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Avant-Garde and the Contemporary


Belvedere 21 – Museum für zeitgenössische Kunst

Arsenalstraße 1, 1030 Wien

The Belvedere Collection from Lassnig to Knebl

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

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


The Purloined Masterpiece


Gemäldegalerie der Akademie der bildenden Künste Wien

Schillerplatz 3, 1010 Wien

Images as Time Machines

The exhibiton The Purloined Masterpiece. Images as Time Machines allows the Academy’s historical art collections – the Paintings Gallery, the Graphic Collection and the Plaster Cast Collection – to enter into conversation with contemporary art. After the return to Schillerplatz, there is now again the opportunity to view the Academy’s art treasures in the freshly renovated, historic building.

The exhibition in the rooms of the Paintings Gallery takes a digressive tour through art history from the 15th century to the present day, as reflected in these three rich collections. In addition to Hieronymus Bosch’s Last Judgment Triptych, other historical masterpieces by Sandro Botticelli, Daniel Chodowiecki, Lucas Cranach the Elder, Albrecht Dürer, Anthony van Dyck, Barent Fabritius, Hans Baldung Grien, Samuel van Hoogstraten, Martin van Meytens, Adriaen van Ostade, Rembrandt Harmensz. van Rijn, Peter Paul Rubens, Jacob van Ruisdael, Rachel Ruysch, Pierre Subleyras, David Teniers the Younger, Anna Dorothea Therbusch, Franz Zächerle, among others, meet contemporary art by Martin Beck, An-na-Sophie Berger / Teak Ramos, Marcel Broodthaers, Lili Dujourie, VALIE EXPORT, Rodney Graham, Ulrike Grossarth, Albert Paris Gütersloh, Marcello Maloberti, Willem Oorebeek, Jeroen de Rijke / Willem de Rooij, Klaus Scherübel, Allan Sekula, Paul Sietsema, Laurence Sturla.


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

The Purloined Masterpiece. Pictures as Time Machines. Exhibition, Picture Gallery, Academy of Fine Arts Vienna


Oceans. Collections. Reflections.


Weltmuseum Wien

Heldenplatz, 1010 Wien

George Nuku

The Weltmuseum Wien presents the first comprehensive exhibition of the Māori artist George Nuku in 2022. His artworks will be presented in two locations: the special exhibition galleries and the Hall of Columns of Weltmuseum Wien.

Weltmuseum Wien, George Nuku


BASQUIAT: The Retrospective



Albertinaplatz 1, 1010 Wien

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

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

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


GREGOR SAILER: Unseen places


KUNST HAUS WIEN. Museum Hundertwasser

Untere Weißgerber Straße 13, 1030 Wien

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

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

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

Curator: Verena Kaspar-Eisert (KUNST HAUS WIEN)

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


Idols & Rivals



Maria-Theresien-Platz, 1010 Wien

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

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

© Liechtenstein. The Princerly Collections, Vaduz–Vienna


The Animal Within


mumok – Museum moderner Kunst Stiftung Ludwig Wien

Museumsplatz 1,1070 Wien

Creatures in (and outside) the mumok Collection

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

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

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

Curated by Manuela Ammer and Ulrike Müller

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


The Meal


Dom Museum Wien

Stephansplatz 6, 1010 Wien

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

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

Curator: Johanna Schwanberg

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


Europe’s Best Buildings


Architekturzentrum Wien

Museumsplatz 1 im MuseumsQuartier (Eingang Volkstheater), 1070 Wien

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

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

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


gewendet • angewendet • angewandt


Domgasse 6 – Galerie nächst St. Stephan Rosemarie Schwarzwälder

Domgasse 6, 1010 Wien

groupshow with:

Marco A. Castillo, Miho Dohi,
Manuel Gorkiewicz, Katharina Grosse,
Sonia Leimer, Isa Melsheimer,
Manfred Pernice, Karin Sander,
Michael E. Smith, Jessica Stockholder


