‘Dialogues with the Seen’, Andreas Kühne
Thoughts on the exhibition, ‘On Joy and Disappointment’ by Angela Stauber and Micha Eden Erdész at the Kunstverein Ottobrunn, 2021

Saxa loquuntur – the stones speak – is a Latin phrase, the origin of which lies in the dark recesses of history. It can also be found in the Lucas Gospel (19,40), but there – in the German translation by Martin Luther – the stones ‘scream’. In the recent works of Angela Stauber and Micha Eden Erdész it is not so much the stones that ‘speak’ because of their materiality, rather it is the structures or buildings formed from them – and other materials – that are seen individually and shaped and interpreted through other artistic means. In fact, Aedificia loquuntur could be a motto for their exhibition in Ottobrunn.

Both artists project their visual impressions onto the surface via their own methods and intentions, and invite us, the viewers, to participate in the process of transformation and be inspired by their interpretations. ‘Buildings’ always reflect social and therefore cultural conditions. This is the case with even the oldest surviving testaments and fragments. However, the visual experiences selected and distilled by both artists do not relate to historical buildings or urban landscapes. Their aim is not to document and preserve through their works, but rather to question and reflect on their perception of the architecture both natural and built. For both artists, ‘the strange in the everyday’ is the subject of their painted, drawn, photographed and staged works. Or, as Duane Hanson once put it, ‘just that fixed moment.’ Their objects, buildings and urban landscapes apparently do not seem to participate in a symbolic dimension, albeit a very a mediated one.

On closer inspection, the question arises as to why their works speak to us and what they tell us, and indeed whether they tell us anything at all. Born in Toronto in 1975, Micha Eden Erdész, an Intermedia artist who studied architecture and philosophy, edifies his artistic strategy with the help of the large photographic tableau, ‘The Happy Games’, that recreates, using his own materials and methods, the ‘Olympic tent roof’ of the stadium in Munich that was designed and created by Günter Behnisch and Frei Otto (1972). During a visit to the Bavarian state capital, he photographed and filmed this incunable of modern architecture and later adapted it and made it alien. Projected onto a Lycra fabric background, individual acrylic glass elements of the roof structure shine in the dazzling sunlight, raindrops fall onto the roof, the pylons cast shadows and the vertical lines of Olympic rings – added in later – structure the tableau. Despite its size, the picture does not appear monumental, but understated, almost intimate – as a representation of a perceived, captured and reflected moment that cannot be repeated. Erdész, an artist of Canadian origin, also links the 1972 Summer Olympics with a tragic event: the attack by Palestinian terrorists on Israeli athletes. Members of the Canadian water polo team – naive and unaware of what they were getting into – had helped the terrorists to scale the fence that enclosed the Olympic village. Some of the Canadian athletes, completely shocked and taken aback by the acts of terrorism that followed, felt they had been complicit and left the games. Erdész’s tableau is infused with this story, so to speak, but he does not bring it to the surface. The artist said he did not want to create a ‘memorial’ but attempted to deal with the quandary by aesthetic means.

Angela Stauber studied painting at the Academy of Fine Arts in Munich when Sean Scully was Professor of Painting and graduated in 2005 with a master’s degree as his student. She was awarded foreign scholarships to the USA, Romania, and the UK. Her painting, which always starts from the object and sometimes leads to almost abstract formulations, defines one possible direction in the extremely diverse, colourful, and almost incomprehensible spectrum of contemporary visual art.

In recent years, the painter has developed and pursued various themes in her work. Her paintings always start from direct, precise observation – regardless of whether the motifs she observes are human bodies, her own physiognomy, interiors or even buildings. In other words, they are dialogues with what is seen, dealing with situations, moments, coincidences, presence, and vivacity. These pictures imply a becoming and a dying away and can only represent moments that are irretrievably lost as soon as they have been recognised and captured. This connects them with the work of Micha Eden Erdész.

Since her studio is located in the Werksviertel (Crafts Quarter) of Munich, in an environment that is subject to constant, almost daily change, it was obvious to her that she should confront this very environment that existed outside her studio windows. Sometimes, she expands her gaze to encompass a larger section of ‘reality’, and at other times she narrows her focus down to a detail that gains a life of its own in her painting. Her static-looking watercolours avoid white, such as the ‘Light Room’, created in delicate yellow, green, blue, and orange tones. The larger, more loosely constructed and more expressive oil paintings on large canvases give a different impression. Across the windows of the Ottobrunn Kunstverein, which are located behind an arcade, the artist has marked out a horizontal line with adhesive tape, creating the effect of a classic ‘repoussoir’. It repels the viewer's gaze, pushes the viewer away, and at the same time awakens their curiosity about the pictorial narratives happening behind it in the exhibition space.

