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    Exhibition

    Siegfried Zaworka

    Funktionale

    27/09/201924/09/2022

    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    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.

    Exhibition

    a_show

    Permanent exhibition

    1/01/202031/12/2021

    Architekturzentrum Wien

    MuseumsQuartier, Museumsplatz 1, 1070 Wien

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

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

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

    Curators: Gabriele Kaiser, Monika Platzer, Az W

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

    Exhibition

    HELMUT LANG ARCHIVE

    AN INTERVENTION BY HELMUT LANG

    16/06/20209/01/2022

    MAK – Museum für angewandte Kunst

    Stubenring 5,
    1010 Wien

    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.

    Exhibition

    Ongoing Permanent Collection

    1/07/202031/12/2021

    Oberes Belvedere

    Prinz Eugen-Straße 27

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

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

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

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

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

    Everything

    Masterpieces of Modernist Art.

    The Batliner Collection

    1/07/202031/12/2021

    Albertina

    Albertinaplatz 1, 1010 Wien

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

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

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

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

    Exhibition

    PERMANENT COLLECTION VIENNA 1900

    Design/Arts and Crafts 1890–1938

    1/07/202031/07/2022

    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.

    ©MAK

    Exhibition

    Adolf Loos - Afterlife

    3/09/202030/09/2021

    Architekturzentrum Wien

    MuseumsQuartier, Museumsplatz 1, 1070 Wien

    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.

    Exhibition

    Hidden Thoughts of A Visual Nature

    23/09/202031/12/2021

    Sigmund Freud Museum

    Berggasse 19, 1090 Wien

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

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

    Exhibition

    Fragile Creation

    1/10/20203/10/2021

    Dom Museum Wien

    Stephansplatz 6,
    1010 Wien

    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.

    Exhibition

    Maja Vukoje

    On the Edge

    8/12/202029/08/2021

    Belvedere 21 – Museum für zeitgenössische Kunst

    Arsenalstraße 1,
    1030 Wien

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

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

    Curated by Luisa Ziaja.

    #MajaVukoje

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

    Exhibition

    VIENNA 1900

    Birth of Modernism

    1/01/20211/01/2022

    Leopold Museum

    Museumsplatz 1
    1070 Wien

    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.

    Exhibition

    No one is an Island

    1/05/202129/08/2021

    Künstlerhaus

    Karlsplatz 5, 1010 Wien

    N/A

    Exhibition

    WOMEN ARTISTS OF THE WIENER WERKSTÄTTE

    5/05/20213/10/2021

    10:00—18:00

    https://www.mak.at/en/womenartists_slots

    MAK – Museum für angewandte Kunst

    Stubenring 5,
    1010 Wien

    Who influenced the style of the Wiener Werkstätte (WW) from the moment it was founded in 1903? Names that immediately come to mind are those of the great male artists Josef Hoffmann, Koloman Moser, and Dagobert Peche. Yet, from the outset, women artists were also involved in the WW’s creations. Their number grew constantly until the company’s liquidation in 1932, and especially in the interwar years Mathilde Flögl, Maria Likarz, Felice Rix, or Vally Wieselthier defined the look of the WW with fantastic fabric patterns and expressive ceramics. In the course of our research, about 180 female artists were identified and approximately half of these are represented in this exhibition.

    Educated at the Vienna School of Arts and Crafts and employed at the WW by Hoffmann, the women designed fabrics, fashion, home accessories, toys, and commercial art and, in addition, also took over the field of ceramics where they were able to work purely artistically. Furthermore, they also developed exceptional murals for interiors—be it flats, restaurants, or exhibition spaces. Although highly recognized at their time, the women artists were mostly forgotten after the end of the WW. The catalog and exhibition want to give them a face and raise awareness for an oeuvre that was involved in constituting the unique position of the Wiener Werkstätte between Art Nouveau and Bauhaus.

    Curator: Anne-Katrin Rossberg, Curator, MAK Metal Collection and Wiener Werkstätte Archive
    Guest Curator: Elisabeth Schmuttermeier
    Exhibition Design: Claudia Cavallar

    AUDIO TOUR
    Read by the acress Louise Prack
    soundcloud.com/makwien

    © 3007 Wien/Eva Dranaz

    Exhibition

    Elfie Semotan

    Position and Pose

    5/05/202129/08/2021

    KUNST HAUS WIEN. Museum Hundertwasser

    Untere Weißgerber Straße 13, 1030 Wien

    KUNST HAUS WIEN is paying tribute to the famous Austrian Photographer Elfie Semotan with a comprehensive retrospective. The exhibition Position and Pose spans six decades of her diverse artistic oeuvre and offers an opportunity to experience Semotan´s photographic universe as a multi-layered meshwork of discret approaches to the medium of photography. On show are some 150 works, ranging from her well-known fashion and advertising shots to haunting portraits, poetic landscapes, and still lifes.

    Elfie Semotan, o.T. (Hair Story), New York 1997/2021 © Elfie Semotan Courtesy Studio Semotan

    Exhibition

    ERWIN WURM

    Dissolution

    8/05/20215/12/2021

    11:00—18:00

    https://www.mak.at/en/erwinwurm_slots

    Gestural ceramic sculptures are the focus of the MAK exhibition, presenting Erwin Wurm’s sculptural series Dissolution (2018–2020) in a museum context for the first time. With Dissolution, Wurm sets out in search of a creative process that cannot be completely controlled. The word “dissolution” has connotations of disintegration, decay, decomposition, and vanishing boundaries. The sculptures—with their protruding fingers, hands, lips, mouths, breasts, bellies, navels, noses, and ears—force their way out of a mass of clay. In these sculptural forms Wurm combines realism with abstraction.

    The sculptural body segments invade the Geymüllerschlössel’s interior, creating tableaux vivants—dramaturgical arrangements located between movement and stasis, history and the present—in individual rooms and salons: the entrance hall, the library, the music room, the cupola room, the bedroom, the oriental room, and before a wallpaper panorama reflecting the weltanschauung of European colonialism.

    In the garden of the Schlössel, Erwin Wurm’s sculptures of Carrara marble connect up with the artist’s role in critically illuminating and distorting our world.

