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Weltmuseum Wien

Heldenplatz, 1010 Wien

An exhibition as part of the project TAKING CARE

In light of the ongoing climate crisis and its impact on biodiversity, questions and fears of endangerment and loss are at the centre of public discourse. A sixth major extinction event is expected in the course of the Anthropocene. The Anthropocene is the age in which humans become the most important factor influencing the biological, geological and atmospheric processes of the Earth.


In collaboration with partners from Latin America in particular, this exhibition questions common narratives of extinction and retells them from other perspectives.

The collections of the Weltmuseum Wien contain objects that can be used to tell stories about the extinction of human cultures, but which also talk about their resilience and survival.

Zemi belt, Taino, Greater Antilles, 1520–1560, snail shells, teeth, cotton, obsidian, brass, glass mirror, Ambras Collection, Weltmuseum Wien © KHM-Mu

Maximilian Prüfer: Fruits of Labour


Weltmuseum Wien

Heldenplatz, 1010 Wien

The exhibition is dedicated to the conceptual artist Maximilian Prüfer (*1986). While raising questions about the role of nature in and as art, his artwork focuses on ecological, political, and sociocultural issues. The exhibition addresses two campaigns initiated by Mao Zedong (1893–1976) – the Four Pests Campaign of 1958 and Mao’s Gifts of 1968 – and discusses their effects in China. At the same time, it examines which questions the campaigns gave rise to in Austria, Europe, and around the world.

Honey Pictures (series), Maximilian Prüfer, Photo print on Baryta, 2022 © Maximilian Prüfer

GERTIE FRÖHLICH: (In)Visible Pioneer


MAK – Museum für angewandte Kunst

Stubenring 5, 1010 Wien

The artist Gertie Fröhlich (1930–2020) was in the background and yet still the focal point of the activities of the Viennese avantgarde.


While studying at the Academy of Fine Arts, she made contact with young artists of all disciplines, became the “moving spirit” of the Galerie nächst St. Stephan [Gallery near St. Stephan’s  Cathedral], and her apartment at Sonnenfelsgasse 11 was soon a meeting place for creative people such as Wolfgang Hollegha, Martha Jungwirth, Peter Kubelka, Markus Prachensky, Arnulf Rainer, and Gerhard Rühm. In 1964 she gave the Austrian Film Museum its distinctive corporate design, the Zyphius. In 1987 she took part in André Heller’s Luna Luna project with a gingerbread booth. The MAK presents Gertie Fröhlich as a “Gesamtkunstwerk” [a total work of art]: artist, craftswoman, Eat-Art activist, graphic designer, and influential networker of Viennese post-war modernism.


During the exhibition the film WHAT’S HAPPENING? Art in the Life of Gertie Fröhlich, a film by Marieli Fröhlich 2023, will be shown.

(c) Foto: Estate Gertie Fröhlich; Grafik: Stefan Fuhrer

Renate Bertlmann: Fragile Obsessions


Belvedere 21 – Museum für zeitgenössische Kunst

Arsenalstraße 1, 1030 Wien

Renate Bertlmann is one of the main protagonists of the Austrian feminist avant-garde. In recent years she has gained international attention, especially through her solo presentation at the Austrian Pavilion at the 58th Venice Biennale 2019. On the occasion of her 80th birthday, the Belvedere honors her oeuvre with a first comprehensive retrospective.


Bertlmann’s radical, ironically provocative works subvert social attributions and stereotypes of gender, femininity, and masculinity, thus addressing the female body as a battlefield as well as the ambivalences of pleasure and pain, desire and discipline, tenderness and vulnerability. The artist draws both from conceptual and pop-cultural aesthetics, appropriates pornography and kitsch from an altered perspective, and references literature, film, medicine, religion, and spirituality. Her work is characterized by her interest in experimenting with a wide range of media and materials, such as conceptual photographs, drawings, paintings, collages, sculptures made of latex and Plexiglas, performances, and large-scale installations.


The retrospective at Belvedere 21 includes some two hundred exhibits, ranging from the late 1960s to her recent artistic production, including iconic works from the 1970s, pivotal sculptures and installations, performative photographs, and drawings, as well as numerous works that will be on view for the first time. The exhibition is accompanied by an  extensive publication.


