Stay informed! In our monthly newsletter we provide you with news and event tips from the art city Vienna.

    Subscribe to our newsletter

    Select time period
    Select the date range
    What are you interested in

    Siegfried Zaworka



    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    With Siegfried Zaworka, mumok has for the first time invited an Austrian artist to fill the wall in the museum’s foyer with a site-specific work. Following photography-based installations by Cindy Sherman, Louise Lawler, and Jeff Wall, Zaworka focuses his artistic investigation on the devices used in pain- ting. Under the title Funktionale, he has arranged a group of image elements painted on bare canvas into a temporary mural that artfully toys with the vie- wer’s habits of perception. What looks at first glance like a surreal landscape with a mountain range, fir tree, and vegetal forms, turns out on closer inspec- tion to consist in a systematic analysis of the illusionistic potential of painting.


    Design/Arts and Crafts 1890–1938


    MAK – Museum für angewandte Kunst

    Stubenring 5,
    1010 Wien

    The spacious halls of the Permanent Collection were redesigned by contemporary artists in order to present selected highlights from the MAK Collection. In a unique interplay of artistic heritage and contemporary interventions, the historical holdings have been staged in a way that invites close examination of the individual exhibits.
    This presentation’s thematic core is the multifarious struggle to arrive at an Austrian, modern, bourgeois, and democratic style. Today, this chapter of design and arts and crafts history—subsumed under the terms of Secessionism and Jugendstil—serves like no other to underpin Austrian identity.


    Corita Kent (Sister Corita) the sea queen, 1973

    Enjoy – the Changing mumok Collection


    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    Ten years after "Museum of Desires", her inaugural exhibition at mumok, Karola Kraus is organizing with her team a collection presentation that showcases central gifts and acquisitions from the past decade in order to shed new light on the collection‘s development. This exhibition, following twenty years after mumok opened in Vienna’s MuseumsQuartier and forty years after the founding of the Austrian Ludwig Foundation, is both a survey of the past and a glimpse ahead to the future. As past years are reviewed, new perspectives are proposed as basis for the museum’s future collection and exhibition activities.
    The presentation sets out to convey art history since modernism as a living process reflecting ever-changing socio-political, socio-cultural, and philosophical develop- ments and discourses.



    KUNST HAUS WIEN. Museum Hundertwasser

    Untere Weißgerber Straße 13, 1030 Wien

    US photographer Susan Meiselas has been addressing pressing social and political issues since the 1970s. Her work, a comprehensive show of which is now being presented in Austria for the first time, revolves around documenting wars, revolutions and humanitarian crises and exploring issues such as cultural identity and feminism. The solo exhibition at KUNST HAUS WIEN features Meiselas’ early series Carnival Strippers (1972–1975) and Prince Street Girls (1975–1992) as well as the installation Mediations (1978–1982) on the Nicaraguan revolution. Also showcased at the exhibition is her current series on women’s refuge shelters in the UK. A Room of Their Own (2015–2016) comprises photographs of the shelters as well as accounts by the residents themselves and some of their personal items.

    © Susan Meiselas / Magnum Photos

    The 80s. Art of the Eighties


    Albertina Modern

    Karlsplatz 5, 1010 Wien

    The 80s are the most important decade for the art of our age. For the first time, art was no longer determined by an all-dominant style, such as abstraction or Pop. The 80s stand out for an unprecedented stylistic pluralism that resorted to the picture pool of past decades: the 80s were the cradle of Postmodernism.
    After the years of Minimalism and Conceptual Art, the New Wild Ones satisfied the hunger for pictures with their Neo-Expressionist painting. Jeff Koons discovered kitsch. Francesco Clemente resorted to ancient mythology, while Julian Schnabel shattered the picture proper with his material collages. Cindy Sherman and Robert Longo sought to disappoint expectations as to permanent artistic innovation by attacking the fetish of art’s originality. Jean-Michel Basquiat and Keith Haring became the epitome of artistic nonconformity. The feminist art of Barbara Kruger and Jenny Holzer declared war on male dominance and the obsessed consumerism of American society. And for the first time, Austrian art, such as that of Franz West, Brigitte Kowanz, and Erwin Wurm, seamlessly blended in with contemporary international art.

    Isolde Joham Electric Rider, 1981, Privatsammlung © Isolde Joham | Photo: Olga Pohankova

    Ana Hoffner ex-Prvulovic* & Belinda Kazeem-Kamiński


    Kunsthalle Wien Museumsquartier

    Museumsplatz 1, 1070 Wien

    Kunsthalle Wien dedicates to Vienna-based artists Ana Hoffner ex-Prvulovic* and Belinda Kazeem-Kamiński two solo shows, which will take place simultaneously in the upper hall of Kunsthalle Wien Museumsquartier. The exhibitions include existing works reimagined for the exhibition space as well as new works produced for the occasion.

