Robert Schaberl

Colours dance across the canvas, less like beams of light, more akin to flashes of lightning, iridescent and fleeting, crackling across smooth planes of colour.

Robert Schaberl’s works, in particular his Zentralformen, are comprised of thousands upon thousands of concentric circles built layer upon layer, one on top of the other. They radiate out from the centre of a circle like an infinitely expanding field. The work spreads out like a supernova before contracting back in on itself, only to reach out again, like the tides, an endless, organic, circular, rhythmic process of renewal.

In Schaberl’s work, each perfect circle is ringed with a fluorescent halo of colour, just visible around the edges of each smooth, luminescent disc, like the sun behind a lunar eclipse.

Colours dance across the canvas, less like beams of light, more akin to flashes of lightning, iridescent and fleeting, crackling across smooth planes of colour.

Robert Schaberl’s works, in particular his Zentralformen, are comprised of thousands upon thousands of concentric circles built layer upon layer, one on top of the other. They radiate out from the centre of a circle like an infinitely expanding field. The work spreads out like a supernova before contracting back in on itself, only to reach out again, like the tides, an endless, organic, circular, rhythmic process of renewal.

In Schaberl’s work, each perfect circle is ringed with a fluorescent halo of colour, just visible around the edges of each smooth, luminescent disc, like the sun behind a lunar eclipse.

Schaberl’s interest in colour – and its subsequent interplay with light – stems from a long-term fascination with movement. Before theZentralformen, his early oil on canvas works included an exploration of floating, lava-like forms and waterfalls, rippling across the surface with a focus on motion and space. He was fascinated with the way the shapes he painted appeared to move, and so he applied increasingly larger amounts of colour in order to enhance the effect. This reached a fever pitch when he realised that “I had gotten to a point where I had added so much colour that it was no longer music, in a sense, but just noise.” In attempting to use colour to initiate movement, he felt there was an ensuing barrage to the senses which completely overshadowed the nuances he was trying to achieve. This prompted Schaberl to strip back completely, subsequently working only in monochrome shades of black and grey. During this period Schaberl began to notice the way in which the pigment black absorbs all other colours, facilitating experimentation with the reflection and refraction of light. Instead of adding different colours together, he explored the ratio of linseed oil mixed in with his paint. The oil gave shininess to the paint, and so by adding differing quantities to the pigment, Schaberl was able to create different modulations of glossiness. At the same time, he began to experiment with the idea of the circle – creating the Zentralformen. This circular form allowed Schaberl to further push the boundaries of colour and light due to its unique optical properties. “The circle also gives a lot of room for interpretation,” he muses. “It is the universe, the sun, eternity. It is the shape of growth – like the rings of a tree – almost everything in nature grows out from a central point. On the other hand, the circle stands for technical evolution – think of the wheel, and all subsequent mechanical innovations.” The varying degrees of glossiness and the subsequent reflection and refraction of light achieved through the central focus provided by the circle marked a seminal point in Schaberl’s practice.

It was seven years later in 2000 when Schaberl came across Iriodin – an industrial pearl lustre pigment used in everything from car manufacturing to the cosmetics industry – and a watershed moment occurred. “The incorporation of Iriodin allowed me to really explore the optical properties of the work, and, more importantly, by combining it with regular paint, I was able to create hues that change colour.” With Iriodin, Schaberl began the precise alchemical process with which he calculates the colour combination for his works. The paint is applied by laying the canvas on a turning pivot, rather like a potter’s wheel. Schaberl then spins each work by hand while painstakingly applying layer upon layer of paint, often starting with a fluorescent base, which gives many of his works their characteristic brightly coloured ‘halo’. He then alternates gloss paint with Iriodin-enhanced colours, carefully gauging the amounts in order to create the precise effect he has in mind. “Different layers of colour affect each other – a blue layer with a grey base, for example, will produce a different effect to another blue one and is the difference between producing a deep purple or a soft violet. This allows for endless options – each colour can be a whole new spectrum.”The end result is paintings that change colour depending on where the viewer is standing, sometimes in subtle shades, such as from royal blue to a deep purple, and at other times in more contrasting tones, such as a rich gold through to a vibrant coppery red.The final effect is of light dancing across the surface and a gradual fluctuation of colour, rather akin to the sheen of a CD or LP record, or the rings of a tree. This use of the pigment was completely unprecedented, and led to a subsequent collaboration with largescale pigment manufacturer Merck, who supported Schaberl to do create a special façade for the Graz University of Technology in Austria.