On Joy and Disappointment is the name of the exhibition in Ottobrunn. And, of course, the title also refers to the current situation during the Coronavirus pandemic. But it also points beyond the pandemic: to joy and disappointment as emotions which are necessary to an artistic creativity that constantly strives for substance. In the pandemic, both artists felt their studios offered an the possibility of stillness amid a world afflicted by chaos and anguish. This experience will remain, even when the artists’ lives and experiences have apparently resumed their habitual paths. Through their impressive forms, their frugal gestures, their presence, their brittleness, their contemplativeness and their inherent beauty, the works of Angela Stauber and Micha Eden Erdész extend and enrich our existence.

‘Über Freud und Enttäuschung’, Schindelp

Micha Eden Erdész (° 1975, CANADA) is an Intermedia artist and graduate of Chelsea College of Arts currently living and working in the Dedham Vale, AONB, England.

Micha Eden Erdész's artistic practice is remarkably diverse. It ranges from artistic research to working in various media such as painting, photography, video and sculpture. The different techniques stand for different ways in which one can deal with a lived reality: through haptic, visual comprehension, through intellectual understanding or even supernatural sensation. In the respective works, he creates new spaces of experience for different aspects of reality. He encodes them in a separate language that seems to be detached from references and thus forms its own language, its own mystery. This in turn invites a viewer to decipher it, offering a wonderful escape into the artist’s imagination. - Angela Stauber

