New Paintings from the Lake
    JAN 26, 2023
    MAR11, 2023
    New Paintings from the Lake
    Vienna, Austria
    Opening: 26 JAN 2023 - 6pm
    Schedules: TUE - FRI 12 - 6 PM, SAT 11 AM - 4 PM
    Address: Galerie Krinzinger, Seilerstätte 16, 1010 Vienna
    +43 1 5133006
    galerie krinzinge


    A lake, several lakes, all lakes
    Victor dos Reis

    Each lake is unique. But each lake always resembles other lakes to the extent that we may remember, evoke, or even confuse them. A lake is a limited portion of water which, unlike the sea, frequently ends before the horizon, reachable by our gaze and therefore generating the false confidence of knowing it. Waters trapped by plane margins or slopes, green or dry; turbid or simply dark waters; motionless or not very agitated waters; mysterious waters whose strangeness contaminates those who live nearby or simply come close to it.

    We know what Rui Miguel Leitão Ferreira’s lake is, but knowing its name, size, location and surroundings is only important up to a certain point. And that point is beyond what we need to know to understand and love the paintings which resulted from it. More than being a specific lake, what matters is its condition as a lake – a kind of hortus conclusus, the enclosed, delimited garden evoked in the Song of Songs, a microcosm inseparable from the medieval utopia of the convent or monastery as a territory of perfection.

    Therefore, in Rui Miguel Leitão Ferreira’s lake, other lakes, a forest and even an island coexist. The island is Andros, located in the Aegean Sea, in the extreme north of the Cyclades archipelago, where the Bacchanal painted by Titian between 1523-1526 is set, inspired by a passage from the book Imagines (I, 25) by Philostratus. An island, as we know, is the reverse of a lake: a portion of land bounded by water; a topographically irregular territory surrounded by a regular plane. Here, three characters are particularly important: the naked nymph asleep in the foreground on the right side of the canvas, the athletic boy standing naked, genitals displayed, serving more or less clothed guests, and the putto who lifts his clothes to urinate in front of us. All stripped of modesty, the same is to say of shame and guilt, but not necessarily of action and transgression.

    The wood in which there is also a lake is the place where Édouard Manet painted his Le déjeuner sur l’herbe (1862-1863), originally entitled The Bath. In this peculiar scene of a picnic in a park, Victorine Meurent, the famous Olympia, sitting naked on the grass, seems to look at us not only without embarrassment, but even with pride in the beauty and sexual attraction emanating from her body, aware of our presence and our voyeur gaze, while her two fully dressed companions, rich bourgeois or aristocrats, indulge in a conversation in which she has lost interest. Between her and us, in the foreground of the painting, a peculiar still-life, consisting only of a basket of fruit and an intact loaf of bread, provocatively placed over the blue dress and hat that she has stripped off. In the background, a second woman (or is it Victorine again?) lifts her robes to bathe her legs in a small pond as Titian’s putto lifts his long shirt to urinate. The painting, produced in studio, resorts as we know to various visual sources, evokes compositions which date back to the Renaissance and is certainly the result of a construction based on autonomous and diverse preparatory studies. Did the event as we see it occur? The answer is almost certainly no. Fruit of Manet’s invention, it has us as its only addressees and witnesses. It exists while we look at the canvas inside the museum.

    Likewise, the Bacchanal painted by Titian never took place – not even in his studio – but it was the result of a mental creation made step by step by someone capable of intertwining, in an amazing way, bodies and actions, space and time, in a grandiose visual event which in its unreality convinces us of its occurrence somewhere at a given moment of time and at a given place of space which we are led to imagine as real. To such an extent that, even though it has not taken place, we believe it could perfectly well have happened or, who knows, might still take place.

