Since 2023, Villa Mautner-Jäger has been used as an exhibition venue as part of a temporary use project. How did this come about, and what is the idea behind the concept?
Ema Kaiser: Friends of mine bought this property about three years ago. They had to wait for a permit from „Denkmalschutz“ (Monument Protection) before starting the renovation. They’re great art lovers and supporters, and I said to them, “Why don’t we use the villa in the meantime as an exhibition space? Kind of a modern-day patronage project, would you be open to that?” They immediately said yes. The house was pretty much empty anyway, and they loved the idea of doing something other than a typical white cube gallery. I’m drawn to spaces with character, especially those that are somehow forgotten or abundant in history.
The idea makes even more sense when you know the villa’s past. It was built in 1901 for Hertha Mautner-Jäger, who came from the Mautner-Markhof family of industrialists and was married to the physicist Gustav Jäger. She was committed to feminist issues, serving as a board member of the Federation of Austrian Women’s Associations and co-founder of the New Vienna Women’s Club. She also organized salons for the Viennese art and cultural scene at the Gartenschlössl. Gustav Klimt lived in the main house next to this one, and Egon Schiele also visited. It was a vibrant cultural hub, a meeting place for the Viennese Kunstszene.
So this project was really about reviving that spirit. And what’s happening with the villa now?
Ema: The exhibition program unfortunately stopped last year. The owners are now selling the property, permit included. But they made a special exception for Javier. They met him, immediately fell in love with his art, and wanted to support him. So we agreed to give him access to the villa as a temporary artist-in-residence. He moved in in June and will be here for three months, working around the clock, surrounded by the spirit and energy of this place.
How did you and Javier meet?
Ema: I organize an annual charity art auction. The goal is to support women-led businesses in Africa. Javier submitted work one year ago, and I was immediately struck by how he applied—so kind, respectful, and modest. A month later, we randomly met at an art event. One of his collectors, who’s also a friend of mine, brought him along and introduced us. The connection was instant.
Javier, can you tell us a bit about yourself?
Javier A. Greschitz De La Cruz: I’m half Peruvian and was born here in Vienna. When I was ten, we moved to Peru. My grandmother had a house she built in a township there, so we moved in to kind of “reset.” Eventually, we ended up moving back in 2014, when I was fourteen. I never stopped drawing. Art was always there. At nineteen, I chose to work with oil paint.
Which themes are central in your work?
Javier: My work centers on the collective instincts of animals. Growing up, I saw a lot of people choose paths of isolation, addiction, or despair. So the sense of collective support became very important to me. Animals mirror human behavior, and I use them to tell personal and societal stories, often autobiographical.
My dog, for instance, influenced me more than I ever imagined. I got him at a difficult time. He became my „therapist“ in a way: he showed me calm, taught me gratitude, and helped me focus on small joys.
One recurring question in my work is, how do you exist within a group? Have you seen? Or are you just absorbed into the mass? One of my recent paintings shows a herd of animals crossing a crocodile-filled river. It’s a metaphor for surviving difficult times. Alone, they’d never make it, but together, even with risk, they have a chance. That tension, the vulnerability and strength of collectivity, is key to my work.
How does this reflect broader social structures?
Javier: There’s ambivalence. Within collectives, we love, we fight, and we survive. I see that mirrored in society. The fast pace of life, the constant movement, the need to adapt.
How does it feel to work in such a large, historical space such as Villa Mautner-Jäger?
Javier: It definitely affects my thinking. When I have more space, my thoughts become bigger. But I struggle with routines. When I paint, I go all in: no breaks. I’ve been here a month now and haven’t taken a day off. Sometimes I sleep on the floor. I just get lost in it.
Javier, can you tell us more about your use of color and technique, and process?
Javier: The experimental parts of my work usually emerge from a very structured beginning. I put a lot of mental and technical preparation into each painting. Sometimes I start digitally: on an iPad or a plotter, or even just with paper sketches. I begin with a feeling, and from there I start to build something figurative. Once that initial structure is in place, I often get lost in it. That’s when the expressionistic and intuitive layers take over. I think it’s important to know the rules before breaking them—and I studied them thoroughly, especially the techniques of Flemish painters, Rembrandt, and also the Impressionists. I was fascinated by the volume and light they created in oil. That gave me a strong foundation I could then break apart in my own way.
