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    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.


    Avant-Garde and the Contemporary

    The Belvedere Collection from Lassnig to Knebl


    Belvedere 21 – Museum für zeitgenössische Kunst

    Arsenalstraße 1,
    1030 Wien

    Greta Freist, Friedensreich Hundertwasser, Maria Lassnig, Padhi Frieberger, Günter Brus, VALIE EXPORT, Heimo Zobernig, Elke Silvia Krystufek, Ashley Hans Scheirl, and Jakob Lena Knebl: Works by these and many other Austrian artists in the collection account for the allure of the Belvedere’s holdings from the 20th and 21st centuries. The exhibition Avant-Garde and The Contemporary brings a distinguished selection of contemporary and historical artistic approaches from the collection as well as from the Artothek des Bundes, administered by the Belvedere, into productive correspondence. The collection is conceived as a dynamic structure of constellations, examined for continuities and ruptures, relevance and redundancy. Through multiple narrative strands, the show provides insights into art since the 1930s and highlights key artistic currents and tendencies.

    Jakob Lena Knebl, Joan, 2019, Belvedere, Vienna, Johannes Stoll

    arm & reich


    Dom Museum Wien

    Stephansplatz 6,
    1010 Wien


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

    When the wind blows


    KUNST HAUS WIEN. Museum Hundertwasser

    Untere Weißgerber Straße 13, 1030 Wien

    Air encloses the earth like a membrane. It is the medium of weather and the carrier of odours, sounds and aerosols that influence both climate and health. Air flows into our bodies with our first breath and with death we exhale our last breath. In the context of the current climate crisis, air pollution and storms as well as wind power as a renewable energy source play a role. The invisible element connects living beings, plants and places. The works of the selected international and Austrian artists of different generations aim to make this elementary, yet invisible element visually tangible. They deal with the most diverse aspects and meanings of air, wind and breath and examine their manifestations in ecology, science, politics, culture and mythology. From the life-giving air we breathe to the destructive power of the wind, art makes the great invisible visible in many different ways.

    22 international and Austrian artists make the invisible elements of breath, air and wind visible in different ways: Hoda Afshar, Bigert & Bergström, Julius von Bismarck, Olafur Eliasson, Karin Fisslthaler, Ana Grilc, Isabelle Ha Eav, Jana Hartmann, Ayumi Ishii, Sophie Jung, Sjoerd Knibbeler, Ulrike Königshofer, Eduardo Leal, Emily Parsons-Lord, Peter Piller, Werner Reiterer, Roman Signer, Lydia Simon, Ulay/Marina Abramović, Nadim Vardag, Niina Vatanen, Susan Walsh

    Isabelle Ha Eav, Gust of wind, 2018



    Albertina Modern

    Karlsplatz 5, 1010 Wien

    Ai Weiwei is one of the most important artists of our time, a tireless activist and critic of authoritarian systems.

    The ALBERTINA MODERN is now presenting his most comprehensive retrospective to date. In Search of Humanity deals in depth with the aspects of humanity and artistic commentary in the work of Ai Weiwei.

    Ai Weiwei | Courtesy Ai Weiwei Studio © Foto: Gao Yuan

    Defiant Muses. Delphine Seyrig and the Feminist Video Collectives of 1970s and 1980s Franc


    Kunsthalle Wien Museumsquartier

    Museumsplatz 1, 1070 Wien

    Curators Nataša Petrešin-Bachelez, Giovanna Zapperi

    Artists: Fani Adam • Etel Adnan • Claire Atherton • Ti-Grace Atkinson • Florence Assouline • Mary Barnes • Cathy Bernheim • Danièle Bordes • Aloïse Corbaz • Francoise Dasques • Catherine Deudon • Micha Dell-Prane • Marguerite Duras • Éditions des Femmes • Anne Faisandier • Claire Goriot • Henriette Grindat • Ellsworth Kelly • Erica Lennard • Guy Le Querrec • Les Insoumuses • Babette Mangolte • Rosine Nusimovici • Ulrike Ottinger • Brigitte Pougeoise • Michèle Richer • Nadja Ringart • Yvette Roudy • Carole Roussopoulos • Paul Roussopoulos • Carlos Santos • Abraham Ségal • Delphine Seyrig • Valerie Solanas • Vidéa • Ioana Wieder • …

    In cooperation with Museo Reina Sofia Madrid and Württembergischer Kunstverein Stuttgart

    Defiant Muses. Delphine Seyrig and the Feminist Video Collectives of 1970s and 1980s France homes in on the intersection between the histories of cinema, video, and feminism: the exhibition sheds light on a network of creators and political figures around the actor, director, and activist Delphine Seyrig to sketch a history of feminism as media history.

