Open Studio Days 2025

Fatoş İrwen is a Kurdish contemporary artist and feminist activist from the historic Suriçi district of Diyarbakır, Turkey. Working in a politically tense environment and male-dominated art system, her practice explores justice, power, gender politics, belief systems, and the psychological impact of war and resistance. Using painting, video, photography, textile, installation, and performance, she investigates how personal experience shapes memory, the subconscious, and the body’s relation to space. Her imprisonment for political reasons and later confinement during the pandemic deeply influenced her work. İrwen has exhibited internationally and lives between Istanbul and Diyarbakır.

My practice includes sculptures, installations and performances. I am fascinated by the connection between sound and sculpture, and how these two mediums can blend together to create a unique sensory experience. In my research, I envision sculpture not merely as static forms, but as dynamic acoustic “sanctuaries” – intimate shelters to encapsulate the essence of distinct sound concepts or recordings. I am interested in body autonomy, empowerment, inclusivity and solidarity. My work invites us to contemplate the intricate and dynamic nature of our bodily ecosystems and how we are interconnected to the environment. It encourages us to engage in critical listening.

My practice includes sculptures, installations and performances. I am fascinated by the connection between sound and sculpture, and how these two mediums can blend together to create a unique sensory experience. In my research, I envision sculpture not merely as static forms, but as dynamic acoustic “sanctuaries” – intimate shelters to encapsulate the essence of distinct sound concepts or recordings. I am interested in body autonomy, empowerment, inclusivity and solidarity. My work invites us to contemplate the intricate and dynamic nature of our bodily ecosystems and how we are interconnected to the environment. It encourages us to engage in critical listening.

Ayşe Gül Yüceil (*1984 in Adana, Türkiye, lives and works in Vienna) graduated from the TransArts program at the University of Applied Arts Vienna as well as the Vienna Art School. The focus of her artistic practice lies in exploring temporality and transience, as well as attempting to make these concepts tangible and perceptible. She works with video projections and engages deeply with the materiality of video. Through projections, fragmentations, and spatial arrangements, she transforms videos into sculptural elements. The digital, two-dimensional medium is translated into the analog, three-dimensional space, where it is reshaped, deconstructed, and redefined.

Old and new video installations will be shown on both days.

Anastasiya Yarovenko is a Ukrainian-Austrian artist whose work explores social spaces, body politics, and forms of communal living. Through an interdisciplinary approach that includes installation, performance, and participatory elements, her practice is rooted in artistic research. Yarovenko’s work engages with political realities and intimate relationships in ways that are poetic, critical, and physically tangible. At its core, her practice examines societal structures and socio-political contexts.

Kosta Tonev (b. 1980, Bulgaria) graduated from the National Academy of Arts in Sofia and the Academy of Fine Arts in Vienna. Expanding beyond his foundational training, he incorporates a variety of media such as drawing, video, installation and sound. Rooted in research and storytelling, his work constructs narratives involving references to music, film, intellectual discourse and popular culture. Through personal experiences and anecdotes, Tonev playfully explores themes of society and politics to deliver a first-person history of the present. His recent exhibitions include “HAPPY” at Structura Gallery, Sofia (2023) and “Making Worlds” at MoCA Taipei (2022).

Johanna Tinzl’s practice spans a wide range of media and is grounded in a sensitive, participatory exploration of the histories of specific people, communities, places, and landscapes. She delves into questions of collective memory and the politically driven processes of representation, with a particular focus on the performative nature of historical narratives and the visualization of both global and local dimensions of ecological and technological processes. In her work - whether fictional, documentary, or a blend of both - she emphasizes the multiplicity of narratives, challenging hegemonic constructions of history.

Gerald Straub, Performance Artist, Applied Cultural Theorist His Projects are focusing on the development site specific formats. Real environments are transformed into new situations and placed under performative conditions in such a way that knowledge/ discourse can also lead to action. Founding member of https://www.technopolitics.info/ Matthias Meinharter, Media Artist, Performance Artist, Sound Artist Works in the field of intermedia art, as well as in various formations (including "the Vegetable Orchestra“, https://www.vegetableorchestra.org/) and the ""Institute for Transacoustic Research“, https://www.iftaf.org/)/ Sound art, Sound Machines, Performance

Studio Strauharter/ Meintraub We're taking this year's Vienna Artweek motto—Learning Systems—literally and, as part of our Studio Days, developing a "participatory speed performance" based on the themes of the past 21 years of the Vienna Artweek. From "Loosing Control" to "Making Truth," "Crossing Limits," "Inciting Passion" to "Beyond Borders," we're using these themes as frameworks for free associations and learning templates. Together with visitors, we'll explore, learn, and re-learn new connections to these themes—individually and collectively. And, on top of that, we're celebrating 21 years of Artweek in a heartbeat.

In Schicho's works the spectator is encouraged to question his viewpoints, to change his perspective or look at himself differently. Schicho is always concerned with observation, communication and interaction. These take place between motif and recipient, but they also metaphorically stand for society and its structures. On large-sized canvases Schicho skilfully presents the balancing act between proximity and distance, between intimacy and isolation. The artist combines form and content by using numerous metaphors and thus, he refers to the discrepancy between individual and collective.

Sarah Rinderer (*1994 in Bregenz, AT) lives and works in Vienna after studying at the University of Art and Design Linz. The focus of her literary-artistic practice is dealing with language itself, its gaps and in-between spaces. Her concept -based works and prose texts, poetry and artist books often explore the conditions of the possibility of communication – across spatial and temporal distances, in different languages, sign systems and codes. By combining and superimposing different layers of meaning, through translations, condensations and omissions, poetic moments of pause are created.