For Schaberl, the play of colour between the artwork and the viewer is precisely the crux of his work. When you view the work straight on, you see a circle of full colour. “Perhaps a texture to the surface attracts you,” he explains. “but as soon as you move closer, or move to the side, you begin to feel your own presence in the space.” It is this environment and the involvement of the viewer in the work that completes the circle. In this sense, with these “Zentralformen” all viewers will see different colour within the work, depending on their position. “I’ve gone from seeking to create movement within my work to allowing for movement of the viewer who looks at the work and their interaction with it.” Indeed, the sophistication and complexity of the work suggests that the viewer plays and integral role in its interpretation.

In Spectrum of Light, Schaberl’s works have a new, even more intricate, modulation of colour. The colour pulses outwards from the centre of each circle like radials, a supernova of colour that expands and contracts depending on the viewer, as if the painting were breathing in and out. A finely-honed technique over the years, a deepened understanding of how the materials operate and interact combined with innovations in Iriodin has led to a new level of optical complexity. To accomplish the effect, Schaberl likens the technique to weaving. Where he would normally apply a thin, uniform layer of either Iriodin or regular paint, building up layer upon layer of either colour or Iriodin pigment, he now uses both Iriodin and colour within each layer in order to attempt to create both a pulsating movement and the magic of the sweeping change of colour across the whole work.

Schaberl’s appreciation of the viewer’s role can be likened to James Turrell in the way that Schaberl uses our sense of space and depth to challenge existing understandings of light and colour experiences and the way that our brain is programmed to process them. Schaberl explains; “Your mind is full of experiences with colours, and you have filed them away accordingly – for example, the sky is blue, water is blue.” Both Schaberl and Turrell are interested in how we understand colours in certain contexts, for instance, how blue ‘behaves’. Upon looking at Schaberl’s works, however, the mind is forced to question itself, for the rules of colour are taken out of context. “You see people come up close, then move further away, and you can witness them trying to readjust their sense of perception and the stored associations they have in their mind of experience, colour, light, surface and material.” For Schaberl the ultimate goal is to get people involved in experiencing these behaviours.” As an experiential process, with no one to see the change of colour and light, the circuit cannot be completed, and nor can the work.

Without light there is no colour, yet here, Schaberl tells us, without us there is neither – the very immateriality of what we thought we knew and what we experience means that the work is not what we see painted on the canvas, but, rather, exists only in the moment that we view it.

Robert Schaberl

Born in 1961 in Feldbach, Steiermark, A

EDUCATION

1979-85 studies at the Hochschule Mozarteum painting and art education

AWARDS

2007 First prize competition „Kunst und Bau”, art project for new chemistry building of the TechnicalUniversity,Graz (3000 qm large glass façade,designed by the artist)
1997 Awarded a state grant for the Arts by the Austrian Ministry for the Arts
1993-94 Awarded the “Softlab-Kulturpartnerschaft”- prize sponsored by Softlab (Vienna)
1984 First prize for original ideas in the international competition “Klangmaschinen- wettbewerb”, Dornbirn, Austria

ART IN PUBLIC SPACE

2007 3000 qm large glass façade art project for new chemistry building of the Technical University,Graz

