contact
Bio
representation
Current/Upcoming:
Melanie Ebenhoch - solo
Baumschlager Eberle, Lustenau, AT
24.04.2026 - 3.07.2026
contact
Bio
representation
Current/Upcoming:
Melanie Ebenhoch - solo
Baumschlager Eberle, Lustenau, AT
24.04.2026 - 3.07.2026
10.09. - 14.09.2025
curated by Aliaksei Barysionak
presented by Galerie Brugger, AT
untitled (Kitchen)
2025
Oil on wood, acrylics on epoxy putty
206 x 136 x 60 cm
Modern Collection of the Tirolyan State Museums (AT)
untitled (Smoke and mirrors)
2025
Oil on wood, acrylics on epoxy putty
228 x 121 x 50 cm
untitled (Medium)
2025
Oil on wood
217 x 120 x 40 cm
Photos: kunstdokumentation.com
6.11. - 27.11.2025
curated by Livia Klein
Duo show with Paola Siri Renard
all works
oil on resin,
40 cm x 5 cm, 2025
Photos: kunstdokumentation.com
29.05. - 03.08.2025
Co-curated by Maria Hinel and Indira Dyussebayeva-Ziyabek
Artists: Glen Baxter, Ingrid Berthon-Moine, Appau Junior Boakye–Yiadom, Abraham Cruzvillegas, CFGNY, Melanie Ebenhoch, Peter Fischli & David Weiss, Gina Fischli, Graham Gussin, Holly Hendry, Ty Locke, Andy Holden, Jean-Luc Moulène, Cornelia Parker, Amalia Pica, Aziza Shadenova, Holly Stevenson and Richard Wentworth
Photos: kunstdokumentation.com
08.03.-04.05.2025
with Sara Ravelli, Maria Morino Savinio
>>> buy the publication with texts by Kasia Fudakowski and Ruggero Savinio here
>>> download our press release here
Photos: Leonardo Morfini
Nightmare and dawn, 2025
oil on resin, 9x 103 cm
Cherry Clock, 2025
oil on resin, 9 x 120 cm
Mirror, 2025
oil on resin, 5 x 50 cm
Photo: Dan Miller
& kunstdokumentation.com
Leopold Museum, Vienna08.05.2024–06.10.2024
‘Waschmaschine’, 2016, oil on resin, 89 x 118 cm
Text excerpt from the exhibition catalogue:
Since the Renaissance, Leon Battista Alberti’s metaphor of the painting as an open window has characterised figurative painting: as a framed section of the world that directs the viewer’s gaze. Many of Melanie Ebenhoch’s works take up the topos of the house as a space for the articulation of subjectivity, the symbolic charge of its decor and its scenic staging of those who move within it. The window, which determines what we perceive and how, plays an important role here.
Washing Machine, created in 2016, is part of a series of paintings in which the view outside, into the open void, encounters seemingly randomly selected objects floating out there: a torch, a villa with a portico or a washing machine. Ebenhoch’s paintings, executed in oil on poured aqua resin, implement the rules of central perspective representation in a way that exaggerates the desired reality effect to such an extent that it exceeds a tipping point. The implied shutters fold outwards, but the effect of depth that they create does not continue in the centre of the picture, such that the expanse becomes an abyss and the view plunges downwards. The washing machine in the centre of the picture, thereby the fixed point of observation, only seems to offer some footing. The free fall is stopped, but the slight feeling of vertigo remains as the painting continues to oscillate between this flat surface and an effect of depth. This perspectival, pivotal figure relies on illusionism, only to withdraw it at the same moment so that it runs into the void.
With reference to the cinematographic mise-en-scène, Ebenhoch makes the open window of painting into part of a dramaturgy that no longer elevates the viewer, but rather the object being regarded, to sovereignty in the regime of the gaze. Body and space now only appear to have a geometrically calculable relationship. Where unity dissolves, vertigo, the fear of depth, takes its place. (vjm)
November 11, 2023 – February 9, 2024
House,
And, Scene
all 2023, oil on resin, 120 cm x 10 cm
Photo: kunstdokumentation.com
curated by Christoph Meyer
with Nicolas Jasmin, Herwig Kempinger, Maria Lassnig , Ute Müller, Titania Seidl, Lukas Thaler, Heimo Zobernig
The pink palace,
Paulina,
Falcon Lair,
all acrylic and oil on resin and canvas, 2020