Artist talk with filmmaker Želimir Žilnik
Organized in the framework of Želimir Žilnik’s retrospective Shadow Citizens
From his beginnings in the lively amateur film scene of Yugoslavia in the 1960s, Žilnik (b. 1942, based in Novi Sad, Serbia) has gone on to make more than fifty films. He received international recognition early on, winning the Golden Bear for the Best Film at the 1969 Berlin International Film Festival for Early Works. In the 1970s his films encountered political opposition, and he left Yugoslavia for Germany, where he realized several independent films, including some of the earliest films dealing with the topic of guest workers. In the 1980s, after leaving Germany—due to his films once again facing political opposition and censorship—and returning to Yugoslavia, he made numerous films in which he portrayed early symptoms of the country’s growing social conflicts, continuing in the 1990s with films dealing with the maladies of the post-socialist transition as well as questions of migration.
Želimir Žilnik will also talk about his very recent film "The Most Beautiful Country in the World" that follows a group of young migrants in Vienna who break through the administrative labyrinths of checkings and gaining status and residence. 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 title of the exhibition at Kunsthalle Wien, "Shadow Citizens", reflects Žilnik’s lifelong focus on invisible, suppressed, and under- as well as misrepresented members of society.
Želimir Žilnik, The Most Beautiful Country in the World, Filmstill, 2018, courtesy the artist
Želimir Žilnik. Shadow Citizens
"Shadow Citizens" offers an insight into the radical film praxis and extensive oeuvre of filmmaker Želimir Žilnik (b. 1942, based in Novi Sad, Serbia) within an exhibition context. The exhibition is part of the official Viennale 2020 program and a collaboration with Austrian Film Museum.
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". In the 1970s, his films encountered political opposition, and he left Yugoslavia for Germany, where he realized several independent films, including some of the earliest films dealing with the topic of guest workers. In the 1980s, after leaving Germany—due to his films once again facing political opposition and censorship—and returning to Yugoslavia, he made numerous TV and feature films in which he portrayed early symptoms of the country’s growing social conflicts, continuing in the 1990s with films dealing with the maladies of the post-socialist transition as well as questions of migration.
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: What, How & for Whom / WHW (including Ana Dević)
Želimir Žilnik, The Most Beautiful Country in the World, Filmstill, 2018, Courtesy the artist
On the Edge
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
“So, Micah. Tell me about yourself. How old are you?”
“Do you go to school?” said Marlowe
“What do you study?”
“Waiting tables at a bar.”
“So—do you want to be here today?”
“Can you tell me a little about your family?”
“How about what happened to you that night?”
“It was magic.”
“And you said you don’t want to be here today?”
“Would you like something to eat?”
“Yes, I do want a cookie with milk. I would also like a sandwich.”
“Chocolate chip okay?“
„Yeah, chocolate chip would be good. I‘ll eat it at the bar before it opens. I can‘t sit at the dinner table when you‘re so distant.“
curated by Kerstin von Gabain
Amygdala shows an encounter between Edin Zenun's clay with pigment and oil paintings and botanical models from the early 20th century. Based on his earlier works, the exhibition explores Zenun's ongoing examination with the space between abstraction and figuration - that interface between the retina and the brain where the individual parts are transformed into a whole. Zenun's abstract compositions are brittle and simple, restrained yet carefully constructed.
The past is not over. It can be rediscovered and visited in archives, but some things also want to be revived. The legendary "Cabaret Fledermaus" recently experienced such an update in several files. Once (1907-13) it was a place in Vienna for emancipatory and escapist tendencies. But then it was closed, later destroyed and its experimental programme was forgotten. Its pioneering artistic design, however, remained in memory through the ages. Within the framework of an international cooperation, the Department of Art Collection and Archive of the University of Applied Arts Vienna succeeded in a stylistic 1:1 reconstruction of the famous bar room in 2019.
Chiara Bals, Diana Barbosa Gil, Katrine Bobek, Eva Engelbert, Daniel Fonatti, Johannes Frauenschuh, Andreas Harrer, Anna Hostek, Anastasia Jermolaewa, Gea Kalkhof, Selma Klima, Leena Lübbe, Felizitas Moroder, Ann Muller, Florian Pfaffenberger, Raphael Pohl, Carolina Rotter, Lisa Sifkovits, Julia Steinbach, Stefan Thater, Julian Turner, Maria VMier, Astrid Wagner, Johanna Odersky, Bartholomaeus Wächter, Laura Welker
With Suellen Rocca’s installation in the Grafisches Kabinett, the Secession is pleased and grateful to present the last exhibition the artist conceived herself, which has been realized posthumously with great respect for her work. New paintings and drawings are presented together with paintings from recent years in a setting composed of a folding screen and a simple bed that cites Rocca’s pictorial vocabulary. Presenting the actual objects next to their figurative representations blurs the lines between exhibition and pictorial space and supports the sensation of virtually being able to step into the pictures’ landscapes.