2017 The Columns Gallery, “Robert Schaberl”, Seoul , KOR
The Columns Gallery, “Robert Schaberl” Art Busan, Busan , KOR
2016 Kunsthalle Feldbach,” Robert Schaberl – Zentralformen”, Feldbach, A
AAC Palais Breuner, ” (De)Zentral” , Wien, A
2015 Galerie Hollenbach, Stuttgart, D
2014 Kashya Hildebrand Gallery, London, UK
2013 Galerie Kashya Hildebrand, Zurich, CH
Galerie im Fritz Winter Atelier, Diessen, D
2012 Galerie Kashya Hildebrand, Zurich, CH
Galerie Lausberg,Toronto, CA
Galerie K, Paris, F
2011 Galerie Hollenbach, Stuttgart, D
2010 Galerie Gölles, Fürstenfeld, A
Villa di Donato, Napoli, I[showhide type="more1" more_text="Read More (%s More Words)" less_text="Read Less (%s More Words)"]
Galerie allerArt Bludenz, Bludenz , A
2009 Galerie Lausberg, Düsseldorf, D
2007 Galerie Kashya Hildebrand, Zurich, CH
Galerie Hollenbach, Stuttgart, D
2006 Galerie Kashya Hildebrand, NewYork, USA
Karpio-Facchini Gallery, Miami, USA
Zurich, Gallery Kashya Hildebrand , CH
2005 Galerie Bernhard Knaus, Mannheim, D
Galerie Kashya Hildebrand, Zurich, CH
2004 Galerie Weber, Wiesbaden, D
Jacob Karpio Galeria, San Jose, Costa Rica
Galerie Hollenbach, Stuttgart, D
Neue Galerie am Landesmuseum Joanneum Graz, A
Galerie Kashya Hildebrand, New York, USA
Galerie Kashya Hildebrand, Geneve, CH
2002 Galerie H.Curtze, Vienna, A
Stadtmuseum Graz, Ansichtssache, A
2001 Silvana Facchini Gallery, Miami, USA
2000 Galerie Weber, Wiesbaden, D
1998 Galerie H.Curtze,Vienna, A
Trinity College -Hartford University, Hartford, USA
Kultur Brauerei, Berliner Festwochen 98, Berlin, D
Burgtheater – Casino am Schwarzenbergplatz, Wien, A
1995 Galerie Steinek with Helmut Rainer, Wien, A
Gallery Steinek-Halle, Wien, A
1994 Galerie 5020, Salzburg, A
1993 Softlab(Softlab-Kulturpartnerschaft , Wien, A
1992 University for Economics Wien, Wien, A
1991 Austrian Trade Commision, Paris, F
Staatliche Gemäldegalerie, Moskau, GUS
Baku Arts Centre , Baku, GUS
1990 K’ArtGallery, Paris, F
1989 IBM-CenterWien, A
1987 Galerie in der Künstlerhauspassage, Wien, A
1984 Galerie Eboran, Salzburg, A