Curated by Luisa Ziaja.
Assistant Curator: Andrea Kopranovic

(c) Renate Bertlmann / Bildrecht Wien 2023

Denise Ferreira da Silva & Arjuna Neuman: Ancestral Clouds Ancestral Claims


Kunsthalle Wien Karlsplatz

Treitlstraße 2, 1040 Wien

Ancestral Clouds Ancestral Claims is Arjuna Neuman and Denise Ferreira da Silva’s first solo exhibition in Austria. It is centered around the presentation of a new work, coproduced by Kunsthalle Wien. The eponymous film is the latest part of a series called Elemental Cinema; each film in this series is dedicated to one of the four elements. In it, the artists have developed an approach that takes matter, material, and the elemental as its starting point – aspects which continue to be neglected and suppressed by the globally dominant order of thinking and being.


Ferreira da Silva and Neuman’s works undermine patterns of thinking about and relating to the Earth that have been shaped by European colonial modernity. They show that categories and distinctions that seem self-evident to us underlie a profoundly unequal, racist world. Ancestral Clouds Ancestral Claims turns the spotlight on the persistence, though in altered form, of this modern relation to the Earth in the history of neoliberalism and one of its defining early episodes: Chile under the Pinochet regime.

Denise Ferreira da Silva & Arjuna Neuman, Ancestral Clouds Ancestral Claims, 2023, Filmstill, Courtesy the artists



Leopold Museum

Museumsplatz 1, 1070 Wien

Max Oppenheimer was an Expressionist pioneer. Born in 1885 in Vienna, he first studied at the Vienna Academy of Fine Arts and later at the Art Academy in Prague. He participated in the legendary exhibitions Kunstschau Wien 1908 and Internationale Kunstschau Wien 1909 where he became acquainted with numerous progressive artists of that time, among them Oskar Kokoschka (1886–1980), Egon Schiele (1890–1918) and Albert Paris Gütersloh (1887–1973). Egon Schiele, who was five years his junior, actively sought out the company of Oppenheimer from 1909. Their ensuing friendship lasted many years and manifested in a period of them working together in Schiele’s studio (in the winter of 1910/11) and in the reciprocal appreciation of their respective works. During this time, the two artists portrayed each other several times. While Oppenheimer and Kokoschka also started out as friends, increasing rivalries between the two protagonists of the Austrian avant-garde escalated into a veritable feud. Kokoschka accused Oppenheimer of plagiarism, and turned to his international network to spread his message and discredit Oppenheimer’s oeuvre.


When German troops invaded Austria in 1938, the artist was forced to flee and emigrate via Switzerland to the US, where he died lonely and penniless in 1954.


With this long-overdue, large-scale exhibition, the Leopold Museum intends to shed new light on the eminent and ground-breaking oeuvre of Max Oppenheimer, which has unjustly fallen into oblivion, and to explore the wealth of his works’ motifs. Furthermore, the presentation looks at the role of the artist and his networks through his contemporaries Oskar Kokoschka and Egon Schiele.

©Leopold Museum

Being Mortal


Dom Museum Wien

Stephansplatz 6, 1010 Wien

The exhibition deals with the most inevitable part of every existence. Juxtaposing works of art that span a cultural-historical arc from the Middle Ages to the present, “Being Mortal” traces the deep meaning of death in individual as well as collective and socio-political contexts. The show focuses on intimate, personal approaches as well as the public, political role of dying and the process of facing death.


The extensive graphic works from the legendary Otto Mauer Collection that are also on display, present an opportunity for exciting insights into the collecting activities of this key figure of the Austrian art scene of the postwar period.


Curator: Johanna Schwanberg

Co-Curator: Klaus Speidel

Curatorial Assistant: Anke Wiedmann

Günter Brus, Young Death (Detail), 2020. Courtesy of the artist © Günter Brus, Photo: L. Deinhardstein



MAK – Museum für angewandte Kunst

Stubenring 5, 1010 Wien

Titled “edging,” Hong Kong-based artist Wong Ping is presenting his first solo exhibition in Austria at the MAK. The exhibition features four animated films in a spatial setting created especially for the occasion.


Wong’s animations stage absurd and often salacious narratives that explore themes of intimacy, isolation, societal pressures, and political tension. Camouflaged by the characteristic cuteness of his flat, colorful animations, the short films offer a mix of witty and disturbing insights, thereby reflecting the complexity of society in the 21st century.


