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Edi Hila - The sound of the tuba


The pursuit of artistic truth is fundamental to my painting practice. The truth, understood as presenting a reality of my surroundings as they exist, is far more important for me than any notion of beauty.* (Edi Hila)

Evil Emperors

An Exhibition in the coin collection


The exhibition is open for guided tours only.


1010 Wien

The image of Roman emperors transmitted by classical tradition continues to influence how we see and judge them today. Our view of Roman emperors is strongly affected by how classical tradition depicts them – Caligula, Nero or Commodus, for instance, are poster-boys for megalomania. For posterity is the final arbiter of a ruler’s life and deeds, deeming them benign or evil regardless of his assertions and efforts.
The exhibition confronts statements and appraisals from classical antiquity – some of them contemporary, some written down several generations after the emperor’s death – with coinage. The two sources differ greatly in their origins and how they were formed and have very different aims. At times, they seem to clash and are difficult to reconcile. Although most of what we know about the history of classical antiquity is based on them, this reflects the gulf that separates personal opinions from official accounts.

The exhibition examines clichés and anecdotes and tries to illustrate them with coins selected from the holdings of the Coin Cabinet, one of the largest and most important collections in the world comprising around 600.000 objects including 90.000 Roman coins. The choice of rulers runs from murderous Caligula and Nero, the arsonist of Rome, to the persecutors of Christians, to Julian the Apostate, thus, well into the fourth century AD.



Permanent exhibition


Architekturzentrum Wien

MuseumsQuartier, Museumsplatz 1, 1070 Wien

The “a_show” is the permanent exhibition of the Az W. It offers a compact overview of the development and history of the architecture of the 20th and 21st centuries in Austria along with a unique view of 150 years of architectural production.

In ten episodes the most relevant phenomena and tendencies are shown, while still leaving room for autonomous positions. Starting with Vienna’s growth into an imperial metropolis, the exhibition brings visitors into the field of tension between socio-political experiment, the “conquest” of areas of alpine landscape, the interwoven power structures of the Nazi period, and the rebuilding programme after 1945.

Modernism, experiments and crises
The year 1958 is significant for the development of architecture in Austria. At that time a number of key buildings were completed which signalised the somewhat late arrival of international modernism. Subsequently space travel, the worldwide ascendancy of pop culture and mass media made an impact on the production of architecture. The oil crisis in 1973 brought an abrupt end to utopian concepts, while at the same time marking the start of a variety of experiments in both formal and constructional terms. Current positions from throughout Austria are an important part of the exhibition and are presented in digital form.

Curators: Gabriele Kaiser, Monika Platzer, Az W

Günther Domenig, Steinhaus, 1986–2008 © AzW Wien, Collection, photograph: Margherita Spiluttini

Faces. The Power of the Human Visage



Albertinaplatz 1, 1010 Wien

Starting from Helmar Lerski’s outstanding photo series Metamorphose – Verwandlungen durch Licht (Metamorphosis through Light) (1935/36), the exhibition Faces presents portraits from the period of the Weimar Republic.

The 1920s and ’30s saw photographers radically renew the conventional understanding of the classic portrait: their aim was no longer to represent an individual’s personality; instead, they conceived of the face as material to be staged according to their own ideas. In this, the photographed face became a locus for dealing with avant-garde aesthetic ideas as well as interwar-period social developments. And it was thus that modernist experiments, the relationship between individual and general type, feminist roll-playing, and political ideologies collided in—and thereby expanded—the general understanding of portrait photography.

© Nachlass Helmar Lerski, Museum Folkwang, Essen

Renate Bergmann

Carlone Contemporary


Oberes Belvedere

Prinz Eugen-Straße 27

In 2020, the Belvedere will be showcasing the work of multimedia artist Renate Bertlmann for the Austrian Pavilion at the Venice Biennale 2019 as part of the CARLONE CONTEMPORARY series: a field of red knife-roses. The installation will feature sensuous flowers made of Murano glass paired with razor-sharp blades emerging from the buds. This juxtaposition of fragility and aggression mirrors the duality found in the frescoes of the Carlone Hall at the Belvedere.

Curated by Felicitas Thun-Hohenstein.

#CarloneContemporary #RenateBertlmann

Johannes Stoll / Belvedere, Wien. © Renate Bertlmann & Richard Saltoun Gallery, London

Having Lived - Ingeborg Strobl


Ingeborg Strobl’s oeuvre is moored in the tradition of conceptual and intermedia art. Natural and animal subjects acting as mirror images of society take up a central role in her objects, installations, collages, paintings, photographs, films, and publications. Also evident in her work is a predilection for the marginal, the hidden, that which is all-too easy to overlook or repress as well as a concomitant aversion to obsessive production and consumption.

Her earliest works are color crayon drawings and the ceramics she made while a student in London. Both of these groups of works are characterized by a surreal illusionism with animal motifs, in which the artist’s sense of the hidden beauty of the ephemereal, or the transitory nature of all splendor, is already apparent.

