In the beginning was a dream. A midsummer night's dream, in the year 2016:

I dreamed of a deep blue painting that I was looking for in a fictive exhibition, but its place on the wall was empty.


Our time requires a new way of expression, an awareness of space and time that corresponds to the changing conditions of the digital era and has to be reflected in art.


The real space is pervaded by a new level today, the internet: a filigree mesh that spans the physical world, a virtual counterworld with its own laws, in which there exists no above and below, no day and night. It is a symbol of the ultimate non-space, a parallel universe where most social interactions take place. As a side effect, it also creates the basis for socio-cultural phenomena such as narcissism, loneliness and emotional brutalization.


Faces, bodies, faces of strangers again, distorted, deformed, beautified by filters, following alleged aesthetic rules, face-body-landscapes with almost infinite expansion. They are consumed indifferently by the recipient who becomes increasingly unresponsive to the visual overstimulation. Emptiness – is spreading; nothingness disguised as life.


Art also gets entangled in our present's swirling superficiality – no wonder in hysterical, politically unstable times like these. Today's people are driven by fear, craving for sameness.

Art has to break that repetitive cycle. The persistence in traditional aesthetic forms has to come to an end, artists shall dedicate their time to contemplation and the exploration of their personal state of mind in today's image-heavy society. Where are the sparks of poetry?


I, Latin ego. What is the ego? Something different to everyone. An inconsistently used term with contrasting philosophical, psychological, religious and spiritual connotations. To me, the ego is mainly characterized by its openness. An enigmatic projection surface, undefined blank space. Porous, fluid.


The ego plays a key role in my work. Symbolised by a specific abstract form that once emerged unintentionally through a random brush movement, it repeatedly appeared in my first abstract paintings and proved to be an integral part of the works; I started to miss it when it wasn't there. Mostly located in the centre of the paintings, at some point I used to call it ego.


Art always originates from the individual. He or she experiences, perceives something and feels the need to share it. Stimulus and reaction are unconsciously brought into accordance. The artwork as an expression of internalized reality serves as a semipermeable membrane, an initially individual stimulus becomes a collective experience in an expansive, space-filling way. The artwork as a manifestation of the artist's ego transforms itself into something new; being observed by the recipient, it continually alters its appearance and undergoes an eternal change.


The ego enters the room. 



(Petra von Kazinyan)








APRIL 04, 2023 - MAY 06, 2023


Vienna, Austria



Curated by Anne Avramut




NOMZ Gallery is pleased to present the group exhibition „Wild thing - you make my heart sing", curated by Anne Avramut. On display are works by 5 artists living and working in Vienna: Teresa Grandits, Studio Högl-Borowski, Ines Kaufmann, Petra von Kazinyan und Oksana Zmiyevska.


Much art was considered young and wild at the time of its creation: subjective, carefree and emotionally charged. At the beginning of the 20th century it was the Fauvists, later in the 80s the New Wild Ones. What they have in common: the figurative, wild and sweeping expression.

The song giving the show's title, „Wild thing," was written by Chip Tyler in 1965 and charted at No. 1 by The Troggs in 1966. The lascivious ode to silliness is based on simple progressions and sweaty lyrical moods and reflects a very optimistic worldview in a time that was marked by massive changes: violence, civil rights movements, rise of the counterculture, upheaval of social norms. A time that was very similar to ours in its radicalism, with themes that paradoxically still accompany us 60 years later.


The collected works of Teresa Grandits, Studio Högl-Borowski, Ines Kaufman, Petra von Kazinyan and Oksana Zmiyevska have one thing in common, despite different styles, media and iconographies: carefree and full of life, they free themselves from repressive features of an over-intellectualized art. Bold colors, impulsive gestures, daring appropriations and a very playful perception of reality celebrate a fresh and young attitude towards life: this art makes the heart sing and makes everything groovy.






Petra von Kazinyan x BUCHERER



Durch Social Media ist das Porträt mehr denn je in den Fokus gerückt - bei jedem Selfie stellt sich die Frage: Wer bin ich? Oder wer will ich sein? Wie will ich gesehen werden? Das weckt natürlich zugleich das Interesse an Porträts vergangener Epochen, den Menschen und Geschichten dahinter.

