SHOWING STYRIA 2025 Pavilions, RAZSTAVA ŠTAJERSKE 2025 Paviljoni by Universalmuseum Joanneum GmbH

2025

RAZSTAVA ŠTAJERSKE

Special

Vienna Graz

Mariazell Leoben Ljubljana

Umetnost se srečuje z zgodovino: STEIERMARK SCHAU 2025

SLO Pod naslovom Ambition & Illusion (Ambicija & iluzija) se bo dvorec Eggenberg, znamenitost na Unescovem seznamu svetovne dediščine, leta 2025 spremenil v prizorišče razstave STEIERMARK SCHAU avstrijske Štajerske. V tretji razstavi, ki se ozira v prihodnost in jo prireja dežela Štajerska, se bodo obiskovalci lahko poglobili v razburljivo zgodovino vplivne družine Eggenberg in v vsakdan njihove knežje rezidence, dvorca Eggenberg v Gradcu. Izbira lokacije ni naključje, saj leta 2025 obeležujemo 400 let od odločitve princa Hansa Ulricha von Eggenberga, da stari sedež plemiške družine preuredi in razširi v prestižno rezidenco. Tudi tokrat so osrednji del projekta STEIERMARK SCHAU mobilni elementi v obliki potujočih paviljonov. Razstavo bodo dopolnili trije paviljoni z različnimi arhitekturnimi koncepti, prostorskimi doživetji in vsebinskimi poudarki, ki bodo po prologu na trgu Heldenplatz na Dunaju pod naslovom History Repeating? (Zgodovina se ponavlja?) s pomočjo umetnosti interpretirali in postavili v kontekst zgodovino dvorca Eggenberg in njegovih prebivalcev v Eggenbergu, Mariazellu in Leobnu ter onkraj meja Avstrije. Različni umetniški izrazi regionalnega, nacionalnega in mednarodnega pomena in vpliva ustvarjajo povezavo s preteklostjo ter življenje in izzive v „štajerskem Escorialu“ postavljajo v sedanjost. Ideja mobilnega paviljona – edinstvenega potujočega razstavnega koncepta –deželi Štajerski omogoča, da umetniško raznolikost in v prihodnost usmerjene kulturne koncepte širi v štajerske regije, na Dunaj in v tujino. Umetniki iz regije in širše Avstrije s pomočjo sodobne umetnosti na novo razlagajo zanimivo

in formativno epizodo štajerske zgodovine ter tako pomembno prispevajo k narodni in mednarodni privlačnosti kulturne dežele Štajerske. Univerzalni muzej Joanneum pa v duhu svojega ustanovitelja nadvojvode Janeza na edinstven način približuje umetnost in kulturo Štajerkam in Štajercem v posameznih regijah ter jim omogoča, da se aktivno vključijo v razgibano zgodovino in kulturo naše dežele.

Vljudno vas vabim, da obiščete STEIERMARK SCHAU 2025 in se poglobite v očarljiv svet družine Eggenberg!

Dr. Karlheinz Kornhäusl, deželni svetnik za zdravje, nego in kulturo

Art meets History: SHOWING STYRIA 2025

EN Under the title Ambition & Illusion, the UNESCO World Heritage Site Schloss Eggenberg will be transformed into the setting for SHOWING STYRIA in 2025. In this third edition of the future-oriented exhibition format of the Province of Styria, visitors can immerse themselves in the fascinating history of the influential Eggenberg family and everyday life in their princely residence, Schloss Eggenberg in Graz. It is no coincidence that this location was chosen, as 2025 marks the 400th anniversary of Prince Hans Ulrich von Eggenberg’s decision to expand the old family seat into a prestigious residence.

Once again, mobile elements in the form of nomadic pavilions are a central component of SHOWING STYRIA. Three pavilions with different architectural concepts, spatial experiences, and thematic focuses will complete the show and, following a prologue at Heldenplatz in Vienna, will interpret and contextualize the history of Schloss Eggenberg and its inhabitants in an artistic way under the title History Repeating? at Graz – Eggenberg, Mariazell, Leoben, and beyond Austria’s borders. The diverse range of artistic positions with regional, national, and international appeal establishes a link to the past and translates the living environment and challenges in the “Styrian Escorial” into the present.

With the idea of the pavilion as a unique nomadic exhibition concept, Styria succeeds in sending artistic diversity and forward-looking cultural impulses to the Styrian regions, our federal capital Vienna, and abroad. Regional and supra-regional artists reinterpret a fascinating and formative episode of Styrian history

with their contemporary art and thus make a significant contribution to the national and international appeal of our cultural state of Styria. At the same time, the Universalmuseum Joanneum – in the spirit of its founder Archduke Johann – brings art and culture to Styria in a unique way and enables an active engagement with the eventful history and culture of our country.

I cordially invite you to visit SHOWING STYRIA 2025 and immerse yourself in the fascinating world of the Eggenberg family!

Dr. Karlheinz Kornhäusl Provincial Culture Minister

V zrcalu časa

SLO Hans Ulrich, prvi knez Eggenberškega, je bil ambiciozen mož. Kot namestnik cesarja Notranje Avstrije je zgradil veličastno palačo Eggenberg – spomenik moči in vizionarske prihodnosti. To pa ni bilo zgolj politično dejanje, temveč tudi aspiracija: palača kot simbol dobe miru in blaginje je postala svetilnik upanja – utopija, ki je obljubljala, da bo nadvladala nasilne pretrese tistega časa. Vendar pa so se, kot se v zgodovini pogosto dogaja, visoki cilji na koncu spremenili v kruto resničnost. Eggenbergovi se niso mogli izogniti tegobam svojega časa: vojni, revščini in političnemu razkolu. Njihove sanje o zlati dobi je premagala zgodovina in to, kar se je nekoč začelo kot ambiciozna podoba sreče in moči, se je zaradi izgube in propada izkazalo za iluzijo.

Štiristo let pozneje podobno doživljamo v svetu, ki ga zaznamujejo podnebne in okoljske krize, družbene napetosti in negotova globalna prihodnost. Kot nekoč so tudi danes prisotne ambicije: srčno upanje, da bo svet boljši, družba pravičnejša, prihodnost pa bolj trajnostna. Te ambicije nas ženejo naprej, nam omogočajo, da presežemo sami sebe, da naredimo spremembe in prevzamemo odgovornost. Imamo priložnost, da skupaj poiščemo rešitve, se še naprej razvijamo ter s pogumom in inovativnostjo krizo spremenimo v priložnost. Če se učimo iz zgodovine in v prihodnost zremo optimistično, lahko za prihodnje generacije ustvarimo svet, v katerem bo vredno živeti.

Razstava STEIERMARK SCHAU 2025 je zasnovana tako, da v živahnem dialogu združuje preteklost in sedanjost. Leta 2025 bodo glavno razstavo v dvorcu Eggenberg spremljali trije paviljoni.

Podoba paviljonov odraža arhitekturo, zgodovino in estetiko dvorca ter jih prenaša v sodobni oblikovalski jezik. Vizionarski dizajn arhitekturne pisarne studioWG3 ustvarja fascinantne prostore, polne zgodovinskih referenc in inovativnih oblikovalskih idej obenem. Vprašanje, ali se zgodovina res ponavlja, z naslovom History Repeating? ostaja odprto.

Z razstavo je kustosu Güntherju Hollerju-Schusterju uspelo ustvariti zanimiv dialog med umetniki različnih generacij in disciplin. Tako uveljavljeni kot tudi mladi umetniki na različne načine osvetljujejo teme, ki danes niso nič manj pomembne kot pred 400 leti, javnosti pa omogočajo različne interpretacije.

Projekt so omogočili strast, predanost in strokovno znanje. Zato se posebej zahvaljujemo vsem, ki so prispevali k uspehu razstave. Posebej želim čestitati kustosu Güntherju Hollerju-Schusterju, arhitektom pisarne WG3 za njihovo vizionarsko podobo in vsem sodelujočim umetnikom. Vodja projekta Antonia Sorger-Domenigg in kuratorska asistentka Angelika Schneider sta se mojstrsko lotili zasnove paviljonov, za kar se jima iskreno zahvaljujem. Za predano delo se zahvaljujem tudi Paulu Schusterju, Karlu Peitlerju in ekipam dvorca Eggenberg, muzeja Alte Galerie (Stara galerija), Archäologie und Münzkabinett (Arheologije in Kabineta kovancev). Da smo lahko iz dveh zgodb ustvarili veliko pripoved, je bilo potrebno celovito vodenje projekta. Daniela Teuschler in Andreas Schnitzler sta se lotila zahtevne naloge in jo z veliko predanostjo uspešno opravila. Zahvaljujem se tudi vsem zaposlenim Univerzalnega muzeja Joanneum, brez katerih ta projekt ne bi bil mogoč.

Dr. Marko Mele, znanstveni vodja

Univerzalnega muzeja Joanneum

A Mirror of Time

EN Ambition was a central personality trait of Hans Ulrich, the first Prince of Eggenberg. As imperial governor of Inner Austria, he had the magnificent Schloss Eggenberg built – a monument to power and a visionary future. However, this was not just a political act, but also a great ambition: as a symbol of an era of peace and prosperity, the palace became a beacon of hope – a utopia that promised to overcome the violent upheavals of the time. However, as so often in history, high hopes were ultimately to turn into a harsh reality. The Eggenbergs were unable to escape the adversities of their time – war, poverty and political disintegration. Their dreams of a “Golden Age” were overtaken by history, and what once began as an ambitious image of happiness and power turned out to be an illusion in the face of loss and decay.

400 years later, we are experiencing similar phenomena in a world dominated by climate and environmental crises, social tensions and an uncertain global future. As back then, there are also ambitions today: A deep hope for a better world, an equal society, a more sustainable future. It is this drive that motivates us to rise above ourselves, bring change and take responsibility. We have the opportunity to find solutions together, to develop ourselves further and to turn the crisis into an opportunity with courage and innovation. By learning the lessons of history and looking to the future with confidence, we can create a world worth living in for future generations.

SHOWING STYRIA 2025 is designed as an exhibition format that brings the past and present together in a vibrant dialog.

In 2025, three pavilions will accompany and expand the main exhibition in Schloss Eggenberg. In their design, the pavilions take up the architecture, history and aesthetics of the palace and translate them into a contemporary design language. The visionary design by the architecture firm studio WG3 creates fascinating spaces that both incorporate historical references and provide innovative design impulses. The title History Repeating? leaves open the question of whether the past really has to repeat itself.

With this exhibition Günther Holler-Schuster has succeeded in creating an exciting dialog between artists from different generations and disciplines. By including both established and young artists, themes are illuminated in different ways that are no less important today than they were 400 years ago and allow the public a variety of interpretations.

Passion, commitment and expertise have made this project possible. Special thanks therefore go to all those who have contributed to the success of this show. I would especially like to congratulate the architects studio WG3 for their visionary design and the artists involved. The project manager Antonia Sorger-Domenigg and the curatorial assistant Angelika Schneider have mastered the challenge of a new pavilion concept brilliantly, for which I would like to express my sincere thanks. Paul Schuster, Karl Peitler and the teams from Schloss Eggenberg, State Rooms, Archaeology and Coin Cabinett deserve my sincere thanks for their energetic commitment. To create a great narrative from two stories requires overall project management. Daniela Teuschler and Andreas Schnitzler have taken on this difficult task and successfully implemented it with great dedication. I would also like to thank all the staff at the Universalmuseum Joanneum, without whose tireless efforts this project would not have been possible.

Dr. Marko Mele Director of Science of

the Universalmuseum Joanneum

History Repeating?

Ne glede na to, koliko ponovnih, dodatnih in pretiranih interpretacij baroka je bilo narejenih, da bi avstrijski umetnosti dali identiteto, je to zgodovinsko obdobje stvar preteklosti. Zdi se, da takratnega razkošnega življenja elit in hkratnega siromašenja ljudi nižje na hierarhični lestvici, danes ni več. Ali pa ima ta pojav v sodobnem času le nekoliko drugačno obliko? Ali je zgodovina kot Historia magistra vitae, učiteljica življenja, (Cicero), odpovedala? Kaj nam danes pomeni 400 let stara veličastna stavba?

