Exhibitions

Niklas Lichti is an artist based in Vienna, co-publisher of the web magazine The Critical Ass and founder of the short-lived project space Geld in London.
Across a range of media including sculpture, drawings, text and video, Lichti employs notions of elliptic storytelling and montage, as well as an admiration for literature, stand-up comedy and economic theory to explore the plight of liberalism, social currencies, (artistic) self-representation and the politics of intimacy and mental health.

Wed–Sat 12–6 PM

Niklas Lichti Über, 2022 21 × 29.7 cm Olive oil, ballpoint pen and Pencil on paper, artist frame Courtesy: The Artist and Layr

Bernhard Buhmann, Jagannath (Wagen), 210 x 150 cm, Öl/Acryl auf Leinwand, 2022

Vernissage: November 8 2022, 19 h, artists present, curator and publicist Dr. Björn Vedder speaks about the exhibition.
Exhibition from: November 9 2022
Tue – Fri 12 – 18 h, Sat 11 – 14 h

Krinzinger Schottenfeld is pleased to present Re-Retreat, Erik Schmidt’s latest solo exhibition, which adds new elements and materials to the elusive paradise he created with his previous project, Retreat. Born in 1968, the polyhedral German painter’s creative explorations are often informed by narratives of his travel experiences and his desire to illustrate what he perceives through encounters with foreign cultures.

The exhibition takes us on a six-week journey the artist made to Sri Lanka last spring. Together we travel to the villages around the capital Colombo, where mass protests began in March 2022 and spread throughout the country. Protests by people who – thirteen years after the end of a long civil war – are still recovering from the crisis and are now struggling with an economic crisis that includes power outages and shortages of basic goods such as fuel, food and medicine.

In No Crisis, a series of drawings based on photographs taken as he roamed the streets, Schmidt identifies individuals from the stream of people engrossed in their rhythms of life or activities and portrays them on the pages of newspapers from which he receives daily national news. The result is an extremely expressive juxtaposition of thick brushstrokes that provide a real insight into the local community and, despite the limited color range and high humidity of the area, also show the “political ground” of that community. Some portraits, on the other hand, are developed later in his studio, using the particular technique of painting over printed canvas to depict his dynamic, optical filtering of the world.

Overwhelmed by an environment with such political connotations, even the painter’s fascinated gaze is compromised. In Palm Bombs, small sketches and large-scale paintings based on photographs of palm trees taken during the residency at One World Foundation, nature itself is transformed into a war zone. Schmidt’s perspective allows the viewer to look down on the palm trees, which is normally forbidden to avoid damage from falling coconuts. The impasto technique here overshadows the photograph with an aggressive note, and the paint achieves a tangible sculptural aspect by transforming internal vibrations into pure, disturbing color: Fruits thus become bombs, palm leaves their explosive jets.

What is left of these explosions lies on the floor of the room, perhaps fallen from the same trees, they seem like weapons and hand grenades. More newspaper pages lie on a hanger, overwritten with catchphrases, as if desperately trying to erase the news they are forced to read. The expectation that this palm house is a paradise fades and brings us back to the violent failure of civilization.

The futile search for a place of refuge is also echoed in the two videos Fine and Inizio, thematically related to the paintings but set in a different geographical and temporal context. The scenario shifts from tangible reality to Schmidt’s own inner dimension, the lost paradise in which the illusion of a place of refuge is once again unattainable. A kind of self-exploration through feelings of guilt and catharsis, which are undoubtedly due to the restlessness of his life’s journey, finally result in the conscious realization that there is no longer any place in the world for retreat.