    Ana Hoffner ex-Prvulovic* takes a close look at the fabrication of history, memory, and subjectivity – insisting on the psychological unconscious at work in these processes. Along which lines of domination and exclusion do these processes occur? Which stories and practices are swept away and erased? How might we disarm the misogynist and racist prejudices embedded in (Western) official histories and representations?

    Belinda Kazeem-Kamiński challenges the ways Black people’s history is represented and musealized, tackling the blindness that occurred (and still occurs) regarding the ongoing consequences of slavery and colonization. Intertwining critical theory and artistic practice, she invents methods and rituals for looking at and dealing with the traces of the oppressive colonial past that are inherent to archival material, attempting to give a voice to the overlooked and the repressed.

    Ana Hoffner ex-Prvulovic*, Still from Freud Film, Video Installation, 2019, courtesy the artist

    arm & reich


    Dom Museum Wien

    Stephansplatz 6,
    1010 Wien


    David Hammons, Bliz-aard Ball Sale, 1983. Courtesy Tilton Gallery, New York. Foto: Dawoud Bey.

    Group exhibition „connections unplugged, bodies rewired“


    das weisse haus

    Hegelgasse 14,
    1010 Wien

    with Johanna Bruckner, Debby Friday, Daniela Grabosch, Daniela Grabosch + Anna Thomas, Rindon Johnson, Sara Lanner, Martina Menegon, Hyeji Nam, Davinia-Ann Robinson und Ningli Zhu
    curated by Frederike Sperling

    Against the backdrop of the increasing, algorithmic control of our bodies and relationships, the performative group exhibition "connections unplugged, bodies rewired" traces post-digital intimacies. Nestled against fragments of discarded data scraps, it flirts with diversities and incongruities that the gendered and racialized algorithm is incapable of grasping. The invited artists navigate between digital and analog realities, opening up spaces of possibility for unwritten relationships, unreadable bodies, and complex sensuality.

    Accompanying program:

    09.11.2021, 20-21h
    Ongoing performance as part of Hyeji Nam's multimedia installation "Fly like a worm, sing like a snail – however they left, with the rattling sound of the bones breaking down“.

    12.11.2021, 19h

    "Intimate Illusions", new performance by Sara Lanner

    Rindon Johnson und Daata Editions

    Do Nothing. Feel Everything.


    Kunsthalle Wien Karlsplatz

    Treitlstraße 2, 1040 Wien

    To speak about madness or unreason is to speak not only about forms of consciousness but also about the description of historical systems of thought. Whether madness is described as a philosophical or spiritual phenomenon or as an objective medical psychopathology, these conceptions are not discoveries in themselves – rather, they are historical productions of meaning. So, if madness is a phenomenon of culture, curing the mad is not the only possible reaction to insanity.

    In this state of shared insanity, we wonder how we can instrumentalize our own condition, or maybe learn from it. Not for the sake of optimizing our yield but because, as humans, we are behavioral strategists and learning is, at its core, a biological process. Therefore, this group exhibition looks into art practices from diverse geographies that understand insanity as a form of knowledge and that use risk-taking as a method to learn, when there is something at stake – practices that through careful bruising attempt to heal. But we must not forget that madness does not tell the truth about art, or vice versa. We still need to acknowledge the links between both, because as gays, butches, feminists, junkies, migrants, the undocumented, sex workers, crips, HIV positives, transsexuals, transgenders … our relation to art today can only be paranoid.

    Do Nothing. Feel Everything: I want to have enough luck, photo: Lesley Braun

    Nairy Baghramian: Breath Holding Spell


    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    In art that typically takes the human body as its point of departure, Nairy Baghramian grapples with the fundamental questions of plastic art, although her sculptures and installations propose a pointed antithesis to the traditional conception of the genre. Her formal idiom, choice of materials, and approach have as much in common with post-minimalism as with conceptual art; the artist harnesses the potential of abstraction to address complex sets of questions and frame a suitable response in terms of aesthetic form, forging what Baghramian herself has described as “ambivalent abstraction.” Her works interrogate political and social power structures, weaving together themes in art history and literature as well as references to fashion, architecture, and interior design.