    Delphine Seyrig (1932–1990) rose to renown with performances in the films of French auteur directors, starring, for example, in Alain Resnais’ Last Year at Marienbad (1961). In the 1970s, she became actively involved in the feminist movement, working with filmmakers like Chantal Akerman, Marguerite Duras, and Ulrike Ottinger. Around 1975, Seyrig teamed up with Carole Roussopoulos and Ioana Wieder to form the collective Les Insoumuses (The Defiant Muses), producing videos that harnessed the medium as a tool of emancipation and political activism.

    Photographs, films, and other works by eminent artists and filmmakers like Etel Adnan, Akerman, Duras, Babette Mangolte, and Ottinger illustrate the manifold political issues and demands that were raised at this historic juncture and still echo today: structural sexism in the movie industry and the invisib

    Cathy Bernheim, Delphine Seyrig holding a camera in the shooting of Où est-ce qu’on se “mai”? [Where should we go (to stand up for our rights)?], film

    IN-SIGHT: Georg Eisler

    Tracing Life


    Oberes Belvedere

    Prinz Eugen-Straße 27

    Daily life on the streets of Vienna, violent riots in Belfast, the hustle and bustle of a station, dancers in a club—Georg Eisler’s images were inspired by life itself. Personal diaries and workbooks shine a light on this Viennese artist who struggled tirelessly to capture such memorable moments in a spontaneous and effortless fashion. This IN-SIGHT exhibition at the Upper Belvedere demonstrates how compellingly and enduringly he achieved this.

    © Georg und Alice Eisler - Fund for visual artists and composers


    Leopold Museum

    Museumsplatz 1
    1070 Wien

    The art of the great draftsman, illustrator and author of the novel The Other Side, Alfred Kubin, appears more current today than ever before: for it was violence, wartime destruction, pandemics, natural disasters, the manipulation of the masses and other abysses of human existence that pervaded his highly narrational works. The oeuvre of this fantastical creator confronts us with pessimistic visions which – to quote Schopenhauer – delineate “the worst of all possible worlds”.

    After a childhood shaped by setbacks and depression, Kubin moved to Munich in 1898, where he began to study art. His first visit to the Alte Pinakothek left him “filled with astonishment and ecstasy”. He described seeing Max Klinger’s etchings as a “cascade of visions of black and white images”. As we know from his biographical notes, he subsequently familiarized himself “with the entire graphic oeuvre of Klinger, Goya, de Groux, Rops, Munch, Ensor, Redon and comparable artists”. It was from this variety of impressions and artistic positions, but especially from his own empirical and emotional worlds and unbridled imagination, that Kubin created his unparalleled, mysterious-fantastical oeuvre.

    The exhibition at the Leopold Museum is the first to attempt an exploration of Kubin’s oneiric worlds – which all too often enter nightmarish-somber spheres – in terms of their relation to the unconscious and the deep dimensions of the psyche. In this interpretation attempt, the psychoanalyst and psychiatrist August Ruhs will orient himself on works by Kubin selected by curator Hans-Peter Wipplinger with specific thematic emphases in mind. Kubin’s works are placed into a dialogue with works by artists of the 19th century and of Classical Modernism from which Kubin derived inspiration for his oeuvre. Kubin’s dystopian visualizations are composed of actual and imaginary reality: a synthesis in which the uncanniness of these pessimistic realms is often seasoned with humor, irony and exaggeration.