Text: Silvio Saraceno

Erik Schmidt, Suham Turtle, 2022, Öl auf Fine Art Print, auf Leinwand, 150 x 70 cm, courtesy Galerie Krinzinger und Erik Schmidt

Vernissage: November 9 2022, 19 h, artist present
Exhibition from: 10 November 2022
Tue – Fri 12 – 18 h, Sat 11 – 16 h

Galerie Krinzinger is pleased to announce the first solo exhibition of Nevin Aladağ in its premises. The exhibition Tuning combines several series of works by the installation and performance artist, who was last shown in a large solo exhibition at Villa Stuck in Munich. In Social Fabrics, the artist combines high-quality hand-knotted carpets from Iran, Turkey, and China with machine-made mass-produced goods to create abstract collages. She juxtaposes the materials used, such as wool, silk and synthetic fabrics, as well as their processing and origins, on an equal footing, combining them into a new whole. The ornament as a unifying element is also found in the hexagon-shaped ceramic modules of the Jali series, into which the artist inscribes patterns drawn from memory. The modules function as building blocks that the artist installs to create wall works and installations such as the first at Documenta 14, 2017.

Leaning Wall shows imprints of body parts in Meissen porcelain, mounted like the handles of a climbing wall. The negative forms turn the climbing wall into a “leaning wall.” Nevin Aladağ is interested in the organic and fragile nature of the material, as well as the fit in terms of gender identity. A version of Leaning Wall has been on view as a permanent installation at the Robert Koch Institute in Berlin since 2014. The series of works Stiletto was created during the performance “Raise The Roof” on the occasion of the Venice Biennale 2017. In the performance, the artist had female dancers dance on copper sheets. Each work bears the title and duration of the song to which it was danced. Her furniture and resonating bodies transformed into musical sculptures, such as Frame Harp and Hanger Harp, and Resonating Space (Square Bells 90) refer to your “Music Rooms” and “Resonating Spaces” as at documenta 14 in Athens and most recently in the exhibition Sound of Spaces at Villa Stuck, 2021. The installation Tusch-carneval notes the artist a Tusch (fanfare) by means of casts of cannonballs from the 17jh. Nevin Aladağ draws here the circle from the musical reinterpretation of the cannonball back to the original context, because the shooting of the cannons was initiated with fanfares. The objects of the Rehersal series are related to the participatory installations of the Stage series – stage curtains made of artificial hair, shown at the Arter in Istanbul, 2012.

Nevin Aladağ was born in 1972 in Van, Turkey, lives and works in Berlin,
She studied sculpture at the Munich Academy. Aladağ has received many awards, was a participant in Documenta 14 in 2017 with one of her “Music Rooms” and participated in the Venice Biennale in the same year with the performance “Raise The Roof”. Since 2019 she is professor of sculpture in motion at the Dresden University of Fine Arts. Selection of exhibitions: Barakat Contemporary, Seoul (solo) 2022, Lenbachhaus, Munich,2022, Villa Stuck, Munich (solo) 2021, Tinguely Museum, Basel, 2021, Museum, Singapore, 2021, Kunstmuseum Bonn, 2021, Arter, Istanbul (solo), 2020, Southbank Centre, HENI Project Space, Hayward Gallery, London (solo) 2020, Hamburger Bahnhof, Berlin, 2020, SFMOMA , San Francisco Museum of Modern Art, San Francisco (solo), 2019, Albertinum-Staatliche Kunstsammlung, Dresden, (solo) 2018, Salzburger Kunstverein (solo), 2018, Lentos Kunstmuseum Linz (solo), 2018, KÖR Kunst im öffentlichen Raum, Vienna (solo), 2018, Rückwand der Kunsthalle Basel, 2014 (solo).

Nevin Aladağ, Social Fabric, compass, 2022, carpet pieces on wood, wooden frame, ø 134 cm, d 4 cm, courtesy Galerie Krinzinger and the artist

Vernissage: November 9 2022, 19 h
Exhibition from: November 10 2022
Tue – Fri 12-18 h, Sat 11-16 h

Zhang Wei, Z-AC2117, 2021, oil on linen, 150 x 200 cm, courtesy Galerie Krinzinger and the artist

Group exhibition with:

Tina Lechner, Nigel Gavus, Ilkin Beste Cirak,  Andreas Trobollowitsch, Jurgis Gecys, Dénesh Ghyczy, Claudia Märzendorfer, Laura Limbourg, Michael Ornauer, Michael Strasser, Markus Huemer

Opening exhibition of the new location

Opening Times: by appointment

Copyright Kunst-Dokumentation.com / SUPPAN Wien

Curated by Yana Barinova
Curatorial assistance: Lina Barinova
Stage Design: Lina Barinova, Oresta Skop

The exhibition of Ukrainian artists is dedicated to the irresistible will to live, even under tragic circumstances. The title of the exhibition symbolizes contrasting meanings: war and peace, life and death, and biophilia as the passionate love of life and of all that is alive as defined by Erich Fromm.

