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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


책거리 Chaekgeori Our shelves Our selves


Weltmuseum Wien

Heldenplatz, 1010 Wien

On the occasion of the 130th anniversary of Austrian-Korean diplomatic relations, Weltmuseum Wien, in collaboration with outstanding Korean artists who created these works in recent years, is showing the exhibition 책거리 Chaekgeori – Our shelves Our selves in three gallery rooms.


In Korea, chaekgeori (Korean: 책거리, translation “books and things”) designates a painted arrangement of books, shelves, various objects, and small treasures. This kind of painting has its origins in the Chinese tradition of collecting things such as the writings of Confucius, scrolls adorned with calligraphy or paintings, ancient ritual vessels, and decorative objects – and in the high esteem accorded them. Also beloved among Chinese collectors were depictions of flowers and animals, such as butterflies, mandarin ducks, carp, cranes, deer, as well as lotus blossoms, peonies, chrysanthemums, peaches, pomegranates, melons, and the citron, Citrus medicus, also known as ‘Buddha’s hand’. These motifs express positive wishes for health, happiness, wealth, and freedom from want. But their depictions are also often playful, inviting their viewers to seek and identify them in the paintings.

Book on Book 책속의 책, LEE Hwa Young 이화영 , 2021 © LEE Hwa Young 이화영


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


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


Lueger Temporary


Kunst im öffentlichen Raum GmbH (KÖR)

Hörnesgasse 2/1, 1030 Wien

Erected 1926, the monument of Karl Lueger, Mayor of Vienna between 1897 and 1910, has been highly controversial in the public to this day. And not without reason: Karl Lueger (1844-1910), who was very adept during his own lifetime at building an unprecedented cult around his own person as a “modernizer” and “champion of the little people”, developed with his radically racist rhetoric a novel populist anti-Semitism into a political program.

With their Lueger Temporary installation, Nicole Six and Paul Petritsch extend discussion about the monument to the entire city.

Six/Petritsch: Installation, 2022, Doktor-Karl-Lueger-Platz, 1010 Vienna ©Iris Ranzinger/KÖR GmbH




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


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


Colour in Black and White - Josef Löwy's Photography Turntable (1888–1891)



Maria-Theresien-Platz, 1010 Wien

Point of View #26

Towards the end of the 19th century, the techniques of photographic art reproduction were perfected and photography from paintings developed as a new line of business. In this context, the imperial painting collection also aroused international interest. The impending transfer of the collection from Belvedere Palace to the newly built Museum am Ring was seized as an opportunity to have the Old Master paintings systematically photographed for the first time. The difficulty was to reproduce the colourfulness of the paintings in black and white photographs.

The exhibition shows paintings, glass negatives, original prints as well as technical drawings by Löwy and explains the advanced technical processes of reproduction photography that he used.

War in Heaven, Creation of Eve, Fall and Expulsion


In the meantime, midday comes around


Kunsthalle Wien Karlsplatz

Treitlstraße 2, 1040 Wien

How did it come about that we don’t work to live but rather live to work, and that we can scarcely imagine other forms of living? Taking inspiration from the famous Marienthal Study, In the meantime, midday comes around revolves around questions like these. The international group exhibition looks at the changes to the field of work in the last decades, made more visible by the Covid-19 pandemic, and considers the modalities of collective action and political imagination such global events carry to affect work.

To approach this set of issues, the artworks in the exhibition oscillate between several thematic zones: crisis and social collapse, alongside both historical and contemporary forms of workers’ collective action and organization, are discussed by Lamin FofanaAdelita Husni-BeyProblem Collective, and Bassem SaadArts of the Working Class and bare minimum collective deal with other ways of being together, such as social bonds and practices that challenge the centrality of labor and reclaim time as the foundation of freedom, while Vina Yun in collaboration with Tine FetzMoshtari HilalSunanda Mesquita & Patu and Ausländer consider labor migration and its prospective planetary character. Moreover, the exhibition also takes a look at the specific conditions of artistic work and praxis — through the presentation of works by the late artist Linda Bilda (who died in 2019), and Eva Egermann’s take on them.