    Curators:
    Bärbel Vischer, Curator MAK Contemporary Art Collection
    Rainald Franz, Curator MAK Glass and Ceramics Collection

    +++
    Exhibition Dates 8 May – 5 Dec 2021
    Open Saturdays and Sundays from 11 a.m. to 6 p.m.
    More information at www.MAK.at/en/geymuellerschloessel
    Before visiting, please be sure to book a timeslot!
    Timeslot available at www.MAK.at/erwinwurm_slots
    +++

    Kindly supported by Dorotheum

    Thanks to Thaddaeus Ropac
    London Paris Salzburg

    © Aslan Kudrnofsky/MAK

    Exhibition

    And if I devoted my life to one of its feathers?

    15/05/202126/09/2021

    Kunsthalle Wien Museumsquartier

    Museumsplatz 1, 1070 Wien

    Artists: Babi Badalov • Denilson Baniwa • Patricia Belli • Amoako Boafo • Anna Boghiguian • Victoria Cabezas • Quishile Charan • Manuel Chavajay • Chto Delat • Rosa Elena Curruchich • Annalee Davis • Vlasta Delimar • Jim Denomie • María Galindo & Danitza Luna • Nilbar Güreş • Sheroanawe Hakihiiwe • Hiwa K • Karrabing Film Collective • Germain Machuca • Daniela Ortiz • Prabhakar Pachpute • Amanda Piña • Roldán Pinedo / Shöyan Sheca • Sandra Salazar • Olinda Silvano / Reeshinjabe • SPIT! (Sodomites, Perverts, Inverts Together! / Carlos Maria Romero, Carlos Motta & John Arthur Peetz) • Sophie Utikal • Cecilia Vicuña • Castiel Vitorino Brasileiro • Anna Witt • Bartolina Xixa • Santiago Yahuarcani • Zapantera Negra • …

    Curator: Miguel A. López

    A joint exhibition of Kunsthalle Wien and Wiener Festwochen

    “And if I devoted my life to one of its feathers?” writes the Chilean poet and activist Cecilia Vicuña in her 1971 poem Precarious. With this question, which Kunsthalle Wien and Wiener Festwochen have now chosen as the title for their joint project, Vicuña counters anthropocentric and hetero-patriarchal urges with healing and appreciation, reviving the aesthetic and spiritual bonds between human and non-human entities and worlds. In keeping with these aspirations, the exhibition curated by Miguel A. López reflects on the rationale of exploitation, the fast-paced mining of raw materials, and environmental destruction as a colonial legacy. It tells the story of indigenous struggles for collective survival and celebrates encounters defined by solidarity in their resistance to misogyny, imperialist violence, and state oppression. Some of the contributions are a specific response to the Covid-19 pandemic, not just as a health crisis, but also as one of ecological and social justice. And if I devoted my life to one of its feathers? combines works by more than 35 artists from around the world in order to initiate in Vienna a unique conversation about power, sovereignty, self-r

    Bartolina Xixa, Ramita Seca, La Colonialidad Permanente (Dry Twig, The Permanent Coloniality), 2019, film still, courtesy Maximilano Mamani/Bartolina

    Exhibition

    Higher Powers

    People, Gods and Elements of Nature

    18/05/202115/08/2021

    KUNSTHISTORISCHES MUSEUM WIEN

    Maria-Theresien-Platz,
    1010 Wien

    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.

    ARAKI

    26/05/202129/08/2021

    Albertina Modern

    Karlsplatz 5, 1010 Wien

    Nobuyoshi Araki (*1940) numbers among Japan’s most important and productive contemporary photographers. Though known primarily for his nudes, as provocative as they are now controversial, Araki’s oeuvre encompasses a diversity of themes including cities, still lifes, and everyday themes.
    This exhibition of the ALBERTINA MODERN concentrates on the development of the artist’s influential I-Photography, with which he began radically renewing classic documentary photography in the 1960s under the influence of Tokyo’s various avant-garde movements. His photographic debut about the working-class boy Satchin and his brother Mabo (1963) is included here, as are his series on Tokyo’s urban life.
    At the center of this presentation is Araki’s grandiose and influential series Sentimental Journey (1971–2017). In this long-running project, he makes a theme of his own life in the form of blunt, snapshot-like photos of his wife Yoko. Much like in a diary, these intimate photos show their honeymoon, their life together as a couple, and Yoko’s untimely death. The artist only finished working on this autobiographic theme a few years ago with a final continuation of the series.

    Exhibition

    VIENNA BIENNALE FOR CHANGE 2021

    PLANET LOVE. Climate Care in the Digital Age

    28/05/20213/10/2021

    10:00—18:00

    MAK – Museum für angewandte Kunst

    Stubenring 5,
    1010 Wien

    Universität für angewandte Kunst Wien

    Oskar-Kokoschka-Platz 2, 1010 Wien

    Kunsthalle Wien Karlsplatz

    Treitlstraße 2, 1040 Wien

    KUNST HAUS WIEN. Museum Hundertwasser

    Untere Weißgerber Straße 13, 1030 Wien

    Architekturzentrum Wien

    MuseumsQuartier, Museumsplatz 1, 1070 Wien

    With its motto PLANET LOVE the VIENNA BIENNALE FOR CHANGE 2021 is dedicated to the greatest challenge of our digital age: climate care. PLANET LOVE means a fundamentally new relationship between people and planet, which aims at using the Earth’s resources considerately rather than maximizing their exploitation, and whose approach is characterized by humility, respect, and appreciation of its biological diversity and beauty. Climate care is considered a central aspect of PLANET LOVE and goes far beyond decarbonizing the economy and society: it encompasses the question of how we can build a sustainable foundation for our relationship to the Earth and always involves a social dimension.

    The VIENNA BIENNALE FOR CHANGE 2021 with its title PLANET LOVE. Climate Care in the Digital Age will open on 27 May 2021. In exhibitions and discussion projects its organizers—the MAK, the University of Applied Arts Vienna, the Kunsthalle Wien, the Architekturzentrum Wien, and the Vienna Business Agency, as well as the KUNST HAUS WIEN as a new partner and the AIT Austrian Institute of Technology as a non-university research partner—are bringing together visionary designs and exceptional ideas by artists, designers, and architects who make a radical change to our societies and economies irresistible in the interests of PLANET LOVE and sustainable climate care.

    The VIENNA BIENNALE FOR CHANGE 2021 aspires to fire our imaginations, promote the vision of ecosocially sustainable societies and economies, and offer innovative ideas and solutions: to mitigate the climate crisis, to restore and preserve ecosystems, to maintain biodiversity, and to use digital technologies for the benefit of the climate and environment. It not only encourages visitors to stop and reconsider but also demands that every sociopolitical force and every individual take resolute action to overcome the climate and ecological crisis.

