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meet art vienna art week 2013 november 18–24

Projecting Worlds 1

Over the past nine years, VIENNA ART WEEK has become a red-letter event on Vienna’s culture calendar, but also a must-see for the international art community. Organized by Art Cluster Vienna and realized with more than 170 program partners, the art festival once again offers a fascinating and surprising insight into the city’s vibrant art scene. With 35,000 visitors to last year’s art fest, the event has given another proof of Vienna’s leading role in the global competition of art capitals.

© Stadt Wien/PID Photo: Hubert Dimko

I would like to congratulate the DOROTHEUM, the initiator of VIENNA ART WEEK, on this success and wish all program partners another ­prosperous event!

Michael Häupl Mayor and Governor of Vienna

Idea and Concept

Art Cluster Vienna

Martin Böhm President, Art Cluster Vienna Robert Punkenhofer Artistic Director, VIENNA ART WEEK

Academy of Fine Arts Vienna Eva Blimlinger Albertina Klaus Albrecht Schröder Architekturzentrum Wien Dietmar Steiner Association of Austrian Galleries of Modern Art Gabriele Senn Austrian Film Museum Alexander Horwath BAWAG P.S.K. Contemporary Belvedere and 21er Haus Agnes Husslein-Arco departure – The Creative Agency of the City of Vienna Bettina Leidl DOROTHEUM Martin Böhm Essl Museum Karlheinz Essl Generali Foundation Sabine Folie Jewish Museum Vienna Danielle Spera KÖR Kunst im öffentlichen Raum Wien Martina Taig

Kunsthalle Wien MuseumsQuartier & Kunsthalle Wien Karlsplatz Nicolaus Schafhausen KUNST HAUS WIEN Franz Patay Kunsthistorisches Museum Wien Sabine Haag Künstlerhaus Peter Zawrel Leopold Museum Tobias G. Natter MAK Austrian Museum of Applied Arts / Contemporary Art Christoph Thun-Hohenstein mumok Museum Moderner Kunst Stiftung Ludwig Wien Karola Kraus MUSA Berthold Ecker quartier21 / MuseumsQuartier Wien Christian Strasser Secession András Pálffy Sigmund Freud Museum Rudolf Dirisamer Thyssen-Bornemisza Art Contemporary Francesca von Habsburg University of Applied Arts Vienna Gerald Bast Wien Museum Wolfgang Kos

Edited by Art Cluster Vienna, Spiegelgasse 16, 1010 Vienna Idea and concept Martin Böhm, President of Art Cluster Vienna; Robert Punkenhofer, Art & Idea Project management and editing Anja Hasenlechner, Barbara Wünsch / hasenlechner–artconsult Press relations Christina Werner / w.hoch.2wei – Kulturelles Projekt­ management Translations and copyediting scriptophil. die textagentur Graphic design Josef Perndl, Nina Pavicsits / Perndl+Co Printed by Druckerei Holzhausen For further information, please get in touch with hasenlechner–artconsult: T +43 1 402 25 24, F +43 1 402 54 86, E, © Art Cluster Vienna, 2013


Robert Punkenhofer Artistic Director of VIENNA ART WEEK Martin Böhm © Klaus Pichler

President of Art Cluster Vienna

Projecting Worlds The VIENNA ART WEEK, already in its ninth edition this year, has become an important part of artistic life in Vienna. Co-initiated by the DOROTHEUM and Art Cluster Vienna, the art festival has successfully promoted networking between Austrian and international positions with an intense, multilayered program. The grow­ing interest among art lovers and extremely positive response from the art world itself prove that Vienna does indeed have its finger on the pulse of the times. The 2013 art festival, titled “Projecting Worlds”, draws on issues and positions related to the significance of artistic ex­pres­ ­sion in identity formation. Within an overall framework of exhibitions, interventions, studio visits, gallery tours, curator tours, artist talks, lectures, performances and panel discussions, VIENNA ART WEEK 2013 highlights the role of the artist not only as a creator of works, but also as the author of a narrative – that of his or her own universe. Dialogue between the artist and the viewer is a key point of focus.

Looking at art is a kind of catalyst, a ­gentle introduction to a place that allows space and time for both creativity and interpretation. In a world of ubiquitous information technology, one where people are exposed to constant overstimulation, a longing for “deceleration” has become a common con­­ cept in contemporary lifestyles. Art satisfies longings; it generates new desires, and delving into the artist’s cosmos and narratives takes time. This cosmos reveals the artist’s inner world, but it is also a projection of external, mutually dependent conditions.

The following articles and interviews on current art topics, profiles of the participating institutions, and of course a comprehensive overview of events should provide a first look at the rich program of VIENNA ART WEEK 2013. We would like to extend our warmest thanks to all of the partners and sponsors that made this program possible, and hope you have a week that is as informative as it is fascinating!

Open Studio Day, which was started last year with great success, offers visitors a unique opportunity to visit 80 artists in their studios. Curators hold Open Talks, creating a discursive framework to complete the program. With Curators’ Picks, VIENNA ART WEEK 2013 has created yet another a new platform: curators have been invited to Vienna as a way of intensifying the exchange between cura­torial and artistic practice, dialogue with artists and the art public at large. The ­program aims to bring Vienna’s enormous artistic and creative potential into the international spotlight.


© Christine Wurnig

There is no such place in Vienna as the outshining highlight to characterize the city. To understand its character, one has to experience its blend of – real or seeming – contrasts. Vienna is a mélange of tradition and avant-garde, kitsch and art, multiculturalism Nicolaus Schafhausen, and xenophobia: this apKunsthalle Wien plies to the Kunsthistorisches Museum and 21er I send my visitors to the Haus, the many galleries of Danube Canal – not the contemporary art and sponmost beautiful place in taneously opened alterna­ Vienna, but very urban. tive spaces, the multitude Vienna is always associated of Christmas markets and with the Danube, though the Naschmarkt, the graffithe river doesn’t even ti at Donaukanal, the grouflow through the city, just chy waiters at the cafés, beside it. But the Danube the African taxi drivers – Canal flows through the and, of course, to Vienna’s city, and I love that. I art colleges, which are both grew up on the Rhein. The fountain and driving force Danube Canal is my Rhein of an ever more vibrant and in Vienna. A very urban cosmopolitan art city: area, flanked by heavily ­Vienna. trafficked streets and the subway. I go running there every day and think about current and future projects.


Danielle Spera, Jewish Museum Vienna I urge all visitors of Vienna to see Judenplatz, the genesis of Jewish history in the city. In the Middle Ages, it was the center of Viennese Jewish life with an impressive synagogue. The foundations were ­un­earthed at the end of the 1990s and bear witness to this great history. The Holocaust memorial by the British artist Rachel Whiteread, built at the initiative of Simon ­Wiesenthal, has become a Vienna landmark.

© Secession, 2012

Vienna offers visitors both imperial ambiance and András Pálffy, contemporary design. This Secession mix becomes especially apparent at the MuseumsAdolf Loos’s American Bar Quartier, both in the arappeals to many senses at chitecture and in the broad once. The writer and regu- range of activity at the cullar guest Peter Altenberg tural institutions on its picked the following words grounds, roughly 70 in toto describe the complex ar- tal. The visual contrast of chitectural appeal in this the old and new, the di­ tiny space: “sumptuous, verse array of programs and original, and yet so simpwide selection of recreatiole”. There is nothing left to nal offerings create a be added – except for the unique atmosphere, matip that the bar should best king the MQ a one-of-abe visited late afternoon, kind cultural and social when one gets the best space in the heart of the view of this luminary of city. Wiener Moderne. Cheers!

Sabine Folie, Generali Foundation

Not only the buildings of Inge Scholz-Strasser, Sigmund Freud Foundation the Wiener Moderne are worth a visit, but also premodern curiosities like the I advise every visitor to Josephinum, which marks Vienna to go to see the Central Cemetery (Zentral- the interface of Baroque friedhof). With its lovingly and Enlightenment and tended graves, grounds and stands for a concept of buildings, it is a wonderful science that connected testament to the oft-noted Vienna to Europe from the 18th century onward. Next closeness of the Viennese to the morbid. The Jewish to Leiden and Bologna, section of the cemetery is the Josephinum in ­Vienna, a particularly touching cul- with its collection of tural monument; S ­ igmund anatomic models, is one of Freud’s parents are buried the most important places for medical research in the there. world. The uniqueness lies in the way both the anatomically flawless body – its deceptive appearance, so to speak – and the machine-like constitution of its interior are shown in one and the same model, telling us a lot about the classification and literal dissection that were so intrinsic to Enlightenment thought. The illusion of perfection and totality is shattered, but paradoxically we are reminded of it at the same time. 

Alexander Horwath, Austrian Film Museum

© Dan Dennehy, Walker Art Center

As a resident of Josefstadt, I would recommend JodokFink-Platz with the impressive Baroque Piarist ­Church of Maria Treu and the traditional, old Piarist school. The groundstone for the church was laid by Kaiser Leopold I, the structure was built after plans by ­Lukas von Hildebrandt, and Franz Anton ­Maulbertsch designed the impressive ceiling fresco inside. ­Jodok-Fink-Platz is a peace­­­­­­ ful place of contemplation, art and cuisine in the heart of Josefstadt, where students and visitors of the Theater in der Josefstadt meet under old chestnut trees. One of Vienna’s brightest jewels, if you ask me!

Historically, Vienna has been a place of contradictions. This has always spurred interdisciplinary creativity in the city. I highly recommend that any visitor looking for such interdisciplinary work take a trip to the Augarten in the 2nd district, home to the creative center of TBA21. In this gorgeous park, once the hunting grounds of Empress Maria Theresia, you’ll find a boundary-crossing mix of art, performance, sound and film and – in the recently-opened AU Café – culinary delights. TBA21 is a place for experiments with contemporary, interdisciplinary approaches, in a way that is totally unique.

Christian Strasser, MuseumsQuartier Wien

© Dario Punales

Sabine Haag, Kunsthistorisches Museum

© Josef Polleross

© Osaka


Naschmarkt, “Vienna’s ­belly”, is located between Rechte and Linke ­Wienzeile, between Secession and the gallery district. Apart from of its traditional stalls, this typical Viennese market boasts an incredible number of extraordinary bars and restaurants. It has everything the heart could wish for – fish and fruit, ­vegetables and vegan delicacies, meat and more … The bars that settled around Naschmarkt in recent years Wolfgang Kos, make this place the place Wien Museum to be. With such cultural and culinary abundance, Karlsplatz: a spot where the Naschmarkt is definitethe otherwise hemmed-in beauty of the historical city ly a unique location in the very heart of Vienna. is still unfinished. These grounds have been up in the air for 100 years now, waiting (in vain) for a definitive design. They have long become a patchwork of small aesthetic milieus and diverse uses. There are several important cultural institutions worth popping into: Secession, Kunst­ Gerald Bast, halle, Wien Museum – at University of Applied Arts the heart of the city and Vienna just off the center.

Francesca Habsburg, TBA21

© Greg Gorman

Gabriele Senn, Association of Austrian Galleries of Modern Art

Sigmund Freud Museum Wien

© Christine Wurnig

© Pilo Pichler

© Osaka

“Where in Vienna would you take a guest visiting the city for the first time, and why?”

The inaccessible places in a city are often more meaningful, more open, and richer in potential than the easily accessible, well defined and better developed ones. They tell their stories “indirectly”, in a more complex way. This is why I recommend the Jewish Cemetery in Währing, one of the two remaining Biedermeier-style grave­ yards in Vienna and once the main resting place for Vienna’s Jewish community. Look for the entrance on Schrottenbachgasse 3. You couldn’t really call it an entrance, though, since (except for the rare tour) the partially dilapidated area was closed for safety reasons fifteen years ago; the political debate about its renovation rages on. At least the cemetery caretaker’s house, attributed to architect Joseph Kornhäusel, was finally opened in late 2012, restored by the City of Vienna and supplemented with a visitor’s center.

In looking for a place that reveals the character of our city in a special way, I would have to mention two. Schubert’s birthplace at Nussdorferstrasse 54 is one of the most charming spots in Vienna, also one that tells the unvarnished truth about the social situation of the population in the Biedermeier period. Not far from there is the WUK (Workshop and Culture House) in a former locomotive factory, which will give you a good idea of what is going on in the young cultural scene. In the juxtaposition of the two institutions you’ll find plenty of information on Vienna’s peculiar character as a city.

© Julia Stix

Tobias G. Natter, Leopold Museum

© KÖR Kunst im öffentlichen Raum GmbH

© David Payr

Belvedere, Wien; APA-Fotoservice / Thomas Preiss

© Lukas Beck

© Essl Museum 2009 Frank Garzarolli

Being in Vienna for the first time; stepping out of sunken paths carved deep in the loess and onto a steep track, into the vast expanse … the MuseumsQuartier! This is where culture meets of a vineyard; finding a lust for life; it is one of the spot as the only foreigner largest cultural complexes among locals; below you, a city’s growing sea of lights in the world, and with its at dusk, a no-frills Stamcourtyards, cafes and shops is also a tranquil, re- mersdorf wine ahead: authentic kitsch off the bealaxing oasis in the middle ten tourist path. Everything of the city (secret tip: the rooftop terrace at Cafe Leo- else you’ll find everywhere pold!). The Leopold Muse- else, too. Not that. um boasts an impressive collection of works by Egon Schiele and from fin-desiècle Vienna, which makes it one of the highlights of the MuseumsQuartier, though almost 70 cultural institutions call the MuseumsQuartier their home. The mix of historical builKlaus Albrecht Schröder, dings and contemporary Albertina museum architecture also lends it a unique atmosOne thing you mustn’t miss phere. on your first visit to Vienna (art and culture aside) is the famous Wiener Prater. Bettina Leidl, A walk through the Prater departure – The ­Creative meadows, followed by a Karlheinz Essl, Agency of the City of Vienna Agnes Husslein-Arco, trip on the ferris wheel, Essl Museum which offers a magnificent Belvedere and 21er Haus Vienna is full of buildings view of the entire city, What makes Vienna unique topped off with a snack at for international visitors is that tell the colorful history I recommend Jesuitenplatz of the city. The Wittgenone of the many Viennese in downtown Vienna – a its lively contemporary art stein House in the 3rd dis- culmination of science, art Dietmar Steiner, sausage venders … it’s scene. The art museums Architekturzentrum Wien trict is one of them. A moa must for any first-time and spirituality in the form are some of the best places visitor to Vienna! in the city, offering a view dernist structure de­signed of outstanding historical by philosopher Ludwig Anyone coming to Vienna buildings: the baroque of both the global art Wittgenstein in collaborafor the first time should Jesuit church meets the trends and Austria’s most tion with Paul Engelmann, early classicism of the old see “a_schau”, the Az W’s important artists. Anyone permanent exhibition, for university, now known as in Vienna for the first time a student of Adolf Loos, the 1928 building bears the Academy of Sciences. an in-depth look at the should start at the Musethe captivating clarity of architectural history of the But what I really like are umsQuartier, continue on the contemporary art inter- city. The building database to the 21er Haus, then see its owner’s thoughts. This the Albertina. A comforta­ philosophy-turned-architec- ventions and presentations and the architects’ lexicon ture, one of Vienna’s more at the church, where the on the Az W website can ble shuttle bus will take hidden cultural treasures, also shed valuable light on old meets the new. you from Albertinaplatz Martina Taig, has ­inspired numerous Viennese architecture. The to the Essl Museum in KÖR works from all walks of places one would have to Klosterneuburg, which creative life. see to understand Vienna offers three exhibitions at Vienna has too many varied can definitely be found all times. and interesting places for among the canonized me to choose just one. Viennese tourist highFrom the 1st district to the lights, but Otto Wagner’s 23rd, you see squares, builPostsparkasse (Postal dings and spaces that reSavings Bank Building) is flect the city and form a via key modernist work and brant whole. Art gives definitely a must, while these public spaces life the ­scruffy Schwedenand reinforces the city’s platz points to Vienna’s significance as an Eastern identity and that of its individual districts. This, in its European capital. entirety, is what lends ­Vienna its special atmosphere. The Ringstrasse, what else! Not only because the MAK Karola Kraus, was the first museum built mumok on Ringstrasse, but because Vienna’s historical To anyone visiting Vienna and current cultural signififor the first time I would cance only reveals itself recommend taking a look through the Gründerzeit not only at the inspiring period, with the Ringstrascultural activities in the center of town, but also at se as its epitome, admired across the globe. A lot of venues somewhat off the what came afterwards, the beaten path. TBA21, for example, is definitely worth so-called Wiener Moderne a trip. Nestled in the idyllic for example, was a protest Augarten in the 2nd district, against the dominance of Historism and metropolitan this November it will be pomposity. Today, the amshowing a solo exhibition by Indian filmmaker Amar bivalence of this big capital of a comparatively small Kanwar – a bright spot on the program that you defi- but successful country frequently shimmers through nitely shouldn’t miss! in the density and broad spectrum of its contemporary cultural scene.