In the exhibition titled gewendet • angewendet • angewandt  (changed  used  applied), Galerie nächst St. Stephan Rosemarie Schwarzwälder is showing ten artists who straddle the line between applied arts, design, crafts, and fine arts in its gallery at Domgasse 6. The productive connection between applied and fine arts — in other words, between objects, the functionality of which in their daily use demands a rational and logical design process, and objects that fulfill a need for a purely aesthetic approach to creating artworks that do not have a “function” in themselves — has a long tradition in Vienna. Following the idea of the Gesamtkunstwerk (a total work of art), the artists of the Wiener Werkstätte (Vienna Workshop) wanted to introduce art to all areas of daily life, with the goal of making this city the center of good taste within the culture of applied arts. Everyday objects, furniture, fashion, lamps, and even jewelry, as well as graphic designs for books or posters were designed with the highest possible technical workmanship and the desire for independence and beauty in mind. This development began with the creation of progressive working conditions for craftspeople and culminated in replacing the overabundant French and Belgian Art Nouveau ornaments with a geometric, abstract language of forms that was extraordinarily long-lasting and still displays a timeless elegance today.




KUNST HAUS WIEN. Museum Hundertwasser

Untere Weißgerber Straße 13, 1030 Wien

Women’s hands with pink artificial nails, decorated with logos of luxury brands, caress discarded garments. They haptically explore every detail of the textile, literally caressing it. Next to it, a metal clothes rack that has become non-functional because it has been bent appears.

Stefanie Moshammer’s ongoing series We Love Our Customers plays with our perception of today’s consumer and brand culture. In a humorous and perceptive way, the artist examines our relationship to garments between tradition and the present, between appreciation and mass product. The works gathered in the exhibition flirt with this dichotomy of values and the contrast of organic materials and alienated, machine-made set pieces. In addition to digitally generated texts and found-footage videos, the artist uses her grandmother’s collection of fabrics as source material.

Curator: Sophie Haslinger

Stefanie Moshammer, She is but a trendy deal, 2022, Full HD, color, sound. Video still © Stefanie Moshammer


Loving others



Karlsplatz 5, 1010 Wien

Models of Collaboration

LOVING OTHERS aims to help make artist groups and their different collaborative models and forms of social bonding and solidarity be productive, as well as to tell stories of constructive failure. The exhibition sees itself as an experimental field for observing and comparing collectives, artist groups, and even temporary collaborations in a differentiated and engaging way.


artists: Bar du Bois, ____fabrics interseason & friends, FEMPLAK, Forensic Architecture, Group Material, House of Ladosha, INVASORIX, Karpo Godina, Suzanne Lacy, The Nest Collective, ruangrupa, Total Refusal, Anna Spanlang & Klitclique, ZIP Group


TILLA DURIEUX: A witness to a century and her roles


Leopold Museum

Museumsplatz 1, 1070 Wien

She was a celebrated star of the film and theater, a modern woman of the 1920s, politically active and perhaps the most portrayed woman of her time. The roles of Tilla Durieux (1880–1971) were as varied as the artists for whom she posed as a model, among them Auguste Renoir, Max Slevogt, Lovis Corinth, Franz von Stuck, Charley Toorop, Ernst Barlach, Oskar Kokoschka, Max Oppenheimer and the photographers Lotte Jacobi and Frieda Riess.


The Vienna born Ottilie Helene Angela Godeffroy was drawn to the stage from a young age and changed her name – derived from her paternal grandmother – to Tilla Durieux. Following her actor’s training in her hometown and stints in Olomouc and Wroclaw, Durieux made it to Berlin in 1903 to play under Max Reinhardt. After playing small roles, she celebrated her breakthrough as Salomé in the eponymous play by Oscar Wilde, marking the birth of the myth of Tilla Durieux. She subsequently appeared in all the major European theaters, and liked to take on new, challenging roles not only on the stage but also in front of the camera.


Through her first husband, the artist Eugen Spiro, Durieux first came into contact with the visual arts and the corresponding circles which she herself would become a part of via her second husband, the art dealer and publisher Paul Cassirer. Durieux remained active as a collector and model for artworks until the onset of Nazi rule in Germany. Her commitment extended not only to art but also to social and political issues, whether during her time in exile in Zurich during World War I, during the turmoil of the Munich Soviet Republic or as a member of the Zagreb resistance against National Socialism.