Dvorec Eggenberg je bil zgrajen v nemirnem času, ki so ga zaznamovala protislovja. Država je bila v primežu več kriz in na robu propada. Tridesetletna vojna je po Evropi pognala tokove migrantov, epidemije in bolezni so pestile prebivalstvo, vladale pa so tudi katastrofalne gospodarske razmere. Poleg tega je bil Eggenberg v letih 1622–23 vpleten v pravi finančni škandal, povezan s Praškim konzorcijem za kovance. Sledila je hiperinflacija in državni bankrot, medtem pa so člani konzorcija, kot sta bila Hans Ulrich von Eggenberg in Albrecht von Wallenstein, znatno povečali svoje premoženje. Za nameček je deželo skoraj stoletje pestila še t. i. mala ledena doba.

EN Ambition and illusion –is history repeating itself?

The Baroque is history, no matter how often this era has been over-interpreted in terms of the identity of Austrian art. The theatrical ostentation of the elites at that time, alongside the simultaneous impoverishment of those further down the hierarchy, seems to have come to an end today. Or has it merely taken on new forms in the present? Has history failed as a “Historia magistra vitae” (Cicero)? What does the 400-yearold magnificent structure mean to us today?

Schloss Eggenberg was built during turbulent and contradictory times. The country was on the brink of collapse under the impact of various crises. The Thirty Years’ War drove streams of migrants through Europe; epidemics and diseases plagued the population, as did the disastrous economic situation. Eggenberg was even involved in a veritable financial scandal surrounding the “Prague Coin Consortium” (1622/23). This led to hyperinflation and resulted in state bankruptcy, but the members of the consortium, such as Hans Ulrich von Eggenberg and Albrecht von Wallenstein, were able to increase their wealth. Ultimately, the “Little Ice Age” plagued the country for almost a century.

Ambicija ( iluzija Ambicija ( iluzija

Dandanes se dogaja podobno; samo pomislimo na trenutna vojna prizorišča. Globalni svetovni red se spreminja, nacionalizmi so v porastu in vse več je strahu. Zaostrene razmere v gospodarstvu in s tem povezana družbena vprašanja postajajo vse bolj pereča. Podnebne spremembe, ki jih povzroča človek in so odraz antropocena, sprožajo ogromne migracijske tokove, podobno kot oboroženi spopadi. Vsi omenjeni pojavi so čezmejni in nadnacionalni; njihovih posledic ni mogoče omejiti na regije. Morda pa je meč le bil preveč radikalno orodje za gordijski vozel – je zdaj naša naloga, da ga ponovno zavežemo (Latour)?

We are currently experiencing similar occurrences when we think of the current war zones. The global world order is changing, nationalism is on the rise, and fear is growing. Economic aberrations and the accompanying social issues are becoming more and more pressing. Climate change caused by humans as an expression of the Anthropocene is leading, like armed conflicts, to enormous migration flows. All of these phenomena are supranational and their consequences cannot be limited regionally. Has the Gordian knot been cut too radically with a sword and is it now our lot to retie it (Latour)?

Stereotipne predstave in nagnjenost k presojanju stvari po videzu vzbujajo pričakovanje, da je zgodovino mogoče popraviti s ponavljanjem. Ponavljanje nas namreč pomirja. V resnici je to stanje nedosegljivo in prinaša tveganje revizionizma. Dva posamezna specifična dogodka, ki kažeta presenetljive podobnosti, sta le redko v istem kontekstu in sta zato le delno primerljiva. Vprašanja o ponavljanju sprožajo tudi aktualni dogodki.

V razstavi zbrana umetniška stališča in dela so postavljena prav v ta kontekst in s tem dobivajo nove možnosti dojemanja. Umetniki in zgodovinarji nimajo enakih ciljev in metod. Umetniško sklicevanje na preteklost je subjektivno in selektivno, medtem ko si zgodovinopisje, čeprav pogosto pod ideološkim vplivom, vendarle prizadeva za čim bolj objektivno pripoved. V tem trenutku postane tudi jasno, da se umetnost – vsaj tista, prikazana v sklopu razstave – ne nanaša na zgodovino kot tako, temveč si „prizadeva dekonstruirati ideološke gotovosti sedanjosti o preteklosti“ (Zuckermann). Kulture se obnavljajo s pozabljanjem in spominjanjem, kar lahko razložimo z retrospektivno kontinuiteto, ki daje preteklosti vidno mesto v sedanjosti.

Stereotypical ideas and the tendency to judge things based on outward appearances lead to the expectation that history can be corrected through repetition. In reality, this state is unattainable and carries the risk of revisionism. Two isolated specific events that show striking similarities are rarely in the same context and are therefore only comparable to a limited extent, although current events again suggest that the question of repetition should be asked. The artists’ positions assembled in this exhibition, provided they do not deal directly with the dimension of the historical, are placed in precisely this context and are thus given new possibilities of reception. Artists and historians do not have the same goals and methods. The artistic reference to the past is subjective and selective, while historiography, although often ideologically influenced, nevertheless aims for a binding narrative that is as objective as possible. At that moment, it also becomes clear that art – at least the art shown here – does not refer to history as such, but rather “aims to deconstruct ideological certainties of the present about the past” (Zuckermann). Cultures renew themselves through forgetting and remembering, which can be explained by a retrospective

History Repeating? History Repeating? History Repeating?

Danes doživljamo diskontinuiteto preteklosti, ki je povezana s koncem linearnega zgodovinopisja. Hkrati pa to pomeni tudi odprtost in raznolikost. Ta proces se pospešuje in obenem kompenzira z navidezno brezmejnim kopičenjem spominskega gradiva v tehničnih in digitalnih spominih in medijih. Sodobna umetnost iz tega pogosto črpa svoje gradivo in znanje ali pa dodaja novo spominsko gradivo. To pa omogoča prav ideja o diskontinuiteti.

continuity that gives the past a visible place in the present. Today, we are experiencing a discontinuity with the past, which is also the reason for the end of linear historiography. At the same time this also means openness and diversity. This process is accelerated and compensated for by the seemingly limitless accumulation of memory material in digital spheres and media. Contemporary art often draws its material and knowledge from this or adds new memory material.

Paviljoni kot arhitekturni simbol in metafora

Leta 2025 bo razstava STEIERMARK SCHAU poleg zgodovinskega dvorca Eggenberg potekala v tridelni paviljonski stvaritvi. Če je bil osnovni povod za letošnjo razstavo STEIERMARK SCHAU obletnica baročne palače, se je s tem tudi povečala ambicija, da bi postavili arhitekturni simbol v današnji čas. Tako je bila za zasnovo razstave temeljnega pomenaarhitektura. Podobno kot se je dvorec Eggenberg materializiral kot kompleksna pripoved, so tudi paviljoni zastavljeni v obliki narativa. Že z videzom prispevajo temeljne vsebinske vidike.

Projektna zasnova arhitekturne skupine WG3 iz Gradca si prizadeva „na inovativen in ustvarjalen način interpretirati zgodovino, arhitekturo in lepoto dvorca Eggenberg“ (WG3). Zasnova, ki je nastala na podlagi razpisanega natečaja, prikazuje zelo pripovedno arhitekturo, ki sicer izraža idejo dvorca, vendar jo hkrati na inovativen način zakriva. Baročne palače so bile eminentni prostori za umetnost v smislu celostne umetnosti; prav te ideje se poslužijo tudi v paviljonih. Začasna arhitektura ima pripovedne elemente – prevzema na primer baročno teatralnost, pa tudi topografske elemente dežele in povezavo med politično razdeljenimi regijami. Paviljoni niso le odprti za sodobno umetnost, ki jo dajejo na ogled, marveč je njihova arhitektura tudi sestavni del umetnin. Na ta način omogoča homogeno, instalacijsko in kohezivno postavitev umetniških izrazov, ki jih lahko doživimo tako v skupni (Dunaj) kot v posamezni, razdeljeni obliki (dvorec Eggenberg, Ljubljana, Mariazell, Leoben).

Na začetku 20. stoletja se pojavi še en dvorec: grad, ki ga lahko opišemo kot iluzijo. Franz Kafka je v fragmentu romana Grad, objavljenem leta 1926, konstruiral nematerialni grad, ki se kaže kot spremenljiv psihološki sistem. Njegova struktura,

EN The pavilions as an architectural symbol and metaphor

In addition to the historic Schloss Eggenberg, SHOWING STYRIA 2025 will take place in a three-part pavilion landscape. If the basic idea for this edition of SHOWING STYRIA was the anniversary of a baroque palace, the ambition to set an architectural example in the present day also increased with it. The architecture was therefore fundamental to the concept of the exhibition. Just as Schloss Eggenberg has materialized as a complex narrative, the pavilions are also narrative in character. In their appearance, they already incorporate fundamental aspects of content.

The design concept by the Graz-based architectural group WG3 attempts to “interpret the history, architecture and beauty of Schloss Eggenberg in an innovative and creative way” (WG3). The design, which emerged from an invited competition, realizes a highly narrative architecture that conveys the idea of the palace, but also masks it in an innovative way. While baroque palaces were eminent spaces for art in the sense of the idea of the Gesamtkunstwerk, this idea is taken up in the pavilions. The temporary architecture provides narrative elements – for example taking up the performance of baroque theatrics, as well as topographical elements of the country and the connection between politically divided regions. The pavilions are not only open to the positions of contemporary art presented in them, their architecture is also an integral part of them. In this way, it allows for a homogeneous, installative and cohesive arrangement of the artists’ positions, which can be experienced both in their ensemble (Vienna) and in their division (Schloss Eggenberg, Mariazell, Leoben, Ljubljana).

At the beginning of the 20th century stands another castle – one that can be described as an illusion. In the novel fragment The Castle, published in 1926, Franz Kafka constructed an immaterial castle that appears as a

podobna labirintu, je hkrati privlačna in strašljiva. Kot prikaz hierarhičnih struktur in struktur moči, vključno s strukturami bodočih totalitarnih sistemov (Adorno), je Grad metafora za nezmožnost racionalnoempiričnega pristopa k resničnosti. Ideja gradu ni vezana na eno samo stavbo, temveč na konglomerat več stavb. Grad kot preobrazbo v 20. stoletje lahko na splošno razumemo kot simbol človekovega iskanja smisla v navidezno nesmiselnem svetu (Camus). To nas pripelje do vprašanja o konkretni povezavi med takrat in zdaj.

changeable psychological system. Its labyrinthine structure is both appealing and frightening. As a depiction of hierarchical and power structures, including those of future totalitarian systems (Adorno), The Castle stands as a metaphor for the impossibility of a rational-empirical approach to reality. The idea of the castle is not tied to a single building, but rather a conglomerate of several buildings. The castle as a transformation into the 20th century can generally be understood as a symbol of the search for meaning in a seemingly meaningless world (Camus). This brings us to the question of the concrete connection between then and now.

Paviljon Alpe-Jadran pokrajinske identitete

od 12. junija 2025, Ljubljana

Alpe-Jadran –pokrajinske identitete

Pokrajino Alpe-Jadran povezuje deloma skupna zgodovina. Vendar pa jo zaznamujejo tudi težki zgodovinski konflikti. Do leta 1918 je bila del habsburške monarhije, po drugi svetovni vojni pa obmejna regija med Avstrijo, Italijo in Jugoslavijo. Nova geopolitična ureditev po letu 1945 je privedla do ozemeljske razdrobljenosti regije in medsebojne razmejitve tamkajšnjih prebivalcev.

Arhitektura tega paviljona zato predstavlja tripartitno delitev in se tako nanaša na zgodovino regije, saj vsebuje zgodovinske reference na idejo „Notranje Avstrije“ s sedežem v Gradcu. V šestdesetih letih prejšnjega stoletja se je zgodovinskega trenutka spominjala t. i. trigonska ideja. Ponovno srečanje med regijami zgodovinskega ozemlja so ustanovitelji razumeli kot priložnost, da Gradec v kontekstu hladne vojne znova zavzame svoj kulturnopolitični položaj.