Suellen Rocca, installation view Secession 2020, photo: Peter Mochi
Die Galeristin und der schöne Antikapitalist auf der Gothic G’stettn
Verena Dengler makes art that is richly allusive, trenchant, and occasionally provocative. Astute observations of the art world with its mechanisms and historically contingent conditions as well as the artist’s own entanglements in it are often the subject of installations, objects, pictures, drawings, texts, videos (and a whole lot more) that offer reflections in which critique is leavened by humor and satire.
In the Secession’s gallery, the artist builds a “landscape” consisting of a pond and a surrounding overgrown urban wasteland or “Gstettn” that serves as the setting for other works and elements. The early days of the Secession with its lavishly flower-bedecked sales exhibitions was one point of reference as the artist drew up the plans for her show, developed in dialogue with the historian of religion Barbara Urbanic; so was her engagement with the “omnipresent Romantic legacy” (Urbanic). Characteristics attributed to Romanticism such as the emphasis on individuality and feeling and the quest for the sublime, but also its “dark flipside” of melancholy, social critique, and cultural pessimism: these form a—sometimes latent, sometimes manifest—ferment that is at work to this day in subcultural youth movements and countercultures, contemporary popular as well as classical music, and many other domains. The ideals of Romanticism and its aftereffects inform to this day social and political realities, including the leeway for individual configurations of life and work framed by social networks, the development of flexible labor relations—something that artists are only too familiar with—and the associated phenomena of relentless self-improvement. The works in the exhibition reflect the interplay between past and present, between hegemonic and repressed as well as subversive forces that undermine the powers that be.
installation view Secession 2020, photo: Apollonia T. Bitzan
“My work wants me dead, I know. It is all it ever talks about,” writes Steve Reinke in a correspondence on the occasion of his exhibition at mumok. Death and life, empathy and cruelty, sex and intimacy—but also the uneasy relationship between the author and his work—are the kind of topics that Reinke engages with in his work. In the best Nietzschean manner, however, he considers human beings not political or moral entities but puppets of microbiotic agendas: instead of the Freudian ego and id, it is bacteria, placentae, and plankton that rule the world in his more recent videos, and “culture” designates not humanistic achievement but life in a petri dish. Butter, Reinke’s first ever solo museum show, presents his new video, An Arrow Pointing to a Hole, as well as a selection of his sinister text images and absentminded needlepoints, all of which, in a paradoxically precise manner, tell stories of loss of control, formlessness, and self-abandon.
Steve Reinke, Ohne Titel (Stickerei), 2017, Courtesy der Künstler und Galerie Isabella Bortolozzi, Berlin, © mumok / Deinhardstein
Objects Recognized in Flashes
Michele Abeles, Annette Kelm, Josephine Pryde, Eileen Quinlan
Objects Recognized in Flashes is the title of a group exhibition focusing on surfaces of photographs, products, and bodies. The exhibition was developed by the curator in consultation with the artists Michele Abeles, Annette Kelm, Josephine Pryde, and Eileen Quinlan. It asks how our largely mediatized society deals with and relates analogue and digital images. How are relations between material and immateriality, body, screen and photographic surface constituted? In our contemporary consumer culture, products and questions of commodity aesthetics are becoming more and more significant. This is not without consequences for our use of photographic images. Ubiquitous advertising, marketing, and product presentation create imaginary visual standards that have now become a firm fixture of our self representations in photos on social media platforms. The works by the four artists in the exhibition respond both in respect to each other, and to this changing context.
Michele Abeles, Number, Lycra, Man, Hand, Rock, M.L., Cardboard, 2009, © Michele Abeles
Reading Time in Space
Modernism at mumok 1910 to 1955
Is modernism an epoch? How did artists see this in the 1920s? Reading Time in Space answers these questions by referring to four exhibitions and book projects that constituted the first global presentations of modernism and raised key questions in their own time. These projects rested on new concepts of space and time. They include El Lissitzky’s und Hans Arp’s fictitious exhibition project of 1924 and Friedrich Kiesler’s legendary theater exhibition of the same year. In an installation by Nicole Six/Paul Petritsch, this mumok exhibition explores temporal and spatial coordinates whose parameters are constituted by elements of modernism. Referring to a time of upheaval in the arts, sciences, and society, the concept of modernism is an ongoing point of reference in the art history of the twentieth and twenty-first centuries, as works by Werner Feiersinger, Andreas Fogarasi, and Ulrike Grossarth show.
We are showing works by Giacomo Balla, Willi Baumeister, Max Ernst, Alberto Giacometti, Florence Henri, Josef Hofmann, Wassily Kandinsky, Paul Klee, Yves Klein, Oskar Kokoschka, František Kupka, René Magritte, Oskar Schlemmer, Max Oppenheimer, Madame d’Ora, Pablo Picasso, Felice Rix, and Sophie Taeuber-Arp—and many more.