2017 Lentos Museum Linz, “STARS – Cosmic Art from 1900 up to the Present” ; Linz, A
Galerie Deletaille, “The Evolution of Pigments”, Brüssel, BEL
2016 Museum Liaunig, ” Augen-Blicke -Neuerwerbungen ” ,Neuhaus, A
“UNICH” Con – and Temporary Art Space , Munich , D
Galerie Gölles, „Alfred Haberpointner – Robert Schaberl“ Fürstenfeld, A
Galerie Hollenbach, “Lichtbild”, Stuttgart, D
Galerie im Fritz Winter Atelier, “TRAUEN SIE IHREN AUGEN NICHT!”, Diessen, D
“OFF IS” Temporary Art Space
Galerie Gölles, „ein Original von ….IV“, Fürstenfeld, A
Galerie Hollenbach, “Arbeiten auf Papier”, Stuttgart, D
2015 Kashya Hildebrand Gallery, London, UK
Galerie Hollenbach, Stuttgart, D
Galerie Gölles, Fürstenfeld, A
Frederick R Weisman Museum of Art, Malibu, USA
Loft 8, mit Andras Gal, Wien, A
2014 Kunsthalle Feldbach, Feldbach, A
2013 Galerie Lausberg, Düsseldorf, D
Villa Donato, Napoli, I
2012 Museum Liaunig, Neuhaus, A
Vasarely Museum, Budapest, H
2011 Galerie Lausberg,Toronto, CA
2010 Villa Rot, Burgrieden, D
Galerie Lausberg,Toronto, CA
2009 Galerie Lausberg,Toronto, CA
Galerie Lausberg, Düsseldorf, D
Galerie Kashya Hildebrand, Zurich, CH
2008 Neue Galerie am Landesmuseum Joanneum, Graz, A
Karlskirche, Wien, A, Galerie Eugen Lendl, Graz, A
Galeria Karpio, San José, Costa Rica
2007 Galerie Eugen Lendl, Graz, A
2006 Karpio+Facchini Gallery, Miami, USA
Galerie Kashya Hildebrand, Zurich, CH
Galerie Hollenbach, Stuttgart, D
Galerie Lausberg, Düsseldorf, D
Museum für Gegenwartskunst, Stift Admont, Steiermark, A
Galerie Kashya Hildebrand, Gstaad, CH
2005 Neue Galerie am Landesmuseum Joanneum, Graz, A
Museum für Gegenwartskunst, Admont, A
Kashya Hildebrand Gallery, NewYork, USA
Galerie Hollenbach, Stuttgart, D
Kashya Hildebrand Gallery,Geneva, CH
Museum moderner Kunst Kärnten, Klagenfurt, A
2004 Kashya Hildebrand Gallery, Geneva, CH
Galerie Bernhard Knaus, Mannheim, D
Kashya Hildebrand Gallery, NewYork, USA
Frederick R.Weisman Museum of Art at Pepperdine University, Malibu, USA
Kashya Hildebrand Gallery, NewYork, USA
New Orleans Museum of Art, New Orleans, USA
2003 Silvana Facchini Gallery, Miami, USA
Galerie Heike Curtze, Salzburg,A
Galerie Hollenbach, Stuttgart, D
Jacob Karpio Galeria, San Jose, Costa Rica
2002 Silvana Facchini Gallery, Miami, USA
Galerie Lendl, Graz, A
Nassauischer Kunstverein, Wiesbaden, D
Galerie Hollenbach, Stuttgart, D
Galerie Heike Curtze, Salzburg, A
2001 Museum auf Abruf, Vienna, A
Neue Galerie am Landesmuseum Joanneum, Graz, A
2000 Galerie Hollenbach, Stuttgart, D
Galerie Heike Curtze, Salzburg, A
1999 Galerie Heike Curtze, Salzburg, A
Galerie Heike Curtze, Vienna, A
1998 Galerie Heike Curtze, Salzburg, A
Centre Borschette, Brussels, BE
1997 Galerie Steinek,Vienna, A
Galerie Lendl, Graz, A
Galerie Heike Curtze,Vienna, A
1996 Galerie Steinek,Vienna, A
Austrian Parliament,Vienna, A
1995 Galerie Uluv, Prague, CZ
Galerie of Modern Art, Königgrätz, CZ
Regional Galerie, Iglau, CZ
Galerie Maecenas, Pilsen, CZ
1990 Neue Galerie am Landesmuseum Joanneum, Graz, A
Galerie Eboran, Salzburg, A
1989 Michael Walls Gallery, NewYork, USA,
1988 Michael Walls Gallery, NewYork, USA
Neue Galerie am Landesmuseum Joanneum, Graz, A
1987 Galerie Hoschek, Graz, A
1986 Neue Galerie am Landesmuseum Joanneum, Graz, A
1984 Neue Galerie am Landesmuseum Joanneum, Graz, A
Stadhalle, Dornbirn, A

Abu Dhabi Art, Arco Madrid, Armory Show NewYork, Arte Americas, Art Basel, Art Basel Miami, Art Brussels, Arte Buenos Aires, Art Chicago, Art Dubai, Art Fair Köln, Art Forum Berlin, Art Hong Kong, Art London, Arte Fiera Bologna, Art Frankfurt, Art Karlsruhe, Art Miami, Art Palm Beach, Art Stage Singapore, ArtTaipei, ArtToronto, Art Wynwood Miami, Houston Fine Art Fair, KIAF Seoul, Kunst Zürich, Los Angeles Art Show, MACO Mexico City, MAK-Wien, Scope Basel, Scope Miami, BRAFA Art Fair, Shanghai Contemporary, ViennAfair

