home > project, installation & performance

I like the idea of the conceptional project: this liveliness in implementing an idea, without requesting immediately a conclusion, derived from the past participle of the Latin verb proiacere, English „throw forward“ this drive seems ideal to me for the purpose of describing the artistic avant-garde. As a project also contains the entity of variable processes which aim at satisfying client needs, here are documented also such steps of my actions for the sake of completeness – and images of the so developed objects, installations, and also merely footsteps leading to these products.

symposium "wood feels good"

in July 2008 I had the opportunity to participate in a sculptors‘ symposium in Southern Burgenland, in the kunstpark sued near Olbendorf. Originally just accompanying the sculptor Rudolf Pinter, but while already on the spot as a painter, I was entrusted by sculptor and project-leader Paul Mühlbauer to paint a whole wall of the sculptures park,  However confronted with the participants‘ creative impetuosity, I sawed and hammered a 4 meter high sculpture out of a tree-trunk. In ist middle I inserted as „heart“  a gem of serpentine found in the region.  „Mowl“ has nowadays its permanent location in the kunstpark sued


a report on the spontaneous action can be found on the blog poesis & crisis:

view also a blogpost on the sculptor Mühlbauer & the kunstpark sued:

belle de jour

upon invitation to the arts autumn 2001, „arts in motion“ in the ORF-Center in Eisenstadt, I realized together with Daniel Eselböck (video) and two female participants, a performance during which I painted the two bodies with the colours black & white thus serving as projection surface for a prior recorded video with movement details of the two actresses. A documentary video will soon be visible here.

missing link


a roughly 300 years old yew-tree, pulled –with all its routs- out of the earth of the baroque park of the Eisenstadt castle, inspired the sculptor Rudolf Pinter and myself to a very special presentation. Together with Roland Pfeifer and Harald Michlits in a hall for the artfair „art & spirit“ in the town of Neusiedl am See, we built a black box around the yew-stem, radiated inside with ultraviolet  light. In the dark of the box i painted parts of the stem, branches, and roots with ultraviolet-recipient colours. The visitor was led to the exhibiton through a sluice into the darkness of the box and immediately was confronted with the colour compositions which floated in its space. Photographer Hans Wetzelsdorfer has documented various details from within the box:


"Our airport at Trausdorf has a landing pist, several hangars, a windsleeve, a landing juncture, a fuel station, a tower, and a cafeteria. It has everything that makes an airport and yet is only a chimera, has no license.

Where in earlier times one could hear the clatter of the engines, nowadays silence blows up the windsleeve. It is a turbulent silence like it can only arise from wide plain surfaces.

It is no coincidence that Andreas Roseneder settled in the eye of this hurricane of silence. The Tower is his place of work. Here, with this rushing silence in the ears and a light like only airports may manifest it, he is searching with his colours for a chimera: the truth. His paintings are the numerous stations of a crossway that never ends.

Whoever is able to correctly see the Roseneder paintings, will sooner or later also be able to hear them. Think of this when looking at the paintings. ‚Hear you again!‘



this prolog for a catalogue for the exhibition ‚ Andreas Roseneder’s DYN:AMO‘/ Birgit Sauer: WYS/WYG at castle Prösels in Southern Tyrol, was written in 2001 by Thaddäus Podgorsky, former ORF-Director, actor, and a passionate pilot. They describe in a very appealing way the atmosphere at the atelier in the former TOWER at the Trausdorf airport which Sculptor Rudolf Pinter and Andreas Roseneder ran since 1997 as a workshop and stage for various art events, 2 years later and until 2005 it was operated by Andreas Roseneder alone.


three highlights from amongst the numerous actions:



In December 2001 I emptied all planning-cupboards, shelves, and storage rooms in the Tower of Trausdorf airport in order to to use all drawings and pictures as wallpaper for the inner walls of the building starting from groundfloor and covering the ceilings as well. An entire pictures complex was my lead idea, called it on the invitation to the show „FUNDUS – Viewing the works of Andreas Roseneder from 1971 to 2001 at a glance“, „via the solitary to the unorthodox scattered“. – The audience showed spontaneous reactions  from an exorbitant „killing“ to a fascinating „impressive“. A well-known art-collector took it word-by-word and 7 paintings along.

The Painter The Image & The Dance

april/may 1999: performance with the Move On Professional Dance Group with lead dancer Grant McDaniel. Involved in a dance choreography, the painter is inspired to do charcoal drawings which thus develop the stage scenery, video recordings and photography sequences by Daniel Eselböck & Laurent Ziegler which is supplemented by projecting it to a stage-screen, furthermore the arrangement is caught by Harald Michlits' light design. The play is also presented in a minimized version at the Vienna Globe, Vienna.


a short film cut about HERE - by Daniel 'Eselböck


"Andreas Roseneder repeatedly leaves traditional ways and means of painting, develops space-installations in which he also documents the creation of his paintings. In the performance „The Painter The Image & The Dance“ as it happened in 1999 in front of Roseneder’s atelier „Der Turm“, modern expressive dance, spontaneous graphic halt of the movements, digital photography, and video documentation, are confronted in a new artistic range of tension."
Dr. Günter Unger, 

art critic and author


"The precious idea of wanting to do something for art and art creators in this country, is actually not objectionable and thus to be  approved.  But to entitle it Day of open doors does not seem ideal to me as it carries a certain ambiguity: Because when there is one day of openness, there must be 364 days of lockedness which very much reminds of emprisoned dealings. - & for the same reason we do not lock our door today, but we do want to close it with curtains in order to demonstrate our particular openness on this very day."

Rudolf Pinter about the project Kubus, 1998 to the „Day of open door of artist ateliers“, an initiative of  the Burgenland Government & the Burgenland Country Museums