    © buero bauer

    Exhibition

    Averklub Collective. Manuš Means Human

    2/06/20215/09/2021

    Kunsthalle Wien Museumsquartier

    Museumsplatz 1, 1070 Wien

    Averklub Collective is a loosely organized group with no fixed structure. Its core is constituted by several residents of the Chanov housing estate, which is considered to be the largest Roma settlement in the Czech Republic. The collective expands and contracts as it sees fit, adapting with various configurations of artists, theorists, and activists depending on current projects and needs.

    Manuš Means Human presents the group’s latest research and artworks, produced in collaboration with various generations of residents of the Chanov housing estate.

    The exhibition takes its title from Vincent Danihel’s eponymous 1986 book, in which the Czechoslovak communist of Romani origin analyzes the policy of Roma integration in socialist Czechoslovakia. In using the same title for the exhibition, the Averclub Collective want to draw attention to what unites people rather than what divides them: “We want to show that, over and above the multiplicity of cultures, genders, nations, and so on, there exists another level of belonging that is accessible to all without exception.”

    The Chanov housing estate, 1980s, from the archive of Helena Nistorová

    Exhibition

    ALFREDO JAAR

    Red Vienna

    9/06/20215/09/2021

    10:00—18:00

    MAK – Museum für angewandte Kunst

    Stubenring 5,
    1010 Wien

    In his photographic work on Red Vienna, artist Alfredo Jaar (* 1956) reflects the to this day formative sociopolitical and urban planning developments of the city of Vienna from the period between the world wars until the coup of the Austrofascists in 1934. Using intensive colors, Jaar looks back on local politics initiated by the social democratic municipal government that was able to prevail against the politically conservative climate of the time and took up the cause of human dignity and collective responsibility.

    © Alfredo Jaar

    Corita Kent (Sister Corita) the sea queen, 1973
    Exhibition

    Enjoy – the Changing mumok Collection

    19/06/202118/04/2022

    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    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.

    Exhibition

    Heimo Zobernig

    19/06/202117/10/2021

    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    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

    Exhibition

    Caitlin Lonegan: 4 pm, Fire Light

    26/06/202121/08/2021

    Galerie nächst St. Stephan Rosemarie Schwarzwälder

    Grünangergasse 1, 1010 Wien

    Caitlin Lonegan’s abstract and gestural works weave together observations of light, movement, space, and time in an exciting way. Her new series of works called Rainbow Paintings, a selection of which is being presented for the first time in the gallery’s LOGIN space, is also based on the striking interaction between these specific aspects. Her exhibition titled 4 pm, Fire Light is the second solo show of the American artist in our gallery and features powerful paintings and drawings that create the illusion of a consistent, atmospheric space in which our perception of light and its reflections are constantly shifting.

    The strength of Lonegan’s pictures lies in their eloquent, seemingly random arrangement of color surfaces and forms placed next to each other. In this expression of painterly gestures, each position has in fact been meticulously planned, placed, and tested in drawings that go beyond simple sketches and are rather works in their own right. These works on paper are created simultaneously with her paintings and often focus on single moments – real or imagined – thereby helping her to articulate spatial illusions that can reflect several paintings at the same time, letting painting and drawing interact in a dynamic way. The artist employs the entire spectrum of colors to structure the pictorial space – from warm, earthy tones to delicate blue and pink hues, with only a few very vivid tones – while metallic pigments create a surprising effect and comprise an integral part of the composition, just like the untreated areas on the surface of the support.
    The Rainbow Paintings are perfect examples of how masterfully Lonegan lets the individual color surfaces engage in a lively conversation with the light situation in the room. Recurring forms like semicircles, crescents, and spheres reflect, refract, or absorb the light, depending on the angle from which we behold the paintings or the special qualities of the light in a particular room.

    Courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder. Photo: Markus Wörgötter

    Exhibition

    SONIA LEIMER

    Owning Awning

    26/06/202121/08/2021

    Galerie nächst St. Stephan Rosemarie Schwarzwälder

    Grünangergasse 1, 1010 Wien

    How can we establish networks within society in an urban environment by interacting with other people every day? How are social spaces created, and who decides in what way and for how long they can be used? Sonia Leimer’s current works visualize the “social capital” in cities, to use a term coined by the urbanist and activist Jane Jacobs in the 1960s. Leimer’s fourth solo exhibition in the gallery revolves around urban development and direct democracy – relevant issues in society that are more pressing today than ever before. These new works offer us the chance to explore the key questions of who occupies the urban realm, and what scope of action these spaces allow.
    In this light, the rooms of the gallery act as places where urban life is condensed. Five large free-standing objects, which oscillate between sculpture and architecture, form a kind of obstacle course that guides visitors through the first two rooms. Canopy-like structures at eye level are each mounted on top of three concrete pillars and poles. The artist assembled these canopies, which resemble the awnings in front of businesses and other buildings, out of geometric construction elements made of robust acrylic fabric and PVC. These public places invite us to stop and stay for a moment or two. They offer protection from the sun, shelter from the rain, or they provide a place to take a short break. Free from any spatial or functional context, Leimer’s capricious pseudo-canopy objects seem to stake a territorial claim in the gallery, while creating a social and architectural space at the same time. By interacting with the objects, visitors assume the role of promenaders who take up and occupy the space for a while. These Awnings, which is also the title of this group of installation-like works, thus delineate a gray area in which there is a push and pull between inside and outside, and between public and personal appropriation.

    Courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder. Photo: Markus Wörgötter

    Dominique Gonzalez-Foerster
    Exhibition

    Dominique Gonzalez-Foerster

    VOLCANIC EXCURSION (A VISION)

    2/07/20215/09/2021

    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    This is how it all started: “… woke up in the middle of the night and had a vision.
    we were close to a small volcano with a gentle lava flow, the vegetation was tropical,
    there were hummingbirds and llamas … my body was multiplied in several apparitions …
    surrounded by inspiring friends, humans and non-humans, from now and earlier times.
    it was a beautiful, joyful, almost operatic crowd, like a march, a protest, an excursion …
    thyphoeus from the beethoven frieze was also there and the three gorgons …” *

    For Dominique Gonzalez-Foerster, making art is a tentative and experimental process that becomes a kind of personal learning experience. Her practice emerged in the 1990s with a series of “chambres” and site-specific environments, but she soon branched out into other media; her oeuvre now also extends into fields adjacent to visual art such as architecture, design, and music.