EN Alpine Adriatic region Pavilion – Regional identities

The Alpine Adriatic region is connected by a partially shared history. However, it is also characterized by difficult historical conflicts. Until 1918 it was part of the Habsburg Monarchy, and after the Second World War it was the border region between Austria, Italy and Yugoslavia. The new geopolitical order after 1945 led to the territorial fragmentation of the region and the mutual separation of the people living there.

The architecture of this pavilion therefore provides for a three-part division and thus refers to the history of the region with its historical references to the idea of “Inner Austria” with Graz as its residence. In the 1960s, the “Trigon idea” recalled this historical moment. The renewed encounter between the regions of the historical territory was seen as an opportunity to reposition Graz in terms of cultural policy against the backdrop of the “Cold War”.

pokrajinske identitete pokrajinske identitete

Umetniški prispevki se s temo ne ukvarjajo izrecno, vendar se pa na različne tematske vidike nanašajo posredno. S tem razširjajo regionalni kontekst k bolj splošni recepciji. Poleg umetniško-imanentnih vidikov so v ospredju migracijski scenariji, kulturne identitete (Lena Violetta Leitner, Andreas Heller, Michael Pöllinger) ter vprašanja ozemeljskih in kulturnih zahtev (Milica Tomić, Franz Kapfer) in kulturnih korenin (Total Refusal, Christof Neugebauer).

The artistic contributions do not explicitly deal with this topic, but indirectly take up aspects of it. They thus extend the regional context to a more general reception. In addition to art-immanent aspects, the focus here is on migration scenarios, cultural identities (Lena Violetta Leitner, Andreas Heller, Michael Pöllinger) as well as questions of territorial and cultural claims (Milica Tomić, Franz Kapfer) and cultural roots (Total Refusal, Christof Neugebauer).

Umetnost Franza Kapferja v osnovi temelji na obsežnih raziskavah. To ne pomeni, da umetnik išče vsebine, o katerih nato predava ali jih ilustrira. Za Kapferja raziskovanje ni le umetniška strategija, temveč tudi strast in pogoj za umetniško izražanje. Zgodovina je zanj neizogibna. Na neki način je Kapfer tudi zgodovinar in njegova umetnost je oblika vizualnega zgodovinopisja. Vendar ne sledi racionalnemu konceptu raziskovanja in predstavljanja. Gre bolj za aspekte resničnosti, ki jih prenaša v nove kontekste, in načeloma ni važno, s čim točno se umetnik v danem trenutku ukvarja. Politični procesi, družbeni pretresi in aktualno dogajanje so teme, s katerimi se dejansko ukvarja in zaradi katerih uporablja zgodovinsko gradivo – pogled na sedanjost z zgodovinsko perspektivo.

Tako je tudi v Kapferjevem najnovejšem delu, v katerem proučuje dolgo zgodovino štajerskega panterja. Figure, ki so se skozi stoletja spreminjale, je strnil v igro senc. Mitsko bitje panter (pantier), ki izvira iz človeške domišljije in nima nič skupnega z zoološko resničnostjo, je glavni lik Kapferjeve igre. Bitje v instalaciji je hkrati grozeče in estetsko. To delno ustreza podobi, ki jo imamo o panterju – grozeči, ogenj bruhajoči veliki mački. Vendar pa ta nevarnost nima veliko skupnega z mitično zgodovino te živali, saj je veljala za dobrodušno in predvsem dišeče bitje. Ognjeni jeziki naj bi simbolizirali panterjev dišeč dah.

EN Franz Kapfer’s art is fundamentally based on extensive research. This does not mean that the artist searches for content which he then refers to or illustrates. For Kapfer, research is not only an artistic strategy but also a passion and a precondition for artistic expression. For him, the historical is unavoidable. In a way, Kapfer is also a historian and his art is a form of visual historiography. However, he does not pursue a rational idea of research and presentation. Rather, it is aspects of reality that he transfers into new contexts, and in principle it is interchangeable what the artist is literally concerned with. Political processes, social upheavals and developments in the present are his actual concerns behind his use of historical material – the view of the present with the gaze of the historical. This is also the case in the current case, where Franz Kapfer examines the long history of the Styrian panther. He has condensed the changing figures through the centuries into a shadow play. The mythical creature of the panther (“Pantier”), which originates from human fantasy and has nothing to do with zoological reality, becomes the main protagonist in Kapfer’s play. The creature in the installation appears both threatening and aesthetically pleasing. This partly reflects the image we have of the panther – actually threatening, a fire-breathing cat of prey. However, this menace has little to do with the mythical history of this animal, as it was considered a good-natured and, above all, fragrant creature. The tongues of fire are said to symbolize the panther’s scented exhalations.

Franz Kapfer Franz Kapfer

SLO Franz Kapfer * 1971 v Fürstenfeldu. 1996–2005 študij na Akademiji za upodabljajoče umetnosti na Dunaju. 2024 Atlanten –Ich oder das Chaos / Atlases – Me oder the Chaos / Atlasi – Jaz ali kaos, Halle für Kunst, Gradec. 2023 udeležba na Kijevskem bienalu. 2021 Transformation und Wiederkehr: Radikale Nationalismen im Spiegel der zeitgenössischen Kunst / Preobrazba ali vračanje: radikalni nacionalizmi v zrcalu sodobne umetnosti, Lentos Kunstmuseum Linz. 2011 Beneški bienale. 2003–2022 številna gostovanja, med drugim v Moskvi, Jeruzalemu, Istanbulu in Ciudádu de Méxicu.

Franz Kapfer, Gemeine

Figur / Običajna figura, 2025

SLO Heraldični panter izvira iz naravoslovja srednjega veka in z dejansko živaljo nima nič skupnega. Njegovo ime naj bi izhajalo iz popačene besede pantier ali pantel. Njegova oblika spominja na grifona brez kril, njegova nekoliko podolgovata glava pa na glavo bika. Včasih je upodobljen tudi z bikovimi zadnjimi nogami.

V nasprotju s svojim nevarnim videzom naj bi bil blagega značaja in zelo prijazne narave. Imel naj bi tudi čudovit glas in prijetno, zdravilno sapo.

V knjigi Conrada von Megenberga Buch der Natur (Knjiga narave) piše, da se je pantier, potem ko se je najedel najboljših koreninic, umaknil v svoj brlog in spal tri dni. Ko se je prebudil, je glasno zarjovel. To je pritegnilo druge živali, ki so se zbrale pred njegovim brlogom. Toda ob pogledu nanj

EN Franz Kapfer * 1971 in Fürstenfeld. 1996–2005 studied at the Academy of Fine Arts Vienna. 2024 Atlases – Ich oder das Chaos/ Atlases – Me oder the Chaos, Halle für Kunst, Graz. 2023 Participation in the Kyiv Biennial. 2021 Transformation and Return: Radical Nationalisms in the Mirror of Contemporary Art, Lentos Art Museum Linz. 2011 Biennale di Venezia. 2003–2022 numerous residencies, including Moscow, Jerusalem, Istanbul, Mexico City.

1–2

Franz Kapfer, Common figure, 2025 © Bildrecht, Vienna 2025

EN The heraldic panther comes from the natural history of the Middle Ages and has nothing in common with the panther from nature. Its name is said to be a corruption of Pantier or Pantel. Its shape resembles a griffin without wings and its head, somewhat elongated, resembles that of a bull. Sometimes it also appears with its hind legs.

In contrast to his dangerous appearance, he is said to have had a gentle disposition and a very benign nature. He is also said to have had a wonderful voice and a pleasant, healing breath.

In Conrad von Megenberg’s Book of Nature it says that the pantier, after having eaten its fill of the finest roots, withdrew into its cave and slept for three days. When it awoke, it let its voice ring out loudly. This attracted the other

so se tako ustrašile, da se je pantier takoj spet skril.

Njegov edini sovražnik je zmaj. V bestiariju iz 12. stoletja je zapisano, da se je zmaj, ko je slišal drugim tako ljub glas, skril v svoj brlog in se pretvarjal, da je mrtev.

Kot heraldični lik se panter pojavlja predvsem v Avstriji in na Bavarskem. V grbu Svobodne dežele Bavarske je v tretji, srebrni četrtini ščita, upodobljen v modri barvi in z zlatim oklepom, iz gobca pa mu plapola rdeč plamen. Omenjeni panter izvira iz plemiške rodbine Spanheimov. Po njihovem izumrtju leta 1248 je jih nasledila rodbina Wittelsbach, ki je prevzela fevde in od leta 1260 do približno leta 1390 uporabljala panterja kot sekundarni grb. Po starem izročilu je bil panter prvotno rdeč. Za to, da je danes modre barve, so zaslužni ustvarjalci sedanjega državnega grba, ki so razmišljali o grbu Ingolstadta in menili, da panter izvira iz zgodnejšega emblema bavarskih vojvod. Nenavadno je, da bavarski panterji, kadar se pojavljajo v krajevnih grbih, v nasprotju z avstrijskimi nimajo rogov. V grbu Štajerske je v zelenem ščitu pokončen, rdeče oborožen in ogenj bruhajoč srebrni panter, ki v grbu glavnega mesta Gradec nosi krono. Na nekaterih upodobitvah panter bruha plamene iz vseh odprtin, vendar to nikakor ni v nasprotju z nežnim značajem živali, saj naj bi plameni izražali prijeten vonj, ki ga širi.

V angleški heraldiki heraldični panter ne obstaja v zgoraj opisani obliki, temveč je upodobljen kot mačka, prekrita z majhnimi okroglimi lisami vseh barv ter s plameni, ki se vijejo tako iz gobca kot iz ušes.

(Volborth, Carl-Alexander. Fabelwesen der Heraldik in Familien und Städtewappen. Belserverlag, 2001, S. 50.)

animals and they gathered in front of its cave. But then they were so frightened by the sight of him that the pantier hid again as quickly as possible.

The only enemy it had was the dragon. In a 12th century bestiary, it is said that when the dragon heard the voice so highly regarded by the others, it crept into its lair and played dead.

The heraldic panther is mainly used as a heraldic figure in Austria and Bavaria. In the coat of arms of the Free State of Bavaria, it appears blue and with golden armorial bearings in the third, silver quarter of the shield. The flame coming from its maw is red. This panther goes back to the dynastic family of the Spanheimers. After they died out in 1248, the Wittelsbachs succeeded them by taking the fiefs and used the panther as a secondary coat of arms from 1260 until around 1390. According to old tradition, it was originally red. The fact that it is blue today is due to the creators of the present coat of arms, who were thinking of the coat of arms of Ingolstadt and believed that the panther originated from an earlier military symbol of the Bavarian dukes. Strangely enough, Bavarian panthers, when they appear in local coats of arms, have no horns, unlike those in Austria. In the coat of arms of Styria there is an erect, red-armed and fire-breathing silver panther in the green shield, which is crowned in the coat of arms of the capital Graz. In some depictions, the panther is spewing flames from all orifices, but this in no way contradicts the gentle character of the animal, as the flames were intended to express the pleasant scent it spread.

In English heraldry, the heraldic panther does not exist in this form, but is depicted as a natural space cat covered with small round spots in all colors, with clasps protruding from both the maw and the ears.

(Volborth, Carl-Alexander. Fabelwesen der Heraldik in Familien und Städtewappen. Belserverlag, 2001, p. 50.)

Christof Neugebauer, ki je po izobrazbi teoretik in umetnik, v svoji umetnosti sledi različnim potem. Pri njegovem delu je osrednjega pomena interakcija vizualnih in akustičnih dražljajev. Predmeti in podobe, ki so večinoma participativni, so prefinjeni instrumenti za zaznavanje. Pogosto eni namigujejo na druge. Tako na primer z zanikanjem vizualne ravni, a še intenzivnejšim oblikovanjem akustične ravni, ustvarjajo presenetljive vsebinske premike.

Nekaj podobnega lahko doživimo pri maskaronih. Delno plastične okrasne glave, ki jih pogosto najdemo na baročnih pročeljih, imajo običajno izrazito obrazno mimiko, ki spominja na kričanje ali tuljenje. Njihova ekspresivnost spominja na baročne gledališke igre. Skorajda skrita in pogosto spregledana pa so mitska bitja, namenjena zaščiti stavb; so „apotropejska“, torej v osnovi namenjena odganjanju zla.