An intermediate space – between living and working, open exhibition setting of existing works and insights into the in-process. As part of the Open Studio Days, I invite visitors to pause, listen to occasional micro-readings, but also to enter into dialogue, to become active themselves on a small scale – and to take (text) pieces from my systematic working process and carry them to the outside. Short readings: November 8, 3:00 p.m. November 9, 3:00 & 5:00 p.m.

Wendelin Pressl is a truly roguish artist who feels already too pigeonholed if called an "artist". His works can indeed be read more like experimental arrangements. He seems to be concerned with breaking reality down into individual particles, reassembling them in his own individual method, combining them in a richly associative way and thereby generating new meanings. The results are wonderfully functional and at the same time seemingly fantastic and paradoxical objects in the world suspended between art and science. Involving the viewer as the essential ‘user’ is thereby always part of the concept.

“Product Features” are drawings on instruction manuals; taken out of context and quasi-scientifically numbered and counted, they seem like surreal finds from an alien civilization. The product as a manufacture of human labour has become the interchangeable placeholder of our capitalist value system and the series illustrates both our inability to deal with the material world and the inability of things to deal with us. In the showroom of his studio, Wendelin Pressl juxtaposes these with his “Antikommunikator”: a simple apparatus in which you can look at your ear, listen to your eye or immerse yourself in an infinite selfie – learning systems.

Bianca Phos’ interdisciplinary practice - with sculpture, installation and drawing - explores sociosomatic relations between bodies, technologies, and material systems, probing posthuman subjectivity through gestures of vulnerability and transformation. Engaging with topics of eco-systemic and techno-social change, her works negotiate mutual dependencies and the capacity to affect and be affected.

Bianca Phos’ interdisciplinary practice - with sculpture, installation and drawing - explores sociosomatic relations between bodies, technologies, and material systems, probing posthuman subjectivity through gestures of vulnerability and transformation. Engaging with topics of eco-systemic and techno-social change, her works negotiate mutual dependencies and the capacity to affect and be affected. Directions: Entrance via Eva-Maria-Mazzucco-Platz

Christiane Peschek's work exists in a phygital world, exploring techno-shamanism, cosmology, and online identity within the extreme present. She creates immersive experiences and portraits that confront the audience with their own consciousness through a combination of sensory stimuli, including the deliberate use of WiFi radiation, olfactory stimulation, sound frequencies, and visual elements. Her aim is to foster a sense of connection with technology without requiring complex technical knowledge. Peschek views her work as a reflection and interpretation of the digital zeitgeist, and its physical and emotional impacts on humans in a reality shaped by the internet.

As part of her studio practice, Christiane Peschek opens her studio during Art Week for the immersive sound installation INFINITY LAND, in collaboration with musician ERNST LIMA. Over the course of several hours, INFINITY LAND invites visitors to take a break—to collectively rest in a liminal space between waking and sleeping, offering a radical interruption of the here and now. It is a refusal of the relentless weight of our global present, which excludes anything that disturbs its seamless continuity. In addition, a sleepover event will take place in the installation on November 8th from 10 PM to 9 AM. Registration via: studio@christianepeschek.com

Julian Palacz, born in 1983, lives and works in Vienna and Mürzzuschlag. His work is dedicated to the visualization and poetic processing of data that we leave behind, both digitally and physically, and that is automatically collected by various actors. His works have been shown at Casino Luxembourg, Museum of Contemporary Art, Belgrade, ZKM | Center for Art and Media, Karlsruhe, and Palazzo Zenobio, Venice, among others. Julian Palacz has also received the Wimmelforschungs-Stipendium at Bosch Campus Renningen and Akademie Schloss Solitude, the Austrian State Scholarship for Video and Media Art and the Swatch Art Peace Hotel Residency Shanghai.

The latest series of works, Wirbelanalysen, will be shown in the studio. The starting point is the river Mürz, which flows through changing landscapes and creates a constant interplay of light, color and movement. The flowing structures, reflections and refractions of the water form the basis for algorithmic image analyses. A specially developed algorithm analyzes video footage of the river and makes hidden patterns of movement visible. The generated images do not show a documentary image, but an algorithmically condensed interpretation of the flow. Each image title refers precisely to the location of the shot along the course of the river.

In the left room of the studio community founded in 2014 on the top floor of a 1960s Gemeindebau, Claudia Rohrauer conducts research on and with analogue photography. The focus of her artistic practice is on experimental, plant-based developing methods. Together with Lisa Rastl, she runs the photo lab at the Angewandte. In the right-hand room, Simona Obholzer works with moving images and graphic-drawing methods and examines the intertwining of image and experience space. The focus is on addressing the artist's own physicality. Both positions are linked by an interest in nature and the processes that occur in it, as well as their translation into a visual language.

For the Open Studio Days, we are opening our studio and the neighbouring corridor area to make visible what connects our artistic practices: experimenting with images of nature and the way they work. We are investigating how processes - for example in the processing of images or the depiction of nature - can be transformed and rethought in terms of sustainability. We are planning a room-spanning installation with darkroom experiments based on algae, moving images on technical imitations of natural phenomena and the aesthetic and physical effect of haptic experiences of nature.

