DIVINE ACTION AT A DISTANCE
Ester Gašparová, Jakub Jansa, Andrea Luzi
Curated by Niki Bernath
Opening on December 17, 2025 / 6 PM
18.12. 2025 - 31.1. 2026
VUNU Vienna
Everything comes from God
It doesn't matter if you think about them with a "g" or a "G".
Como Un G
It's like,
g-funk vs G-unit
guns vs guns
obscenity vs decency
)Shaytan( الشيطان Azrá'íl) vs( عزرائيل
American Cement Building vs AT&T Long Lines Building
I prefer the Trellick Tower, anyway
Looking down for people from the 31st floor
Dios Es un Stalker
If someone wants to convince me that the evil chasing me for years through nights and mornings in my childhood bed was just an intricate interplay of neurotransmitters, then we should probably agree that the sky above our heads
is just a monumental LED screen
I was watching a man telling the most baroquesque recipes on a medium-large LED screen while a black Friesian was sleeping on my right shoulder
and a white Camarillo crying on my left one
I am grey الحصان العربي (al-ḥiṣān al-ʿarabī)
Cuando el caballo entra a Troya
Love letters never sent Threat letters never read
Only I will choose when and how I will pay However, there is no Apple Pay for
a felony nor fallacy
Condolence letters torn apart
Que se muere, que se muere
ESTER GAŠPAROVÁ
is a Vienna-based artist working with sculpture and installation. Her practice is grounded in the artistic research of political symbols, folklore, ritual practices, and post-socialist history. Working with ceramics, concrete, steel, and industrial materials, she is interested in the tension between material fragility and monumentality. She observes how ideological forms are preserved, distorted, or emptied over time. Her work treats historical references as unstable residues, focusing on the afterlives of power, belief, and collective memory.
Her work Ostnáč exposes the uneasy boundary between care and domination embedded in pastoral technologies. Taking the form of an enlarged replica of a 19th-century spiked dog collar, the sculpture references an object worn by shepherd dogs to protect livestock from wolves while simultaneously asserting human control over animals.
Ester Gašparová, Ostnáč, 2022, ceramics, various sizes
JAKUB JANSA
is a Prague-based artist with a distinctive approach to combining film, installation, and performance. Through a nuanced and reflective sensibility, his work raises questions about the mechanisms of social structures and the ideologies shaping them.
A short film Pumpkineville follows Celerist, a noir detective trapped in a surreal world akin to The Truman Show, where a Styrian pumpkin—symbolizing Austria’s “green gold”—remains unaware of its artificial surroundings. Jakub Jansa crafts a satirical allegory of neoliberalism and nationalism, using human-vegetable beings to expose class hierarchies and ideological mechanisms of the Global North.
Pumpkineville deconstructs the myths of tradition and identity as tools of political manipulation, revealing how false nostalgia and illusions of stability fuel contemporary nationalist ideologies.
Jakub Jansa, Pumpineville, 2024, 15 min, 4K
ANDREA LUZI
At the foundation of Andrea Luzi’s artistic practice (lives and works between Milan, Filottrano, and Vienna) pulses a visceral and archaic energy that traverses matter and spirit like an astral élan vital, boundless and timeless.
Andrea Luzi works at the edge of the recognizable. His paintings open onto abstractly dystopian landscapes where organic forms collide with old cybernetics, where the surface multiplies into sprouting concretions and simulacra drifting through a cosmos without stable coordinates. The narrative of decadence is never nihilistic, it is exacerbated, made precious through color: on grounds of mist and swamp, new primitive idols reassemble their cults, lavish architectures built from the wreckage of the past.
Andrea Luzi, Untitled (XXIII), 2025
oil on wooden panel, 24 x 18 cm
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