2022-Currently Masters of Art Jungian and Post-Jungian Studies. Department of Psychosocial and Psychoanalytic Studies. University of Essex, GB
2023 Synchronicity. Centre of Applied Jungian Studies, SA [short course]
2022 Diploma in Jungian Pyschology. Jung Centre, IE [short course]
2022 Expanded Screenwriting as Poem Form. Emma Bolland, Poetry School, GB [short course]
2021 High Chelmer Shopping Centre, Chelmsford, GB [residency]
2021 Erwin und Gisela von Steiner-Stiftung for ‘Joy and Disappointment’ [bursary]
2021 Telematic Art and Performance: The Future in History. Habib William Kherbek, Berlin Arts Institute, DE [short course]
2021 “Sylphen Trill”, “Red Carabouche”, installations in High Chelmer Shopping Centre, Chelmsford, GB [solo projects]
2021 “Joy and Disappointment”, Micha Eden Erdész and Angela Stauber, Kunstverein Ottobrunn, Munich, DE [2-person show] Supported by the Steiner Stiftung Foundation, DE
2020 “The Colour of Pomegranates”, DAR - Digital Artist Residency [discussion panel] Available at: https://digitalartistresidency.org/pomegranates/4/
2020 “The light place where you rest your head”, IAM Sendeanstalt [video]
2020 Colchester Makerspace, GB [residency]
2019 “New Magical Realism”, The Minories, Colchester, GB [group exhibition curated by Micha Eden Erdész - Aleksei Kazantsev, Alex Mclean, Andrea Hanak, Angela Stauber, Anna Sokolova, Anton Cotteleer, Besmir Latifi, Elke Lutgerink, Evelien Gysen, Fia Cielen, Gemma Abbott, Jef Gysen, Micha Eden Erdész, Tim Dodds, Warre Mulder] Available at: https://www.a-n.co.uk/reviews/new-magical-realism/
2019 Landeshauptstadt München for ‘New Magical Realism’ [bursary]
2019 The Minories for ‘New Magical Realism’ [support-in-kind]
2018 “Shared Art & Ideals”, The Minories, Colchester, GB [group show]
2017 “Don Salon”, Embassy Gallery, Edinburgh, GB [group exhibition]
2017 “Float”, Firstsite, Colchester, GB [group exhibition]
2016 “Sorcerer Won’t Live/ Random Cabaret”, Micha Eden Erdész / Jelle Keppens, Shoobil Gallery, Antwerp, GB [2-person exhibition]
2016 “Ruins Constraints”, 10 Interventions, Platform for Immaterial Matters, Tique Art Space, Antwerp, Belgium [solo project]
2016 “Screenings in an Empty Place”, 10 Interventions, Platform for Immaterial Matters, Tique Art Space, Antwerp Art Weekend, Belgium [group exhibition - Micha Eden Erdész, Anne Van de Star, Other Robots, Hantrax, Tereza Ruller, Karina Beumer, Curdin Tones, Edwin Deen, Vedran Kopljar]
2016 “Salonathon”, Embassy Gallery, Edinburgh, GB [group exhibition]
2015 “Hearth and Heat”, The Florence Trust, London, GB [solo exhibition]
2015 “Postcards to Nepal”, House of Illustration, London, GB [charity exhibition]
2015 “Archway is the New Shoreditch”, Arbeit Studios, London, GB [open studios]
2015 “Salontology”, Embassy Gallery, Edinburgh, GB [group exhibition]
2014 “Chelsea College of Arts Summer Show”, University of the Arts London, GB [exhibition]
2014 Erdész, M.E., Smart, S. “Between Artists: A collaborative elucidation of the sensitive art practices of Micha Eden Erdész and Stephanie Smart”, JAWS Journal of Arts Writing by Students, London: Intellect, no. 3. [text]
2013-14 Masters of Research Arts Practice. CCW Graduate School, Chelsea College of Arts, University of the Arts London
Thesis - “Immured by Intermedial light and gravity on the Sinskenfoor: How can an Antwerp fair and its environs be understood to impart hegemony?” Supervised by Dr. Maria Walsh and Dr. Paul Ryan
2013 “Stars in My Eyes”, Schwartz Gallery, London, GB [group exhibition - Martyna Anna Benedyka, Alexandra Drawbridge, Ismail Erbil, Micha Eden Erdész, Robert Hitzman, Louisa Mahony, Antonio Marguet, Patrick Michalopoulos, Tyler Mallison, William O” Donnell, Marion Sagon, Karen Tang, Kazuya Tsuji]  
2013 “Bloomberg New Contemporaries”, Spike Island, Bristol, GB [group exhibition - Aisha Abid Hussain, Rebecca Ackroyd, Thomas Aitchison, Lewis Betts, Jason Brown, Fatma Bucak, Agnes Calf, Lauren Cohen, Patrick Cole, Menna Cominetti, Calum Crawford, Micha Eden Erdész, Mark Essen, Adham Faramawy, Ophelia Finke, Grant Foster, Archie Franks, Joe Frazer, Kate Hawkins, Adam Hogarth, Catherine Hughes, Antoine L’Heureux, Roman Liška, Lana Locke, Alex McNamee, Steven Morgana, Laura O”Neill, Hardeep Pandhal, Julia Parkinson, Joanna Piotrowska, Hannah Regel, Dante Rendle Traynor, Daniela Sarigu, Ferdinand Saumarez Smith, Yves Scherer, Simon Senn, Isabelle ZhiZhi Southwood, Josephine Sowden, Marlene Steyn, Matthias Tharang, Shelley Theodore, Esmé Toler, Sarah Tynan, Dominic Watson, Tom Worsfold, Tim Zercie, Maarten van den Bos]
2013 Erdész, M.E. “At Least You Will Feel Neutralised by Magic Mirrors!”, A Preparation of Something to Come [catalogue], Talbot Rice Gallery, Edinburgh: Edinburgh University, pp. 15 – 17 [text]
2013 “A Preparation for Something to Come”, Talbot Rice Gallery, University of Edinburgh, GB [group exhibition]
2013 “Multidimensionburbia”, Project Space, Edinburgh College of Art, GB [group exhibition - Thomas Aitchison, Micha Eden Erdész, Jake Watts]
2013 “No Lemon No Melon”, Embassy Gallery, Edinburgh, GB [group exhibition]
2012 “Defcon Salon”, Embassy Gallery, Edinburgh, GB [group exhibition]
2012-13 Postgraduate Diploma in Contemporary Art Practice. Edinburgh College of Art. University of Edinburgh, GB
2012 Postgraduate Bursary, Edinburgh College of Art, University of Edinburgh [bursary]
2011 The Flemish Technique: Egg Tempera and Oil Paint. The Princes’ Foundation School of Traditional Arts, GB
Architecture [short course]
2011 “So Near/Far – New_Lon”, Newlon Housing Trust, Emirates Stadium, Holloway, London, GB [commission]
2010-11 Newlon Housing Trust, London, GB [residency]
2009 “Espace N De La Zone Ondulée”, Galerie Martin van Blerk, Antwerp, Belgium [group exhibition - Atelier Solarshop, James Lee Byars, Frank F Castelyns, Micha Eden Erdész, Karin Hanssen, Joie Iacono, Céline Felga, G. Leddington, Kristina Sigunsdotter, Philippe Van Damme]
2008 MacBride Art, Antwerp, GB [residency]
2006 “The Liminal Phase”, Highbury Studios, Holloway, London [group exhibition curated by Rebecca Jewell and Micha Eden Erdész - Bálint Bolygó, Gavin Thorogood, Gerald Straub, Ian Johnson, Julie Cook, Matthew Small, Micha Eden Erdész, Rebecca Jewell, Robert Currie, Sarah Strang, Slobodan Trajokovic, Thomas Wilkinson, Xavier Pick] Available at: https://www.a-n.co.uk/reviews/the-liminal-phase/
2006 Arsenal Regeneration Team and Stadium Capital Holdings for ‘The Liminal Phase’ [bursary]
2005 “Summer Show”, The Florence Trust, London, GB [group exhibition]
2005 “Micha Eden Erdész”, Glen Gould Foyer, Canadian Broadcasting Centre, Toronto, Canada [solo project]
2005 “Winter Show”, The Florence Trust, London, GB [group exhibition]
2005-06 Florence Trust, London, GB [residency]
2005 ‘Buda’, Hungarian Cultural Centre, London, GB [commission]
2004 The Agency Gallery, London, GB [internship]
2004 “Wakes”, Hurwendeki, London, GB [solo project]
2004 “Endura”, The Spitz Gallery, London, GB [solo exhibition]
1998-02 Bachelor of Science in Architecture, Planning and the Built Environment. Bartlett School of Architecture, University College London, GB
1998 Royal Institute of British Architects, London, GB [internship]
1995-98 Bachelor of Arts in Philosophy in Cultural and Community Studies. University of Sussex, GB