    For her formally spare environments, she often combines literary references, influences from films, and quotations from other artists in rooms that are suffused with a peculiar mood. The qualities of a venue, be they architectural, historical, or emotional, are always an integral part of the composition. The result are subtly understated thematic and formal interconnections between the artist’s work and the exhibition site. Objects feature in subsidiary roles, as props that let her establish a particular atmosphere, rather than as ends in themselves and definitive creative output. Evolving narratives await discovery by the beholder who takes the time to pick up on the clues hidden in the fragmentary set pieces, photographs, singular interior arrangements, and personal details. Transporting the visitors to fictional scenarios from the past and future, her environments are the scenes of distinctive experiences in which yearnings, utopian wishes, fears, and dreams come to life.

    Dominique Gonzalez-Foerster, VOLCANIC EXCURSION (A VISION), 2021, detail, digital photo collage, 24 x 5 m, courtesy of the artist

    František Lesák
    Exhibition

    František Lesák

    Supposition and Reality

    2/07/20215/09/2021

    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    The conceptual draftsman and sculptor František Lesák’s work is dedicated to describing and understanding the world of objects and associated questions of perception. Creating systems of spatial reference, exploring alternating perspectives, surveying and mapping selected sceneries, and toying with shifts of scale are key elements of his creative toolset. Undertaking a kind of basic research, systematically planned cycles of works examine things and their relation to the real space around them as well as the space of media.

    At the Secession, Lesák shows several bodies of work, mostly dating from the past few years, that have not or only rarely been on public display. The presentation sheds light on the contemporaneity of his art and continuities in his oeuvre.

    In his new cycle Supposition and Reality (2020), from which the exhibition takes its title, Lesák probes the complex interplay between tactile and visual perception, but also scrutinizes drawing itself as a physical and mental practice that yields notations of reality.

    František Lesák, Hermes, 2012 (1 from 8-part series), pencil, paper, watercolor, 140 × 100 cm

    Karimah Ashadu
    Exhibition

    Karimah Ashadu

    Plateau

    2/07/20215/09/2021

    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    Karimah Ashadu’s practice examines conditions of living and working in the socioeconomic context of West Africa. The filmmaker and visual artist’s new film installation Plateau, which premieres at the Secession, follows undocumented workers mining for tin and columbite on the Jos Plateau in central Nigeria.

    The rugged landscape dotted with manmade craters and ponds has been mined for almost three thousand years. During the colonial era, tin mining expanded into an industry that had its heyday in the 1940s; after the expiration of the International Tin Agreement in 1985, the market collapsed and the mines closed, leaving the workers jobless. Unlike earlier generations of laborers, who were forced to seek employment and surrender the riches they extracted to the colonial masters, today’s miners are self-employed. Buoyed by hopes of striking it rich, they accept the hazardous working conditions and heavy physical labor, digging through their land a second time in search of the minerals.

    Without moralizing, Ashadu brings into focus the beauty in the everyday and people’s self-reliance and struggle for emancipation. The artist explains her vision for the work:

    “What Plateau has taught me is that, with all my films, I’m always looking for ways to consider labor as a kind of a practice towards independence. I’m really interested in industry and economy because it makes a country what it is and how people, through work, bring the country, its values and its ideas alive. And again, this ties into the notion of independence and how that plays out today. So not just independent as a country, but with regards to individual circumstances.”

    Karimah Ashadu, Plateau, 2021, film still, courtesy of the artist and Fondazione In Between Art Film

    Exhibition

    Ode to slowness

    8/07/202128/08/2021

    Künstlerhaus

    Karlsplatz 5, 1010 Wien

    N/A

    Exhibition

    Ho Rui An. The Ends of a Long Boom

    17/07/202110/10/2021

    Kunsthalle Wien Karlsplatz

    Treitlstraße 2, 1040 Wien

    "The Ends of a Long Boom" is the first solo exhibition of Singapore-based artist Ho Rui An in Europe. It comprises video installations from the artist’s most recent bodies of works, alongside new artworks created for this exhibition.

    A common thread in Ho Rui An’s essayistic practice is its analysis of the insidious pervasion of neoliberalism into all regions of the earth and all realms of life, from the political economy, to our social imaginary, and even to our sense of time. In "The Ends of a Long Boom", Ho further investigates the complex ramifications of late-capitalist ideology in the media and in cultural production. He especially traces the racialized and complex relations between the “East” and the “West”, as well as among East Asian nation-states, while emphasizing the persistence of imperialist legacies.

    Ho Rui An, Asia the Unmiraculous, 2018–2020, photo: Yasuhiro Tani, courtesy Yamaguchi Center for Arts and Media

    4/08/20214/08/2021

    20:30—22:10

    MuseumsQuartier Wien

    MuseumsQuartier Wien, MQ Libelle, Museumsplatz 1,
    1070 Wien

    The ninth international open-air architecture film festival presents prize-winning films and new discoveries on the subject of land-use in rural and urban spaces.

    The extinction of species. Flooding. Erosion. Land is becoming increasingly scarce and the call for a land policy for the future is growing louder. What might a careful approach to land and the soil look like for humans, fauna and flora? What about the consumption of water, land and forest? Who suffers the immediate consequences of this scarcity today and how can we counteract the longer-term impact?
    A selection of documentaries and short films presenting projects with potential for the future and critical stances, from numerous international submissions. The open-air festival is an opportunity for film and architecture enthusiasts to hang out and swap ideas.

    PROGRAMME
    Wed 04.08., 20:30 “Habitat: Forrest”

    HOPE, AT 2020
    00:38 min, no dialogue
    Dir: Franziska Ducklauß
    The Church Forests of Ethiopia, US/ET 2019
    09:22 min, OV with English subs
    Dir: Jeremy Seifert

    Die Rote Linie — Widerstand im Hambacher Forst, D 2020
    90:00 min, German OV
    Dir: Karin de Miguel Wessendorf

    © Foto: Pablo Leiva

    11/08/202111/08/2021

    20:30—21:15

    MuseumsQuartier Wien

    MuseumsQuartier Wien, MQ Libelle, Museumsplatz 1,
    1070 Wien

    The ninth international open-air architecture film festival presents prize-winning films and new discoveries on the subject of land-use in rural and urban spaces.