Photo: Lisa Rastl ©mumok
Serial Formations of Pop Art, Minimal Art, and Conceptual Art
“I was reflecting that most people thought the Factory was a place where everybody had the same attitudes about everything; the truth was, we were all odds-and-ends misfits, somehow misfitting together.” (Andy Warhol)
Pluralistic diversity has been governing the methodical understanding of Pop Art, Minimal Art and Conceptual Art since the 1960s. Referencing Mel Bochner’s article “The Serial Attitude” (1967) and the show Serial Formations (1967), curated by Paul Maenz and Peter Roehr, the collection exhibition MISFITTING TOGETHER explores the serial order as the connective tissue between these three movements. The presentation demonstrates how strongly they have influenced each other and how hard it is to pigeonhole them art-historically.
In their “mutual nonconformity,” the works in MISFITTING TOGETHER represent the basis for this fall’s Warhol exhibitions, ANDY WARHOL EXHIBITS a glittering alternative and DEFROSTING THE ICEBOX. Guesting at mumok: The Hidden Collections of the Antiques Collection of Kunsthistorisches Museum Wien and Weltmuseum Wien.
Andy Warhol’s last exhibition at mumok was in 1981, when he was still alive. Some forty years later, it is long overdue to present his oeuvre in a comprehensive art-historical context. This is why MISFITTING TOGETHER not only situates Warhol in the field of Pop Art but also paints a more nuanced picture of the times by including works of Minimal and Conceptual Art—all of which are collection emphases of Peter and Irene Ludwig.
Artists: Lutz Bacher, Alighiero Boetti, Daniel Buren, Hanne Darboven, Jan Dibbets, Heinz Gappmayr, Robert Indiana, Jasper Johns, Donald Judd, On Kawara, Joseph Kosuth, Sol LeWitt, Roy Lichtenstein, Dóra Maurer, Claes Oldenburg, Friederike Pezold, Larry Poons, Charlotte Posenenske, Peter Roehr, Robert Smithson, Daniel Spoerri, Andy Warhol
Larry Poons, Nixe’s Mate, 1961, mumok – Museum moderner Kunst Stiftung Ludwig Wien, Leihgabe der Österreichischen Ludwig-Stiftung, © Bildrecht Wien
The Georg Kargl Collection
The MAK is devoting a special exhibition to a historical plastic and its role in design and cultural history for the first time. The occasion is the presentation of selected items from the Bakelite collection of the Viennese gallery owner Georg Kargl (1955‒2018), who was closely associated with the MAK. Kargl was not only an important protagonist of the Viennese and international art scene and an expert on Viennese modernism in the field of applied arts but also a great authority on and a passionate collector of Bakelite.
Curatorial Team: Rainald Franz, Gerson Lessa
Artistic Exhibition Display: Mladen Bizumic
Technical Coordination: Itai Margula
PERMANENT COLLECTION VIENNA 1900
Design/Arts and Crafts 1890–1938
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.
HUNDERTWASSER – SCHIELE
Friedensreich Hundertwasser (1928–2000) shaped 20th-century art beyond the borders of Austria as a painter, designer of living spaces and pioneer of the environmental movement. His life-long, intense exploration of the personality and oeuvre of Egon Schiele (1890–1918) is largely unknown.
At the age of 20, when he was a student at the Vienna Academy of Fine Arts, the artist discovered Viennese Modernism through exhibitions and books: Schiele, especially, would later become a central point of reference for the internationally active artist. Hundertwasser honed his draftsmanship by studying Schiele’s drawings, successfully propagated Schiele’s art amongst his fellow artists in Paris, and in 1965 gave one of his works the title 622 Mourning Egon Schiele. Until his death, Hundertwasser surrounded himself in his studios and homes in Venice and New Zealand with reproductions of paintings and drawings by his highly esteemed fellow artist. Hundertwasser’s poetic text “I Love Schiele”, written in 1951, illustrates the extent to which he related to the artist: “I often dream like Schiele, my father, about flowers that are red, and birds and flying fish and gardens in velvet and emerald green and human beings who walk, weeping, in red-yellow and ocean-blue.”
Today, 20 years after Hundertwasser’s death, the Leopold Museum is dedicating an exhibition, conceived as a dialogue, to these two iconic artists, which comprises some 170 exhibits. Shining the spotlight on central motifs and themes in the works of both artists, such as ensouled nature and the relationship between the individual and society, the exhibition illustrates analogies in their oeuvres that go beyond formal similarities. Through eminent loans from Austrian and international collections and archival material published for the first time, the exhibition retraces the artistic and spiritual kinship of two extraordinary 20th-century Austrian artists, who never had the chance to meet.
FRIEDENSREICH HUNDERTWASSER, 224 The Big Way, 1955 © Belvedere, Vienna Photo: Belvedere, Vienna/Johannes Stoll © 2020 Namida AG, Glarus, Switzerland
ALLES WAR KLAR
EVERYTHING WAS KLAR deals with how the institutional routines of the last 150 years of the Künstlerhaus' history can be repeatedly questioned. Visitors* are invited on a tour through a total of seven exhibition rooms, following a carefully developed dramaturgy. A cycle of metamorphosis and at the same time catharsis of the newly established institution will close until the distinction and value of past and future gradually dissolve. The exhibition provides visitors with both intellectually challenging contexts and immediate, sensual effects.
