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    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

    The Purloined Masterpiece

    Images as Time Machines


    Gemäldegalerie der Akademie der bildenden Künste Wien

    1., Schillerplatz 3

    The exhibiton The Purloined Masterpiece. Images as Time Machines allows the Academy’s historical art collections – the Paintings Gallery, the Graphic Collection and the Plaster Cast Collection – to enter into conversation with contemporary art. After the return to Schillerplatz, there is now again the opportunity to view the Academy’s art treasures in the freshly renovated, historic building.
    The exhibition in the rooms of the Paintings Gallery takes a digressive tour through art history from the 15th century to the present day, as reflected in these three rich collections. In addition to Hieronymus Bosch’s Last Judgment Triptych, other historical masterpieces by Sandro Botticelli, Daniel Chodowiecki, Lucas Cranach the Elder, Albrecht Dürer, Anthony van Dyck, Barent Fabritius, Hans Baldung Grien, Samuel van Hoogstraten, Martin van Meytens, Adriaen van Ostade, Rembrandt Harmensz. van Rijn, Peter Paul Rubens, Jacob van Ruisdael, Rachel Ruysch, Pierre Subleyras, David Teniers the Younger, Anna Dorothea Therbusch, Franz Zächerle, among others, meet contemporary art by Martin Beck, An-na-Sophie Berger / Teak Ramos, Marcel Broodthaers, Lili Dujourie, VALIE EXPORT, Rodney Graham, Ulrike Grossarth, Albert Paris Gütersloh, Marcello Maloberti, Willem Oorebeek, Jeroen de Rijke / Willem de Rooij, Klaus Scherübel, Allan Sekula, Paul Sietsema, Laurence Sturla.

    The Art Collections
    The Art Collections of the Academy of Fine Arts Vienna comprise the Paintings Gallery, the Graphic Col-lection and the Plaster Cast Collection. They house approximately 1,200 paintings and 160,000 works on paper from the 14th to the 21st century, as well as about 450 plaster casts. The presence of such high-quality and extensive historical collections at an art academy is a special feature. The collections are meeting spaces for research, teaching and art enthusiasts and are open to the public in the form of a study hall and museum.

    Franz Zächerle, Pygmalion adoring his Statue, detail, 1771 © Paintings Gallery of the Academy of Fine Arts Vienna



    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

    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

    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



    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    Based on the mumok collection's focus on the avant-gardes of the 1960s and 1970s as well as the conceptual and socio-analytical approaches of contemporary art, the exhibition Collaborations explores different strategies of collective authorship. The show spans from the smallest to the largest unit of togetherness: from the internal connectedness of the collective to the selective union of the connective, from the couple to society - and last but not least from the love relationship to the all-connectedness. Kollaborationen explores the question of how artistic model forms of a "we" can be made fruitful for social coexistence: What does collaboration mean in the 21st century, when fundamental social structures are visibly dissolving, and how do artists* respond to this?

    Artists: Marina Abramović & Ulay, Ant Farm, Art & Language, Martin Beck, Bernadette Corporation, Anna & Bernhard Blume, George Brecht, Günter Brus, John Cage, Merce Cunningham, Chto Delat, Leidy Churchman, Clegg & Guttmann, Phil Collins, Bruce Conner, DIE DAMEN, Jean Dupuy, VALIE EXPORT, Peter Faecke and Wolf Vostell, Robert Filliou, Rimma Gerlovina & Valeriy Gerlovin, Gilbert & George, Manfred Grübl, Andreas Gursky, Richard Hamilton and Dieter Roth, Haus-Rucker-Co. , Christine & Irene Hohenbüchler, IRWIN, Ray Johnson and Berty Skuber, On Kawara, Friedrich Kiesler, Alison Knowles, Brigitte Kowanz and Franz Graf, Louise Lawler, Lucy R. Lippard, Sharon Lockhart, George Maciunas, Larry Miller, Ree Morton, Otto Muehl, museum in progress, Moriz Nähr, Natalia L.L., Otto Neurath, Yoko Ono, Nam June Paik, Stephen Prina, Jörg Schlick, Hubert Schmalix, Secession, Seth Siegelaub, Christian Skrein, Daniel Spoerri, Petr Štembera and Tom Marioni, Thomas Struth, Timm Ulrichs, VBKÖ, Kerstin von Gabain and Nino Sakandelidze, Franz Erhard Walther, Robert Watts, Franz West, Wiener Gruppe, Oswald Wiener, Heimo Zobernig and others. a.m. ; with the video series lumbung calling of documenta fifteen, curated by ruangrupa