Ausgehend von Kafkas Tiermetaphorik setzt sich Petra von Kazinyan in ihren neuesten Arbeiten mit Identitätsentwürfen und Weiblichkeitskonstruktionen im postdigitalen Zeitalter auseinander – von Filtern und Apps geprägte zeitgenössische Ästhetikideale und Selbstinszenierungen bilden den thematischen Kern der Ausstellung.

Petra von Kazinyan lebt und arbeitet in Wien.
Die Werke der Künstlerin und Philosophie-Absolventin waren bereits in zahlreichen Ausstellungen und auf Kunstmessen im In- und Ausland zu sehen (u.a. Einzelausstellungen im Rahmen der Biennale in Venedig 2022 sowie 2019, Woman Art Award 2017 in Paris, Art Austria 2016 und Art Beijing 2012).


Bucherer Salon

Graben 12, 1010 Wien
10. - 16. Oktober 2022



PETRA VON KAZINYAN X BUCHERER / Solo show, Bucherer Art Salon, Vienna, Austria, October 2022













Like animals in a cage, we become witnesses of change in our adjacent realities. 

Borders are dissolving, time zones disappearing. 

Our self-projected images are available 24/7 while our egos deform and dissonate from our inner selves. 

As Kafka wrote in a letter to his friend Janouch – exactly a century ago – “the narration about animals serves 

as an expression of our desire for a free natural life.“ 

While our personal freedom declines, we enter a new era of digitization. Our natural bodies are translated into bits and pixels, as our purest human shapes are censored by algorithms. Petra von Kazinyan shows that the boundaries which were once exceeded by the arts are being established again.


The female image becomes an object – concealed, covered and drawn back to a longtime erased pattern of restriction. The cage we seemed to have left is being rebuilt. Our pictures get cropped and retouched. 

Carved like idealized sculptures, adapted to the current zeitgeist – a set of social constructs that once built the base for Kafka’s humanimal writing.


Working with subjects of old-masters, Petra von Kazinyan uses the element of the animal not only to create a version of an alter ego and additional layer but to add moments of disruption and confrontation. 

The renaissance-venus gets covered by brush strokes, showing a different ductus, simulating the algorithmic view on the female body in social media. Leaving gaps that are filled by the viewer’s own imagination. The already existing archetype is still present in our minds but taken away by technology and society. What is left is the question of our very own presence: Do we need to hide what defines us to get seen?


In still lifes of fruits and flowers, animals enhance the concept of artificial beauty with imperfection. What seems to have fallen out of time, is brought to life by butterflies and lizards. The concept of standstill is broken by the artist’s hand. Like Giotto’s fly, the lobsters and scorpios, the bunnies and dragonflies in Petra von Kazinyan’s work disrupt our customary habits of seeing and perception. Preserved by mesh, like historic sculptures, a three-dimensional experience is formed. Almost invisible in the two-dimensional space, the wire adds depth and structure. A transcendent deformation of the surface. A grid we are all living behind and carrying around with us – like Kafka wrote in 1922 to his friend Janouch: “There’s nothing left but a circumscribed life like in the firm. There are no moments of wonder, but only instructions, forms and regulations. People are afraid of freedom and responsibility. That’s why it’s better to choke behind self-made grids. The animal is closer to us than man. This is the grid. The kinship with the animal is easier than the one with humans.



(Katharina Pohler, art historian)



ANIMALIA, Petra von Kazinyan, Venice, Italy / 2022

guy Hepner Gallery, NYC

Introducing Petra Von Kazinyan

Petra von Kazinyan is an emerging artist based in Vienna, Austria. Her work focuses on the human ego and the identity it takes on in a post-modern world. Oscillating between abstraction and realism, her work ranges from lifelike portraits to expressionist strokes. Her latest series, ANIMALIA, features a duality between the two.