In the left room of the studio community founded in 2014 on the top floor of a 1960s Gemeindebau, Claudia Rohrauer conducts research on and with analogue photography. The focus of her artistic practice is on experimental, plant-based developing methods. Together with Lisa Rastl, she runs the photo lab at the Angewandte. In the right-hand room, Simona Obholzer works with moving images and graphic-drawing methods and examines the intertwining of image and experience space. The focus is on addressing the artist's own physicality. Both positions are linked by an interest in nature and the processes that occur in it, as well as their translation into a visual language.

For the Open Studio Days, we are opening our studio and the neighbouring corridor area to make visible what connects our artistic practices: experimenting with images of nature and the way they work. We are investigating how processes - for example in the processing of images or the depiction of nature - can be transformed and rethought in terms of sustainability. We are planning a room-spanning installation with darkroom experiments based on algae, moving images on technical imitations of natural phenomena and the aesthetic and physical effect of haptic experiences of nature.

In my work, I express exuberance through the fusion of color, form, and texture. Richly saturated with contrasts and layers, my work reflects the overwhelming abundance of my Venezuelan heritage—its natural opulence and dynamic urban landscapes. The interplay of contrasts—organic vs. constructed, spontaneous vs. structured—shapes my visual language. Paper is vital in my work. Not only because of my early exposure to the graphic world through my grandfather's printing press, but also because of its impermanent, fragile, yet versatile nature. It absorbs time and environment. I embrace its malleability in both two- and three-dimensional forms, hand-coloring it to explore contrasts & harmonies.

In my work, I express exuberance through the fusion of color, form, and texture. Richly saturated with contrasts and layers, my work reflects the overwhelming abundance of my Venezuelan heritage—its natural opulence and dynamic urban landscapes. The interplay of contrasts—organic vs. constructed, spontaneous vs. structured—shapes my visual language. Paper is vital in my work. Not only because of my early exposure to the graphic world through my grandfather's printing press, but also because of its impermanent, fragile, yet versatile nature. It absorbs time and environment. I embrace its malleability in both two- and three-dimensional forms, hand-coloring it to explore contrasts & harmonies.

Constantin Luser (*1976 in Graz) lives and works in Vienna. He studied Visual Media under Brigitte Kowanz at the University of Applied Arts Vienna. Luser has exhibited widely in Austria and abroad, including at the Belvedere in Vienna, NGBK Berlin, the Centre Culturel Suisse in Paris, Palais de Tokyo in Paris, Kunsthaus Graz, the Albertina in Vienna, and Kunsthalle Schirn in Frankfurt am Main. His works can be found in the Post General Directorate, the Music Theatre Linz, and the Austrian Parliament. In 2020, Luser received the Dagmar Chobot Sculpture Prize.

Ernst Logar has been working with photography, film, sculpture, and installations since 1995. In his work, he addresses existing power structures and historical, sociocultural, and ecological phenomena. From 1999−2004., he studied Transmedia Art at the University of Applied Arts in Vienna His creative work includes Non-Public Spaces (since 1998), Den Blick hinrichten (2004−2008), The End of Remembering – Carinthian Partisans (2008–2012), Invisible Oil (2008), Sustainable Transformation (2010), Place of Unrest (since 2012), Welcome to Europe Insha'Allah (2012), Oil and Water (2016), and Reflecting Oil: Arts-based Research on Oil Transitionings (2019-2024).

Project Presentation: Overtourism - Iceland 2025 During my work stay in Iceland in 2022, I began to take an interest in the unique glacier world.What particularly irritated me during my research when visiting the Vatnajökull glacier was the discrepancy between mass tourism and climate change, which became particularly apparent in the glacier's surroundings. Due to this experience, I am working on the Overtourism project in August 2025, which addresses the discrepancy between the fascination with Iceland's pristine nature and the ongoing travel enthusiasm of people based on fossil energy, despite the current awareness of the problematic climate situation.

Monica C. LoCascio (b. 1984) is a transdisciplinary artist focusing on the materiality of invisible phenomena. Her works arrive as artifacts of her material and theoretical research on memory, microbiology, theoretical physics, and hierarchies of knowledge and power. She pairs fermented bio-materials, salvaged fiber, and heritage craft techniques with industrial and salvaged materials to examine the tension between the fluidity and vulnerability of the lived human experience and the systems and institutions that contrast it. She began her art-making practice at the age of 5 when she was taught to crochet and embroider by her grandfather's twin sister.

During the open studio hours I will be demonstrating how I process bacterial cellulose in order to use it as a textile for embroideries and sculptures. This process can largely be understood by viewing my performance “Without Us The System Fails” on my website. Visitors will be invited to participate, touch, and learn how to replicate the process at home.

Monica C. LoCascio (b. 1984) is a transdisciplinary artist focusing on the materiality of invisible phenomena. Her works arrive as artifacts of her material and theoretical research on memory, microbiology, theoretical physics, and hierarchies of knowledge and power. She pairs fermented bio-materials, salvaged fiber, and heritage craft techniques with industrial and salvaged materials to examine the tension between the fluidity and vulnerability of the lived human experience and the systems and institutions that contrast it. She began her art-making practice at the age of 5 when she was taught to crochet and embroider by her grandfather's twin sister.

During the open studio hours I will be demonstrating how I process bacterial cellulose in order to use it as a textile for embroideries and sculptures. This process can largely be understood by viewing my performance “Without Us The System Fails” on my website. Visitors will be invited to participate, touch, and learn how to replicate the process at home.

