With Siegfried Zaworka, mumok has for the first time invited an Austrian artist to fill the wall in the museum’s foyer with a site-specific work. Following photography-based installations by Cindy Sherman, Louise Lawler, and Jeff Wall, Zaworka focuses his artistic investigation on the devices used in pain- ting. Under the title Funktionale, he has arranged a group of image elements painted on bare canvas into a temporary mural that artfully toys with the vie- wer’s habits of perception. What looks at first glance like a surreal landscape with a mountain range, fir tree, and vegetal forms, turns out on closer inspec- tion to consist in a systematic analysis of the illusionistic potential of painting.
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
HELMUT LANG ARCHIVE
AN INTERVENTION BY HELMUT LANG
Until 9 January 2021, the MAK is showing a temporary intervention by Helmut Lang in the HELMUT LANG ARCHIVE, questioning the archive as a simultaneous collection, storage, and exhibition place, as a store of memories, and the potential of its use. The MAK is the only institution worldwide where the history of Helmut Lang’s brand development and identity can be traced. Since retiring from the fashion industry in 2005, the 1956-born Austrian has concentrated on his artistic work, and 20 international museums have received his donations.
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
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
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.
Adolf Loos is one of the best known Austrian architects. His writings and buildings are written into the history of world architecture. Above all, it was his ground-breaking Raumplan concept that has had a decisive impact. At a lecture in Pilsen in 1930 he described the latter as follows: “My architecture is not conceived in plans, but in spaces (cubes). I do not design floor plans, façades, sections. I design spaces. For me, there is no ground floor, first floor etc.… For me, there are only contiguous, continual spaces… Storeys merge and spaces relate to each other.”
‘Adolf Loos — Afterlife’ investigates the impact of Loos’s charisma on subsequent generations up to the present day. Starting with an original find, we open the discussion with a window onto the courtyard. For the in-depth installation within the permanent exhibition we show projects from our collection that drew inspiration from Adolf Loos. At the same time, in the panel discussion at the Opening we address the question of the extent to which personal transgressions should be taken into consideration in discussions of Loos and other heroes of Viennese Modernism.
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
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.
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
Land For Us All
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
100 best posters 19
GERMANY AUSTRIA SWITZERLAND
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.
BOLD AND FREE
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.
Cybernetics of the Poor
Cybernetics of the Poor examines the relationship between art and cybernetics and their intersections in the past and present. From the late 1940s on, the term cybernetics began to be used to describe self-regulating systems that measure, anticipate, and react in order to intervene in changing conditions. Initially relevant mostly in the fields of administration, planning, and criminology, and early ecology, under digital capitalism cybernetics has become an economic factor (see: big data). In such a cybernetic totality art must respond to a new situation: as a cybernetics of the poor.
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.
Birth of Modernism
Sujet Wien 1900 ohne Balken © Leopold Museum, Wien
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.
DRAW A DISTINCTION.
Rafaela Bielesch, Teresa Kasalicky, Katharina Scheucher
In 2020, the xposit series, operating under the motto Draw a Distinction, focuses on forms of notation such as those to be found in the works of Raffaela Bielesch, Terese Kasalicky, and Katharina Scheucher. The production of the three graduates from the studios “Drawing,” “Graphic Arts and Printmaking Techniques,” and “Performative Art” discloses notation as an accentuation and reinterpretation of spatial structures (Scheucher), as a sculptural syntax of the ornamental (Kasalicky), or as a performative and photographic approach to processes of appropriation and transmission (Bielesch).
Return to Vienna: The Paintings of Tess Jaray
For over sixty years, Tess Jaray has made formally austere paintings, dedicating herself to an analysis of the relationships between painting and architecture, between picture and beholder. Given that her oeuvre spans such a long time, a conventional retrospective would hardly have been uninteresting. Yet in Return to Vienna: The Paintings of Tess Jaray, the British artist with Austrian roots chose to present something different: a selection of twenty-five works, the majority dating from the past several years, that shed light on current concerns in her art such as her investigation of the art-historical tradition of the circular painting.
Think. Act. Convey.