The artist weaves together personal and fictional stories, using sexual desire and suppressed fantasies as metaphors for larger societal problems. His works delve into the abysses of human behavior and focus on social differences, political ideologies, and individual freedom in a humorously cynical way.


Marlies Wirth, Curator, Digital Culture and MAK Design Collection

©Wong Ping

Katharina Grosse: Why Three Tones Do Not Form a Triangle



Albertinaplatz 1, 1010 Wien

Katharina Grosse is among the present day’s most important female artists. Her painted works captivate viewers with their power and chromatic intensity. Like the proverbial “savage mind,” Grosse is experimental and unpredictable in her thinking. Expansion and continual transgression, freedom and autonomy represent the main pillars of this oeuvre.


The artist, who lives and works in Berlin and in New Zealand, frequently goes beyond classic canvas formats: her paintings, assemblages, and installations in their respective spaces emphasize and characterize said spaces, drawing on their respective genii loci. Katharina Grosse’s vibrating fields of color extend across entire architectures, objects, and large spaces in the public realm. Surfaces are folded and protrude into the third dimension, with the artist making liberal use of a compressor-driven airbrush in order to accomplish fine chromatic mists, hard transitions, and subtly shifting hues. Light and shadow serve to amplify her images.


For the painterly realization of the designs that Grosse is developing for the ALBERTINA Museum’s Columned Hall, an important feature is her transcendence of the “white cube” along with her approach to addressing architectural history by way of expanded painting. In this way, the artist is creating walk-in images for the Columned Hall, as well, images that will spread out over the walls, the ceiling, the floor, and into the space itself, allowing an immediate experience of art. By breaking with the classic museum gallery, Grosse seeks both to create surfaces of aesthetic friction and to shake up accustomed ways of seeing. The public will experience a pulsating, three-dimensional pictorial world that involves the walls, the ceiling, and the floor. In the ALBERTINA Museum, as in other cases, the new artwork will be created onsite in the Columned Hall and hence be visible and perceptible— not to mention walkable—for this exhibition only.

© Katharina Grosse / Bildrecht, Wien 2023 Foto © Sandro E. E. Zanzinger Photographie 2023

Frederick Kiesler. MAGIC ARCHITECTURE | HABITAT. Kerstin Stoll


Österreichische Friedrich und Lillian Kiesler-Privatstiftung

Mariahilfer Straße 1b/1, 1060 Wien

This exhibition features a dialog between two artistic positions that are dedicated to cross-disciplinary research and thinking and creative experimentation at the interface between architecture, design, art, biology, and natural and cultural history.


In his unpublished book project Magic Architecture, the artist-architect Frederick Kiesler (1890-1965) traced a history of human habitation through the ages, from prehistory to the nuclear era. In doing so, he also established a connection between the building techniques of humans and animals, on the basis of which he developed his understanding of “magic architecture [as] an architecture for everyone” that mediates between dream and reality and addresses the pressing problems of human existence after a period of global destruction.


In her artistic and research work, Berlin-based Kerstin Stoll investigates the construction and the materials of structures built by animals as well as the use of natural materials in traditional forms built by humans. Stoll’s series of works Habitat updates Kiesler’s historical book project. By taking the mud nests of the potter wasp, the woven nests of the weaverbird, and mounds constructed by termites, and by transforming these with the help of 3D-scanners and porcelain printers, she questions the potential political meanings of such structures in today’s world against the background of its evolving ecosystem, stagnating biodiversity, and disappearing species.

Herbert Boeckl – Oskar Kokoschka. A Rivalry


Albertina modern

Karlsplatz 5, 1010 Wien

The exhibition shows two of the most important Austrian Expressionist artists. More than 100 outstanding works on paper are presented, a selection from the rich holdings of the Albertina.


Nevertheless, it is primarily thanks to these two artists that Expressionism is regarded as the defining art movement of the 20th century in Austria. In 1934, Kokoschka left for Prague for political and economic reasons, and fled to London in 1938. His work was defamed as “degenerate” and he responded with extremely political works. Boeckl remained in Austria, not least because of his large family, and tried to continue his work as best he could. After 1945, he became the most influential teacher in Austria.