© Wolfgang Simlinger

Peter Zawrel, Künstlerhaus

Franz Patay, KUNST HAUS WIEN The Servitenviertel in Vienna’s 9th district is one of the loveliest and most popular residential areas in the city. Especially in summer, when the hosts of the district serve their cuisine outside and Servitenplatz is covered with countless tables and children playing ball, you feel like you’ve relocated to the south. This impression is further reinforced by the organic farmer’s market held on Saturdays in front of the church, and the diversity of small businesses close by. © Lisa Rastl

Christoph ­Thun-Hohenstein, MAK

© APA / Barbara Gindl

© Leopold Museum

Aleksandra Pawloff/MAK

© mumok

© Didi Sattmann

Berthold Ecker, MUSA

Eva Blimlinger, Academy of Fine Arts Vienna Visit the Friedhof der Namenlosen (Cemetery of the Nameless) in Simmering at Alberner Hafen, where the unidentified bodies of ­those who drowned in the Danube were buried in wooden coffins from 1840 to the 1950s. It’s an un­ usual final resting place and a typically Viennese spot on the city outskirts. After returning to the city center, guests are welcome to visit to the Academy of Fine Arts Vienna, where life is in full swing … and art doesn’t have to remain name­less.


Art Hub Vienna

© Klaus Pichler

Vienna Calling? Art city versus art city – it’s a draw! Text by Raimar Stange

Thank goodness for David Alaba!


As regards the art scene, Berlin has a much more glamorous public image than Vienna. But how does the city on the Danube measure up in direct comparison to the city on the Spree? Kickoff for the match between the art schools, galleries, exhibition venues and art magazines! In its feature “Now hear this”, the London art magazine “ArtReview” publishes short columns by its correspondents from the putative strongholds of the international art scene. New York, Paris, ­London, Berlin and Rome are regularly featured, whereas Vienna is usually conspicuous for its absence. But is this sufficient proof that a city lacks international resonance? Hardly, because there can never be just one view of Vienna. Hence the judgement of people interested in painting is quite different from that of concept art fans or even the aficionados of an activist-political aes­ thetic, which in recent years has become increasingly significant in view of neo-liberal globalization and rapidly escalating climate catastrophe. When reflecting on how – and most of all how adequately – the Viennese art scene makes an impact outside Austria, we might try to refer to something like “objective” criteria rather than rely merely on subjective preferences in order to bring some progress into the discussion. But what might such criteria be? For once, I am attempting in this editorial simply to approach the facts and compare Vienna with my present “home town” of Berlin, the reputed center of the contemporary art scene. Let’s start where nearly all artistic careers are launched: at the art schools. Vienna has two, the “Academy” and the “Applied Arts”. Berlin also has two art schools, thanks to the former separation of the city into East and West, the “HdK” (University of the Arts – Hochschule der Künste) and “Weissensee”. However, their reputation – justifiably – comes nowhere near that of the Viennese educational institutes. In Germany, the academies and universities in Düsseldorf, Hamburg and Frankfurt for instance were far more important than in Berlin, and still are. Let’s be good sports in the match and say: 1:0 for Vienna! Let’s now follow the trail of a typical artistic career and turn to the alternative art spaces in the two cities. Both Vienna and ­Berlin have quite a few. Unfortunately they don’t have any real significance for the art business of either city – among other things, probably because of the high fluctuation level; both scenes are mainly populated by young artists. They are scarcely more than “springboards” for later success. But better than ­nothing! This match also ends in a draw. So, in our city-versuscity match it’s still 1:0 for Vienna. 1 Famous quote by the Mayor of Berlin, Klaus Wowereit: “That’s fine with me!”

Raimar Stange, born in 1960 in Hanover, studied philosophy and literature. Lives and works as a freelance curator and critic in (East) Berlin.

Galleries play a central role in the art scenes of both capitals, Berlin however shoots its way into the lead with the incredible number of around 600 galleries. Vienna – thank goodness – cannot keep up with this … but neither can they compete if we’re talking about unnecessary quantity and not desirable quality. According to my knowledge, Vienna only has around a dozen galleries that can be taken seriously, Berlin in contrast significantly more. A draw: 1:1.

Comparing the Viennese and Berlin exhibition venues is not a simple task. Vienna has top-class institutions in the Secession and the Generali Foundation, also the MuseumsQuartier, here first and foremost mumok and Kunsthalle Wien, also the BAWAG P.S.K. The contemporary scene can boast frequent success. Its cultural achievements have been making a self-evident and positive impact beyond the country’s borders for years. In this point, too, Berlin avails of a considerably higher quantity; we only have to think of the Neue Nationalgalerie, the daadgalerie, the KunstWerke, the Hamburger Bahnhof, the Martin-Gropius-Bau, the Neue Berliner Kunstverein, the Neue Gesellschaft für Bildende Kunst, the Berlinische Galerie, and so on. However, the quality is generally fair-to-middling – among the factors to blame here is the lack of financial backing – the slogan for Berlin is “arm, aber sexy” (poor but sexy). Here I would say: another draw, it’s still 1:1. Art fairs are not Vienna’s strong point, nor are they Berlin’s. ­Vienna’s fair ranks hardly anywhere on the international scene, and Berlin’s pseudo-fair “abc” is more seeming than being. Both cities are letting their chance slip by of making an impact with a strongly promotional image. But perhaps neither city needs this; their qualities lie in other directions. Hence the rivalry with Basel, London and Miami seems unnecessary, perhaps even presumptuous. So, still 1:1. However, just before the final whistle, Berlin at last goes into the lead with 2:1 – the metropolis on the Spree can boast a Biennale, in contrast to the city on the Danube. Even though these are occasionally controversial, as was the most recent, 7th Berlin Biennale curated by Artur Z'mijewski, Voina and Joanna Warsza a year ago, they do usher Berlin into a global discursive context, which bears fruit for years. Here Vienna urgently has to catch up. The last point of comparison is the situation of art magazines in the two cities. In Vienna, magazines such as “springerin”, “Spike” and “Eikon” have been appearing for years. All three are of international rank and thanks to their polylinguality more or less widely circulated. Only two significant magazines are pub­ lished in Berlin, the “Frieze” scion “Frieze D/E”, and “Texte zur Kunst”, now somewhat long in the tooth. So Vienna moves into a narrow lead and finally equals the score at 2:2. Nevertheless: Berlin’s public impact is oddly far more glamorous than that of Vienna. But as we have seen, this is not so much a question of actual quality. Instead, still resonating since 1989 are the effects of the “Wende Myth”, the historic change at the Fall of the Wall, and the aura of the “glorious” 1990s generation – we just have to think of names like Rirkrit Tiravanija, Thomas Demand, John Bock and Monica Bonvicini. On the other hand, Vienna has the advantage of being able to offer decades of concentrated artis­tic work, over and above superficial hype. The artists who stand for this include Franz West, Maria Lassnig, Erwin Wurm, Elke K ­ rystufek, Markus Schinwald, Anna Meyer and Leopold ­Kessler. Und das ist gut so!1



Open Studio Day On Saturday, 23 November 2013, more than 80 artists will open their studios to the public to mark Vienna’s second Open Studio Day. For visitors of VIENNA ART WEEK, this is an opportunity to look behind the scenes of artistic production and listen to artist talks, conducted by the curators of this year’s Open Studio Day, Severin Dünser, Janina Falkner, Alexandra Grausam and Bettina Spörr.


Curators Severin Dünser, curator of contemporary art at the 21er Haus and the Belvedere; was head of the Vienna exhibition space COCO from 2009 to 2012, together with Christian Kobald. Dünser has realized numerous exhibitions as a freelance curator in Austria and abroad. Janina Falkner, curator at the Contemporary Art Collection of the MAK, Austrian Museum of Applied Arts / Contemporary Art, since 2006; studied art history. Alexandra Grausam, cofounder and head of the art society “das weisse haus” and the studio and residence program “studios das weisse haus”. Freelance conservator of paintings and contemporary art. Studied art history and conservation/ restoration in Vienna and Munich. Bettina Spörr, curator at the Secession, where she curated the group exhibition “where do we go from here?” (2010) and numerous solo exhibitions. Was with the Generali Foundation from 2002 to 2008. Co-editor of the book “Nicht alles tun. Ziviler and sozialer Ungehorsam an den Schnittstellen von Kunst, radikaler Politik Und Technologie” (with Jens Kastner, 2008).



“Projecting Worlds – Artists and Curators Connected. A Call for International Structures for the Art Scene”

Artists and curators in conversation

Saturday, 23 November 2013 5:00 p.m.–6:30 p.m. BMUKK-Ateliers, Wattgasse 56–60, 1160 Vienna In English

To draw international interest on the enormous potential of ­Vienna’s art scene, VIENNA ART WEEK presents a new key subject – Curators’ Picks: 20 renowned curators are invited to Vienna to exchange views on the curatorial practice and intensify the dialog with artists and art lovers, for instance by way of a panel discussion revolving around the discourse between curators and artists. “The power of the flavor enhancers” was the title of an article in “Die Zeit” on the current art scene and the role of the curator, which seems to be “the new dream job” for many young people. The curator today enjoys the image of what was once an avant­­­ garde director, or a poet. “The consequences for the art world,” writes “Die Zeit”, “are grave.” But in what way exactly are they grave? To what extent is the curator a node in the art network? What role does the artist’s studio play as a force field, haven, place of resistance, and space for imagination, when the artist and the curator work on the realization of their joint project? How far goes the catalytic function of the studio, where the artistic attitude manifests, in the artistic and curatorial process? Is the discourse that takes place here between the artist and the curator key to the curatorial process? How important is it for artists, curators and other players of the art scene to keep spinning the web of internationalization? What models, methods and strategies should be pursued in the future? What are the prospects for new or existing international projects? To what extent do we succeed in promoting the autonomization status of art projects with various models?

Saturday, 23 November 2013 from 1:00 p.m. Open talk with curator Severin Dünser 1:00 p.m.: Michael Part, Alliogasse 24/1/1A, 1150 Vienna 3:00 p.m.: Heinrich Dunst, WUK Werkstätten- und Kulturhaus, Währinger Strasse 59, stairwell 4/1st floor, 1090 Vienna 5:00 p.m.: Andy Boot, Wielandgasse 16, 1100 Vienna Open talk with curator Janina Falkner 1:00 p.m.: Iv Toshain, Loidoldgasse 1, 1080 Vienna 3:00 p.m.: Mladen Bizumic, Löwengasse 18, 1030 Vienna 5:00 p.m.: Nick Oberthaler, BMUKK Ateliers, Wattgasse 56–60, 1170 Vienna Open talk with curator Alexandra Grausam 1:00 p.m.: Alfredo Barsuglia, Liechtensteinstrasse 68–70/25, 1090 Vienna 3:00 p.m.: Markus Hanakam & Roswitha Schuller, Wattgasse 57/Top 30–31, 1170 Vienna 5:00 p.m.: Kollektiv/Rauschen (Sebastian Bauer, Samuel S ­ chaab, Christian Schröder, Markus Taxacher), Jadengassse 4, 1150 Vienna Open talk with curator Bettina Spörr 1:00 p.m.: Dorit Margreiter, meeting place: Schubertstrasse/Nussdorfer Strasse, 1090 Vienna 3:00 p.m.: Anita Witek, Taborstrasse 57/22, 1020 Vienna 5:00 p.m.: Maria Hahnenkamp, Margaretenstrasse 40/attic 21, 1040 Vienna

Panelists: Judith Fegerl, artist, Vienna; L­orenzo Fusi, curator, artis­tic director of Open Eye Gallery, Liverpool; Vasif Kortun, curator, author, program and research director of SALT, Istanbul; Doris Krüger (Krüger & Pardeller), artist, Vienna; Ursula Maria P ­ robst, freelance curator, artist and author, Vienna Moderation: Robert Punkenhofer, Artistic Director of VIENNA ART WEEK



Open Studio Day Saturday, 23 November 2013 1:00 p.m.–6:00 p.m. Artists and their workspaces Text by Christa Benzer

Kollektiv/Rauschen: Markus Taxacher, Samuel Schab and Christian Schröder, © Klaus Pichler

Alfredo Barsuglia “I lived and worked in the same apartment for more than a de­cade, but for the past four years I have been using it ­exclusively for work. In other words, my studio came out of my earlier living/ working situation. Because of this, it still looks relatively homey and is definitely anything but what people usually imagine when they think of an artist’s studio. It’s more of a private, intimate space.” Mladen Bizumic “My studio is to me what a film studio is to a filmmaker: a ma­chine in which I explore time and space – a place for testing imagination, positioning, and various ways of looking at things. This is where I cut and organize my photo collages and build models for upcoming exhibitions. My studio is my own, private Garden of Eden and a place of great joy.” Andy Boot “I don’t have any romantic notions about my studio. It just has to be quiet, bright, warm and practical. Visitors can look at new pieces and see works in progress, which I am also very happy to talk about.” Heinrich Dunst “First: the studio is a space in which the artist’s intention fails when confronted with the material! Second: he watches in horror as this discrepancy unfurls! Third: I will open a window on Open Studio Day, so visitors can have a new view of the outside.” 8

Maria Hahnenkamp “I have very nice light in my studio and also a special acoustic situation, because the windows look out onto a grid square where children play. Spatial acoustics are very important to me. I listen to psychoanalytical and philosophical lectures while I’m working. This combination of manual craft and intellect gives me a creative state that I only get in the studio.” Markus Hanakam & Roswitha Schuller “Our studio is a reservoir where we keep our archive of objects, books and work materials. But it is also like a computer memory, since many of our works are realized with digital media. We outsource some of our objects to workshops for production, and we choose specific locations for shooting our films. The studio is the place for gathering and processing information.” Kollektiv/Rauschen (Sebastian Bauer, Samuel Schaab, Christian Schröder, Markus Taxacher) “We renovated our studio ourselves from the groand up, so we have a special relationship to the space. We work as a group of four and built it up in a modular way, so that it would meet each person’s individual needs. Basically, everyone works on his own thing, and we work together as Kollektiv/Rauschen on various sound projects. The studio offers space to research and develop, but also to discard what we can’t use.”

Christa Benzer is member of the editorial board of the “springerin” art magazine and freelancer at the daily newspaper “Der Standard”. She lives in Vienna.

Alfredo Barsuglia, Rosie Schuller and Markus Hanakam, © Klaus Pichler

Mladen Bizumic, Iv Toshain and Nick Oberthaler, © Klaus Pichler

Andy Boot and Heinrich Dunst, © Klaus Pichler

Maria Hahnenkamp, Dorit Margreiter and Anita Witek, © Klaus Pichler

Dorit Margreiter “My studio is a space where I can work undisturbed, read or also move things around. There is a worktable where I edit my films, and an area that I adapt as required – I use it as a photography studio or as an open surface to spread out larger pieces. Though having this space – which I call a ‘studio’ – is essential for my work, you rarely or never see finished works there.” Nick Oberthaler “To me, the studio is a spatial extension of my subjective radius of activity. A place of retreat or a vanishing point on a very perso­ nal map. Pragmatically speaking, it is a place of production, a laboratory in which failure and creation overlap. But sometimes it works like a kind of hall of mirrors where I can lose myself. At a certain point I have to leave it again, and enclose and store my thoughts there.”