    The extinction of species. Flooding. Erosion. Land is becoming increasingly scarce and the call for a land policy for the future is growing louder. What might a careful approach to land and the soil look like for humans, fauna and flora? What about the consumption of water, land and forest? Who suffers the immediate consequences of this scarcity today and how can we counteract the longer-term impact?
    A selection of documentaries and short films presenting projects with potential for the future and critical stances, from numerous international submissions. The open-air festival is an opportunity for film and architecture enthusiasts to hang out and swap ideas.

    PROGRAMME

    Wed 11.08., 20:30 Rural Urbanities

    Sta(d/t)natur, AT 2020
    03:07 min, German OV
    Dir: Franziska Ducklauß, Nikola Jelaciv, Eva Kretzschmar, Erza Rexhepi, Peter Daniel Szvath, Sara Treccarichi Scavuzzo
    Sneak preview!

    Everything’s Coming Together While Everything’s Falling Apart: The ZAD, AT/DE 2017
    36:00 min, OV with English subs
    Dir: Oliver Ressler

    Circum Stance, BESETZEN, AT 2020
    04:46 min, no dialogue
    Dir: Mira Klug
    Rettet das Dorf, AT 2020
    76:00 min, German OV
    Dir: Teresa Distelberger

    © Foto: Pablo Leiva

    17/08/202117/08/2021

    20:30—22:30

    MuseumsQuartier Wien

    MuseumsQuartier Wien, MQ Libelle, Museumsplatz 1,
    1070 Wien

    The ninth international open-air architecture film festival presents prize-winning films and new discoveries on the subject of land-use in rural and urban spaces.

    The extinction of species. Flooding. Erosion. Land is becoming increasingly scarce and the call for a land policy for the future is growing louder. What might a careful approach to land and the soil look like for humans, fauna and flora? What about the consumption of water, land and forest? Who suffers the immediate consequences of this scarcity today and how can we counteract the longer-term impact?
    A selection of documentaries and short films presenting projects with potential for the future and critical stances, from numerous international submissions. The open-air festival is an opportunity for film and architecture enthusiasts to hang out and swap ideas.

    PROGRAMME

    Tue 17.08., 20:30 „Artificial Geologies“

    Wichtiger als Du denkst, AT 2020
    02:03 min, German OV
    Dir: Anastasiia Prokhodtseva
    The Stream, AT 2021
    09:09 min, German OV
    Dir: Diana Terenteva

    A 23, AT 2020
    06:05 min, no dialogue
    Dir: Markus Rupprecht, Laurenz Steixner
    Il Capo, IT 2010
    15:00 min, no dialogue
    Dir: Yuri Ancarani

    Kiruna — A Brand New World, CZE 2019
    87:00 min, Swedish OV with English subs
    Dir: Greta Stocklassa

    © Pablo Leiva

    25/08/202125/08/2021

    20:30—22:30

    MuseumsQuartier Wien

    MuseumsQuartier Wien, MQ Libelle, Museumsplatz 1,
    1070 Wien

    The ninth international open-air architecture film festival presents prize-winning films and new discoveries on the subject of land-use in rural and urban spaces.

    The extinction of species. Flooding. Erosion. Land is becoming increasingly scarce and the call for a land policy for the future is growing louder. What might a careful approach to land and the soil look like for humans, fauna and flora? What about the consumption of water, land and forest? Who suffers the immediate consequences of this scarcity today and how can we counteract the longer-term impact?
    A selection of documentaries and short films presenting projects with potential for the future and critical stances, from numerous international submissions. The open-air festival is an opportunity for film and architecture enthusiasts to hang out and swap ideas.

    PROGRAMME

    Wed 25.08., 20:30 „Water is Life“

    Freundschaft, AT 2020
    04:00 min, German OV
    Dir: Natalia Polstovalova
    Flint is Family, USA 2016
    11:49 min, English OV
    Dir: LaToya Ruby Frazier

    Scenes from a Dry City, USA/RSA 2018
    12:44 min, OV with English subs
    Dir: Simon Wood, François Verster

    When A Town Runs Dry, USA 2016
    08:00 min, English OV
    Dir: Joris Debeij

    The Seeds of Vandana Shiva, USA/AUS 2021
    82:00 min, OV with English subs
    Dir: Camilla Denton Becket, James Becket

    © Pablo Leiva

    Danh Vo
    Exhibition

    Danh Vo

    17/09/20217/11/2021

    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    “When you examine the present you must understand your past: the past that has identified your own present. I also believe you must look into the future. That’s definitely a philosophy of life that I live with and hopefully that shows in the work that I do.”
    (Danh Vo, untitled, exhibition booklet, South London Gallery, 2019)

    Danh Vo’s conceptual works and installations often build on personal experiences to address larger historical, social, and political concerns. Born in Vietnam and raised in Denmark, the artist is fascinated by the ways in which objects and histories become intertwined, serving as projections of national anxieties and personal identities. While the erotic and violent power plays of colonialism are a recurrent theme, so too are the sacred and profane dances of religion, and the manner in which administrative systems seek to shape (even curtail) personal intimacy and expression.

    Vo’s installations present a plethora of artistic strategies, including documents, photographs, found objects (of historic or emotional significance), textual fragments in the form of ornate calligraphies executed by his father, and sometimes works by other artists. As an artist, Vo encompasses multiple roles —curator, collector, historian, auction scout— allowing him to deftly play with objects and contexts. Grappling with artifacts that are fraught with symbolic or emotional meaning, the artist resets their signification from project to project.

    Studio Danh Vo Güldenhof, photo: Nick Ash

    Carlos Bunga
    Exhibition

    Carlos Bunga

    17/09/20217/11/2021

    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    Working with basic staples such as cardboard, masking tape, and wall paint, Carlos Bunga creates sculptures, objects, and monumental installations that attach themselves to the architecture of the site. His flexible handling of these versatile materials allows him to realize his ideas without assistants. As Bunga sees it, cardboard in particular is recommended by connotations such as impermanence, memory, and fragility.

    The dialogue with architecture, the interplay with the human body and its scale, and the function of the site—be it a chapel or a museum—are factors that inform the conception of his works. The artist’s own body is integral to the art: Bunga is interested in the process, in change—to his mind, there is no such thing as stasis.

    Bunga’s formal vocabulary is modular and repetitive and lets him respond to existing elements: he often mirrors and replicates characteristic architectural features such as pillars, grid floor patterns, or other formal particulars, creating a sort of echo that overlies the existing architecture. His interventions engender interferences and “disturbances,” disrupting the smooth functioning of buildings to direct our attention to things as they are in themselves. Grappling with the objects, he alters them and is changed in turn. His goal is to create a plane of consciousness that enables us to grasp the essence of things.