Strobl donated her archive with numerous works and printed matter to mumok. This archival material is the centerpiece of the retrospective, which was conceived in collaboration with the artist—before her death in April 2017—and gives a representative overview of her comprehensive oeuvre.

Ongoing Permanent Collection


Oberes Belvedere

Prinz Eugen-Straße 27

The Belvedere’s collection comprises several thousands of works from nine centuries. The museum’s permanent collection throws a fresh and exciting light on artworks by artists like Rueland Frueauf the Elder, Franz Xaver Messerschmidt, Ferdinand Georg Waldmüller, Gustav Klimt, Erika Giovanna Klien, Egon Schiele, Helene Funke, and Oskar Kokoschka.

The Belvedere’s extensive collection covers art from the Middle Ages to the present, including the world’s largest collections of paintings by Ferdinand Georg Waldmüller and Gustav Klimt and the Character Heads by Franz Xaver Messerschmidt. The Upper Belvedere’s display concept offers fresh approaches to these masterpieces of art.

The concept includes innovative thematic rooms, interspersing the chronological hanging through the periods of art and sparking a multi-layered dialogue between the classics of art history and contemporary artists, for example Erwin Wurm and Christian Philipp Müller. The rooms revolve around questions concerning Austrian history, its identity, and its art. In this exciting interaction between past and present, old favourites can be rediscovered in a new context.

The tempestuous history of the Belvedere has been allotted its own section in the exhibition covering Prince Eugene’s building of the palaces, the foundation of the museum, the signing of the Austrian State Treaty, and its role today as a modern museum.

Exhibition view "A New Look: The Permanent Collection Redisplayed" Photo: Johannes Stoll

Masterpieces of Modernist Art.

The Batliner Collection



Albertinaplatz 1, 1010 Wien

The ALBERTINA Museum’s permanent collection has been completely restructured. The Albertina houses one of Europe’s most important compilations of Modernist art in the form of the Batliner Collection.
Its exhibition starts off with such artists of Impressionism and Post-Impressionism as Degas, Cézanne, Toulouse-Lautrec, and Gauguin. Further highlights include examples of German Expressionism, with the groups of Brücke and Der Blaue Reiter, and the art of New Objectivity, with works by Wacker, Sedlacek, and Hofer. An in-depth focus on Austrian art comprises works by Kokoschka and paintings by Egger-Lienz. The great diversity of the Russian avant-garde is represented by paintings by Goncharova, Malevich, and Chagall.

The ALBERTINA Museum welcomes the Othmar Huber Collection for an appearance as part of the permanent presentation. A selection of 15 works from the collection of Swiss ophthalmologist Othmar Huber (1892-1979) is being presented, giving rise to a dialogue between these two outstanding accumulations of classical modernist art.

The focus of this encounter between key modernist masterpieces is on German Expressionism as well as the early Bauhaus movement with works by Marc, Macke, Wassily and Klee. Furthermore, two important paintings by Picasso—the Sleeping Drinker (1902) and Head of a Woman (1963), presented together with the ALBERTINA Museum’s own rich Picasso holdings—round out this special guest appearance. The exhibited works are on loan from the Othmar Huber Foundation, kept at Kunstmuseum Bern, and the Kunsthaus Glarus.

Paul Signac | Venice, The Pink Cloud, 1909 | The ALBERTINA Museum, Vienna – The Batliner Collection


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.


After Us, the Flood


KUNST HAUS WIEN. Museum Hundertwasser

Untere Weißgerber Straße 13, 1030 Wien

As a Green Museum, KUNST HAUS WIEN regularly dedicates major photographic presentations to key ecological themes. The main exhibition in autumn presents a selection of artistic positions that focus on the effects of climate change on the ecosystem. The works in the exhibition show and analyse the impact the global climate crisis has on glaciers, sea and marine regions, considering both scientific and political aspects. The images of disappearing glaciers, rising sea levels, increasingly acidified oceans and desertificated land areas are not least emotionally touching, and once again bear witness to the urgency of the topic.

Nach uns die Sintflut [After Us, the Flood] brings together current photographic and cinematic work by 21 international and domestic artists. Their works, often the result of extensive research and close collaborations with leading scientists, throw into relief the ecological effects our way of life has on different regions of the earth. Some also highlight its socio-political and social consequences, or outline future scenarios. The artists draw attention to people in those regions already most affected by the consequences of climate change, and illustrate the global connections between our lifestyle and the ecological, social and economic problems we face.