Iv Toshain “My studio is a holy site of creation that is closely tied to certain work rituals and situations, but also to my way of life. It is also a headspace, a laboratory for experimenting and researching. I think you could describe it as a self-portrait, because I see the studio as an extension of myself.” Anita Witek “I work with printed paper and its contents. In other words, my studio holds an endless supply of material, books and newspapers. It is a workshop, a resource, but also a laboratory over which I maintain or lose control, depending on whatever interests me at the moment. Sometimes it’s lonely, but more often it’s a place where all my thoughts begin to flow. And it’s open for anyone who wants to take part in that process.”

Michael Part “What makes a room a studio for me is the ongoing designing, aligning and permitting of situations in the space. This work on the studio itself is as important to me as the work in the studio on things that leave the space. Visitors get the same amount of attention. All of that is possible in some way or another.”



Open Studio Day Saturday, 23 November 2013 1:00 p.m.–6:00 p.m. Artists present their studios

Thomas Albdorf Rüdengasse 16/12, 1030 Vienna Franz Amann Wiedner Hauptstrasse 52/13, 1040 Vienna Ovidiu Anton Lorenz-Mandl-Gasse 33–35 1st floor, 1160 Vienna Alfredo Barsuglia Liechtensteinstrasse 68–70/25, 1090 Vienna Christian Bazant-Hegemark Thelemanngasse 4/3, 1170 Vienna Albért Bernàrd Mühlfeldgasse 5, 1020 Vienna Mladen Bizumic Löwengasse 18, 1030 Vienna Andy Boot Wielandgasse 16, 1100 Vienna Maria Bussmann Zieglergasse 24/6, 1070 Vienna Benjamin Butler Mommsengasse 33/18, 1040 Vienna Canan Dagdelen Zieglergasse 75/Top 1, 1070 Vienna Emanuel Danesch Märzstrasse 56/9, 1150 Vienna Heinrich Dunst WUK Werkstätten- und Kulturhaus, Währinger Strasse 59, stairwell 4/1st floor, 1090 Vienna Gabriele Edlbauer Schmalzhofgasse 14, 1060 Vienna Karin Ferrari SWDZ, Gärtnergasse 14, 1030 Vienna Karin Fisslthaler Max-Winter-Platz 21, 1020 Vienna Philipp Fleischmann Semper Depot, Lehargasse 6 1st floor/video class, 1060 Vienna Kerstin von Gabain address on Aldo Giannotti Aichholzgasse 51/53, 1120 Vienna Manuel Gorkiewicz Hütteldorfer Strasse 265–267/2/30, 1140 Vienna 10

Robert Gruber Hasengasse 60/7, 1100 Vienna Markus Guschelbauer Johannagasse 29–35, 1050 Vienna Maria Hahnenkamp Margaretenstrasse 40/attic/21, 1040 Vienna Rahman Hak-Hagir Zeleborgasse 30/9, 1120 Vienna Hanakam & Schuller Wattgasse 57/Top 30–31, 1160 Vienna Benjamin Hirte Wielandgasse 16, 1100 Vienna Nina Höchtl Maysedergasse 2/4, 1010 Vienna Ana Hoffner Schillerplatz 3/4th floor/attic 12, 1010 Vienna Katharina Höglinger Franz-Hochedlinger-Gasse 20/25, 1020 Vienna Jochen Höller Glockengasse 9, 1020 Vienna Katrin Hornek address on Susi Jirkuff Hasnerstrasse 66/13, 1160 Vienna Björn Kämmerer Schwarzhorngasse 6/9, 1050 Vienna Michael Kargl Wattgasse 56–60/4th floor, 1170 Vienna Michael Kienzer Münzwardeingasse 2a, 1060 Vienna Kollektiv/Rauschen Jadengasse 4, 1150 Vienna Moussa Kone Hernalser Hauptstrasse 124/18, 1170 Vienna Ulrike Königshofer Krütznergasse 4/15, 1180 Vienna Axel Koschier Pappenheimgasse 37/5–7 (entrance on Jägerstrasse 58), 1200 Vienna Annja Krautgasser Karmarschgasse 53/2/54 (door code 254/11th floor), 1100 Vienna Krüger & Pardeller Aichhorngasse 3–5, 1120 Vienna

Nika Kupyrova Große Pfarrgasse 21/8, 1020 Vienna Marianne Lang Schwarzingergasse 8/2/12, 1020 Vienna Claudia Larcher Pelzgasse 20/7, 1150 Vienna Sonja Leimer Vorgartenstrasse 158–170/11/R1, 1020 Vienna Ulrike Lienbacher Große Sperlgasse 39A, 1020 Vienna Roberta Lima Westbahnstrasse 27–29/studio 5, 1070 Vienna Lotte Lyon Aspangstrasse 31/9, 1030 Vienna Manuela Mark Lerchenfelder Strasse 48/18, 1080 Vienna Claudia Märzendorfer Meiereistrasse 3/south pavilion, 1020 Vienna Milan Mijalkovic Gumpendorfer Strasse 42, 1060 Vienna monochrom quartier 21/electric avenue, Museumsplatz 1, 1070 Vienna Ute Müller Zinckgasse 2/1A, 1150 Vienna Nick Oberthaler Wattgasse 56–60, 1170 Vienna Bernd Oppl Rechte Wienzeile 39/38, 1040 Vienna Michael Part Alliogasse 24/1/1A, 1150 Vienna Philip Patkowitsch Graf-Starhemberg-Gasse 3/studio, 1040 Vienna Elisabeth Penker Rechte Bahngasse 10, 1030 Vienna Tobias Pils Stoß im Himmel 3, 1010 Vienna Matthias Pöschl Graf-Starhemberg-Gasse 3, 1040 Vienna

Ulla Rauter raum35, Theresianumgasse 35, 1040 Vienna Anja Ronacher Hasengasse 60/7, 1100 Vienna Corinne Rusch Zwölfergasse 9/24, 1150 Vienna Alex Ruthner address on Maruša Sagadin Schmalzhofgasse 14, 1060 Vienna Peter Sandbichler Westbahnstrasse 26/2/4A, 1070 Vienna Ekaterina Schapiro-Obermair Schönbrunner Strasse 85, 1050 Vienna Titania Seidl Ganglbauergasse 38, 1160 Vienna Fabian Seiz Holochergasse 45, 1150 Vienna Nina Rike Springer Lorenz-Mandl-Gasse 35, 1160 Vienna Lilli Thießen Lerchenfelder Gürtel 22/Top 9, 1070 Vienna Sophie Thun Stolberggasse 13/11, 1050 Vienna Iv Toshain Loidoldgasse 1, 1080 Vienna Kay Walkowiak Märzstrasse 7, 1150 Vienna Christian Weidner Fleischmarkt 14/24, 1010 Vienna Letizia Werth Wattgasse 56–60/4th floor, 1170 Vienna Anita Witek Taborstrasse 57/22, 1020 Vienna Anna Witt Schönbrunner Strasse 91/14/15, 1050 Vienna Gerald Zahn Große Pfarrgasse 21/8, 1020 Vienna Hannes Zebedin Schönbrunner Strasse 91/14, 1050 Vienna

Art Cluster

21er Haus 

Natascha Unkart © Belvedere, Wien

21er Haus Museum of Contemporary Art Schweizergarten Arsenalstrasse 1 1030 Vienna T +43 1 795 57 134 F +43 1 795 57 136 E Opening hours: Wed., Thu. 11:00 a.m.–9:00 p.m. Fri.–Sun. 11:00 a.m.–6:00 p.m.




Exhibitions “The Collection #4” and “21er Raum: Vittorio Brodmann”

“21er Raum: Vittorio Brodmann”

“On Film, Performance and Consumer Culture”

21 November 2013–6 January 2014

Friday, 22 November 2013 7:00 p.m.

Wednesday, 20 November 2013 7:00 p.m. EXHIBITION

“The Collection #4” From 21 November 2013 An art collection reflects the often check­ ered history of its acquisition policy, but its presentation also demonstrates an insti­­tution’s mission. The 21er Haus shows Austrian art in an international ­context. The focus is on contemporary art, along with historical works, the combination of which illustrates their relevance for the here and now. The collection is ­redisplayed at regular intervals to show its diversity, rediscover works, and consider new ­juxtapositions.

Swiss-born painter Vittorio Brodmann (b. 1987) has an ingenuous and playful approach to his medium, using diverse techniques and form languages to deal with questions of representation and stereo­type. In his first solo exhibition in Austria, the 21er Haus shows a new series of works at the 21er Raum. The 21er Raum with mirrored exterior walls features new solo exhibitions at an interval of six weeks, with a focus on artists who live and work in Austria. Past exhibitions include works by Andy Boot, Constanze Schweiger, Anja Ronacher, Lili Reynaud-Dewar, Mathias Pöschl and Andy Coolquitt.

In English

Panelists: Phil Collins, artist; Ursula ­Mayer, artist; and Bettina Steinbrügge, curator at the 21er Haus EXHIBITION

“Ursula Mayer But We Loved Her” 13 October 2013–12 January 2014


21er Klub Friday, 22 November 2013 Starting at 9:00 p.m. 21er Klub is a series of monthly performa­ tive clubbings at the 21er Haus. It is con­ ceived as a social sculpture that needs no base, on a stage that is actually a dance­ floor to perform, sing, deejay, discuss and dance on. True to the idea of learning by socializing, participation here is a matter of aesthetics: be square or be there – and join in the creative process!


Art Cluster

Academy of Fine Arts Vienna

Academy of Fine Arts Vienna Schillerplatz 3 1010 Vienna T +43 1 588 16 0 F +43 1 588 16 1399 E Opening hours xhibit: Tue.–Thu. 10:00 a.m.–6:00 p.m.

Key Topic

The girl as artist and performer. Worlds of artistic de/subjectivization OPENING



Exhibition “Ich bin eine andere Welt” Artistic authorship between desubjectivization and ­re-canonization

“Ich bin eine andere Welt” Artistic authorship between desubjectivization and ­re-canonization

“The girl on ‘SUBJECT’=???” Perspectives of radical ­ontologies

Thursday, 21 November 2013 7:00 p.m. xhibit, Academy of Fine Arts Vienna

22 November 2013–12 January 2014 xhibit, Academy of Fine Arts Vienna The exhibition presents artistic strategies of using fictional figures or anonymous collectivity to develop narratives ranging between fact and fiction. Such strategies illustrate blind spots in a canon otherwise based on discourse, they criticize institu­ tional structures of author- and creatorship and their politics of representation, and ultimately aim to deconstruct excessive artistic individualism. Curators: Georgia Holz, Claudia Slanar Works by: Hina Berau / Judith Fischer, Ursula Bogner, Bernadette Corporation, Justine Frank, Mathilde ter Heijne, Janez Janša, Barbara Kapusta, Matthias Klos, Warren Neidich, Roee Rosen, Lora Sana / Carola Dertnig, Mario Garcia Torres, Un­known Artist, Laura Wollen, Donelle Woolford, Ronda Zheng / Ricarda Denzer / Isa Rosenberger, and others

Saturday, 23 November 2013 10:00 a.m.–7:00 p.m. Room M13, Academy of Fine Arts Vienna In English

As one of the capitals of hysteria, Vienna seems to be particularly suited for a review of the girl theme under new auspices. The hypothesis of the conference is that the symbolic girl opens the ontological frame within which the ideologemes of trans and queer movements and those of object-­ oriented ontology and speculative realism are currently moving. Concept: Elisabeth von Samsonow Keynote: Levi Bryant (Dallas, USA)

© Adrian Brodessa 12

Art Cluster


Albertina Albertinaplatz 1 1010 Vienna T +43 1 534 83 0 F +43 1 534 83 430 E Opening hours: Thu.–Tue. 10:00 a.m.–6:00 p.m. Wed. 10:00 a.m.–9:00 p.m.



Artist talk with Sonja Gangl

“Matisse and the Fauves”

Thursday, 21 November 2013 6:30 p.m. Albertina, Hall of the Muses

20 September 2013–12 January 2014

In German

In 2013, the Albertina is dedicating the Austrian artist Sonja Gangl, born 1965 in Graz, her first solo museum exhibition. In her large-scale drawings, Gangl enlarges details and focuses on particular image sections. The new works on show at the Albertina feature human eyes, in pairs and one at a time. The eye’s ability to establish contact with the world makes it an instrument that can bridge distances. However, being a most vulnerable organ, it also needs to keep its distance from a menacing world. German photographer and author Rolf Sachsse, who holds a chair for Design ­History and Theory at the Academy of Fine Arts Saar, will talk to the artist about her works shown for the first time in the exhibition “Sonja Gangl”.


“Sonja Gangl” 1 November 2013–23 February 2014

In fall 2013, the Albertina is presenting a comprehensive exhibition with some 150 works by Henri Matisse and the fauvists, who are now regarded as the pioneers of Modernism. This is the first time that most of the works by the young artists, whom contemporary art critics referred to as “fauves” (wild animals), are on display in Vienna or Central Europe. Fauvism only existed for two years, but was the first avant-garde movement of the 20th century and thus elementary for the emergence of Modernism. Other fauvist artists beside Henri Matisse included ­André Derain, Maurice de Vlaminck, ­Georges Braque and Kees van Dongen. In 1905, the group caused a stir at the 3rd Paris Autumn Salon, where the walls were literally ablaze with the fauvists’ paintings. The audience was shocked at the screaming, radiant colors and the wild brush strokes, which appeared to have been ­casually thrown on the canvas. What mattered was the expression rather than the motif.

Sonja Gangl, CAPTURED ON PAPER_eyes (Emily), 2013

The exhibition demonstrates that Matisse and the fauvists not only strived for intensity and expression in their famous paintings, but also in their bronzes, ceramics, stone sculptures and furniture.


Art Cluster

Architekturzentrum Wien Architekturzentrum Wien Museumsplatz 1, MQ 1070 Vienna T +43 1 522 31 15 F +43 1 522 31 17 E Opening hours: daily 10:00 a.m.–7:00 p.m.

Oscar Niemeyer, house in Canoas (Rio de Janeiro), © Leonardo Finotti



Studio visits

“10+10. Modernist and Contemporary Brazilian Houses”

“What’s up? Young Architecture from Brazil and Austria”

Visits to selected architecture studios*

7–25 November 2013 Hall F3, Architekturzentrum Wien

Wednesday, 20 November 2013 7:00 p.m. Podium, Architekturzentrum Wien

Friday, 22 November 2013 1:45 p.m.–5:30 p.m.

In collaboration with the Embassy of Brazil in Vienna

In English

The exhibition “10+10. Modernist and Contemporary Brazilian Houses” features 20 outstanding examples of Brazilian ­single-family home design, contrasting ten Modernist icons (including works by Lina Bo Bardi, Oscar Niemeyer and Paulo Mendes da Rocha) with ten contemporary Brazilian architectural projects (by Angelo Bucci, Carla Juaçaba, Procter:Rihl, Isay Weinfeld, and others). Leonardo Finotti, one of Brazil’s leading architectural photographers, portrayed all buildings for this particular occasion. His pictures are an impressive testimony to the dialog between the two periods and their specific challenges.