‘New Magical Realism’ curated by Micha Eden Erdész
7 – 30 September 2019, The Minories, Colchester, GB
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https://www.a-n.co.uk/reviews/new-magical-realism/

• Aleksei Kazantsev

• Alex Mclean

• Andrea Hanak

• Angela Stauber

• Anna Sokolova

• Anton Cotteleer

• Besmir Latifi

• Elke Lutgerink

• Evelien Gysen

• Fia Cielen

• Gemma Abbott

• Jef Gysen

• Micha Eden Erdész

• Tim Dodds

• Warre Mulder

Writer Margaret Atwood tasks Zenia of the Robber Bride (1993) with narrating wider subversive magical forces; an image reflected in a smoky mirror, whose multiple and ‘forever shape-shifting character functions as a catalyst for new and re-emergent traumas.’ (Vickroy cited in Bouson 2010: 23) Colchester, Essex may too be a city uncomfortable with her rebellious connection to Boudicca’s upending of the backdrop of Roman hegemony. Spanning two-floors of the Minories’ Grade II Tudor site, a cohort of mid-career British and European artists invoke magical alterity by exploring the tension, life and approach to subject matter between the Magic and Real.

Supported by UCC and the City of Munich.
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‘The Liminal Phase’ co-curated by Micha Eden Erdész and Rebecca Jewell
6 October – 3 November 2006, Highbury Studios, London, GB
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https://www.a-n.co.uk/reviews/the-liminal-phase/

• Bálint Bolygó

• Gavin Thorogood

• Gerald Straub

• Ian Johnson

• Julie Cook

• Matthew Small

• Micha Eden Erdész

• Rebecca Jewell

• Robert Currie

• Sarah Strang

• Slobodan Trajokovic

• Thomas Wilkinson

• Xavier Pick

The Liminal Phase is a window in which artists can respond to a dynamic environment on the verge.

Supported by Stadium Capital Holdings, Arsenal Regeneration Team, Florence Trust, Royal College of Art, Institute of Ideas, The Big Draw, Targetti, Howden, ADI Solutions & Audiovisual, Ham and High, Hackney Gazette.
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Work in the collection of Newlon Housing Trust and the Embassy of Hungary in London.