Love’s Practitioner
curated by Julika Bosch
11.09. - 28.10.2026
Renate Bertlmann, Alice Channer
Talia Chetrit, Ja Jess, Iosif Király
Aurora Király, Meret Oppenheim
Sarah Pucci, Haiqing Wang
Opening weekend
September 11 – 13, 2026
Friday 11, 12 – 9 pm
Saturday 12, 11 am – 6 pm
Sunday 13, 11 am – 6 pm
Performance
“Donor: The Rumours Are Heirs” by Ja Jess
11.09.2026, 20:00
For the opening of the exhibition Love's Practitioner at Galerie Steinek, curated by Julika Bosch, Ja Jess develops a performance tied to the genetic body of text of a virtual fertilization. In Jess's singing, DNA sequences responsible for communication, for language and voice formation, overlap and layer.
Opening Times
Tuesday – Friday, 12 – 6 pm
Saturday 12 – 4 pm
Part of the gallery festival with international curators in Vienna
Iosif Király, Silver Lips, 1997, Gelatine Silver Print, printed by the artist on baryta paper, 60 x 40 cm, Edition of 5 +1AP, Foto Iosif Király, Courtesy Anca Poterasu Gallery
For the opening of the exhibition Love's Practitioner at Galerie Steinek, curated by Julika Bosch, Ja Jess develops a performance tied to the genetic body of text of a virtual fertilization. In Jess's singing, DNA sequences responsible for communication, for language and voice formation, overlap and layer.
The exhibition Love’s Practitioner brings together works by several generations of artists who explore emotional bonds and love as an active connection with others, as well as extension of the self through others. In this context, love is regarded as a physical and mental process of attunement to and with others: it is understood as a continuous act of care that nurtures and sustains relationships and integrates the growth and well-being of others with one’s own state of being.[1]
Some works in the exhibition explore metaphors, symbols and emotional imagery often associated with love—the colour red, women’s shoes, perfume, rose thorns, painted fingernails, or secret notes—without lapsing into clichés. Despite the powerful influence of such imagery, love is always felt in completely new ways. The exhibition brings together artistic perspectives that aim to establish connections and seek to liberate themselves from stereotypical interpretation or gender-based attribution.
Artists of different generations, from Ja Jess (b. 1998), Haiqing Wang (b. 1994), Talia Chetrit (b. 1982), Alice Channer (b. 1977), Aurora Király (b. 1970) and Iosif Király (b. 1957), to Renate Bertlmann (b. 1943), Meret Oppenheim (1913-1985) and Sarah Pucci (1902-1996), each develop their own visions of contact zones. Through photography, collage, sculpture and performance, they explore processes of self-realisation, emotional and physical closeness, familial forms of affection, and the transmission of connection across generations. In this context, love does not appear as a romantic ideal, but as an everyday practice that is manifested in touch, care, empathy, memory, artistic collaboration, or in reading and writing—as a process of engaging with one another. At the same time, this represents a turn towards feeling, sensing, and remembering, which contrasts the concept of a definitive, coherent self with a living, open process.
For the opening of the exhibition, Ja Jess has developed a performance linked to the genetic text of a virtual fertilisation. In Jess’s singing, the DNA sequences responsible for means of communication (language and voice production) overlap.
[1] Love is seen here as an active connection, extensively described by Bell Hooks, who linked her description to a quote of M. Scott Pecks (with an echo of Erich Fromm): „the will to extend one’s self for the purpose of nurturing one’s own or another’s spiritual growth.“ In Peck, M.S.: The Road Less Traveled, 1978, quoted by Hooks in: All About Love: New Visions, New York, 2001, p. 4. The exhibition title is also connected to Hooks, p. XX.
Renate Bertlmann, Zärtliche Berührungen - Tender Touches – Tableau, 1976-2026, Digital-Fotografe kaschiert auf Dibond, 70 x 68,92 cm, 2/5+2 AP, © Renate Bertlmann, Bildrecht Wien
Alice Channer, Climber (Sprinter), 2025, enamelled, chromed and naked rose thorns, Chrome Front Grill 5 pcs S.STEEL For Mercedes SPRINTER W907 2018-UP', 56 x 3.5 x 311 cm, Foto & Courtesy of the artist and Konrad Fischer Galerie
Talia Chetrit, Blue Angel, 2024, Inkjet print, mounted on aluminum, 80,6 x 49,9 cm, 81,2 x 55,5 cm (framed), Edition: 1/4 + 2 AP, Foto Tino Kukulies, Courtesy die Künstlerin und Sies + Höke, Düsseldorf
Meret Oppenheim, Handschuhe mit Adern, 1985, Book with colored silkscreen on a pair of goatskin gloves 25,5 x 21 cm, Edition 34/150 + 12 E.A., Foto & Courtesy Levy Galerie
Ja Jess, off a name, 2026 © Je Jess
Haiqing Wang, Yours, 2025, Seleted books, inserted images, © Haiqing Wang
Sarah Pucci, Untitled 1980s, perles, paillettes, épingles, mousse, médaillon, 20 x 18 x 9 cm, © Marc Domage, Courtesy The Estate of Dorothy Iannone