Artists: Arts of the Working Class • AUSLÄNDER with the invited guests HORIZONT Kollektiv • bare minimum collective • Linda Bilda • Eva Egermann • Lamin Fofana • Adelita Husni-Bey • Problem Collective • Bassem Saad • Vina Yun in collaboration with Tine Fetz, Moshtari Hilal, Sunanda Mesquita, and Patu • …

Adelita Husni-Bey, On Necessary Work, Videostill, 2022, Courtesy the artist




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


Gerwald Rockenschaub: circuit cruise / feasible memory/regulator


Belvedere 21 – Museum für zeitgenössische Kunst

Arsenalstraße 1, 1030 Wien

Gerwald Rockenschaub’s work follows the principle of reducing elements, structures, and color contrasts to only the essential. The works of the radical minimalist are simple and precise but also complex. They range from the geometric abstract oil paintings of the early 1980s, which are associated with the Neo-Geo movement, to industrially produced Plexiglas panels and huge inflatable PVC objects, to his more recent computer-generated animations. Spare interventions within the architecture of the respective exhibition spaces reveal and invert the relationship between viewer, artwork, and space.

© 2022 Gerwald Rockenschaub


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


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

Lamas Nicolas, Posthuman Portrait Coral, 2021


Rajkamal Kahlon: Which Side Are You On?


Kunsthalle Wien Museumsquartier

Museumsplatz 1, 1070 Wien

Which Side Are You On? brings together a selection of works from over twenty years of Rajkamal Kahlon’s practice, as well as several new commissions created for the exhibition at Kunsthalle Wien.

In her work, Kahlon explores the interrelatedness of power and visual regimes by looking into narratives that are seen as scientific and objective, and at the same time are deeply influential in forming the collective imagination and the way we see and interpret things around us.

As the title of the show, the phrase Which Side Are You On? invites visitors to examine their consent to, even reiteration of, the violent process of “Othering”, through which the superiority of an imagined “we” is created by attributing traits of inferiority to people constructed as “others”. Through the defiant gaze of their protagonists, Kahlon’s paintings address the viewer directly: how are you implicated in this violence and injustice surrounding you?

Installation view: Rajkamal Kahlon. Which Side Are You On?, Kunsthalle Wien 2022, photo:


The Fest - Between representation and revolt


MAK – Museum für angewandte Kunst

Stubenring 5, 1010 Wien

Since time immemorial, fests have challenged people to engage in activist experiments or to make artistic statements. Sometimes even a glass of champagne or a forbidden costume, an immersive party sound or a festive production can trigger surprises and even provocations. The fest as an ephemeral event has repeatedly prompted designers from the fields of art, architecture, design, and music, to translate design traditions and art discourse into the excesses of a wild night or into the celebration of a worthy occasion. Conversely, these transient freedoms have stimulated and tested new formats and content. Fests document social urgencies and, in the process, changes—both large and small. The MAK exhibition THE FEST: Between Representation and Revolt brings cultural and social history to life and addresses the significance of design strategies for everyday culture.



Thematically, there are hardly any limits to what can be celebrated: Celebrations are held for religious and political reasons, (wild) artists’ and other festivities sometimes transgress taboos, private celebrations reflect social contexts. Temporally, the exhibition spans an arc from the beginning of the Enlightenment to new festive calendars of a forming working class at the time of industrialization to current festive formats. Whether bold rococo masked balls, festivals of avant-garde from the interwar and post-war periods or forbidden raves: All of them are recalled, discussed, and celebrated with their subversive power in THE FEST.

MAK exhibition view, 2022, THE FEST © Markus Krottendorfer/MAK


Judith P. Fischer: „réflexion“


Universität für angewandte Kunst Wien

Oskar-Kokoschka-Platz 2, 1010 Wien

The title “réflexion” refers to processes of reflection, reaction, maturation, change and transformation. Familiar forms and structures from nature and the everyday environment are questioned about their regularities and placed in a new context.

Form, texture and colour play a central role. Characteristic of the wall objects and sculptures shown is their haptic presence and the associated sensual experience, the feeling and grasping of surfaces, materials and forms.

