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[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.27.4″ _module_preset=”default” width=”92%” custom_padding=”||34px||false|false” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text admin_label=”Publikationen Inhalt” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
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In Dialogue with Nature, Galerie Kovacek & Zetter, Vienna 2025, ISBN:978-3903434-27-1<\/p>\n
\u201cACT III\u201d, on the occasion of the exhibition at the Austrian Cultural Forum Bratislava,,ed: Lower Austrian Documentation Center for Modern Art, 2024 <\/p>\n
Medusenk\u00fcsse, together with the author Lydia Mischkulnig, Edition Thurnhof, 2020, ISBN 978-3-900678-51-7<\/p>\n
Sound Check, Kunstverein Gallery Arcade 2020<\/p>\n
Museum Angerlehner, 2013, ed.: Museum Angerlehner, Verlag Hirmer, Munich, ISBN 978-3-7774-2130<\/p>\n
Wiener Zeitung EXTRA, \u201cAnna Stangl\u201d, Willy Puchner, Verlag Wiener Zeitung, Vienna 2018<\/p>\n
\u201cAn unheard-of wish\u201d, text: Sabine Gruber, graphics: Anna Stangl, Edition Thurnerhof, Horn, Austria. 2013<\/p>\n
PARNASS, Anna Stangl \u201cIdylle mit Giftpfeil\u201d, Clarissa Mayer-Heinisch, issue 3\/2012, Parnass Verlag, Vienna 2012<\/p>\n
ORF, Regional Studio Upper Austria: “O.\u00d6. Heute”, 2011, Interview with Isabella Minniberger<\/p>\n
WENN ANN TANZT, 2010, together with the author Ursula Brochard, Bucher Verlag, IISBN 978-3-99018-004-4<\/p>\n
KHOJ BIHAR, Internationaler K\u00fcnstler-Workshop, 2009, Hrsg.: Khoj International, Patna, Indien<\/p>\n
\u201cAquarellhappening Tux\u201d, ed. Christian Stock, Skarab\u00e4us Verlag Innsbruck, 2009, ISBN 978-3-7082-3288-1 <\/p>\n
Radio Wienerwald, 1.8.2008, Interview with Gerhard Blaboll<\/p>\n
ORF 1: \u201cTreffpunkt Kultur\u201d, October 2006, Interview with the artist<\/p>\n
\u201cAustrian Art, Expressive Tendencies in Austria since 1960\u201d, ed.: Danubia Meulensteen Art Museum, Bratislava 2006<\/p>\n
\u201cHunde ziehen vorbei \u201d, Comet Verlag, Vienna 2005, ISBN: 3-9502046-4-4<\/p>\n
“Vision einer Sammlung”, 2004, ed.: Museum der Moderne, Salzburg<\/p>\n
\u201c Desire\u201d, 2001, EDITION OEHRLI, ed.: Museo d’Arte Moderna di Bologna and Ursula Blickle Foundation, Germany<\/p>\n
\u201cSchlafst\u00f6rer und Damen\u201d, 18 min., 16 mm film by Wilhelm Gaube, Vienna 2000<\/p>\n
\u201cZeichnung: Linie\u201d, ed.: Landesgalerie Ober\u00f6sterreich and Bibliothek d. Provinz, Linz 1999, ISBN 3-85252-217-X<\/p>\n
“Zeichnung I”, ed.: Museum Rupertinum, Salzburg, 1999<\/p>\n
“Enth\u00fcllt, 1 Jahrhundert Akte \u00d6sterreichischer K\u00fcnstlerinnen”, published by N\u00d6EArt 1999<\/p>\n
\u201cThe Search Within\u201d, 1998, ed.: Austrian-Indian Society, Vienna<\/p>\n
\u201cAnna Stangl\u201d, ed.: Kunstverein Marburg and Galerie Lang, Vienna 1998, ISBN 3-85091-014-8<\/p>\n
\u201cAnna Stangl \u201d, ed.: Anna Stangl, Vienna 1996<\/p>\n
\u201cAnna Stangl – Galerie im Traklhaus\u201d, ed.: Cultural Office of the City of Salzburg 1994<\/p>\n
“Reise zu den Quellen”, ed.: Stella Rollig and the Austrian. Ministry of Culture, Austria 1994<\/p>\n
\u201cMalersymposion Werfen 1993\u201d, ed.: Museumsverein Werfen and Cultural Office of the City of Salzburg<\/p>\n
“Das Kunstwerk im Zeitalter seiner Telekommunizierbarkeit”, Documentation of the St. Veiter Fax Art-Event, Museum Albertina,
Transformator Verlag, Vienna 1992<\/p>\n
\u201cInnenland\u201d, 1990, edited by Anna Stangl<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text disabled_on=”on|on|on” admin_label=”Inhalt” _builder_version=”4.27.4″ _module_preset=”default” disabled=”on” global_colors_info=”{}”][\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.27.4″ _module_preset=”default” width=”92%” custom_padding=”80px||34px||false|false” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text admin_label=”Texte Inhalt” _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
