Winners Gallery is honored to announce that it will once again collaborate with the Austrian Cultural Office/Embassy in China to present the group exhibition of Austrian artists, "Folds In Space", as the opening exhibition of Winners Gallery's entry into a new space. The new space will hold a grand exhibition of the works of five Austrian artists, Andreas Werner, Dominik Louda, Kathrin Isabell Rhomberg, Hans Kupelwieser, and Thelma Herzl, on June 29th at 4 pm. 

Regarding the theory of wrinkled space, in the 1980s, French postmodernist philosopher Gil Deleuze proposed that the world and matter are composed of smaller and smaller folds based on the interpretation and development of Leibniz philosophy. The concept of folds as differences only exists in change, branching, and deformation, and folds overflow their originally fixed norms and boundaries, crossing their original limits to infinite expressive images and infinite free living states. All the artistic effects of survival and transformation exist in the folded world of folds, and ultimately form our chaotic world. Throughout this exhibition, the curator specially invited five Austrian proxy artists who reshaped this concept from different materials and creative techniques, transforming it into different visual effects through subjective creation. 

Andreas Werner (born in 1984 in Democratic Germany), whose paintings are highly romantic, is accustomed to using layers or seismic tracking elements to create abstract structural images. He drew evenly arranged lines in a machine like manner and endowed them with a natural digital artistic presentation. In these abstract paintings, geometry, structure, and construction intersect and are obscured by the unrestrained traces of painting. These natural landscapes have inspired the artist to rethink his attitude towards life, highlighting his profound understanding of life, details, and lines. 

Dominik Louda (born in 1985 in Salzburg, Austria) is skilled at connecting seemingly hidden common elements in daily life together. In Dominic Lauda's paintings, the walls, floors, roofs, columns, and windows of the house seem to tilt towards each other, and each interlocking architectural element forms a separate plane. By observing and following the principle of central perspective, they are presented as a contradictory picture as a whole, appearing in this illusory multidimensional room, avoiding the clear perspective of the audience. His works may seem static, but in reality, the artist attempts to allow the audience to experience the various contradictions and experiences hidden at the edge of the world's end, on the contradictory edges of wrinkles. 

Kathrin Isabell Rhomberg (born in 1990 in Salzburg, Austria)'s works mainly explore the relationship between creativity and naturalness in the Anthropocene era through the imagery of folds. The inconspicuous appearance becomes a tilted image, disrupting the classification of internal and external, concrete and abstract, objects and backgrounds, and opening up potential associative space for the audience. 

Hans Kupelwieser (born in 1948 in Renz Amsi, Austria) developed an art method that can almost be called "post sculpture". His goal is not only to create abstract forms, but also through the aesthetic practice of wrinkles as a means. He likes to unleash unpredictable moments, which he calls "guiding coincidences.". Make the sculpture on the shelf no longer limited to space, but become an element that can be infinitely extended, folded, split, and connected, creating a natural and accidental flow of beauty through the experience of life, breaking the dimensions of time and space, and exploring new and more possibilities. 

 Thelma Herzl (born in 1944 in Iceland )’s core of artistic development was her childhood experience of Icelandic scenery. From her childhood touch with nature, the magical beauty of Icelandic scenery, as well as Iceland's vast and peculiar nature, and perhaps even the myths and legends of elves and trolls, she drew inspiration from all of her works, whether they were paintings, photographs, metal paintings, or collages. When the artist captured the formation of volcanic ash in Iceland after the eruption of Mount Eyjafjallaj ö kull in 2010, her artwork was juxtaposed with the ASKA series of photos, indicating that the sublime senses and meditative experiences of nature exist, but never naively depicted and imitated, but rather in the process of post death and painting transfer, in the so-called restoration process in the painting medium.