    Exhibition views Alfred Kubin © Leopold Museum, Vienna | Foto: Lisa Rastl


    Field 2


    Domgasse 6 – Galerie nächst St. Stephan Rosemarie Schwarzwälder

    Domgasse 6, 1010 Wien

    Günter Umberg’s paintings are not limited by format. In his exhibition FELD 2 (FIELD 2), he links architecture, space, and picture in a situation that highlights and makes palpable the main theme of his oeuvre: The relationship between the work and its beholders. It is this particular relationship through which the picture comes into existence in the first place. Although autonomous, the work is not independent of the site; rather, it is positioned in close relation to beholders through the spatial context.

    As in previous shows at the Städtische Galerie im Städel in Frankfurt, the Secession in Vienna, and the Museum moderner Kunst in Frankfurt, Umberg has constructed a spatial situation in our gallery on Domgasse that consists of a three-dimensional architectural structure that seems to intervene in the gallery space. Created as a sculptural object that we can walk around and that is not a picture support in the traditional sense, it structures the gallery into individual areas. The resulting spaces, sight lines, and vertical and horizontal structures guide our gaze and movements. They impact the length of time we reflect and integrate the dimensions of temporality, closeness, and distance in Umberg’s overall artistic concept. Shaped like a letter L, the spatial intervention consists of high partitions that separate two works – a photograph and a mono-chrome painting – positioned on either side of the gallery. While this prevents us from looking at both works at the same time, or the works from interacting with one another, new and unexpected perspectives arise that enrich our engagement with them.

    The exhibited works reflect Umberg’s idea of a network of relations in which even the monochrome painting exists only in physical experience and perception.

    GÜNTER UMBERG was born in Bonn, Germany, in 1942. He lives and works in Cologne, Germany, and Corberon, France.

    Courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder



    Galerie nächst St. Stephan Rosemarie Schwarzwälder

    Grünangergasse 1, 1010 Wien

    Opening: Wednesday, June 1, 2022, 7 p.m.
    Introduction at 7:30 p.m. by Tessa Praun, Director and Chief Curator of Magasin III Museum for Contemporary Art, Stockholm+

    Traces can run parallel, cross each other, or be superimposed. In Jongsuk Yoon’s work, traces of condensed temporality, corporeality, memory, and biography intersect and result in idiosyncratic pictorial worlds that dis- play an impressive range of colors. The paintings by the artist, who was born in South Korea and has been living in Germany since the early 1990s, fuse the traditions of Asian landscape painting with a Western canon of art that is defined by abstraction, translating these elements into abstract landscapes that consist of large, overlapping forms.

    Titles like Meer (Ocean), June, or Rivers evoke associations of nature observations and variant moods. Yoon creates space in her pictures for her own memories of the South Korean landscape. For Yoon, these pictures symbolize the current political reality. She says, “I believe that painting is a medium that is able to demonstrate the authenticity and symbolism of art as a powerful tool of change. All engagement with Korea has a political dimension – in other words, pictures that refer to Korea are politically charged.”

    Time plays an important role in Yoon’s oeuvre. The artist works on several paintings at once and does not embark on the next painterly step until she feels enough time has passed and it is the right moment.

    JONGSUK YOON, born 1965 in Onyang, South Korea, lives and works in Düsseldorf, Germany.
    In 1996 she studied at the University of Fine Arts Münster, from 1997 to 2001 at Kunstakademie Düsseldorf and from 2004 to 2005 at Chelsea College of Art, MA, London. In 2019 Yoon received a residency at SoART Millstättersee, Spittal an der Drau, Austria, in 2000 she was a scholarshio holder of the DAAD Artist-in-Residence Programme, Berlin, Germany.

    JONGSUK YOON. Exhibition view. Photos: Markus Wörgötter, Courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder



    You can only visit the Heidi Horten Collection with a valid time-slot ticket:

    Heidi Horten Collection

    Hanuschgasse 3, 1010 Wien

    OPEN celebrates the opening of the Heidi Horten Collection's new home: a museum founded by the patron and collector Heidi Goëss-Horten. Inspired by her ideas, the building was built and designed by the next ENTERprise architects in Vienna, led by Marie-Therese Harnoncourt-Fuchs and Ernst J. Fuchs.