    Ulay, Marina Abramović Breathing In / Breathing Out, 1977. Photo: mumok.© Courtesy of the Marina Abramović Archives / Bildrecht, Wien 2022

    Francesco Clemente



    Albertinaplatz 1, 1010 Wien

    The ALBERTINA Museum is devoting a comprehensive solo presentation to the ItalianAmerican artist Francesco Clemente. It serves to mark the ALBERTINA Museum’s acquisition of the Jablonka Collection, which holds a great many of Clemente’s important works.

    A particular focus here is on Clemente’s self-portraits and the travels inextricably linked therewith, to be seen in works created all over the world. Impressions and experiences, stories and myths are likewise clearly visible in this artist’s output, alluding to their important role for him as a person in all of their many facets. Alongside works from the Jablonka Collection, several further key works from the ALBERTINA’s own holdings are also included as well as the Sirens, a series of oil paintings completed just recently.

    Francesco Clemente: Self-portrait with eyes, 2002 Öl auf Leinwand ALBERTINA, Wien – The ESSL Collection © Francesco Clemente

    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)

    Points, Lines, and Alleys | Miha Štrukelj


    Galerie Ernst Hilger Ballgasse

    Ballgasse 1, 1010 Wien

    Opening: 6. September, 7pm.-9pm.

    Miha Štrukelj, Ingens Gate, Rechte bei der Künstlerin, courtesy of Galerie Ernst Hilger

    MARIA PINIŃSKA-BEREŚ. Meadow of Your Body

    curated by Jarosław Suchan


    Galerie nächst St. Stephan Rosemarie Schwarzwälder

    Grünangergasse 1, 1010 Wien

    Maria Pinińska-Bereś (1931, Poznań –1999, Krakow) was a sculptor, installation artist, and performer. She is considered a forerunner of environmental and feminist art in Poland, though she had an ambivalent relationship to feminism. In 1950–56 she studied at the Academy of Fine Arts Krakow, in the studio of Professor Xawery Dunikowski, a leading exponent of Polish Modernist sculpture. Tied to the art community gathered around Tadeusz Kantor, in 1979 she became part of the Krakow Group, created on his initiative two decades earlier. Her works are held in the collections of Poland’s most important museums, including the Muzeum Sztuki in Łódź, the National Museum in Krakow, the National Museum in Wrocław, the Centre for Polish Sculpture in Orońsko, and MOCAK Museum of Contemporary Art in Krakow, as well as the Migros Museum in Zurich and many private collections. Her work has been shown at solo and collective exhibitions in Poland and abroad, in recent years at Gender Check, Femininity and Masculinity in Art of Eastern Europe, MUMOK, Vienna (2010), The World Goes Pop, TATE Modern, London (2015), 20 – An Exhibition In Three Acts: Collection Revisited 1960–1982, Migros Museum, Zurich (2016), 56 Artillery Lane, Raven Row Gallery, London (2017), The Penumbral Age: Art in the Time of Planetary Change, Museum of Modern Art, Warsaw (2020).

    Jarosław Suchan is an art historian, critic, and curator. In 2006–22 he was the director of Muzeum Sztuki in Łódź, where he succeeded in creating a new building for the collections, setting a new mission for the museum, and reconceptualizing its profile. As a curator or co-curator, he has organized numerous exhibitions of modern and contemporary art in museums and institutions such as Centre G. Pompidou Paris, Museo Reina Sofia Madrid, Serralves Museum Porto, Gemeentemuseum The Hague, Universalmuseum Joanneum Graz, Moderna Museet Malmo, Museum Abteiberg Mönchengladbach, Ludwig Museum Budapest, and Zachęta National Gallery in Warsaw.