Ernst Lima (*Aquarius) is a trans-media artist, composer, and sound designer based in Vienna, Austria. Limas work operates at the intersection of visual arts and music, encompassing installations, sound design, and performances. In liminal and often mantric installations Ernst Lima expands the boundaries between cross-worldly and inter-medial existence. Through the use of of multi-instrumental sounds, exploring the transition of bodies and their physical and mental reactions to technological self-extension, Ernst Lima creates symbiotic relationships between physical and virtual corporeality expanding genres of sound, installation, live concerts and visual works.

As part of the Open Studio Days Vienna, Ernst Lima presents a specially developed Sonic Intervention accompanying the expansive studio installation by Christiane Peschek and Ernst Lima. Between sound, space, and body, an immersive experience unfolds, connecting physical and virtual realms.

Ernst Lima (*Aquarius) is a trans-media artist, composer, and sound designer based in Vienna, Austria. Limas work operates at the intersection of visual arts and music, encompassing installations, sound design, and performances. In liminal and often mantric installations Ernst Lima expands the boundaries between cross-worldly and inter-medial existence. Through the use of of multi-instrumental sounds, exploring the transition of bodies and their physical and mental reactions to technological self-extension, Ernst Lima creates symbiotic relationships between physical and virtual corporeality expanding genres of sound, installation, live concerts and visual works.

As part of the Open Studio Days Vienna, Ernst Lima presents a specially developed Sonic Intervention accompanying the expansive studio installation by Christiane Peschek and Ernst Lima. Between sound, space, and body, an immersive experience unfolds, connecting physical and virtual realms.

In my artistic practice, I explore the intersections of feminism, technology, and environmental issues. My sculptures combine traditionally lathe-turned wood with contemporary elements such as 3D-printed components and metal. Sound plays a central role in my work: I investigate everyday, often overlooked materials—such as electricity or falling objects—seeking to uncover their hidden sonic potential and breathe new life into them. This process reveals the concealed narratives and poetic qualities within the ordinary, encouraging a shift in perception.

Technically Female – Sound, Process, and Practice The work "Technically Female" will be installed in the studio, and visitors are welcome to experience the sculptural sound installation at any time during the open studio period. In addition, insights into the wood workshop and the ongoing artistic process will be shared—shaped by feminist, ecological, and technological narratives.

Delphine Léger, born in Senlis in 1976, has been a freelance artist in Vienna since 2020. She explores urban spaces and landscapes through a rhythmic and systematic approach, guided intuitively by colour. Using paint and discarded cardboard, she addresses themes like waste and global warming. Central to her practice are accumulation and repetition through gathering. With a utopian vision, she seeks to ‘paint’ the world in vibrant colours, conveying hope and change through her work.

Collage Workshop: Creative Unfolding In this workshop, we will dive into the creative world of collage. Using paper, cardboard, and various materials, we’ll craft new artworks while letting go of the old. It’s not about perfection, but about exploration, experimentation, and embracing the creative flow. We’ll discover what happens when we switch off our minds and let our creativity take the lead. Let us be surprised by the process and witness how it shifts our perspective.

Delphine Léger, born in Senlis in 1976, has been a freelance artist in Vienna since 2020. She explores urban spaces and landscapes through a rhythmic and systematic approach, guided intuitively by colour. Using paint and discarded cardboard, she addresses themes like waste and global warming. Central to her practice are accumulation and repetition through gathering. With a utopian vision, she seeks to ‘paint’ the world in vibrant colours, conveying hope and change through her work.

Collage Workshop: Creative Unfolding In this workshop, we will dive into the creative world of collage. Using paper, cardboard, and various materials, we’ll craft new artworks while letting go of the old. It’s not about perfection, but about exploration, experimentation, and embracing the creative flow. We’ll discover what happens when we switch off our minds and let our creativity take the lead. Let us be surprised by the process and witness how it shifts our perspective.

Ivana Lazić is a visual and conceptual artist based in Vienna. After graduating at the Site-Specific Art department in the class of Paul Petritsch, University of Applied Arts Vienna, she has recieved the Working grant (Arbeitsstipendium) from the City of Vienna for 2025. Her body of work is concerned with the phenomenon of tangibility and historicity through ontological discourses and within New Materialist cultural theory. Mostly working with sculpture and installations her aim is to catalyze and embody the trajectories made between different aspects of understanding, accessing and experiencing matter while rooting her practice in situaded and empirical knowledges.

Ein wichtiger Aspekt meines laufenden Projekts Grafting a Garden / The Story of Rose Lilac ist der dekolonialen Bewahrung von Pflanzen gewidmet. Daher möchte ich eine kurze Einführung in verschiedene Bewahrungstechniken geben und Beispiele zur Anschauung anbieten. Zudem möchte ich eine Diskussion über die gärtnerische Technik des Pfropfens eröffnen und Archivmaterialien aus dem Besitz meiner Familie dazu zeigen. Ziel ist es, einen Dialog anzustoßen und verschiedene Beziehungen zwischen Pflanzen und Menschen anhand persönlicher und intimer Geschichten zu verstehen.

Ivana Lazić is a visual and conceptual artist based in Vienna. After graduating at the Site-Specific Art department in the class of Paul Petritsch, University of Applied Arts Vienna, she has recieved the Working grant (Arbeitsstipendium) from the City of Vienna for 2025. Her body of work is concerned with the phenomenon of tangibility and historicity through ontological discourses and within New Materialist cultural theory. Mostly working with sculpture and installations her aim is to catalyze and embody the trajectories made between different aspects of understanding, accessing and experiencing matter while rooting her practice in situaded and empirical knowledges.