Christof Neugebauer, ki se je v okviru svojih umetnostnozgodovinskih raziskav lotil tudi maskaronov, je z njimi navezal neposreden stik. Fotografiral jih je in jih opremil z izmišljenimi zvoki. Obiskovalci lahko z nežnim pritiskom na površino slike vzpostavijo komunikacijo z bitji. Zdi se, da tisto, kar je bilo v preteklosti izraz vraževerja, v Neugebauerjevi umetnosti postane igriv oz. performativen način obvladovanja groze.

EN Trained as both a theorist and an artist, Christof Neugebauer takes a variety of paths in his art. The interaction of visual and acoustic stimuli is central to his work. The mostly participatory objects and images are sophisticated apparatuses of perception. They often give us clues to the other. By negating the visual level, for example, but formulating the acoustic level all the more intensely, they create astonishing shifts in content.

Something similar can be experienced in the Maskerons. The semi-sculptural decorative heads, which are often found on baroque facades, usually have expressive facial expressions and are reminiscent of screams or roars. In a way, they seem to follow the baroque spectacle in their expressiveness. Almost hidden and often overlooked, these mythical creatures are an expression of protection for a building – they are thus “apotropaic”, i.e. basically intended to ward off evil.

Christof Neugebauer, who also took on the Maskerons as part of his art historical research, made direct contact with them. He has photographed them himself and equipped them with imaginary sounds. The audience can communicate with these creatures by applying gentle pressure to the surface of the picture. What was historically still an expression of superstition seems to become a playful or performative way of coping with horror in Neugebauer’s art.

Christof Neugebauer Christof Neugebauer Christof Neugebauer

Christof Neugebauer * 1970 v Gradcu. 1990–2003 študij umetnostne zgodovine in doktorski študij filozofije v Linzu. 2000 razvoj elektronskih zvočnih del na področjih upodabljajoče umetnosti in plesa ter izum soundcagea (laserske zvočne kletke). Od leta 2002 učitelj na gimnaziji BRG Kepler v Gradcu. Od leta 2008 član kolektiva Schaumbad – Freies Atelierhaus v Gradcu.

EN Christof Neugebauer * 1970 in Graz. 1990–2003 Studied art history and doctorate in philosophy in Linz. 2000 Development of electronic sound works in the fields of visual arts and dance and invention of the Soundcage (laser sound cage). Since 2002 lecturer at the BRG Kepler in Graz. Since 2008 member of Schaumbad – Freies Atelierhaus Graz.

Please press gently in the center of the image!

Please do not press into the openings of the frame from the side!

Please press gently in the center of the image!

Please do not press into the openings of the frame from the side!

Fotografija: Christof Neugebauer, Sackstraße, 2004 2–4

Christof Neugebauer, Maskarones / Maskaroni, 2024, interaktivna fotografska oz. zvočna instalacija

Photo: Christof Neugebauer, Sackstraße, 2004 2–4

Christof Neugebauer, Maskarones, 2024, interactive photo/sound installation

„Maskaroni“ ali „Apotropejska zrcalna slika“, 2024

Maskaron (franc. spaka, grimasa) je delno plastičen okras na pročelju in v notranjosti baročnih stavb. Upodablja grotesken ali grozljiv človeku podoben obraz mitskega bitja ali božanstva. Maskaron nima le okrasne, temveč tudi apotropejsko funkcijo – da odganja zlo.

V ospredju zvočnih podob je razširitev klasičnega koncepta tabelne slike ali reliefa. Pri tem sta osrednjega pomena samozaščita in odganjanje slabih misli s pomočjo spačenega in rjovečega odseva umetnika. Dobi zaslonov na dotik in navidezne resničnosti, v kateri se domnevna povratna informacija ustvarja s tapkanjem ali podrsavanjem s prsti po zaslonih ali z gibanjem senzorskih sistemov v realnem prostoru, se lahko zoperstavimo z refleksijo o resničnem dotiku in navezovanjem na realno podobo pri „zvočnih slikah“. V zvočni sliki je zadovoljena potreba nad umetnostjo navdušenega homo ludensa, da bi doživljal resnični svet. Dotikanje slik, ki na razstavah običajno ni zaželeno, tukaj omogoča interakcijo med vizualnim, taktilnim in zvočnim zaznavanjem.

EN “Mascarons” or “The apotropaic mirror image”, 2024

The mascaron (French for grimacing head) is a semi-sculptural decoration on Baroque building facades and in interiors. It depicts the grotesque or terrifying humanlike face of a mythical creature or deity. The mascaron is not only ornamental, but also has an apotropaic function to ward off evil.

In the foreground of the sound paintings is the expansion of the classical concept of the panel painting or relief. Self-protection and detachment from unwholesome thoughts through the grimacing and bellowing reflection of the artist play a central role here. The age of touchscreens and virtual reality, in which a supposed feedback is generated by tapping or swiping fingers on screens or by moving sensor systems in real space, is to be countered in the “Klangbilder” by a reflection on the real haptics and a reference to the real image. A need to perceive the art-loving “HOMO LUDENS” in the real world is satisfied in the sound image. Touching the pictures, normally undesirable in an exhibition context, creates an interaction between visual, tactile and auditory perception.

značilni video, film in performans. Njen konceptualni pristop pogosto presega meje posameznih medijev. Kot prizorišče svoje umetnosti uporablja javnost z vsemi njenimi pastmi in nevarnostmi. Multimedijski pristop ji omogoča, da ignorira meje znotraj umetniških kategorij, v katerih deluje. Nenehno se približuje mejam in jih poskuša premakniti. Posledično sta njeni najpomembnejši metodi pri realizaciji umetnosti raziskovanje in analiza. Umetnost nikoli ni sama sebi namen. Vedno s pogledom sledi realnosti. Zgodovinske konvencije običajno razbije ali vsaj postavi pod vprašaj. Milica Tomić neusmiljeno nagovarja občinstvo, saj se ne izogiba kontroverznim temam, pogosto pa tudi izpostavlja in razkriva samo sebe.

Presenetljivo je, da se trenutni projekt, ki ga Milica Tomić v sklopu razstave predstavlja prvič, nanaša na slikarstvo. Vendar nikakor ne gre za idejo tradicionalnega slikarstva. Gre za konkretne vsebine, ki jih je mogoče posredovati s pomočjo abstraktnega slikarstva. Pri geometrijski abstrakciji, ki deluje kot konkretna umetnost, umetnica uporablja metode statističnega raziskovanja.

Pri tem se sprašuje o konkretni problematiki: preoblikovanju lastniških razmerij na avstrijskem Štajerskem (1938–1950).

Zgodovinska dejstva so del formalne realizacije in so celo odgovorna zanjo.

Lahko bi pomislili na Otta Neuratha in Gerda Arntza, ki sta z metodo IOSTYPE revolucionirala slikovno statistiko. Vendar sta jo uporabljala konkretno in predmetno, medtem ko Tomić to počne na geometrijsko-abstrakten način.

EN Milica Tomić’s artistic work is characterized by video, film and performance. The conceptual approach she pursues often extends beyond the boundaries of media. She uses the public sphere, with all its deceits and dangers, as the setting for her art. Her multimedia approach also allows her to ignore the boundaries within the artistic categories in which she operates. She constantly pushes various limits and tries to expand them. Research and analysis are consequently her most important methods for practicing art. Never art for art’s sake! Always looking at reality. Historical conventions are usually broken, or at least questioned. Tomić addresses the audience relentlessly by not shying away from controversial topics, just as she often exposes and reveals herself.

Surprisingly, the current project, which Milica Tomić is showing here for the first time, is about painting. However, it is by no means the idea of traditional painting that is at issue here. It is concrete content that can be conveyed by means of abstract painting. The geometric abstraction that appears here like concrete art is borrowed from the methods of statistical research.

Milica Tomić demonstrates this by means of a concrete question: Reconfiguration of property relations in Styria (1938-1950).

The historical facts are part of the formal execution, are even responsible for it. At this point, one could think of Otto Neurath and Gerd Arntz, who revolutionized visual statistics with their “isotype” method. Yet they used figurative representation, whereas Tomić does so in a geometricabstract manner.

Milica Tomić Milica Tomić

SLO

Milica Tomić * 1960 v Beogradu. 1994 študij na Univerzi za umetnost v Beogradu. 2020 On Love Afterwards / O ljubezni potem, javna montaža v Kasinoju, Burgtheater Dunaj in he Small Letter / Majhna črka, samostojna razstava, Charim Galerie, Dunaj. Od 2014 vodja oddelka za sodobno umetnost Tehnične univerze v Gradcu. 2007 Global Feminisms / Globalni feminizmi, skupinska razstava, Brooklyn Museum. 2000 am Milica Tomić / Jaz sem Milica Tomić, Camera Austria, Gradec.

EN Milica Tomić * 1960 in Belgrade. 1994 Graduated from the University of Arts Belgrade. 2020 On Love Afterwards, public montage at Kasino, Burgtheater Vienna, and The Small Letter, solo exhibition, Charim Galerie, Vienna. Since 2014 Head of the Institute for Contemporary Art, TU Graz. 2007 Global Feminisms, group exhibition, Brooklyn Museum. 2000 I am Milica Tomić, Camera Austria, Graz.

Milica Tomić, Farblehre / Teorija barv, 2024, olje na platnu, 190 × 190 cm

Milica Tomić, Farblehre / Teorija barv, 2025, olje na platnu

Milica Tomić, Color Theory: What Color is the Sacred? 2024, oil/canvas, 190 × 190 cm 2

Milica Tomić, Color theory, 2025, oil/canvas

SLO Preoblikovanje lastniških razmerij na avstrijskem Štajerskem (1938–1950–1999)

Leta 1938 se je s priključitvijo Avstrije k Tretjemu rajhu začela velika preobrazba kmetijske krajine na Štajerskem. Z uvedbo zakona o refinanciranju se je lastniška struktura zemljišč v Avstriji za vedno spremenila. Novi zakon je zmanjšal finančni pritisk na veleposestnike, tj. (velike) kmetije1, in jim prinesel vrsto prednosti. „Odlok o odpisu dolgov kmetijstva v Avstriji“ („Verordnung über die Entschuldung der Landwirtschaft im Lande Österreich“) je do leta 1939 omogočil refinanciranje 90 % dolgov vseh kmečkih obratov v državi.

S tem so veleposestniki dobili dostop do ugodnih dolgoročnih državnih posojil

EN Reconfiguration of property relations in Styria (1938–1950–1999)

In 1938, with the annexation of Austria to the Third Reich, the great transformation of the agricultural landscape of Styria began. With the introduction of the Refinancing Act, the ownership structure of the land in Austria was changed forever. The new law meant a reduction in financial pressure and a number of advantages for large landowners, i.e. (large) farmers1. The “Ordinance on the Debt Relief of Agriculture in Austria” made it possible to refinance 90 % of the debts of all farms in the country by 1939.

This granted the large landowners favorable, long-term state loans worth 100 million Reichsmarks.

v skupni vrednosti 100 milijonov rajhsmark. Posojila so jim omogočila bistveno izboljšanje infrastrukture, uporabo kemičnih gnojil in naložbe v sodobne kmetijske stroje. Zakon o odpisu dolgov je tako zagotovil finančna sredstva za modernizacijo in vzdrževanje kmetij ter za širitev kmetij s površino, večjo od 7,47 hektarja. Tudi zakon o dednih kmetijah2 (Reichserbhofgesetz3) je lastnikom zagotovil številne privilegije. Vendar sta oba zakona povzročila izginotje manjših kmetij.

Leta 1938 so poplave in druge ujme na Štajerskem povzročile ogromno škodo, zato je Tretji rajh zagotovil dodatnih 100 milijonov rajhsmark za naložbe na Štajerskem.

Kaj sta zakona konkretno pomenila za kmetijsko krajino Štajerske in tamkajšnjo lastniško strukturo?