Introducing Petra von Kazinyan, Introducing Petra von Kazinyan

Introducing Petra von Kazinyan

Von Kazinyan describes the series as capturing fleeting moments. It plays at the intersection between the surreal and unexpected. The addition of grid-like netting adds a structured twist and alludes to the digital age we find ourselves in. Von Kazinyan’s historic base images are inspired by the “Galleries of Beauties” – collections of aristocratic portraits from centuries past. While representing the beauty ideals of the past, they also give the appearance of an ultra-contemporary aesthetic.

Each piece features a creature adorning the subjects’ shoulder. According to von Kazinyan, the animal element is inspired by the work of Kafka. She also attempts to capture the attitude of carelessness in which animals interact with humans and their artifacts. She describes, “the fly on the cheek, the butterfly on the arm or the dove on the monument.”

All of the pieces in ANIMALIA feature a pastel, organic shape. The closed, freeform circles embody the cyclical nature of life and human culture. They also add a layer of familiarity, using colors and shapes that are popular in contemporary design and decoration right now. Von Kazinyan illustrates how attractive simplicity becomes during a time that feels increasingly complicated. The addition of netting is based on the bird protection nets von Kazinyan would see on sculptures around the Viennese Hofburg Palace. The caged-in netting creates a barrier that feels neatly contained and yet unapproachable. It contrasts the casual coexistence of the creatures and human models. The netting can also be seen as mimicking the grid-based systems of a digital age.

For more information on work by Petra von Kazinyan, contact info@guyhepner.comcreate new email. 









As a universal dream symbol, water is commonly connoted with subconsciuos thoughts and emotions. Experiencing the EGO BALLROOM installation by German artist Petra von Kazinyan feels like entering a water dream while being awake: 

The installation captures the manifestation of the ego – open, fluid and porous, it creates its own reality, a fragile construct of surfaces, patterns and dreams. But what is the ego? Something different to everyone. An inconsistently used term with contrasting philosophical, psychological, religious and spiritual connotations. For Petra von Kazinyan, it is mainly characterized by its openness. An enigmatic projection surface, undefined blank space. Transcending the coexistence of fleetingness and eternity, a moment unfolds, and a place becomes a story space; the ego enters the room. 


 (Thirst catalogueLa Biennale di Venezia 2019, Pavilion of People's Republic Bangladesh / Edited by M. Rahman, V. Vannucci)














Es geht auf die Reise, und zwar nach innen: In ihrer aktuellen Ausstellung nimmt Petra von Kazinyan uns mit auf eine Expedition in unbekanntes Terrain. Unsere Zeit verlangt schließlich nach einem Bewusstsein von Raum und Zeit, das den veränderten Bedingungen des digitalen Zeitalters entspricht: Der reale Raum wird heute von der Online-Ebene durchzogen, netzartig mit der stofflich-physikalischen Welt verwoben, kennt sie kein Tag und Nacht, oben und unten, ist immer verfügbar, eine virtuelle Gegenwelt mit eigenen Gesetzmäßigkeiten. Der Mensch ist gezwungen, seine Befindlichkeit in der bildlastigen Welt von heute auszuloten – ausgehend von der Idee eines inneren Hotels als abstraktem Nicht-Ort mit leeren, zu füllenden Räumen wird in den gezeigten Werken die Transformation von Raum durch Erfahrung thematisiert. Im Mittelpunkt: das menschliche Ego, eine offene, enigmatische Projektionsfläche, unbestimmte Leerstelle. Das Kunstwerk als Ausdruck verinnerlichter Wirklichkeit fungiert als semipermeable Membran, raumgreifend wird ein ursprünglich individueller Reiz zum kollektiven Erlebnis.



Let's go on a journey, an inner journey – in her current solo exhibition, Petra von Kazinyan takes us on an expedition into the unknown. Our time requires a new way of awareness of space and time that corresponds to the changing conditions of the digital era: The real space is pervaded by a new level today, the internet; a filigree mesh that spans the physical world, a virtual counterworld with its own laws, in which there exists no above and below, no day and night. One is forced to explore his or her personal state of mind in today's image-heavy society – based on the idea of an internal hotel as an abstract non-place with empty rooms that have to be filled, the exhibited works thematize the transformation of space through experience, focussing on the human ego, an open, enigmatic projection surface, undefined blank space. The artwork as an expression of internalized reality serves as a semipermeable membrane, an initially individual stimulus becomes a collective experience in an expansive, space-filling way.