Ein wichtiger Aspekt meines laufenden Projekts Grafting a Garden / The Story of Rose Lilac ist der dekolonialen Bewahrung von Pflanzen gewidmet. Daher möchte ich eine kurze Einführung in verschiedene Bewahrungstechniken geben und Beispiele zur Anschauung anbieten. Zudem möchte ich eine Diskussion über die gärtnerische Technik des Pfropfens eröffnen und Archivmaterialien aus dem Besitz meiner Familie dazu zeigen. Ziel ist es, einen Dialog anzustoßen und verschiedene Beziehungen zwischen Pflanzen und Menschen anhand persönlicher und intimer Geschichten zu verstehen.

Sara Lanner is a choreographer and visual artist based in Vienna. In her works, she negotiates questions of cultural and (body) linguistic identity and explores spaces between trust and dependency. The ambivalences of interpersonal relationships and their points of contact as well as our material and ecological realities form the beginning of her artistic reflections. Most recently, her performance WEAVING INFRASTRUCTURES (2024) was shown at brut Wien and Mining Minds (2022) at ImPulsTanz Festival. Sara Lanner was awarded the H13 Lower Austria Prize for Performance for her performance MINE (2021).

Open studio, insight into the ongoing work processes

Alina Kunitsyna (b.1981 in Minsk, Belarus) lives and works in Vienna and Damtschach, Austria. She studied at Lycee of Art, Minsk and the University of Art and Design, Linz, graduating from the Academy of Fine Arts, Vienna in 2007. During her time in Minsk, Kunitsyna studied the still lives of the Renaissance period, that experience laid the foundation for her practice. Today Kunitsyna seeks inspiration in current pop culture, everyday life and art history combining these elements in the context of capricious jokes and allegories that capture the bewilderment of contemporary life.

Milan Loviška and Otto Krause are undisciplinary artists working across performance, installation, video, painting, costume, textile art, and new tech. Their queer, research-based practice explores uncanny perspectives through imaginative, physically intense works blending popular culture and science—touching on gender, psychology, AI, and more. They’ve presented at venues across Europe and Asia, including YUP Festival/Kunsthalle Osnabrück, Studio Gross Tokyo, and ArtScience Museum Singapore. Awarded the H13 Performance Prize (2018), they’ve also held international fellowships in Tokyo (2024) and NYC (2026).

Larissa Kopp is an artist and art mediator who lives and works in Vienna. One focus of her artistic and educational practice is collaborative processes and the collective development of artistic forms of expression and presentation. Together with artist duo partner Florian Aschka, but also various other artist* collectives, she developed a variety of projects in recent years and participated in a wide range of exhibitions. Her work includes staged photography and utilizes performance as a tool to investigate queer strategies as well as mythology and the notion of a collective cultural memory.

salon_tongue x florissa___ (Atelier Larissa Kopp & Florian Aschka) »salon_tongue« arose from the idea of creating an exchange between artists* in a queer-feminist context and connecting them with each other. The talks take place at irregular intervals in public to semi-public spaces, for example in studios such as that of Florian Aschka & Larissa Kopp. As part of Vienna Art Week and Open Studio Days, we are organizing an art salon over the course of both days, where we invite you to get to know us as a collective and exchange ideas in line with the salon concept. instagram.com/salon_tongue, instagram.com/florissa___

*1979 // 2022 graduates with a degree in fine arts and 2024 of the study of art and cultural studies at the “Bildenden”. Since 2023 working on the dissertation “Desires of Humans and Androids in Contemporary Life and Science Fiction”. Essential to the work is the interface between body-political and technological issues and media discourses - how these are how these are related to each other, influence each other, can no longer be separated can no longer be separated: The body as a medium and the media as extensions, which constitute and localize the body as a cyborg in the specific concept of space and time. localize it. The focus is often on the inherent logic of the media apparatus.

I will show the interactive performance Traumawriter for the visitors, which is about processing one's own traumas using AI, a typewriter and microwaves and healing them with the innovative AI supported Vibrational Trauma Healing. See aura-vibrations.com and tinyurl.com/428r7yjr In addition, I would like to offer a workshop on posthumanism, AI, cyborgs on both days.

Jana Marie Kolbert (*1995 in Vienna, Austria) lives and works in Vienna and Lisbon. She graduated 2019 in Painting and Animated Film and 2023 in Transmedia Art, both at the University of Applied Arts Vienna. Starting from abstracted human reflections in different mirroring surfaces and spaces such as the elevator, Kolbert creates larger than life painting installations on metal that mirror the viewer and the environment. They invite the audience to perceive themselves as part of the painting and depict the network in which the art work exists. By recreating the experience of the abstracted reflection for the viewer Kolbert investigates contemporary self portrayal culture.

Zahra Khorshidi is a visual artist, curator, and art educator from Tehran, based in Vienna since 2013. Her work has been shown in Tehran, Doha, and Vienna. She studied Waldorf education with a focus on integral art pedagogy and is interested in alternative approaches to art mediation. Her artistic practice engages with trauma, healing, the postcolonial body, and nature. Her curatorial projects and lectures on body, space, and resilience have been presented at Belvedere 21, Museum der Moderne Salzburg, and the University of Salzburg

Dejana Kabiljo creates art, design, and architecture for all of us with weaknesses, bad habits and obsessions. She plays with concepts of useful and useless, her objects being busy at times, often lazy, stretched in the sun to be revered. Operative functionality, or the intentional lack of it, is integrated into the work as a poetic element. Consequently, materials get cooked, cast, spilt, bent, melted, burnt, bleached, blow dried, curled, and turned to gold, until they fit into place. Kabiljo exhibits in museums and galleries, but also obscure locations in Vienna, Milan, London, Split, Belgrade, Lausanne, Paris, St.Etienne, Barcelona, Ghent, Eindhoven, Moscow, New York, Tokyo and Beijing.

