Show 10

About the artists:

Dan Vogt (b. 1989) is an artist based between Vienna and Athens, with a BFA from Concordia University in Montreal Canada (2014), and Magister from the Academy of Fine Arts Vienna (2022). Recent exhibitions have been held at KIN (Brussels), Shore Gallery (Vienna), Liste Art Fair (Basel). His work explores language, hierarchy, and authority through sculpture and installation.

Andreia Santana works between Vienna and New York. She holds an MFA in Studio Art from Hunter College, CUNY, with a Fulbright and Calouste Gulbenkian Foundation Fellowships. Her work has been exhibited at Serralves Museum of Contemporary Art (Porto); Oakville Galleries (Canada); Kunstraum niederösterreich (Vienna); MAAT (Lisbon); In Extenso (Clermont-Ferrand); Sans Titre (Paris); Wiener Art Foundation (Vienna); UNA (Milan); Scherben (Berlin), among others. Santana’s practice encompasses sculpture, installation, and performance, exploring ideas of gendered labor and challenging boundaries between the public and private, reality and fiction, and the personal and political.







About High rise / Castle:

Dan Vogt and Andreia Santana explore the ideas of tenting, building and structuring, through ephemeral sculptural situations and fragile objects. The show invokes thoughts about social structures and conditions: what is hidden and what is transparent, what is obvious and what should be read between the lines, what is seemingly reachable, and what collapses easily. These questions are present as metaphors and actual sculptural translations in the space.

The show borrows its title from two architectural fantasies: one of growth and accumulation, the other of permanence and protection. Both feel increasingly uncertain in a moment in which economic and social structures offer little of either. Andreia’s use of locally sourced scaffolding parts and modules—an architecture construction system intended to be temporary— is juxtaposed with pieces of glass that appear ornamental, vulnerable, or strangely precious; in one, the body of a dead moth sits inside a heart-shaped form. Dan’s Meeting turns instead to the promise of gathering: a group of figures occupies the space beneath a table although, by any reasonable measure, they could not all fit there. The table becomes both roof and cover, suggesting the contradictory desire to remain together under structures that cannot contain us—and the possibility that what happens underneath them remains deliberately out of sight.