Az W’s new event series “What’s up?” brings together international and Austrian architecture in Vienna, including lectures and talks that will compare different approaches to urban and architectural challenges. On this particular evening, architects from Brazil, London and Vienna will be meeting at Az W to exchange architectural experiences. Expert lectures: Christoph and Verena Mörkl, SUPERBLOCK (Vienna); Katharina Bayer and Markus Zilker, einszueins archi­ tektur (Vienna); Carla Juaçaba (Rio de Janeiro); Fernando Rihl, Procter:Rihl (Brazil/London) Moderation: Karoline Mayer, Az W

In German

True to the motto “under a single roof”, we’ll be visiting the studios of two architects, each of whom works and lives in self-designed architecture. Starting with the SUPERBLOCK office, the tour first gives an example of modern gap development in Neuwaldegg (with a view of ­Wienerwald) and continues with “wohnen mit uns!”, a joint building venture by eins­ zueins architektur in the Nordbahnhof urban development area. The tour includes site visits to the projects, as the planners give an exclusive insight into their work and approaches. 1:45 p.m. Meeting place: Az W-Shop at the MQ, Museumsplatz 1, 1070 Vienna 2:00 p.m. Departure of the shuttle 2:30 p.m.–3:30 p.m. SUPERBLOCK 4:00 p.m.–5:00 p.m. einszueins architektur 5:30 p.m. Arrival at the Az W Moderation: Anneke Essl, Az W, and architects * Maximum 25 participants. Reservation is required: E, T +43 1 522 31 15


Art Cluster

Belvedere Upper Belvedere Prinz-Eugen-Strasse 27 1030 Vienna Opening hours: daily 10:00 a.m.–6:00 p.m. Lower Belvedere, Orangery Palace Stables Rennweg 6 1030 Vienna Opening hours: Thu.–Tue. 10:00 a.m.–6:00 p.m. Wed. 10:00 a.m.–9:00 p.m. T +43 1 795 57 134 F +43 1 795 57 136 E




Public restoration of the Salzburg polyptych by ­Rueland Frueauf the Elder: guided tour with conservator Stefanie Jahn*

“VIENNA 1450 – The Master of Lichtenstein Castle and His Time”

Curator Stephan Koja gives a guided tour of the exhibition “Emil Nolde”*

8 November 2013–23 February 2014 Lower Belvedere/Orangery

Thursday, 21 November 2013 4:00 p.m. Lower Belvedere

Tuesday, 19 November 2013 10:00 a.m. Upper Belvedere In German

Time is relentlessly taking its toll on sculp­ tures, paintings and panels: the varnish darkens, wood cracks, color flakes off … To show what it means for a modern muse­ um to take responsibility and conserve Austria’s cultural assets, Stefanie Jahn gives a guided tour of the public restora­ tion of eight eminent wood panel paintings by Rueland Frueauf the Elder. GUIDED TOUR

Curator Veronika Pirker-Aurenhammer gives a guided tour of the exhibition “VIENNA 1450 – The Master of Lichtenstein Castle and His Time”* Tuesday, 19 November 2013 4:00 p.m. Lower Belvedere/Orangery In German

This is the first exhibition dedicated to the Master of Lichtenstein Castle, a late ­Gothic Viennese painter regarded as one of the most innovative artists around 1450 – and yet widely unknown today. His surviv­ ing work is scattered across the globe – a prime example of how art trade divided – and dispersed – such Gothic altarpieces in the 19th and early 20th centuries. The pre­ cious panel paintings are now finally reu­ nited and put into context with eminent reference works from international collec­ tions. * Limited number of participants. Registration is required:


Intervention by Christian Mayer into the MEDIEVAL TREASURY study collection at the Palace Stables 8 November 2013–23 February 2014 Lower Belvedere/Palace Stables For the “Intervention” series, local and international artists are invited to engage with the Belvedere’s architecture, collection, and history, and develop site-specific projects. In his intervention, the Viennabased artist Christian Mayer deals with the MEDIEVAL TREASURY study collection at the Palace Stables. “Various periods overlap in this space. I want to work with these time layers to create new connections and associations between the known and the unknown,” says Mayer. He focuses on cultural methods of remembrance, preserva­ tion and rediscovery, and develops narrative forms inconsistent with the logic of linearity, aiming at a mutual penetration of the medium and the narrative.

In German

It was relatively late and largely indepen­ dently that Emil Nolde, born in 1867, found his way to art and developed an individual expressive style. His colorful landscapes, seascapes and garden scenes rank among the finest creations of German Expressionism, and his religious paintings among the most unconventional and per­ sonal interpretations of the theme. Held in cooperation with the Ada and Emil Nolde Foundation in Seebüll, this major retro­ spective at the Lower Belvedere features a cross-section of the artist’s central motifs and work series, portraying him in the con­ text of his day and documenting his impact on 20th-century Austrian painting. EXHIBITION

“Emil Nolde” 25 October 2013–2 February 2014 Lower Belvedere * Limited number of participants. Registration is required:


Conversation on Christian Mayer’s intervention Wednesday, 20 November 2013 5:00 p.m. Lower Belvedere/Palace Stables In German

Art theorist Sabeth Buchmann, Academy of Fine Arts Vienna, and Luisa Ziaja, curator at the 21er Haus, in a conversation on Christian Mayer’s intervention in the context of contemporary art’s recent engagement with history.

Ian Ehm © Belvedere,Vienna 15

Art Cluster

departure – The Creative Agency of the City of Vienna departure – The Creative Agency of the City of Vienna Hörlgasse 12 1090 Vienna T +43 1 4000 87 100 F +43 1 4000 87 109 E



curated by_vienna 2013: “Why Painting Now?”

departure fashion tour*

Thursday, 21 November 2013 7:00 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Vienna In German

departure’s project “curated by_vienna” aims to promote cooperation between na­tional galleries and curators of international standing. In 2013, under the title “Why painting now?”, 20 Viennese galleries and 20 curators are addressing various questions topical in painting today. Accompanying the exhibitions of “curated by_vienna 2013”, well-known art protagonists will debate on the degree of public attention that painting is getting right now. What effectiveness does art have today? What historical and conceptual premises is it based upon? To what extent can painting as a medium capture and comment on the structures of information and com­ munication media – or evade them altogether? And finally: what makes art a so­cial process in which artists, recipients, institutions and media are equally in­­ volved? Panelists include: Bettina Leidl, Managing Director of departure; Eva Maria Stadler, curator, conceived „curated by_vienna 2013“; Silke Otto Knapp, artist; Jan Verwoert, freelance curator and critic; Bernhart Schwenk, head conservator and lecturer on contemporary art, Pinakothek der Moderne, Munich (invited); Gabriele Senn, gallery owner and President of the Association of Austrian Galleries of Modern Art Moderation: Nicole Scheyerer, journalist, Vienna

Saturday, 23 November 2013 11:00 a.m.–2:00 p.m. In German

During this year’s VIENNA ART WEEK, four Viennese fashion designers will once again open their shops and studios to the interested public. The “departure fashion tour” gives a colorful insight into fascinating design and production processes. Join Bettina Leidl, managing director of departure, on her studio tour. EVA BLUT The Vienna-based label EVA BLUT, founded by Eva Buchleitner in 1998, stands for innovative bags, belts, and accessories which combine clever design with excellent workmanship. In 2012, EVA BLUT opened her first shop, together with ­Stilrad°°.

Schella Kann The Schella Kann label by Anita Aigner (designer) and Gudrun Windischbauer (head of marketing and production) has been setting new standards in fashion since its establishment in 1984. In their designs, reduction, plainness and austerity are interspersed with deliberately positioned playful elements. In 2011, the design duo opened a flagship store in Vienna’s 1st district.

Mühlbauer Klaus Mühlbauer – a hatter by trade, like his ancestors – has been running the family business, which was established in 1903 and is now in its fourth generation, since 2001. In addition to the familyowned manufacture and hat shop, Klaus Mühlbauer runs a multi-brand fashion store. * Limited number of participants. Registration is required: E Registered participants will be notified of the meeting place.

MICHEL MAYER In 1995, the Viennese designer Michaela Mayer established the MICHEL MAYER label, known for its versatile, minimalist design, as well as for an experimental cut, exceptional materials and a passion for detail. The designs include current collections, couture and bridal vogue.

Business as unusual 16

Art Cluster


dorotheum Dorotheergasse 17 1010 Vienna T +43 1 515 60 550 F +43 1 515 60 467 Opening hours: Mon.–Fri. 10:00 a.m.–6:00 p.m. Sat. 9:00 a.m.–5:00 p.m.


“Where have you been, where are you going? Five questions on the current state of contemporary art”



“The relevance of public space for the art discourse”

“The art collection – mirror of the art world”

Thursday, 21 November 2013 5:00 p.m.–6:30 p.m.

Friday, 23 November 2013 6:00 p.m.–7:30 p.m.

In German

In English

Panelists: Bettina Habsburg-Lothringen, Head of the Museumsakademie Joanneum, Graz; Elke Krasny, lecturer at the Academy of Fine Arts Vienna and freelance curator, Vienna; Sana Tamzini, Director of the Centre National d’Art Vivant, ­Belvédère – Tunis Moderation: Michael Huber, journalist, Vienna

A collection is an “art world”: it is part of the art scene, the content of discourse, reception, and art markets; it opens new realms of reality, giving its owner access to worlds of experience beyond his or her own reality. To compile a collection is to express one’s creative personality and pro­ ject one’s aspirations, feelings, experien­ ces and desires. But how is the art collec­ tors’ deeper, intimate world reflected in the international art scene?

Thursday, 21 November 2013 1:00 p.m.–2:30 p.m.

For further information, see “The Tunis Project” (p. 62).

In German


“Your activity does become moral and poli­ tical in the sense that whenever an artist or a philosopher chooses to do original work he threatens the stability of what is known about the discipline, and that is a political situation.”(from: Bruce Nauman, Interviews, 1978) What can be done? How is art changed by what I do? How is socie­ ty changed by what I do? What is the meaning of social networks? Is it time for the “existential turn”? The panel is the fourth part of “Spike Unplugged”, a series of discursive, informal, insightful m ­ eetings.

curated by_vienna 2013: “Why Painting Now?”

Panelists: Ellen Blumenstein, curator, Head of the KW Institute for Contemporary Art, Berlin; Krist Gruijthuijsen, curator, Head of Grazer Kunstverein; Tobias Madison, artist, Zurich Concept & Moderation: Rita Vitorelli, ­artist, Chief Editor of “Spike Art Quarterly”, Vienna and Berlin

Thursday, 21 November 2013 7:00 p.m.–8:30 p.m. In German For further information, see the program page of departure – The Creative Agency of the City of Vienna (p. 16).


“A Like button for the art discourse? Strategies of digital audience participation” Friday, 22 November 2013 2:00 p.m.–3:30 p.m. In German For further information, see the Essl Museum’s program page (p. 18).

“Art collectors and patrons of the sciences – between ­passion and investment” Thursday, 21 November 2013 3:00 p.m.–4:30 p.m. In German

Panelists: Thomas Angermair, art collector, Vienna; Rudolf Humer, Humer Privatstif­ tung, Hinterbrühl; Gernot Schuster, part­ ner Deloitte Österreich, Vienna; Walter Seidl, ERSTE Foundation, Vienna (invited) Moderation: Gerda Ridler, freelance cura­ tor, author, consultant for private art col­ lections, Munich For further information, see “An Interesting ­Investment From a Tax Perspective” (p. 68).

© Florian Rainer

Key address from art historian and art theorist Beatriz Colomina, Princeton University Friday, 22 November 2013 8:00 p.m.–9:00 p.m. In English For further information, see the Sigmund Freud Museum’s program page (p. 33).



Panelists: Kóan Jeff Baysa, curator, art ­critic and physician, Los Angeles; Joshua Decter, author, critic, curator and theorist, New York; Victoria Ivanova, co-founder of Foundation IZOLYATSIA. Platform for Cul­ tural Initiatives, Donetsk/Ukraine; Ursula Krinzinger, Galerie Krinzinger, Vienna; Moderation: Robert Punkenhofer, Artistic Director of VIENNA ART WEEK

“Art and science – the boon and bane of interdisciplinarity” Friday, 23 November 2013 4:00 p.m.–5:30 p.m. In German

Panelists: Elisabeth von Samsonow, philo­ sopher and artist, Academy of Fine Arts, Vienna; ­Thomas Feuerstein, artist, Vienna and Innsbruck; Michael Stampfer, Mana­ ging Director of WWTF (Wiener Wissenschafts-, Forschungs- und Technologiefonds), Vienna; Bernd Kräftner, scientist, Shared Inc./­University of Applied Arts, Vienna Moderation: Axel Stockburger, artist and theorist, Vienna

Preview of the auctions “Modern Art”, “Contemporary Art” and “Design” 18–22 November 2013 10:00 a.m.–6:00 p.m. on all days Saturday, 23 November 2013 9:00 a.m.–6:00 p.m. Sunday, 24 November 2013 10:00 a.m.–5:00 p.m. All design, modern and contemporary art items to be auctioned at the ­DOROTHEUM in its fourth week of auction (25–29 November 2013) will be on display during VIENNA ART WEEK. Experts in the res­ pective fields will be available for informa­ tion and guided tours.

For further information, see “Room For Experimentation” (p. 63). 17

Art Cluster

Essl Museum – Contemporary Art

Son-DA, Untitled, 2002, Sammlung Essl Privatstiftung, courtesy Son-DA

Essl Museum – Contemporary Art An der Donau-Au 1 3400 Klosterneuburg / Vienna T +43 2243 370 50 150 F +43 2243 370 50 22 E Opening hours: Tue.–Sun. 10:00 a.m.–6:00 p.m. Wed. 10:00 a.m.–9:00 p.m.



“A Like button for the art discourse? Strategies of digital audience participation”* Friday, 22 November 2013 2:00 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Vienna In German

Facebook: marketing-tool, community management, feedback option, and whatnot … For years, art institutions have been using the social network to promote their programs and get in touch with the inter­ ested public. What means and possibilities of participation do users already have, and which are yet to be explored? Are ­there any forms of interaction between the “Like” culture and “shitstorms”? Is it possible to debate on a high level in a social network? And what are the disadvantages of controlled digital spaces?


For the exhibition “LIKE IT!” at Essl Museum, Facebook users will press the Like button to pick art pieces for the show. This is an experiment in various respects: will there be a discourse between the users and the museum? Will public parti­ cipation ultimately change our approach to art? Is this kind of interference going to change art itself? And finally: what are the consequences of user participation for the curatorial practice? Panelists include: Andreas Hoffer, chief curator of the Essl Museum and curator of the “LIKE IT!” exhibition; Christina ­Steinbrecher, artistic director of VIENNA­ FAIR; Harald Katzmair, FAS.research; Johannes Grenzfurthner, media artist, monochrom Moderation: Lorenz “eSeL” Seidler, art networker ( * Participate on Twitter via: Hashtag #likeit


Curator Andreas Hoffer gives a tour of the exhibition “LIKE IT!”** Friday, 22 November 2013 4:30 p.m.–5:30 p.m. Essl Museum In German ** Free shuttle bus to the Essl Museum; departure: 4:00 p.m. (be on time!), Albertinaplatz 1, 1010 Vienna; registration is required: (subject: Vienna Art Week)


“LIKE IT!” 23 October 2013–6 January 2014

Art Cluster

Austrian Film Museum Austrian Film Museum Augustinerstrasse 1 1010 Vienna (in the Albertina building) T +43 1 533 70 54 F +43 1 533 70 54 25
 E Opening hours: Office: Mon.–Thu. 10:00 a.m.–6:00 p.m.
 Fri. 10:00 a.m.–1:00 p.m. Library: Mon. and Thu. 12:00 noon–6:00 p.m. Box office: One hour before the first screening



Artist David Gatten, born 1971 in Ann Arbor, Michigan, is an outstanding figure in contemporary avant-garde film. To put it briefly, his œuvre encompasses the Gutenberg Galaxy and the Lumière continent, plus the cultural skills of reading type and watching moving images (including the pleasures and limits of both kinds of perception). “Gatten like nobody else succeeds in cinematically intertwi­ ning the semiotic systems of printed words and moving images, and has thus found his own unique aesthetics,” says Peter Tscherkassy, summarizing the work of his American colleague. For Gatten, the challenge lies in holding the “game of knowledge” in suspense: “The enjoyment of reading and the anxiety of not being able to read are the two sides of the coin: you can’t have one without the other.” American arts and film magazines like “Artforum” or “Film Comment” have been reviewing David Gatten extensively for more than a decade, while his work is still

widely unknown in Europe. To some extent, Gatten’s interest in the material structures of film as a medium (culmina­ ting in its physical enrichment with ocean water or pollen), along with the structure and undermining of aesthetic and communicative systems, recall the work of such American art film luminaries as Stan ­Brakhage, Hollis Frampton, James ­Benning, Sharon Lockhart and Ernie Gehr. But while these affinities fall short of capturing the full mysteriousness and beauty inherent in his films, work titles such as “What the Water Said”, “The Great Art of Knowing”, “The Extravagant Shadows” or “Film for Invisible Ink” provide us with some clue. All events are open to the public and can be visited at the Film Museum’s regular admission prices. Advanced ticket sale starts on 10 October 2013.