Presenting: Mirrors Scientifically, mirror is exact. It doesn’t produce, it reflects what is given, the amount, the quality and the precise angle of light. Bearing no power of differentiating what is amplified and what marginalised, scientifically straight, the mirror still begs to differ: I am more light, I am more rays. Mirror became almost synonymous with deception. Think of the Hall of Mirrors think of the 3-torus. When times get rough, look at yourself from above, try time reflection, examine the underneath, see what is behind, who is around the corner and the lure waiting above the water's surface. Change the angle, destabilise. The project aims to create a system if only a modest one.

Dejana Kabiljo creates art, design, and architecture playing with concepts of useful and useless, her objects being busy at times, often lazy, stretched in the sun to be revered. Operative functionality, or the intentional lack of it, is integrated into the work as a poetic element. Consequently, materials get cooked, cast, spilt, bent, melted, burnt, bleached, blow dried, curled, and turned to gold, until they fit into place. Kabiljo exhibits in museums and galleries, but also obscure locations in Vienna, Milan, Venice, London, Split, Belgrade, Lausanne, Paris, St.Etienne, Barcelona, Ghent, Eindhoven, Moscow, New York, Tokyo and Beijing.

Presenting: the new atelier, As It Is Once the heavy curtains were drawn, thick wallpaper peeled away, revealing the commercial space built in 1905 on a quiet Viennese street. The architect aimed to restore its original shape, starting a painstaking effort—as if it were the Sistine Chapel, not a modest shop in the second district. The walls, frail from decades of upgrades—gas, piping, electricity, central heating—bore the marks of time. The artist wanted to play, capture the moment, and showcase a gallery, even if small. The project reflects aging and renewal, patience, and respect for existing structures—beautiful and flawed. With a tool and broom in hand, it resists beautification.

The general, recurring themes in my work are life and survival in the broadest sense, optimization and transience. The paintings (oil paintings and drawings) often contain a subtle, violent moment that hints at something without revealing it. I am interested in humanity with all its manifestations and abysses: the relationship of human to human, human to animal and human to environment. Hierarchical relationship patterns in their various forms are addressed and reflected upon in my work. Art history, contemporary art, pop culture and nature are integral parts of my practice.

Thomas Hörl's artistic focus is on researching regional customs and traditions. The artist transfers folkloristic content and forms into new contexts. Extensive installations are created using the collage technique and re-enactment. His artistic work includes performance, video works, installation, object, collage and staged photography, and recently his work has also increasingly included film projects. In his “dynamic spatial sculptures”, Peter Kozek works with various manifestations of visual-artistic media such as installation, performance, drawing and video. The works are often interrelated.

Accessibility: There is a small step (10 cm high) at the entrance to the studio, but otherwise the studio is barrier-free.

Barbara Höller is a visual artist with focus on conceptual painting, object and spatial intervention, but sometimes also works with photography or video. Her artistic interest is in the individual or social experience of space, which she deals with through strictly abstract forms and in whose conception sets of rules are followed or varied. Born in Vienna in 1959, studied at the University of Applied Arts and the University (Mathematics) in Vienna. Several prizes in Austria, scholarships in Italy, Japan, Hungary and Norway, among others. Symposia in Hungary, Croatia and Poland, among others. Numerous national and international exhibitions and participations. Lives and works in Vienna

Current and older works will be on display in the open studio. The studio is located in a studio house, which houses both Alina Kunitsyna's studio (2nd floor) and the sehsaal project space (ground floor). Films will be shown on a monitor in the loop on the mezzanine floor. On 8.11. there will be a finissage in the sehsaal and on 9.11. there will be champagne and nibbles at my place.

Hanga (*1988 Vienna) studied at Sorbonne Nouvelle, L’École Internationale de Théatre Jacques Lecoq Paris, Academy of Fine Arts Vienna and Tokyo University of the Arts. Her background in theater and film have led her to search for kineticism in her photography. A core theme in Hanga’s work is the use of simple objects and re-contextualized them. Beyond showing them from a new angle, she gives them a life wholly unrelated to the one we’d normally expect. The viewer is engaged to look for hidden meanings and to question their understanding of the mundane. Hanga works as a curator for the artist collective Gottrekorder e.v. Her work was shown in New York, London, Tokyo and Vienna.

I’m welcoming visitors to my studio, where I’ll present my latest work, as well as works from my archive in an intimate setting. The space is filled with curious objects that I use to create my photo montages. The visit includes a tea ceremony, and I’ll also introduce my portable darkroom, offering insights into my creative process.

Valerie Habsburg is an artist, researcher and curator based in Vienna. She has been working on her PhD at the University of the Arts London since the year 2023. A graduate and former lecturer at the Academy of Fine Arts Vienna, her international practice spans photography, video, objects and installations, with archives playing a key role. Her feminist approach to research opens up new perspectives across disciplines. Since 2019, she has been researching the life and work of the Jewish sculptor Teresa Feodorowna Ries, which forms the basis of the TFR ARCHIVE. She is also a founding member of the Artistic Research Collective.

