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Krems/Bremen/Zug gallerypublication we initially still said: The

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Krems/Bremen/Zug gallerypublication we initially still said: TheMichael Kienzers works oscillate between site specific installation and autonomous sculpture. In the Minorite Church in Krems, he spanned oversized poles across the space; while in Zug, he entered into a dialogue between the architecture of the local art museum and Fritz Wotrubas Large Sculpture. In their play with gravity, statics, balance, and casualness, his sculptures are both fascinating and irritating and serve as documents of his rich

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we initially still said: The heart has no knees

“ Who doesn’t immediately think of Uma Thurman in „Kill Bill“

Lilly Moser Text Theo Altenberg

catalogue (Maria Brunner

Krems/Bremen/Zug gallerypublication we initially still said: TheMichael Kienzers works oscillate between site specific installation and autonomous sculpture. In the Minorite Church in Krems, he spanned oversized poles across the space; while in Zug, he entered into a dialogue between the architecture of the local art museum and Fritz Wotrubas Large Sculpture. In their play with gravity, statics, balance, and casualness, his sculptures are both fascinating and irritating and serve as documents of his rich

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