    Exhibition view MARIA PINIŃSKA-BEREŚ. Courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder

    BASQUIAT. Tie Retrospective



    Albertinaplatz 1, 1010 Wien

    Basquiat’s oeuvre is more current than ever and remains every bit as pioneering and visionary as it was back then. His works turn a spotlight both on African heritage and on problematic hierarchies in society, with omnipresent racism being the theme that he found most important and personally relevant. As an eccentric outsider and an exploited superstar of his times, Basquiat now stands among contemporary art’s most significant key figures.

    This exhibition at the ALBERTINA Museum is Austria’s first comprehensive museum-based retrospective featuring Jean-Michel Basquiat’s extraordinary oeuvre.

    Photo: Private Collection – courtesy of HomeArt © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

    Stylianos SCHICHO - Zugunruhe


    Galerie Ernst Hilger

    Dorotheergasse 5, 1010 Wien

    Opening: 13.Sept. 19.00-21.00

    Sensory Tales

    curated by Rita Kálmán & Lívia Páldi



    Schottenfeldgasse 45, 1070 Wien

    The exhibition takes its starting point from the understanding of fluid and transformative existence, relations and presences, the expanded idea of intimacy and its practices from friendship to kinship. It brings together artists with diverse mixed media practices whose collaborative and individual works interrogate the contemporary condition through the somatic and explore the relationship between bodies and the organization of space. Informed by queer ecologies, feminism, critical anthropology, re-envisioning collective futures and infrastructures the presentation revolves around notions of radical joy, abundance, vulnerability and resilience. Sensory Tales features a line-up of artists from different generations, backgrounds and geographies whose practices share a nuanced and transformative treatment of their chosen media challenging us to reconsider how we read and understand facets of reality and identity.

    Artists: Dóra Maurer, Mithu Sen, Tamás Kaszás, Johanna Calle, Aliza Orlan, Gideon Horváth, Katarina Šević, Dominika Trapp

    Dominika Trapp, Escaping Water, Ink on antique paper, 2022, courtesy of the artist. Graphics: Carmen Alber.

    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

    Idols & Rivals



    1010 Wien

    Nowadays, competition is mainly associated with sport, the economy, evolution theory, architecture, or various types of TV contest. Ever since the days of ancient Greece, however, competition has also played an important role in the world of art.

    Our exhibition shows how in antiquity, the Renaissance, and the Baroque, artists competed with one another and how, in addition, they measured themselves against ancient models. This kind of competition has brought forth some of the best-known works in the history of art.

    © Liechtenstein. The Princely Collections, Vaduz–Vienna


    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    The mumok collection contains nearly five hundred works related to animals—a considerable quantity that raises the question of what kind of zoo the museum in fact is. What is kept, researched, and displayed both here and there to protect “wild life” and the “freedom of art”? And in whose interest?

    The Animal Within addresses such questions and uses the popular appeal of animals to reflect on the nature of sex, hunger, and affection, as well as on family and gender relations, socialization and domestication, and, not least, on the enduring impact of colonial history. Who leads whom on a leash? Who clips whose wings? Who scratches whose back?

    The exhibition is thus less about animals than about bodies, moving or still, reclining or standing, crouching or crawling. The animal as a motif serves as a starting point to get to a materialist understanding of art and life. For in the Western world, “taming and framing” is what we do to mark our territories and claim our subjectivities.

    Curated by Manuela Ammer and Ulrike Müller

    Ursula: Puppe, 1970. mumok - Museum moderner Kunst Stiftung Ludwig Wien, former Hahn Collection, Cologne © Museum Ludwig, Cologne

    The Meal


    Dom Museum Wien

    Stephansplatz 6,
    1010 Wien

    Eating and drinking are basic human needs, but the shared meal has always been about more than mere food intake. Sensory pleasure and enjoyment, the foundation of communities, the representation of social status, and ritual acts are only a few aspects connected with meals. It is not surprising that art has always reacted to our ways of having a meal, to our chosen dishes and foods—by representing, analyzing, and abstracting, in both critical and ironic ways. Artworks from the Middle Ages to the present illustrate the community-building elements of meals—in families, at public events, and in political and religious contexts of different cultures.

