DIRECT TRANSIT is back. On view until April 24, 2021 @dasweissehaus . “Wheel of Fortune“ is a tondo inspired by my g-grandmother’s 1941 flight from Vienna to New York via Belgrade, Greece, Turkey, Syria, Iraq, and India where she boarded an American ocean liner. 
Vessels of International Migration, Cooperation and Exchange 1910s-2010s (2020) . Oil and ink on panel 12 paintings, 24x18cm (9.4“ x 7“) . What began as two depictions of ships that my grandparents took on their late 1930s flight from Europe to the United States, turned into a series of 12 panel paintings of mostly defunct vessels that transported people and goods through various turbulent times in history, hence the stormy, alchemical backdrops they traverse. . Completed mere weeks before world-wide stay-at-home orders went into effect in March 2020, the series took on more ominous connotations as international travel ground to an abrupt halt. The turbulent times that the series was initially intended to evoke, suddenly became our present reality. The ships and airplanes now came to symbolize vessels of international migration, cooperation and exchange during a time in which there seems to be too little of any of it. What’s more, the juxtaposition of 1910s-1950s ocean liners with 1960s-2010s aircraft functioned to historicize the latter and begs the question: How and when will the world feel as accessible and interconnected as it once was? 
Thank you @jewishmuseumvienna for hosting DIRECT TRANSIT for a little over a year! It‘s been an honor. 
Here’s a short video of the DIRECT TRANSIT exhibition @dasweissehaus curated by @borisondreicka, which is currently closed to the public due to the Vienna lockdown and scheduled to reopen in late January 2021. . Thanks to @timotheus_tomicek for the great camera work! 
Thank you @keangalleries and @keanhrc for the opportunity to present my work! 
* REOPENING DEC 9 * ‘Large Crumbling Wall’ (2019) is currently on view in the group exhibition ‘Apeirogon, part I’ at the Silvia Steinek Galerie (@silviasteinekgalerie) in Vienna. . Participating artists: Renate Bertlmann, Robert Barry, Joseph Binder, Ian Hamilton Finlay, Sébastien de Ganay, Olga Georgieva, Albert Paris Gütersloh, Matthias Herrmann, Christian Macketanz, Otto Muehl, Hermann Nitsch, Fabian Erik Patzak, Gudrun Kampl, Nina Werzhbinskaja-Rabinowich, Dieter Roth, Clemens Wolf 
Repost from @dasweissehaus: Since there is currently no possibility to see our exhibitions on site, we will also present you some exhibition views of Fabian Erik Patzak’s exhibition “Direct Transit” within the next few weeks. . Since 2016, Erste Bank in cooperation with studio das weisse haus and the Austrian Cultural Forum New York, presents the ExtraVALUE Art Awards to an artist who has participated in the program of das weisse haus / studio das weisse haus. The awardees to date have been Gabriele Edlbauer and Karine Fauchard (2019), Marit Wolters and Julia Gaisbacher (2018), Karl Salzmann and Nika Kupyrova (2017), Ulrike Königshofer and Samuel Schaab (2016). . The ExtraVALUE Art Award 2020 has been presented to Fabian Erik Patzak. Endowed with 4.500 euros, it includes a solo exhibition in das weisse haus (October 28 – December 12, 2020) and a one month stay in New York City (2021) as a source of inspiration, as well as to establish new contacts and to expand his network. . Photo credit: eSeL.at - Joanna Pianka @eselat . #directtransit #fabianerikpatzak #borisondreička #erstebankmehrwertkunstpreis #erstebank #mehrwertkunst 
Neither Here Nor There (2017-2020) 35mm slide projection 
Online-Talk DIRECT TRANSIT November 18, 6pm (CET), 12pm (EST), 9am (PST) . Fabian Erik Patzak (artist) in conversation with Astrid Peterle (chief curator Jewish Museum Vienna) and Boris Ondreička (curator) . In the exhibition DIRECT TRANSIT curated by Boris Ondreička, artist Fabian Erik Patzak creates an intimate story based on his trans-generational experience of migration between Austria and the United States, that began with the emigration of his grandparents from Nazi-Vienna. His work addresses interrelated themes such as heritage, displacement, memory and loss. In his paintings, the artist absorbs and motivates considerations of much wider personal, societal and even planetary questioning. . Join us to discuss these complex issues via ZOOM: https://us04web.zoom.us/j/77817255686?pwd=TlArTVNRWm5BaU4xbFJBdjlZeWsvQT09 . The exhibition is part of the Erste Bank ExtraVALUE Art Award, presented for the fifth time by das weisse haus in cooperation with the sponsoring program of Erste Bank and the Austrian Cultural Forum New York. 