Sammlung Artothek des Bundes, A
Sammlung der Stadt Wien, A
MUSA- Sammlung zeitgenössischer Kunst in Wien
Museum Neue Galerie Graz, A
Sammlung des Landes Steiermark, A
Strabag Art Foundation A
Boston Consulting Group D
Frederick R.Weisman Art Foundation, Los Angeles, USA
Neiman Marcus Collection, USA
Bovet Collection, CH/ USA
Collection Diursa, Spain
Collection M. Coleman in Chicago, USA
Collection Saks 5th Avenue New York, USA C
Sammlung Leder und Schuh, A
Sammlung Museum Liaunig, A
Sammlung Wojda, A
Sammlung Museum für Gegenwartskunst am Benediktinerstift Admont, A
Antal–Lusztig Collection, Debrecen, H
Museum of Fine Arts Budapest,

Schaberl’s interest in colour – and its subsequent interplay with light – stems from a long-term fascination with movement. Before theZentralformen, his early oil on canvas works included an exploration of floating, lava-like forms and waterfalls, rippling across the surface with a focus on motion and space. He was fascinated with the way the shapes he painted appeared to move, and so he applied increasingly larger amounts of colour in order to enhance the effect. This reached a fever pitch when he realised that “I had gotten to a point where I had added so much colour that it was no longer music, in a sense, but just noise.” In attempting to use colour to initiate movement, he felt there was an ensuing barrage to the senses which completely overshadowed the nuances he was trying to achieve. This prompted Schaberl to strip back completely, subsequently working only in monochrome shades of black and grey. During this period Schaberl began to notice the way in which the pigment black absorbs all other colours, facilitating experimentation with the reflection and refraction of light. Instead of adding different colours together, he explored the ratio of linseed oil mixed in with his paint. The oil gave shininess to the paint, and so by adding differing quantities to the pigment, Schaberl was able to create different modulations of glossiness. At the same time, he began to experiment with the idea of the circle – creating the Zentralformen. This circular form allowed Schaberl to further push the boundaries of colour and light due to its unique optical properties. “The circle also gives a lot of room for interpretation,” he muses. “It is the universe, the sun, eternity. It is the shape of growth – like the rings of a tree – almost everything in nature grows out from a central point. On the other hand, the circle stands for technical evolution – think of the wheel, and all subsequent mechanical innovations.” The varying degrees of glossiness and the subsequent reflection and refraction of light achieved through the central focus provided by the circle marked a seminal point in Schaberl’s practice.

It was seven years later in 2000 when Schaberl came across Iriodin – an industrial pearl lustre pigment used in everything from car manufacturing to the cosmetics industry – and a watershed moment occurred. “The incorporation of Iriodin allowed me to really explore the optical properties of the work, and, more importantly, by combining it with regular paint, I was able to create hues that change colour.” With Iriodin, Schaberl began the precise alchemical process with which he calculates the colour combination for his works. The paint is applied by laying the canvas on a turning pivot, rather like a potter’s wheel. Schaberl then spins each work by hand while painstakingly applying layer upon layer of paint, often starting with a fluorescent base, which gives many of his works their characteristic brightly coloured ‘halo’. He then alternates gloss paint with Iriodin-enhanced colours, carefully gauging the amounts in order to create the precise effect he has in mind. “Different layers of colour affect each other – a blue layer with a grey base, for example, will produce a different effect to another blue one and is the difference between producing a deep purple or a soft violet. This allows for endless options – each colour can be a whole new spectrum.”The end result is paintings that change colour depending on where the viewer is standing, sometimes in subtle shades, such as from royal blue to a deep purple, and at other times in more contrasting tones, such as a rich gold through to a vibrant coppery red.The final effect is of light dancing across the surface and a gradual fluctuation of colour, rather akin to the sheen of a CD or LP record, or the rings of a tree. This use of the pigment was completely unprecedented, and led to a subsequent collaboration with largescale pigment manufacturer Merck, who supported Schaberl to do create a special façade for the Graz University of Technology in Austria.