    Courtesy Heidi Horten Collection

    MICHAEL KIENZER, Melted into the surroundings Vol.2, 2021, Stein, Aluminium, Aluminiumguss, Gips, Acrylglas, Glas, Silikon, Papier Photo © Galerie Elisabeth & Klaus Thoman /

    Melted into the surroundings


    Elisabeth & Klaus Thoman

    Seilerstätte 7, 1010 Wien

    Opening: Wednesday, June 8, 2022, 18–21:00
    The artist is present.

    ‘Melted into the surroundings’ is the title of a series of new works by Michael Kienzer, that show a new approach towards central questions in the artist’s sculptural thinking. The works are conceived on the floor without a fixing element in the gathering and layering of material, objet trouvés from weekly material searches and remnants from the artist’s studio. Combined with Kienzer’s assemblages in display cases on the walls, in which the overlapping of different media has been performed before, the origins of these new thoughts is visible.

    Photo © Galerie Elisabeth & Klaus Thoman /




    Christine König Galerie

    Schleifmühlgasse 1A, 1040 Wien

    Günther BRUS | Vera CHYTILOVÁ | Al HANSEN | G.R.A.M. | Lennart GRAU | Manfred PECKL | Dan PERJOVSCHI | Rade PETRASEVIC | Margot PILZ | Tex RUBINOWITZ | Gerhard RÜHM | Maruša SAGADIN | Kristof SANTY | Mircea STANESCU | Franz WEST

    SUMMER OF LOVE 55 refers to the sociocultural phenomenon that took place in the summer of 1967. In the U.S. and all over the world, 1967 also saw the first major political protests by young people against the war in Vietnam. At the same time, the outburst of new popular and subcultural music was one of the defining features of the SUMMER OF LOVE:

    If you're going to San Francisco,
    Be sure to wear some flowers in your hair.
    If you come to San Francisco,
    Summertime will be a love-in there.
    (Scott McKenzie, 1967)

    Summer of Love draws attention to an era when both the concept of politics and love possessed a real sense of urgency. It was an era of civil disobedience, of antiauthoritarianism, of political protest and "flower power". Political activism translated into socio cultural activism, alternative lifestyles (sexual freedom, communes, shared property).

    Belgian philosopher Raoul Vaneigem imagined a new society that "promotes the participation of everyone in the self-realisation of everyone else", based on "creativity, love and play". In today's regressive climate of fear and xenophobia, Vaneigem's thesis seems ever more pertinent.

    There was hope for a new and different world, filled with love and mutual understanding. There is perhaps something to be learned if we reflect on this period and compare it to the individualistic and competitive era of today.
    (quoted after Katerina Gregos)

    Teach Nature


    KUNST HAUS WIEN. Museum Hundertwasser

    Untere Weißgerber Straße 13, 1030 Wien

    For the exhibition Teach Nature, students of the Academy of Fine Arts Vienna have explored the significance of nature for art production. Their works have been inspired by visits to Austrian national parks as well as interviews with scientists and caretakers in the parks.

    The starting point for the students’ work was the so-called “Red List,” i.e. the ever-increasing number of endangered animal and plant species in Austria. Simone Bader, Mona Hahn, Roland Kollnitz, Nora Schultz and Heimo Zobernig, teachers in the departments of Textual Sculpture, Sculpture & Installation and Art in Public Space at the Academy of Fine Arts Vienna, were on hand to support the students during this time. In regular meetings the connections between the impressions gathered in and with nature and their significance for art production were discussed and linked to the students’ individual approaches and artistic working methods.


    Vik Bayer, Anna Bochkova, Karolin Brägger, Emma Hummerhielm Carlén, Kristina Cyan, Nana Dahlin, Freja Gøtke, Yoko Gwen Halbwidl, Bob Schatzi Hausmann, Florian Hofer, Katharina Hölzl, Theresa Horlacher, Ma Jia, Lisa Jäger, Julia Karpova, Adele Knall, Jusun Lee, raúl i. lima, Taro Meissner, PYO E, Bianca Phos, Dante Schmieder, Alua Sugralimova, Michael Reindel, Jakob Rockenschaub, Lera Weinrub, Andrea Zabric, Julia Znoj