Judith P. Fischer shows sculptures, wall objects, drawings and room installations.

Judith P. Fischer „CURVE“, 2021 © Petra Rainer/Bildrecht


Oksana Zmiyevska: sometimes I don't even know the reason why


Galerie Ernst Hilger

Dorotheergasse 5, 1010 Wien

Oksana Zmiyevska: sometimes I don’t even know the reason why

Oksana Zmiyevska, Splash, 2022


On Beauty: An Attempt


Galerie Crone Wien

Getreidemarkt 14, 1010 Wien

We are pleased to draw your attention to the exhibition Versuch über die Schönheit (On Beauty: An Attempt) in our Vienna gallery. On display are works by Anthony Goicolea, Erez Israeli, Matt Lambert, Maria Loboda, Robert Mapplethorpe, Navot Miller, Peter Miller, Marcel Odenbach, Rosemarie Trockel, and Marianne Vlaschits that deal with the aesthetic and social implications of “beauty.”

As long as art has existed, there has been an inherent striving for beauty within it. But there has been resistance to it, rebellions against it, and struggles and breaks with it for just as long. The one conditions the other. Like every ideal, the ideal of beauty also proves itself in contradiction. Aversion grows out of devotion: unconditional acceptance is followed by categorical rejection, and vice versa. It is precisely this eternal tension between the affirmation and the negation of beauty that the works in Versuch über die Schönheit address.

Galerie Crone Vienna


Dürer, Munch, Miró. The Great Masters of Printmaking



Albertinaplatz 1, 1010 Wien

The ALBERTINA presents a retrospective of the history of printmaking over a period of six centuries, from Albrecht Dürer and Henri de Toulouse-Lautrec to Kiki Smith and Damien Hirst. The two exhibitions planned as a pas de deux – at both ALBERTINA locations – span from works of the late Middle Ages to the prints of contemporary art. The two exhibitions are joined by a third, as it were, dedicated solely to the most important printmaker of the 20th century: Picasso.

The first exhibit, Dürer. Munch. Miró – The Great Masters of Printmaking will open at the ALBERTINA at the end of January. It presents outstanding works of the so-called ‘Old Masters’ – including Albrecht Dürer, Pieter Bruegel, Rembrandt van Rijn – and leads up to the impressive works of modern and contemporary art.

Joan Miró | Ohne Titel, 1974 | ALBERTINA, Wien | © Successió Miró / Bildrecht, Wien 2023


JOHANNES KOFLER: keine geschichten zu später stunde


Galerie Elisabeth & Klaus Thoman

Seilerstätte 7, 1010 Wien

Galerie Elisabeth & Klaus Thoman is delighted to host Johannes Kofler’s first solo exhibition.

With great perseverance, Johannes Kofler pushes the development of his work, aware of the challenges of being able to make an independent contribution to contemporary painting. “A painting that celebrates life and a life that celebrates painting”. (J.K. 2020) Motifs are provided by the moment and the everyday, the experienced and the often humorous idea, it’s about the how not the what and yet the titles tell a story, which in the most recent pictures (Herbsthimmel, 2022) is already completely handed over to the viewer’s imagination, the pictures go into abstraction. The Italian Transavanguardia, here perhaps especially Ernesto Tatafiore, influence Kofler’s conception of the image, just as much as the highly elaborate pictorial world and painting of a Peter Doig or the colour-form juxtapositions in the painting of Maria Lassnig. Kofler is ambitious in his work, and nearly all works of recent years confirm that the results are worthwhile.

Johannes Kofler, o.T. (Paar, Bär und Löwe), 2019


Rui Miguel Leitão Ferreira: NEW PAINTINGS FROM THE LAKE


Galerie Krinzinger

Seilerstätte 16, 1010 Wien

With New Paintings from the Lake Rui Miguel Leitão is showing his first Solo exhibition in the Showroom of Galerie Krinzinger. Each lake is unique. But each lake always resembles other lakes to the extent that we may remember, evoke, or even confuse them. A lake is a limited portion of water which, unlike the sea, frequently ends before the horizon, reachable by our gaze and therefore generating the false confidence of knowing it. Waters trapped by plane margins or slopes, green or dry; turbid or simply dark waters; motionless or not very agitated waters; mysterious waters whose strangeness contaminates those who live nearby or simply come close to it.