For Schaberl, the play of colour between the artwork and the viewer is precisely the crux of his work. When you view the work straight on, you see a circle of full colour. “Perhaps a texture to the surface attracts you,” he explains. “but as soon as you move closer, or move to the side, you begin to feel your own presence in the space.” It is this environment and the involvement of the viewer in the work that completes the circle. In this sense, with these “Zentralformen” all viewers will see different colour within the work, depending on their position. “I’ve gone from seeking to create movement within my work to allowing for movement of the viewer who looks at the work and their interaction with it.” Indeed, the sophistication and complexity of the work suggests that the viewer plays and integral role in its interpretation.

In Spectrum of Light, Schaberl’s works have a new, even more intricate, modulation of colour. The colour pulses outwards from the centre of each circle like radials, a supernova of colour that expands and contracts depending on the viewer, as if the painting were breathing in and out. A finely-honed technique over the years, a deepened understanding of how the materials operate and interact combined with innovations in Iriodin has led to a new level of optical complexity. To accomplish the effect, Schaberl likens the technique to weaving. Where he would normally apply a thin, uniform layer of either Iriodin or regular paint, building up layer upon layer of either colour or Iriodin pigment, he now uses both Iriodin and colour within each layer in order to attempt to create both a pulsating movement and the magic of the sweeping change of colour across the whole work.

Schaberl’s appreciation of the viewer’s role can be likened to James Turrell in the way that Schaberl uses our sense of space and depth to challenge existing understandings of light and colour experiences and the way that our brain is programmed to process them. Schaberl explains; “Your mind is full of experiences with colours, and you have filed them away accordingly – for example, the sky is blue, water is blue.” Both Schaberl and Turrell are interested in how we understand colours in certain contexts, for instance, how blue ‘behaves’. Upon looking at Schaberl’s works, however, the mind is forced to question itself, for the rules of colour are taken out of context. “You see people come up close, then move further away, and you can witness them trying to readjust their sense of perception and the stored associations they have in their mind of experience, colour, light, surface and material.” For Schaberl the ultimate goal is to get people involved in experiencing these behaviours.” As an experiential process, with no one to see the change of colour and light, the circuit cannot be completed, and nor can the work.

Without light there is no colour, yet here, Schaberl tells us, without us there is neither – the very immateriality of what we thought we knew and what we experience means that the work is not what we see painted on the canvas, but, rather, exists only in the moment that we view it.

Robert Schaberl

Born in 1961 in Feldbach, Steiermark, A

EDUCATION

1979-85 studies at the Hochschule Mozarteum painting and art education

AWARDS

2007 First prize competition „Kunst und Bau”, art project for new chemistry building of the TechnicalUniversity,Graz (3000 qm large glass façade,designed by the artist)
1997 Awarded a state grant for the Arts by the Austrian Ministry for the Arts
1993-94 Awarded the “Softlab-Kulturpartnerschaft”- prize sponsored by Softlab (Vienna)
1984 First prize for original ideas in the international competition “Klangmaschinen- wettbewerb”, Dornbirn, Austria

ART IN PUBLIC SPACE

2007 3000 qm large glass façade art project for new chemistry building of the Technical University,Graz