INTERNAL HOTEL, Petra von Kazinyan, 2019











"Petra von Kazinyan schafft einen abstrakten Raum, der keineswegs an den Rändern der Leinwand zu enden scheint: Die Formen sind mit der Bildkante überschnitten und scheinen aus dem Bild herauszutreten. Daraus resultiert ein für den Betrachter unzugänglicher Raum, der irritiert mit seiner Schwerelosigkeit und von dem man nicht weiß, wo oben und unten sein möchte. Irritiert, verloren und fasziniert stellt man sich die Frage - Was ist Raum? Oder besser: Was ist Raum heute?


Jene Interrogation ist ein wichtiger intellektueller Baustein in Petra von Kazinyans Schaffen.

Als studierte Philosophin mit starkem Gegenwartsbezug reflektiert die Künstlerin in der Serie der 'Abstracts' Machtpolitik, Territorialität, Zeit und Raum und nährt sich unter anderem von Ideen großer Denker wie Marc Augé und seiner Theorie des non-lieu und des kürzlich verstorbenen Zygmunt Bauman, wobei Letzterer mit seinem Liquid Modernity-Konzept fast grundlegend für eine Werkanalyse scheint. [...] Wichtig ist für das Liquid Modernity-Konzept vor allem die ständige Veränderung. Modern zu sein bedeutet zu modernisieren: kompulsiv und obsessiv. Es geht nicht mehr um das Sein - sondern vielmehr um das Werden. Das Komplette vermeidend, sind wir ständig 'post-something'. Liquid Modernity ist die Überzeugung, dass Veränderung unsere einzige Konstante ist und Unsicherheit die einzige Gewissheit.


Vor hundert Jahren, in der Welt Kandinskys, stand 'modern sein' für das Streben, ein absolutes und endgültiges Niveau an Perfektion zu erreichen. Heute bedeutet modern sein das ständige Jagen nach Verbesserung mit keinem vorstellbaren Endzustand in Sicht: Nur Veränderung ist permanent.


Petra von Kazinyan gibt uns in vielen Punkten die visuelle Antwort auf Zygmunt Bauman: Der schnelle Wandel in ihrem Werk, die Instabilität und Fragilität der Formen, welche ständig in Bewegung scheinen und Rastlosigkeit vermitteln, die Suche, die Thematisierung und die gleichzeitige Auflösung des Raumes. Aus jenen Werken spricht unsere Gegenwart."


(Jacqueline Mühlbacher, Kunsthistorikerin)












"Painting is the main medium of the artist's research, which also includes the use of photography and sculpture. Painting as a medium of natural expression, through which endlessly 'dealing with reality', wondering how the human being - as a social animal - acts in the present world. Different levels of perception alternate in scenery between dream and reality, past and future. At the center of her research lies the concept of identity in the era of social media, on a balance between reality and fiction, in a mise en scène of our own ego."


(Dr. Laura di Trapani, Art historian)












"Bei dem Knaben, der scheinbar buchstäblich aus dem Rahmen seines eigenen Bildes steigt, handelt es sich um die Arbeit ESCAPE (AFTER PERE BORRELL DEL CASO) der in Wien lebenden Künstlerin Petra von Kazinyan, die darin das Werk FLUCHT VOR DER KRITIK des spanischen Malers Borrell von 1874 zitiert. Es ist ein verblüffendes Motiv, weil hier die Grenze zwischen Kunstwelt und realem Raum überschritten wird. 


Der Porträtierte macht sich selbständig und steigt aus seiner Zeit in unsere reale Gegenwart hinein. Diese Art der Grenzüberschreitungen fasziniert die Künstlerin, so dass sie in ihren Arbeiten kunsthistorische Sujets - in altmeisterlicher Schwarz-Weiß-Malerei - aus ihren Bedeutungszusammenhängen reißt und mit farbigen, gestischen Übermalungen verbindet. Die so entstehenden ironischen Zitate bettet sie in unsere Gegenwartskultur ein. [...]