Drawing plays a major role in the oeuvre of both artists. The exhibition shows works from various phases, ranging from early nude drawings and portraits by both artists to Boeckl’s Anatomical Sketchbook and Expressionist landscapes, still lifes and drawings from the interwar period, Kokoschka’s colored pencil drawings and flower watercolors from his late creative period in Switzerland and Boeckl’s late landscape watercolors.

© Herbert-Boeckl-Nachlass, Vienna

Nedko Solakov: A Cornered Solo Show #3


Oberes Belvedere

Prinz Eugen-Straße 27

Bulgarian artist Nedko Solakov’s artistic intervention, A Cornered Solo Show #3, will not be on view in the prestigious galleries of the Upper Belvedere; instead, it can be found in an inconspicuous corner of the museum’s coatroom. In this transitional space between arrival and departure, Solakov engages visitors with the themes of his art and wittily involves them in an inner dialogue with his artistic conscience. He writes of his intentions:


“I would love to do a huge solo show in one of the gorgeous halls of the Belvedere’s magnificent building. And in case this happens and I get invited someday, why not figure out in advance what this show would be? The audience of this extremely well-visited museum is hard to please. How should I prepare myself? “Go to that corner, you 65-year-old dreamer, and until you have a really clear idea of what this solo show of yours will look like, you must stay there, cornered!” said my artistic conscience in the shape of an old friend (and prominent curator) Charles Esche (there was another female possibility for my conscience to be embodied, but they happened to be just starting an almost-the-super-highest-level job at a top art institution and after they excused themselves, Charles was a bit of a last resort, being another old, white – if quite friendly – man). And then, so as to be very spontaneous and artsy-fartsy in front of my conscience/Charles, I decided to fix my thoughts and worries and questions and answers on these very spontaneously done cut-outs of primed canvas, which has stayed rolled up in the corner of my studio for a decade. Here it is, sort of a dialog between me and my conscience. This is not the first time I’ve argued with it and, frankly, as a rule, it always wins. Let’s see what will happen now.“

Installation view "Nedko Solakov. A Cornered Solo Show #3 (with Charles Esche as my artistic conscience)" Photo: Johannes Stoll / Belvedere, Vienna

Darker, Lighter, Puffy, Flat


Kunsthalle Wien Museumsquartier

Museumsplatz 1, 1070 Wien

Curator: Laura Amann


Assistant Curator: Hannah Marynissen


Artists: Nina Beier • Lucia Dovičáková • VALIE EXPORT • Elisa Giardina Papa • Andrea Éva Györi • Trulee Hall • Monia Ben Hamouda • Šejla Kamerić & Aleksandra Vajd • Maria Lassnig • Claudia Lomoschitz • Tala Madani • Sarah Margnetti • Radha May • Marlie Mul • OMARA Mara Oláh • Abdul Sharif Oluwafemi Baruwa • Laure Prouvost • Christina Ramberg • Adam Rzepecki • Toni Schmale • Maja Smrekar • Mariya Vasilyeva • Dorottya Vékony • Marianne Vlaschits • Rafał Zajko • …


The group exhibition Darker, Lighter, Puffy, Flat will feature works, including several new commissions, by international artists who reflect on the manifold meanings of breasts, not only in art history but in society and culture at large. The works inhabit a space of tensions created by the many contradictory – sometimes hypocritical – but also sensual and playful views on breasts.


Breasts – especially women’s – are in many ways omnipresent in our lives, in advertisements, movies, and casual references in all kinds of conversations. Nevertheless, the breast as well as the nipple continue to be objects of panic and censorship in the public and online domains. Their shape also suffers regular scrutiny, be it as a sexual fetish or ever-changing beauty standard. In many cases, breasts are a contradictory symbol of both virginal motherhood and of cheap erotica. Science also has a lot to say about the constitution and qualities of breasts, as can be seen in “breast physics” for video games or the possible changes effected in a child’s genetic material by breastfeeding. At times, breasts even provoke controversy in their absence, as in the brutal fate of St. Agatha or in heated discussions on top surgery in queer discourses. The list is endless, much like the various depictions of breasts themselves, making the breast a topic that is as sensually captivating as it is intellectually engaging.