Artists: Benoit Aquin, Ursula Biemann, Axel Braun, Solmaz Daryani, Verena Dengler, Michael Goldgruber, Justin Brice Guariglia, Stephan Huber, Genoveva Kriechbaum, Anouk Kruithof, Bénédicte Kurzen, Douglas Mandry, Benedikt Partenheimer, Sarker Protick, Gabriele Rothemann, Anastasia Samoylova, Christina Seely, Nicole Six & Paul Petritsch, Frank Thiel, Angela Tiatia

Hidden Thoughts of A Visual Nature


Sigmund Freud Museum

Berggasse 19, 1090 Wien

As ever, the historical stairwell, which is an integral part of the new museum concept, connects the living spaces on the mezzanine level with the “doctor’s apartment” (1896-1908) on the upper ground floor where a permanent exhibition entitled Hidden Thoughts of a Visual Nature will be on display: A presentation of selected works from the Sigmund Freud Museum’s collection of conceptual art. Established in 1989 with an installation by American artist Joseph Kosuth, the collection now includes works by Franz West, Heimo Zobernig, Susan Hiller, John Baldessari, Sherrie Levine, Haim Steinbach, Ilya Kabakov, and Pier Paolo Calzolari.

Ausstellungsansicht: Verborgene Gedanken visueller Natur © Oliver-Ottenschlaeger, Sigmund Freud Privatstiftung

Andy Warhol Exhibits


Exhibition artist, installation artist, or perhaps closeted curator? ANDY WARHOL EXHIBITS a glittering alternative presents rarely shown works that look behind the facade of the world-famous Pop Art icon to rediscover Warhol’s capabilities as a groundbreaking exhibition and installation artist. For the first time ever, viewers will be given an exemplary overview of the artist’s exhibition practice without letting his early and late works fall by the wayside. This cross-section places equal value on the myriad media Warhol used and shows that his modes of presentation should be understood as an essential part of his oeuvre. Two aspects of Warhol’s dual persona—the oft-quoted staged one and the hidden one barely noticed by the public—are juxtaposed on two levels of the mumok building.

Defrosting the Icebox


AID THE ICEBOX 1 with Andy Warhol (1969–1970) is seen as one of the earliest examples of a collection exhibition curated by an artist. Though the Warhol-curated exhibition did not feature any works by the artist himself, it contained several presentation strategies that broke with traditional museum standards: Instead of prioritizing the visual arts, Warhol exhibited the applied arts. Instead of applying a classification system of chronology, medium, or style, he presented the objects in an ahistorical, nonhierarchical form. The museum storage became an exhibition; what had almost been forgotten was placed in the limelight. Taking inspiration from Warhol’s atypical list of works—among other things, he presented 7 blankets, 12 sculptures, 17 chairs, 57 umbrellas, and 194 pairs of shoes—the focus here is placed on selected works from the Weltmuseum Wien Collection as well as Greek and Roman sculpture fragments from the Antiques Collection of Kunsthistorisches Museum Wien.

Beethoven moves



1010 Wien

The exhibition at the Kunsthistorisches Museum Vienna brings Beethoven into dialogue with artists like Friedrich, Goya, Rodin, Horn, Baldessari and Sehgal.
The Kunsthistorisches Museum Vienna presents, in cooperation with the Archive of the Gesellschaft der Musikfreunde in Vienna, an unusual homage to Ludwig van Beethoven (1770–1827).

His universal and unique reception, the epochal significance of his music, but also the perception of his deified persona, create numerous entry points; high and popular culture, commerce and politics all form an inexhaustible reservoir for inspiration and appropriation.

The exhibition brings together paintings by Caspar David Friedrich, sketchbooks by J. M. W. Turner, graphic works by Francisco de Goya, Anselm Kiefer and Jorinde Voigt, sculptures by Auguste Rodin, Rebecca Horn and a new work developed for the exhibition by Tino Sehgal, a video by Guido van der Werve and much more, all of which are brought into dialogue with the music and persona of Beethoven. The exhibition will thus build a bridge with the present: masterpieces of fine art form connections with music and silence.


Fragile Creation


Artworks from the Middle Ages to the present illustrate the complex connection between human beings and their environment. From loving care to exploitation, from menace to fascination, the relationship between people and nature is an ever-present topic—and was of existential importance long before the life-threatening consequences of global warming and pollution we are faced with today.

Artwork by Karl Aigen, Alessandro Araldi, Betty Beier, Joseph Beuys and Nicolás García Uriburu, Joseph Beuys and Jonas Hafner, Albert Bierstadt, P. Dominik Bilimek OCist, Catrin Bolt, Günter Brus and Arnulf Rainer, Maria Bussmann, Carolina Caycedo and Jonathan Luna, Olivia Coeln, Regula Dettwiler, Mark Dion, Caspar David Friedrich, Nilbar Güres, Maria Hahnenkamp, Christine and Irene Hohenbüchler, John Hilliard, Jenny Kendler, Mathias Kessler, Estefanía Peñafiel Loaiza, Alessandro Magnasco, Julie Monaco, Muntean & Rosenblum, Michèle Pagel, Bonaventura Peeters, Oliver Ressler, Dieter Roth, Marzellin Stoppel, Antoni Tàpies, Shonah Trescott, Timm Ulrichs, Lois Weinberger, Sharon Ya'ari, and historic artists whose names have not been handed down.

