Wunderkammer: Voliere — Esterházy Now Collection, Hotel Galántha, Eisenstadt

Detail of Großer gelber Vogelbaum, painted wood sculpture with LED strips by Ernst Koslitsch, Hotel Galántha, Eisenstadt

Großer gelber Vogelbaum, Wunderkammer: Voliere, Hotel Galántha, Eisenstadt

Built from numerous, partly painted pieces of wood cut in a silhouette technique from Doka formwork boards, forming a three-dimensional marquetry made from construction-site material. A suggested conical flowerpot serves as its base, from which stems and blossoms grow, camouflaging the birds nested among them. Integrated lighting turns the birds' silhouettes into something between a flutter, a swarm, and a freeze frame.

Exhibition details

Year
2024
Venue
Hotel Galántha, Eisenstadt — Esterházy Collection
Curated by
Vitus Weh, Katharina Hoffmann for Esterházy Now Contemporary
Participating artists
Anna Artaker, Thomas Baumann, Hugo Canoilas, József Csató, Josef Frank, Ernst Koslitsch, Leo Lunger, Edith Payer, Dagobert Peche, Katrin Plavčák, Felice Rix-Ueno, Magdalena Maller, Peter Weisz, and the collections of the Esterházy Private Foundation
Materials
Wood, paint, LED strips, power cable
Full view of Großer gelber Vogelbaum, illuminated in its wall niche, Hotel Galántha, Eisenstadt, Ernst Koslitsch
Installation view, Hotel Galántha, Eisenstadt
Großer gelber Vogelbaum illuminated from within during a studio lighting test, Ernst Koslitsch
Studio view, lighting test, 2024
Detail of painted wood bird and blossom silhouettes, Großer gelber Vogelbaum, Ernst Koslitsch
Detail, painted wood elements
Großer gelber Vogelbaum in the studio, unlit, Ernst Koslitsch
Studio view, 2024
Close-up detail of painted wood bird and blossom silhouettes, Großer gelber Vogelbaum, Ernst Koslitsch
Detail, close-up

Text

“The birds — or fragments of their silhouettes — appear like fleeting snapshots of a movement suspended somewhere between fluttering, swarming, and stillness. Yet instead of narrative clarity, it is abstraction that comes to the fore here. How many birds are there? Or is it one bird, multiplied and fragmented into countless splinters? This very ambiguity connects to a fundamental question in Koslitsch’s work: what remains graspable when everything is in motion?”

— Dominique Foertig, The Great Yellow Bird Tree: A Shimmering Construction in the Yellow Universe