Beginning in the 1960s, Joseph Beuys developed new modes of thought that, in their complexity, continue to be relevant today. He achieved universal fame with his expanded definition of art and the concept of social sculpture. Art – according to Beuys' guiding principle – is meant to assert itself on the social, political, intellectual, and scientific level and thus become an integral part of our mindset and actions. On the centenary of the exceptional artist's birth, his work is more relevant than ever.
The presentation at the Belvedere 21 also revolves around the concepts of thinking, acting, and mediating: While the main work, Honey Pump at the Workplace, stands as a symbolic representation of Joseph Beuys' creed that societal transformation can be achieved through art, Stag Monuments seemingly marks the new beginning of a shattered society. In addition, the exhibition also embraces works and documentation of Beuys' work in Vienna. Beuys took part in exhibitions, actions, and lectures in the city – mainly the Galerie nächst St. Stephan. He developed for this gallery, among other things, the environment Basisraum Nasse Wäsche (literally, Basic Room Wet Laundry). Collaborating with Oswald Oberhuber and the University of Applied Arts – where he taught as a guest lecturer in 1980 – Beuys orchestrated the planting of trees for his global action 7000 Oaks in 1983. In the exhibition, we find the sculptural as a vestige of the action, in form of a documentary or as a “multiple.” The performance Eurasienstab 82 min fluxorum organum, which premiered in Vienna in 1967; the action How to Explain Pictures to a Dead Hare; and the long-running performance I Like America and America Likes Me convey the spirit of that time.
Joseph Beuys, Paris, 1985 Photo: Laurence Sudre / Bridgeman Images
Zoology by Stefan Oláh
Under the title "Zoology" gallery rauminhalt_harald bichler will present new works by Stefan Oláh in an extensive solo exhibition from 13.03. to 16.04.2021 (opening: 12.03.2021).
Stefan Oláh is one of the most renowned Austrian photographers in the field of architectural photography. In 2014, he produced an outstanding publication for which Oláh was allowed to look into the depots of Austrian museums with his camera - a privilege, knowing how few people are allowed to enter museum storages. In a photo series started in 2020, Oláh returned to the "archive" again.
This time, the depot of the zoological collections of the University of Vienna was in focus. Not only the preparations, with their glass eyes peering through covers made of plastic film, but also their historical collection of wall charts he observed up close and used his view to reinterpret some of the sensory organs. In a careful and intensive examination of the existing material, new views of the collection and objects were generated in a close cooperation with the University of Vienna.
Nicholas Grafia | Soul Burner
Nicholas Grafia in conversation with Francesca Altamura
Francesca Altamura (FA): Your upcoming solo presentation at KOENIG2 by_robbygreif in Vienna is titled “Soul Burner,” and will be on view from March 26–May 22, 2021. Whose soul are you burning in this exhibition?
Nicholas Grafia (NG): Hopefully everyone’s! [laughs]. To be honest, the title sets the meditative tone for the exhibition, and alludes to those “burning questions,” as well a certain kind of restlessness in the soul, that is, both, involuntarily experienced by some and willfully inflicted by others who played a role in the show’s formation and conceptual framework.
The works in the exhibition were first presented in 2019, as part of my graduation installation at the Kunstakademie Düsseldorf (DE), which consisted of two paintings and a video documentation of the core performance, It’s 10PM. Do You Know Where Your Children Are? (2019), previously showcased at Dortmunder Kunstverein (DE) and conceived alongside my artistic collaborator Mikołaj Sobczak from Poland. In addition to that, the paintings served, both, as storyboards and scenography to a series of performances enacted within my installation throughout graduation week, each lasting between thirty to forty minutes. The performances were mainly reflective of post-colonial trauma, the experience of slavery, global folklore and mythological archetypes.
NICHOLAS GRAFIA, Installation view Soul Burner, Kunstakademie Düsseldorf, 2019
Third Room: Honza ZAMOJSKI
Honza Zamojski approaches words playfully, yet paying close attention to the interludes between form and content. In this sense his works and exhibition settings are methodically constructed stories, derivative of poetry, literature, pop and rap culture. They are rich, humorous, self-critical and absurd at once. Evoking Czech Poetisms of the 1920s in the same breath as late American rapper MF Doom's lyrics he unfolds extraordinary chains of association while simultaneously gaining tools for manipulating his audience. By channeling his narratives through different outlets, be it books, works or exhibitions, Honza Zamojski allows for a recycling, upcycling and cycling of ideas, forms, words and contents to ultimately become edited versions of our reality.