The objectives of the exposition are to reflect on the emotional truth behind the war through artistic expressions and to evoke a desire to contribute to peace in Ukraine, Europe, as well as in the world.
It is about the will to live.

Artists
Halyna Andrusenko, Gera Artemova, Julia Beliaeva, Mykola Bilous, Olia Fedorova, Maria Kulikovska, Katerina Lisovenko, Yarema Malashchuk and Roman Himey, Daryna Mykytiuk, Danylo Nemyrovskyi, Ievgen Petrov, Katherine Reznichenko, Sana Shahmuradova, Olga Stein

In cooperation with Spilne Art Gallery

Katherine Reznichenko, When Russians Kill, Ukrainians Save, 2022

In 2014 Russia invaded Ukraine. The east of the country was bombed. People started to cover their windows with simple patterns using duct tape to protect themselves from explosions while bombing: A simple practice that could save a life. Daria Koltsova became interested in that practice and began her artistic research. Once, she found a photo in a World War II archive that depicted a house with taped windows. The patterns were all different. Their diversity revealed an impressive human ability to be creative while facing a deadly danger. Daria created the installation THEORY OF PROTECTION to convey our vulnerability to the war and to emphasize the disillusionment in any kind of protection.

Daria Koltsova, THEORY OF PROTECTION 2014-2022, Salon Karlsplatz, Künstlerhaus, 2022

LOVING OTHERS aims to help make artist groups and their different collaborative models and forms of social bonding and solidarity be productive, as well as to tell stories of constructive failure. The exhibition sees itself as an experimental field for observing and comparing collectives, artist groups, and even temporary collaborations in a differentiated and engaging way.

artists: Bar du Bois, ____fabrics interseason & friends, FEMPLAK, Forensic Architecture, Group Material, House of Ladosha, INVASORIX, Karpo Godina, Suzanne Lacy, The Nest Collective, ruangrupa, Total Refusal, Anna Spanlang & Klitclique, ZIP Group

Karpo Godina, On the Art of Loving or a Film with 14441 Frames, 1972, Filmstill Courtesy of Slovenian Cinematheque

She was a celebrated star of the film and theater, a modern woman of the 1920s, politically active and perhaps the most portrayed woman of her time. The roles of Tilla Durieux (1880–1971) were as varied as the artists for whom she posed as a model, among them Auguste Renoir, Max Slevogt, Lovis Corinth, Franz von Stuck, Charley Toorop, Ernst Barlach, Oskar Kokoschka, Max Oppenheimer and the photographers Lotte Jacobi and Frieda Riess.

The Vienna born Ottilie Helene Angela Godeffroy was drawn to the stage from a young age and changed her name – derived from her paternal grandmother – to Tilla Durieux. Following her actor’s training in her hometown and stints in Olomouc and Wroclaw, Durieux made it to Berlin in 1903 to play under Max Reinhardt. After playing small roles, she celebrated her breakthrough as Salomé in the eponymous play by Oscar Wilde, marking the birth of the myth of Tilla Durieux. She subsequently appeared in all the major European theaters, and liked to take on new, challenging roles not only on the stage but also in front of the camera.

Through her first husband, the artist Eugen Spiro, Durieux first came into contact with the visual arts and the corresponding circles which she herself would become a part of via her second husband, the art dealer and publisher Paul Cassirer. Durieux remained active as a collector and model for artworks until the onset of Nazi rule in Germany. Her commitment extended not only to art but also to social and political issues, whether during her time in exile in Zurich during World War I, during the turmoil of the Munich Soviet Republic or as a member of the Zagreb resistance against National Socialism.