I always start with a foundation, a kind of not-quite-black made of layered colors like raw sienna and burnt sienna. It’s more like a shadowed, alive darkness rather than flat black. From there, I build up the figures with color approaches that reflect light or absorb it.
I use very minimal color and light brushwork because I want to create depth and contrast. Some parts are matte, some vibrant. It’s all about illusion: making elements recede or pop forward. That’s how the figures come alive.
So you begin with a plan and then let go of it?
Javier: Exactly. The painting starts speaking back to me at some point. That’s where the excitement begins, when it becomes intuitive. I work that way to never lose the thrill of creation. I think that’s why many figurative painters eventually end up in abstraction. You explore so much through form that you reach something more direct, something you can only access without overthinking.
And how do you know when a painting is finished?
Javier: That’s always a hard question. I know it’s finished when I feel the painting—when it feels alive, when it has a presence. Sometimes I sketch beforehand; sometimes it just evolves. And then I let it rest. Weeks or months later, I might return to it—add shadows or highlights, fine details. But often, I just leave it as it is.
Are there self-portraits in your work?
Javier: Yes, I’ve painted three self-portraits so far. The first one was in 2022. I used to question masculinity a lot. My first self-portrait features a small child, abstract, but loaded with meaning. It’s about confronting and softening those ideas of masculinity I once clung to as protection.
Do you listen to music while working?
Javier: I used to listen to a lot of music, but lately I’ve been into yoga sounds and vibrations: something ambient that fills the space without pulling my attention away. It keeps my body occupied while I focus.
I often work on four paintings at once now, so that restless energy helps me shift between them. My painting reflects how I feel in the moment, but I only really understand those feelings once the work is done.
What fascinates you about Javier’s work, and the way he works?
Ema Kaiser: I love his dedication. He’s sacrificial to the cause. For me, he’s a born artist: you can feel the fire. What moves me is when someone opens up through their work. Of course, his paintings are aesthetically beautiful, and the technique is exceptional. But that’s just a bonus. There’s a huge story behind each piece. That’s what touches me most.
You’re currently working toward a solo exhibition here at the villa. Can you share something about the concept?
Ema: It’s very much a process-based, in-situ exhibition. Javier is already thinking about how to match the works to specific rooms. It’s important to us that it feels natural and site-specific. This isn’t a gallery: it’s a lived space with a strong spirit. So we’re going with the flow and letting the villa tell us where things belong. The exhibition will be event-based.
What makes this show different from others you’ve worked on?
Ema: I’ve worked for galleries, museums, and foundations, and I’ve always found that event-based exhibitions are the most memorable. There’s this concentrated energy, this sense of urgency and presence. It’s about creating a special experience.
I believe Javier is one of the great talents of this generation. I can’t wait to see people’s faces, see jaws drop. I know this show will touch people deeply. The beauty, the emotion, the spirit of it: it’s going to be unforgettable.
What happens after the exhibition? Any plans for fall?
Ema: Once the show is over, the real journey begins. I want to work with Javier internationally. And I want to bring Javier into new networks. Each country sees an artist differently, and that experience is crucial for growth.
Solo Exhibition: Javier A. Greschitz De La Cruz
Opening: 8 September 2025
Venue: Villa Mautner-Jäger, Landstraßer Hauptstraße 140/142, 1030 Vienna
Javier A. Greschitz De La Cruz – www.delacruzandre.at, www.instagram.com/javiergre
Ema Kaiser – www.emakaiser.com, www.instagram.com/dr.emakaiser
Javier A. Greschitz De La Cruz is an artist born in Vienna in 1999 who grew up in Comas, Peru. His work often features animals like cows, horses, and dogs in suggested, organic landscapes, exploring social and emotional dynamics. He is known for his detailed and expressive depictions of animals, contrasting gentle tones with heavier forms.
Dr. Ema Kaiser is a freelance art consultant and cultural manager with a focus on female empowerment for companies, public institutions, and private individuals.