My Generation - The Jablonka Collection



Albertinaplatz 1, 1010 Wien

For the first time, Rafael Jablonka is appearing at the Albertina Museum to provide insights into his contemporary art collection, one of the most distinctive collections of American and German art from the 1980s, which he turned over to the ALBERTINA Museum in July 2019. Jablonka spent decades collecting with a consistent eye to acquiring more and more works from the various creative phases of the artists on whom he had chosen to focus. In this showing, Jablonka—a German art dealer, gallerist, and curator who was born in 1952—devotes himself above all to artists of his own generation. The selected works provide a representative look into these artists’ respective oeuvres in keeping with a one-artist-per-room concept.

Featured artists:

Miquel Barceló | Ross Bleckner | Richard Deacon | Eric Fischl | Damien Hirst | Roni Horn | Mike Kelley | Sherrie Levine | Cady Noland | Thomas Schütte | Andreas Slominski | Philip Taaffe | Terry Winters

© Sherrie Levine

Stories of Traumatic Pasts

Counter-Archives for Future Memories


Belgian colonialism in Congo in the late nineteenth and twentieth century.
Austrian antisemitism in the twentieth century.
Turbonationalism in former Yugoslavia since the 1990s.

These three historic lines of violence and annihilation (re)enforced a process of oblivion that to this day prevents a processing of the genocides they caused. Today involuntary or performed amnesia again threatens to destroy what has already come to a point of possible coexistence. We go back to these traumatic events in history and the recent past, which had such a violent impact on communities and people, states and territories, and confront them with a system of interventions. The scars that remain after atrocities, although hidden and obliterated, are recovered through artistic, scientific, and political reflections.

The exhibition takes a critical look at three European regions, their histories, and their current experiences of collective amnesia in relation to traumatic pasts. The positions shown are interventions aimed at the present and the future and form counter-narratives against forgetting.

Stories of Traumatic Pasts is the result of the FWF research project (AR 439) Genealogy of Amnesia at the Academy of Fine Arts.

The Attack of the Present - Prospects in Postal Growth


Registration required:

Universitätsgalerie im Heiligenkreuzer Hof Wien

Heiligenkreuzer Hof Stiege 8, 1.Stock, Eingang über Schönlaterngasse 5


Justin Lieberman Doctrinal Disposition, 2019 Foto: Frank Stürmer

Maja Vukoje

On the Edge


Belvedere 21 – Museum für zeitgenössische Kunst

Arsenalstraße 1,
1030 Wien

In her painting Maja Vukoje explores cultural hybridity and transculturality as basic conditions of our globalized lives. Over various stages of her artistic career, Vukoje has developed a distinct artistic language in which she not only focuses on the mixture and fusion of elements of different cultures as visual motifs. Vukoje also reflects these hybrid phenomena in the materials and artistic methods she applies, thus blurring the boundaries of painting as a medium.

From 12 November 2020, Belvedere 21 will be hosting the artist’s most comprehensive solo show to date. The exhibition will comprise some one hundred works from the past fifteen years, with an emphasis on her most recent work series. In the latter tropical fruits and so-called colonial goods like coffee and sugar come face to face with symbols of our digitized everyday lives, motifs from popular culture, and iconic works of painterly abstraction. In a spatial intervention specially designed for this exhibition, Maja Vukoje also interweaves her exploration of the formal language of Modernism with questions of display.

Curated by Luisa Ziaja.


Maja Vukoje, "Paravent", 2014, Photo: Michael Wörgötter, © Bildrecht Vienna, 2019



Click to watch the video!

Sammlung Friedrichshof Stadtraum

Schleifmühlgasse 6 / im Hof, 1040 Wien

+43 664 918 37 80

Inspired by incredible forms existing in nature and our surroundings, this work is a representation of systems of support and connectivity. In the forest, trees of different species have been thought to fight for light, but in reality they benefit from one another when sharing the same space. Their intertwined roots and a symbiotic relationship to fungi create an underground economy that exists beneath trees, a huge network, called “The Wood Wide Web”.

After years living in Vienna, Roberta Lima moved to Finland and experienced the conflict with isolation. Initially Lima struggled with feeling alone, but then she profited from introspection. She embraced restrictions and sought for alternative forms of communication. Working remotely has been Lima’s reality since then. The support of her collaborators in Vienna, Brazil and other places is crucial for making and presenting this work.

A sculpture made of cables is the main object of the multi-media installation at Stadtraum in Vienna. Spread throughout the space, the cables connect to various media works distributed in the rooms. Displaying images produced in Finland, the works explore artistic production using the concepts of “The Wood Wide Web”. In Ghost Plant, the body stands as energy source and the element that challenges and redefines structures.