The comprehensive exhibition at the Leopold Museum is the first to investigate the fascination Tilla Durieux held already for her contemporaries, and to explore the traces of this scintillating personality through portraits of all media. Featuring rarely exhibited archival material and international loans, the presentation highlights Durieux’s career, her social and artistic milieu as well as her life shaped by political upheaval.


The exhibition was created in cooperation with the Georg Kolbe Museum and the archive of the Akademie der Künste, Berlin.

EUGEN SPIRO, Lady with dog (Tilla Durieux), 1905 © Private collection, Photo: Leopold Museum, Vienna © Bildrecht, Wien 2022


The Gym


SOHO Studios

Sandleiten Hof, Liebknechtgasse 32, 1160 Wien

The Gym is a hybrid space that interweaves exhibition, training and performance and sees itself as a counter-project to stereotypical body cultures, market-conforming standardization and other manifestations of neoliberally based self-optimization. A varied training program with weekly classes, extensive Sunday sessions and mental workouts will form the pulsating core of the exhibition space for five weeks. Together with around 40 participating artists, trainers and performers, the movement and thought radius of inclusive body politics and non-toxic fitness will be expanded, the mind-muscle connection strengthened and resistance training for body, mind and soul offered. Pleasure included


Anna Ehrenstein | Eisa Jocson | Elisabeth von Samsonow | Howardena Pindell | Karin Ferrari | Kubra Khademi | Mel Baggs | Philipp Muerling | Sophia Süßmilch | Suzanne Lacy | Thenjiwe Niki Nkosi | Tianzhuo Chen | VALIE EXPORT Fran Klein | Puti Kaisar Mihara | mirabella paidamwoyo* dziruni | Karin Cheng | Romy Kolb | Betül Seyma Küpeli | Roman Kettner | Samantha Petz | Maque Pereyra | Adil Embaby | Silke Grabinger | Songül Cinar | Ivy Monteiro | Ahmet Simsek | Ina Holub | Mr. Move it! | Marissa Lobo Faris Cuchi | Mzamo Nondlwana | Tamara Alegre | Marga Alfeirão | Cuba | Hyeji Nam | God’s Entertainment | Denise Palmieri | Myassa Kraitt | Geumhyung Jeong



The Gym exercises our physical and mental capacity for resistance in the spirit of joyful activism, calling for individual and collective reappropriation of body and mind. The exhibition features positions by Anna Ehrenstein, Eisa Jocson, Elisabeth von Samsonow, Howardena Pindell, Karin Ferrari, Kubra Khademi, Mel Baggs, Philipp Muerling, Sophia Süßmilch, Suzanne Lacy, Thenjiwe Niki Nkosi, Tianzhuo Chen, VALIE EXPORT. In their respective practices, the artists* dive below the surface and search for strategies and logics of resistance to break up power structures, to disrupt and challenge mechanisms of seeing and perception. The artistic works understand protest as a training program for the body, take patriarchal and colonial body images apart, or play with set pieces from the fitness industry and question them in the context of a neoliberal understanding of spirituality.

credit: Peter Mayr


CAITLIN LONEGAN: hot, clear, scratchy, soft


Galerie nächst St. Stephan Rosemarie Schwarzwälder

Grünangergasse 1, 1010 Wien

Opening: Saturday, 5 November 2022, 12 – 16:00


Galerie Nächst St. Stephen Rosemarie Schwarzwälder is delighted to present new paintings by Caitlin Lonegan, her third solo exhibition with the gallery. Lonegan continues to make paintings based on her observations of light and color, and how they might be conveyed in a series of overlapping gestures, constantly intersecting the subjective and empirical. This entails her observations of ambient conditions of her studio, her past and ongoing paintings, or a multitude of objects finding her glances. She captures specific visual information from them, reproducing their effects that can be reenacted in a new painting. Lonegan repeats this process ad infinitum, resulting in generative variations at differing scales and painterly approaches.




Galerie nächst St. Stephan Rosemarie Schwarzwälder

Grünangergasse 1, 1010 Wien

Opening: Saturday 5 November 2022, 12 — 16:00


Galerie Nächst St. Stephen Rosemarie Schwarzwälder is delighted to present paintings by Spencer Lewis, his first solo exhibition in Austria. In four large-scale paintings, Lewis continues his frenetic approach that draws and expands upon the legacies of 20th century abstraction. In so doing, Lewis enacts a wide array of gestures, varying from the misty smudge to the muscular contour, each carrying a distinct function and weight, which are layered and maneuvered into surprising iterations. They result in vivid coagulations of marks, all informed by the artist’s memories, emotional states, and his ongoing process.