DIRECT TRANSIT at das weisse haus, curated by Boris Ondreička (@borisondreicka) . Soft opening October 28, 4-9pm at dass weisse haus (@dasweissehaus) . Duration: October 28 - December 12, 2020 
‘Large Crumbling Wall’ (2019) is currently on view in the group exhibition ‘Apeirogon, part I’ at the Silvia Steinek Galerie (@silviasteinekgalerie) in Vienna. . Participating artists: Renate Bertlmann, Robert Barry, Joseph Binder, Ian Hamilton Finlay, Sébastien de Ganay, Olga Georgieva, Albert Paris Gütersloh, Matthias Herrmann, Christian Macketanz, Otto Muehl, Hermann Nitsch, Fabian Erik Patzak, Gudrun Kampl, Nina Werzhbinskaja-Rabinowich, Dieter Roth, Clemens Wolf 
‘Small Crumbling Wall’ beautifully framed and displayed in the collection of my friend, artist and author @michael__huey. 
The following video and photographs document the making of the linocut edition “Windows on Oxford Street” in the spring of 2020 at Zein Editions (@zeineditions). . The edition is based on a 10 year old series of oil-on-panel paintings of a dilapidated building in North Philadelphia. . I’ve begun revisiting older motifs and themes—translating some of them into etchings and linocuts, and expanding on others in the form of new work. . Prints available at: store.fabianerikpatzak.com DM for inquiries. 
Windows on Sonnwendgasse (2016) Oil on canvas, 130x170cm . On view in the 2016 exhibition Stadt Bild at Galerie Gans in Vienna. 
This painting will be on view at this year’s PARALLEL art fair in September. . Thanks to @estherartnewsletter for including me in her presentation, which she calls Esther’s Friends. . Entrance on Rasmussengasse II, 2014 Oil on panel, 60x50cm . Participating artists: @annaattar @aramnondavid @alfredo.barsuglia @gianlu_capozzi @rudi_cotroneo @eisenbergerchristian @hans.glaser.9 @ffranzgraff @mariogrubisic_studio @yveshayat @atelier_heshmat_vie Wolfgang Herzig @olivia_kaiser_painter @merlinkratky @larissaleverenz @iddomarkus @fabian_erik_patzak @florian.raditsch Hubert Scheibl @stylianos.schicho @karen_hollaender Martin Schnur @felixtheile @martin_veigl @atelierevawagner @nazimunalyilmaz @zatarosama 
Thank you Les Nouveux Riches Magazine (@lesnouveauxriches.mag) for the feature! . Link to article in bio. 
Two Crumbling Walls, 2019 Oil and ink on canvas 60x80cm (23.6”x31.4”) 
The year started off with a beautifully curated show by WARBLING (@warblingcollective) in London. . After a long hiatus, I’m cautiously getting excited to get the ball rolling on the next projects and exhibitions. 
Vessels of international migration, cooperation, and exchange 1960s - 2010s. . Oil and ink on panel 18x24cm (7”x9.4”) 2019/20 
On the occasion of World Refugee Day I wanted to share a photo booth picture of my mother and her mother (my grandmother) Gerda, taken in the late 50s, early 60s in New York. . In 1939 Gerda (17) and her brother Kurt (20) both obtained US immigration visas in Vienna. Leaving their parents behind, the siblings first traveled together by rail to England where they were separated. Gerda boarded the S.S. Scythia in Liverpool and arrived at the port of New York on August 14, 1939. It would take Kurt another 8 months before he was able to board a ship. . In New York, Gerda met and married my grandfather, a fellow young refugee from Vienna who served in the US Army and contracted Malaria in the South Pacific. Upon his return from service, he co-founded two ladies handbag companies by the names of Escort Bags and Mamsell Bags. . At the time this picture was taken, it had been almost 2 decades since Gerda and Kurt’s parents had been murdered by the National Socialist regime in an obscure location in a Belarusian forrest (Maly Trostenic). I don’t believe my grandmother ever found out what exactly had happened to her parents. It was not until the late 90s, after her death, when a detailed account of their fate was published by the Documentation Centre of Austrian Resistance (DÖW). . #worldrefugeeday #familyhistory