Leta 1939 je bilo 97 % zemljišč na Štajerskem v zasebni lasti. Od tega je bilo 50 % kmetij, manjših od 0,5 ha, ki pa so predstavljale le 4 % celotne površine Štajerske, medtem ko so 4 % kmetij, večjih od 50 ha, pokrivali 50 % celotne površine regije. Z uvedbo Zakona o dednih kmetijah so bile večje kmetije zaščitene, medtem ko je bilo vsako leto prodanih več kot 1000 manjših kmetij.

Do leta 1942 so na Štajerskem razlastili in „arizirali“ 0,6 % površin dežele, ki so bile pred tem v lasti Judov. Leta 1941 so avstrijski Štajerski priključili Spodnjo Štajersko, pokrajino okoli Maribora, ki je bila takrat del Kraljevine Jugoslavije. Kar 98 % površin na Spodnjem Štajerskem so predstavljala kmetijska zemljišča, cilj Tretjega rajha pa je bil s priključitvijo povečati celotno kmetijsko proizvodnjo na Štajerskem. Kljub vsem naložbam, priključitvam, razlastitvam ter infrastrukturnim in tehnološkim izboljšavam se je pridelek dejansko zmanjšal! Tako se je na primer pridelek koruze med letoma 1937 in 1944 zmanjšal s 34 ton/ha na 19 ton/ha, pridelek pšenice pa s 16 ton/ha na 13 ton/ha. Zakon o dednih kmetijah je bil razveljavljen leta 1945, avstrijski zakon o odpisu dolga kmetijstva iz leta 1938 pa so odpravili šele leta 1999.

1 Od leta 1930 je Walther Darré v svojih publikacijah in govorih, na primer v knjigi Neuadel aus Blut und Boden (Novo plemstvo iz krvi in tal), uporabljal zgodovinske reference in argumente za vzpostavitev novega aristokratskega razreda v družbi nemškega rajha – kmeta. Po mnenju Richarda Waltherja Darréja naj bi kmet zavzemal poseben položaj v družbi in naj bi ga varovala država – zlasti kapitalistični trg –, da bi se ohranila

For them, this meant a significantly improved infrastructure, the use of chemical fertilizers and investments in modern agricultural machinery. The Debt Relief Act thus provided financial resources for the modernization and maintenance of farms as well as for the expansion of farms with an area of more than 7.47 hectares. The introduction of the Law for the Attainment of Hereditary Farm Status2 (Reichserbhofgesetz3) granted owners numerous privileges. However, both laws led to the disappearance of smaller farms.

In 1938, natural disasters and floods caused enormous damage in Styria, whereupon a new wave of investment by the Third Reich in Styria began with a further 100 million Reichsmarks.

What did these laws mean in concrete terms for the agricultural landscape of Styria and its ownership structure?

In 1939, 97 % of the land in Styria was privately owned farms. Of these, 50 % were farms of less than 0.5 ha, which, however, only accounted for 4 % of the total area of Styria, while 4 % of farms larger than 50 ha covered 50 % of the total area of this region. With the introduction of the Imperial Hereditary Farm Act, larger farms were protected, while more than 1,000 smaller farms were sold off each year.

By 1942, 0.6 % of all land (area) in Styria that was owned by Jews was expropriated and “aryanized”. In 1941, Styria annexed Lower Styria, a region surrounding Marburg (Maribor) in present-day Slovenia, which at the time was part of the Kingdom of Yugoslavia. Lower Styria consisted of 98 % agricultural land, and the aim of the Third Reich was to increase the entire agricultural production of Styria through annexation. Despite all these investments, annexations, expropriations and infrastructural and technological improvements, crop yields actually fell! For example, maize production fell from 34 t/ha to 19 t/ha between 1937 and 1944, while wheat yields fell from 16 t/ha to 13 t/ha.

The Reich Agriculture Act was repealed in 1945, while the Austrian Agriculture Debt Relief Act of 1938 was only abolished in 1999.

ideja o tako imenovani germanski krvi. Darré je ustvaril obsežno in zelo podrobno podobo, ki je bila zoperstavljena ameriškemu konceptu kmetijske lastnine in kmetovalcev, tako da kmeta v tem primeru ne moremo prevesti kot kmetovalca ali kmečkega delavca. Leta 1933 je Darré postal minister za kmetijstvo in prehrano ter je poleg zakona o odpisu dolgov kmetijstva uvedel tudi zakon o dednih kmetijah, ki je stopil v veljavo leta 1938. Kmetije, večje od 7,47 hektarja, so jih imenovali »Ackernahrung« (hranilna njiva). To je pomenilo, da je bilo posestvo dovolj veliko, da je lahko nahranilo veleposestnika in njegovo družino, kar je podpiralo koncept „krvi in zemlje“.

2 Posestvo, manjše od 125 ha, je dobilo status „dedne kmetije“. Dedna kmetija je bila kmetija, ki je morala biti v lasti osebe „nemške ali po rodu istovrstne krvi“. Predvsem pa je moral biti lastnik ugleden, kar je pomenilo, da je moral spoštovati zakone. Prav tako je moral biti delaven, dostojnega vedenja ter se izogibati alkoholu in drugim oblikam zasvojenosti, ki bi lahko ogrozile njegovo kmečko lastnino, kot so na primer igre na srečo. Kmet je moral to dokazati z materialnim uspehom svoje kmetije. Predvsem pa se je moral držati idealov države.

3 Zakon rajha o dednih kmetijah je bil zakon, ki je urejal status posesti.

1 (large) farmer: From 1930 onwards, Darré used historical references and arguments to establish a new aristocratic class within the society of the German Reich – the peasant – in his publications and speeches, such as in “Neuadel aus Blut und Boden”. According to Richard Walther Darré, the peasant was to occupy a special position in society and be protected by the state – especially by the capitalist market – in order to uphold the idea of so-called Germanic blood. Darré created an extensive and very detailed image, which was also directed against the American concept of agricultural property and farmers, so that farmer in this case cannot be translated as agriculturist or farmer. In 1933, Darré was appointed Minister of Food and Agriculture and, in addition to the Debt Relief Act, also introduced the Hereditary Farm Act, which came into force in 1938. A farm larger than 7.47 hectares was designated as “an arable farm”. This meant that the estate was large enough to feed the large landowner and his family, thus supporting the concept of “blood and soil”.

2 An estate larger than 125 ha was given the status of “hereditary farm”. A hereditary farm was a farm that had to be owned by a person of “German or related blood”. Above all, the owner had to be of good standing, which meant that he had to abide by the law. He also had to be industrious, of decent behavior and avoid alcohol and other forms of addiction that could endanger his peasant property, such as gambling. The farmer had to prove this by the material success of his farm. Above all, however, he had to adhere to the ideals of the state!

3 The Imperial Heritage Act was the law governing the status of an estate.

Skozi stoletja je človek urejal vrtove za razvedrilo in zabavo. Baročni vrt kot ukročena in oblikovana narava je jasen topos. Prestiž in volja do moči naj bi se – enako kot ambicije in iluzije – izražala z estetskim poveličevanjem.

Umetniška skupina Total Refusal postavila vzporednice med zgodovinskim kontekstom baročnega vrta in sodobnim svetom videoiger. Deklarirani cilj v obeh primerih je ustvariti rajsko stanje v konstruiranem naravnem spektaklu. Presenetljivo je, kako tako v vrtovih kot v videoigrah človekova fascinacija nad preoblikovanjem narave sledi splošni estetizaciji. Mitično raziskovanje narave je del procesa tudi v digitalnem kozmosu. Zgodovinska dejstva so v igrah pogosto prikrojena, pomešana med seboj ali pretirana.

Skupina Total Refusal v svoji umetniški praksi temeljito proučuje estetiko in strukture videoiger ter njihov odnos do fizično-realnega sveta. Kode iger tako rekoč prenašajo v resnično življenje.

Na primeru baročnega vrta se ponovno pokaže interakcija med analognim in digitalnim. Ideali vrtne umetnosti so se v veliki meri preoblikovali v estetiko iger. V obeh lahko celo prepoznamo podobne cilje. Anarhični umetniški kolektiv si prizadeva z umetniškim delovanjem ustvariti nove razsežnosti v igralni kulturi in odpreti perspektive, ki lahko vplivajo tudi na resnično življenje. V skladu s konceptom igrifikacije je človeški obstoj že zdavnaj prevzel značilnosti igre. Vizualni kozmos iger je že dolgo nadomestil običajne filme in kinematografe; to pa pomeni, da se je spremenil tudi dostop do resničnosti.

EN Gardens have been created over the centuries for edification and entertainment. The baroque garden as tamed and designed nature is a clear topos. Prestige and the will to power were to be expressed just as much as ambition and illusion through aesthetic exaltation.

The historical context of the baroque garden is set in parallel with the modern world of video games by the artist group Total Refusal. The impulse to create a paradisiacal state in the constructed natural spectacle is the declared aim here and there. It is striking how, in both the gardens and the video games, human’s fascination with the transformation of nature follows a general aestheticization. The mythical exploration of nature is also part of the process in the digital cosmos. Historical facts are often adapted, mixed or heightened in the games.

In their artistic practice, Total Refusal fundamentally examine the aesthetics and structures of video games and their relationship to the physical-real world. They transfer the codes of the games to real life, as it were.

Using the example of the baroque garden, they once again show the interaction between the analog and the digital. The ideals of garden art have largely been transformed into the aesthetics of games. One can even recognize similar objectives in both. The anarchic art collective attempts to create new dimensions in gaming culture through artistic work, to open up perspectives that can also have an impact on real life. Following the idea of “gamification”, human existence has long since taken on the characteristics of a game. The visual cosmos of games has long since replaced that of conventional films and cinema –which has also changed our approach to reality.

Total Refusal

Od leta 2018 raziskovanje in izvajanje različnih strategij umetniške intervencije v sodobnih računalniških igrah kot psevdomarksistična medijska gverila in fluidni kolektiv. 2024 nagrada A+F+V Awards festivala luči Breitenseer Lichtspiele, Dunaj. 2022 nagrada Best Short Direction Awards Locarno Film Festival. 2024 predstavitev filmov na festivalu Filmfest Dresden, 2022 predstavitev filmov na festivalu Viennale, Dunaj, 2020 predstavitev filmov na festivalu Berlinale, Berlin ter v muzeju MoMA – Museum of Modern Art, New York.

Thomas Spies je doktoriral iz

reprezentacije travm v računalniških igrah na Univerzi v Kölnu in uči medijske vede na Univerzi v Kölnu ter ustvarjanje iger na visoki šoli Macomedia, Campus Köln.

1–3

Total Refusal, Gekerbte Wildnis / Nagubana divjina, 2025, posamezna slika videa © Bildrecht, Dunaj 2025

EN Total Refusal is exploring and practicing different strategies of artistic intervention in contemporary video games as a pseudo-Marxist media guerrilla and fluid collective since 2018. Awarded the A+F+V Award at the Breitenseer Lichtspiele, Vienna in 2024 and 2022 the Best Short Direction Award at the Locarno Film Festival. Presentation of the films at the Filmfest Dresden in 2024, at the Viennale in 2022, at the Berlinale in 2020 and at the MoMA – Museum of Modern Art, New York City.

Thomas Spies did his doctorate on trauma representation in computer games at the University of Cologne and teaches media studies at the University of Cologne and game design at Macomedia University, Campus Cologne.