Ghost Plant. C-Print. 2020 © Roberta Lima. Courtesy of the artist and Charim Galerie

Land For Us All


Architekturzentrum Wien

MuseumsQuartier, Museumsplatz 1, 1070 Wien

The earth's surface is a finite resource, and soil is our most precious commodity. Careless or capital-driven treatment of this resource has massively changed the shape and function of our towns and villages in recent decades. In view of the threat of a climate catastrophe and rising housing prices, the question arises as to whether the current path, with maximum compromises and minimum adaptation, is still sustainable. An extensive and couragous land policy is called for, where is it?

The progressive urban sprawl of the countryside has been the subject of discussion for decades. Meanwhile, everybody in Austria could be housed in the single-family homes that already exist 1), although yet more land is still being approved for building on, new shopping centres are going up on greenfield sites and whole chalet villages in the Alps. Weak or unenforced spatial planning regulations, a partly misguided tax law and subsidy system, and a despondent policy perpetuate the status quo instead of developing a vision for the future.

The exhibition explains the political, legal and economic background clearly and vividly, critically and sometimes inadvertantly absurdly. Case studies and explanations of the relevant terminology bring light into the thicket of responsible agents involved. International comparisons illustrate strengths and weaknesses, international examples of best practice show alternative approaches. We are all being called upon to think and act along new lines — and this exhibition is preparing the way.


Curators: Karoline Mayer & Katharina Ritter, Az W
Assistance: Lisa Gallian, Christina Kirchmair


1) With an average of 4.16 people per house (8,837,707 inhabitants in 2,123,597 detached and semi-detached houses). Source: Statistik Austria, status 2018

Sealed soil: parking lots instead of farmland © ÖHV

The Essl Collection


The winter/spring season of 2020/2021 at ALBERTINA MODERN is given over to the Essl Collection.
This marks the first time that an overview of the Essl Collection’s historical depth and geographical breadth, ranging from American output to artworks from China, has been presented in Austria’s capital city—with 110 masterpieces created between 1960 and the present by famous artists ranging from Antoni Tàpies to Maria Lassnig, and Georg Baselitz, and from Alex Katz to Fang Lijun, Annette Messager and Nam June Paik.


Preview: When Gesture Becomes Event

With the performance: Sonny by Nataša Živković



Registration required:


Karlsplatz 5, 1010 Wien

Curated by Alenka Gregorič and Felicitas Thun-Hohenstein, the group exhibition focuses on the emancipatory potential of art, enabling a platform for the practice of solidarity, alongside the possibilities and imponderabilities that are associated with it. The exhibition aims to initiate a new grammar for a diversity orientated “groundless solidarity". Reflective on the conditions under which an individual gesture, can transform into a collective force, whilst interrupting a seemingly normal course of action, and thus becomes an event itself.

Artists: Anna Artaker, Nika Autor, Renate Bertlmann, Katharina Cibulka, Lana Čmajčanin, Magdalena Frey, Anna Jermolaewa, Roberta Lima, Polonca Lovšin, Dorit Margreiter, Ursula Mayer, Marjetica Potrč, Constanze Ruhm, Maruša Sagadin, Maja Smrekar, The Golden Pixel Cooperative

Sonny is an attempt at an anthropological research of a specific social phenomenon, known from the Balkan regions, upon others the remote parts of Montenegro, Albania, Kosovo and Metohia. ‘Sworn virgins’ or ‘virginias’, is a to this day existing practice where women who, in order to counter the patriarchal system, take the vow of chastity and on a societal level become men. The women, who now dress as men, behave as men, and use masculine pronouns, take on the form and function of i.e. the head of the family, including the imminent rights and public respect.

Sonny, taking on a performative form, shares the amazement and fascination with images, stories, and reproduction of that phenomenon. Questioning and deconstructing the survival mechanisms established within a man’s world, and standing up to the external attachment and conventions associated with the ‘double sex image’.

Author and performer: Nataša Živković
Further performers: Daniel Petković, Loup Abramovici, Slobodan Malić

Association for the Promotion of Women in Culture – City of Women
The project is supported by Creative Europe, the Ministry of Culture and the City of Ljubljana.

Constanze Ruhm, Pearls Without a String, 2020

Waste Art


Artists have always worked with trash, garbage, second-hand materials - be it for financial, practical reasons or the occasion to turn away from "high art" and distance themselves from it. Especially in the last decades numerous movements like Recycling, Up-Cycling, Zero Waste, etc. have developed with the aim to make things more durable and to counteract the exuberant consumption and the throw-away habitus of our time.

The exhibition WASTEART focuses on the beauty of objects and emphasizes the readiness for material reworking. The selection of artists reflects this concept:
the beauty of the worthless, the everyday; forms that are reminiscent of paraphrases, but also create completely new aesthetic appearances; the material that we cannot get rid of, but also the relentless documentation of these processes.