2017 The Columns Gallery, “Robert Schaberl”, Seoul , KOR
The Columns Gallery, “Robert Schaberl” Art Busan, Busan , KOR
2016 Kunsthalle Feldbach,” Robert Schaberl – Zentralformen”, Feldbach, A
AAC Palais Breuner, ” (De)Zentral” , Wien, A
2015 Galerie Hollenbach, Stuttgart, D
2014 Kashya Hildebrand Gallery, London, UK
2013 Galerie Kashya Hildebrand, Zurich, CH
Galerie im Fritz Winter Atelier, Diessen, D
2012 Galerie Kashya Hildebrand, Zurich, CH
Galerie Lausberg,Toronto, CA
Galerie K, Paris, F
2011 Galerie Hollenbach, Stuttgart, D
2010 Galerie Gölles, Fürstenfeld, A
Villa di Donato, Napoli, I[showhide type="more1" more_text="Read More (%s More Words)" less_text="Read Less (%s More Words)"]
Galerie allerArt Bludenz, Bludenz , A
2009 Galerie Lausberg, Düsseldorf, D
2007 Galerie Kashya Hildebrand, Zurich, CH
Galerie Hollenbach, Stuttgart, D
2006 Galerie Kashya Hildebrand, NewYork, USA
Karpio-Facchini Gallery, Miami, USA
Zurich, Gallery Kashya Hildebrand , CH
2005 Galerie Bernhard Knaus, Mannheim, D
Galerie Kashya Hildebrand, Zurich, CH
2004 Galerie Weber, Wiesbaden, D
Jacob Karpio Galeria, San Jose, Costa Rica
Galerie Hollenbach, Stuttgart, D
Neue Galerie am Landesmuseum Joanneum Graz, A
Galerie Kashya Hildebrand, New York, USA
Galerie Kashya Hildebrand, Geneve, CH
2002 Galerie H.Curtze, Vienna, A
Stadtmuseum Graz, Ansichtssache, A
2001 Silvana Facchini Gallery, Miami, USA
2000 Galerie Weber, Wiesbaden, D
1998 Galerie H.Curtze,Vienna, A
Trinity College -Hartford University, Hartford, USA
Kultur Brauerei, Berliner Festwochen 98, Berlin, D
Burgtheater – Casino am Schwarzenbergplatz, Wien, A
1995 Galerie Steinek with Helmut Rainer, Wien, A
Gallery Steinek-Halle, Wien, A
1994 Galerie 5020, Salzburg, A
1993 Softlab(Softlab-Kulturpartnerschaft , Wien, A
1992 University for Economics Wien, Wien, A
1991 Austrian Trade Commision, Paris, F
Staatliche Gemäldegalerie, Moskau, GUS
Baku Arts Centre , Baku, GUS
1990 K’ArtGallery, Paris, F
1989 IBM-CenterWien, A
1987 Galerie in der Künstlerhauspassage, Wien, A
1984 Galerie Eboran, Salzburg, A