    Bunga began his career in painting, from which he literally stepped out into the third dimension: he shattered what he felt to be the cramped confines of the canvas by building pictorial objects from which he broke free in performative actions. Key sources of inspiration for these early works were the art of the Japanese Gutai Group, which sought to devise new forms of creative expression in the wake of the Second World War, and Gordon Matta-Clark, whose splitting buildings slated for demolition signaled a novel sculptural radicalism.

    Carlos Bunga, Kursaal Project, 2004, performance, Manifesta 5, Sala Kubo Kutxa, San Sebastián, photo: Alberto Martinena

    Rana Hamadeh
    Exhibition

    Rana Hamadeh

    17/09/20217/11/2021

    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    Rana Hamadeh undertakes artistic research in discursive projects that grow and evolve over several years and take manifest form in theatrical performances, sound compositions, interactive audiovisual installations, and system designs as well as pedagogical setups. In thematic terms, her work is dedicated to an ongoing scrutiny of the epistemologies and technologies of justice, examining tropes of violence that find their genealogies in both spectacular and mundane instances in history and contemporary culture.

    Since 2016, Hamadeh has been developing an “operatic practice,” experimenting with writing and composing and testing out models for collective thinking and study. Her works are rooted in interdisciplinary research and operate at the interfaces of various fields such as theater, theosophy, epidemiology, legal theory, translational practices, and technology. Constantly shifting and reframing the theoretical and aesthetic categories that she engages with, Hamadeh deliberately trespasses the logic of classificatory systems by pursuing the implications of different and even contradictory arguments and unfolding expansive webs of associations and constructs.

    Rana Hamadeh, The Destiny Project/The Soft Measure Fables, 2020-202X, video still

    Exhibition

    DISPOSSESSION

    23/09/202116/01/2022

    Künstlerhaus

    Karlsplatz 5, 1010 Wien

    n/a

    Künstlerhaus Archiv - Jahresausstellung 1910: Saal V.

    Exhibition

    n/a

    30/09/20213/11/2021

    Künstlerhaus

    Karlsplatz 5, 1010 Wien

    n/a

    Christiane Spatt/Johanna Tatzgern

    Exhibition

    Ines Doujak

    1/10/202116/01/2022

    Kunsthalle Wien Museumsquartier

    Museumsplatz 1, 1070 Wien

    Vienna-based artist Ines Doujak (b. 1959 in Klagenfurt) has developed a multidisciplinary practice that encompasses photography, performance, film, and installation. The artist uses political theory and natural and man-made objects to deconstruct the political implications of sexist and racist stereotypes. Her practice is characterized by meticulous research and draws on the traditions of carnival and masquerade, as well as other motifs from cultural history, to uncover exploitative structures and inequalities in society, often in relation to colonial histories.

    The exhibition looks into Doujak’s entire practice, which spans more than three decades, through establishing multiple lines of research that show the continuities, consistencies, and integrity of her feminist art practice. In her work we often encounter a margin and a center, and her research is “eccentric” in that word’s literal meaning: it is “offcenter” in its movement in both time and space.

    Ines Doujak, Ghostpopulation (under construction), 2021, courtesy the artist

    Exhibition

    solo exhibition by Roberta Lima at Charim Factory

    Curated by Felicitas Thun-Hohenstein

    15/10/202119/11/2021

    In my latest works I explore with self-sustainability and alternative sources of materials for producing and performing artworks. I looked in the intersection between nature and technology, folklore and feminism, to start a series of works that focus on transformation.

    With Bright (2021) I continue to investigate the potential of art in challenging and redefining structures by looking further into the dualistic role of technology in our lives. The corona crisis has caused many shifts and we have become more dependent on scientific knowledge than ever before. As humanity moves towards less restricted times, it is crucial to ask:

     How can we make use of technological advances to discover new forms of artistic production?

    Post-pandemic times have historically been followed by an urge for sociability, associated with brightness, celebration, and creativity. The contrast between dark and bright, destruction and transformation, will be visually created through multi-media installation spread along the space of Charim Factory. Showing images inspired by Nordic folklore and landscapes, such as midsummer, midnight sun, and bonfires, the works in the exhibition revolve around the element of fire.

    Roberta Lima

    Exhibition

    Ana Hoffner ex-Prvulovic* & Belinda Kazeem-Kamiński

    22/10/20216/03/2022

    Kunsthalle Wien Museumsquartier

    Museumsplatz 1, 1070 Wien

    Kunsthalle Wien dedicates to Vienna-based artists Ana Hoffner ex-Prvulovic* and Belinda Kazeem-Kamiński two solo shows, which will take place simultaneously in the upper hall of Kunsthalle Wien Museumsquartier. The exhibitions include existing works reimagined for the exhibition space as well as new works produced for the occasion.

    Ana Hoffner ex-Prvulovic* takes a close look at the fabrication of history, memory, and subjectivity – insisting on the psychological unconscious at work in these processes. Along which lines of domination and exclusion do these processes occur? Which stories and practices are swept away and erased? How might we disarm the misogynist and racist prejudices embedded in (Western) official histories and representations?

    Belinda Kazeem-Kamiński challenges the ways Black people’s history is represented and musealized, tackling the blindness that occurred (and still occurs) regarding the ongoing consequences of slavery and colonization. Intertwining critical theory and artistic practice, she invents methods and rituals for looking at and dealing with the traces of the oppressive colonial past that are inherent to archival material, attempting to give a voice to the overlooked and the repressed.

    Ana Hoffner ex-Prvulovic*, Still from Freud Film, Video Installation, 2019, courtesy the artist

    Exhibition

    Ornament is not a crime

    Nora Bachel

    3/11/202119/11/2021

    19:00—22:00

    sehsaal

    Zentagasse 38, 1050 Wien

    Nora Bachel's installations appear like search movements in space and time, like artistic explorations of a general phenomenon, i.e. not directly dependent on the current here and now, which have points of reference not only in terms of content but also in terms of form, namely recurring geometric figures.

    “The time, as the time of origin, an essential factor in artistic work. When concepts are developed, it becomes abstract, experienced in its volatility - it is not at all measurable how much lifetime and experience are the prerequisites for this process. Carrying out the work makes it possible to understand time, to recognize or design structures and rhythms "(Nora Bachel)

    Nora BAchel

    Talk

    Out of Control – Auto-Control?