Rui Miguel Leitão Ferreira, Untitled, 2022




MAK – Museum für angewandte Kunst

Stubenring 5, 1010 Wien

With the exhibition FALTEN (German for folds or wrinkles), the MAK Asia Collection deciphers the complexity of the phenomenon of Falten with regard to technical, creative, physical, symbolic, and cultural dimensions. The transmedially conceived show illuminates Falten in multiple perspectives from the viewpoints of the history of design, culture, and ideas as well as cultural anthropology. Starting from a comprehensive concept, Falten are presented not only in the form of fabric designs and as a design method. They are also discussed as cultural practices and as a topos of aesthetic distinction in order to show their broad facets as a cultural technique and their philosophical-symbolic dimensions. A wide range of objects can be seen: from textiles and works on paper to furniture and paintings. The transregional exhibits are partly from the MAK collection and are supplemented by loans.


Clemens Auer / Wilhelm Burger / Ursi Fürtler / FURUKAWA Aika / FUSE Tomoko / Henry Peter Glass / Wilhelm Gmeiner / HISHIKAWA Moronobu / Judith Huemer / IPPITSUSAI Bunchō / Imperial Viennese Porcelain Manufactory / KATSUSHIKA Hokusai / Olivier Leblois / Lex Pott / David Lloyd / Issey Miyake / Mizuno NANBOKU / NISHIDA Shatner / W. Ordèn / Verner Panton / Gastone Rinaldi / Peter Sandbichler / Antoin Sevruguin / Chishen SHIU / SONG Jing / Gerda und Kurt Spurey / SUDO Reiko / Usono inc. / YAMAMOTO Tōkoku



SURREAL! Imagining new realities


Sigmund Freud Museum

Berggasse 19, 1090 Wien

100 works from the Klewan Collection by more than 50 artists and numerous writings highlight the tense relationship between Surrealism and psychoanalysis. Berggasse 19 in Vienna serves as a pivotal point of this relationship: for André Breton and Salvador Dalí, the origin of psychoanalysis represented a place of longing. Commonalities and differences between Surrealist and psychoanalytical views become visible in the exhibition as well as the manifold references of the artistic avant-garde to Freud’s science of the unconscious – with works by Herbert Bayer, Hans Bellmer, Victor Brauner, Salvador Dalí, Giorgio de Chirico, Max Ernst, Conroy Maddox, André Masson, Meret Oppenheim, Pablo Picasso, Alberto Savinio, Toyen (Marie Čermínová) and Dorothea Tanning, among others.


“SURREAL! Imagining New Realities” explores the influences of psychoanalysis on surrealism, which made use of its theories on drives, dreams, displacements, and condensations in so many different ways, sometimes also by means of productive misunderstandings.

Herbert Bayer, The Lonely Metropolitan, 1973 (1936) © Bildrecht, Wien 2022




Charim Galerie

Dorotheergasse 12/1, 1010 Wien

Zoe Beloff
Ingrid Wiener

Zoe Beloff, 2022


Anna-Sophie Berger: fashion and death


Galerie Layr

Singerstraße 27, 1010 Wien

Mode und Tod

Anna-Sophie Berger

Opening February 8, 2023, 5–8 PM

Mode und Tod, Galerie Layr, 2022




Nitsch Foundation

Hegelgasse 5, 1010 Wien

seeing, smelling & squeezing

The exhibition series “NITSCH a homage by …” presents works by inspiring figures and former companions as well as by artists whose development was decisively influenced by Hermann Nitsch and his total work of art.

Parallels and overlapping aspects in their works bring to light new relationships and interconnections between the respective artistic processes. Each exhibition focuses on an individual and personal facet that will enable visitors to learn more about Nitsch’s oeuvre and appreciate its ongoing influence.