PAULA FLORES: Party of a Lifetime


The exhibition concept and artwork by Paula Flores will be based on SYMBIOGENESIS in physicality and on the practice of Mexican shamanic traditions. Symbiogenesis in the biological world is when two or more different organisms live in close physical contact. It brings together unlike individuals to make larger, more complex entities i.e. lichen. With this being said the artist would like to ask this: How is it possible that Western capitalist-imperialist thought, conceived predominantly by men, has enabled a part of humanity to legitimize the exploitation of enslaved and oppressed populations and groups of people, and nature no less? From this question Flores seeks ways to change, dismantle, and overcome these hierarchical conceptual constructs that can limit us in the understanding that we may have of the natural interconnectedness of the world. To do so the artist studies extraordinary ways of communication between humans and other species, such as fungi, bacteria, and plants.


The exhibition “PARTY OF A LIFETIME” by Paula Flores, curated by Marcello Farabegoli, can be seen from 5.11.-17.12.2022, Thu – Fri 16:00 – 19:00 / Sat 12:00-15:00 and with prior reservation until 18.12.2022-6.01.2023 at Kunstraum Feller, Kaiserstr. 54, 1070 Vienna.

More information at  and

Paula Flores_Quelites_2019_Photo Rafael Lippuner





Schottenfeldgasse 45, 1070 Wien, Österreich

Vernissage: November 8 2022, 19 h, artists present, curator and publicist Dr. Björn Vedder speaks about the exhibition.
Exhibition from: November 9 2022
Tue – Fri 12 – 18 h, Sat 11 – 14 h


Krinzinger Schottenfeld is pleased to present Re-Retreat, Erik Schmidt’s latest solo exhibition, which adds new elements and materials to the elusive paradise he created with his previous project, Retreat. Born in 1968, the polyhedral German painter’s creative explorations are often informed by narratives of his travel experiences and his desire to illustrate what he perceives through encounters with foreign cultures.


The exhibition takes us on a six-week journey the artist made to Sri Lanka last spring. Together we travel to the villages around the capital Colombo, where mass protests began in March 2022 and spread throughout the country. Protests by people who – thirteen years after the end of a long civil war – are still recovering from the crisis and are now struggling with an economic crisis that includes power outages and shortages of basic goods such as fuel, food and medicine.


In No Crisis, a series of drawings based on photographs taken as he roamed the streets, Schmidt identifies individuals from the stream of people engrossed in their rhythms of life or activities and portrays them on the pages of newspapers from which he receives daily national news. The result is an extremely expressive juxtaposition of thick brushstrokes that provide a real insight into the local community and, despite the limited color range and high humidity of the area, also show the “political ground” of that community. Some portraits, on the other hand, are developed later in his studio, using the particular technique of painting over printed canvas to depict his dynamic, optical filtering of the world.


Overwhelmed by an environment with such political connotations, even the painter’s fascinated gaze is compromised. In Palm Bombs, small sketches and large-scale paintings based on photographs of palm trees taken during the residency at One World Foundation, nature itself is transformed into a war zone. Schmidt’s perspective allows the viewer to look down on the palm trees, which is normally forbidden to avoid damage from falling coconuts. The impasto technique here overshadows the photograph with an aggressive note, and the paint achieves a tangible sculptural aspect by transforming internal vibrations into pure, disturbing color: Fruits thus become bombs, palm leaves their explosive jets.


What is left of these explosions lies on the floor of the room, perhaps fallen from the same trees, they seem like weapons and hand grenades. More newspaper pages lie on a hanger, overwritten with catchphrases, as if desperately trying to erase the news they are forced to read. The expectation that this palm house is a paradise fades and brings us back to the violent failure of civilization.