    An intergenerational artisttalk with Margot Pilz (*1936) and Violetta Ehnsperg (*1991)

    12/11/202112/11/2021

    19:00—21:00

    Flux23 x ohne butter

    Wildpretmarkt 3, 1010 Wien

    ---

    Guided Tour

    MAYFLY. Functional Collages

    Dialogue Tour: designers Anton Defant and Benjamin Nagy with Marlies Wirth (MAK)

    16/11/202116/11/2021

    18:00—19:00

    MAK – Museum für angewandte Kunst

    Stubenring 5,
    1010 Wien

    MAYFLY
    Functional Collages

    Until 21.11.2021

    A dumpster is the no man’s land between functional objects and discarded material. Mayfly sculptures start their lifecycle in this vacuum.

    Without any prior planning, the object is defined solely by the elements available. It is built out of salvaged components, with avoiding radical modifications and limiting the use of tools. Only working with the resources on the spot, the designer becomes subordinate to the materials they use, reversing the traditional roles between them and letting go of control.

    In this mindset, the designer builds without the responsibilities of industrial practices, resulting in Mayfly sculptures. These makeshift collages embrace their new assigned functions in an additional lifecycle before finishing it in the dumpster where they came from.

    © Anton Defant

    Guided Tour

    TOKENS FOR CLIMATE CARE. An Installation by Process – Studio for Art and Design

    Special-Demo-Tour with Martin Grödl and Moritz Resl from Process – Studio for Art and Design

    16/11/202116/11/2021

    19:00—20:00

    MAK – Museum für angewandte Kunst

    Stubenring 5,
    1010 Wien

    TOKENS FOR CLIMATE CARE. An Installation by Process – Studio for Art and Design

    Until 21.11.2021

    The official Austrian contribution for the London Design Biennale 2021 was commissioned by the MAK and designed by Process – Studio for Art and Design. Now, the installation is on view in Vienna for the first time: Titled “Tokens for Climate Care”, the project focuses on the current and essential human task of climate care, nudged by the transformative power of design.

    The project uses AI-based technology to create new and original graphic symbols based on a comprehensive database of logos, symbols and glyphs. Preliminary "labelling" of the data by the team with key terms that cover a broad definition of climate care, including its social, political, environmental and economic aspects, enables the AI model to design new symbols based on their meaning.

    The new "Tokens for Climate Care" are presented in a spatial laser installation making the generated output data visible in real time. Visitors can take part in determining the meaning of the created symbols via their smartphones by selecting three terms from a list of labels that allow for endless combinations. The color of the laser installation will change accordingly.

    The generated symbols are accessible worldwide via tokensforclimate.care and can be used freely by and for climate caring initiatives and activism.

    © Process – Studio for Art and Design

    Guided Tour

    Club Architecture: Age of Crisis: Emergency or Permanent Condition?

    Talkshow

    17/11/202117/11/2021

    19:00—20:00

    Reservation required: anmeldung@azw.at

    Architekturzentrum Wien

    MuseumsQuartier, Museumsplatz 1, 1070 Wien

    Covid pandemic, housing crisis, climate catastrophe. They all upset our supposed normality. Nevertheless, we always hope that solutions will be found so that things can get back to normal as quickly as possible afterwards. But what if this "afterwards" and this "normal" do not exist at all? Architecture and building are at the intersection of these crises: Housing shortages and concrete gold, spatial distance and the division of public space, massive energy consumption and CO2 emissions. How are all these crises related? Are we in an age where the state of exception has become the normal state and will remain so? How do we deal with crises and how can we act instead of completely losing control? What are the views of climate researchers, philosophers and housing experts, what are the demands of the young generation, and what solutions can the ever-optimistic discipline of architecture offer? An interdisciplinary panel at Az W will discuss these questions on a broad social level.

    Guests:
    Maja Göpel, Secretary General of the German Advisory Council on Global Change, Berlin (inquired).
    Alexander Hagner, architect, gaupenraub +/-, Vienna
    Elke Krasny, co-curator of the Az W exhibition "Critical Care. Architecture for a Planet in Crisis", Vienna
    Katharina Rogenhofer, spokeswoman for the climate referendum and co-founder of fridays for future Austria, Vienna
    Karin Zauner-Lohnmeyer, spokesperson of the European Citizens' Initiative "Housing for All", Vienna (inquired)

    Moderation: Maik Novotny, architectural journalist
    Thanks to: das Möbel

    Talk

    GEGEN DIE OHNMACHT: WIR

    18/11/202118/11/2021

    19:00—20:00

    Sigmund Freud Museum

    Berggasse 19, 1090 Wien

    -

    feldstellen Forum Stadtpark © Lena Prehal

    Blue Elephant–Master Cheung & Aunt Hang, 2019
    Talk

    Artist Talk at mumok: Heike Eipeldauer and Huang-Po-Chih

    18/11/202118/11/2021

    17:00—18:00

    mumok – Museum moderner Kunst Stiftung Ludwig Wien

    Museumsplatz 1,
    1070 Wien

    Huang Po-Chih (* 1980 in Taoyuan) belongs to a generation of artists socialized in a period of democratic reform and rapid economic growth in Taiwan. His multidisciplinary practice, which encompasses various artistic media as well as literature, agricultural economics, textile manufacturing, and social entrepreneurship, reflects Taiwan’s identity discourse as it has changed in recent decades: from an inward-looking narrative defined by the Japanese occupation, its role in the Cold War, and its claim to sovereignty from the People’s Republic of China to a transnational vision that takes into account local, East Asian, and global perspectives equally.

    In conversation with mumok curator Heike Eipeldauer, the artist will discuss Taiwan’s many challenges and its complex role in the global structure from an artistic point of view.

    Huang Po-Chih Blue Elephant–Master Cheung & Aunt Hang, 2019 Photography 140x160cm © Huang Po-Chih

    Strom, Performance © Iris Blauensteiner und Rojin Sharafi
    Talk

    Iris Blauensteiner and Rojin Sharafi: Strom

    18/11/202118/11/2021

    19:00—21:00

    anmeldung@kunstraum.net

    Kunstraum Niederoesterreich

    Herrengasse 13,
    1010 Wien

    In the collaboratively developed performance setting “Strom”, Iris Blauensteiner and Rojin Sharafi research a dynamic interplay of human and technical actors. Based on the narration of an evolving literary text, voice is combined, connected and recoded with electronic music, textures and programmed sound components. In a choreography of text, movement, stillness and minimal gestures, the performers interact via sound. Interdisciplinary interlaced, reciprocal technical-human-physical-abstract-narrative processes emerge. A force field spans between the abstract sound and its embodiment. Viewers are invited to be part of the uncanny utopian atmosphere of the live performance "Strom" in the physical exhibition space.