David Gatten, in person Program 1 Thursday, 21 November 2013 8:30 p.m.


Artist David Gatten in conversation with Eve Heller Thursday, 21 November 2013 Right after the screening In English


David Gatten, in person Program 2 Friday, 22 November 2013 8:30 p.m.


Audience discussion with David Gatten Friday, 22 November 2013 Right after the screening In English

David Gatten, still from “The Matter Propoanded, of its Possibility or Impossibility, Treated in four Parts” (2011) David Gatten, still from “Journal and Remarks” (2009) David Gatten, still from “Film for Invisible Ink, case no. 323, ONCE UPON A TIME IN THE WEST” (2010) 19 David Gatten © Erin Espelie

Art Cluster

Generali Foundation

Mary Kelly, Primapara, Manicure/Pedicure Series, 1974/1996, © Generali Foundation

Generali Foundation Wiedner Hauptstrasse 15 1040 Vienna T +43 1 504 98 80 F +43 1 504 98 83 E Opening hours: Tue.–Sun. and public holidays 11:00 a.m.–6:00 p.m. Thu. 11:00 a.m.–8:00 p.m.


“Against Method” CONVERSATION


Artist talk with Mary Kelly and Gertrud Sandqvist

Curator Gertrud Sandqvist gives a guided tour through the exhibition “Against Method. The Collection Seen by ­Gertrud Sandqvist”

Tuesday, 19 November 2013 7:00 p.m. In English

Mary Kelly’s “Primapara, Bathing Series” (1974/1996) and “Post-Partum Document I. Prototype” (1974) are key works in the exhibition “Against Method. The Collection Seen by Gertrud Sandqvist” by Gertrud Sandqvist. “PPD” – a seminal work of the seventies – addressed the mother-child motif in a radically new way. Kelly used the conceptualist procedure of documentation to introduce an interroga­ tion of the subject dealing with the relationship between the working mother and her (male) child. Psychoanalysis, particularly its linguistic reformulation by Jacques Lacan, becomes an important reference for this work. In “Primapara, Bathing Series”, Kelly undertook a critical examination of the possibilities of photographic documentation, which she originally eliminated from the “PPD”. The series of black-and-white photographs captures the visual and physical contact between mother and infant, thus reflecting their complex relationship. 20

Thursday, 21 November 2013 4:00 p.m. In English

On occasion of the 25th anniversary of the Generali Foundation, three international curators each design an exhibition using very different presentation formats to reflect, from their individual perspectives, on the Generali Foundation’s collection, institutional and exhibition politics, and hence its contribution to historiography on the basis of institutional work. The title of Gertrud Sandqvist’s exhibition refers to Paul Feyerabend’s famous undermining of scientific claims on the nature of knowledge. With his critique as a point of departure, Sandqvist chose works from the collection that seem to undermine the general understandings of Conceptual art. Sol LeWitt, in his famous “Sentences on Conceptual Art” (1969), pointed out the

ambivalence in Conceptual art by proclaiming: “Conceptual Artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.” The bodily gesture, the sensuous experience, references to emotional processes and even to metaphysics run through several works in the collection, as an undercurrent stream. In a sense, these works operate subversively, questioning and challenging the common understanding of Conceptual art. EXHIBITION

“Against Method. The Collection Seen by Gertrud Sandqvist” 13 September–22 December 2013 With works by Lili Dujourie, VALIE EXPORT/Peter Weibel, Morgan Fisher, Andrea Fraser, Isa Genzken, Andrea Geyer, Dan Graham, Hans Haacke, Mary Kelly, Joachim Koester, David Lamelas, Martha Rosler, Ana Torfs, Franz West, and Heimo Zobernig.

Art Cluster

Jewish Museum Vienna

Jewish Museum Vienna Dorotheergasse 11
 1010 Vienna T +43 1 535 04 31
 F +43 1 535 04 24
 E Opening hours: Sun.–Fri. 10:00 a.m.–6:00 p.m. Museum Judenplatz Judenplatz 8
 1010 Vienna Opening hours: Sun.–Thu. 10:00 a.m.–6:00 p.m. Fri. 10:00 a.m.–2:00 p.m.



Artist talk with Andrew M. Mezvinsky about the installation “A Good Day”* Thursday, 21 November 2013 5:00 p.m. Jewish Museum Vienna – Museum Judenplatz In English

Andrew M. Mezvinsky, born 1982 in ­Philadelphia, is one of the most interesting and versatile young artists who currently work in Vienna. Mezvinsky’s installation for Museum Judenplatz is based on Primo Levi’s considerations on surviving Auschwitz and his definition of a “good day” in the concentration camp. “A Good Day” is also the ironic title of a chapter in the Italian writer’s autobiogra­ phic report “If This Is a Man”. It alludes to the first rays of the spring sun, which gives a little hope of surviving A ­ uschwitz: “… the rising of the sun is commented on every day; today a little earlier than yesterday, today a little warmer than yesterday, in two months, in a month, the cold will call a truce and we will have one enemy less.”

© Nathan Murrell

Mezvinsky borrowed Primo Levi’s title and employed interactive, hand-drawn animations and the latest multimedia technologies to create a space at Museum Judenplatz that reflects the basic conditions of human existence in a particular moment. The visitors become part of the installation and assume a role arranged by the artist to find out for themselves what metaphor Levi had in mind with “A Good Day”. The “Rite of Spring” scenery designed and animated by the artist is to be seen as an allegory of the liberation and new living will.


“A Good Day” Installation by Andrew M. Mezvinsky
 6 November 2013–March 2014 Jewish Museum Vienna – ­Museum Judenplatz

Everyone interested gets an opportunity during VIENNA ART WEEK to enter into a direct conversation with the American artist, find out more about his work and gain an insight into the project he con­ceived for the Jewish Museum Vienna. * Limited number of participants. Registration is required: E


Art Cluster

KÖR Kunst im öffentlichen Raum Wien Hannah Stippl, Work In Progress, Photo: Ulli Wagendorfer, 2010

KÖR Kunst im öffentlichen Raum GmbH Museumsplatz 1 / stairway 15 1070 Vienna T +43 1 521 89 1257 F +43 1 521 89 1217 E

 Guided Tours

“Projecting Walls” GUIDED TOURS

“Projecting Walls” – Guided tours of art in Vienna’s public space Guided by Karl Bruckschwaiger In German

Tour 1* Saturday, 23 November 2013 2:00 p.m. (duration: approx. 1,5–2 hrs) Meeting point: 1100 Vienna, Quellenstrasse 156

Etam Cru, “INOPERAbLE Gallery presents Etam Cru”, Quellenstrasse 156, 1100 Vienna Hannah Stippl, “Work in progress”, supporting walls along Ernst-Arnold-Park, 1050 Vienna Christine & Irene Hohenbüchler, “Wand der Sprachen”, Schwendermarkt, 1150 Vienna

Tour 2* Sunday, 24 November 2013 2:00 p.m. (duration: approx. 1,5–2 hrs) Meeting point: 1060 Vienna, Amerlingstrasse 6 (in front of Amerling Gymnasium)

ROA “INOPERAbLE Gallery presents ROA”, Schadekgasse, 1060 Vienna Heimo Zobernig “Feuermauer“, Schreyvogelgasse 2, 1010 Vienna Lois Weinberger, “I-Weed, YOU-Weed”, elevator tower at the footbridge MQ/Breite Gasse, 1070 Vienna Honet, along subway line U2 between Trabrennstrasse and Stella-Klein-Löw-Weg 1020 Vienna 22

“Projecting Walls” Text by Karl Bruckschwaiger “To walk is to lack a place” (Michel de Certeau). The difference between percei­ ving street or urban art and viewing art in a gallery lies in the act of passing by, i.e. walking or driving by. Since urban space art is widely scattered, we will be using public means of transport and will thereby interrupt the spatial urban continuum, shrink the urban whole, and create ­separate islands of art perception. Street art left its first artistic marks as an individual initiative, without permission, and mostly in so-called non-places (to quote Marc Augé), especially in places of transit or transport, such as stations, subway tunnels, and concrete walls along city highways. Non-places are neglected places in decay: abandoned factory buildings or fire walls exposed after demolition, whose painting or artistic alteration doesn’t entail immediate conflict with the owners. Because street art seeks the proximity of art in public space – or its project partnership, for that matter (at least it does in Vienna) – our viewings will not only in­­ clude recent works by Honet, ROA and Etam Cru, but also projects that borrow and condense the street art’s sign language (e.g. Hannah Stippl’s “Work in progress”, 2010), and works that use similar elements, such as big letters or ornamental shapes (e.g. Heimo Zobernig’s ­“Feuermauer”, 2002; Lois Weinberger’s “I-Weed, YOU-Weed”, 2013).

Karl Bruckschwaiger, born in Linz in 1961, is a philosopher, performance ­artist and deejay. He has been performing as an actor since 1992. Bruckschwaiger’s work also includes performances, lectures and publications on performance theory and international migration. He has been writing essays and guiding tours for Kunst im öffentlichen Raum Wien since 2006. * By public transport. Registration is required: E or T +43 1 521 89 1257 Tour changes will be announced on

Art Cluster

Kunsthalle Wien

© Gerard Byrne, 1984 and Beyond, 2005–2007

Kunsthalle Wien Museumsquartier Museumsplatz 1 1070 Vienna Opening hours: Fri.–Wed. 10:00 a.m.–7:00 p.m. Thu. 10:00 a.m.–9:00 p.m. Kunsthalle Wien Karlsplatz Treitlstrasse 2 1040 Vienna Opening hours: Flexible opening hours due to Kunsthalle’s varying program during “Salon der Angst” For details, see T +43 1 521 89 33 F +43 1 521 89 1217 E


“Salon der Angst” EXHIBITION

“Salon der Angst” 6 September 2013–12 January 2014 Kunsthalle Wien Museumsquartier & Kunsthalle Wien Karlsplatz The exhibition “Salon der Angst” explores the artistic confrontation with the fears of our time across a broad affective and socio-political spectrum. Fear is here understood as a response to those aspects of the present that we do not know how to deal with. The artists in this exhibition address these fears in terms of a history of ideas, but also their specific psychological manifestations. Consequently, spectacular scenarios and their collective processing are less dominant than various individual forms of anxiety. As these form the basis of political and economic instrumentalization and in turn are used as subtle strategies of manipulation, the familiar sensa­ tion of fear is transformed into a symptom characteristic of our time. With “Salon der Angst”, the Kunsthalle Wien presents an exhibition platform that questions the ­state of the modern subject on many levels.

Curators: Nicolaus Schafhausen and Cathérine Hug Participating artists: Nel Aerts, Özlem Altin, Kader Attia, Gerard Byrne, Los ­Carpinteros, James Ensor, Ieva Epnere, Harun Farocki, Marina Faust, Didier ­Faustino, Peter Fischli / David Weiss, ­Rainer Ganahl, Agnès Geoffray, Thomas Hirschhorn, Iraqi Children’s Art Exchange, Cameron Jamie, Jesse Jones, Dorota ­Jurczak, Ferdinand van Kessel, Bouchra Khalili, Nicolas Kozakis / Raoul Vaneigem, Alfred Kubin, Erik van Lieshout, Jen Liu, Marko Lulic´, Fabian Marti, Florin Mitroi, Marcel Odenbach, Jane Ostermann-­ Petersen, Francis Picabia, Willem de Rooij, Allan Sekula, Zin Taylor, Noam Toran, Kerry Tribe, Peter Wächtler, Jeff Wall, Mark Wallinger, Gillian Wearing, Tobias Zielony


Nicolaus Schafhausen, ­Kunsthalle Wien, in ­conversation with artist Zin Taylor Thursday, 21 November 2013 6:00 p.m. Kunsthalle Wien Museumsquartier In English


Art Cluster


Sophia Loren, Vogue Italia, 1992, © MICHEL COMTE / I-Management

KUNST HAUS WIEN Untere ­Weissgerberstrasse 13 1030 Vienna T +43 1 712 04 91 F +43 1 712 04 96 E Opening hours: daily 10:00 a.m.–7:00 p.m.


“Michel Comte” EXHIBITION


Michel Comte

“Illusion and Emotion in Michel Comte’s Photography”

17 October 2013–16 February 2014 The Swiss photographer Michel Comte, born in 1954, is a master of spontaneity and transformation. For more than 30 years he has photographed film stars, greats of the art and music scenes, as well as supermodels, including Sophia Loren, George Clooney, Louise Bourgeois, Miles Davis, Helena Christensen and Naomi Campbell, but also people at scenes of crisis across the globe. In his portraits, Comte cultivates the art of staging, while in his reportages for charitable organizations he uses a highly personal pictorial vocabulary. The exhibition, which is presented in cooperation with the Museum of Design, Zurich, includes a “making-of” section that provides insights into Comte’s unusual approach.


Chanel Story, Stern, 1996, © MICHEL COMTE / I-Management

Tuesday, 19 November 2013 7:00 p.m. In German

Many of Michel Comte’s photographs are constructed, fictitious worlds full of de­­ sires and promises. How does Comte encode these illusions and emotions in his picture language? What role do fashion and fashion magazines play in the con­ struction of these worlds? How does Comte vest his models with fictional characters, making them appear like movie or opera figures? Which of it is “authentic”, and which “artificial”? Is Comte, when photographing crises ­areas, a so-called concerned photographer or does he prefer to stand alongside celebrities who use their fame for a good cause? Is the gap between the exclusive world of luxury and fashion on the one side and the misery of war and hunger on the other really as wide and unbridgeable as it would seem? Do the emotions in the ­photographs help to bridge the gap?

Panelists: Christian Brändle, Director of the Museum of Design, Zurich; Andreas Hirsch, curator; Christian Mikanda, media dramaturg; Andrea Weidler, director of Wiener Models

Art Cluster

Kunsthistorisches Museum Wien GUIDED TOUR

Examining the techniques and condition of Pieter Bruegel the Elder‘s panel paintings at the Kunsthistorisches ­Museum* Thursday, 21 November 2013 4:00 p.m. Meeting point: foyer of the Kunsthistorisches Museum Wien In German

Elke Oberthaler, Head of the Conservation Department at the Picture Gallery of ­Kunsthistorisches Museum Wien, speaks about a new conservation project for one of the Museum’s central collections, the paintings of Pieter Bruegel the Elder.

Kunstkammer Wien, Kunsthistorisches Museum Wien

Kunsthistorisches Museum Wien Maria-Theresien-Platz 1010 Vienna T +43 1 525 24 4025
 F +43 1 525 24 4098
 Opening hours: Tue.–Sun. 10:00 a.m.–6:00 p.m. Thu. 10:00 a.m.–9:00 p.m. In addition (from 10 October 2013): Thu., Fri. 10:00 a.m.–10:00 p.m. Thu. from 9:00 p.m. and Fri. from 6:00 p.m. only special exhibition “Lucian Freud” and Picture Gallery

* Limited number of participants. Registration is required: E



General Director Sabine Haag and artist Elke Krystufek give a guided tour of the reopened Kunstkammer Wien*

Director Matthias ­Pfaffenbichler gives a tour of the exhibition “The Imperial Hunt”*


Tuesday, 19 November 2013 4:00 p.m.

Wednesday, 20 November 2013 4:00 p.m.

Friday, 22 November 2013 4:00 p.m.