    This ability of the artist to construct a visual event is, after all, the fruit of the same ability to create a pattern of lines, patches and colours, which only exists through the combined use of will, imagination and talent. In his new lake paintings, Rui Miguel Leitão Ferreira does exactly this: he weaves visual events, in a determined space and in an indeterminate time. Without real existence, they are strange constructions and reconstructions of memory, amalgams of bodies, objects, clothes, and props which have never been together, in this place or anywhere else. Unless through his imagination, put at the service of the transformation of the mnemonic records obtained during his short life at that lake.

    One thing seems certain, the irruption of his body in this space is the connecting thread of the different visual events. A body which almost always appears naked and which, in this way, offers itself to the gaze, that is, to the attention, curiosity and, above all, desire (or repulsion) of the observer. In this game of surprise, provocation and, of course, lust, Rui Miguel Leitão Ferreira creates in the observer (whoever may the observer be), like Manet through Victorine Meurent, the illusion that it is possible to access his body and thus satiate the need for beauty and sexual satisfaction that its presence arouses. Especially when he, before us and unequivocally, indulges in sexual pleasure.

    Not being the only naked body in these paintings, it is always the most recurrent – l’agent provocateur – and, in this sense, the one that determines the thread of events, even of those that we do not fully understand. In some paintings, the artist appears more than once as if he were different characters who coexist in the same place: the lake. In this pictorial space without an organised system of lights and shadows, where the colour, the patches and the gesture that applies them is the constructor of the three-dimensionality of the bodies and of the depth, modern still lifes appear in the foreground. Plastic bottles and glasses, leftovers of food on tables and chairs typical of summer resorts, but also bodies or just details of these, placed in the tense border between the “there” side and the “here” side – thus contributing to the belief that we are there, at the lake. Where one dives, uses mobile phones, and goes boating.

    By embodying the disruptive role of desire and sexual satisfaction, the artist makes their presence obvious in the life around the lake, where the various bodies, more or less clothed, indulge in feeling the sun, the water, the wind and the other bodies on their skin, in physical activity or inaction and, above all, in the game of onanism and exhibition, all as part of a ritual of communion with the natural world. In this sense, the gaze of desire and lust of the observer for the represented body amplifies and deepens Rui Miguel Leitão Ferreira’s desire for that body which is, at the same time, his body, and a body distinct from his own, in the sense that it is the body of the characters he is representing in this farce where there seems to be no distinction between the public, the private and the intimate.

     The new paintings from the lake by Rui Miguel Leitão Ferreira are, therefore, as much an exercise in remembrance and revisitation as, above all, one in deliberate Proustian reinvention. In that sense, they are an affirmation of the artist’s supreme freedom of creating visual events, of manipulating space and time for his (and our) pleasure, regardless of the specific laws which usually govern one and the other.

    Nem Vale Nem Montanha
    19 MAY 2020
    12 SET 2020
    Nem Vale Nem Montanha
    Curator: Sérgio Fazenda Rodrigues
    Galeria 111
    Lisboa, Portugal
    Schedules: Tuesday to Saturday 10 am - 7 pm Closed on Holidays
    Address: Rua Dr. João Soares, 5B
    1600-060 Lisboa
    +351 217 977 418
    galery website



    The painting of Rui Miguel Leitão Ferreira consists of a delicate balance between what is stated and what happens. With foundations that are simultaneously both profoundly physical as well as spiritual, his work is a development of the intersection of different forms, rhythms, and ways of doing. Medium, material and action come together in a dialogue which is both thoughtful and intuitive, focussing on the relationship between the act of making marks on the canvas, the outcome of those marks, and what we make of what appears. With its criss-cross of overlapping layers, the dialogue shows us the desire of the artist to make a mark - applying the paint directly to the canvas, accepting the unknown result - when he covers, stamps, strips and lays bare the various layers of which the painting consists.