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Robert Pfaller \/Z\u00e4rtliche Auslagerung<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Sarah Jonas \/ The wilderness within us.<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Margit Zuckriegl<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Peter Weiermeier<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Clarissa Mayer-Heinisch \/ Idylle mit Giftpfeil<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Anna Stangl<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Gustav Sch\u00f6rghofer \/ Dogs pass by<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Mark Gilbert \/ The Eternal Sunshine of the Spotless Mind<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n [\/et_pb_text][et_pb_text disabled_on=”on|on|on” admin_label=”Texte Inhalt old mit Marlen Stainz” _builder_version=”4.27.4″ _module_preset=”default” disabled=”on” global_colors_info=”{}”]<\/p>\n <\/p>\n Robert Pfaller \/ Tender outsourcing<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Sarah Jonas \/ The wilderness within us.<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Margit Zuckriegl<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Marlene Stainz \/ Wilderness<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Peter Weiermeier<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Clarissa Mayer-Heinisch \/ Idyll with a poisoned arrow<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Anna Stangl<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Gustav Sch\u00f6rghofer \/ Dogs pass by<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n Mark Gilbert \/ The Eternal Sunshine of the Spotless Mind<\/strong> \u00bb full text<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text disabled_on=”on|on|on” admin_label=”Inhalt” _builder_version=”4.27.4″ _module_preset=”default” disabled=”on” global_colors_info=”{}”][\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.27.4″ _module_preset=”default” width=”92%” custom_padding=”80px||34px||false|false” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text admin_label=”Podcasts ” _builder_version=”4.27.4″ _module_preset=”default” header_3_text_color=”#000000″ global_colors_info=”{}”]<\/p>\n <\/p>\n wissensART<\/strong> \u00bb Listen to podcast [11 min]<\/a><\/p>\n <\/p>\n RTS Regionalfernsehen GmbH: \u00bb Watch program [4 min]<\/a><\/p>\n <\/p>\n ‘Hidden’ by Anna Stangl<\/strong> \u00bb Watch video [in English, 4 min]<\/a><\/p>\n <\/p>\n Radio Wienerwald @<\/strong> \u00bb Listen to the program [25 min, mp3-file, 23 MB]<\/a><\/p>\n <\/p>\n
One possible approach to Anna Stangl’s work is through a particular kind of philosophy. It existed in epochs in which philosophizing enjoyed a high social standing, for example in antiquity or in the 18th century, and had one goal above all: it was the attempt to strengthen an existing happiness or pleasure through its knowledge. In other words, a philosophy that attempts to make itself a part of the pleasure that it takes as its object. In this sense of philosophy, a small speculation could be sketched out, based on the pleasure that Anna Stangl’s works can evoke.<\/p>\n
When you enter the light-flooded exhibition space at Museum Angerlehner, you are sucked into the narrative imagery of artist Anna Stangl: plant tendrils, predators and fish creatures find their way within the picture frames. In the middle: the human being. The delicate drawings provide insights into a world in which the boundaries between us and the nature that surrounds us are fluid. \u201cWilderness\u201d is the title of the exhibition and you don’t have to look far to find it in the individual works. Deep waters, wild jungle landscapes and lush thickets surround the protagonists in Stangl’s works. It is almost always women whom the artist makes the main characters of her fantastic stories. If you immerse yourself in these stories, you realize that this wilderness not only describes the world around us, but also serves the artist as a metaphor to visualize human states of mind. It is about a wilderness that one finds within oneself; one that has an inherent beauty and at the same time a moment of menace. An ambivalence borne by feelings, fears, dreams and expectations, memories and hopes.