Anna Artaker, Thomas Baldischwyler (mit Werken von Willi Baumeister, Falm, Haus-Rucker-Co, Karl Hofer, Thomas Jeppe, Gustav Klimt, Martin Kippenberger, Elke Silvia Krystufek, Teresa Feodorowna Ries, Didi Sattmann, Hanns Wagula), Cäcilia Brown, Natalia Domínguez Rangel, Michaela Eichwald, Agata Ingarden, Florian Aschka, Alexandru Cosarca, Georg Klüver-Pfandtner, Larissa Kopp, Adam Kraft, Max Schaffer, Toni Schmale, Wiener Perspektive / AG SPACE
Agata Ingarden, The Lounge, 2020 © wolfleeb.com
Japan in the Meiji era
The collection Heinrich von Siebold
The Meiji era covers the period from 1868 to 1912 in Japanese history. This was a time when the feudal state was developing into a modern super power, when Japanese society was changing and opening up to the world. This still-unknown country aroused great interest in Europe. Heinrich von Siebold, the son of the doctor and famous researcher on Japan, Philipp Franz von Siebold, travelled to Japan as a teenager and spent most of his life there. Heinrich von Siebold donated his collection of Japanese objects to Emperor Franz Josef for the k.k. Natural History Museum and was therefore granted the title of a baron. Today, this donation forms part of the core inventory of the Weltmuseum Wien East Asian collection.
龍虎螺鈿刀掛 Schwertständer mit Tiger und Drachen-Motiv, vor 1882, Holz, Lack, Perlmutt, Metall, © KHM-Museumsverband
An Exhibition in the coin collection
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.
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.
Michael E. Smith
Michael E. Smith makes sculptures, installations, object collages, and videos; he sometimes also creates interactive sound installations, conceiving of the gallery space he is working in as an active partner in the dialogical process of producing an exhibition. His installations open up a space of experience that addresses itself to much more than just our sense of vision. Integrating immaterial components such as light, sound, and habitual procedures, he seeks to sharpen all our perceptual faculties.
part of the art.
Michael E. Smith, Exhibition View Secession 2020, Photo: Oliver Ottenschläger
PHOTOGRAPHY IS A LANGUAGE
The American Alec Soth has been counted among the world’s leading photographers for some years now. His 2004 series Sleeping by the Mississipi catapulted him into stardom: following in Robert Frank’s footsteps, the artist documented American life on a road trip along the Mississippi – and did so in a very subjective, poetic, melancholic way. Soth’s photographic oeuvre – he is a member of renowned photo agency Magnum – has since been on display in all major exhibition houses and photography institutions. His solo exhibition at KUNST HAUS WIEN constitutes an Austrian premiere: Soth’s famous series Sleeping by the Mississippi (2004), Niagara (2006), Broken Manual (2010) and Songbook (2014) will be shown for the first time in Vienna, alongside his most recent work I Know How Furiously Your Heart Is Beating (2019). With the latter, a condensed portrait series, the artist has once again caused a sensation after a one-year break.
Alec Soth’s photographic work seduces us with its poetic visual language. With a masterly hand, Soth captures images of suburban and rural areas in the USA, of people and settings. His large-scale series can be read as case studies of American society. Soth’s photographs provide an insight into the lives of ordinary, and sometimes not so ordinary, people; his work covers middle class life outside the big metropolises as well as people on the margins of society.
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.
Johannes Stoll / Belvedere, Wien. © Renate Bertlmann & Richard Saltoun Gallery, London
The Master of Mondsee
One aspect of the exhibition is the commissioning of the altarpiece by Abbot Benedikt Eck of Vilsbiburg, depicted as the donor on one of the paintings together with the Mondsee coat of arms. It was under Benedikt that Mondsee’s abbey church was rebuilt in Gothic style. Prior to this, the abbot had commissioned Michael Pacher to create the high altarpiece at the pilgrimage church of St. Wolfgang, an important influence for the Master of Mondsee. As comparisons with other works reveal, the Master of Mondsee engaged with Pacher’s work and other artistic sources in the Salzburg and Bavarian region while always retaining an individual approach. It is this that makes his work so unmistakable.
New insights into the Master of Mondsee’s superb skills as a draftsman have been brought to light by the Belvedere’s Conservation Workshops using imaging techniques (infrared reflectography), which exposed the detailed underdrawing.
The IN-SIGHT series at the Upper Belvedere aims to research, analyze, and introduce artists and works from the collection.
© Oberösterreichisches Landesmuseum, Linz
Hundertwasser - Schiele
20 years after the death of Friedensreich Hundertwasser, the Leopold Museum in the Vienna Museumsquartier is showing the oeuvre of the Viennese artist. Throughout his life Hundertwasser revered the Expressionist Egon Schiele (1890 - 1918). His living and working rooms were decorated with reproductions of his works. In 1965 one of his works was even entitled Der Nasenbohrer und die Beweinung Egon Schiele. His intensive occupation with Schiele's work remained rather unknown for a long time.
Re-Opening on June 2nd
Sharing a socio-politically sensitive approach, the exhibition and its extensive additional program present installation works and visual research projects which have the public space and its occurrences as field of investigation.