As part of Vienna Art Week 2025, Valerie Habsburg opens her studio and invites visitors into a polyphonic dialogue between archive, body, and language. At the heart of the presentation are artistic research processes from the TFR ARCHIVE and the Artistic Research Collective. Works by Anita Steinwidder, Anna Bochkova, Judith Augustinovic, and Valerie Habsburg will be shown, alongside a filmic installation of the performance Körperschaf(f)ten – a radically poetic gesture based on texts by VALIE EXPORT —with her consent and approval. The programme is accompanied by artist talks and book presentations, including zwischen den zeilen / die zeilen dazwischen (2025) and ROLLENSPIELE (2024).

Sofia Goscinski began her artistic journey with an early interest in photography at the age of thirteen. During her studies at the Academy of Fine Arts in Vienna she developed an interest in minimal and conceptual art, extending her media range to digital art and video. In 2005, Goscinski transitioned to sculptural work, which remains her primary focus. Utilizing a wide range of materials she blends figurative and abstract elements in her work. While initially conceptual, her current practice is characterized by an iterative process, constantly evolving as she explores new ideas.

Since 2020, the artist Thomas Gänszler has been working on a long-term project entitled Kontinent, which has resulted in various works, installations and exhibitions. To this end, the artist has written an algorithm that randomly generates a topography. The landscape created in this way, which only exists in virtual space, is approximately one square kilometer in size. This continent forms the immaterial source material, so to speak, with which the artist works. He penetrates the digital space in order to extract real, material works from it. He translates (real) objects into (digital) information - and back again: medial and sculptural, analog and digital.

g.o.l.f.Klub is a collective consisting of 8 members with expertise in various areas of fine and applied arts. The shared workshop functions as a private workspace as well as clubhouse, in which the members regularly organise non-profit events. The collective’s practice is characterized by the principles of community and accessible opportunities for participation and education. Artistic and educational practices go hand in hand. On just 114 square meters, opportunities for artistic creation in a wide variety of materials are provided: wood, metal, photography, ceramics, screen printing, bookbinding and painting.

Tijuana, Mexico. Through her artwork, she attempts to represent the complexity of nature, and our knowledge, as well as ignorance, that we have towards it. She treats themes such as interspecies communication and relationships, immigration, and the disappearance of native cultures, flora, and fauna as a result of modern industry; the spaces they occupy and how they've changed or disappeared due to commodification. Making use of diverse artistic disciplines and a mix of organic and industrial materials, she creates a dialogue regarding the current situation between humans and nature.

My project touches on the non-linear aspect of time through growth under diverse circumstances. I have been working with mycelium and the fungal fruit for the past years, not just as a material, but as studio companions for whom I have to modify my space and comfort for them to be able to grow. At the moment, I have a series of sculptures that are growing by eating other sculptures that I have prepared for them. Another is a mycelial body to whom I feed secrets and give gold leaf offerings with every secret that I feed it. Visitors can also interact by feeding it secrets. I will also offer studio-grown mushrooms that the visitors can harvest themselves and cook in situ.

The common thread that runs through Erkan’s work is causality, fully embodied as a propositional aesthetic quality through a series of dynamic correlations between socio-political issues, vernacular objects turned into sculptural materials and contemporary and mythological cultural narratives filtered through a radical subjectivity. Whether she reinterprets the Greek myth of lotus eaters through modern day dietary supplements to question whether an object can suffer depression, or turns to textile and mathematics to explore female labor as a form of radical subjectivity, Erkan is interested in setting a relational field where positions of object and subject are constantly rearranged.

In her performance, Elif Erkan examines the relationship between object and viewer: a fleeting but calculable connection that she calculates live. In the future, these calculations are to become part of an artist book - a contemporary, personalized version of the “Book of Answers”. Instead of general life wisdom, it collects snapshots of concrete encounters - between bodies, things and gazes - as a poetic-mathematical reflection of contemporary life.

I am a multidisciplinary artist exploring the human body in states of transformation, intimacy, and fragmentation. Working between painting and sculpture, I create fragile, layered figures that exist in the in-between—between surface and form, presence and disappearance, self and other. I use materials like sand from my homeland Kosovo, fabric, and pigment to investigate themes of posthuman feminism, queer materiality, and memory as physical residue. My work is tactile, emotional, and grounded in both personal and political histories.

During the Open Studio Days, I will present my multidisciplinary work exploring the human body in states of transformation, intimacy, and fragmentation. Visitors are invited to experience an immersive installation that bridges painting and sculpture, featuring layered figures crafted from materials like sand, fabric, and pigment. The studio will showcase how these works inhabit the space between surface and form, presence and absence, inviting reflection on identity, memory, and the ephemeral nature of embodiment. And of course there will be wine

I am a multidisciplinary artist exploring the human body in states of transformation, intimacy, and fragmentation. Working between painting and sculpture, I create fragile, layered figures that exist in the in-between—between surface and form, presence and disappearance, self and other. I use materials like sand from my homeland Kosovo, fabric, and pigment to investigate themes of posthuman feminism, queer materiality, and memory as physical residue. My work is tactile, emotional, and grounded in both personal and political histories.