It is a field of tension between inner and outer states in which Stangl’s current works move and invite us to participate in them.<\/p>\n
The woman, the representation of the feminine, her own identity and her fragility in interaction with the erotic and hurtful, the uplifting and humiliating forces of an outside world perceived as different, are the themes of Anna Stangl. Her women and girlish creatures isolate themselves from the surrounding ambience in their dreams and imaginations, in their entanglement in sleep, in their loving embrace, in their concentration on their bodies. They are beings in the making, enclosed in their own spheres, as if in egg bubbles, which become their aura, in which they can move and develop freely, in which they can simply be, as it were, unseen.<\/p>\n
Anna Stangl’s standing, reclining and seated figures – mostly women – are written on the white sheet with confident, delicate outlines. Sometimes they are accompanied by shadow figures (Dream), other times they are surrounded by animal silhouettes. (Lying with the hare). On other sheets, she intertwines the contours of several people and also lays them on top of each other.<\/p>\n
Drawings and silhouettes by Anna Stangl
Anna Stangl’s drawings and silhouettes appear delicate, enchanting and aesthetic. Only on closer inspection does the viewer realize what the artist is really trying to say.
A girl surrounded by strange plants whose arms seem to be reaching for her, the dangerous life among wolves, a young woman lying on the mountain of her fertile eggs, or a delicately translucent face in the midst of overpowering houses. Anna Stangl draws her inspiration from very personal experiences and relationships, but also from daydreams and meditations. The small-format drawings and huge silhouettes, populated by people, plants and animals, are like fairy tales. Often inspired by medieval art and traditional stories, they tell the impressions of travels and study trips to foreign countries and cultures.<\/p>\n
The human body is at the center of my work. It is a medium for me to express something else through it: because it is easiest for me to get close to something else, something less tangible, through something that I know and feel very well.<\/p>\n
Women, men, animals and plants are spread across the surface of the paper.
Anna Stangl uses chalk, charcoal, colored pencil, pencil, watercolor, oil paint, poppy seed oil – she carves and collages. The result is not a reproduction of objects. Anna Stangl’s works show something that cannot be seen in real life in this way. They are therefore not nude drawings, not landscapes, not even animal or plant drawings. They are a world of their own. This world is open to the viewer. It is accessible. It will be familiar to some, like a friendly place. Others will find it frightening, like something they don’t like to be reminded of.<\/p>\n
On the work of Anna Stangl (short version)
In my text, I would like to focus on my very personal reception of Anna Stangl’s drawings and silhouettes.
A few years ago, the movie \u201cThe Eternal Sunshine of the Spotless Mind\u201d was shown in the cinemas. This film is known here under the very watered-down German title \u201cVergiss mich nicht\u201d,
. The screenplay for this film was written by cult author Charlie Kaufmann and is about a pair of lovers – played by Jim Carey and Kate Winslet – whose relationship falls apart. The plot twist is that the two of them independently visit a doctor – in a rather shabby surgery in Long Island near New York – who can remove their memories of their broken love, like deleting a damaged file from a hard disk.
But now emotions come into play, which complicate the treatment considerably.
The film transports us into the mind of Jim Carey as he remembers his girlfriend and realizes that he still loves her. The problem is that the treatment has already begun. He is anesthetized and can no longer interrupt the process. Meanwhile, the doctor’s technician is chasing Jim Carey’s memories of Kate Winslet, mercilessly erasing them.<\/p>\nTexts<\/h3>\n
One possible approach to Anna Stangl’s work is through a particular kind of philosophy. It existed in epochs in which philosophizing enjoyed a high social standing, for example in antiquity or in the 18th century, and had one goal above all: it was the attempt to strengthen an existing happiness or pleasure through its knowledge. In other words, a philosophy that attempts to make itself a part of the pleasure that it takes as its object. In this sense of philosophy, a small speculation could be sketched out, based on the pleasure that Anna Stangl’s works can evoke. <\/p>\n
When you enter the light-flooded exhibition space at Museum Angerlehner, you are sucked into the narrative imagery of artist Anna Stangl: plant tendrils, predators and fish creatures find their way within the picture frames. In the middle: the human being. The delicate drawings provide insights into a world in which the boundaries between us and the nature that surrounds us are fluid. \u201cWilderness\u201d is the title of the exhibition and you don’t have to look far to find it in the individual works. Deep waters, wild jungle landscapes and lush thickets surround the protagonists in Stangl’s works. It is almost always women whom the artist makes the main characters of her fantastic stories. If you immerse yourself in these stories, you realize that this wilderness not only describes the world around us, but also serves the artist as a metaphor to visualize human states of mind. It is about a wilderness that one finds within oneself; one that has an inherent beauty and at the same time a moment of menace. An ambivalence borne by feelings, fears, dreams and expectations, memories and hopes.