“For years I’ve been interested in painting that aims to create an intensive sensual experience. Form focuses perception on the materials represented. The mediums of the composition are food, plants, juices, and seeds, which are mixed with resin, wax, and paint. An herbarium emerges that dispenses with logic and scientific stringency as we understand it today.” – Paul Renner

Paul Renner’s idea of art demands a form of staging that goes beyond painting a picture. The act and resultant form of compressing has preoccupied Renner from the outset – pressed must, mashed cabbage, slabs of bacon squashed between stone slabs, berries boiled into mush, centrifuged honey, squashed fruits squidging out between fingers and toes, meat pounded, smoked, pressed. In Renner’s vision, this compressing and compacting involves the decomposition of our existence: “Existence is squashed, crushed, solidified, fermented, and decomposes into an invisible vapor. The sparkling elderberry wine explodes in the cellar. The mycelium fungus crawls up the walls. I imagine that I’m on the other side. Existence is permanent decomposing.”

Specially for this exhibition Renner is showing his new cycle “looking, smelling & squeezing”. Taking center stage is the monumental painting “the honey wall” – composed of damar resin covered in goldleaf, inserted with molded nests out of branches and twigs, honeycombs, seeds, fruits, rinds, juices, and plants.

Detail aus Honigwand © PaulRenner


Christine Sun Kim: Cues on Point


Vereinigung bildender KünstlerInnen Wiener Secession

Friedrichstraße 12, 1010 Wien

Christine Sun Kim’s art brims with rhythm and dynamic energy. Small-format drawings and sprawling murals, internet memes, text messages in public spaces, and banners towed across the sky by airplanes pack a punch and seem to want to explode the confines and constraints of their media. Her drawings are graphical and spare and largely fall into one of two categories: one utilizes the aesthetics of infographics, while the other adopts the formal repertoire of comic strips, notably speed lines to convey action and reaction.


Language, sound, body, identity and diaspora, translation, hierarchization, principles of exclusion, and societal norms: these are some of the vital concerns to which the artist dedicates herself in her formally diverse output. Many of her works share with the audience how it feels to be structurally and systematically excluded from the hearing majority community; to be forever subject to the rules of others and have to fight for opportunities that are available by default to the hearing. Kim’s art is unmistakably political, at its core demanding greater visibility for Deaf people and wider recognition of disability access writ large.

Christine Sun Kim, Alphabet From the Speller's Point of View, 2019, Courtesy the artist and François Ghebaly Gallery, photo: Peter Harris Studio




STRABAG Kunstforum

Donau-City-Straße 9, 1220 Wien

Marcin Jasik, born in 1990 in Warsaw, was a finalist at the STRABAG Artaward International 2022 in Vienna. In his exhibition “Everything is ahead of us, nothing is ahead of us” at the STRABAG Artlounge he shows current non-figurative painting. His works arise from a consistent examination of the history of abstract painting, as well as being the result of his own painterly experiences. In Marcin’s works you might find quotations, some of the forms and materials used are reminiscent of the archaic pictorial compositions of Antoni Tàpies. They refer to the contemporary artist‘s involvement in the history of painting, to his preferences and to similar issues. The almost spartan formal structures of Marcin Jasik‘s paintings are poetic systems that create painterly spaces through shapes, lines, or areas of color. Jasik thus creates pictorial constructs of calm proportions and weightings of shapes and surfaces, with exceptionally sensitively placed color accents. Everything in these paintings seems ephemeral and yet is well thought out. Andreas Hoffer

Marcin Jasik, untitled, 2022, acrylic, marker on canvas, two artworks à 190 x 140 cm, © Marcin Jasik


ON THE ROAD AGAIN - Artists almost around the world



Karlsplatz 5, 1010 Wien

With the exhibition ON THE ROAD AGAIN, 24 contemporary art projects from Austria, conceived and realised for 23 cities around the world, come together for a joint final presentation in Vienna. The eponymous project spanned a period of three years – call for proposals and selection in 2021, project implementation in 2022, group exhibition in 2023.