    Teach Nature, Kunst Haus Wien, Museum Hundertwasser

    Cranach the Untamed

    The Early Years in Viena



    1010 Wien

    This exhibition, conceived in collaboration with the Oskar Reinhart Collection “Am Römerholz” in Winterthur (Switzerland), is the first to explore the artistic beginnings of Lucas Cranach the Elder (1472-1553). Cranach, a native of Franconia, produced his earliest extant works in Vienna, presumably arriving in the city around 1500. These works are celebrated for their remarkable expressive power – radically different from the courtly-elegant manner he was to adopt soon afterwards when he became court painter to the Elector of Saxony. Unlike the countless panels produced in his large workshop at Wittenberg, only a handful of paintings have survived from his sojourn in Vienna. Key works from this period are now in Winterthur and in the Kunsthistorisches Museum Vienna. Together with important loans from other collections, they form the core of the exhibition, offering a comprehensive survey of the early oeuvre of this outstanding artist.

    © Sammlung Oskar Reinhart «Am Römerholz», Winterthur

    1503. Members exhibition



    Karlsplatz 5, 1010 Wien

    The Künstlerhaus is one of the first "artist-run institutions" in the German-speaking world. The "Genossenschaft der bildenden Künstler im Künstlerhaus," which later became the "Gesellschaft der bildenden Künstler im Künstlerhaus," has operated without interruption as a genre-inclusive association since its founding in 1861. The members' exhibition 2022, curated by Georg Schöllhammer and Fanny Hauser and co-researched and designed by Johannes Porsch, confronts the present of the house with its multifaceted past, in which the awakenings, conflicts, and antagonistic currents of the Austrian visual arts are paradigmatically depicted.

    KH Archiv, Scan, Feste Aichelburg 120

    Oceans. Collections. Reflections.

    George Nuku


    Weltmuseum Wien

    Heldenplatz, 1010 Wien

    The Weltmuseum Wien presents the first comprehensive exhibition of the Māori artist George Nuku in 2022. His artworks will be presented in three locations: the special exhibition galleries and the Hall of Columns of Weltmuseum Wien as well as at the Theseus Temple in Volksgarten where he will showcase his project "Bottled Ocean 2122" to the public free of charge.

    Weltmuseum Wien, George Nuku


    I Would Prefer Not To I Sandra Hauser, Don Orèo


    Kunst im öffentlichen Raum GmbH (KÖR)

    Hörnesgasse 2/1,
    1030 Wien

    The artist Sandra Hauser and the gelding Don Orèo go on a journey. For short stages they stay in different places. During the day, the artist practices with the horse, they meet people, discover places and intervene in situations related to Sandra Hauser's search and desire for change. Nighttime can provide space for short, unexpected performances, where passersby happen to witness the dreamlike illuminated passage of a rider with her horse. Hauser's performative activations of space tell of the socio-cultural imprinting of man by the animal and thereby carry the connection between man and animal visibly and tangibly into public space.


    Starting point: Vienna Trotting Club at the Krieau

    Additionally, there will be announced as well as unannounced performative space activations from June 27 to July 17, 2022.

    Don Oreo, © Sandra Hauser

    Lieselott Beschorner: Im Atem der Zeit [In the Breath of Time]


    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    The title of Lieselott Beschorner’s exhibition, Im Atem der Zeit [In the Breath of Time], is a direct reference to the environment in which her work comes into existence. It is only in the now of our days, as in the then of past decades, that her ideas could have taken shape. Their time-bound nature notwithstanding, her art lays claim to a universality that elevates it above its topical concerns and ensures its relevance in the future.

    Lieselott Beschorner has made art for over seven decades and been a member of the Vienna Secession for just as long. When she was admitted to the Association of Visual Artists in 1951, she was among the first women members: the Secession, which had been founded in 1897, had remained a male preserve until shortly after the war. Only a few years later, in 1954, Beschorner presented her first solo exhibition at the Secession, followed by shows in 1966 and 1972, and her work was included in group exhibitions on a regular basis until the mid-1970s. Around that time, the artist took up teaching at a vocational school (she would continue to do so for over thirty years); meanwhile, new tendencies emerged that vied for attention, and her art faded from the spotlight.