Project supported by the Italian Council (2023), Directorate-General for Contemporary Creativity, Italian Ministry of Culture

Monia Ben Hamouda, Gymnasium, 2020, courtesy the artist and ChertLüdde, Berlin


Charlie Prodger: The Offering Formula


Vereinigung bildender KünstlerInnen Wiener Secession

Friedrichstraße 12, 1010 Wien

Charlie Prodger (b.1974) is a Scottish artist working with moving image, photography, sculpture and drawing. She won the 2018 Turner Prize and represented Scotland at the 2019 Venice Biennale. She is currently a 2023–24 Fellow at the Radcliffe Institute for Advanced Study, Harvard University.


Broadly, Prodger’s work orbits histories – from the weight of deep geological time to more contingent forms of narrative such as anecdote and oral history. Through the prism of queer subjectivity, her work explores intertwined relations between the body, landscape, language, technology and time.


The Offering Formula includes two rooms of photographs, sculptural wall-based works, and a new series of meticulously rendered drawings. These still lives continue Prodger’s interest in geology in relation to time and identity, taxonomy, versions, mises-en-abymes, and the erotics of fragmentation. Having worked with reproductive technologies for over thirty years, Prodger has inherently moved through many discontinued formats, and the migration of data from one format to another has inherently become part of her formal language. She is fascinated by processes of conservation and preservation, whereby materials and time, permanence and entropy, are held in perpetual balance.


In the third room, Prodger exhibits in its entirety for the first time her film trilogy Stoneymollan Trail (2015), BRIDGIT (2016), and SaF05 (2019), in which she seeks to counter linear history and its imperative of progress by producing a matrix of contingent, transhistorical queer relations. This autobiographical cycle traces the accumulation of affinities, desires and losses that form a self as it moves forward in time.


Coinciding with the exhibition, Secession is publishing a book in which London-based associate professor of literature and visual culture Sarah Hayden offers a detailed analysis of the significance of the voice in Prodger’s videos.

Screening times of the films in the exhibition

Stoneymollan Trail, 2015 (43’) | BRIDGIT, 2016 (33’) | SaF05, 2019 (39’)


10.30 Stoneymollan Trail


11.55 SaF05


12.40 Stoneymollan Trail


14.05 SaF05


14.50 Stoneymollan Trail


16.15 SaF05


17.00 Stoneymollan Trail

Charlie Prodger, SaF05, 2019, video still, 39 min., Courtesy the artist, Hollybush Gardens, London and Kendall Koppe, Glasgow, © Charlie Prodger


HARD/SOFT: Textiles and Ceramics in Contemporary Art


MAK – Museum für angewandte Kunst

Stubenring 5, 1010 Wien

While textiles are associated with warmth and flexibility, ceramics formed from soft clay radiate a cool fragility. Yet both media bring to life an aesthetic language that shifts between hard, soft, unwieldy, and flowing. The materials, shapes, and significance of the selected works reveal a broad spectrum of ambiguity, vagueness, and simultaneity.

The exhibition showcases the work of around 40 artists from Austria and all over the globe, whose artistic practice draws on craft techniques such as embroidery, knotting, and weaving, as well as sculpting, wedging, and firing. The sculptures, installations, and painted works, which also include embroidered images, patchworks, and tapestries, show a vast range of artistic and interdisciplinary approaches that combine visual and applied arts, architecture, music, and digital space. These pieces offer an insight into production methods, ateliers, and workshops, as well as cross-disciplinary collaboration. Here textiles and ceramics hold cultural significance for communities; they have become intertwined with economic and political systems. Alongside the materials’ characteristic features, the exhibition considers feminist ideas, explorations of the body, questions of cultural appropriation as well as gender stereotyping.

(c)Useful Art Services




Domgasse 6 – Galerie nächst St. Stephan Rosemarie Schwarzwälder

Domgasse 6, 1010 Wien

The opening sequence of Ingmar Bergman’s film Fanny och Alexander from the year 1982 shows the young protagonist, Alexander, engrossed in play. In the candle-lit scene he is cautiously – as if in a stage-performance – shifting figures around in his toy theatre, creating a variety of perspectives and relationships. The shooting script of this film is displayed in Konstanze Stoiber’s exhibition There Have To Be Bells and refers to a similar spatial situation that the artist creates with her presentation at Domgasse 6. In this historic space characterized by its Baroque architecture, she has carefully positioned recent works together with loans from St. Stephen’s Cathedral as if they were stage props. In their arrangement and inter-relationships they capture and prompt reflections on Christian themes that have undergone fundamental changes in the course of temporal and societal transformations. As in Fanny och Alexander we encounter anachronistic religious customs and collective habits, which Konstanze Stoiber links with the history of the gallery and that of the neighboring Viennese Cathedral of St. Stephen.