    Her sculptural creations for interior as well as exterior settings often consist of multiple elements and disparate materials such as aluminum, glass, pigmented wax, marble, porcelain, styrofoam, epoxy resin, and paint. Organic shapes that are densely packed or imbricated, that buttress, support, or lean on one another subtly yet unmistakably evince their mutual dependence. Props and clamps that hold the various elements together further underscore the objects’ “frailty,” reflecting the artist’s determination to reveal rather than try to conceal supposed flaws or defects. “My sculptures are supposed to help articulate the doubt concerning their viability.” This stance lays her works open to challenge and assault, while the auxiliary constructions also suggest their conceptual temporariness and alterability.

    Nairy Baghramian, Breathing Spell, 2017, Courtesy die Künstlerin und Marian Goodman Gallery, New York, Paris; kurimanzutto, Mexico City, New York

    Nora Turato


    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    Nora Turato contends with the porosity of language in contemporary media landscapes with sonorous, spoken-word performances and typographical works composed of found textual materials. Language from books, advertising, social media, and everyday exchanges is appropriated and poured into performance scripts and visual work that ranges from wall murals and videos to artist’s books and posters.

    Her performances are delivered with a sense of urgency that appears impulsive and unplanned, which belies the labor-intensive process of research and rehearsal that goes into each piece. Currently she produces two performances of approximately twenty minutes per year, which allows her to stay on track with evolving trends, tropes, and linguistic devices that permeate media, and speak to cultural and political issues of the moment. Her vocal range is broad and pliable, and she uses it to vary her tone in pitch and intonation, harnessing different levels of intensity and emotionality with great theatrical effect.

    Strongly informed by her background in graphic design, Turato’s visual artworks are distinctive and characterized by bold, typographic imagery that echo the messaging of her spoken-word performances and the graphic language of contemporary ad slogans. In this spirit she can scale her work from small but hefty artist’s books to billboard-size murals without losing any artistry or nuance.

    While her work can be dissected and interpreted under many different lenses for its adroit cultural commentary, Turato’s stage presence—as a woman whose behavior is unpredictable—and her voice—which thunders and bellows and squeals—often cause the greatest critical response. This illustrates one point very well: despite all illusions, the freedom of women’s speech is still a point of sharp contention even in allegedly progressive societies.

    Nora Turato, photo: Sabina Bösch, Zürich, Courtesy: the artist & Galerie Gregor Staiger, Zürich

    Sarah Rapson I Ode To Psyche


    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    Sarah Rapson
    Ode To Psyche
    20. November 2021 – 23. Januar 2022

    The artworks of an upcoming exhibition in the Secession's basement will have been created primarily somewhere between the London homes of Sigmund Freud and John Keats. Sarah Rapson, whose practice has recently been described as a form of "romantic conceptualism," grew up in North London in the 1960s and 1970s, moved to New York in the 1980s, and returned to England decades later, where she continues to edit her material.

    Nora Turato I ri-mEm-buhr THuh mUHn-ee


    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    Nora Turato
    ri-mEm-buhr THuh mUHn-ee
    20. November 2021 – 23. Januar 2022

    Nora Turato explores the fragility of language in today's media landscapes in sonorous spoken word performances and typographic works crafted from found textual material. Language from books, advertising, social media, and everyday conversations is appropriated and incorporated into performance texts and visual art works ranging from murals and videos to artist books and posters.

    She carries out her performances with a seemingly impulsive and unplanned urgency that can obscure the elaborate research and rehearsal that underlie each. She currently produces two performances of about 20 minutes each per year, which allows her to absorb current trends, idioms, and linguistic patterns proliferating in the media, and to address the cultural and political issues of the day. She uses her voice, characterized by great range and flexibility, with variously changing pitches and sentence melodies, intensities and emotional expressive qualities to create moving theatrical effects.

    Turato's visual art, unmistakably influenced by her training as a graphic designer, draws the eye with striking typographic image solutions that echo the messages of her spoken word performances and the visual language of today's advertising slogans. This allows her to play with formats ranging from small but substantial artist's books to billboard-sized wall pieces without making concessions to the artistic quality or nuance of her work.

    Although her work and its deft engagement with contemporary culture can be analyzed and interpreted from many different angles, it is often Turato's stage presence - as a woman whose behavior is unpredictable - and her alternately thundering, howling, and squealing voice that draws the most critical attention. Thus it becomes abundantly clear that, despite all illusions, a woman's right to free speech remains highly controversial even in supposedly progressive societies.

    Wolfgang Tillmans. Sound is Liquid


    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    Wolfgang Tillmans’s artistic practice attributes central importance to the observation of people, their relationship to one another, and their connection to the things around them. These subjective relations and modes of perceiving bodies, images, materials, or surfaces are undergoing massive shifts in light of the current health crisis, calls for social distancing, and the relocation of our everyday life and interaction into virtual space.