    Highly physical in both structure and image, the works of Rui Ferreira emanate a density which breathe life. A density that comes from careful manipulation of his choice of materials, with recognition of their thickness, elasticity, opacity, and chemical reaction, as well as in his observation of the image and detailed understanding of what it is. To speak of the density of the painting and its inherent complexity leads us to notice the disarming simplicity of the production process, which embraces the accidental, the unforeseen and the uncontrollable. His work can be seen as a set of forces in balance, of desire and acceptance, of material and image, the complex and the simple.

    Set in a world in which opposites collide, the works of Rui Ferreira demand a level of attentiveness of the viewer on many different levels. Although the canvases are large in both size and complexity, drawing us in to their field of influence, they also have qualities of closeness and privacy that invite us to look at them in greater detail. Oscillating between the vibrancy of the global and the delicacy of the private, the artist invites us to a slow, contemplative discovery of his work, allied to a strong sense of curiosity.

    As we discover the work, we become aware of many presences that hide and reveal themselves, presences which question the very nature of painting itself. The artist superimposes a variety of figures which, during the evolution of the work, he hastens to thin down, or to rub out what remains by saturation of the surface of the canvas. Most of these presences are absorbed by the successive layers of paint, but a small number remain, ghost-like, at the back of the canvas. In each case we are talking about entities that are present during the development of the work, but which are not involved in the construction of the narrative and representational discourse.

    One could say that the works follow a procedural logic, removing themselves from the need to illustrate, putting into practice a deconstruction of hierarchies and chronological references that allow the work to remain open for action. These values do not obey an order of procedure or a predefined strategy, and the actions are not sequential or linear, existing rather as a function that changes in agreement with the parts or the whole.

    As this process or pathway moves onwards, the figures steal silently away, the marks of their presence becoming superimposed on the canvas, their meaning gaining expression. Our hands yearn to touch, and our eyes are drawn to an archaeological scrutiny in which we discover presences from the past, others that are in transformation, and others still that remain in existence. Consideration of the proximity of the material and the distance that the scale of the canvas imposes leads us to make a connection between the tactile and the visual, wandering between the intimacy of each fragment and the force of the work as a whole. In effect, with what can be seen, what is hidden, and the various layers and their intersected time periods, the painting of Rui Miguel Leitão Ferreira suggests that within a transitional field, everything moves in balance, without rules or stereotypes. The nature of the work does not offer references for us to hold on to, inviting us instead to consider the possibilities thrown up by a state of impermanence. This is what the painting demands, and it is what the artist provides. The same thing is invoked in the East, when to help position the hands during meditation we are asked to open ourselves to the possibility of being Neither Mountain nor Valley.

        Sérgio Fazenda Rodrigues


    21 DEC
    Krinzinger Projekte
    Vienna, Austria
    Schedules: Wed - Fri: 3pm - 7 pm, Sat: 11am - 2pm
    Address: Schottenfeldgasse 45, 1070 Vienna
    Krinzinger Projekte

    Thean Chie Chan, József Csató, Angela de la Cruz, Stefanie De Vos, Eisenberger Christian, Rui Miguel Leitão Ferreira, Hanakam & Schuller, Radhika Khimji, Jonathan Meese, Eva Schlegel, Erik Schmidt & Jannis Varelas.

    Galerie krinzinger shop
    Galerie krinzinger
    Vienna, Austria
    Schedules: Wed - Fri: 3pm - 7 pm, Sat: 11am - 2pm
    Address: Schottenfeldgasse 45, 1070 Vienna
    +43 1 5133006
    Galerie Krinzinger

    Welcome! Discover 74 Original Artworks, 158 Posters, 360 Contemporary Art Books and 91 Multiples. Established in 1971. We do ship worldwide!