    Undeterred, Beschorner kept making art with the means at her disposal, building an oeuvre that is as complex as it is eclectic: her output ranges from abstract paintings to expressively representational drawings and collages, from ceramics and textile works—including the body of work that is probably most widely known today, the Puppas—to her most recent sculptures, like the Behutete Kopffiguren [Hatted-Head Figures, 2014], and a vast trove of drawings on the ubiquitous subject of the virus, among them the cycle of Weinende Omnichronisten [Weeping Omnichroniclers, 2022].

    Programmed by the board of the Secession

    Curated by Berthold Ecker and Jeanette Pacher

    In conjunction with the exhibition by Lieselott Beschorner a book will be published in August 2022.

    Lieselott Beschorner, Im Atem der Zeit, Exhibition view, Secession 2022, Foto: Peter Mochi

    Geoffrey James: Social Spaces — Jože Plečnik in Ljubljana


    Architekturzentrum Wien

    MuseumsQuartier, Museumsplatz 1, 1070 Wien

    The famous Canadian photographer Geoffrey James explores the legacy of Jože Plečnik and his transformation of Ljubljana as a Gesamtkunstwerk. James reveals the social and sensual aspects of Plečnik's work, which are rarely shown in architectural photographs. Taken with a hand-held camera at different times of day and seasons, the photographs explore the complexity of Plečnik's urban spaces and capture their intimacy and social processes.

    Photographer Geoffrey James has dedicated this exhibition to Jože Plečnik’s social spaces in Ljubljana, where the architect created a distinctive cityscape with a series of public spaces and connecting routes that use monuments, stairs, raised benches, columns and other spatial markers to create an exciting dialogue with the historic substance and newly planted trees.

    Jože Plečnik, reading room at the National and University Library (NUK) © photograph: Geoffrey James

    Speculative Fiction


    Akademie der bildenden Künste Wien

    1., Schillerplatz 3

    In the face of social upheavals resulting from global warming or the pandemic questions and longings for a different way of dealing with the world increase. The cinematic pieces of the presented artists sketch out imaginary alternatives to a political and ecological present that is perceived as unfavourable. They thereby turn to speculative fiction – explicitly referencing Donna Haraway’s ideas.

    The sci-fi genre claims a new level of relevance within the medium of video art in this search for contemporary utopias. The films raise questions as to the interconnectedness of human and non-human life forms – ranging from our environmental surroundings to types of artificial intelligence – and reframe the concept of utopia beyond its modern definition.

    The screening Speculative Fiction presents works by graduates of the Academy who explore the outlined thematic area with their works.

    With works by: Veronika Eberhart, Katrin Euller, Barbara Kapusta, Pille-Riin Jaik, Flavia Mazzanti, Ursula Mayer, Marlies Pöschl, Stefanie Schwarzwimmer, Paula Strunden, Kay Walkowiak

    Marlies Pöschl, Aurore, 2019 (Still)

    How thick is the layer of butter on your bread?

    Notes on class and capital


    Akademie der bildenden Künste Wien

    1., Schillerplatz 3

    Like hardly any other field, the art world gathers the most diverse forms of capital and labor. Knowing the codes to become part of this world is as important as finding the key to transforming symbolic into economic capital. Between appropriation strategies, class shame and reflections on invisible and/or un(ter)paid labor, the exhibition shows artistic projects that are complemented by a discursive bracket in the form of a zine, thus making the collective process of exhibition development as well as discourses around class and capital tangible and visible.

    With works by: Kristina Kusmina Dreit, Jackie Grassmann, Ferhat İlhan, Hanne Jannasch & Isabell Alexandra Meldner, Seung Yeon Jung, Irene Landa, Rogine Moradi, Rebecca Rothenborg, Anne Schmidt, Olga Shapovalova

    How thick is the layer of butter on your bread? Notes on class and capital, graphics: Irene Landa

    UNSEEN PLACES. Gregor Sailer


    KUNST HAUS WIEN. Museum Hundertwasser

    Untere Weißgerber Straße 13, 1030 Wien

    Inaccessible landscapes, sealed-off territories or restricted military areas: Gregor Sailer's works depict surreal architectures at the margins of human civilization.