Honza Zamojski, born in Poznan in 1981, lives and works in Poznan, and is a visual artist, curator, author of artbooks, and publisher. His works were recently published in Vitamin D3 - Today's Best in Contemporary Drawing, 2021, Phaidon Editors, London and New York.
Courtesy Christine König Galerie, Vienna and the artist
Jimmie DURHAM | 1948
Jimmie Durham’s fourth solo show at Christine König Galerie reflects his seriousness and wit, his aesthetic and political engagement, his inventive resistance to architecture. All this is part of his uncompromising commitment to what he calls “humanity’s thinking process.“ Many of his ideas and images recur in different forms at different stages of his career.
Durham, also a poet and a prominent essayist, uses all the components of what is today called visual art. Images and words may be nailed or glued or painted onto objects. His work is “sculpture” in the widest sense: material appearances in space. The materials range from wood and stone and bone to plastic tubes and printed text. Durham also works with drawing, painting, and video. His many-faceted practice is an inspiration for many artists, curators, and theoreticians today, not least of the younger generation. He does not make “art about art” but work that is open to the world outside art.
(quot. Anders Kreuger)
Courtesy Christine König Galerie, Vienna and the artist
People, Gods and Elements of Nature
The exhibition presents eloquent examples selected from the holdings of the various collections of the Kunsthistorisches Museum Vienna, the Weltmuseum Wien and the Theatermuseum that tell of a belief in the existence of higher powers found in different civilisations and historical periods. Many of these works document the divergent ways in which this subject affected both religious practice and art. When selecting the objects, our main focus was on interconnectedness and juxtaposing artefacts from diverse cultures.
In the exhibition project puzzled the artistic practice of Austrian artist Susanna Flock pairs up with that of Montréal-based Swiss artist Xénia Laffely. While Flock is active, above all, in the medium of video installation, Laffely focuses on digital imagery, which she translates into textiles. Even though the works by both artists suggest that there is no clear dividing line between the analogue and digital world, the two artists make the transition zones between the analogue and the digital tangible in this exhibition.
The essayistic video work I don’t exist yet (2019) by Susanna Flock, for instance, investigates placeholder objects used in the production of computer generated imagery (CGI). When a dragon is synthesised with actually filmed (digital video) images in a science fiction series, a placeholder object must be used in the scene in place of the dragon. Flock stages the untidy seams of this image synthesis, which appears to be flawless to the end consumers. In her new video installation, which will be shown for the first time in this exhibition, Flock focuses on the predetermined breaking points of digital technologies and speculates on the Frankenstein monster of our time: a synthetic copy & paste creature.
Enjoy – the Changing mumok Collection
Ten years after "Museum of Desires", her inaugural exhibition at mumok, Karola Kraus is organizing with her team a collection presentation that showcases central gifts and acquisitions from the past decade in order to shed new light on the collection‘s development. This exhibition, following twenty years after mumok opened in Vienna’s MuseumsQuartier and forty years after the founding of the Austrian Ludwig Foundation, is both a survey of the past and a glimpse ahead to the future. As past years are reviewed, new perspectives are proposed as basis for the museum’s future collection and exhibition activities.
The presentation sets out to convey art history since modernism as a living process reflecting ever-changing socio-political, socio-cultural, and philosophical develop- ments and discourses.
Painting, along with sculpture, film, performance, and design, is a central component of the intermedia art of Heimo Zobernig. Since the beginning of his artistic practice in the early 1980s, the artist has built up a comprehensive painterly oeuvre, always based on his attempt to explore color like a “scientist”. Thus, in Zobernig’s work, painting has become a machine for the creation of insight. Characteristics of the artist’s method in this context are strategies of simplification, standardization, and systematization using predefined rules and the artistic appropriation of industrial norms and widespread samples (such as TV test patterns).
Heimo Zobernig Ohne Titel, 2019 Courtesy Galerie Meyer Kainer, Wien Photo: Archiv Heimo Zobernig © Heimo Zobernig / Bildrecht, Wien 2021