During the Open Studio Days, I will present my multidisciplinary work exploring the human body in states of transformation, intimacy, and fragmentation. Visitors are invited to experience an immersive installation that bridges painting and sculpture, featuring layered figures crafted from materials like sand, fabric, and pigment. The studio will showcase how these works inhabit the space between surface and form, presence and absence, inviting reflection on identity, memory, and the ephemeral nature of embodiment. And of course there will be wine

(...) The artistic practice of Eden & Lernout is instead a quite abstract one using form and material, the display of collected objects, or the preparation of language as oral history. It follows previously established instructions, a concept, and serves primarily to visualize complex structures of space and time: the movement of bodies along borders in their historicity and their currency, the inscription of economic processes in large areas or the shift of lines and territories within what we call Europe. (...)* * Vanessa Joan Müller; Polyphonic approaches; In a Loose Arrangement; edited by Irena Eden & Stijn Lernout; published by VfmK; Vienna; 2021; Page 22

Sophie Dvořák lives and works in Vienna, Austria. In an artistic practice spanning conceptual drawing, collage, sculpture and collecting, Dvořák is dealing with questions referring to space and territories and their representational codes, history and perception. She creates artworks and installative arrangements representing abstract-fictitious illustrations of world(s) and knowledge and interpretations of history and spatial relations.

Pauline Debrichy (*1989, Belgium) is fascinated by the urban. Through sculptures, photographs and site-specific installations, she questions the concept of space, its boundaries and its influence on our perception and emotions. She focuses on topics such as urban development and the tension between private and public space. Studied sculpture and architecture in Antwerp and the Academy of Fine Arts Vienna. Awards: Appreciation Prize for her graduation work & honorable mention at Sculpture Prize Mark Marken. Residencies: Cité internationale des Arts Paris (FR), Kunstraum St.Virgil (AT), Bang (CA). Exhibitions at Kunstverein Baden, Parallel Vienna, Poortersloge (BE), Hebebühne (DE), Kvaka (SR).

Pauline Debrichy (*1989, Belgium) is fascinated by the urban. Through sculptures, photographs and site-specific installations, she questions the concept of space, its boundaries and its influence on our perception and emotions. She focuses on topics such as urban development and the tension between private and public space. Studied sculpture and architecture in Antwerp and the Academy of Fine Arts Vienna. Awards: Appreciation Prize for her graduation work & honorable mention at Sculpture Prize Mark Marken. Residencies: Cité internationale des Arts Paris (FR), Kunstraum St.Virgil (AT), Bang (CA). Exhibitions at Kunstverein Baden, Parallel Vienna, Poortersloge (BE), Hebebühne (DE), Kvaka (SR).

Ana de Almeida is an artist from Lisbon, currently working between Lisbon and Vienna. In her practice, de Almeida deals with processes of remembering from a socio-political perspective, with the intersection of family-narratives with the collective processes of remembrance of so-called non-violent Revolutions and with processes of privatization of history. Recent shows and projects have been with Camera Austria (2024 AT), Belvedere 21 (2023 AT), Kunsthalle Wien (2023 AT), CAV Centre for Visual Arts in Coimbra (2022 PT), House of Arts Ústí nad Labem (2021 CZ) and Tabakalera International Centre for Contemporary Culture in Donostia/San Sebastián (2020 ES) to name a few.

Ana de Almeida is an artist from Lisbon, currently working between Lisbon and Vienna. In her practice, de Almeida deals with processes of remembering from a socio-political perspective, with the intersection of family-narratives with the collective processes of remembrance of so-called non-violent Revolutions and with processes of privatization of history. Recent shows and projects have been with Camera Austria (2024 AT), Belvedere 21 (2023 AT), Kunsthalle Wien (2023 AT), CAV Centre for Visual Arts in Coimbra (2022 PT), House of Arts Ústí nad Labem (2021 CZ) and Tabakalera International Centre for Contemporary Culture in Donostia/San Sebastián (2020 ES) to name a few.

Born in 1960 in Istanbul 1986-1991 University of Applied Arts Vienna 2003-2024 Lecturer at the University of Applied Arts Vienna 2005-2006 Visiting Professor at the University of Art Linz "The discovery of space was the most important turning point in my work. Since then, I have primarily focused on this. I explore themes such as belonging, identity, and migration, often in relation to the positioning of the self. The cultural history and the culture-specific elements of my background have strongly influenced both my life and my work. What fascinates me is translating feelings of lightness, ephemerality, and near-weightlessness into my work."

Visitors can get a good overview of my artistic creations in my studio.

My work originated from painting, developed into photography and eventually into sculpture. The question of hierarchical social contexts and the abyss of human existence have always been a defining theme. But humor has always been essential to me. Art and life itself is usually something too serious, too strenuous, too exaggerated. And all that remains is what touches you - in art as in life. That's why I'm currently focusing on human touch, holding hands and working with hospices and palliative care units. I use my DIY-sets - which were developed during my time at the RCA London- in workshops in elderly homes and therapists for applications in the medical field. www.hearts-in-hands.at/en

I offer the possibility to make a handprint on site. Duration 5 minutes. 10 colours to choose from. 5€ / handprint. Each visitor can take a connecting art piece home with them. An individual keepsake to hold on to or give as a present!

Alexandra Baumgartner *1973 in Salzburg, lives and works in Vienna My works are based on found photographs and objects that are placed in a new context through minimal interventions, changes and combinations of spatial arrangements. The working method deals with different media (collage, painting, installation and object art) as well as conceptual questions. In my works, the absence of the human being is central, shadowy outlines of body forms, materiality/shells, protective covers, masks that we wear. The fragility of our existence.

Bernd Oppl’s works – whether in the form of models, photographs, sound installations, or moving image works as projections and on displays – fundamentally deal with the uncertainty of perception in a world where the visible and audible are always material (magnetic tape, concrete, glass, the White Cube, etc.) and virtual at the same time, thus situating the world mostly in an uncanny intermediate space: present and absent, tangible and ephemeral, external and internalised, both all-encompassing and radically confined. (Alejandro Bachmann)