series of automatic frottages. Commonly used in removing material from a surface, it is also the carrier of what has been subtracted. The frottages are made by rubbing of escitalopram, prescribed to treat depressive and generalized anxiety disorder, onto the floor and walls of the artist’s temporary studio in Berlin. What would be usually consumed by a body, is instead recorded by hand. These negative imprints are commonly made during the artist’s ‘unproductive’ time; in the breaks, after work, or late at night.
Dora Budor (*1984) is an artist and writer. She lives and works in New York. Her work has been presented in numerous exhibitions, including the 59th Venice Biennale, Venice (2022); Kunsthaus Bregenz, Bregenz (2022); the Palazzo delle Esposizioni, Rome (2021); Migros Museum, Zurich (2021); Schinkel Pavillon, Berlin, (2021); Kunst Museum Winterthur (2021); Museum of Modern Art in Warsaw ( 2020) and Kunsthalle Basel, Basel (2019).
Michèle Graf & Selina Grüter
Pocket Liners, 2021-ongoing
Pocket Liners are composed by gathering words from purchase receipts, forming short texts by reevaluating the words from this found vocabulary. These texts reflect the artists’ research on the use and development of language within a capitalist social formation.
Michèle Graf (1987) and Selina Grüter (1991) are an artist duo living in New York, working with language and translation. They studied media arts at Zurich University of the Arts and participated in the Whitney Independent Study Program.
Recent solo and group exhibitions and performances include Kunstverein Kevin Space, Vienna (2022); Fanta-MLN, Milan (2022); Schiefe Zähne, Berlin (2022); Felix Gaudlitz, Vienna (2021); Whitney Museum of American Art, New York (2018), Kunsthalle Fribourg, Freiburg (2018); Plymouth Rock, Zürich (2017) and the Emily Harvey Foundation, New York (2017).
Untitled (2022) is a continuation of the artist’s pursuit in confronting codes, concepts, and conventions of the everyday through a subjective, yet the sociological attitudes toward material properties, objects, and language. Untitled series uses the inner materials of soft toys combined with their other components, that were collected by the artist. It evokes a range of personal histories, memories, and emotions- relating to class, origin, identity, subjectivity, and body.
Sveta Mordovskaya (*1989) studied at the Academy of Fine Arts in Vienna and lives and works in Zurich.
Solo and duo exhibitions have been presented at Weiss Falk, Zürich (2022); Kunstverein Kevin Space, Vienna (2022); Alienze, Vienna (2021); Weiss Falk, Basel; Cherish, Geneva (both 2020) and Plymouth Rock, Zurich (2017). Her work has been shown in group exhibitions at Sperlin, Munich (2021); Universität für angewandte Kunst, Vienna (2021); C L E A R I N G, Brussels (2021); Kunsthaus Glarus; kim? Center for Contemporary Art, Riga (both 2019) and Francesca Pia, Zurich (2018).
This series of T-shirts entitled Krugers’ appropriates Barbara Kruger’s piece “Your Comfort is My Silence” (1981), which directly criticized and attacked the hierarchy of gender roles, as well as the distribution of activity and passivity and thus speech and silence. Ramaya Tegegne’s version proposes to reflect on one’s ability to speak, and questions whose voices are silenced and for what goal. The work incorporates as well a critical tradition that resists cooptation and rejects ascriptions of value, undermining categories of authorship, originality, and singularity.
Ramaya Tegegne (*1985) is an artist, researcher and cultural producer based in Geneva, Switzerland. Her projects aim at a revolution of practices through collective processes of resistance and the creation of common imaginaries and resources. Tegegne has presented solo exhibitions at Künstlerhaus Stuttgart (2021); Istituto Svizzero, Milan (2019); Ludlow 38, New York (2019); Kevin Space, Vienna (2019) and Galerie Maria Bernheim, Zurich (2018). She launched in 2017 the campaign and collective Wages For Wages Against (wfwa.ch) for the fair remuneration of artists and against all forms of discrimination in the art field. The collective received in 2022 a Swiss Art Award. She co-founded in 2015 the art and critical theory bookshop La Dispersion in Geneva.
Modern Paintings, 2022
Modern Paintings is a series of scanned objects that resemble painterly and/or abstract images. The work deals with the perpetual influences of art history and history of painting, as well as the questions of the symbols’ value. Although the works resemble paintings, they are created by the employment of tactile objects. Applying the method of “concrete” action that scanning echoes, renders them as painterly and abstract images. One of the Modern Painting shows orange, of easyJet’s logo, and a greenish color—the most dominant tone in The Luncheon on the Grass, painted by Édouard Manet, entangled together. In the other Modern Painting, a blue and yellow strip—Lufthansa’s logo—is tied together with the tone of Olympia’s body, painted also by Manet, and the dominant color of nudes painted by Lucian Freud. The last work depicts a scan of the Bottega Veneta sunglasses case. A readymade supplement of a luxurious product after being scanned becomes an abstract form, introducing almost a sci-fi image to the series.
Julija Zaharijević’s (*1991) practice deals with the perpetual circulation of images in our globalized society. She is interested in the origins of the images, their values and symbolism—and how those features change depending on context. Her practice draws influence from history of art and specifically painting, from popular culture, and from the social intricacies of Europe’s art bubble.
Her work has been in solo exhibitions: Modern Painting, Bbberlin, Berlin (2022); solo presentation at viennacontemporary with Eugster || Belgrade (2022); Oh no! The View, Georg Kargl PERMANENT, Vienna (2021); Silver Lane, Alienze, Vienna (2021); group exhibitions: hyper (hyper), Callirrhoë, Athens (2022); SYSTEMA, with Pina, Marseille (2022) and Burn The Groves, Löwengasse, Cologne (2022).