Galerie Crone, Vienna (AT)
22 November—13 January 2018
viennacontemporary, Vienna (AT)
21—24 September 2017
Collectors Depot, Pörtschach (AT)
12 May—31 July 2017
Clemens Wolf, Lori Hersberger, Otto Zitko, Peter Jellitsch, Joyce Pensato, Thomas Rhube, Jiri Dokoupil, Matt Mignanelli, Campana Brothers
Paperback, 144 pages, 30 x 20 cm, ills. in color & bw
Joseph Becker, Sébastien Pluot, Marlies Wirth
Verlag für moderne Kunst
Galerie Clemens Gunzer, Zürich (CH)
10 June—30 July 2016
Peter Jellitsch, Zane Lewis, Matt Mignanelli, Konrad Wyrebek
Galerie Crone, Vienna (AT)
27 April—25 May 2016
Numbered Edition of 300, 48 pages, full color, 21 x 26,5 cm
Alte Post, Dominikanerbastei, Vienna (AT)
23—27 September 2015
Peter Jellitsch’s Data Drawings are based on what has become an indispensable component of our modern-day (work) life: the Internet and the constant availability of a wireless connection to it. The artist repetitively translates measurable data from Wi-Fi connections in the form of ping, download, and upload speeds into formally complex drawings reminiscent of landscape topographies in pencil and acrylic. He lends form to the invisible digital processes around us and declares them the starting point and necessary basis of his work as an artist. Each Data Drawing is a snapshot and a survey of a specific place at a certain point in time. The numerical values precisely measured with an iPhone app have the appearance of an abstract artistic gesture on the paper with the unmistakable variance of human imprecision. The physical act of drawing is combined with the ubiquitous flows of information that we use and create at the same time: a potentially infinite and never complete creation of value from nothing.
Excerpt from „Without You I’m Nothing“, a text by Marlies Wirth.
MAK – Austrian Museum of Applied Arts / Contemporary Art, Vienna (AT)
11 June—4 October 2015
Ben Thorp Brown, Verena Dengler, Carola Dertnig, Harm van den Dorpel, Andreas Duscha, Andreas Fogarasi, Franz Graf, Kathi Hofer, Peter Jellitsch, Lazar Lyutakov, Mahony, Christian Mayer, Ulrich Nausner, Danica Phelps, Lili Reynaud-Dewar, Valentin Ruhry, Seth Weiner, Anna Witt
In the Burgkapelle, Peter Jellitsch takes into account the central fresco by Ferdinand Fromiller. He selects individual parts of the Baroque trompe-l’œil painting – renderings of intangible content, atmospheres, moods, interpersonal connections – and confronts them with an abstract picture analysis. The specific elaborated fragments are shown as drawings and objects on display tables which bring to mind study situations. The viewer then relates the transformations to the original.
Excerpt from the folder „It could be like this…“, a text by Christine Wetzlinger-Grundnig.
Museum Moderner Kunst Kärnten
Kunstraum Burgkapelle, Klagenfurt (AT)
9 April—11 October 2015
Strabag Artlounge, Vienna (AT)
7 November—5 December 2014
MAK Center / Mackey Apartments, Los Angeles (US)
4—7 September 2014
Maria von Hauswolff, Peter Jellitsch, Björn Kämmerer, Pradeep Devadass & Sushant Verma
Galerie3, Klagenfurt (AT)
6 March—18 April 2014
Public Works, Chicago (US)
7 February—4 April 2014
La Panacèe, Montpellier (FR)
7 February—22 June 2014
Dominique Blais, Will Potter, Vincent Betbeze, Ugo La Pietra, Trevor Paglen, Superstudio, Sharon Kulik, Robert Barry, Ralf Baecker, Philippe Deloison, Nicholas Knight, Peter Jellitsch, Martin Ratniks, Maria Loboda, Marcel Duchamp, Liam Gillick, Laurie Anderson, Laurent Grasso,Lawrence Weiner, John Cage, Günther Domenig & Eilfried Huth, Hugo Brégeau, Haines & Hinterding, Hans Hollein, François Curlet, Dunne & Raby, Don Burgy, Dominique Blais, Dan Graham, Christina Kubisch, Brian O’Doherty, Bettina Samson, Berdaguer & Péjus, Bat, Alvin Lucier, A Constructed World
The data for Long Island City was provided by the SP Weather Station, Natalie Campbell and Heidi Neilson.
Peter Jellitsch has found a new approach to representing spatial realities, both seen and unseen. With his project Bleecker Street Documents, he has taken to task the idea of a temporal-spatial condition that permeates all of our urban airspace. Bleecker Street Documents, titled for the location of the project, rigorously analyzes and explores the micro-measurements of atmospheric change activated by wireless data networks.
Excerpt from „Bleecker Street Dialogue“, a conversation with Peter Jellitsch and Joseph Becker.
STB, the title of a series of drawings Peter Jellitsch initiated in 2011, is an acronym for Stream Body Drawings, a motion algorithm software generally used by architects for simulating wind directions and air forces that occur around high-rise buildings. These drawings of nebulous forms are obtained through a rigorous method that Jellitsch elaborated using computer screens broadcasting different scientific digital patterns of radio frequencies, air streams or data clouds.
Excerpt from „Weather Conditions“, a text by Sébastien Pluot.
Peter Jellitsch is an exponent of a young generation whose perception of reality has undergone a radical change, due to new technology, and who quite naturally spread out their fields of work and ideas in new dimensions. This expansion of traditional boundaries, together with a critical observation of reality, are prerequisites for his work, and characterise the artist’s interdisciplinary, integrative way of thinking as well as his methods and techniques, which on the one hand are scientific and strictly mathematical, and on the other absolutely artistic and aesthetic. The pictorial result is merely one aspect of Jellitch’s comprehensive spectrum of activities. It is, however, the immediate, compelling result which, detached from the intellectual, conceptual process, convincingly gains in autonomy.
Over recent years, virtual space has increasingly become a field of experiment in art. If initially the new techniques and networks were used as tools, today this space itself stands at our disposal, understood as a relevant dimension of reality and determined not only by matter but, in this context, also by invisible elements and systems. What Peter Jellitsch finds interesting are phenomena which exist not physically and consistently, but functionally – such as fields of electromagnetic waves, current patterns, or the swarm behaviour of birds and fish, as in the present work “STB/S 16“.
The artist is not concerned with creating a copy of the digital image of a piece of basic scientific research; his interest, as he puts it, is in “establishing a dialogue between virtual processes and the actual physical space”. The artist approaches electronic simulation through drawing by hand, transferring it, by means of the potential of his physical body, into an analogue result, thus concretising the digital information of the virtual sphere.
Christine Wetzlinger-Grundnig (Director, Museum Moderner Kunst Kärnten)
Museum Moderner Kunst Kärnten, Klagenfurt (AT)
20 June—20 October 2013
Maria Lassnig, Werner Berg, Hans Bischoffshausen, Peter Jellitsch, Kiki Kogelnik, Arnulf Rainer, Zenita Komad …
SFMOMA San Francisco Museum of Modern Art, San Francisco (US)
1 September—6 January 2013
Stan Allen, Tauba Auerbach, Marsha Cottrell, Thom Faulders, Peter Jellitsch, Sol LeWitt, Daniel Libeskind, Rafael Lozano-Hemmer, Casey Reas, Semiconductor, Lebbeus Woods
Galerie3, Klagenfurt (AT)
24 May—16 June 2012
Laurien Bachmann, Hanakam & Schuller, Peter Jellitsch, Lavinia Lanner, Markus Leitsch, Patrick Topitschnig