A Symphony in Pictures from Vienna 1900


Beethoven’s Symphony No. 6, known as the Pastoral Symphony, inspired the Viennese Jugendstil artist and Klimt colleague Josef Maria Auchentaller (1865-1949) to create an imposing pictorial program in 1889/99 to adorn the music room at the villa of his father-in-law, the silver jewelry manufacturer Georg Adam Scheid.

The ensemble, consisting of five paintings, represents the first artistic realization of all movements of a Beethoven symphony and is a singular example of the tradition of music rooms, which experienced its heyday around 1900. Marking the 250th birthday of Ludwig van Beethoven, the ensemble will be reconstructed for the first time in Austria at the Leopold Museum, where the history of this Gesamtkunstwerk, or universal work of art, will be highlighted through a focus exhibition in the context of the new permanent presentation Vienna 1900.

The Vienna-born painter, graphic artist and jewelry designer Auchentaller’s exploration of a work by Beethoven illustrates the high esteem in which the composer was held by artists of the Vienna Secession, which Auchentaller joined already in its founding year. Auchentaller also executed the now lost mural Joy, Fair Spark of the Gods, created as a counterpart to Gustav Klimt’s Beethoven Frieze, for the famous 14th Exhibition of the Vienna Secession held in 1902 and dedicated to the composer, who had chosen Vienna as his adopted home.

In this focus exhibition, the reconstruction of this unique pictorial program for the music room of Villa Scheid enters into a multi-faceted dialogue with works by Gustav Klimt, Max Klinger, Carl Moll, Alfred Roller and others, and shows how Beethoven became a source of inspiration and point of reference for exponents of Viennese Modernism fighting for renewal and recognition in fin-de-siècle visual arts.


Visual Revolution


Emil Pirchan (1884–1957) was a pioneer of Expressionist stage design, as well as an imaginative poster designer who enjoyed considerable success in the highly competitive field of advertising art. He was also a costumer, designer, book illustrator, author of several artist monographs, a novelist, teacher, and a lot more besides.

Born in Brünn (present-day Brno), the son of an academic painter studied architecture in Vienna under Otto Wagner. Following a brief spell in his hometown, he moved to Munich in 1908, where he opened a “studio for graphic design, stagecraft, house construction, spatial art and applied arts”. The multi-talented artist was able to show off his creativity also at his later places of activity in Berlin (1921–1932), Prague (1932–1936) and Vienna (1936–1957). Always full of surprises, he created a futuristic, seemingly mechanical design for a theater building in South America around 1930, which was never executed, however, and to this day raises questions about its commissioners. The tiered stage – a milestone in modern stage design known as “Jessner staircase” – would have been unthinkable without Pirchan’s involvement. The clear structuring of the stage area and emphatic color effects Pirchan generallystrove for were doubtlessly rooted in his work as a commercial artist. In this field, the artist experimented with colored paper cuts already in 1912. The fact that the estate of Emil Pirchan, which was buried for many years in an attic in Zurich, saw the light of day a few years ago, and in the spring of 2019 was presented at the Museum Folkwang in Essen, is owed to the efforts of his grandson Beat Steffan. The Leopold Museum is the first Viennese institution to dedicate an exhibition to this universally talented and exceptional artist who is still largely unknown to the broader public.

Adolf Loos: Private Houses


To mark his 150th birthday, the MAK is devoting an exhibition to Adolf Loos (1870–1933), one of the most important pioneers of modernism in architecture.

The exhibition’s almost 100 design drawings, plans, photographs, and models from the Albertina’s Adolf Loos Archive examine both his planned and completed works and focus on his private residential buildings: single-family homes, villas, and country residences for a bourgeois, frequently Jewish, clientele—but also for artists and literary figures. As a contrast, important social projects such as housing for the Wiener Siedlungswerk cooperative, the municipality of Vienna, and the Austrian Werkbund are also presented.2

In designing his private residential buildings, Loos developed the concept of the Raumplan (lit.: “spatial plan”), in which the floors were not simply “layered” on top of each other. Instead, each room was given the height and dimensions necessary for its intended use. Projects planned according to this system between 1903 and 1931, such as houses for Dadaist Tristan Tzara and singer-dancer Josephine Baker in Paris, master builder František Müller in Prague, and textile manufacturer Hans Moller in Vienna, still number among the world’s foremost private homes of the 20th-century.

100 best posters 19



Creative ideas expressed in a wide range of stylistic idioms from the world of graphic art—from students’ poster projects to commissioned work by established graphic designers—come together to form a feast for the eyes in the exhibition accompanying the competition 100 BEST POSTERS 19: Germany Austria Switzerland.

The exhibition reinforces the relevance of the printed poster as antidote to the all-pervasive sensory overload emanating from social media channels. The appeal of this year’s winning projects lies in their image-based use of typography as an integrative component of the design process—on the one hand as playful, decorative element in harmonious interplay with the subject, and on the other as purely aesthetic stylistic device enhancing the legibility of the poster’s message.