The comprehensive exhibition at the Leopold Museum is the first to investigate the fascination Tilla Durieux held already for her contemporaries, and to explore the traces of this scintillating personality through portraits of all media. Featuring rarely exhibited archival material and international loans, the presentation highlights Durieux’s career, her social and artistic milieu as well as her life shaped by political upheaval.

The exhibition was created in cooperation with the Georg Kolbe Museum and the archive of the Akademie der Künste, Berlin.

EUGEN SPIRO, Dame mit Hund (Tilla Durieux), 1905 © Privatsammlung, Foto: Leopold Museum, Wien © Bildrecht, Wien 2022

Women’s hands with pink artificial nails, decorated with logos of luxury brands, caress discarded garments. They haptically explore every detail of the textile, literally caressing it. Next to it, a metal clothes rack that has become non-functional because it has been bent appears.

Stefanie Moshammer’s ongoing series We Love Our Customers plays with our perception of today’s consumer and brand culture. In a humorous and perceptive way, the artist examines our relationship to garments between tradition and the present, between appreciation and mass product. The works gathered in the exhibition flirt with this dichotomy of values and the contrast of organic materials and alienated, machine-made set pieces. In addition to digitally generated texts and found-footage videos, the artist uses her grandmother’s collection of fabrics as source material.

Curator: Sophie Haslinger

Stefanie Moshammer, She is but a trendy deal, 2022, Full HD, color, sound. Video still © Stefanie Moshammer

The mumok collection contains nearly five hundred works related to animals—a considerable quantity that raises the question of what kind of zoo the museum in fact is. What is kept, researched, and displayed both here and there to protect “wild life” and the “freedom of art”? And in whose interest?

The Animal Within addresses such questions and uses the popular appeal of animals to reflect on the nature of sex, hunger, and affection, as well as on family and gender relations, socialization and domestication, and, not least, on the enduring impact of colonial history. Who leads whom on a leash? Who clips whose wings? Who scratches whose back?

The exhibition is thus less about animals than about bodies, moving or still, reclining or standing, crouching or crawling. The animal as a motif serves as a starting point to get to a materialist understanding of art and life. For in the Western world, “taming and framing” is what we do to mark our territories and claim our subjectivities.

Curated by Manuela Ammer and Ulrike Müller

Ursula: Puppe, 1970. mumok - Museum moderner Kunst Stiftung Ludwig Wien, ehemals Sammlung Hahn, Köln © Museum Ludwig, Köln

Nowadays, competition is mainly associated with sport, the economy, evolution theory, architecture, or various types of TV contest. Ever since the days of ancient Greece, however, competition has also played an important role in the world of art.

Our exhibition shows how in antiquity, the Renaissance, and the Baroque, artists competed with one another and how, in addition, they measured themselves against ancient models. This kind of competition has brought forth some of the best-known works in the history of art.

Peter Paul Rubens (1577–1640) ENTFÜHRUNG DES GANYMED 1611/12 Leinwand; 203 × 203 cm Fürstlich Schwarzenberg’sche Kunststiftung, Dauerleihgabe an LIECHTENSTEIN. The Princely Collections, Vaduz–Wien © Liechtenstein. The Princerly Collections, Vaduz–Vienna

Eating and drinking are basic human needs, but the shared meal has always been about more than mere food intake. Sensory pleasure and enjoyment, the foundation of communities, the representation of social status, and ritual acts are only a few aspects connected with meals. It is not surprising that art has always reacted to our ways of having a meal, to our chosen dishes and foods—by representing, analyzing, and abstracting, in both critical and ironic ways. Artworks from the Middle Ages to the present illustrate the community-building elements of meals—in families, at public events, and in political and religious contexts of different cultures.

