Martha Jungwirth Martha Jungwirth

Martha Jungwirth

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Marking the occasion of Martha Jungwirth joining the gallery, the artist's new works are shown alongside a video of her speaking about her paintings in the studio, ahead of her solo exhibition at Thaddaeus Ropac Paris Marais in Autumn 2021. With an idiosyncratic, non-conformist approach to painting across a career spanning five decades, Jungwirth is revered by her contemporaries and the next generation of artists.

Martha Jungwirth Untitled, 2020
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Vienna is a city of music and theatre, but there are more good artists here at the moment than in any other city in Europe. [Martha Jungwirth is] one of the best painters in the world of her era.

 

— Robert Motherwell, 1976

 

Martha Jungwirth Untitled, 2020

The artist's intuitive application of paint bestows her pieces with a raw and diaristic quality while their final compositions – characterised by an intensity of colour and declarative gestural presence – address the nature of the painted medium itself. Taking herself as her starting point, Jungwirth's works are grounded in the body and closely observed perceptions of the world around her, but occupy an intuitive space that exists beyond the formation of recognisable images.

 

My art is like a diary, seismographic. That is the method of my work. In the process I am completely focused on myself. Drawing and painting are movements that pass through me. Through my perception and my gestures it becomes something else. The painting is an intelligent patchwork, nothing stationary. It is about the fluid, the transparent, the open. It is not the noble that interests me, but the slippery, the unadorned, the uncensored. Painting is a matter of form, and then it receives a soul – through me.

 

— Martha Jungwirth

Atmospheric image
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She caught my eye in a group of male artists from which she clearly stands out in terms of quality. And yet, she is the least known of them. This leads me to suspect that in this one particular case, gender may have played a role. This kind of painting is considered particularly masculine and Joan Mitchell has only been getting the recognition she deserves for the last five years or so.


— Albert Oehlen, 2010

The finished works occupy the space between abstraction and representation, between chance and calculation, appearing at times explosive and domineering or elusive and tender. Once a mark is made, it cannot be unmade or glossed over, necessitating a painterly decisiveness. All traces of the artist’s movements remain visible in the finished painting, as an intimate index of her process.

 

It is no surprise that such an explorer is first and foremost an artist for artists. Admired by Robert Motherwell in the 1970s. Admired by Albert Oehlen in 2010, who delved into the Essl collection and dedicated an entire room to Martha Jungwirth, (the only artist he devoted an entire room to) in the exhibition he curated. Half a year ago in Upper New York, Sean Scully only wanted to talk to me about Martha Jungwirth and the wild taste of her luscious magenta, that colour named in 1858 after the bloodiest battle to date, which had just been produced synthetically for the first time. Martha Jungwirth: An artist for artists.

— Klaus Albrecht Schröder, Director,  Albertina Museum, Vienna.
Speech on the occasion of awarding the Oskar Kokoschka Prize to Martha Jungwirth in 2018

 

Martha Jungwirth Untitled, 2020

 

What makes Jungwirth an expressionist of an unusual sort is her way of balancing the spontaneity of mark making and painterly accidents with an awareness of her supports. The creamy-white or brown ground of the paper or canvas creates a stage on which her touches of colour interact like characters in a play, while their delicacy is counterpointed by the implacable expanse of the surface.

 

– Sherman Sam, Artforum, 2020

 

Martha Jungwirth Untitled, 2020 Oil on paper on canvas 248.5 x 141.5 cm

Martha Jungwirth
Untitled, 2020
Oil on paper on canvas
248.5 x 141.5 cm

Excerpts from

the ape in me

The artist's poem 'the ape in me' is a declaration of the artistic approach and method that would come to define her practice. Originally published in 1988 in Protokolle: Zeitschrift für Literatur und Kunst.

the ape in me method: back to the old brains, to the senso-motoric to before spoken language to before perception...

the ape in me
method: back to the old brains, to the senso-motoric
to before spoken language
to before perception
to before memory
to before the obtrusiveness of objects
to before Euclid where the straight lines meet at the
vanishing point
not thinking while painting.

 

untangling the assimilation, porously swamping it,
a bath sponge: capturing the rapid, fluid world of
images, the rags of memory.

 

my pictorial
reality is charged with passion, a language tied to
the body, to dynamic movement. colourful streaks
and blotches in tangled relation, swiftly spontaneous,
blindly immeasurable, an irreproducible space for
action. inner images surface and sink, current
perception controls the motorics, the blotches and
colours that form movement, a system right within
itself, not conforming with the binding reality.

it is asocial, an end in itself, a flow undisturbed by reflection, an adroit move of the limbs, halted at...

it is asocial, an end in itself, a flow undisturbed
by reflection, an adroit move of the limbs, halted at
the right moment.
the often practiced subsided. induce the random
event, detect it without delay and use it as an
element to go forward.

 

leave open the constellations of blotches, reject and use,
centre and decentre, leave visible the painting
process, no retouching, risk not recipe. non finito.

 

a blotch is a blotch is a blotch, a smart or a stupid one,
nothing else.

 

Read the full poem here

 

 

Martha Jungwirth Untitled (from the series 'Corona-Bestien'), 2021

About Martha Jungwirth

About Martha Jungwirth

Martha Jungwirth was born in 1940 in Vienna, where she continues to live and work. In 1961, while still a student at the Academy of Applied Arts (1956–63), she was awarded the Msgr. Otto Mauer Prize, followed by the Theodor Körner Prize (1964) and the Joan Miró Prize (1966).

Having studied under Professor Carl Unger, Martha Jungwirth later taught at the Academy of Applied Arts in Vienna for a decade from 1967–77. She was a co-founder and the only female member of the Viennese collective Wirklichkeiten (Realities), alongside Wolfgang Herzig, Kurt Kocherscheidt, Peter Pongratz, Franz Ringel and Robert Zeppel-Sperl, whose work was shown in the exhibition at the Secession, Vienna in 1968, curated by Otto Breicha. 

More recently, an entire room was dedicated to her work in the exhibition curated by Albert Oehlen for the Essl Museum, Klosterneuburg in 2010. A career retrospective spanning five decades was shown at the Kunsthalle Krems in 2014, followed by an exhibition focusing on her watercolours at the Kunstmuseum Ravensburg in 2018. That same year, she received the prestigious Oskar Kokoschka Prize awarded by the Austrian state, accompanied by an extensive solo exhibition at the Albertina in Vienna. A retrospective at the Museum Liaunig in Neuhaus marked the occasion of the artist’s 80th birthday in 2020.

 

Learn more 

 

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