The futile search for a place of refuge is also echoed in the two videos Fine and Inizio, thematically related to the paintings but set in a different geographical and temporal context. The scenario shifts from tangible reality to Schmidt’s own inner dimension, the lost paradise in which the illusion of a place of refuge is once again unattainable. A kind of self-exploration through feelings of guilt and catharsis, which are undoubtedly due to the restlessness of his life’s journey, finally result in the conscious realization that there is no longer any place in the world for retreat.


Text: Silvio Saraceno

Erik Schmidt, Suham Turtle, 2022, Öl auf Fine Art Print, auf Leinwand, 150 x 70 cm, courtesy Galerie Krinzinger und Erik Schmidt.


ZHANG WEI: Colors of Emotions


Galerie Krinzinger

Seilerstätte 16, 1010 Wien

Vernissage: November 9 2022, 19 h
Exhibition from: November 10 2022
Tue – Fri 12-18 h, Sat 11-16 h


In Zhang Wei’s second solo presentation in Galerie Krinzinger, he is showcasing a selection of 24 works, made between 2016 and 2022. Among them, three were painted in 2022, all unmistakable pointing towards Russia’s invasion into Ukraine. Taking the colors from the national flag of Ukraine, Zhang Wei covered a large expanse of each canvas in blue. In the Ukrainian flag, blue denotes the skies over the vast land. On both of Zhang Wei’s canvases, the blue colors occupied nearly two thirds of the canvas on the upper side, meticulously and evenly painted in most part and hard-edged. In one of them, titled “Z-AC2022”, he painted a smear of yellow from the Ukrainian flag on the lower edge of the blue paint. Much of the blue area is solid while the yellow paint is solid on the upper half and sketchy on its lower part. In the second Ukraine-specific work “Z-AC2203”, the yellow color appears being splashed onto the lower edge of the blue sky, much in disarray.


Such an approach brought to mind an experiment he carried out in the early 1980s. As he was exploring ways to steer away from figurative representation of the landscape paintings he was making in the 1970s, Zhang Wei once climbed on a ladder and from the point of about 4 meters high, he dropped a basin of paint onto the canvas so that the paint was splashed all over, not just on his canvas but inside of his room. The uncontrollable effect of this action was actually a desirable outcome and the pursuit of such an effect continues in his subsequent works. He looks for and enacts processes that lead to uncontainable manifestations. For instance, he has in recent years, tried painting with his motorbike. He’s poured a bucket of paint onto his canvas and ridden motorbikes over it, leaving tyre marks on it. Sometimes, he runs toy cars across his canvas through a remote control. All efforts aspire for playfulness and dynamism in his works.


The third piece that reconfigures the Ukrainian flag is “Z-AC2204”, a rice paper book album painted in oil, interweaving blue strokes of blue with yellow ones, one intersecting another in a riotous and vigorous way. A familiar format in traditional Chinese paintings, the book album opens into a long stretch of horizontal scroll that gives generous space for the unfolding of Zhang Wei’s playing with blue and yellow. While compact and quiet in a folded form, the album is an elaborate and dynamic symphony when it is opened up to reveal its many surprises and energy on the pages. Zhang Wei has also painted onto folded paper fans. Like the paper album, the curves of these folded surfaces dissect as well as intersect Zhang Wei’s strokes and enhance the dramatic sense of change in their flows.


Zhang Wei is forthright about his empathy with Ukraine and its people under war. Since its outbreak, the war on Ukraine has caused enormous rifts among members of both Chinese public and its artistic and intellectual communities. Some were even hesitant to call it invasion, aligning with the Chinese government’s pro-Russia position and rhetoric. Being an unwavering liberal, Zhang Wei has felt compelled to articulate his position on the matter through his paintings. This series of new works lends a valuable perspective into understanding Zhang Wei’s practice beyond that of purely formalistic exploration. The critical distance from any form of authority and hegemony underlines Zhang Wei’s artistic career, as well as his philosophy of life. As early as in 1976 (or 1977), Zhang Wei took to heart a translated book, Jonathan Livingston Seagull, by American writer Richard Bach. In it, Bach wrote about a seagull flying high and free despite odds and mockery. This story showed Zhang Wei how to live and handle art in a free and personal way. Zhang Wei identified strongly with the courageous seagull in perpetual quest for freedom and unperturbed by any obstacle that comes along the way. This book was among the major influences on his way of living and working as an artist, before he took the chance of participating in a show in New York to leave Beijing and live in the States in the following two decades from 1986 to 2005. There, he resisted the idea of following his gallerist’s advice to plan his artistic career, and rather stood by the human spirit which he deemed far more important than becoming a successful artist.