    The exhibition includes work by Marina Abramović, Sonja Alhäuser, Atelier Van Lieshout, Abraham van Beyeren, Lois Bielefeld, Pieter de Bloot, Thierry Boutonnier, Götz Bury, Joseph Beuys, Catrin Bolt, Elinor Carucci, Heinz Cibulka, Domenico Cresti called Passignano, Josef Danhauser, desertArtLAB, Martin Dichtl, Albin Egger-Lienz, Christian Eisenberger, Jan Fyt, Gaetano Gandolfi, Floris Gerritsz van Schooten, Geldorp Gortzius, Robert F. Hammerstiel, honey & bunny, Nelson Jalil, Ulrike Köb, Maria Lassnig, Master of the Frederick Altarpiece, Maha Malluh, Katharina Mayer, Veronika Merklein, Jan Miense Molenaer, Izumi Miyazaki, Anna Paul, Klaus Pichler, Dieter Roth, Zina Saro-Wiwa, Christoph Daniel Schenck, Astrid Schulz, Gregg Segal, Taryn Simon, Stéphane Soulié, Daniel Spoerri, Jan Steen, Maja Vukoje, Franz West, Workshop of Lucas Cranach the Elder, Ramiro Wong, as well as historic artists whose names have not been handed down.

    Curator: Johanna Schwanberg

    Izumi Miyazaki, Broccoli (Detail), 2017, Izumi Miyazaki. © Izumi Miyazaki



    Kunstraum Niederoesterreich

    Herrengasse 13,
    1010 Wien

    The last two and a half years have proven it sufficiently: Even coping with global crises is becoming more and more a private matter. Where social and health systems are eroding, the pressure on the “self-care competencies” of each and every individual is growing. Creative, fit, independent and well prepared for the next case of emergency – this is the profile of the neoliberal subject in crisis mode.

    In HIIIIIIIT, their first joint exhibition in Austria, Stefan Panhans and Andrea Winkler take a look at the different social manifestations and contexts of this neoliberal ethos of personal responsibility and private crisis and risk management. In a pointedly composed multimedia ensemble of film, photography, performance, and installation, they draw the portrait of a society for which the state of emergency has long since become the norm. HIIIIIIIT, writes exhibition curator Katharina Brandl, “reflects individual and societal notions of risk management and defensibility while asking: How do we carry out our compulsive attempts to hedge ourselves against chronic, systemic crises?”

    Artists: Stefan Panhans & Andrea Winkler, with an accompanying program by Sunny Pfalzer.
    Curator: Katharina Brandl

    ©Stefan Panhans/Andrea Winkler, Border Control, 2021, videostill detail

    Guided tour with the artists & the curator HIIIIIIT



    Kunstraum Niederoesterreich

    Herrengasse 13,
    1010 Wien

    On Saturday, 01 10 2022 you have the (actually) unique opportunity to enjoy a guided tour through the exhibition HIIIIIIIT by the artists Stefan Panhans and Andrea Winkler, moderated by the curator of the exhibition, Katharina Brandl.

    During the tour, Stefan Panhans and Andrea Winkler not only contextualize their artistic work, but also answer questions about their collaboration with each other. The visual rhetoric of the works shown in the exhibition HIIIIIIIT, which can best be described by the German word "Wehrhaftigkeit," is placed in the context of our present time: Where does the feeling come from that we must continue to protect ourselves individually against crises and uncertainties, when it is a systemic failure that we’re fighting against?