Meeting point: foyer of the Kunsthistorisches Museum Wien

Meeting point: entrance hall of Neue Burg, Heldenplatz entrance

Meeting point: foyer of the Kunsthistorisches Museum Wien

In German

In German

In German and English

Kunstkammer Wien, the world’s greatest collection of its kind, has now been reo­ pened to the public in new splendor. The “cradle of the museum” presents itself in 20 rooms re-arranged according to indivi­ dual subjects, taking us into the world of beauty and brilliance, curiosities and mar­ vels. The highlights of approximately 2,200 valuables exhibited at Kunstkam­ mer Wien include singular goldsmith works like the famous “Saliera” by Benve­ nuto Cellini, masterpieces of sculpture like the Krumau Madonna, as well as delicate and bizarrely shaped ivories, precious clocks, complex automatons, peculiar sci­ entific instruments, precious games and much else.

The first section of the revamped collection “The Imperial Hunt”, a marvelous sample of imperial representation, is now re-opened to the public eye in the halls of the Collection of Arms and Armour at Neue Burg Palace. The showrooms at the Corps de Logis of Neue Burg provide a magnificent setting for over 90 objects related to the imperial hunt of the late Middle Ages and Renaissance. The focus of the re-opened gallery is on a golden aviary, including precious falcon and hawk hoods and lavishly embroidered falcon lures. Vienna has the world’s largest coll­ ection of courtly equipment for falconry, which was central to the court festivities of the time.

* Limited number of participants. Registration is required: E

* Limited number of participants. Registration is required: E

The Kunsthistorisches Museum Wien shows the first-ever exhibition of Lucian Freud’s works in Austria. The show was conceived in close collaboration with ­Lucian Freud in the months before he died in July 2011. It was arranged by the artist, including works from seven decades of his creative career. But first and foremost, it contains paintings which Freud himself thought were his best. In a word: Freud’s major works, selected by Freud. Apart from outstanding works on loan from ­private collections and former patrons of Freud’s, the exhibition features paintings on loan from leading Museums across the world, including Tate Modern in London, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and Museo Thyssen-Bornemisza in Madrid.

Curator Jasper Sharp gives a tour of the “Lucian Freud” exhibition*

* Limited number of participants. Registration is required: E


Art Cluster


Künstlerhaus Karlsplatz 5 1010 Vienna T +43 1 587 96 63 F +43 1 587 87 36 E Opening hours: Tue., Wed., Fri.–Sun. 10:00 a.m.–6:00 p.m. Thu. 10:00 a.m.–9:00 p.m.




Matt Mullican, “Uncovering That Person”

Exhibition “In Passing 19 – Marina Faust / Sherine Anis / Nicolas Jasmin”


Thursday, 21 November 2013 6:00 p.m. In English

Matt Mullican’s performance is part of the event series “IN-FORMATION” conceived by Christian Helbock, where invited artists and curators (including, since 2012, Michael Riedel, Klasse für performative Kunst, Carola Dertnig, Lilo Nein) present their creative approach in a performative way. Since performing in The Kitchen, New York, in 1978, Matt Mullican has been working with hypnotic trance. In “Psycho Architectures”, Mullican is hypnotized to enter into someone else’s world, who he calls “that person”. “It’s almost like a psychotherapy by public perception. Every­ thing is so Freudian. Basically, you pro­ duce your psychosis in front of the very people you want to protect yourself from.” Having performed “under hypnosis” at London’s Tate Modern (2007) and at Haus der Kunst in Munich (2011), Matt ­Mullican now takes the opportunity of this year’s VIENNA ART WEEK to give one of his rare performances/lectures at Vienna’s Künstlerhaus. Like in his recent performance at the Paris Louvre (2012), the motto of the event is “Uncovering That Person”.

Thursday, 21 November 2013 7:30 p.m. The urban position of the Künstlerhaus passage gallery between art institution and public space is the point of departure for the exhibition “In Passing 19”, curated by Ursula Maria Probst. Marina Faust uses a special collage technique to arrange her photographic portraits of people from different generations and social classes in the style of an installation. Nicolas ­Jasmin’s work questions the materiality of the painted picture and the contextdependence of language where opposing realities come face to face. The focus of Sherine Anis’s sculptural installation is on the glass façade of the Künstlerhaus passage gallery.

Thursday, 21 November 2013 4:00 p.m. The Künstlerhaus welcomes all friends, colleagues, and visitors of VIENNA ART WEEK to join its open house party: on top of Matt Mullican’s performance and the opening of “In Passing 19”, there will be guided tours, talks, and discussions with the artists and curators of current exhibitions, and of course some cool drinks too! The program includes exhibitions by Linda Christanell and Gustav Deutsch, an Alfred Kornberger retrospective, and Rainer ­Prohaska’s “The City of Needs and Circumstances – Postproduktion” (a workshop and documentary material on the architecture performance held on ­Karlsplatz in May and June 2013).


“In Passing 19 – Marina Faust / Sherine Anis / Nicolas Jasmin” 22 November–15 December 2013

Rainer Prohaska, “The City of Needs and Circumstances” Photo: Nadine Wille 26

Art Cluster

Leopold Museum Oskar Kokoschka, Der Maler and sein Modell II, Saint Louis Art Museum, Bequest of Morton D. May 910: 1983, © Fondation Oskar Kokoschka/VBK, Wien 2013

Earl Seubert (Schubert), Oskar Kokoschka, © University of Applied Arts Vienna, Oskar Kokoschka-Zentrum

Leopold Museum Museumsplatz 1 1070 Vienna T +43 1 525 70 0 
 F +43 1 525 70 1500 E Opening hours: Wed.–Mon. 10:00 a.m.–6:00 p.m. Thu. 10:00 a.m.–9:00 p.m.


“Kokoschka. The Self in Focus” GUIDED TOUR


Curator’s tour of the exhibition “Kokoschka. The Self in Focus”*

In German

“Kokoschka. The Self in Focus The life of an artist in painting and photography, with pictures from the Kokoschka estate of the University of Applied Arts Vienna”

* Maximum 25 participants. Registration is required: E

4 October 2013–27 January 2014

Friday, 22 November 2013 3:00 p.m.

The photos also demonstrate in no mean way Kokoschka’s masterful handling of photography as a way of creating his own public image, just as it was exploited by many other 20th-century artists.

Oskar Kokoschka (1886–1980) is without doubt one of the leading protagonists of Modernism. His extensive oeuvre not only as a painter and graphic artist but also as a dramatist, essayist and stage designer has assured him a permanent place in the history of 20th-century art and literature. Kokoschka’s long life and creativity have been documented in a multitude of photographs, films and sound recordings. The exhibition shows photos and photographic series in a fascinating dialog with the artist’s famous paintings and graphic works. 27

Art Cluster



MAK NITE Lab: 1982, “Our Universe Unfolds New ­Wonders” Tuesday, 19 November 2013 9:00 p.m.–midnight MAK Columned Main Hall

© Steffen Jagenburg, Courtesy: Fogo Island Arts

In English MAK – Austrian Museum of Applied Arts / Contemporary Art 1010 Vienna T +43 1 711 36 231 F +43 1 711 36 291 E Opening hours: Tue. 10:00 a.m.–10:00 p.m. Wed.–Sun. 10:00 a.m.–6:00 p.m. Free admission on Tuesdays 6:00 p.m.–10:00 p.m.


“Fogo Island Dialogues: Culture as Destination” 17 and 19 November 2013 In English

As a museum and lab for applied arts, the MAK is at the interface with design, ­architecture and contemporary art, addres­ sing topics such as sustainability, environmental responsibility and social cohesion. On the occasion of VIENNA ART WEEK 2013, the MAK is hosting the “Fogo Island ­Dialogues”, an international and interdisciplinary series of talks: artists, scholars, economists, geographers, spatial planners, architects, and other pioneers come to Vienna to exchange views on the living conditions and necessary changes in society. The series was initiated by Fogo Island Arts, a cultural institution on Fogo Island in Canada with a residency program for contemporary artists. “Fogo Island Dialogues: Culture as ­Destination” will be focusing on the significance of digitalization for the way we acquire knowledge, produce physical objects and interact with things, people and places: “Culture as Destination” explores the digital sphere as a destination and – in a wider sense – place for a museum with no walls. To what extent does the digital space enable or widen the concept of a “museum with no walls”?


How can this museum serve as a destina­ tion of knowledge and still boost the movement, flow and spread of knowledge and cultural reception? Lecture

Lecture by Marcus Verhagen Sunday, 17 November 2013 4:00 p.m. MAK Columned Main Hall In English

Lectures and panel discussions

Tuesday, 19 November 2013 3:00 p.m.–8:00 p.m. MAK Columned Main Hall Participants: Simon Critchley, Pedro Gadanho, Maria Lind, Peter Weibel, et al.

1982 is the latest solo musical project by the French artist Charles Derenne, who made a name for himself with MELODY SYNDROME, among other things. Derenne regularly works with major international visual artists, including Cyprien Gaillard, Jeremy Shaw and Robert Montgomery. Only a few months after starting his solo project 1982, Derenne performed as a surprise act at Thyssen-Bornemisza Art Contemporary’s anniversary party “TBA21 10 Years Celebration – LIVE, LUSCIOUS AND LOUD” at Vienna’s Ottakringer brew­ ery. Shortly after, he accepted the invita­ tion to perform at Cyprien Gaillard’s solo exhibition “The Crystal World” at the MoMA PS1 in New York City. 1982 was subsequently invited to perform concerts and DJ sets at this year’s Venice Biennale and at Art Basel 2013.

In English

His delicate electronic tunes are inspired, for example, by 1980s British underground sound, residing somewhere be­­ tween romantic and analog music. ­Derenne regards 1982 as the “soundtrack of everyday life”. The latest album “­ LUXURIANT NATURE ODYSSEY” is a fascinating audio-visual panorama of emotions and impressions from nature or the world de­signed by human hand. Don’t miss the exclusive live concert and visuals at the MAK Columned Main Hall!

Art Cluster

mumok Museum Moderner Kunst Stiftung Ludwig Wien mumok Museum Moderner Kunst Stiftung Ludwig Wien MuseumsQuartier, Museumsplatz 1 1070 Vienna T +43 1 525 00 0 F +43 1 525 13 00 E


Opening hours: Mon. 2:00 p.m.–7:00 p.m. Tue., Wed., Fri.–Sun. 10:00 a.m.–7:00 p.m. Thu. 10:00 a.m.–9:00 p.m.

Curator Richard Birkett in conversation with architectural theorist Reinhold Martin*

“and materials and money and crisis” CONVERSATION

Thursday, 21 November 2013 7:00 p.m. mumok Cinema In English

As part of the momok exhibition “and materials and money and crisis”, New York-based curator Richard Birkett hosts a talk with architectural theorist Reinhold Martin. In their conversation, they will touch on the city as a material “thing”, especially in relation to financial abstraction.

Reinhold Martin is Associate Professor of Architecture at the Columbia University’s Graduate School of Architecture, Planning and Preservation, where he also directs the Ph.D. program for architectural history and theory. He has written widely on ­modern and contemporary architecture and is currently working on the study “A Philosophy of the City: Abstraction, Risk, and the Sublime”. Richard Birkett is curator at Artists Space, New York. He was curator at the Institute of Contemporary Arts (ICA) in London from 2007 to 2010 and has contributed v­ arious essays to art journals and monographs. In 2012, he was nominated for the ICI Independent Vision Curatorial Award. * Admission is free with a valid exhibition ticket.


“and materials and money and crisis” 8 November 2013–2 February 2014 “and materials and money and crisis” is an experimental proposition about the matter of capital as it exists in the artwork. Artists participating in the group ­exhibition will be focusing on materiality in two ways: they will use flows of material and money as subject matter for their artwork, and will deal with the relationship between the materiality, or physical matter, of artworks and the decoupling of capital from production that we can observe today. The exhibition includes works by Maria Eichhorn, Gareth James, Sam Lewitt, ­Henrik Olesen, Pratchya Phinthong, R. H. Quaytman, Lucy Raven, Cheyney ­Thompson, Emily Wardill.

© mumok 29

Art Cluster

MUSA Museum Start Gallery Artothek

MUSA – Museum Start Gallery Artothek Felderstrasse 6–8 1010 Vienna T +43 1 4000 8400 F +43 1 4000 99 8400 E Opening hours: Tue., Wed., Fri. 11:00 a.m.–6:00 p.m. Thu. 11:00 a.m.–8:00 p.m. Sat. 11:00 a.m.–4:00 p.m.


Gustav Ernst and Antonio Fian Tuesday, 19 November 2013 7:00 p.m. In German CEMS (Michael Endlicher/Cynthia Schwertsik), Zertifikat Malmedine, 2011

On the occasion of the current exhibition “The 1970s. The Expansion of Viennese Art”, the MUSA is hosting a humorous literary evening with Gustav Ernst and Antonio Fian. Back in the 1970s, the Viennese writer Gustav Ernst (b. 1944) wrote prose (“Am Kehlkopf”), plays (“Ein irrer Hass”), and the Künstlerroman ­“Einsame Klasse”, which mirrored the events of the day (e.g. the squatting of the Arena cultural center in 1976). Antonio Fian was born in Klagenfurt in 1956, but has been living in Vienna since 1976, composing biting-satirical comments on Austria’s cultural, political and art scenes for many years. His preferred form is that of the flash drama ­(Dramolett), a brief, trenchant dialog.


“The 1970s. The Expansion of Viennese Art” 2 July 2013–4 January 2014


“Ich brauch ­Tapetenwechsel!” Performance by the artist duo CEMS Friday, 22 November 2013 4:00 p.m. In German

In their performances, the artist duo CEMS (Michael Endlicher/Cynthia ­Schwertsik) deconstructs the system of art theory by means of a canon of fictitious art forms, whose underlying glossary ­“Definitiv: Kunst! Von Arcadientia bis ­Zöllitrophismus” has been constantly updated since 2011. Art concepts like “Lavouriplenkunst”, “Hollibusta Art” or “Sisolwenztheorien” are translated for – and with – the ­audience into performative acts and sculptural artifacts.


Art Cluster

quartier21/ MuseumsQuartier Wien

quartier21/­ MuseumsQuartier Wien Museumsplatz 1 1070 Vienna T +43 1 523 58 81 F +43 1 523 58 86 E Free entrance




“Applied individuality: ­positions and discourses in artistic research”

Art critic Josephine Bosma (NL) on “Hiding in Plain Sight”

Guided curator’s tour of TONSPUR 60 by James Benning

Tuesday, 19 November 2013 6:00 p.m. MQ, quartier21, Room D

Thursday, 21 November 2013 7:00 p.m. MQ, freiraum quartier21 INTERNATIONAL

In German

The event aims to exemplify by means of artistic research how something new is created on categorical, disciplinary, methodical, institutional and individually biographic bases. The presentation in­­ cludes positions between art and research that could be subsumed by the term ­“artistic research”. An event by Artistic Technology Research / PEEK of the University of Applied Arts Vienna / Support Art and Research.

In English

Social Media have put us in the limelight and exposed us to the public eye, but this also stimulates self-reflection. Dutch art critic Josephine Bosma brings into ques­ tion to what extent specific tools change our representation, while at the same time increasing our vulnerability. The event is part of the exhibition “FACELESS”, curated by Bogomir Doringer in collaboration with Brigitte Felderer.

Sunday, 24 November 2013 5:00 p.m. MQ, TONSPUR_passage (between Courtyards 7 and 8) In German

Curator Georg Weckwerth gives a tour of TONSPUR 60 by James Benning, ­American avant-garde filmmaker and artist in residence at quartier21. Since 2003, the series “TONSPUR für einen öffentlichen raum“ has been presenting sound art by international artists in the public space of MQ Wien.