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


Group show: STAY MOVING


Galerie nächst St. Stephan Rosemarie Schwarzwälder

Grünangergasse 1, 1010 Wien

Group show with works by:


Herbert Brandl
Michał Budny
Helmut Federle
Sheila Hicks
Imi Knoebel
Sonia Leimer
Isa Melsheimer
Adrian Schiess

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


Splendor & coinage: The emperors and their court artists



Maria-Theresien-Platz, 1010 Wien

The exhibition focuses on the medal as an art object. The Kunstkammer and the Coin Cabinet provide the setting for this. Medals are above all collector’s items. They convey political messages or serve as awards for special achievements. Medals also commemorate a person or a special occasion, such as a marriage or an accession to the throne.


Medals were also produced at the courts of the Habsburg family over the centuries. The exhibition shows portraits of important family members from 1500 to the end of the monarchy in 1918 and takes visitors to the courts in Madrid, Prague, Vienna and Innsbruck. Many medallists were active there. Employment as a court artist brings many advantages and a high reputation. It is therefore highly coveted.


70 medals from 400 years are juxtaposed with works of sculpture and painting. The Prunk & Prägung exhibition follows artists who often work in several art forms. They produce medals, but are also architects, painters, sculptors or goldsmiths. The exhibition shows medals together with other works by the same artists. Their working methods changed over the centuries: In the Renaissance and Baroque periods, artists produced sculptures, paintings and similar works in addition to medals. In later times, they specialized entirely in medals.

Im Vordergrund Büste Kaiser Karls V. von Leone Leoni, um 1555 (Kunsthistorisches Museum Wien, Kunstkammer); im Hintergrund Rückseite einer Medaille au




STRABAG Kunstforum

Donau-City-Straße 9, 1220 Wien

A sky full of dreams, a dazzling painting space filled with the lively lightness of clouds, straight from the comic universe – this is Grzegorz Siembida’s current world of painting.

The works from his “Storyteller” series are canvases whose image sequences – mainly arranged in “rectangles” and clouds – refer to the nature of comic stories. Siembida uses their structure to vitalise the narrative forms through the articulation of different visual languages. The process of using speech bubbles, familiar from comics, is a form of creativity in which Siembida combines expressive gestural abstraction with a narrative element. His comic paintings are broken down into formal components: In each sequence a different painting problem is accentuated, and so in one of the marked areas there is a clean splatter mark with circular hand movements, in another a watercolour underpainting conceals a dense drawing. But there are also splatter marks reminiscent of hasty scribbles, typical of street art. In another cloud, the colours are lined up as if on a painting palette, on which the right colour is being sought.

Grzegorz Siembida’s subject is painting as an experiment in itself. Although unspoken, his usual ruminations on a capitalist structure are conveyed through an excursion of forms across art history. In abstraction paired with an inventive and humorous vigour of comic aesthetics, he produces a striking artistic language. His works move and encourage us to think about the limits of art and the possibilities of spontaneous expression.
Goschka Gawlik

Grzegorz Siembida, Gra w klasy, 2023, Photo: Szymon Sokołowski




Künstlerhaus Vereinigung

Karlsplatz 5, 1010 Wien

“As soon as women discover their history and recognize their position in the past and the development of humanity, their consciousness changes dramatically. This experience allows them to cross boundaries and realize what they have in common with other women and have always had in common. This changes their self-awareness as well as their world view.”


The feminist historian Gerda Lerner formulated these sentences a quarter of a century ago.* A lot has happened in research since then, as the humanities and historical research have long been working on the merits of female artists, writers, musicians, choreographers, directors – in general: creative women. As a result, female artistic creation of earlier generations has become more visible – as have the obstacles that were once placed in the way of female artists to a much greater extent than today. In the 21st century, female artists of younger and middle generations no longer lack role models.