    Duration: FR, 30 09 2022 – SA, 26 11 2022
    Artists: Stefan Panhans & Andrea Winkler,
    with an accompanying programme by Sunny Pfalzer
    Curator: Katharina Brandl

    ©Stefan Panhans/Andrea Winkler, Defender, 2021, videostill

    Long Night of Museums HIIIIIIIT



    Kunstraum Niederoesterreich

    Herrengasse 13,
    1010 Wien

    When visiting Kunstraum Niederoesterreich during the ORF Long Night of Museums, young and old alike get their fair share: children will have the opportunity to pick up a crayon set and approach the exhibition HIIIIIIIT in a playful way by painting by numbers.

    Furthermore, the mediators of Kunstraum Niederoesterreich, from 7:00 to 10:00 pm, are happy to tell you more about the works of Stefan Panhans and Andrea Winkler, which addresses individual and societal notions of risk management and self-optimization in our crisis-ridden present.

    Come by (with child!) and enter the video worlds of Stefan Panhans and Andrea Winkler populated by SUVs, border guards and fitness exercises.

    We look forward to your child-rich participation!

    Duration: FR, 30 09 2022 – SA, 26 11 2022
    Artists: Stefan Panhans & Andrea Winkler,
    with an accompanying programme by Sunny Pfalzer
    Curator: Katharina Brandl

    © Stefan Panhans/Andrea Winkler, HOSTEL, 2018, videostill

    Europe’s Best Buildings


    Architekturzentrum Wien

    MuseumsQuartier, Museumsplatz 1, 1070 Wien

    Every two years, the ever increasingly popular exhibition ‘Europe’s Best Buildings’ puts the focus on outstanding architecture projects from Europe: developments with visionary character, providing orientation or even serving as manifestos for the development of contemporary architecture.

    For the third time, remarkable residential projects have made it into the final round, while for the first time the main prize goes to an educational building: the Town House — Kingston University in London, by Grafton Architects from Dublin.

    La Borda, Wohnungsbaugenossenschaft, Barcelona von LaCol (Barcelona) © Foto: LaCol

    Jakob KIRCHMAYR – A Glimpse of Memory and Time


    Galerie Ernst Hilger

    Dorotheergasse 5, 1010 Wien

    Opening 11.10.2022, 7pm.- 9pm., with Elsy Lahner (Albertina)

    Jakob Kirchmayr, Atem holen, Galerie Ernst Hilger

    Jakob KIRCHMAYR – A Glimpse of Memory and Time



    Galerie Ernst Hilger

    Dorotheergasse 5, 1010 Wien

    Opening 11.10.2022, 7pm.- 9pm., with Elsy Lahner (Albertina)

    Jakob Kirchmayr, Atem holen, Galerie Ernst Hilger

    JURGIS GEČYS | The Inceptive Ground, texture volume 01


    Bildraum 01

    Strauchgasse 2, 1010 Wien

    As part of his solo exhibition "The Inceptive Ground, texture volume 01" at Bildraum 01, artist Jurgis Gečys provides insights into the process of creating his multimedia project, for which he embarked on a solo expedition by bicycle along the 70th west longitude of the southern hemisphere - from the driest deserts in the north to the eternal ice in the south. In doing so, he explored the question of how one would see an environment that is deprived of all rational justification: its physical properties, cartographic boundaries, as well as the names of the landscapes. The artist talks about this special exceptional experience, which finds its expression in analog black-and-white photographs and textured sculptures; his digital diary can be seen as a short film in the exhibition space. Subtle yet at the center are his meticulous large-scale drawings created over years of ink dots. "Drawing the landscape is as frightening as the first step in the journey across the continent. And so it continues, step by step, dot by dot, I got to know every single grain, texture, shape and emotion of the landscape," says Jurgis Gečys, who uses these drawings to reflect on how loneliness and the experience of nothingness can be used not only to cope with reality, but to find a new way to illuminate the complexity of multisensory perception of oneself and the environment.

    A cooperation of Bildrecht with Vienna Art Week. A program partnership with the Rotlicht Festival. With the kind support of BMKÖS.

    Jurgis Gečys | Alien Landscape, 2022 | Hand drawing, paper, ink | 157 x 236 cm | © Bildrecht, Vienna 2022

    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