1–3

Total Refusal, Crenated Wilderness, 2025, Videostill © Bildrecht, Vienna 2025

Total

Nagubana divjina

Video instalacija Nagubana divjina raziskuje presečišča zgodovinskih vrtov in digitalne narave v videoigrah. Medijski kolaž prikazuje, kako so tako vrtovi kot tudi igre prostori nadzorovane fantazije in idealizirane narave, v katerih je divjina ukročena, uprizorjena in polna mitološke vsebine. Baročni vrtovi z geometrijskimi oblikami in simbolističnimi elementi predstavljajo nasprotje umetni divjini angleških vrtov. Prispevek komentira pravljično bitje, ki vzpostavi povezave med veličastnimi vrtovi, kolonialnimi pripovedmi, strukturami odprtega sveta računalniških iger in njihovimi romantičnimi navideznimi ruševinami. Pravljično bitje posreduje med svetovi in časi, podobno kot t. i. vrtni ali okrasni

EN Crenated Wilderness

The video installation Crenated Wilderness explores the intersections of historical garden landscapes and digital nature in video games. A media collage illustrates how both gardens and games serve as controlled fantasies and idealized natural spaces in which wilderness is tamed, staged and mythologically charged. Baroque gardens with their geometric forms and symbolist elements stand in contrast to the artificial wilderness of English landscape gardens. The video work is commented on by a mythical figure who establishes links between the grand gardens, their colonial narratives, the open-world structures of the game worlds and their romantic

eremiti, ki jih poznamo iz zgodovine in so –kot neigralni liki (NPC) v računalniški igri –performativni elementi pokrajine in tako del dizajna posameznega nivoja veleposestnika. Kontinuiteta v pripovedništvu skozi okolje vrtov in videoiger postane jasna: domišljijski svetovi, kjer vlada vsemogočnost avatarjev, ki nastopajo v videoigrah, se prekrivajo s sanjskimi svetovi vladajočega razreda, na kar se prikazujejo vzporednice – podobni zemljevidi, iluzije in sistemi reda.

pseudo-ruins. The mythical narrator mediates between the worlds and times, similar to historical jewelry emites, which – like the non-player characters in video games – were integrated into the level design of the princes as performative landscape elements. A continuity in the environmental storytelling of the gardens and video games becomes clear here: the omnipotent fantasy worlds of the gaming avatars are superimposed on the dream worlds of the ruling class and similar cartographies, illusions and systems of order become visible.

Lena Violetta Leitner v svojih delih na humoren in kritičen način proučuje sobivanje rastlin, živali in ljudi. Na znanstveni osnovi razvija pripovedne strukture, ki vključujejo fiktivne poglede in se zgoščajo v namišljene eksperimentalne postavitve in scenarije laboratorija. Zaradi umeščenosti med likovno umetnostjo, oblikovanjem in znanostjo je tudi aktivistka, ki svojo umetnost postavlja v širši družbeni in ekološki kontekst.

Leitner, ki redno deluje v različnih kolektivih, je leta 2017 ustanovila Integracijski center za priseljene rastline (Integrationszentrum für migrierte Pflanzen – IZMP). V sklopu centra umetnica satirično raziskuje ne le procese v naravi in svetu rastlin, temveč tudi splošno svetovno migracijsko dinamiko. IZMP raziskuje kolonialno zgodovino invazivnih tujerodnih rastlin – neofitov. Neofiti so rastline, ki so po letu 1492 s pomočjo človeka kolonizirale območja, kjer prej niso bile avtohtone. Posledica, ki se je bojijo, je znatno zmanjšanje količine domorodnih rastlin.

V zapletenih eksperimentih in ob sodelovanju različnih strokovnjakov zbirajo v IZMP kazalnike, ki npr. omogočajo ocenjevanje odpornosti določene rastline.

V jezikovnem laboratoriju so rastline preko zvočnikov izpostavljene tečajem nemščine in ustreznega vedenja, hkrati pa se meri vrednost odpornosti listov. Če so podatki o prilagodljivosti neugodni, se rastlino uniči ali vrne v prvotno državo izvora.

Lena Violetta Leitner v paviljonu predstavlja nov razstavni prostor IZMP.

V videoposnetkih bo prikazovala delovne metode in raziskovalni pristop inštituta ter izjemno presenetljive rezultate.

EN In her art, Lena Violetta Leitner explores the coexistence of plants, animals and humans in a humorous and critical way. Based on scientific principles, she develops narrative structures that include fictional aspects and are condensed into imaginary experimental set-ups and laboratory scenarios. This position between fine art, design and science also makes her an activist who places her artistic activities in a larger social or ecological context.

Leitner, who repeatedly works in various collective collaborations, founded the Integration Center for Migrated Plants (IZMP) in 2017. In it, the artist satirically explores not only processes within nature and the plant world, but also general global migration dynamics. The IZMP examines the colonial history of invasive plants. Neophytes are plants that have colonized areas after 1492 through human dispersal where they did not previously occur. The decimation of autochthonous plants is the feared consequence.

In elaborate experimental set-ups and with the participation of various experts, values are collected that allow statements to be made about the resistance of a particular plant, for example. In the language laboratory, plants are exposed to German and behavioral courses while the resistance value of the leaves is measured at the same time. If unfavorable data is found with regard to adaptability, the plant is destroyed or returned to its original country of origin.

Lena Violetta Leitner is now opening a new IZMP showroom in the pavilion. Video clips will present the institute’s working methods and research approach as well as astonishing results.

NiedrigerWiderstandswert HoherIntegrationsindikator

ZERTIFIZIERTE FREMDEPFLANZE

IZMP zertifiziert

Wir versichern, dass einheimische Arten nicht verdrängt werden.

Inkl. Integrationspass

NU.PF.2.0

NiedrigerWiderstandswert HoherIntegrationsindikator

ZERTIFIZIERTE FREMDEPFLANZE

NiedrigerWiderstandswert HoherIntegrationsindikator

ZERTIFIZIERTE FREMDEPFLANZE

IZMP zertifiziert

Wir versichern, dass einheimische Arten nicht verdrängt werden.

Inkl. Integrationspass

IZMP zertifiziert

Wir versichern, dass einheimische Arten nicht verdrängt werden.

Inkl. Integrationspass

NU.PF.2.0

Lena Violetta Leitner Lena Violetta Leitner Lena Violetta Leitner

Lena Violetta Leitner * 1986

v Gradcu. 2008–2017 študij japanologije, gledališke, filmske in medijske znanosti ter digitalne umetnosti na Univerzi za uporabne umetnosti na Dunaju. 2024 How to Become an Island? THE BOOTCAMP / Kako postati otok? BOOTCAMP, Forum Stadtpark, Gradec. 2020 May I introduce: Alien! / Smem predstaviti: tujec!, Angewandte Innovation Lab, Dunaj. Od leta 2017 vodja Integracijskega centra za priseljene rastline (Integrationszentrum für Migrierte Pflanzen – IZMP.)

Lena Violetta Leitner, Razstavni salon IZMP, Rastlinski ščit, 2025

Lena Violetta Leitner, Razstavni salon IZMP, 2025

Fotografija: Tina Kult 3

Lena Violetta Leitner, Razstavni salon IZMP, 2025

EN Lena Violetta Leitner

* 1986 in Graz. 2008–2017 Studied Japanese Studies, Theater, Film and Media Studies and Digital Art at the University of Applied Arts Vienna. 2024 How to Become an Island? THE BOOTCAMP, Forum Stadtpark, Graz. 2020 May I introduce: Alien!, Angewandte Innovation Lab, Vienna. Since 2017 Head of the Integration Center for migrated Plants (IZMP).

Lena Violetta Leitner, showroom of the IZMP, plant sign, 2025

Lena Violetta Leitner, showroom of the IZMP, 2025

Photo: Tina Kult 3

Lena Violetta Leitner, showroom of the IZMP, 2025

Photo: Universalmuseum Joanneum 4, 6

Lena Violetta Leitner, showroom of the IZMP, 2025

Večstranski umetnik in aktivist

Michael Pöllinger črpa svojo ustvarjalno moč iz dveh temeljnih področij: iz narave in tradicije. Obe področji sta bili skozi zgodovino neskončno gosti in protislovni, zlorabljeni in zadušeni v klišejih.

Pöllinger z navidezno svežim, skoraj nedolžnim pristopom osvežujoče in na novo interpretira problematične pojme, kot so domovina, tradicija, običaji, ljudska umetnost ter umetnost in obrt. Oblike krajinske umetnosti (land art) združuje s pozabljenim alpskim rokodelskim znanjem in staroselskimi obrednimi strukturami. V Pöllingerjevi umetnosti se svet religioznih in poganskih simbolov pogosto združuje s sodobnimi oblikami družbenega sobivanja. Sedanjost in zgodovina sta nenehno prisotni v mešanih razmerjih, prav tako kot modernost in tradicija.

Umetnost ni eskapistična in se nikakor ne zapira pred perečimi problemi sedanjosti. Tako se na primer loti vprašanja podnebnih sprememb, industrijskega kmetijstva in s tem povezanih družbenih sprememb. Michael Pöllinger v duhu Clauda

Lévi-Straussa prepoznava dva temeljna pristopa k pridobivanju znanja in razumevanja: ustno izročilo in opazovanje narave, ki je razširjeno med plemenskimi ljudstvi, ter sodobne naravoslovne znanstvene metode, ki temeljijo na strojih in zapisih. V današnjem času Michael Pöllinger prepozna nevarnost propada sorazmerja, ki ga poskuša v svojem umetniškem delovanju spremeniti na nesentimentalen način in brez nostalgije.

EN The polyartist and activist Michael Pöllinger draws his creative power from two fundamental areas: from nature and from tradition. Throughout history, both areas have been infinitely dense and contradictory, abused and suffocated in clichés. With a seemingly fresh, almost innocent approach, Pöllinger reinterprets problematic concepts such as homeland, tradition, customs, folk art and arts and crafts in a refreshing way. He combines forms of land art with lost Alpine craftsmanship and indigenous ritual structures. In Pöllinger’s art, the world of religious and pagan symbols often merges with contemporary forms of social coexistence. The present and history are constantly present, as are modernity and tradition in mixed proportions. This art is not escapist; it is by no means closed to the acute problems of the present. For example, the artist naturally integrates questions of climate change, industrial agriculture and the accompanying social changes. In the spirit of Claude Lévi-Strauss, Michael Pöllinger basically recognizes two essential approaches to the acquisition of knowledge and insight: the oral tradition and observation of nature widespread among primitive peoples and modern, apparatus- and writing-based scientific methods. In the present day, Michael Pöllinger sees proportion in danger in this respect and therefore attempts to counteract this in his art practice, unsentimentally and far from any nostalgia.

Michael Pöllinger Michael Pöllinger

Michael Pöllinger * 1992 v Leobnu. 2015–2017 zobrazba na področju gledališke igre in performansa diverCITYLAB na Dunaju. 2023 zaključek študija na Univerzi za uporabne umetnosti na Dunaju. 2024 Surprise, Surprise! / Presenečenje! Presenečenje!, skupinska razstava, Galerie3, ter performans ob otvoritvi Narzissenpost, Bad Aussee, EPK Salzkammergut 24. 2023 wer nicht schwimmen lernt, ersäuft / kdor se ne uči plavanja, utone, samostojna predstavitev in performans, Bad Mitterndorf.

EN Michael Pöllinger * 1992 in Leoben. 2015–2017 Participation in the acting and performance training program diverCITYLAB in Vienna. 2023 Graduation from the University of Applied Arts Vienna. 2024 Surprise, Surprise!, group exhibition, Galerie3, and performance for the opening of Narzissenpost, Bad Aussee, Cultural Capital Salzkammergut 24. 2023 Whoever doesn’t learn to swim drowns, solo presentation and performance, Bad Mitterndorf.

Michael Pöllinger, Seno kostum, 2023, Seno, lešnikove veje, bombažna vrvica, vrvica iz jute, zemlja, jajčna tempera, beljenje, fotografija: Michael Pöllinger 2

Fotografija: Michael Pöllinger, z dovoljenjem umetnika 3

Michael Pöllinger, Opa, Opa „Die Sense mäht, das Verborgene entsteht“ / Dedek, dedek „Kosa kosi, skrito nastane“, 2022, mešani mediji (zemeljski pigmenti, lepilo iz zajčje kože, blago – šivanje, lepljenje, bakrena folija na bombažu, napeto na leseni okvir), 180 × 140 cm 4

Michael Pöllinger, Opa / Dedek, 2023, mešani mediji na bombažu, na juti, z žeblji pričvrščeni na leseno ploščo, 120 × 90 cm

Michael Pöllinger, Hay costume, 2023 Hay, hazelnut branches, cotton string, jute string, earth, egg tempera, whitewash

Photo: Michael Pöllinger 2

Photo: Michael Pöllinger, courtesy of the artist 3

Michael Pöllinger, Grandpa, Grandpa “Die Sense mäht, das Verborgene entsteht”, 2022, mixed media (earth pigments, rabbit skin glue, textiles – sewn, glued, copper foil on cotton cloth stretched on wooden frame), 180 × 140 cm

Michael Pöllinger, Grandpa, 2023, mixed media on cotton cloth on jute nailed to wooden panel, 120 × 90 cm

Sintaktični princip v skulpturi je značilen za delo Andreasa Hellerja. Tako kot v besedni igri zamenjamo dele stavka, lahko pride do takšnih premikov tudi v umetnosti. Tako lahko na primer dojemamo predmete v prostoru kot kipe. Ko se izbriše funkcionalnost, se poveča stopnja abstrakcije. Heller se običajno ukvarja z deli, ki prihajajo iz arhitekture, pri čemer se osredotoča tako na formalne kot tudi na kulturne in družbene vidike.