This liberal and humanistic outlook towards life and art is a consistent and inherent aspect that upholds the tension and relevance of Zhang Wei’s artistic practice towards the varied social and political contexts that he’s lived through. He’s always engaged in some dialogue with issues at hand. In the early 1970s, the choice of making plein en air paintings and impressionistic landscapes distanced him from the dogma of socialist realist art of the time. In the beginning of the 1980s, his further dive into abstraction afforded him a space for self-expression and artistic freedom. In the wake of the Intellectual Liberation (sixiang jiefang) Campaign after the end of the Cultural Revolution, there was less control and more room for free thinking in the Chinese society. It was then that older artists took the opportunity to champion stylistic diversity and formal exploration as an outlet for artistic autonomy. Younger artists in and out of art academies at the time pursued faithful figurative depictions of non-heroic characters, events and aspects of everyday reality such as rural life, in defiance of idealized rendering of subject matters in socialist realism. Zhang Wei and some of his like-minded artist friends such as Wang Luyan and Zhu Jinshi looked for freedom in painting in abstracted forms.


Text: Carol Yinghua Lu

Zhang Wei, Z-AC2117, 2021, oil on linen, 150 x 200 cm, courtesy Galerie Krinzinger and the artist




Galerie Krinzinger

Seilerstätte 16, 1010 Wien

Vernissage: November 9 2022, 19 h, artist present
Exhibition from: 10 November 2022
Tue – Fri 12 – 18 h, Sat 11 – 16 h


Galerie Krinzinger is pleased to announce the first solo exhibition of Nevin Aladağ in its premises. The exhibition Tuning combines several series of works by the installation and performance artist, who was last shown in a large solo exhibition at Villa Stuck in Munich. In Social Fabrics, the artist combines high-quality hand-knotted carpets from Iran, Turkey, and China with machine-made mass-produced goods to create abstract collages. She juxtaposes the materials used, such as wool, silk and synthetic fabrics, as well as their processing and origins, on an equal footing, combining them into a new whole. The ornament as a unifying element is also found in the hexagon-shaped ceramic modules of the Jali series, into which the artist inscribes patterns drawn from memory. The modules function as building blocks that the artist installs to create wall works and installations such as the first at Documenta 14, 2017.



Leaning Wall shows imprints of body parts in Meissen porcelain, mounted like the handles of a climbing wall. The negative forms turn the climbing wall into a “leaning wall.” Nevin Aladağ is interested in the organic and fragile nature of the material, as well as the fit in terms of gender identity. A version of Leaning Wall has been on view as a permanent installation at the Robert Koch Institute in Berlin since 2014. The series of works Stiletto was created during the performance “Raise The Roof” on the occasion of the Venice Biennale 2017. In the performance, the artist had female dancers dance on copper sheets. Each work bears the title and duration of the song to which it was danced. Her furniture and resonating bodies transformed into musical sculptures, such as Frame Harp and Hanger Harp, and Resonating Space (Square Bells 90) refer to your “Music Rooms” and “Resonating Spaces” as at documenta 14 in Athens and most recently in the exhibition Sound of Spaces at Villa Stuck, 2021. The installation Tusch-carneval notes the artist a Tusch (fanfare) by means of casts of cannonballs from the 17jh. Nevin Aladağ draws here the circle from the musical reinterpretation of the cannonball back to the original context, because the shooting of the cannons was initiated with fanfares. The objects of the Rehersal series are related to the participatory installations of the Stage series – stage curtains made of artificial hair, shown at the Arter in Istanbul, 2012.



