Barbara Hoeller.

She was born 1959 in Vienna (Austria) and worked as a visual artist after her studies in Vienna (University (mathematics) and the University of Applied Arts). (1977-1984)

She had numerous exhibitions in Austria and abroad and was honored prizes. As an artist in residence she travelled to different countries in Europe and Asia.

In the 1990s she founds the female artist group “Vakuum” and the project space „sehsaal“ in Vienna (still heading).She pursues  cooperation in various artist collectives throughout career. Höller was also giving lectures at the University of Applied Arts and the Kunstschule Wien.

As a curator she organized larger exhibitions in Austria and abroad. (for exp. Künstlerhaus Wien)

The main field of her artistic interests is in the field of conception of geometric systems, demonstrated in space installations, objects, paintings, drawings, films or interventions in the public space. Living and working in Vienna (AT) and Bazsi (HU).

Exhibitions in Austria, Germany, France, Italy, Montenegro, Japan, Austria, Slovakia, South Africa, Singapore, Sweden, Czech Republic, Turkey, Hungary, United States of America, United Arab Emirates


City of Vienna, State of Austria, City of Budapest, City Gallery of Wels, City of Vöcklabruck; City of Krosno (Poland); City of Kranj (Slovenia); New Gallery Graz, Lentos Linz, University of

Applied Arts; Lower Austrian State Museum St. Pölten; Chamber of Labor Vienna; Strabag Art Forum; Vienna City Insurance; public transport; Society of Friends of Fine Arts; Kapsch Group; Collection Pichler, Collection Urban, and other private collections.

Landmarks 02

30 x 30 x 30 cm, 6 wooden boxes, painted with acrylics, pedestal is a glass cube of the same dimensions. 2022

Landmarks is a modular art work consisting of six painted wooden elements whose individual components can be combined in different ways, as in a game.

Originally, they are painted in a radiant strong yellow.

In strict succession, this colour is disrupted by a structured grey-green – as if flat shapes were inscribing themselves diagonally into the modules. The spatial positioning of these “disrupting areas” changes minimally from section to section, like a cinematic sequence of images. The angle of penetration varies as does their expansion. Narrow Triangles of varying sizes appear on the outer surfaces. They are shapes that refer to the surrounding space through their directionality.

By rotating, but also by stacking the modules at different heights, the image – yes, it is an image in space – can be presented in different ways.

The viewers are thus invited to grasp the totality of the imagery by taking a walk in the room. Moreover, the individual perception is stimulated to imagine other combinations.

“Imagination and reality are in one space”.

(Wittgenstein, Philosophical Remarks III/38)


“One can only search in space. For only in space does one have a relationship to the ‚there‘ where one is not.”

(Wittgenstein, Philosophical Remarks IV/43)

The base – a glass cube of the same size – can be regarded as part of the object. Landmark floats in space at a low height and thus allows the exposed surface of the top cube to be looked at.

Working in groups of works, I slowly develop different concepts by”researching and playing”, evaluating isolated features from one series and interweaving them with new thoughts in another series – all around painting, object, abstraction, structure and space.

Experimental and conceptual procedures alternate. In the exploratory material-based works, I observe the physical nature of paint and explore its physical limits. As a geometric painter and draftswoman, I am interested in minimalist structures and changeable modular systems in which lines usually occupy a central position.

The aim is to make spatial relationships perceptible through a result that is as open as possible. The human being in his social context as well as his psychological sensitivities can be included in all considerations. I try to

create structures that offer several options of recognition.

To enable participation in the making of an art work, I try to open up the autonomous solitary artwork and stage it as a focal point for experiences of an aesthetic and creative process.