The exhibition includes work by Marina Abramović, Sonja Alhäuser, Atelier Van Lieshout, Abraham van Beyeren, Lois Bielefeld, Pieter de Bloot, Thierry Boutonnier, Götz Bury, Joseph Beuys, Catrin Bolt, Elinor Carucci, Heinz Cibulka, Domenico Cresti called Passignano, Josef Danhauser, desertArtLAB, Martin Dichtl, Albin Egger-Lienz, Christian Eisenberger, Jan Fyt, Gaetano Gandolfi, Floris Gerritsz van Schooten, Geldorp Gortzius, Robert F. Hammerstiel, honey & bunny, Nelson Jalil, Ulrike Köb, Maria Lassnig, Master of the Frederick Altarpiece, Maha Malluh, Katharina Mayer, Veronika Merklein, Jan Miense Molenaer, Izumi Miyazaki, Anna Paul, Klaus Pichler, Dieter Roth, Zina Saro-Wiwa, Christoph Daniel Schenck, Astrid Schulz, Gregg Segal, Taryn Simon, Stéphane Soulié, Daniel Spoerri, Jan Steen, Maja Vukoje, Franz West, Workshop of Lucas Cranach the Elder, Ramiro Wong, as well as historic artists whose names have not been handed down.

Curator: Johanna Schwanberg

Izumi Miyazaki, Broccoli (Detail), 2017, Izumi Miyazaki. © Izumi Miyazaki

Basquiat’s oeuvre is more current than ever and remains every bit as pioneering and visionary as it was back then. His works turn a spotlight both on African heritage and on problematic hierarchies in society, with omnipresent racism being the theme that he found most important and personally relevant. As an eccentric outsider and an exploited superstar of his times, Basquiat now stands among contemporary art’s most significant key figures.

This exhibition at the ALBERTINA Museum is Austria’s first comprehensive museum-based retrospective featuring Jean-Michel Basquiat’s extraordinary oeuvre.

Photo: Private Collection – courtesy of HomeArt © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

The first thematic exhibition is a tribute to the founder of the museum, Heidi Goëss-Horten. It spotlights art and fashion and their inspiring interplay at the new museum.

The “look” of women and looking at women, as well as other aspects associated with the feminine, are key themes in the Heidi Horten Collection. Based on these topics, the exhibition explores various thematic questions in eight chapters.

It covers a wide spectrum ranging from the nineteenth century to the present day, encompassing glamorous divas, modern avant-garde women, contemplative portraits, psychologically penetrating female images, fetish-like accessories, nudes as well as feminist counter-perspectives. These works belonged to the collector’s immediate world. They reveal her highly personal choice, and, in some way, reflect sides of her strong and self-confident personality.

In addition, the exhibition presents haute couture dresses by Christian Dior, Givenchy, Yves Saint Laurent, Jean Patou and Jean-Louis Scherrer, made exclusively for Heidi Goëss-Horten. Fashion has been understood as a paradigm of modern culture since the nineteenth century, a seismograph of the here and now, of zeitgeist, society and its changes. Clothing is a medium of communication in fabric, it conceals and reveals in equal measure, is used as a means of self-expression as well as to protect and to cover the body.

This is not a fashion exhibition, but in this show art and fashion enter into a new relationship, an inner dialogue, enhanced by the collaboration with Viennese-born fashion designer Arthur Arbesser.

The succinct title LOOK plays with the meaning of appearance, “look” and style, but can also be understood as an invitation to explore this feminine and probably most personal aspect of the Heidi Horten Collection.

With works by Friedrich von Amerling, Francis Bacon, Alexander Calder, Kees van Dongen, Jean Dubuffet, Lyonel Feiniger, August Macke, Henri Matisse, Pablo Picasso, and many more.

The exhibition Friedl Dicker-Brandeis. Werkstätten bildender Kunst. aims to deepen and nuance the view of the artist’s oeuvre. The show, which is based on works from the Angewandte’s art collection and archive, focuses on the material, formal, and thematic complexity of her production, which spans genres and media. It addresses not only the artist’s diverse working methods and their political and historical contexts, but also the intellectual and artistic milieus with which she was associated.

The subtitle Werkstätten bildender Kunst functions as a conceptual starting point for the exhibition and alludes to the accompanying hypothesis that by naming their first company “Werkstätten Bildender Kunst GmbH,” Dicker and Singer spoke out for a new understanding and need to see artistic production as active work and thus as a “workshop” on the social whole.