Der rote Faden in ihren Werken ist der individuelle, alltägliche Kampf des Einzelnen vor dem Hintergrund einer von globalen Krisenherden und einer Social Media-Übermacht geprägten Gesellschaft. Das Thema der Selbstverliebtheit und -darstellung spricht von Kazinyan explizit in ihrer Arbeit ALTWELTAFFE IN GLEICHFÖRMIG BUNTER UMGEBUNG an. Der Affe als Inbegriff einer moralisch minderwertigen Art symbolisiert in der Kunst Eitelkeit und Lüsternheit. Die Künstlerin steigert diese symbolische Bedeutung, indem sie das Tier inmitten knallbunter Süßigkeiten platziert und so die Darstellung charakterlicher Oberflächlichkeit auf die Spitze treibt."


(Dr. Anett Göthe, JOURNAL FRANKFURT, Ausgabe 20/16)



DISTORTED REALISM, Petra von Kazinyan, 2016











In ihrem neuen Bilderzyklus ALTER IDEM (basierend auf dem berühmten Cicero-Zitat vom „anderen Selbst“) setzt sich Petra von Kazinyan mit Identitätsentwürfen im Social Media-Zeitalter auseinander – Selbstinszenierungen, Alter Ego-Projektionsflächen und die Ambivalenz zwischen Täuschungslust und Wahrheitssuche bilden den thematischen Kern der Ausstellung.


Im Spannungsfeld von Kunstgeschichte und Gegenwart werden zeitlose gesellschaftliche Phänomene wie Narzissmus, Exhibitionismus und Eitelkeit beleuchtet, die heute präsenter denn je erscheinen – sind Selfies wirklich Abbilder unseres Selbst? Oder eher Wunsch- und Zerrbilder? Worin liegt die menschliche Sehnsucht nach Followern begründet, und welche Rolle spielen Anonymität und Privatsphäre?


"In ihren realistischen Gemälden, die sie als 'Oberflächen, in denen sich der Betrachter spiegeln soll' versteht, setzt sie sich mit der Korrelation von kulturellen Tendenzen und individuellen Lebenskonzepten auseinander – im Spannungsfeld von Kunstgeschichte und Gegenwart werden die Mechanismen und Symbole der Popkultur thematisiert, vermeintlich gestört von irritierenden Elementen wie Übermalungen, die sie als Metaebenen nutzt, um neben der Entpersonalisierung des Gezeigten auch eine Konzentration auf den philosophischen Gehalt des Bildes zu bewirken."


(Michael Ruben Minassian, Kunstinvestor-Magazin, Ausgabe 2/2015)



ALTER IDEM, Petra von Kazinyan, 2015











LA VIE EN POP deals with the machinery and the iconic symbols of our popular culture, using the element of ironic irritation and illuminating the art market’s star system in terms of socio-cultural memory patterns and different concepts of identification which are construed, conveyed or reinforced through educational media and the contemporary luxury goods industry.


"Mass production, mass consumption, mass hystery - it's all about mass phenomena today. And sometimes I ask myself: Where is the love? Or, like Thomas Mann once questioned - may it be that love one day shall rise, out of this universal feast of death, out of this extremity of fever?"











THE NEON KEYS is a series dealing with the different levels of perception, and the mutual relationship between the present and the past, dream and reality.


"Although our shared physical reality is the most common state of reality we experience, there is also the state of dreaming which can be seen as another consciousness-expanding playing field of the mind.


Inspired by the classical Old Master portraiture of the Dutch Golden Age, the child protagonists in THE NEON KEYS series symbolize the historical dimension of viewing reality by collecting experience, which provides a metaphor for our daily existential cycle of life, whereas the surreal element of the neon-coloured keys serves as a futuristic projection surface depicting the intangible intersection between dream and reality as well as the human transition through the past, present and the future."


(ART BEIJING Catalogue, 2012)


ART BEIJING 2012, Petra von Kazinyan