Lisa Jäger + Bert Löschner – Dreamdate

Pictures by Bert Löschner

Lisa and Bert flirt in Kunstbuero Vienna


Five huge Canvas, at first sight almost empty, and a big mattress in in the middle of the room. the mattress and the canvas have almost the same format and colour sceme, around there meander 4 smaller, colourful bright panels in an indistict material and height in the room. on a closer look one identifies them as fading sunsets, on the wall like they were traversing the hemisphere. from far away these two workseries seem to have nothing incommon, neither the scale nor the material, but then you start to identify the landscape of the buildings lisa Jäger draws merging together with the position of the sun as if it was bright noon. laying on the mattress looking through the screens of Bert Löschner like windows as if you were resting in one of Lisa Jägers drawn master bedrooms watching the sun rising.
Sunsets and dream houses?
Both motives naiv but superficial in their appearance. we feel unable to deal with what is going on in the world right now. We dream. When everything is too fucked up to even see a way out of it, we do what „the Monch at the Sea“ by Caspar David Friedrich did: stand and stare, its bad, we know…

Minimalistic-brutalistic architectural fantasies manifest themselves schematically on oversized canvases. The artist counteracts painting, the „royal discipline“ of capitalistic artworld, and shows scrawly maintsream utopias: „My californian dreamhouse could be a spaceship or boat, but anyhow, the floor plan stays pretty conservative and ordinary: a bedroom, a bathroom, a kitchen/dining area and some square meters to hang out. Most parts are reserved for the studio to make big art, you know what I mean? But how would my artproduction even look like? Would I still do art if I had a house like this? Maybe I would just lay by my pool and flip through instagram.“ Lisa Jäger‘s dream houses play with the capitalist desires of the middle class: consumption, accumulation of property, economic growth, privatization and security. The unreflected accumulation of possessions, a legacy of our time.

„…and if it sounded funny, then it had to be pop, after all, they knew that from the colourful screens, after all, now everything was pop. But with pop, whatever it was, this book had very little to do, and all those who, in the certain tenderness with which Kracht stroked the surface of things, only let out the affirmation, simply could not decipher that the suffering of the world is spelt differently today.“ (FAZ review, Christian Kracht: Faserland)

Bert Löschner, Lisa Jäger

Kunstbuero, Wiener Artfoundation