object; varnish on rubber coat, hangers, 120 x 161 cm, 2022
WELTSCHMERZ (with Ksenia Yurkova)
object; varnish on found objects, inkjet print on paper; 2020/21
Weltschmerz, 2020/21; photo: KseniaYurkova
Weltschmerz, 2020/21; photo: KseniaYurkova
Weltschmerz, 2020/21; photo: KseniaYurkova
triptych; 52 x 52 x 4.5 cm each, graphite on 4 layers of transparent paper, framed, 2019
Four-Lettered Words 1, 2019; photo: KseniaYurkova
Four-Lettered Words 2, 2019; photo: KseniaYurkova
Four-Lettered Words 3, 2019; photo: KseniaYurkova
triptych; 40 x 50 x 1.8 cm each; poker work on oriented strand-board, 2020
Quotes taken from real Tinder-conversations by several men to the same young woman. Before Tinder became the name for the most successful dating platform it was defined as “dry, flammable material, such as wood or paper, used for lighting a fire”. So I chose the traditional technique of wood branding and literally burnt these quotes into strand-boards. It is not a coincidence that these kind of boards are widely used on constructions sites..
Tinder-Pic(k)s 1, 2020; photo: KseniaYurkova
Tinder-Pic(k)s 2, 2020; photo: KseniaYurkova
Tinder-Pic(k)s 3, 2020; photo: KseniaYurkova
58 x 20 x 9 cm, graphite on found object, 2020

Axe; photo by KseniaYurkova

Axe derives from a dream of a 16 years old guy. In the dream he had to choose between his axe—the biggest pleasure in his life—and his first girlfriend. It gave him a hard time. This found object belonged to my grandfather. It was hidden in a closet in the basement and I still do not dare to question what it served for. Graphite always has been used as a so called dry lubricant. In this object it mingles with the rust of the blade which is still sharp as hell..
25 x 100 x 37 cm, 9 parts, varnish on found objects, 2019
So the LORD God caused the man to fall into a deep sleep, and while he slept, He took one of the man’s ribs and closed up the area with flesh. And from the rib that the LORD God had taken from the man, He made a woman and brought her to him. And the man said: “This is now bone of my bones and flesh of my flesh; she shall be called ‘woman,’ for out of man she was taken.” (Genesis 2:21-23)
Adam; photo by KseniaYurkova
66 x 178 x 5 cm, 3 parts, graphite on found objects, 2020
Without Title; photo by KseniaYurkova
80 x 40 x 40 cm, varnish on found object, sugarcubes, 2007
Collection of the Province of Lower Austria
Zeit tot sitzen; photo by Martin Breindl
PROCRASTINATION (with Ksenia Yurkova)
6 parts, 80 x 40 x 45 cm each, varnish and wood stain on found objects 2019
7 parts 133 x 50 x 33 cm, varnish on found objects, 2018
Defenestration is a fairly artificial expression for the simple act of “disposing” of someone or something through a window. The corresponding German term Fenstersturz goes back to an incident in Prague 1618—the “Prague Defenestration”—which in turn was a re-enactment of a similar action almost exactly 200 years earlier, also in Prague (1419). Both were the cause of long bloody clashes, the former of the Hussite Wars (1419—1436), the latter of the Thirty Years’ War (1618—1648).

I found the windows in a dark corner of the attic, under a thick layer of dust. In the course of optimization, the old box windows were exchanged for double or triple-glazed plastic windows; they were not defenestrated but stored. I vaguely remember plans to recycle them into a modest green house for the garden. These plans have been forgotten, and with them the windows. And so now, after years of dusty sleep, they can become a display of the impossibility to dispose of the past in a simple way through the window.
Defenestration, 2018; photo: Ksenia Yurkova
Defenestration, 2018; photo: Ksenia Yurkova
Defenestration, 2018; photo: Ksenia Yurkova
2 x (22 x 11.5 cm), ballpoint pen on found object, edition of 22, signed and numbered, 2014
The Love of Geometry, 2014; photo: Sabine Maier
The Love of Geometry, 2014; photo: Sabine Maier
The Love of Geometry, 2014; photo: Sabine Maier
triptych, 98 x 76 cm each, varnish on aprons, 2010
photo by Sabine Maier
Collaboration with Anna Fabricius, 2014. Triptych of photographs by Anna Fabricius, using the aprons by Martin Breindl, shot on the location of the Korda Film Park near Budapest, Hungary.

"Martin Breindl (apron objects) and Anna Fabricius (photographs of these objects): Aprons are associated with protection from dirt or are worn to serve food and drinks. However, Breindl serves us unusual combinations of words printed with stencils that are initially disconcerting, but gradually evoke echoes of our own experiences. This is where the photographs by Anna Fabricius come in: she photographed the aprons on the backs of people who cannot be recognized, because what is important is the scenery in which they almost disappear: Budapest's 'Cinecità' with its illusionistic mock-up buildings has long been more wacky movies." (Karin Mack)
Anna Fabricius; Glückasche, 2014
Anna Fabricius; Herzleiche, 2014
Anna Fabricius; Vielelicht, 2014

___ Open Studio Days, AIR InSILo, Hollabrunn, A, 2022
___ Buchstaben, Worte, Texte in fotografischen Bildern, fotoforum, Innsbruck, A, 2016 (with Anna Fabricius)
___ Buchstaben, Worte, Texte in fotografischen Bildern, FLUSS, Wolkersdorf, A, 2014 (with Anna Fabricius)
___ k Atelier, Judenburg, A, 2013
___ Gallery Splitter Art, Vienna, A, 2010
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