gezwanzig

Structural Decisions folgt keiner thematischen Illustration, sondern einer formalen Logik. Die Ausstellung ist als räumliche Konstellation gedacht, in der jede künstlerische Position als eigenständige Entscheidung sichtbar wird.

Die Auswahl konzentriert sich auf Arbeiten, die auf klar definierten strukturellen Prinzipien beruhen – seien es systemische Raster, serielle Verfahren, materialbasierte Prozesse oder kontrollierte Wiederholungen. Entscheidend ist nicht Stilähnlichkeit, sondern die Konsequenz, mit der eine formale Entscheidung durchgehalten wird.

Die Hängung vermeidet Gleichbehandlung zugunsten bewusster Differenzierung. Manche Positionen erscheinen konzentriert in Einzelsetzungen, andere in seriellen Gruppen. Leerräume sind integraler Bestandteil der Dramaturgie. Sie markieren Übergänge, erzeugen Spannung und betonen die Eigenständigkeit jeder Arbeit.

Die räumliche Dramaturgie orientiert sich an Achsen, Blickbeziehungen und Proportionen des historischen Interieurs. Die Arbeiten reagieren nicht illustrativ auf den Raum, sondern behaupten sich durch Präzision, Reduktion und strukturelle Klarheit.

gezwanzig projects formuliert mit dieser Präsentation eine Haltung, in der kuratorische Auswahl, Hängung und Raumbezug selbst als strukturelle Entscheidung sichtbar werden.

Structural Decisions does not follow a thematic narrative but rather a formal logic. The exhibition is conceived as a spatial constellation in which each artistic position is presented as an independent decision.

The selection focuses on works based on clearly defined structural principles—whether systemic grids, serial methods, material-based processes, or controlled repetitions. What matters is not stylistic similarity, but the consistency with which a formal decision is maintained.

The installation avoids uniform treatment in favor of deliberate differentiation. Some works appear concentrated in individual settings, others in serial groups. Empty spaces are an integral part of the dramaturgy. They mark transitions, create tension, and emphasize the autonomy of each work.

The spatial dramaturgy is guided by axes, visual relationships, and the proportions of the historic interior. The works do not respond to the space in an illustrative manner, but assert themselves through precision, reduction, and structural clarity.

With this presentation, gezwanzig projects articulates an approach in which curatorial selection, hanging, and spatial relationship themselves become visible as structural decisions.

Measurement systems from different periods and cultural areas have accumulated in Roman Pfeffer’s studio. What they have in common is that they are calibrated in ‘metres’ or ‘inches’. It is only when they are used that they reveal their potential: taking measurements, putting things in relation to each other – and in some cases to oneself – and discovering parameters in the diversity of the world around us. These activities fascinated Pfeffer from an early age. He alternates between the ‘sensual’ approach to the concrete, the precision of measurement, and the abstraction of comparison.

With his work ‘ID’ (2026), Roman Pfeffer questions current visual identity coding systems. He transfers the globally used acronym ID onto square concrete slabs measuring 32 × 32 cm. They are arranged in four rows of 5 units each, one above the other. The body of the signs is left as grey industrial-grade concrete.

With their tactile stone surfaces, they stand out against the colourful, opaque background in light turquoise. The multi-part image object, whose perfect craftsmanship reveals no personal signature, appears as an abstract, mosaic-like composition of various movable colour surfaces. However, it remains hermetically sealed to the casual observer. There is a calculated reason behind this: contrary to the usual reading direction in Europe, Roman Pfeffer has rotated every second panel 90° to the left around its own axis. The linear reference system of the letter sequence is severed, an agreed order is disrupted, and abstraction occurs on several levels. With a simple act of rearrangement, the acronym ‘ID’ is deconstructed, along with all the ideas that it might evoke.

At the same time, Roman Pfeffer leads us down the opposite path with the conventionally readable title ‘ID,’ which claims that it is a reference to the self. In dealing with the contradictory signals emanating from the image object, the title and the evoked notions of identity, the fragility of identity coding is brought to light and, even more so, the fundamental question is raised as to whether identity can be coded at all.

Text: Heidrun Rosenberg

Der in Dornbirn geborene (*1953) und in Wien lebende Künstler Franz Türtscher zeigt ab 10. März seine neue Ausstellung „Option” in der Leopoldstraße 41 in Innsbruck. Die Schau präsentiert Werke zwischen konkreter Kunst, Schriftbildern und räumlichen Bildarchitekturen.

Bildarchitektur – Offener Rahmen

Zentral ist die Werkgruppe „Bildarchitektur – Offener Rahmen”. Türtscher entwickelt räumlich-reliefartige Bildstrukturen mit Modulcharakter. Sein nach oben offener Rahmen reflektiert den Umraum mit. Geometrische Elemente werden in Aluminiumrahmen wie Module zu dreidimensionalen Wandobjekten gefügt – ein System für Wandel und Veränderbarkeit.

Bild gewordene Schrift

Durch collageartige Wortkombinationen wie „KUNST FORM POESIE” entstehen spannungsgeladene Gefüge. Fehlende Zwischenräume lassen die Typografie zu heterogenen Flächen verschmelzen, die erst auf den zweiten Blick zu entziffern sind. Die Lettern verwandeln sich zu einem Liniengeflecht – Bild gewordene Schrift.

Born in Dornbirn (*1953) and living in Vienna, artist Franz Türtscher will be showing his new exhibition “Option” at Leopoldstraße 41 in Innsbruck from March 10. The show presents works ranging from concrete art to typography and spatial image architectures.

Image architecture – open frame

The central focus is the group of works entitled “Image architecture – open frame.” Türtscher develops spatial, relief-like image structures with a modular character. His open-top frame reflects the surrounding space. Geometric elements are assembled in aluminum frames like modules to form three-dimensional wall objects – a system for change and variability.

Writing turned into images

Collage-like word combinations such as “KUNST FORM POESIE” (ART FORM POETRY) create tension-filled structures. Missing spaces allow the typography to merge into heterogeneous surfaces that can only be deciphered at second glance. The letters are transformed into a network of lines – writing turned into images.