(born in Vienna in 1951)
“Ölbild Nr. 14”, signed twice, dated Polanszky 76 and Polanszky 74/82, oil on hardboard, 118 x 147 cm, framed

Full-page colour illustration:
Rudolf Polanszky, Edition Wallenstein, Vienna 1989, p. 25-there stated 1974, reworked 1983

Provenance:
Former tax consultant of the artist-directly from the artist
Private Collection, Vienna

On Art
Reflections on the Works of Rudolf Polanszky

The period in which the processes that led to the creation of artworks were more important than the outcome of the work process (the piece itself) has now run its course across the various kinds of contemporary art. However, the return of panel painting in its broadest guises does indeed confirm Benjamin’s theory of fashion as the “eternal return of the new”. Nevertheless, it does not necessitate the suppression of the idea as a component of an artwork which appears while it is being viewed. This crystallisation of the idea or its fluctuation inside the viewer does not entail the re-sanctioning of the passive, the blindness of the eye faced with the guidelines hung on the wall which are to be integrated into the memory’s repository of images in line with the traditional rules of astonishment. Rather, the re-sanctioning of the idea provokes a communicative, practical impact of reading between the artist, the artwork and the viewer, with the viewer not “beholding” the “being” of the artwork, but instead taking it in the form of a model and using this to modify the perceived element created by this time and again. The content becomes a passenger of the form to be read...

from the literature cited below