“Art and capital: community currencies, cryptocurrencies and alternative economies in art and society” Wednesday, 20 November 2013 6:00 p.m. MQ, quartier21, Room D


John Fekner and Don Leicht, “Urbaniconografi” Friday, 22 November 2013 6:00 p.m. MQ, STREET ART PASSAGE VIENNA and Studio 02 In German and English

In German

Participants: stadtwerkstatt, commu­ nitywaehrung gibling (; Matthias Tarasiewicz,; Harald Schilly, Bitcoin Austria Moderation: Lorenz “eSeL” Seidler

During his stay as artist in residence at quartier21, street art pioneer John Fekner installs an outdoor stencil together with Don Leicht. In a series of pictures, the American artist addresses urban memory and the anonymity of the individual.

The event will be followed by the opening of a “PUNKFILIALE – Gibling exchange office” at MQ. David Haines, Courtesy: Upstream Gallery Amsterdam 31

Art Cluster


Secession Friedrichstrasse 12 1010 Vienna T +43 1 587 53 07 F +43 1 587 53 07 34 Opening hours: Tue.–Sun. 10:00 a.m.–6:00 p.m.


Exhibitions Sarah Lucas / Tobias Pils / Guido van der Werve Friday, 22 November 2013 7:00 p.m. EXHIBITION

Guido van der Werve 23 November 2013–January 2014 Grafisches Kabinett In his films, the Dutch video and performance artist Guido van der Werve explores approaches to the world and approaches of self-experience. His works revolve around routine processes in life, the flow of time, and the uncontrollability of c­ hance. EXHIBITION

Tobias Pils 23 November 2013–January 2014 Gallery Tobias Pils’s large-sized, abstract works, partly interspersed with figurative elements, emerge from questions closely related to the process of painting itself. Based in Vienna, the artist was inspired, among other things, by the Secession and the spirit of the dawning 20th century to produce a new cycle of works for the exhibition.

Sarah Lucas, Jubilee, 2012, Courtesy: Sadie Coles HQ London



Sarah Lucas

Architecture tour with Otto Kapfinger

23 November 2013–January 2014 Main Hall Ever since the Young British Artists appeared on the scene in the late 1980s, Sarah Lucas has been regarded as one of their most eminent exponents. Lucas has always adopted a critical attitude toward social norms, sexual stereotypes and gender-specific role models. The straightforwardness of her art, which evokes pornographic or feminist associations, has always been found to be provocative. Lucas has developed a unique ­material and visual language that gives an idea of her subtle sense of humor. She has a preference for seemingly worthless every­ day objects like clothes hangers, beer cans, nylon stockings, cigarettes, mattresses, toilet bowls, light bulbs, etc.

Wednesday, 20 November 2013 5:00 p.m. In English

Architecture scientist and critic Otto Kapfinger on the Secession’s building history and the exemplary interaction of outstanding architects and artists. The tour in­cludes a glimpse of the setup works for the Sarah Lucas, Tobias Pils, and Guido van der Werve exhibitions. Otto Kapfinger was born in 1949 and studied architecture. The author of several books curates exhibitions of 20th-century and present-day Austrian architecture. He lives in Vienna. GUIDED TOUR

Curators Jeanette Pacher, Bettina Spörr and Annette Südbeck give a guided tour of the Sarah Lucas, Tobias Pils and Guido van der Werve exhibitions Sunday, 24 November 2013 11:00 a.m. In German


Art Cluster

Sigmund Freud Museum

The Painter’s Feet, 2010 © David Dawson, Courtesy of Hazlitt Holland-Hibbert

Sigmund Freud Museum Berggasse 19 1090 Vienna T +43 1 319 15 96 F +43 1 317 02 79 E Opening hours: daily 9:00 a.m.–6:00 p.m.


“Lucian Freud: In Private” SYMPOSIUM

“Interiors – living-space, art-space, work-space” Thursday, 21 November 2013 5:00 p.m.–8:00 p.m. Friday, 22 November 2013 8:00 p.m.–9:00 p.m. The Sigmund Freud Museum will present the photo exhibition “Lucian Freud: In ­Private. Photographies by David Lawson”, in cooperation with the Kunsthistorisches Museum from 9 October 2013 to 6 Janua­ ry 2014. Within the context of this exhibition the Sigmund Freud Foundation will hold a two-day symposium on the topic of “Interiors – between home, medical ­practice and studio”. Spatial concepts of interiors from the 19th and 20th centuries shall be discussed from the perspectives of cultural, psychoanalytic, and architectural theories. The medical practice of ­Sigmund Freud and Lucian Freud’s studio can exemplarily be understood as work / treatment and production / consultation spaces, which in their specificity represent the development of interiors to an intimate space and thereby “extended interior”, where the nature of the intellectual and artistic production facility resides. Radical space concepts, such as the residence in Vienna’s 3rd district, which Ludwig ­Wittgenstein had built for his sister ­Margaret Stonborough-Wittgenstein, will

be used as a counterpoint to stretch an architectural theoretical bow over Vienna of the first half of the 20th century. The symposium is held by the Sigmund Freud Foundation, together with Vienna Art Week and the City of Vienna MA 7 / Department of Culture, and includes the following lectures:


Thursday, 21 November 2013 5:00 p.m.–8:00 p.m. Sigmund Freud Museum, Berggasse 19, 1090 Vienna In German and English

Speakers: Jeanne Wolff Bernstein, ­Sigmund Freud University (Vienna); S ­ pyros Papapetros, Princeton University (USA); Cornelia Klinger, Institute for Human ­Sciences (Vienna); August Sarnitz, ­Academy of Fine Arts Vienna Moderation: Inge Scholz-Strasser, ­Sigmund Freud Foundation

Beatriz Colomina, an internationally renowned architectural historian and theorist from Princeton University, has written extensively on questions of architecture and media. She is the editor of “Sexuality and Space”, which was awarded the International Book Award by the American In­stitute of Architects. She is the coeditor of “Cold War Hothouses: Inventing Postwar Culture from Cockpit to Playboy”. Her most recent book is “Doble exposición: Arquitectura a través del arte”. Moderation: August Sarnitz, Academy of Fine Arts Vienna EXHIBITION

“Lucian Freud: In Private. Photographs by David Dawson” 9 October 2013–6 January 2014


Keynote address by architectural historian and theorist Beatriz Colomina Friday, 22 November 2013 8:00 p.m.–9:00 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Vienna In English

In cooperation with Kunsthistorisches Museum Wien, the Sigmund Freud ­Museum is showing photographs by the painter and longstanding assistant of ­Lucian Freud, David Dawson. The exhibition gives an intimate, personal view of ­Sigmund Freud’s grandson, who ranks among the most influential artists of the 20th century.


Art Cluster

Thyssen-Bornemisza Art Contemporary

Amar Kanwar, Courtesy of the artist Exhibitions: Thyssen-Bornemisza Art Contemporary – Augarten Scherzergasse 1A 1020 Vienna T +43 1 513 98 56 24 E Opening hours: Wed., Thu. 12:00 noon–5:00 p.m. Fri.–Sun. 12:00 noon–7:00 p.m. Office: Thyssen-Bornemisza Art Contemporary Köstlergasse 1
 1060 Vienna T +43 1 513 98 56 0
 F +43 1 513 98 56 22 E



“Amar Kanwar: The Sovereign Forest” OPENING

Exhibition “Amar Kanwar: The Sovereign Forest” Friday, 22 November 2013 7:00 p.m. Amar Kanwars work deals with political, social and environmental issues in the context of the Indian subcontinent, synthesizing documentary, travelogue and essay formats into poetic films and multichannel installations. “The Sovereign Forest”, commissioned and co-produced by Thyssen-Bornemisza Art Contemporary since 2011, is an ongoing research project that examines the social and environmental impact of mining on the local community in Orissa, a state on the eastern coast of India. The central film, titled “The

Scene of Crime”, shows stretches of land – already approved for acquisition by companies – shortly before their destruction. The film deals with the question of how and to what degree the war on people and the environment raging in Orissa since the 1990s can be made tangible and perceptible. “Almost every image in this film ­references the same areas that will be repurposed into industrial zones and are currently in the process of being acquired by the government and corporations in Orissa. ‘The Scene of Crime’ documents the experience of ‘observing’ these conflict areas and the personal lives that exist within this natural landscape,” explains Kanwar.


“Amar Kanwar: The Sovereign Forest” 23 November 2013–February 2014

Art Cluster

University of Applied Arts Vienna

University of Applied Arts Vienna Oskar Kokoschka-Platz 2 1010 Vienna E


Art & Science, “Crucial Experiments” OPENING

Exhibition Art & Science, “Crucial Experiments” Monday, 18 November 2013 7:30 p.m. MuseumsQuartier, Oval Hall Museumsplatz 1, 1070 Vienna This exhibition project aims to re-enact scientific experiments considered crucial for further development. An “experimentum crucis” or “crucial experiment” is, one might say, an experiment at a crossroads that brings about a decision on how to proceed. Consider, for example, ­Einstein’s theory of relativity: His famous “thought experiments” were elegant, but how could they prove their connection to reality? Today, we can test the “de BroglieBohm theory trajectories for indistinguish­ able particles”, for example, and try to rethink the wave-particle dualism. While some key experiments could be called ­successful, others were failures. And ­finally, some highly controversial experiments have been removed from the scientific agenda, even though continuing to pursue the question of whether a chemical transfer of knowledge is possible, for instance, or whether the cold fusion could solve our energy problem, might be worth­ while.

The exhibition is a compilation of case studies showing key experiments ­under­­taken by students in the “Art ­­ & Science” graduate program (Director: Virgil W ­ idrich), as they explored the notion of “experimentum crucis” in the sciences. The use of ­“re-enactment” as a methodological framework allows one to pursue historical or current, realistic or fictional, suspicious or obsessive approaches, giving insight into the structure of experiments using different artistic media and research strategies. The results of this artistic research convey an impression of untidy interfaces, shedding light on the complex relationship between theory and practice, models and observations, predictions and desires. The selection of case studies was carried out with scientific collaborators from various university departments in Vienna, where Art & Science graduates had previously spent time connecting their own artistic projects to central issues in research. Finally, experiments were developed from the students’ group work, over the course of interdisciplinary exchange. Re-staged in this way, the experiments are presented for discussion during VIENNA ART WEEK 2013.


Art & Science, “Crucial Experiments” 19–22 November 2013 MuseumsQuartier, Oval Hall Museumsplatz 1, 1070 Vienna

© Art & Science / ­University of Applied Arts Vienna 35

Art Cluster

Wien Museum

Wien Museum Karlsplatz 1040 Vienna T +43 1 505 87 47 0 F +43 1 505 87 47 7201 E Opening hours: Tue.–Sun. and public holidays 10:00 a.m.–6:00 p.m.


“Edith Tudor-Hart. In the Shadow of Tyranny” EXHIBITION



“Edith Tudor-Hart. In the Shadow of Tyranny”

“Politics, Photography and Exile in the Life of Edith Tudor-Hart” – Lecture by Duncan Forbes

Curator Frauke Kreutler gives a tour of the exhibition “Edith Tudor-Hart. In the Shadow of Tyranny”*

Thursday, 21 November 2013 6:30 p.m.

Friday, 22 November 2013 3:00 p.m.

In English

In German

26 September 2013–12 January 2014 A great Austrian-British photographer is rediscovered: Edith Tudor-Hart (1908– 1973), known in Austrian photography by her maiden name Edith Suschitzky, was one of the politically active photographers who responded to the political developments of the interwar period with a sociocritical approach. After studying at the Bauhaus in Dessau, Edith Suschitzky worked in Vienna as a photographer – and Soviet spy – around 1930. In 1933, she married an Englishman who also sympathized with the Communist Party, and fled with him to Great Britain. In the London slums and the Welsh coal mining region she produced some brilliant social photo reportage, which today ranks among the major works of British working class photo­ graphy. The exhibition is the first monographic show of Edith Tudor-Hart’s work. It features key works from her period in England and a selection of early photographs from Vienna. The best part of her unpretentious, documentary-style photographs on social themes are courtesy of the National Galleries of Scotland.

Duncan Forbes, born in Paris in 1967, is Co-Director of the Fotomuseum Winterthur and curator of the exhibition “Edith TudorHart. In the Shadow of Tyranny”. He was Senior Curator of Photography at the ­National Galleries of Scotland from 2000 to 2013, where he supervised and expanded the contemporary collection of the Scottish National Gallery of Modern Art, the ARTIST ROOMS (in collaboration with Tate Modern), and the Scottish Collections at the Scottish National Portrait Gallery. ­Forbes is a member of the International Association of Photography Curators and author of articles published in the British photo magazines “History of Photography”, “Portfolio” and “Source”. He is an expert in contemporary and historical photo­ graphy and is regarded as an authority on the life and work of photographer Edith Tudor-Hart.


Curator Duncan Forbes gives a tour of the exhibition “Edith Tudor-Hart. In the Shadow of Tyranny”* Sunday, 24 November 2013 3:00 p.m. In English * Restricted number of participants. Registration is required: E or T +43 1 505 87 47 85173

Edith Tudor-Hart Unemployed Workers‘ Demonstration, Vienna 1932 © Edith Suschitzky © Scottish National Portrait Gallery 36

Guided Tours

Guided Gallery Tours 2013

Who says New York has the only sensational art scene? Take a look at Vienna, ­where various impressive gallery districts have emerged around Schleifmühlgasse, Eschenbachgasse and the inner city that can definitely compete with New York’s famous Chelsea. Take the opportunity to experience Vienna’s galleries in a very special way, when renowned art experts like Cathérine Hug, Elsy Lahner, Dirck Möllmann, and many others take you on a Guided Gallery Tour through the city’s international art scene and offer a deeper insight into the galle­ ries and their exhibitions.

Guided tour of applied and fine arts with Elga ­Reiter-Trojan, freelance ­curator, Vienna Friday, 22 November 2013 3:00 p.m. Galerie Slavik Artmark Galerie Galerie Ulrike Hrobsky Galerie Chobot Galerie V&V Meeting point: Galerie Slavik, Himmelpfortgasse 17, 1010 Vienna

Guided tour with Cathérine Hug, curator, Kunsthaus Zürich

Guided tour with Elsy Lahner, curator at the Albertina, Vienna

Thursday, 21 November 2013 4:00 p.m.

Friday, 22 November 2013

Projektraum Viktor Bucher Galerie nächst St. Stephan Rosemarie Schwarzwälder Galerie Emanuel Layr Galerie Krinzinger Meeting point: Projektraum Viktor Bucher, Praterstrasse 13/1/2, 1020 Vienna

Galerie Steinek Galerie Meyer Kainer Krobath Galerie Martin Janda Galerie Mezzanin Meeting point: Galerie Steinek, Eschenbachgasse 4, 1010 Vienna

Guided tour with Margarethe Makovec, head of < rotor >, Graz, and Eva Meran, project head of < rotor >, Graz

Guided tour with Dirck ­Möllmann, curator, Institut KiöR Steiermark, UMJ, Graz

Thursday, 21 November 2013 4:00 p.m. Hilger BROTKunsthalle, Absberggasse 27/ stairway 1, 1100 Vienna

4:00 p.m.