A total of 2 247 posters from 684 entrants were put forward for this year’s competition, whose results are being presented in the MAK for the 15th time. The 100 winning posters were selected by an international jury, chaired by Julia Kahl (Karlsruhe) and including Michel Bouvet (Paris), Benjamin Buchegger (Vienna), Götz Gramlich (Heidelberg), and Isabel Seiffert (Zurich). 45 winning posters and poster series came from Germany, 52 from Switzerland, and 3 from Austria.



The MAK invites to a special journey of discovery in these extraordinary times. To date rarely or never shown special features from the collection and hidden depot treasures will be staged for a short time in the rooms of the MAK Permanent Collection by the design duo mischer’traxler, together with the curator Janina Falkner. Employees who have been involved with the collection objects for years, primarily curators, but also collection employees, restorers, art educators, and the directors, have selected more than 100 masterpieces that have to date been hidden, but are very much worth seeing.
The objects press into already assigned areas in cheeky gestures, butt in and demand new latitude. Unexpected associations, humorous constellations, and paradox scenarios arise from this spontaneously curated advent of things. Following the restructuring of the MAK DESIGN LAB, BOLD AND FREE! The Invasion of Hidden Objects is the second cooperation with the internationally successful design studio mischer’traxler. Creative approaches to masterpieces of applied arts once again convey the diversity of the MAK Collection in an unconventional and imaginative way.

Hugo Canoilas. On the extremes of good and evil


Hugo Canoilas, Kapsch Contemporary Art prizewinner 2020, transforms the exhibition gallery into a walk-in stage for painting. The entire floor is laid out with cloth on which the artist has painted a scenario of interlocking flowing forms with island-like centers. The blue ground and the fantastic tentacular and colorful creatures in paint and glass look like a lively maritime landscape with unfathomable depth. In the times of the corona crisis, which has elevated social distancing to a new principle of survival, we are here drawn into an inescapable painterly biosphere that combines seduction and danger, and also the organic and technoid all in one space. This floor painting is not only a stage for viewers to experience both art and their own selves; it is also a performance space for a show developed by Elise Lammer and Julie Monot, on the invitation of the artist. In BECOMING DOG, the performers are dressed as dogs and explore new potential for empathy within an institutional space. Canoilas’s combination of painting with strategies of installation and performance is evidence of an expanded concept of painting based on an awareness of contemporary social and political developments and of the appertaining philosophical and art-historical discourses. These take a critical view of our world order shaped by humanism, with its hierarchical structures of values, and they advocate an empathetic approach to nature and all creatures and animals.

Lawrence Abu Hamdan

Green Coconuts and Other Inadmissible Evidence


In both his art and his audio investigations, Lawrence Abu Hamdan grapples with sound, speech, memory, and the quest for truth in the context of today’s legal and humanitarian crises. A central concern that is woven through many of his works, including sound and video installations, objects, and research-based documentaries, is his engagement with questions around the relevance and critique of acoustic clues and the reports of earwitnesses as part of the gathering of evidence in legal proceedings. In his exhibition at the Secession, the artist takes these concerns a step further. He presents altogether four works from two series that probe questions related to the witness testimony. The display takes a stand for other forms of witnessing that break the juridical framework for eye- and earwitnesses’ statements and perhaps pose a more general challenge to our notions of law and justice, of truth and how it is established.

Till Megerle

To be kind


In his exhibition To be kind, Till Megerle presents thirteen new drawings from the past three years. The works show scenes involving oddly convoluted and deformed bodies as well as portraits of young people posing before landscapes on the urban periphery that are steeped in an atmosphere of vague alienation and taciturnity. The pictures insistently point up the protean, alien, and psychedelic facets of the quotidian. The familiar is distorted so as to become unreal, uncovering what was repressed or thought to have been overcome and revealing a latent violence that Aziza Harmel addresses in the publication accompanying the exhibition.

cats, dogs and other pieces


Charim Gallery presents works of:

Sasha Auerbakh

Dorothee Golz

Edgar Honetschläger

Stephan Huber

Anna Jermolaewa

Moussa Kone

Dorit Margreiter

Hubert Scheibl

Ingrid Wiener



When we think about Fallahpisheh and Thurman’s works together, we come up against the idea of the hero. It may sound absurd, but it’s where the works meet. Whereas Fallahpisheh makes recourse to fables and reduces his actors to a cast of mice, cats, dogs, and humans, Thurman puts a mask on his figures. Or is he taking it off? Their power comes from socially constructed ideas of masculinity. Their weakness is that they’re not allowed to talk about it, not allowed to reveal grief or rage. These tensions discharge in violence or even withdrawal. The figures in both Fallahpisheh and Thurman’s works are haunted by their own ghosts, by past selves, their origins and traumas. Of course, the self-portrait also comes into play here, too. Both are speaking about themselves. But even more so, they’re opening themselves up, making themselves vulnerable to produce a kind of critique that doesn’t stand apart from them but is credibly formulated with them. It’s about each of our struggles to find inner peace in a society that’s constantly entertained and alarmed, overly critical and uncritical at the same time; a society where the constant quest for attention collides with ever-shorter attention spans. It’s time to rebel.