    The artist is interested in the structural transformation of landscape and the complex political, military and economic implications of architecture. This takes him to remote, inhospitable parts of the world, Potemkin villages, and places that few people can reach. Sailer's photographs are devoid of people, and the buildings in them often look like sculptures. Whether climate change, political conflicts, or an excessive need for security, Sailer's images reveal the dynamics that lead to the existence of these places.

    KUNST HAUS WIEN dedicates its first major exhibition in Austria to the photo artist. Sailer's images open up access to the world of fakes, copies and backdrops and question these sometimes absurd excesses of our contemporary society. Gregor Sailer's works require months of research work and stays under extreme conditions, for example in the Arctic at minus 50 degrees. The Tyrolean artist, born in 1980, has received numerous awards, his photographs have been shown in numerous publications and exhibitions, and are represented in public and private collections.

    Curator: Verena Kaspar-Eisert (KUNST HAUS WIEN)

    Gregor Sailer, from the series Polar silk road, Norway © Gregor Sailer

    Jean-Frédéric Schnyder | The Otolith Group | Patricia L. Boyd


    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    Jean-Frédéric Schnyder

    Since the late 1960s, the Swiss conceptual artist Jean-Frédéric Schnyder has created a vast oeuvre of paintings, photographs, sculptures, objects, and installations. In his art practice he remains radically open, one result of which is a fully discontinuous body of work. However, looking at Schnyder’s painterly work since the beginning of the 1970s, one discovers surprising continuities and ruptures at the same time.

    Jean-Frédéric Schnyder, born 1945 in Basel, lives and works in Zug, Switzerland.

    Programmed by the board of the Secession
    Curated by Jeanette Pacher

    The Otolith Group

    The Otolith Group, founded in 2002 by Anjalika Sagar and Kodwo Eshun as an artist-led collective, is based in London. The group investigates the temporal anomolies, anthropic inversions, and synthetic alienation of the posthuman, the inhuman, the non-human, and the complexity of the environmental conditions of life that we all face.

    The Otolith Group, collective founded in 2002, is based in London.

    Programmed by the board of the Secession
    Curated by Bettina Spörr

    Patricia L. Boyd

    Patricia L. Boyd’s work often addresses the interrelationship between techniques of presentation and institutional dynamics, using spatial interventions to alter a viewer’s perception of the exhibition rooms and their movement within them. She works across a range of mediums, including sculpture, photography, writing and video.

    Patricia L. Boyd, born in 1980 in London, lives and works in New York and London. Her work was included in Other Mechanisms, a group exhibition at the Secession curated by Anthony Huberman in 2018, and has since had highly acclaimed solo exhibitions at the Münchener Kunstverein (2020), Front Desk Apparatus, New York (2019), Christian Andersen, Kopenhagen (2019), and Cell Project Space, London (with Rosa Aiello, 2019).

    Programmed by the board of the Secession
    Curated by Annette Südbeck

    Jean-Frédéric Schnyder, Hans Schnyder 1959 – JF 2020 nach Winston Churchill, 2020. Courtesy the artist & Galerie Eva Presenhuber, Zurich / New York

    mixed up with others before we even begin


    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    The exhibition mixed up with others before we even begin investigates models of thinking and working that reconcile different, sometimes contradictory entities within contemporary visual culture. Current artistic positions enter into a dialogue with selected works from the mumok collection and objects from the collections of the Natural History Museum Vienna to foreground the hybrid as an effective tenet, not only in artistic but also societal and political realms.

    mixed up with others before we even begin celebrates the historical-cultural processes of creolization as a mode of world-making that has always been there. It encompasses moments of encounter and friendly gathering as well as those of collision, too. The exhibition features works that open perspectives to postcolonial histories of diversity, to satirical transliteration, queer folklore, and collective feminist rituals, to the molecular borders of the human body and its entanglements with science and technology.

    Artists: Leilah Babirye, Mariana Castillo Deball, Anetta Mona Chişa & Lucia Tkáčová, Nilbar Güreş, Nicolás Lamas, Slavs and Tatars

    Nilbar Güreş: Contaminated Pina Colada, 2021. Oil on canvas, 50 × 40 cm. Courtesy of the artist and Galerie Martin Janda, Vienna