How do they reflect female creativity today? How do they inscribe themselves in a genealogy of female artists with their own artistic work? What is their view of those who have long been ignored, forgotten or even actively banished from the narrative by historiography? How do they relate to their ancestors and pioneers, to those who were active in the visual arts, but also in other artistic fields? The exhibition ON THE SHOULDERS OF GIANTS aims to shed light on questions such as these.


Katharina Aigner, Judith Augustinovič & Valerie Habsburg, Anahita Asadifar, Bettina Beranek, Carola Dertnig, Karin Fisslthaler, Anna Meyer, Christiana Perschon, Anna Reisenbichler, Isa Rosenberger, Constanze Ruhm, Stefanie Seibold, Huda Takriti, Viktoria Tremmel

(c)Bettina Beranek / Bildrecht




Architekturzentrum Wien

Museumsplatz 1 im MuseumsQuartier (Eingang Volkstheater), 1070 Wien

Ever more people are travelling more frequently, further and for shorter. What is the impact of our holiday dreams on the built environment, the social fabric and climate change? And how can we envisage a kind of tourism that does not destroy what it lives from?


Tourism has been growing in intensity for decades, and become an integral part of our Western lifestyle. It has brought an increase in value, prosperity and cosmopolitanism to even the most remote regions, thus preventing emigration. That is the sunny side of tourism. On the downside, there are negative effects, such as crowds of people, the impact on the environment, and rising land prices.


Tourist hotspots suffer from the onslaught of visitors while other places are left behind. Communities are ambivalent: On the one hand they benefit from tourism, while on the other they are increasingly observing undesirable side effects. And considering that tourism is more dependent on the climate than other sectors of the economy, it is astonishing that climate change is often still a marginal issue here, of all places. Using vivid illustrations, examples and data, the exhibition shows, among other things, the interplay between tourism and economic growth, rising CO2 emissions and the displacement of local populations by pushing up living costs and the price of housing — now that tourist accommodation is increasingly becoming investment properties.


How can we rethink tourism in an era of climate crisis, wars, the threat of further pandemics, a shortage of skilled labour and an ongoing energy crisis, and steer it in a more sustainable direction? What is the role that spatial planning and architecture are playing in this? The exhibition sheds light on key aspects of tourism, such as mobility, urban tourism, interdependencies with agriculture, climate change, the privatisation of natural beauty and changing typologies of accommodation, and explores the question of whether and how tourism development is planned. Above all, however, the exhibition looks at the potential for transformation. Many travellers are reluctant to see themselves as part of the phenomenon of mass tourism, and doubts about the climate compatibility of our travel patterns are being raised increasingly.


A large number of initiatives have recently emerged that take a different approach to nature, the local population, the climate, cities and villages, or on mobility. Examples are also shown of groundbreaking solutions in Austria and around the world. Planning concepts from different countries invite a comparison of different strategies. Numerous successesful examples are also given that have created demand for a type of holiday that is no longer exclusively based on consumption and the growth paradigm. The key question remains: How can we envisage tourism that no longer destroys what it lives from?

© Photo: Luisen Rodrigo_flickr_(CC BY 2.0)




mumok – Museum moderner Kunst Stiftung Ludwig Wien

Museumsplatz 1,1070 Wien

It raises questions of the political circumstances that move contemporary artists to resort to those non-European avant-gardes that formed as a counterpart of the dominant Western modernism from the 1920s to the 1970s. What are the potentials artists see in the ties to decolonial avant-gardes in Africa, Asia, and the “Black Atlantic” region, to take a stand against current forms of racism, fundamentalism, or neocolonialism? Which artistic methods are employed when addressing subjects such as the encroachment on personal liberties and social cohesion by drawing on seminal anticolonial and antiracist positions of the early to mid-twentieth century?
Showcasing several works by more than twenty-five artists from South Asia, Africa, Europe, and America, Avant-Garde and Liberation offers a glimpse of global modernism through the prism of their pertinence for contemporary art. In the complex tangle of past and present, the exhibition reflects on questions of temporality as well as the possibility of engaging with old and new liberation movements.

Atul Dodiya, Volunteers at the Congress House—August 1931, Courtesy of the artist and Chemould Prescott Road © Anil Rane

Welcome to Vienna Art Week 2024