Abiona Esther Ojo & Huda Takriti. Weaving Truths, Untangling Fictions


Abiona Esther Ojo & Huda Takriti. Weaving Truths, Untangling Fictions
In cooperation with the Academy of Fine Arts Vienna and the University of Applied Arts Vienna

Each in her own way, the award-winning artists, Abiona Esther Ojo (graduate of the Academy of Fine Arts Vienna) and Huda Takriti (graduate of the University of Applied Arts Vienna) probe questions concerning their positions in diverse cultural and historical as well as personal-biographical contexts.

By weaving together documentary and narrative elements, confronting the past with the present, dismantling barriers of space and time, and reflecting on the social potentials of distinctive moments in community life, they craft narratives that intertwine the real with the fictional while also insistently untangling the strands of the latter.

“Abiona Esther Ojo’s profound installation Die Magie steckt in jeder Strähne (There’s Magic in Every Strand) unfolds the social and political implications of Black hair through the lens of cultural history, but in from a very personal perspective. Combining sculptural, analog-reproductive, and digital media, she deftly connects the practice of creating Afro hairstyles, which is bound up with knowledge, collective memories, rituals, and intimate processes, to general questions of identity and representation—from the message as a signal of protest to a well-established code of community membership”, so the Kunsthalle Wien Prize jury’s reasoning.



‘Memory Foam’, Charlotte Klobassa’s third solo exhibition at Zeller van Almsick centres upon the permeable polyphony of memory through the process of painting. The artist’s canvases are preceded by an investigation of unconscious marks and gestures within her spatial and social environment, which she includes in her abstract paintings in a process of appropriation. Scribbles of unknowns in stationery shops, details of situations, or the characteristics of a person are detached from their original setting and inscribed into her subtle oil paintings, not unlike memories to our minds. Through her gentle brushstrokes, Klobassa reconstructs relics of these encounters precisely, and in doing so, not only blurs the line between what belongs to her, and what is borrowed from others, but also foregrounds the constructiveness of memory as such.

Želimir Žilnik. Shadow Citizens


Shadow Citizens offers an insight into the radical film praxis and extensive œuvre of filmmaker Želimir Žilnik (b. 1942, lives and works in Novi Sad, Serbia) within an exhibition context.

From his beginnings in the lively amateur film scene of Yugoslavia in the 1960s, Žilnik has gone on to make more than fifty films, including a number of feature films and TV productions, often in the genre of docudrama. He received international recognition early on, winning the Golden Bear for the Best Film at the 1969 Berlin International Film Festival for Early Works.

Many of Žilnik’s films have prophetically anticipated real-world events such as the dissolution of Yugoslavia, the economic transition from socialism to a neoliberal order, the elimination of workers’ rights, and the wider social erosion related to labor and migration. The exhibition’s title, Shadow Citizens, reflects Žilnik’s lifelong focus on invisible, suppressed, and under- and misrepresented members of society.

Curators tour with Sophie Haslinger and Verena Kaspar-Eisert

After Us, the Flood



Free of charge with a valid admission ticket,

KUNST HAUS WIEN. Museum Hundertwasser

Untere Weißgerber Straße 13, 1030 Wien

As a Green Museum, KUNST HAUS WIEN regularly dedicates major photographic presentations to key ecological themes. The main exhibition in autumn presents a selection of artistic positions that focus on the effects of climate change on the ecosystem. The works in the exhibition show and analyse the impact the global climate crisis has on glaciers, sea and marine regions, considering both scientific and political aspects. The images of disappearing glaciers, rising sea levels, increasingly acidified oceans and desertificated land areas are not least emotionally touching, and once again bear witness to the urgency of the topic.

Nach uns die Sintflut [After Us, the Flood] brings together current photographic and cinematic work by 21 international and domestic artists. Their works, often the result of extensive research and close collaborations with leading scientists, throw into relief the ecological effects our way of life has on different regions of the earth. Some also highlight its socio-political and social consequences, or outline future scenarios. The artists draw attention to people in those regions already most affected by the consequences of climate change, and illustrate the global connections between our lifestyle and the ecological, social and economic problems we face.

Artists: Benoit Aquin, Ursula Biemann, Axel Braun, Solmaz Daryani, Verena Dengler, Michael Goldgruber, Justin Brice Guariglia, Stephan Huber, Genoveva Kriechbaum, Anouk Kruithof, Bénédicte Kurzen, Douglas Mandry, Benedikt Partenheimer, Sarker Protick, Gabriele Rothemann, Anastasia Samoylova, Christina Seely, Nicole Six & Paul Petritsch, Frank Thiel, Angela Tiatia