    The performance will take place as part of the exhibition "Wake Words"

    © Iris Blauensteiner and Rojin Sharafi

    Guided Tour

    Studio Visits in the studios urbanek and feld72

    Excursion

    19/11/202119/11/2021

    15:00—18:00

    Reservation required: anmeldung@azw.at

    Architekturzentrum Wien

    MuseumsQuartier, Museumsplatz 1, 1070 Wien

    atharina Urbanek / studio urbanek and Michael Obrist / feld72 will be the interlocutors of the Az W for the dialogue tours of the exhibition "Tatiana Bilbao Estudio". As part of the Vienna Art Week, they will open the doors of their offices for the Architekturzentrum and provide insight into their working methods.

    Both offices have in common their cross-disciplinary work, their focus on research, on the question of housing and on the - social - conditions on site. "... Thinking the small in the big - and the big in the small." (Katharina Urbanek)
    What connects them as well is the office address. Schottenfeldgasse 72, an early reinforced concrete building, attracts numerous innovative architectural offices with its impressive spatial structures. Feld72 expanded its premises into a 1970s building in Josefstadt due to office growth.

    Studios: studio urbanek and feld72
    With: Katharina Urbanek and Michael Obrist
    Moderation: Maria Welzig, Az W

    feld72 © Hertha Hurnaus

    Nairy Baghramian
    Exhibition

    Nairy Baghramian

    20/11/202123/01/2022

    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    In art that typically takes the human body as its point of departure, Nairy Baghramian grapples with the fundamental questions of plastic art, although her sculptures and installations propose a pointed antithesis to the traditional conception of the genre. Her formal idiom, choice of materials, and approach have as much in common with post-minimalism as with conceptual art; the artist harnesses the potential of abstraction to address complex sets of questions and frame a suitable response in terms of aesthetic form, forging what Baghramian herself has described as “ambivalent abstraction.” Her works interrogate political and social power structures, weaving together themes in art history and literature as well as references to fashion, architecture, and interior design.

    Her sculptural creations for interior as well as exterior settings often consist of multiple elements and disparate materials such as aluminum, glass, pigmented wax, marble, porcelain, styrofoam, epoxy resin, and paint. Organic shapes that are densely packed or imbricated, that buttress, support, or lean on one another subtly yet unmistakably evince their mutual dependence. Props and clamps that hold the various elements together further underscore the objects’ “frailty,” reflecting the artist’s determination to reveal rather than try to conceal supposed flaws or defects. “My sculptures are supposed to help articulate the doubt concerning their viability.” This stance lays her works open to challenge and assault, while the auxiliary constructions also suggest their conceptual temporariness and alterability.

    Nairy Baghramian, Privileged Points, 2017, Installation view Minneapolis Sculpture Garden & Wurtele Upper Garden, photo: Timo Ohler

    Sarah Rapson
    Exhibition

    Sarah Rapson

    20/11/202123/01/2022

    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    For a forthcoming exhibition in the basement galleries of the Vienna Secession the works of art will have mainly originated somewhere in between the houses of Sigmund Freud and John Keats in London. Recently described as practicing a form of ‘Romantic Conceptualism’, Rapson was born and raised in north London during the 1960s and 1970s and moved to New York in the 1980s, returning decades later to England where she has continued to edit her material.

    Sarah Rapson, Love is everywhere (Stuart), 2004

    Nora Turato
    Exhibition

    Nora Turato

    20/11/202123/01/2022

    Vereinigung bildender KünstlerInnen Wiener Secession

    Friedrichstraße 12, 1010 Wien

    Nora Turato contends with the porosity of language in contemporary media landscapes with sonorous, spoken-word performances and typographical works composed of found textual materials. Language from books, advertising, social media, and everyday exchanges is appropriated and poured into performance scripts and visual work that ranges from wall murals and videos to artist’s books and posters.

    Her performances are delivered with a sense of urgency that appears impulsive and unplanned, which belies the labor-intensive process of research and rehearsal that goes into each piece. Currently she produces two performances of approximately twenty minutes per year, which allows her to stay on track with evolving trends, tropes, and linguistic devices that permeate media, and speak to cultural and political issues of the moment. Her vocal range is broad and pliable, and she uses it to vary her tone in pitch and intonation, harnessing different levels of intensity and emotionality with great theatrical effect.

    Strongly informed by her background in graphic design, Turato’s visual artworks are distinctive and characterized by bold, typographic imagery that echo the messaging of her spoken-word performances and the graphic language of contemporary ad slogans. In this spirit she can scale her work from small but hefty artist’s books to billboard-size murals without losing any artistry or nuance.

    While her work can be dissected and interpreted under many different lenses for its adroit cultural commentary, Turato’s stage presence—as a woman whose behavior is unpredictable—and her voice—which thunders and bellows and squeals—often cause the greatest critical response. This illustrates one point very well: despite all illusions, the freedom of women’s speech is still a point of sharp contention even in allegedly progressive societies.

    Nora Turato, photo: Sabina Bösch, Zürich, Courtesy: the artist & Galerie Gregor Staiger, Zürich

    Exhibition

    JOSEF HOFFMANN

    Progress Through Beauty

    15/12/202119/06/2022

    10:00—18:00

    MAK – Museum für angewandte Kunst

    Stubenring 5,
    1010 Wien

    On the occasion of his 150th birthday, the exhibition JOSEF HOFFMANN: Progress Through Beauty comprehensively documents for the first time the entire oeuvre of the architect, designer, teacher, and exhibition organizer Josef Hoffmann (1870–1956), one of the luminaries of Viennese Modernism and the international life reform movement. With his indefatigable design work and teaching, Hoffmann cultivated an exemplary model of modern lifestyles based on a construction and product culture that was both shaped by craft and artistically ambitious. The show presents a cross section of Hoffmann’s revolutionary design and his most important buildings, including the Stoclet House in Brussels (1905–1911) and the Purkersdorf Sanatorium (1904–1905).

    In cooperation with the University of Applied Arts Vienna.

    © MAK

    Exhibition

    n/a

    16/12/202116/01/2022

    Künstlerhaus

    Karlsplatz 5, 1010 Wien

    n/a

    Eva Grün: Foto von Max Berner "Nix genaues nicht", 2012