Ograje lahko razumemo tako v kontekstu arhitekture kot tudi kiparstva. Pogosto vsebujejo arhitekturne oblike, kot so loki, stebri in kapiteli. V vsakem primeru opredeljujejo prostor. Ograja je hkrati simbol potrebe po zaščiti, razmejitvi in estetiki. Danes utrjujoče litoželezne konstrukcije obdajajo klasicistične stavbe, vile in psevdofevdalna posestva na podeželju. Vendar so tudi arhiv različnih konceptov oblik. Okraševanje nekega obdobja nam posreduje informacije o njem in nas vabi k razmisleku o ciljih in vrednotah družbe danega obdobja. Navidezno nevarni koničasti elementi se izmenjujejo s cvetličnim razkošjem. Poleg razmejitve opažamo tudi družbeni prestiž, ki se kaže v dekorativni funkciji ograje. V svojem hibridnem stanju med arhitekturo in kiparstvom dojemamo ograje v smislu urejanja krajine tudi kot element kultiviranja.

Andreas Heller se v svojih ograjnih objektih formalno jasno navezuje na preteklost, vsebinsko pa prehaja na teme sedanjosti – ksenofobijo, izključevanje, izolacijo, obrambo.

EN The syntactic principle in sculpture is characteristic of Andreas Heller’s work. Just as words can be shifted within a sentence in a language game, shifts of this kind can also occur within art. In this way, for example, elements of space become sculpturally readable. When the functional context is erased, the degree of abstraction is increased. Heller generally works with elements from architecture, taking up its formal aspects as well as the associated cultural and social aspects.

Fences are feasible in the context of both architecture and sculpture. They often directly incorporate architectural forms such as cornices and arches, columns and capitals. In any case, they define the space. The fence is simultaneously a symbol of the need for protection, separation and aesthetic calculation. Today, the cast-iron fortifications surround classicist city buildings, villas and pseudo-feudal country estates. But they are also an archive of different ideas of form. The ornamentation of an era provides information about it and allows us to reflect on the goals and values of the respective society. Dangerous-looking elements with arrow-like tips alternate with floral pomp. In addition to demarcation, this also refers to the social prestige that lies in the decorative function of a fence. In their hybrid existence between architecture and sculpture, fences are also perceived in a special way as a cultivating element in relation to the shaping of the landscape.

In his fence objects, Andreas Heller makes clear formal reference to the historical, but in terms of content he makes a clear shift to the present – xenophobia, exclusion, isolation, defense.

Andreas Heller Andreas Heller Andreas Heller

SLO Andreas Heller * 1978 v Gradcu. 2003–2008 študij na Akademiji za upodabljajoče umetnosti na Dunaju. 2024 Everyone’s Stille, skupinska razstava, Akademie Graz, Gradec. 2019 SHOP, samostojna razstava v obliki pop-up-trgovine, Forum Stadtpark, Gradec. Od leta 2015 ustanovni član iniciative Kunstverleih / izposoja umetnosti, med drugim z razstavo Initiative Kunstverleih – Licht, Luft, Sonne … Kunst! / Pobuda izposoja umetnosti – luč, zrak, sonce … umetnost!, <rotor>, Gradec. 2009–2017 kustos za upodabljajoče umetnosti, Forum Stadtpark, Gradec.

EN Andreas Heller * 1978 in Graz. 2003–2008 Studied at the Academy of Fine Arts Vienna. 2024 Everyone’s Stille, group exhibition, Academy Graz. 2019 SHOP, solo exhibition as pop-up store, Forum Stadtpark, Graz. Since 2015 Founding member of the Initiative Kunstverleih, including the exhibition Initiative Kunstverleih – Licht, Luft, Sonne ... Kunst!, <rotor>, Graz. 2009–2017 Curator of visual arts, Forum Stadtpark.

Andreas Heller, Brez naslova (Baročni rešetkasti krog), 2021-2025

Andreas Heller, Brez naslova (Gozd polžev), detajl, 2023

Andreas Heller, Brez naslova (Ogenj z bitjem), 2024

Andreas Heller, Brez naslova (Podstavek z bitjem), 2021

Andreas Heller, Brez naslova (Dediščina), 2021

Andreas Heller, Untitled (Baroque grid circle), 2021–2025 © Bildrecht, Vienna 2025

Andreas Heller, Untitled (Snail Forest G), detail, 2023 © Bildrecht, Vienna 2025

Andreas Heller, Untitled (Fire with creature), 2024 © Bildrecht, Vienna 2025

Andreas Heller, Untitled (pedestal with creature), 2021 © Bildrecht, Vienna 2025

Andreas Heller, Untitled (Heirloom), 2021 © Bildrecht, Vienna 2025

26.04.–02.11.2025

v Gradcu, Schloss Eggenberg

Hubert Schmalix

Erwin Wurm

Klaus Lang, Ārt House

V paviljonu pred dvorcem Eggenberg igra osrednjo vlogo glasba. Arhitektura paviljona prevzame baročno teatralnost in elemente vrtnega paviljona. Posledica prilagodljive arhitekture so performativni trenutki, zaradi katerih se zdi, da se lokacija nenehno spreminja.

Skladatelj Klaus Lang se je osredotočil na glasbo, ki je nastala na dvorcu Eggenberg, in na embleme, ki so vključeni v stropne poslikave palače. Emblemi so služili izobraževanju in vzgoji aristokratske mladine in tako niso bili le intelektualne uganke, temveč tudi navodila za ravnanje, na kar se Langove kompozicije nanašajo in v paviljonu odmevajo v sozvočju s sedanjostjo.

Navodila za ravnanje in performativnost kipa sta bistvena elementa v razmišljanjih kiparja Erwina Wurma. Zamisel njegovih del One Minute Sculptures in performativnost njegove umetnosti sta tokrat vpeta v kontekst baročne teatralnosti. Eksaltiranost baroka, ki je povezana z današnjo narcistično družbo, se razvija v skupku kipov, izbranih za paviljon. Kipi tvorijo namišljeno družbo na dvoru, za katero se zdi, da ima –vsaj v pričujočem primeru – že nekoliko načeto duševno zdravje.

EN Music pavilion –Baroque theatrics

Music plays a central role in the pavilion positioned in front of the palace. The architecture of the pavilion takes up the baroque theatrics and the element of the garden pavilion. The flexible architecture results in performative moments that make the location appear ever-changing.

The composer Klaus Lang has explored the music composed at the Eggenberg Court and the emblems incorporated into the palace’s ceiling paintings. Emblemata served to educate and enlighten the aristocratic youth and were therefore not only intellectual riddles, but also instructions for conduct. Lang’s compositions refer to this and resonate in the pavilion in their relevance to the present day.

Instructions for action and the performativity of sculpture are essential elements in the reflections of the sculptor Erwin Wurm. This time the idea of his One Minute Sculptures and the performativity of his art in general are integrated into the context of baroque drama. The exaltation of the Baroque, which is closely related to the narcissistic society of today, unfolds in the ensemble of sculptures selected for the pavilion. The sculptures form an imaginary court society whose psychological disposition seems to have been shaken, at least here.

baročna teatralnost baročna teatralnost baročna teatralnost

Na stenah iz zaves prevladuje monumentalna digitalna slika Huberta Schmalixa. Razteza se po celem paviljonu. Delno odpiranje in zapiranje zaves krepi značaj gledališke igre. Slike se pretežno nanašajo na del digitalne komunikacije: emojije. Osredotočajo se na poglede in jasne kretnje ter v Schmalixovem delu postanejo navodila za ravnanje – odbijajo ali privlačijo.

The curtain walls of the pavilion are dominated by a monumental digital painting by Hubert Schmalix. It runs around the entire pavilion. The partial opening and closing of the curtains heightens the character of the spectacle. The images essentially refer to digital communication – emojis. They are focused on gazes and clear gestures and, in Schmalix’s work, become instructions for action – they either instruct or attract.

Zunanji pogled paviljon glasble Schloss Eggenberg, Erwin Wurm in Hubert Schmalix © Bildrecht, Dunaj 2025, Fotografija: UMJ/ Nicolas Lackner

Erwin Wurm, Phantom, 2023 © Bildrecht, Dunaj 2025, Fotografija: UMJ/Nicolas Lackner

Erwin Wurm, Untitled (The Hitchhiker’s Project), 2020 © Bildrecht, Dunaj 2025, Fotografija: UMJ/Nicolas Lackner

Exterior view music pavilion Schloss Eggenberg, Erwin Wurm and Hubert Schmalix © Bildrecht, Vienna 2025, Photo: UMJ/ Nicolas Lackner

Paviljon Štajerske –

01.05.–28.07.2025

Mariazell

20.08.–31.10.2025

Leoben

Herbert Brandl Constantin Luser

Plateau Residue

Antonia Jeitler

Karoline Rudolf

Mito Gegič

Paviljon Štajerske –tradicija in sodobnost

Po arhitekturi ima paviljon jasen funkcijo. Vmesni strop razdeli celoten prostor poševno in v horizontali. V enem delu paviljona stilizirano gorovje simbolizira topografijo avstrijske Štajerske; tako kot v himni dežele Štajerske, iz višav gore Dachstein („Hoch vom Dachstein an ...“). Herbert Brandl je v tradiciji panoramskega slikarstva ta predel navdihnil z življenjem. Monumentalna slika obiskovalce popelje k lepotam alpske pokrajine, hkrati pa jih spomni na burno zgodovino dežele. Paviljoni se v osnovi nanašajo na svoje lokacije. Tako pomemben romarski kraj Marijino Celje (Mariazell) kot tudi Leoben, mesto z dolgoletno rudarsko tradicijo, se nahajata v obsežnih gozdnih pokrajinah z močno gozdarsko industrijo.

Kako se predstavlja dežela v sliki, kako se njeni prebivalci predstavljajo v ogledalu zgodovine? Kje se tradicija srečuje s sodobnostjo in sedanjostjo? Gre za vprašanja, ki se porodijo zaradi umetniških del paviljonu Štajerske.

EN Styria Pavilion –tradition and modernity

The pavilion provides a clear architectural guideline. An intermediate ceiling-like section divides the overall space diagonally, horizontally. In one part of the pavilion, a stylized mountain range symbolizes the topography of Styria – Hoch vom Dachstein an .... Herbert Brandl has enlivened this zone in the tradition of panorama painting. The monumental painting leads the public to the beauty of the Alpine landscape as well as reminding them of the storms of the country’s turbulent history. The pavilions also refer fundamentally to their locations. Mariazell as a prominent place of pilgrimage and Leoben with its long mining tradition are both located in extensive woodland with a strong forestry industry.

How does a country represent itself in a picture, how do its people represent themselves in the mirror of history? Where does tradition meet modernity and the present? These questions arise in view of the artistic contributions in this pavilion.

tradicija in sodobnost tradicija in sodobnost tradicija in sodobnost

Akustično drevo Constantina

Luserja in njegove figure s trobentami odpirajo kulturni prostor, v katerem se regionalni kontekst odraža na več načinov. Duo Plateau Residue na primeru gozdarstva obravnava ravnanje z viri. Karoline Rudolf in Antonia Jeitler se v svojem delu lotevata načina predstavitve spomenikov. Podstavek, ki običajno dviga in izpostavlja figuro, pri Karolini Rudolf postane nestabilno ogrodje, na katerem se umetnica upira turbulencam realnosti. Portreti anonimnih ljudi Antonie

Jeitler, ki v družbi ostajajo nevidni, pričajo o krhkosti samopodobe in možni izpostavljenosti na podstavku, ki je v tem primeru nevaren ali nestabilen. V umetnosti se vedno znova izraža soočenje med tradicijo in sodobnostjo – regionalni vidiki pred ozadjem globalne stvarnosti. To je opazno tudi v videu Mita Gegicsa, v katerem med dvema mladima človekoma, ki nosita narodni noši podobna oblačila, od enega monitorja do drugega niha ogromna rušilna krogla.