It is a field of tension between inner and outer states in which Stangl’s current works move and invite us to participate in them. <\/p>\n
The woman, the representation of the feminine, her own identity and her fragility in interaction with the erotic and hurtful, the uplifting and humiliating forces of an outside world perceived as different, are the themes of Anna Stangl. Her women and girlish creatures isolate themselves from the surrounding ambience in their dreams and imaginations, in their entanglement in sleep, in their loving embrace, in their concentration on their bodies. They are beings in the making, enclosed in their own spheres, as if in egg bubbles, which become their aura, in which they can move and develop freely, in which they can simply be, as it were, unseen. <\/p>\n
When I walked into Anna Stangl’s studio, I immediately sensed a great, consensual silence and also heard a whisper in the room.
There were two of us and Anna invited me in for a cup of tea despite the heat that day – she always drinks tea. I arrived by public transport, the streetcars were overcrowded and had technical faults. The tea tasted great and the hectic journey disappeared.
The whispers got louder … and we both talked about her approaches to art, about her curiosity about the perspectives of women of younger generations, which have now become a matter of course and these views were not as current in the past as they are today.
About the queer scene, about political and socio-political issues, about external events and internal perception.
We talked about racism, climate awareness and women’s issues, as well as the increasing number of femicides that are coming to light.
Anna Stangl told me that she really enjoys working with curators and is interested in the contemporary exchange of ideas in order to possibly learn something new.<\/p>\n
Anna Stangl’s standing, reclining and seated figures – mostly women – are written on the white sheet with confident, delicate outlines. Sometimes they are accompanied by shadow figures (Dream), other times they are surrounded by animal silhouettes. (Lying with the hare). On other sheets, she intertwines the contours of several people and also lays them on top of each other. <\/p>\n
Drawings and silhouettes by Anna Stangl
Anna Stangl’s drawings and silhouettes appear delicate, enchanting and aesthetic. Only on closer inspection does the viewer realize what the artist is really trying to say.
A girl surrounded by strange plants whose arms seem to be reaching for her, the dangerous life among wolves, a young woman lying on the mountain of her fertile eggs, or a delicately translucent face in the midst of overpowering houses. Anna Stangl draws her inspiration from very personal experiences and relationships, but also from daydreams and meditations. The small-format drawings and huge silhouettes, populated by people, plants and animals, are like fairy tales. Often inspired by medieval art and traditional stories, they tell the impressions of travels and study trips to foreign countries and cultures. <\/p>\n
The human body is at the center of my work. It is a medium for me to express something else through it: because it is easiest for me to get close to something else, something less tangible, through something that I know and feel very well. <\/p>\n
Women, men, animals and plants are spread across the surface of the paper.
Anna Stangl uses chalk, charcoal, colored pencil, pencil, watercolor, oil paint, poppy seed oil – she carves and collages. The result is not a reproduction of objects. Anna Stangl’s works show something that cannot be seen in real life in this way. They are therefore not nude drawings, not landscapes, not even animal or plant drawings. They are a world of their own. This world is open to the viewer. It is accessible. It will be familiar to some, like a friendly place. Others will find it frightening, like something they don’t like to be reminded of. <\/p>\n
On the work of Anna Stangl (short version)
In my text, I would like to focus on my very personal reception of Anna Stangl’s drawings and silhouettes.
A few years ago, the movie \u201cThe Eternal Sunshine of the Spotless Mind\u201d was shown in the cinemas. This film is known here under the very watered-down German title \u201cVergiss mich nicht\u201d,
. The screenplay for this film was written by cult author Charlie Kaufmann and is about a pair of lovers – played by Jim Carey and Kate Winslet – whose relationship falls apart. The plot twist is that the two of them independently visit a doctor – in a rather shabby surgery in Long Island near New York – who can remove their memories of their broken love, like deleting a damaged file from a hard disk.
But now emotions come into play, which complicate the treatment considerably.
The film transports us into the mind of Jim Carey as he remembers his girlfriend and realizes that he still loves her. The problem is that the treatment has already begun. He is anesthetized and can no longer interrupt the process. Meanwhile, the doctor’s technician is chasing Jim Carey’s memories of Kate Winslet, mercilessly erasing them. <\/p>\nPodcasts<\/h3>\n
Anna Stangl: The illustrator of delicate figures<\/p>\n
Galerie Schloss Wiespach invites you to the vernissage
\u201cZeich(n)en\u201d by Anna Stangl & Lionel Favre
Salzburg<\/p>\n
@ ‘New Visions: contemporary painting in uncertain worlds’
CMR Art Gallery & Project Space, Redruth Cornwall
11-26 Aug 2012<\/p>\n
Anna Stangl, painter
Broadcast on 01 Aug 2008
Gerhard Blaboll in conversation with the painter and draughtswoman Anna Stangl<\/p>\n