Initiators: Jelena Micić, Anastasiya Yarovenko
Artists: Ting-Jung Chen, Vasilena Gankovska, Jelena Micić, Ekaterina Shapiro-Obermair, Martina Z. Šimkovičová, Anastasiya Yarovenko
Image: Lisa Rastl
WE’LL DOUBLE BACK, SEESAW, AND LEAVE IN TRACKS AND TRACES
Katharina Scheucher (* 1984) understands the inside of spaces as a surface, comparable to a sheet of paper in which the surroundings are inscribed and whose characteristics the artist repeats with objects made of plaster, which are often prints of special architectural features. The space becomes a map of itself, is emphasized in its features and limits, and is undermined by the targeted use of mirrors, which challenge those present to a constant change of perspective. A sound installation, which throws the noises of the visitors back into the room, also sharpens the perception of one's own presence in the midst of the subtle spatial structure that appears as an actor and dialogue partner.
Image: Lisa Rastl, © Bildrecht, Wien, 2020
Europe's best Buildings
Mies Van der Rohe Award 2019
Every two years, the exhibition "Europe's Best Buildings" focuses on outstanding architectural projects from Europe and has thus become a magnet for the public. It honours projects whose visionary character serves as an orientation, if not a manifesto for the development of contemporary architecture.
The Covid19 crisis is clearly showing the importance of good housing developments, along with new combinations of living and working and a city of short distances with functioning neighbourhoods and generous public spaces. The biennial EU Mies Award once again provides the architectural responses to urgent social issues. The main prize has been awarded to a ground-breaking housing project: a radical transformation of three apartment blocks from the 1960s in Bordeaux by architects Lacaton & Vassal in collaboration with Frédéric Druot and Christophe Hutin. The other finalists’ projects range from a public square in Tirana, Albania, to new combinations of living and working in Berlin. The Emerging Architect prize went to the young French architects BAST for the school refectory in the village of Montbrun-Bocage, near Toulouse in France. From the almost 400 projects nominated from 36 European nations, a total of 40 projects were selected for the exhibition by the distinguished jury, of which the Az W Director Angelika Fitz was a member. These include three projects from Austria: the state school in Seestadt Aspern by fasch&fuchs.architekten and a housing development by StudioVlayStreeruwitz in Vienna-Floridsdorf as well as the Haus der Musik by Erich Strolz and Dietrich Untertrifaller in Innsbruck. The exhibition is supplemented by the 15 nominated projects involving Austrian participation.
Frédéric Druot Architecture und Christophe Hutin Architecture © Foto: Philippe Ruault
ART IN AUSTRIA, 1945 TO 1980
First-Ever Comprehensive Overview of Austrian Art History
The opening exhibition of ALBERTINA MODERN, entitled The Beginning. Art in Austria, 1945 to 1980, offers the first-ever comprehensive overview of a period that numbers among Austrian art history’s most innovative. On exhibit are the most important artistic stances situated at the threshold of postmodernism—from the Vienna School of Fantastic Realism to early abstraction, Viennese Actionism, kinetic and concrete art, Austria’s own version of pop art, and the socially critical realism so characteristic of Vienna. The Beginning accords the towering, singular figures of Friedensreich Hundertwasser, Arnulf Rainer, and Maria Lassnig their own separate rooms. And just what sculpture and object art were capable of during this period becomes clear in masterpieces by artists ranging from Joannis Avramidis and Rudolf Hoflehner to Wander Bertoni and Roland Goeschl and on to Curt Stenvert, Bruno Gironcoli, and Cornelius Kolig.
This exhibition presents works by a total of nearly 100 artists from this almost thirty-year period. And both the way in which these works attempt to come to terms with the Austrofascist state and National Socialism and the international networking engaged in by virtually all of their creators represent characteristics of this Viennese avant-garde that have frequently been overlooked in the past. This exhibition is based on the holdings of the Albertina Museum, which have now been greatly enriched by the acquisition of the Essl Collection. But an exhibition project of this ambition and magnitude, with its approximately 360 objects, also depends on the support of numerous lenders: artists, private collectors, and museums.
Robert Klemmer | Laufender Klemmer, 1969 | ALBERTINA, Wien © Estate Robert Klemmer
Josef Trattner: Inside Out
The artist Josef Trattner has been working with foam material for many years and has realized numerous projects in public space. An essential characteristic of Trattner’s works is the overlap of artistic aspects – the relation of materiality, form and color to interior and exterior space - with social issues. For the Frederick Kiesler Foundation he has executed a space sculpture with the dimensions 3 x 3 x 3 meters, which can be utilized by the visitors.
Josef Trattner © Redtenbacher
The Renaissance of Etching
From Dürer to Bruegel
The early days of printmaking were punctuated by several important innovations that ended up giving rise to a multitude of technical processes by 1500. In this context, the emergence of the etching during the late 15th century along with its subsequent swift spread during the early 16th century represents one of the most important turning points. Following development of this technique’s basic elements in the workshops of armor decorators, German printmaker Daniel Hopfer began using etched (i.e., acid treated) metal plates to produce prints on paper. Etching proved so easy to do that artists from the most varied fields found themselves able to produce their own prints— and among this new medium’s pioneers were central artistic figures of the Renaissance such as Albrecht Dürer, Parmigianino, and Pieter Bruegel the Elder.