2017 Lentos Museum Linz, “STARS – Cosmic Art from 1900 up to the Present” ; Linz, A
Galerie Deletaille, “The Evolution of Pigments”, Brüssel, BEL
2016 Museum Liaunig, ” Augen-Blicke -Neuerwerbungen ” ,Neuhaus, A
“UNICH” Con – and Temporary Art Space , Munich , D
Galerie Gölles, „Alfred Haberpointner – Robert Schaberl“ Fürstenfeld, A
Galerie Hollenbach, “Lichtbild”, Stuttgart, D
Galerie im Fritz Winter Atelier, “TRAUEN SIE IHREN AUGEN NICHT!”, Diessen, D
“OFF IS” Temporary Art Space
Galerie Gölles, „ein Original von ….IV“, Fürstenfeld, A
Galerie Hollenbach, “Arbeiten auf Papier”, Stuttgart, D
2015 Kashya Hildebrand Gallery, London, UK
Galerie Hollenbach, Stuttgart, D
Galerie Gölles, Fürstenfeld, A
Frederick R Weisman Museum of Art, Malibu, USA
Loft 8, mit Andras Gal, Wien, A
2014 Kunsthalle Feldbach, Feldbach, A
2013 Galerie Lausberg, Düsseldorf, D
Villa Donato, Napoli, I
2012 Museum Liaunig, Neuhaus, A
Vasarely Museum, Budapest, H
2011 Galerie Lausberg,Toronto, CA
2010 Villa Rot, Burgrieden, D
Galerie Lausberg,Toronto, CA
2009 Galerie Lausberg,Toronto, CA
Galerie Lausberg, Düsseldorf, D
Galerie Kashya Hildebrand, Zurich, CH
2008 Neue Galerie am Landesmuseum Joanneum, Graz, A
Karlskirche, Wien, A, Galerie Eugen Lendl, Graz, A
Galeria Karpio, San José, Costa Rica
2007 Galerie Eugen Lendl, Graz, A
2006 Karpio+Facchini Gallery, Miami, USA
Galerie Kashya Hildebrand, Zurich, CH
Galerie Hollenbach, Stuttgart, D
Galerie Lausberg, Düsseldorf, D
Museum für Gegenwartskunst, Stift Admont, Steiermark, A
Galerie Kashya Hildebrand, Gstaad, CH
2005 Neue Galerie am Landesmuseum Joanneum, Graz, A
Museum für Gegenwartskunst, Admont, A
Kashya Hildebrand Gallery, NewYork, USA
Galerie Hollenbach, Stuttgart, D
Kashya Hildebrand Gallery,Geneva, CH
Museum moderner Kunst Kärnten, Klagenfurt, A
2004 Kashya Hildebrand Gallery, Geneva, CH
Galerie Bernhard Knaus, Mannheim, D
Kashya Hildebrand Gallery, NewYork, USA
Frederick R.Weisman Museum of Art at Pepperdine University, Malibu, USA
Kashya Hildebrand Gallery, NewYork, USA
New Orleans Museum of Art, New Orleans, USA
2003 Silvana Facchini Gallery, Miami, USA
Galerie Heike Curtze, Salzburg,A
Galerie Hollenbach, Stuttgart, D
Jacob Karpio Galeria, San Jose, Costa Rica
2002 Silvana Facchini Gallery, Miami, USA
Galerie Lendl, Graz, A
Nassauischer Kunstverein, Wiesbaden, D
Galerie Hollenbach, Stuttgart, D
Galerie Heike Curtze, Salzburg, A
2001 Museum auf Abruf, Vienna, A
Neue Galerie am Landesmuseum Joanneum, Graz, A
2000 Galerie Hollenbach, Stuttgart, D
Galerie Heike Curtze, Salzburg, A
1999 Galerie Heike Curtze, Salzburg, A
Galerie Heike Curtze, Vienna, A
1998 Galerie Heike Curtze, Salzburg, A
Centre Borschette, Brussels, BE
1997 Galerie Steinek,Vienna, A
Galerie Lendl, Graz, A
Galerie Heike Curtze,Vienna, A
1996 Galerie Steinek,Vienna, A
Austrian Parliament,Vienna, A
1995 Galerie Uluv, Prague, CZ
Galerie of Modern Art, Königgrätz, CZ
Regional Galerie, Iglau, CZ
Galerie Maecenas, Pilsen, CZ
1990 Neue Galerie am Landesmuseum Joanneum, Graz, A
Galerie Eboran, Salzburg, A
1989 Michael Walls Gallery, NewYork, USA,
1988 Michael Walls Gallery, NewYork, USA
Neue Galerie am Landesmuseum Joanneum, Graz, A
1987 Galerie Hoschek, Graz, A
1986 Neue Galerie am Landesmuseum Joanneum, Graz, A
1984 Neue Galerie am Landesmuseum Joanneum, Graz, A
Stadhalle, Dornbirn, A

Abu Dhabi Art, Arco Madrid, Armory Show NewYork, Arte Americas, Art Basel, Art Basel Miami, Art Brussels, Arte Buenos Aires, Art Chicago, Art Dubai, Art Fair Köln, Art Forum Berlin, Art Hong Kong, Art London, Arte Fiera Bologna, Art Frankfurt, Art Karlsruhe, Art Miami, Art Palm Beach, Art Stage Singapore, ArtTaipei, ArtToronto, Art Wynwood Miami, Houston Fine Art Fair, KIAF Seoul, Kunst Zürich, Los Angeles Art Show, MACO Mexico City, MAK-Wien, Scope Basel, Scope Miami, BRAFA Art Fair, Shanghai Contemporary, ViennAfair

Sammlung Artothek des Bundes, A
Sammlung der Stadt Wien, A
MUSA- Sammlung zeitgenössischer Kunst in Wien
Museum Neue Galerie Graz, A
Sammlung des Landes Steiermark, A
Strabag Art Foundation A
Boston Consulting Group D
Frederick R.Weisman Art Foundation, Los Angeles, USA
Neiman Marcus Collection, USA
Bovet Collection, CH/ USA
Collection Diursa, Spain
Collection M. Coleman in Chicago, USA
Collection Saks 5th Avenue New York, USA C
Sammlung Leder und Schuh, A
Sammlung Museum Liaunig, A
Sammlung Wojda, A
Sammlung Museum für Gegenwartskunst am Benediktinerstift Admont, A
Antal–Lusztig Collection, Debrecen, H
Museum of Fine Arts Budapest,