Nevin Aladağ was born in 1972 in Van, Turkey, lives and works in Berlin,
She studied sculpture at the Munich Academy. Aladağ has received many awards, was a participant in Documenta 14 in 2017 with one of her “Music Rooms” and participated in the Venice Biennale in the same year with the performance “Raise The Roof”. Since 2019 she is professor of sculpture in motion at the Dresden University of Fine Arts. Selection of exhibitions: Barakat Contemporary, Seoul (solo) 2022, Lenbachhaus, Munich,2022, Villa Stuck, Munich (solo) 2021, Tinguely Museum, Basel, 2021, Museum, Singapore, 2021, Kunstmuseum Bonn, 2021, Arter, Istanbul (solo), 2020, Southbank Centre, HENI Project Space, Hayward Gallery, London (solo) 2020, Hamburger Bahnhof, Berlin, 2020, SFMOMA , San Francisco Museum of Modern Art, San Francisco (solo), 2019, Albertinum-Staatliche Kunstsammlung, Dresden, (solo) 2018, Salzburger Kunstverein (solo), 2018, Lentos Kunstmuseum Linz (solo), 2018, KÖR Kunst im öffentlichen Raum, Vienna (solo), 2018, Rückwand der Kunsthalle Basel, 2014 (solo).

Nevin Aladağ, Social Fabric, compass, 2022, carpet pieces on wood, wooden frame, ø 134 cm, d 4 cm, courtesy Galerie Krinzinger and the artist




Charim Galerie

Dorotheergasse 12/1, 1010 Wien

Opening: Thursday, 10.11.2022, 6 pm – 9 pm
Exhibition from: Friday, 11.11.2022

Bernhard Buhmann, Jagannath (Wagen), 210 x 150 cm, Öl/Acryl auf Leinwand, 2022


NIKLAS LICHTI: Meds & Miracles


Galerie Layr

Seilerstätte 2/26, 1010 Wien

Niklas Lichti is an artist based in Vienna, co-publisher of the web magazine The Critical Ass and founder of the short-lived project space Geld in London.
Across a range of media including sculpture, drawings, text and video, Lichti employs notions of elliptic storytelling and montage, as well as an admiration for literature, stand-up comedy and economic theory to explore the plight of liberalism, social currencies, (artistic) self-representation and the politics of intimacy and mental health.


Wed–Sat 12–6 PM


Visions of Media Art 11: At the Blackboard


Medienwerkstatt Wien

Neubaugasse 40a, 1070 Wien

The exhibition series Visions of Media Art sets a dialogue between the ideas and attitudes of historical artists and current artistic positions. In 2022, Oswald Wiener will be the leading artistic figure for the project.Oswald Wiener’s dazzling and at the same time resistant work between theory and poetry, literature and performance, music and action, science and art corresponds in a surprising way with current trends in the field of artistic research. His practice of thinking from art is juxtaposed with three artists who move between disciplines with equal ease, both formally and thematically, and who question technical, conceptual and disciplinary systems in an inspiring way. Brigitta Falkner, Nikolaus Gansterer and Jörg Piringer.

Medienwerkstatt Wien
Neubaugasse 40a, 1070 Vienna
MON,FRI,SAT 2-6 pm

Nikolaus Gansterer "Blackboards"




The current regulatory C19 requirements apply.

Projektraum Viktor Bucher

Praterstraße 13/1/2, 1020 Wien

group exhibition with:



soft opening on Tuesday, 15 November 2022, 17 – 21:00

exhibition start: 16 November 2022

Wall piece: Christian Hutzinger, Untitled (CH 33/2022)




Vereinigung bildender KünstlerInnen Wiener Secession

Friedrichstraße 12, 1010 Wien

Jean-Frédéric Schnyder

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

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

Programmed by the board of the Secession
Curated by Jeanette Pacher

The Otolith Group

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

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

Programmed by the board of the Secession
Curated by Bettina Spörr

Patricia L. Boyd

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

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

Programmed by the board of the Secession
Curated by Annette Südbeck

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


JULIA BUGRAM / SHEILA FURLAN: Soft Calls, Loud Whispers



Grundsteingasse 8/TOP 34-35, 2. Hof 1160 Wien


Everything begins with a feeling. At first vague, shadowy and undefined. Bit by bit, a development begins. Signs of change become noticeable. Sensory impressions are processed. The invisible is made visible and familiar conditions are rediscovered. A living archive. Not a superficial glance, but a close look is required. The perception of fragile details is characteristic for the contents, which the artists treat in their works. The living is registered and inscribed anew. Everyday things are archived and questions about life in a society are raised.