The present exhibition at the ALBERTINA Museum focuses on the first 70 years of the etched print: from its beginnings in Dürer’s time to Breugel’s era, which already saw numerous famous and less-famous artists in Germany, Flanders, Italy, and France working in this technique. Approximately 125 etchings will be shown along with drawings, printing plates, and illustrated books.
This exhibition has been conceived in cooperation with the Metropolitan Museum in New York.
Daniel Hopfer, Woman and Attendant Surprised by Death, ca 1510-1515 © The Metropolitan Museum of Art
Warhol to Richter
From the Collections of the ALBERTINA Museum
Warhol bis Richter presents artworks created from the second half of the 20th century to the present. Around 80 works by artists including Anselm Kiefer, Gerhard Richter, Gottfried Helnwein, Andy Warhol, Alex Katz, and Maria Lassnig represent the broad diversity of post-1945 artistic stances.
Key works illustrate international trends running from hyperrealism to abstraction and from color-aesthetic to political themes, thereby exemplifying the multifaceted artistic output of the past several decades.
Gerhard Richter, Richters Garten (Sommertag), 1999
The Viennese journalist, publisher, and author Michael Horowitz (*1950) began working as a photographer all the way back in 1966, while still a school student. And by the end of the 1980s, he had produced numerous photo reportages and portraits featuring well-known personalities from public life. The ALBERTINA Museum is now presenting a monographic exhibition that includes a first-ever selection of works from this creative phase. The emphasis here is on photographs from the Viennese cultural scene, with whose protagonists Horowitz was closely connected. He created relatively large series in collaboration with figures such as Helmut Qualtinger, Kiki Kogelnik, and the Gugging artists: these and other photos stand out by virtue of Horowitz’s emphatic gaze, his clear visual language, and his feel for highly expressive moments.
Michael Horowitz: Arnold Schwarzenegger, 1975 © Michael Horowitz
Masterpieces of Modernist Art.
The Batliner Collection
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
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
Ongoing Permanent Collection
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
Exposed to Painting. The Past Twenty Years
With his large-format imagery, Herbert Brandl ranks alongside the most successful contemporary painters in Austria. Landscape as a subject has always been dominant in his work, which alternates between painterly abstraction and objectivity. Since the turn of the new millennium, Brandl’s passion for the monumentality of mountainscapes has become increasingly apparent. Using various formats and techniques, the painter has reinterpreted the subject of mountains, playing with expressive gestures, abstract color spaces, and massive shapes. From late January 2020 the Belvedere 21 will be presenting an exhibition of Brandl’s oeuvre that focuses on work produced over the past two decades, including pieces that the artist has created especially for this exhibition.
Exhibition View Herbert Brandl. Exposed to Painting. Die letzten zwanzig Jahre, Photo: Markus Wör
Malady of the Infinite
In her work Eva Grubinger explores fundamental and intersecting human drives such as power, material greed and sexual desire, and their impact on social developments. For this purpose, she alienates and activates objects by means of enlargement, unpredictable shifts of material, reduction or decontextualization, in order to set in motion a cognitive process in which worldly things, sculpturally transformed, become evocative of larger sociocultural dynamics. Her exhibition Malady of the Infinite deals with the big picture of structural inequality, unlimited and insatiable wanting finding no prospect of satisfaction, for rich and poor, magnate and pirate. Against this backdrop, Grubinger insinuates a narrative in which power and powerlessness confront one another on the high seas.
Curated by Severin Dünser
Photo: Johannes Stoll, © Belvedere Vienna, © Bildrecht Wien
ALLES WAR KLAR
ALLES WAR KLAR thematisiert, wie sich die institutionellen Routinen über die letzten 150 Jahre der Geschichte des Künstlerhauses immer wieder hinterfragen lassen. Die Besucher*innen werden auf einen Rundgang durch insgesamt sieben Ausstellungsräume eingeladen, der einer sorgfältig entwickelten Dramaturgie folgt. Ein Zyklus der Metamorphose und zugleich Katharsis der neu zu etablierenden Institution wird sich schließen, bis sich die Unterscheidung und Wertigkeit von Vergangenheit und Zukunft allmählich auflöst.