    Recent developments have exacerbated the mediatization of our everyday lives, which we have been witnessing for some time. We are experiencing a spatial restructuring and changes in the media landscape that also affect the status of photography and its relationship to materiality and visuality.

    Curated by Matthias Michalka

    Wolfgang Tillmans Mond in Erdlicht, 1980 Courtesy of Galerie Buchholz, Maureen Paley, London, David Zwirner, New York

    Huang Po-Chih. Blue Elephant


    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    Huang Po-Chih (* 1980 in Taoyuan) belongs to a generation of artists socialized in a time of democratic reform and rapid economic growth in Taiwan. Huang’s multidisciplinary practice, which encompasses various artistic media as well as literature, agribusiness, textile manufacturing, and social entrepreneurship, reflects Taiwan’s changing identity discourse over the past decades: from an inward-looking narrative governed by Japanese occupation, the role in the Cold War, and claims of sovereignty from the People’s Republic of China to a transnational vision that takes local, East Asian, and global perspectives into account.

    Huang’s presentation at mumok is centered around the multi-part work series Production Line – Made in China & Made in Taiwan (2014–20). Based on his essay Blue Skin: Mama’s Story (2011–13), in which he recounts his mother’s eventful working life, Huang’s series addresses the rise and fall of Taiwanese textile production and its incremental outsourcing to Shenzhen, China.

    Curated by Heike Eipeldauer

    Huang Po-Chih Seven People Crossing the Sea (video still), 2019-2021 4K video, color, sound courtesy CHAT Photo: Hoho Lin © Huang Po-Chih

    WASSEF BOUTROS - GHALI, Untitled, 2015, Acryl auf Leinwand, 38 x 38 inches | 96.5 x 96.5 cm

    Wassef Boutros-Ghali | LEVANTE


    Christine König Galerie

    Schleifmühlgasse 1A, 1040 Wien

    next exhibition from December 3, 2021 - on view IRL after Austria´s lockdown #4

    The paintings by Wassef Boutros-Ghali employ a rich colour palette in which warm, ochre or red-modulated colourations are applied in much the same way as clashing, cold blue colourings. On his canvases, which are almost all characterized as Untitled, he allows primary colours to collide with complementary colours, in order to create space and depth. In this manner he evokes the Mesopotamian desert landscape with its topography that loses itself in an infinite vastness. There does not appear to be, however, an overly excessive focus on the figurative: Boutro–Ghali’s paintings instead operate as mirages between abstraction and figuration, in which recognisable landscapes and geometric abstractions enter into fascinating alliances. (...)

    It’s not possible to classify the art of this cosmopolitan artist, born in Cairo in 1924 and living there, without reflecting at the same time on his family history: the political dynasty Boutros–Ghali has been a co–creator of Egyptian as well as international politics for many decades; his grandfather Boutros Ghali Pasha was Prime Minister, his brother Boutros was General Secretary of the United Nations. Wassef, who was educated in European elite institutions and also lived in the United States for a long time, decided upon an artistic career, in which he has excelled not only as a painter but also as an architect. His role model with regard to modernistic consequences was Le Corbusier, while from his paintings one can easily discern similarities with the formal abstraction of, for example, Josef Albers or Ellsworth Kelly. But such perceived analogies fall short. In Wassef Boutros–Ghali’s painting another tradition comes into the picture, which one could term Levantine abstraction and which is also found in the works of Salida Douaihy and Etel Adnan.

    WASSEF BOUTROS - GHALI, Untitled, 2015, Acrylic on canvas, 38 x 38 inches | 96.5 x 96.5 cm


    Progress Through Beauty



    MAK – Museum für angewandte Kunst

    Stubenring 5,
    1010 Wien

    On the occasion of his 150th birthday, the exhibition JOSEF HOFFMANN: Progress Through Beauty comprehensively documents for the first time the entire oeuvre of the architect, designer, teacher, and exhibition organizer Josef Hoffmann (1870–1956), one of the luminaries of Viennese Modernism and the international life reform movement. With his indefatigable design work and teaching, Hoffmann cultivated an exemplary model of modern lifestyles based on a construction and product culture that was both shaped by craft and artistically ambitious. The show presents a cross section of Hoffmann’s revolutionary design and his most important buildings, including the Stoclet House in Brussels (1905–1911) and the Purkersdorf Sanatorium (1904–1905).

    In cooperation with the University of Applied Arts Vienna.

    © MAK