The idea was to use the Austrian cultural network abroad and its resources for a post-Covid initiative to encourage artists to create new projects around the world. On the Road Again was to be the first joint call for proposals by the Austrian Cultural Forums for artists from the fields of visual arts and media art. The search was on for concepts for new artistic works or site-specific installations that deal with the theme of the call and the respective host country. site-specific installations for the Austrian Cultural Forums in the following cities: Arad (Cultural Forum Tel Aviv), Belgrade, Berlin, Bratislava, Budapest, Bucharest, Instanbul, Kyiv, Krakow, Ljubljana, London, Mexico City, New York, Prague, Rome, San Francisco, Sarajevo, Tehran, Tianjin (Cultural Forum Beijing), Tokyo, Warsaw, Washington, Zagreb.

Upheaval in society and ecology – artists confront realities that affect us all worldwide: this was the overarching theme of the exhibition. Our society is in upheaval, as is the economic and political environment in which we live. With the Russian attack on Ukraine, war is back in Europe. And it is the world itself that is changing, not least through the careless actions of man. The aim was to address the broadest possible spectrum of contemporary Austrian artistic creation, beyond age limits, beyond the question of citizenship. The participating artists should only have their centre of life and work in Austria.

Olaf Osten




Q21/MuseumsQuartier Wien

MuseumsQuartier Wien, MQ Libelle, Museumsplatz 1, 1070 Wien

With LandRush, the two document the social and ecological consequences of global agriculture. They work with farmers, fishermen, scientists, indigenous farmers and activists to explore issues such as seed, water and land rights, environmental justice, climate change and the future of agriculture worldwide. Both global contexts and individual approaches are highlighted. Frauke Huber and Uwe H. Martin use artistic, journalistic and scientific strategies to make the different realities of life intellectually and emotionally tangible. Their many years of research and recordings have resulted in publications, interactive apps, and the atmospherically and content-wise impressive spatial multi-channel installations that are presented in the MQ Freiraum.

Curated by Verena Kaspar-Eisert, Chief Curator MQ Vienna

LandRush, TheRoad, Brasilien 2012 © Frauke Huber & Uwe H. Martin, Bildrecht Wien 2023




Albertina modern

Karlsplatz 5, 1010 Wien

In keeping with international developments and tendencies in the art world, the ALBERTINA Museum’s collection of printed graphics reflects important post-1945 phenomena in light of outstanding examples. American pop and minimal art are present in the form of works by Andy Warhol, Robert Rauschenberg, Roy Lichtenstein and Agnes Martin, while Germany’s artists are represented comprehensively by Georg Baselitz, Jörg Immendorff, Anselm Kiefer, and others.

The selection here also encompasses art by more recent figures, with contemporary approaches to traditional techniques such as woodcut featured alongside innovative works that exploit creative possibilities offered by new printing technologies.

This exhibition presents around 100 key works of post-1945 art history, some of them in large formats, that simultaneously embody principal elements of the ALBERTINA Museum’s present day collection.

Andy Warhol | Electric Chair, 1971 | screen print | 89,9 x 121,6 cm | Donation of der Gesellschaft der Freunde der bildenden Künste


Yasmeen Lari: Architecture for the Future


Architekturzentrum Wien

Museumsplatz 1 im MuseumsQuartier (Eingang Volkstheater), 1070 Wien

Yasmeen Lari is Pakistan’s first woman architect. She designed iconic modernist buildings before initiating a zero-carbon self-build movement for the poorest of the poor. This exhibition uses Lari’s oeuvre as an example to show how the relationship of architecture to the future has changed.

Self-built, zero carbon, and flood-resistant houses, Sindh Province, Pakistan; tens of thousands have already been implemented. ©Archive Yasmeen Lari




Heidi Horten Collection

Hanuschgasse 3, 1010 Wien

The first thematic exhibition “LOOK” is a tribute to the founder of the museum, Heidi Goëss-Horten. It spotlights art and fashion and their inspiring interplay at the museum HEIDI HORTEN COLLECTION. The “look” of women and looking at women, as well as other aspects associated with the feminine, are key themes in the Heidi Horten Collection. Based on these topics, the exhibition explores various thematic questions in eight chapters.