Is it possible to get out of this system? How can we bring about change? Can approaches to a new world be whispered into our minds through artistic interventions?


Our current society has long outgrown the “pigeonholes” that have been imposed on us- in the past. If the audience dares to experiment and engage with the content of the work, new thought-provoking impulses are possible.


Julia Bugram (born 1988 in Vienna) lives and works in Vienna as an interdisciplinary artist with a focus on graphics, installation and objects.


She has experience in artistic project management and crowdfunding. Cross-disciplinary collaboration with artists and experts from various fields is a feature of her approach to find new ideas and solutions for her work.




Sheila Furlan (born 1974 in Rome) lives and works as a freelance artist in Munich. She completed her art studies at the Academy of Fine Arts in Munich and on a scholarship in Spain.


Her fields of work are installation, photography and object. She has also realized cross-artistic projects in dance, music and theater as well as collaborations with performance artists.


ASGAR/GABRIEL – Obscure Things and the Sun


Galerie Ernst Hilger

Dorotheergasse 5, 1010 Wien

Opening 22.11.2022, 7pm.-9pm., with Jan Gustav Fiedler (Museum of Now)

ASGAR/GABRIEL, Galerie Ernst Hilger


Applied Correlation Laboratory


Österreichische Friedrich und Lillian Kiesler-Privatstiftung

Mariahilfer Straße 1b/1, 1060 Wien

The Applied Correlation Laboratory is conceived as a pilot project to establish a sustainable cooperation between the University of Applied Arts Vienna and the Austrian Frederick and Lillian Kiesler Private Foundation. Its core purpose is to investigate and contextualize experimental artistic teaching as a specific methodology of artistic research at art universities in reference to Frederick Kieslers holistic Laboratory for Design Correlation. The exhibition presents student’s work from the INTRA-project Applied Correlation Laboratory as well as historical materials from the archive.


With works by Francesca Centonze, Ganaël Dumreicher, Kirils Ēcis, Aleksandar Gabrovski, Jai Yun Lee, Jona Lingitz, Isolar Mesec, Michi Schmidl, Marlene Stahl and Bofan Zhou


Display by Jasmy Chieh-Hsuan Chen


A research project by Doris Krüger/Krüger & Pardeller, Senior Artist at the University of Applied Arts Vienna, and Gerd Zillner, Director of the Austrian Frederick and Lillian Kiesler Private Foundation


Applied Correlation Laboratory, photo: Doris Krüger





Schottenfeldgasse 45, 1070 Wien, Österreich

Exhibition & catalog presentation in the presence of the artist Christian Eisenberger

For the presentation a limited edition will be published




Galerie Ernst Hilger Ballgasse

Ballgasse 1, 1010 Wien

Opening: 24. November, 7pm.-9pm.

Rights reserved by the artist, courtesy of Galerie Ernst Hilger


and so on. A group exhibition


das weisse haus

Hegelgasse 14,
1010 Wien

curated by Kathy Cho

das weisse haus has invited New-York based curator Kathy Cho to organize a group show aligned with the premise of Challenging Orders for Vienna Art Week. Cho’s exhibition “and so on” will present artists whose research-based practices explore diasporic movement, loss, and subsequent immaterial labor, investigating the potentials of melancholia and loss as a site for speculative futures. Foregrounding the intimate and poetic sensibilities of each artist, “and so on” contains multitudes and considers each body of work as a living archive. With a focus on the rituals of collecting information and objects alongside a utilization of digital technologies, the exhibition reflects upon what is gained and lost during diasporic movement. As a response to personal and collective loss, the artists use melancholia as an active process and departure point to elicit longing and desire for the future present.

Curator: Kathy Cho



Ana de Almeida
Caroline Garcia
Rami George
Rebeca Romero
agustine zegers

Na Mira

Na mira,(and what for Joan?) SALIENCY SEA SEE TERRA INCOGNITA TOMORROW OR (or?) SERIF NOT SAND AND CHERISH AS STARS MOVE, 30.03.2021 © courtesy of the


mixed up with others before we even begin


mumok – Museum moderner Kunst Stiftung Ludwig Wien

Museumsplatz 1,1070 Wien

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

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

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

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