Anna Artaker, Thomas Baldischwyler (mit Werken von Willi Baumeister, Falm, Haus-Rucker-Co, Karl Hofer, Thomas Jeppe, Gustav Klimt, Martin Kippenberger, Elke Silvia Krystufek, Teresa Feodorowna Ries, Didi Sattmann, Hanns Wagula), Cäcilia Brown, Natalia Domínguez Rangel, Michaela Eichwald, Agata Ingarden,
Florian Aschka, Alexandru Cosarca, Georg Klüver-Pfandtner, Larissa Kopp, Adam Kraft, Max Schaffer, Toni Schmale, Wiener Perspektive / AG SPACE
Korrespondenzen: Bosch & Schlegel
Christine Schlegel: Reservate abtrünniger Engel
Die Ausstellungsreihe Korrespondenzen
Das Herzstück der Gemäldegalerie der Akademie der bildenden Künste Wien ist das Triptychon mit der Darstellung des Jüngsten Gerichts von Hieronymus Bosch (um 1450/55 – 1516). Der dreiteilige Altar zählt zu den weltweit bedeutendsten Kunstwerken der Zeit um 1500 und ist das zweitgrößte Werk Boschs. Das Retabel gibt bis heute Rätsel auf und ist der unbestrittene Publikumsmagnet der Sammlung.
Die Ausstellungsreihe zeigt Korrespondenzen zwischen dem Werk des niederländischen Malers und dem anderer Künstler_innen auf und setzt in regelmäßiger Folge Kunstwerke zu seinem Weltgerichts-Triptychon in Beziehung. Es werden überraschende Verbindungen zwischen unter-schiedlichen Medien und Künstler_innen sichtbar, die Perspektive auf Bosch wechselt.
SHOW OFF: Austrian Fashion Design
Contemporary fashion designed/made in Austria is the focus of the first comprehensive major exhibition on Austrian fashion design. A time travel through fashion design in all its facets from the 1980s until today shows the wide spectrum of designers who are from Austria, work here, or were educated here in fashion. Embedded into a spectacular, spatial installation by architect Gregor Eichinger, SHOW OFF: Austrian Fashion Design makes the artistic work of creative disciplines tangible on multiple levels in the context of fashion.
Fashion as an object in the form of an item of clothing is presented by significant fashion statements by approximately 60 designers from the past four decades. The exhibition begins with Rudi Gernreich’s late work, whose designs from LA in the late 1970s revolutionized the global approach to fashion, and Viennese U-fashion with its stars at the time, such as Ledea Muard, Marc Thomas Merz, or Schella Kann. Viennese cult labels such as Wendy&Jim and fabrics interseason, “big player” Andreas Kronthaler, for the past two years part of the label “Andreas Kronthaler for Vivienne Westwood,” and the renowned younger generation—represented in the exhibition among others by Kenneth Ize—contribute to the formation of a multifaceted scene with an international standing. In her “Wiener Salon,” Susanne Bisovsky has been working on exceptional creations, which will be presented in the exhibition, since 1996.
Ana Hoffner ex-Prvulovic* & Belinda Kazeem-Kamiński
And if I devoted my life to one of its feathers?
Eine gemeinsame Ausstellung der Kunsthalle Wien und der Wiener Festwochen
Die Ausstellung And if I devoted my life to one of its feathers?, ein gemeinsames Projekt der Kunsthalle Wien und der Wiener Festwochen, reflektiert Kämpfe ums kollektive Überleben und Prozesse der Wiederherstellung sozialer Bindungen – Bindungen, die von Frauenfeindlichkeit, Kolonialismus und imperialer Gewalt unterbrochen wurden. Die Ausstellung bringt rund 35 Künstler*innen und Kunstwerke aus unterschiedlichen kulturellen Kontexten zusammen, um ein Gespräch über Selbstbestimmung, sozialen und ökologischen Wandel zu initiieren. Die gezeigten Arbeiten sind Antworten auf den rasenden Rohstoffabbau und die Umweltzerstörung des Neoliberalismus: Indigene Positionen durchbrechen das koloniale Erbe und postulieren kollektive Rechte. Werke erzählen von solidarischen Begegnungen im Kampf gegen Kapitalismus und staatliche Unterdrückung. Anthropozentrische und heteropatriarchale Fantasien, die den Menschen als dominante Lebensform auf unserem Planeten annehmen, werden in Frage gestellt. Die Vielfalt von Lebensentwürfen wird zurückerobert.
Künstler*innen: Babi Badalov • Denilson Baniwa • Patricia Belli • Amoako Boafo • Giuseppe Campuzano • Manuel Chavajay • Chto Delat? • Annalee Davis • Jim Denomie • María Galindo • Nilbar Güreş • Sheroanawe Hakihiiwe • Hiwa K • Karrabing Film Collective • Prabhakar Pachpute • Cecilia Vicuña • Santiago Yahuarcani • …
Kurator: Miguel A. López
UNIVERSAL DESIGNER OF VIENNESE MODERNISM
Otto Prutscher (1880–1949) was an architect and designer, an exhibition designer, teacher, and member of all the important arts and crafts movements—from the Secession to the Werkbund.
Prutscher was one of the first students of the Vienna School of Arts and Crafts. Being taught by Josef Hoffmann and the painter Franz Matsch clearly left its mark on Prutscher’s designs: this is evident in both their high-quality draftsmanship and their constant alignment with prevailing architectural trends.
Prutscher’s known oeuvre comprises over 50 buildings, almost 50 exhibitions, some 170 interiors, 300 interior designs, and more than 200 pieces and sets of furniture. His designs were executed by over 200 companies, above all the Wiener Werkstätte and firms like Backhausen or Augarten.