The exhibition also presents the first results of a two-year research project, which were published in the comprehensive publication edited by Stefanie Kitzberger, Cosima Rainer, and Linda Schädler, Friedl Dicker-Brandeis. Works from the Collection of the University of Applied Arts Vienna. This will be presented as part of Vienna Art Week on November 22 in the large auditorium of the University of Applied Arts.

In the spring of 2023, another exhibition will be on view in cooperation with the ETH Zurich Graphics Collection in Switzerland.

The Weltmuseum Wien presents the first comprehensive exhibition of the Māori artist George Nuku in 2022. His artworks will be presented in two locations: the special exhibition galleries and the Hall of Columns of Weltmuseum Wien.

Weltmuseum Wien, George Nuku

Jean-Frédéric Schnyder

Since the late 1960s, the Swiss conceptual artist Jean-Frédéric Schnyder has created a vast oeuvre of paintings, photographs, sculptures, objects, and installations. In his art practice he remains radically open, one result of which is a fully discontinuous body of work. However, looking at Schnyder’s painterly work since the beginning of the 1970s, one discovers surprising continuities and ruptures at the same time.

Jean-Frédéric Schnyder, born 1945 in Basel, lives and works in Zug, Switzerland.

Programmed by the board of the Secession
Curated by Jeanette Pacher

The Otolith Group

The Otolith Group, founded in 2002 by Anjalika Sagar and Kodwo Eshun as an artist-led collective, is based in London. The group investigates the temporal anomolies, anthropic inversions, and synthetic alienation of the posthuman, the inhuman, the non-human, and the complexity of the environmental conditions of life that we all face.

The Otolith Group, collective founded in 2002, is based in London.

Programmed by the board of the Secession
Curated by Bettina Spörr

Patricia L. Boyd

Patricia L. Boyd’s work often addresses the interrelationship between techniques of presentation and institutional dynamics, using spatial interventions to alter a viewer’s perception of the exhibition rooms and their movement within them. She works across a range of mediums, including sculpture, photography, writing and video.

Patricia L. Boyd, born in 1980 in London, lives and works in New York and London. Her work was included in Other Mechanisms, a group exhibition at the Secession curated by Anthony Huberman in 2018, and has since had highly acclaimed solo exhibitions at the Münchener Kunstverein (2020), Front Desk Apparatus, New York (2019), Christian Andersen, Kopenhagen (2019), and Cell Project Space, London (with Rosa Aiello, 2019).

Programmed by the board of the Secession
Curated by Annette Südbeck

Jean-Frédéric Schnyder, Hans Schnyder 1959 – JF 2020 nach Winston Churchill, 2020, Öl auf Leinwand, 30 x 42 cm, Courtesy der Künstler und Galerie Eva Presenhuber, Zurich / New York

Inaccessible landscapes, sealed-off territories or restricted military areas: Gregor Sailer’s works depict surreal architectures at the margins of human civilization.

The artist is interested in the structural transformation of landscape and the complex political, military and economic implications of architecture. This takes him to remote, inhospitable parts of the world, Potemkin villages, and places that few people can reach. Sailer’s photographs are devoid of people, and the buildings in them often look like sculptures. Whether climate change, political conflicts, or an excessive need for security, Sailer’s images reveal the dynamics that lead to the existence of these places.

KUNST HAUS WIEN dedicates its first major exhibition in Austria to the photo artist. Sailer’s images open up access to the world of fakes, copies and backdrops and question these sometimes absurd excesses of our contemporary society. Gregor Sailer’s works require months of research work and stays under extreme conditions, for example in the Arctic at minus 50 degrees. The Tyrolean artist, born in 1980, has received numerous awards, his photographs have been shown in numerous publications and exhibitions, and are represented in public and private collections.

Curator: Verena Kaspar-Eisert (KUNST HAUS WIEN)

Gregor Sailer, aus der Serie Polarsilkroad, Norway © Gregor Sailer