    5 NOV
    8 NOV
    Miami Beach Convention Center
    Miami, USA
    Address: 1901 Convention Center Drive, Miami Beach, FL 33139, USA

    Marina Abramović, Atelier Van Lieshout, Monica Bonvicini, Chris Burden, Johanna Calle, Angela de la Cruz, Christian Eisenberger, Rui Miguel Leitao Ferreira, Franz Graf, Secundino Hernández, Martha Jungwirth, Waqas Khan, Radhika Khimji, Brigitte Kowanz, Angelika Krinzinger, Erik van Lieshout, William Mackrell, Maha Malluh, Jonathan Meese, Hans Op de Beeck, Bernd Oppl, Otto Piene, Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, Eva Schlegel, Erik Schmidt, Rudolf Schwarzkogler, Gavin Turk, Jannis Varelas, Mark Wallinger, Zhang Wei, Thomas Zipp.

    Dear Friends of Galerie Krinzinger,
    We are delighted to announce our participation in ART BASEL MIAMI BEACH art fair, which is taking place from
    December 5 - 8, 2019 in the Miami Beach Convention Center. We are looking forward to welcoming you at our booth F22.

    We will be reachable at the fair via:
    +43 676 324 8385 /

    Feel free to get back to us for any requests.
    Very best wishes,

    Ursula Krinzinger
    Thomas Krinzinger
    Michael Rienzner
    Lisa Pehnelt

    17 OCT
    20 OCT
    Paris, France
    Opening: 16 Oct 2019 - 19h (Invitation only)
    Address: Grand Palais 75008, Paris

    Marina Abramović, Monica Bonvicini, Johanna Calle, Angela de la Cruz, Christian Eisenberger, Rui Miguel Leitao Ferreira, Franz Graf, Hanakam & Schuller, Secundino Hernandez, Vladimir Houdek, Martha Jungwirth,  Radhika Khimji, Brigitte Kowanz, Angelika Krinzinger, Maha Malluh, Jonathan Meese, Hans Op de Beeck, Bernd Oppl, Otto Piene, Werner Reiterer, Eva Schlegel, Erik Schmidt, Mithu Sen, Gavin Turk, Erik van Lieshout, Jannis Varelas, Lois Weinberger, Thomas Zipp


    Dear Friends of Galerie Krinzinger,

    We are delighted to announce our participation in FIAC PARIS art fair, which is taking place from October 17 - 20, 2019 (Preview October 16, by invitation only) in The Grand Palais 75008, Paris.
    We are looking forward to welcoming you at our booth B52.

    We will be reachable at the fair via:
    Feel free to get back to us for any requests.

    Very best wishes,
    Ursula Krinzinger
    Thomas Krinzinger
    Emilie Kiefhaber
    Barbara Siegel

    19 OCT
    26 OCT
    Fuck the Digital
    Low Studios
    London, England
    Opening: 18 Oct 2019 - 6pm
    Schedules: Every Days: 2pm - 7pm
    Address: 1 Chingford Road. Walthamstow, London
    0044 783 791 0228


    A host of international contemporary artists and film makers explores what happens to the sexual body in digital networks. Where do our desires go when we feed them into screens, and how do digital cultures and aesthetics shape and change our sexual desires? The exhibition considers the horror of the technologized sexual body, but also shows how digital technologies provide new ways of bridging the distance between people.
    In showcasing the work of porn stars and sex workers, this exhibition also explores the political power of the sexual body. The sexual body is at the heart of contemporary understandings of fat, transsexuality and masculinity, crucial issues which are considered in this exhibition. The physicality of the sexual body is also an essential reminder of the real, bodily work which lies behind a digital culture characterized by seemingly effortless speed and disembodiment. The need to examine how digital technologies are changing our sexualities is urgent; so is the need to uncover the political power of the sexual body to imagine new worlds.  Contributors include major queer porn creator Courtney Trouble, international porn star Stoya, fashion photographer Lisa Carletta (Vogue), Lisbon artist Rui Miguel Leitão Ferreira and UK visual artists Andie Macario, Kate Davis and Michael Lightfoot.   Highlights of the exhibition include queer porn screenings, webcams, interactive photography and subversive digital reconceptualisations of the nude.