70 years after Prutscher’s death, this exhibition explores his complex creative work and his role in the development of Viennese Modernism. The show was inspired by the collector Hermi Schedlmayer’s generous gift of 139 designs, objects, and furniture by Prutscher.
Curator: Rainald Franz, Curator, MAK Glass and Ceramics Collection
©Archivio Famiglia Otto Prutscher, Milano
Birth of Modernism
With its newly conceived presentation of the collection, the Leopold Museum is creating an opulent tableau which affords uniquely rich and complex insights into the fascination of Vienna around 1900 and the atmosphere of this vibrant time.
Around the turn of the century, the Danube metropolis was the capital of both the high nobility and of liberal intellectuals, of the splendid Ringstrasse and endless slum areas, of anti-Semitism and Zionism, of a rigid conservatism and emerging Modernism. Splendor and squalor, dream and reality, dissolution of the self and new beginning characterize the esthetic pluralism and mark the Vienna of that time as a place of experimentation and a laboratory of ideas – and thus as a central motor to a turbulent movement of renewal. This heterogeneous atmosphere – Arnold Schönberg spoke of an “emancipation of dissonance” – provided the setting for the unique consolidation of cultural efforts that today makes us look upon the period of Vienna around 1900 as the source of Modernism. This departure unfolded in various disciplines, from painting and the graphic arts via literature, music, theater, dance and architecture, all the way to medicine, psychology, philosophy, jurisprudence and economics. Comprising some 1300 exhibits and spanning three floors, the exhibition presents the splendor and wealth of artistic and intellectual achievements of this era through masterpieces from the Leopold Museum as well as eminent permanent loans from Austrian and international collections.
The exhibition is created under the curatorial aegis of Hans-Peter Wipplinger and in dialogue with experts in various fields.
© Leopold Museum, Wien
THE BRAGLIA AND JOHENNING COLLECTIONS
At the beginning of the 20th century, emotion became a stylistic device; to observe meant to feel. Driven by instinct and in opposition to academic canons, young rebels from the Dresden artist community “Die Brücke” brought landscapes of the soul onto the canvas. In revolt against industrialized society and its conventions, they also sought a nature-based reformation of life. Meanwhile, the circle of editors responsible for the Munich almanac “Der Blaue Reiter” [The Blue Rider] went in search of a new inwardness in art, which allowed for the purely intuitive as much as for cultivated reason. At the same time, the concept of beauty was being questioned and expanded. Colors played a decisive role in this process, acting as the main vehicle of an image’s dramaturgy. These works of German Expressionism have lost none of their suggestive effect to this day.
With this exhibition curated by Ivan Ristić, the Leopold Museum is presenting some 120 exhibits from the Swiss Braglia Collection and the German Johenning Collection for the first time in Vienna, among them works by Emil Nolde, Max Pechstein, Ernst Ludwig Kirchner, Erich Heckel, Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, August Macke and Franz Marc, as well as Paula Modersohn-Becker, Paul Klee and Lionel Feininger.
© Renate und Friedrich Johenning Stiftung, Photo: Leopold Museum, Vienna/Manfred Thumberger © Pechstein–Hamburg/Tökendorf/Bildrecht Wien, 2019
This exhibition questions how different family constellations, their conditions and effects on the individual and society, are reflected in art. From single parent families, to clan associations, to chosen families - the exhibition paints a complex picture of what a family can be. It presents objects spanning the Middle Ages to modern and contemporary art, rendered in a variety of media: sculpture, drawings, paintings, photography, and video art.
In this exhibition, historic loans from national and international museums and collections, selected objects from the museum's collection of avant-garde works from the Otto Mauer collection, works by recent Otto Mauer Prize winners, as well as new acquisitions, donations and artistic interventions interface with each other.
Artists: Uli Aigner, Iris Andraschek, Hans Op de Beeck, Werner Berg, Elinor Carucci, Gonzales Coques, Josef Franz Danhauser, Carola Dertnig, Johannes Deutsch, Christian Eisenberger, VALIE EXPORT, Peter Fendi, Weronika Gęsicka, Leander Kaiser, Anton Grassi / Kaiserliche Porzellanmanufaktur, Sam Jinks, Angelica Kauffmann, Käthe Kollwitz, NINA Kovacheva, Maria Lassnig, Iris Legendre, Ferdinand Mallitsch, Diodato Massimo, Katharina Mayer, Ron Mueck, Johann Nepomuk Passini, Giovanni Battista Pittoni, Johann Matthias Ranftl, Neo Rauch, Judith Samen, August Sander, Johann Martin ("Kremser") Schmidt, Schottenmeister, Annegret Soltau, Carl Spitzweg, Leopold Stöber, Domenico Robusti, called Tintoretto, Dirk Vellert, Ferdinand Georg Waldmüller.
Weronika Gesicka, Untitled #41, from the ìTracesì series, 2015-2017 JEDNOSTKA Gallery. Foto: Weronika Gesicka / JEDNOSTKA Gallery