Constantin Luser’s acoustic tree, as well as his trumpet figures, open up a cultural space in which the regional context is reflected in multiple ways. The duo Plateau Residue specifically addresses the use of resources using the example of forestry. Karoline Rudolf and Antonia Jeitler take up the presentation form of the monument in their considerations. The plinth, which usually elevates and exposes the figure, becomes an unstable terrain in Rudolf’s work, on which the artist resists the turbulence of reality. Jeitler’s portraits of anonymous people who remain invisible in society testify to the fragility of the self-image and the possible exposure to the exposed place on the pedestal, which here is a dubious one. It is always the confrontation between tradition and modernity that is expressed in art –regional aspects against the backdrop of global reality. This is also visible in Mito Gegič’s video work, where a gigantic wrecking ball swings from one monitor to the other between two young people in folkloristic clothing.

Pogled od znotraj paviljon Štajerske, Mito Gegič, Antonia Jeitler, Herbert Brandl, Constantin Luser © Bildrecht, Dunaj 2025, Fotografija: UMJ/ J.J Kucek 3

Antonia Jeitler, Skupina, 2024/2025, Fotografija: UMJ/ J.J. Kucek 3

Pogled od znotraj paviljon Štajerske, Antonia Jeitler, Herbert Brandl, Fotografija: UMJ/ J.J. Kucek

Interior view Styria pavilion, Mito Gegič, Antonia Jeitler, Herbert Brandl, Constantin Luser © Bildrecht, Vienna 2025, Photo: UMJ/ J.J. Kucek 2

Antonia Jeitler, group, 2024/2025, Photo: UMJ/ J.J. Kucek 3

Interior view Styria pavilion, Antonia Jeitler, Herbert Brandl, Photo: UMJ/ J.J. Kucek

Arhitekturna pisarna WG3 s sedežem v Gradcu deluje tematsko široko s posebnim poudarkom na javnih in kulturnih projektih. Enotni element je namerno obrtniški pristop, ki strukturno trajnost zasidra v kritično analizo zgodovinske materialnosti. Vsi štirje ustanovitelji – Albert Erjavec, Matthias Gumhalter, Christian Reschreiter in Jan Ries – so po izobrazbi mizarji, za katere arhitekturno oblikovanje povsem naravno združuje obliko in funkcijo ter notranji in zunanji prostor. Ta pristop zgledno prikazuje njihov doslej največji kulturni projekt: graški muzej Graz Museum Schlossberg, ki je bil odprt leta 2020 in je pravkar prejel nagrado za arhitekturo avstrijske dežele Štajerske. Studio WG3 je iz heterogenega fonda nekdanje trdnjave razvil odprtost, za katero so značilni natančni strukturni posegi. Osrednji oblikovni element je „zunanje preddverje“, gaj, ki ga obdajajo poti in ki razbije obstoječi zid ter tako deluje kot vključujoč usmerjevalni sistem. Rezultat je sodoben muzej, katerega zgodovina je sestavni del njegove zgodovinske pripovedi. Studio WG3 ima poleg Gradca podružnice še v Linzu, Kukmirnu (Gradiščanska) in v St. Martinu am Tennengebirge (Salzburg). Štirim ustanoviteljem pomagajo še trije zaposleni. (studio WG3)

EN The Graz-based architecture firm studio WG3 pursues a broad practice with a special focus on public and cultural projects. The unifying element is a deliberately artisanal approach that anchors structural sustainability in a critical analysis of historical materiality. All four founders – Albert Erjavec, Matthias Gumhalter, Christian Reschreiter and Jan Ries – are trained carpenters for whom architectural design naturally combines form and function as well as interior and exterior space.

This approach characterizes their largest cultural project to date – the Graz Museum Schlossberg, which opened in 2020 and has just been awarded the Architecture Prize of the Province of Styria – in an exemplary manner. Studio WG3 developed an opening characterized by precise structural interventions from the heterogeneous stock of the former fortress. The central design element is the “outdoor foyer”, a circular grove of trees that breaks up the existing wall and acts as an inclusive guidance system. The result is a contemporary museum that makes its built history a central element of its historical narrative.

In addition to Graz, studio WG3 has branches in Linz, Kukmirn (Burgenland) and St. Martin am Tennengebirge (Salzburg). The four founders are supported by three other employees.

(studio WG3)

WG3 studio WG3

studio

SLO studio WG3

Arhitekti Albert Erjavec, Matthias Gumhalter, Christian Reschreiter in Jan Ries so leta 2011 prejeli državno nagrado Republike Avstrije za oblikovanje v kategoriji Design Concepts. 2021 je graška pisarna prejela nagrado za arhitekturo dežele Štajerske za prestižni projekt Graz Museum Schlossberg. S svojim posebnim konceptom trodelnega paviljona so arhitekti leta 2024 prepričali žirijo Univerzalnega muzeja Joanneum v sklopu razpisa, ko so zgodovino dvorca Eggenberg prenesli v sodoben in hkrati lahkoten jezik arhitekture.

Hotel Nesslerhof, zunaj

EN studio WG3

The architects Albert Erjavec, Matthias Gumhalter, Christian Reschreiter and Jan Ries received the 2011 State Prize for Design in the Design Concepts category. In 2021, the Graz office received the architecture prize of the Province of Styria for the prestigious Graz Museum Schlossberg project. With their sophisticated three-part pavilion concept, they were able to unanimously convince the jury of the Universalmuseum Joanneum in 2024, by bringing the history of Schloss Eggenberg into a modern and graceful architectural language.

Hotel Nesslerhof, externally

Ibis Styles Credits studio WG3

Karin Lernbeiß

Lendhafen Credits studio WG3

Inovativna platna za vizionarsko arhitekturo.

Tekstilna arhitektura je edinstvena, saj združuje lahkotnost, prilagodljivost in mamljivo estetiko. V nasprotju z običajnimi načini gradnje platna omogočajo velike razpone z minimalno uporabo materialov, pri čemer varčujemo z viri in smo trajnostni.

Tekstilna platna so prosojna in zato ustvarjajo čudovite svetlobne in senčne efekte, ki dajejo prostorom poseben čar. Vijugaste in organske oblike je s tradicionalnimi gradbenimi materiali težko izvajati.

Poleg tega prednapeta platna prevzamejo nosilno funkcijo, kar pomeni, da ne delujejo le kot obloga, temveč tudi kot statični elementi. V kombinaciji z vrvmi in jeklenimi konstrukcijami je mogoče ustvariti individualne, futuristične konstrukcije, ki so hkrati funkcionalne in estetske. Zaradi svoje vsestranskosti je tekstilna arhitektura nepogrešljiva, zlasti na stadionih, letališčih, v paviljonih ali pri oblikovanju pročelij.

Družinsko podjetje Sattler

PRO-TEX GmbH že 150 let navdušuje z visokokakovostnimi arhitekturnimi platni in je tudi letos zagotovilo material za tri posebne paviljone za razstavo STEIERMARK SCHAU.

EN Innovative Membranes for Visionary Architecture. Textile architecture is unique because it combines lightness, flexibility, and striking aesthetics. Unlike traditional construction methods, it enables large spans with minimal material use, making it both resource-efficient and sustainable. Thanks to the high translucency, textile membranes create fascinating light and shadow effects, giving spaces a distinctive atmosphere. Their curved, organic shapes are difficult to achieve with conventional building materials. Additionally, the intentional prestress to the textile serves a structural function, acting not only as cladding but also as an integral part of the overall stability. Combined with cable and steel structures, they enable the creation of unique, futuristic designs that are both functional and visually impressive. This versatility makes textile architecture indispensable for stadiums, airports, pavilions, and façade designs.

Sattler PRO-TEX GmbH, a family-run company with 150 years of experience, has always impressed with its high-quality architectural membranes and once again provided the material for the three impressive pavilions at the SHOWING STYRIA this year.

Projekt v Birminghamu, izveden s POLYPLAN Architecture

Type I, potiskana 2

Projekt v Parizu, izveden s POLYPLAN Architecture Typ II 3

Projekt v Dubrovniku, izveden v sodelovanju z ATLAS Architecture in POLYPLAN Candy

Project in Birmingham, implemented with POLYPLAN Architecture

Type I 2

Project in Paris, implemented with POLYPLAN Architecture Type II 3

Project in Dubrovnik, implemented with ATLAS Architecture and POLYPLAN Candy

Vodja projekta: Antonia Sorger-Domenigg

Kustos: Günther Holler-Schuster

Asistentka kustosa: Angelika Schneider

Celostno vodenje projekta STEIERMARK SCHAU: Daniela Teuschler in Andreas Schnitzler

Arhitektura: studio WG3

Oblikovanje CI: Alexander Kada, KADADESIGN

Oblikovanje brošure: Katharina Schwarz

Besedila o razstavi ter o umetnicah in umetnikih: Günther Holler-Schuster

Biografije in prevod v angleščino: Angelika Schneider

Prevod v slovenščino: Sebastian Walcher

Lektura nemščine: Jörg Eipper-Kaiser

Razstavna tehnika: UMJ Zentralwerkstatt – Team Bodlos Mit Loidl oder Co GmbH Scherrer Audio ERCO

Project management: Antonia Sorger-Domenigg

Curator: Günther Holler-Schuster

Curatorial assistance: Angelika Schneider

Overall project management SHOWING STYRIA: Daniela Teuschler and Andreas Schnitzler

Architecture: studio WG3

Support Vienna: Richard Lindenthal Paul Kramer

CI Design: Alexander Kada, KADADESIGN

Booklet Design: Katharina Schwarz

Curatorial and artist texts: Günther Holler-Schuster

Biographies and english translation: Angelika Schneider

Prevod v slovenščino: Sebastian Walcher

German Editing: Jörg Eipper-Kaiser

Exhibition setup: UMJ Central Workshop – Team Bodlos Mit Loidl oder Co GmbH Scherrer Audio ERCO

Dodatek Partnerji:

Mestna občina Mariazell

Heimathaus Mariazell

Mestna občina Leoben

Kulturquartier Leoben

Narodni Muzej Slovenije Ljubljana

Urad deželne vlade Štajerske

Oddelek 16, promet in visoke gradnje

Zahvala

Ekipa paviljona se lepo zahvaljuje vsem sodelujočim. Posebna zahvala gre vsem sodelavkam_cem Univerzalnega muzeja Joanneum. Brez njihove podpore projekta ne bi uresničili.

Günther Holler-Schuster se za podporo posebej zahvaljuje Andreji Hribernik in Vladimirju Vidmarju.

Partners:

Municipality Mariazell

Mariazeller Heimathaus

Municipality Leoben

Kulturquartier Leoben

National museum Ljubljana Narodni Muzej Slovenije

Office of the Styrian Provincial Government, Department 16 Acknowledgement

The Pavilion team would like to thank everyone involved in the project. Special thanks go to the staff of the Universalmuseum Joanneum, without whose support the realization of this project would not have been possible.

In addition Günther HollerSchuster would also like to thank Andreja Hribernik and Vladimir Vidmar for their support.

STEIERMARK SCHAU 2025

Eggenberger Allee 90 8020 Graz

pavillon@steiermarkschau.at www.steiermarkschau.at

steiermarkschau steiermarkschau

Vodja projekta

A project by

CONTACT

SHOWING STYRIA 2025

Eggenberger Allee 90 8020 Graz

pavillon@steiermarkschau.at www.steiermarkschau.at

steiermarkschau steiermarkschau

Projektni partnerji

Project partners

Glavni medijski partnerji

Main media partners