Saturday, 23 November 2013 12:00 noon Charim Events Gabriele Senn Galerie Christine König Galerie Galerie Andreas Huber Galerie Michaela Stock Meeting point: Charim Events, Schleifmühlgasse 1A, 1040 Vienna

Guided tour with Günther Oberhollenzer, curator at the Essl Museum, Klosterneuburg Saturday, 23 November 2013 1:30 p.m. Lukas Feichtner Galerie Mario Mauroner Contemporary Art Vienna Galerie Elisabeth & Klaus Thoman white8 Gallery Meeting point: Lukas Feichtner Galerie, Seilerstätte 19, 1010 Vienna

Guided tour with Maria ­Christine Holter, freelance curator, Vienna Saturday, 23 November 2013 2:00 p.m. ZS art Galerie Galerie Hubert Winter Knoll Galerie Kro Art Contemporary Meeting point: ZS art Galerie, Westbahnstrasse 27–29, 1070 Vienna

Guided tour with Elisabeth Priedl, freelance curator, Vienna Saturday, 23 November 2013 2:00 p.m. Charim Galerie, Dorotheergasse 12/1, 1010 Vienna

Guided tour with Dr. Helmut Schützeneder, private ­collector Saturday, 23 November 2013 2:00 p.m. Galerie Heike Curtze, Seilerstätte 15/16, 1010 Vienna



THE GALLERIES Association of Austrian Galleries of Modern Art l Gallery Openings: Tuesday, 19 November 2013

Artmark Galerie

Gabriele Senn Galerie

Galerie Johannes Faber

Exhibition: Giulio Camagni, Norio Kajiura, Franz Riedl, “Paintings – Drawings – Objects”

Exhibition: Michael Riedel

Exhibition: Trude Fleischmann, “Dance Studies Claire Bauroff, Photographs 1928–1935”

24 October–24 November 2013 Singerstrasse 17, access via Grünangergasse, 1010 Vienna T +43 1 512 98 80, F +43 1 512 98 804 E

Schleifmühlgasse 1A, 1040 Vienna T +43 1 585 25 80, F +43 1 585 26 06 E

13 September–7 December 2013 Dorotheergasse 12, 1010 Vienna T / F +43 1 512 84 32 E

Galerie Chobot

Galerie Frey

Exhibition: Erwin Bohatsch

Exhibition: Giovanni Rindler, sculptures and drawings

Exhibition: Herbert Golser, “Sculptures”

20 November–31 December 2013 l Opening: Tuesday, 19 November 2013, 7:00 p.m.

16 October–23 November 2013 Domgasse 6, 1010 Vienna

Gluckgasse 3, 1010 Vienna T +43 1 513 82 83, F +43 1 513 82 834 E

Charim Galerie

Dorotheergasse 12/1, 1010 Vienna T +43 1 512 09 15, F +43 1 512 09 15 50 E

Charim Events Exhibition: Ellie Wieser, curated by Alma Zevi and Nina Neuper

l Opening: Tuesday, 19 November 2013, 6:00 p.m. Schleifmühlgasse 1A, 1040 Vienna

Christine König Galerie Exhibition: Ovidiu Anton; Third Room: Mircea Stanescu 20 November 2013–11 January 2014 l Opening: Tuesday, 19 November 2013, 6:00 p.m. Schleifmühlgasse 1A, 1040 Vienna T +43 1 585 74 74, F +43 1 585 74 74 24 E


20 November 2013–11 January 2014 l Opening: Tuesday, 19 November 2013, 6:00 p.m.

T +43 1 512 53 32, F +43 1 405 64 16 E

Galerie bei der Albertina

Galerie Heike Curtze

Exhibition: “Tiroler Künstler”

Exhibition: Rudolf Leitner-Gründberg, “Liebende”

14 October–end of December 2013

20 November 2013–8 January 2014 l Opening: Tuesday, 19 November 2013, 7:00 p.m. Seilerstätte 15/16, 1010 Vienna T +43 1 512 93 75, F +43 1 513 49 43 E

Galerie Wolfgang Exner Exhibition: Emil Herker, “Real”, new works – acrylic/canvas 2–25 November 2013 Rauhensteingasse 12, 1010 Vienna T +43 1 512 99 17, F +43 1 512 52 65 E

Corner Lobkowitzplatz 1 and Gluckgasse, 1010 Vienna T +43 1 513 14 16, F +43 1 513 76 74 E

Galerie Ernst Hilger Wien 01 Exhibition: Allen Jones, “Recent Works” 16 October–23 November 2013 Dorotheergasse 5, 1010 Vienna T +43 1 512 53 15, F +43 1 513 91 26 E

Galerie Hilger NEXT Wien 10

Galerie Martin Janda

Kro Art Contemporary

Exhibition: curated by_vienna 2013: “Why Painting Now?”, “Reconstruction of a Mosaic”, curated by Lucie Drdová*

Exhibition: Alessandro Balteo ­Yazbeck, “Cultural Diplomacy: An Art We Neglect”

Exhibition: Robert Mittringer, “Humour, Charm and Firs”

11 October–7 December 2013

20 November–21 December 2013 l Opening: Tuesday, 19 November 2013, 7:00 pm

Absberggasse 27/2.3, 1100 Vienna T +43 1 512 53 15, F +43 1 513 91 26 E

Hilger BROTKunsthalle Exhibition: “Black Sea Calling”, ­curated by <rotor> center for ­contemporary art, Graz 21 November 2013–15 February 2014 Opening: Wednesday, 20 November 2013, 7:00 p.m. Absberggasse 27 / stairway 1, 1100 Vienna T +43 1 512 53 15, F +43 1 513 91 26 E

Eschenbachgasse 11, 1010 Vienna T +43 1 585 73 71, F +43 1 585 73 72 E

Knoll Galerie Wien Exhibition: curated by_vienna 2013: “Why Painting Now?”, curated by Lina Dzuverovic* 11 October–23 November 2013 Gumpendorfer Strasse 18, 1060 Vienna T +43 1 587 50 52, F +43 1 587 59 66 E

Galerie Ulrike Hrobsky

Konzett Gallery

Exhibition: “Just Paper” – Silvia Schreiber, Alexandra Deutsch, Stefan Saffer, Jae Ko, Birgit Knöchl, et al.

Exhibition: “Enrique Fuentes & Paul Renner: Graphic Works” Barbara Anna Husar – performance Rudolf Polanszky – film premiere

24 October–30 November 2013 Grünangergasse 6, 1010 Vienna T +43 1 513 76 76, F +43 1 513 76 09 E

Galerie Andreas Huber Program upon request 20 November 2013–11 January 2014 l Opening: Tuesday, 19 November 2013, 6:00 p.m. Schleifmühlgasse 6–8 / 2nd floor, 1040 Vienna T +43 1 586 02 37, F +43 1 586 02 37 12 E

Galerie Hummel Exhibition: “Storage of ­Emotion” – ­Günter Brus, Franz Graf, Paul ­McCarthy, Pierre Molinier, Bruce ­Nauman, Katharina Razumovsky, ­Christoph Schlingensief, Dominik ­Steiger, Franz West, et al. 13 September–19 December 2013 Bäckerstrasse 14, 1010 Vienna T +43 1 512 12 96, F +43 1 512 12 964 E

Opening: Monday, 18 November 2013, 6:00 p.m. Event program during VIENNA ART WEEK: upon request Spiegelgasse 21, 1010 Vienna T +43 1 513 01 03, F +43 1 513 01 04 E

Galerie Krinzinger Exhibition: Chris Burden / Gottfried Bechtold 20 November 2013–12 January 2014 l Opening: Tuesday, 19 November 2013, 7:00 p.m. Seilerstätte 16, 1010 Vienna T +43 1 513 30 06, F +43 1 513 30 06 33 E Opening hours: Tue.–Fri. 12:00 noon–6:00 p.m. Sat. 11:00 a.m.–4:00 p.m.

Krinzinger Projekte Program upon request Exhibition: "Why Painting Now?" + CCC Projekt curated by_vienna 2013* – Antony Hudek (UK) 11–23 November 2013

* as part of “curated by_vienna 2013”: “Why Painting Now?” – 20 Vienna galleries with ­ exhibitions by 20 international curators

Schottenfeldgasse 45, 1070 Vienna T +43 1 512 81 42 E Opening hours: Wed.–Fri. 3:00 p.m.–7:00 p.m., Sat. 11:00 a.m.–2:00 p.m.

23 November 2013–10 January 2014 Opening: Friday, 22 November 2013, 7:00 p.m. Getreidemarkt 15, 1060 Vienna T +43 1 585 71 43, F +43 1 587 20 98 E

Krobath Exhibition: Ursula Mayer 20 November 2013–11 January 2014 l Opening: Tuesday, 19 November 2013, 7:00 pm Eschenbachgasse 9, 1010 Vienna T +43 1 585 74 70, F +43 1 585 74 72 E

Galerie Kunst & Handel Exhibition: series of drawings “Catrina die Grosse” – a collaboration by Günter Brus and Enrique Fuentes 18–24 November 2013 l Opening: Tuesday, 19 November 2013, 6:00 p.m. Himmelpfortgasse 22, 1010 Vienna M +43 664 30 77 179 E Opening hours during VIENNA ART WEEK: Mon.–Sun. 2:00 p.m.–7:00 p.m.

Galerie Emanuel Layr Exhibition: curated by_vienna 2013: “Why Painting Now?”, curated by Bart van der Heide* 11 October–23 November 2013 An der Hülben 2, 1010 Vienna T +43 1 524 54 90, F +43 1 523 84 22 E

Lukas Feichtner Galerie Exhibition: Udo Nöger, “me water” 14 November–14 December 2013 Seilerstätte 19, 1010 Vienna T +43 1 512 09 10, F +43 1 513 05 47 E

Mario Mauroner Contemporary Art Vienna Exhibition: Lois Renner 14 November 2013–11 January 2014 Weihburggasse 26, 1010 Vienna T +43 1 904 20 04 E 39


Galerie Meyer Kainer

Galerie Steinek

Exhibition: Stefan Sandner

Exhibition: Emmanuel Regent

20 November–28 December 2013 l Opening: Tuesday, 19 November 2013, 7:00 p.m.

20 November 2013–16 January 2014 l Opening: Tuesday, 19 November 2013, 7:00 p.m.

Eschenbachgasse 9, 1010 Vienna T +43 1 585 72 77, F +43 1 585 72 77 88 E

Eschenbachgasse 4, 1010 Vienna T / F +43 1 512 87 59 E

Galerie Mezzanin Exhibition: Thomas Bayrle 20 November 2013–17 January 2014 l Opening: Tuesday, 19 November 2013, 7:00 p.m. Getreidemarkt 14 / Eschenbachgasse, 1010 Vienna T +43 1 526 43 56, F +43 1 526 91 87 E

Projektraum Viktor Bucher Exhibition: Markus Wilfling 15 November–21 December 2013 Opening: Thursday, 14 November 2013 Praterstrasse 13/1/2, 1020 Vienna T / F +43 1 212 69 30 E,

Galerie Raum mit Licht Exhibition: curated by_vienna 2013: “Why Painting Now?”, Imogen Stidworthy, curated by Nav Haq* 11 October–23 November 2013

Galerie V&V Exhibition: A gem of a concert with gems of sound by international artists 5–30 November 2013

Exhibition: Michał Budny

Exhibition concertante with gems of sound

20 November 2013–18 January 2014 l Opening: Tuesday, 19 November 2013, 7:00 Uhr

Saturday, 23 November 2013, 4:00 p.m.

Grünangergasse 1, 1010 Vienna T +43 1 512 12 66, F +43 1 513 43 07 E

Galerie Michaela Stock & next door Exhibitions: Hans Kotter, “Superposition”, light installation Next door: Kate Terry & Lukas Troberg, tbc Basement: Michael Nitsche, tbc 20 November 2013–11 January 2014 l Opening: Tuesday, 19 November 2013, 6:00 p.m. Schleifmühlgasse 18, 1040 Vienna T +43 1 920 77 78 E

November Showcase: “improvisation tools”, Christian Sonnleitner Bauernmarkt 19, 1010 Vienna T +43 1 535 63 34 E

white8 Gallery Exhibition: Margit Nobis, “Orientalismania. Imagerie Arabesque” 8 November 2013–11 January 2014 Event: Paul Schneggenburger, “Audience” – audience photo Saturday, 23 November 2013 5:00 p.m.–8:00 p.m. Zedlitzgasse 1, 1010 Vienna M +43 664 202 67 54 E,

Galerie Suppan Contemporary

Galerie Hubert Winter

Sunday, 24 November 2011 3:00 p.m.–5:00 p.m.

Program upon request

Exhibition: curated by_vienna 2013: “Why Painting Now?”, Martin Barré and Fred Sandback, curated by ­Yve-Alain Bois*

Galerie Slavik Exhibition: “Winterreise” – Michael Becker, Bruno Martinazzi, Jacqueline Ryan, Helfried Kodré, Stefan Hampala, Daniela Osterrieder, et al. 20 November 2013–1 February 2014 l Opening: Tuesday, 19 November 2013, 6:00 p.m. Himmelpfortgasse 17, 1010 Vienna T +43 1 513 48 12 E


Opernring 21, 1010 Vienna T +43 1 587 12 26, F +43 1 587 21 99 E

Event: Art Talk & Tea with Ruth Horak

Kaiserstrasse 32, 1070 Vienna T +43 1 524 04 94 E

* as part of “curated by_vienna 2013”: “Why Painting Now?” – 20 Vienna galleries with ­ exhibitions by 20 international curators

Galerie nächst St. Stephan Rosemarie Schwarzwälder

20 November 2013–25 January 2014 l Opening: Tuesday, 19 November 2013, 7:00 p.m.

Habsburgergasse 5, 1010 Vienna T +43 1 535 53 54, F +43 1 535 53 54 35 E

Galerie Elisabeth & Klaus Thoman Exhibition: curated by_vienna 2013: “Why Painting Now?”, curated by ­Marion Piffer-Damiani*

11 October–23 November 2013 Breite Gasse 17, 1070 Vienna T +43 1 524 09 76, F +43 1 524 09 769 E

ZS art Galerie

11 October–23 November 2013

Exhibition: Walter Angerer-Niketa, Alex Klein, “Raum außerhalb der Zeit”

Seilerstätte 7, 1010 Vienna T +43 1 512 08 40, F +43 1 512 08 40 13 E

22 November 2013–23 January 2014 Opening: Thursday, 21 November 2013, 7:30 p.m.

Galerie Ulysses Exhibition: Karel Appel, “Paintings from five Decades”

Westbahnstrasse 27–29, 1070 Vienna T +43 1 895 93 95 0 F +43 1 895 93 95 20 E

Studio Visits

Interesting Grounds for Experiment Artist-in-residence programs in Vienna Text by Alexandra Matzner These days, international networking is considered the royal road for an artist’s career. One possible stop along the way: a stay as artist-in-residence (AiR) in an art hub city. Numerous institutions in Vienna offer programs to do just that. A brief overview. In a bid to facilitate a lively exchange between graduates, ­artists, curators and theorists and the local art scene, and to add fresh momentum to their creative activity, several Vienna institutions offer the opportunity to come to Vienna in the context of an artist-in-residence program, to use available studios, exhibit and network. A closer look reveals how differently various Viennese institutions interpret these programs, as recent years have seen the development of self-tailored residencies that reflect the institutions’ orientation in terms of content. As a studio visit during VIENNA ART WEEK is sure to show, there is no end to the diversity of Vienna’s cultural offerings. And so we find Canadian Zachari Logan, for example, an artistin-residence at quartier21 in the MuseumsQuartier (MQ), presenting his large-scale, nude self-portraits. quartier21 has eight studios that it provides for an average of two months, along with a generous stipend. Applicants cannot be Austrian and may not have established residence in Austria. quartier21 invites a range of creative professionals from visual artists to fashion designers, game programmers, sound artists and designers to writers. ­Artists are nominated by quartier21 institutions located in the MuseumsQuartier, for example the animated film festival Tricky Women. The LENIKUS COLLECTION supports young graduates of the Academy of Visual Arts and the University of Applied Arts Vienna as they transition to an independent practice. Six graduates are chosen for the program; each is given a studio in Vienna’s 1st district for one year. The program also lends support to interna­ tional artists, though these residents only stay in Vienna for two to three months and their residency is generally tied to exhibition preparations. The LENIKUS COLLECTION supports its fellows with a budget for materials, with advice, contacts, exhibitions at the STUDIOS, and purchases works from the artists. The Kunstverein das weisse haus supports and exhibits emerging contemporary art with an interdisciplinary approach – a mission that has resulted in a studio program and artist residency. Austrian artists are provided with reasonably-priced studios, while international artists and curators are given a residency and stipend. Other programs within the overall framework, such as studio visits with curators and networking events, round out the

residency and ensure that contacts are made, but also that the public is integrated into the creative process. WUK’s AiR program is situated between theory and production: the institution invites international artist or theorists for a period of three months each. WUK’s program differs from the others in that it chooses its fellows in cooperation with international institutions. The declared aim is to ensure long-term collaborations and public presentations for the work. The Austrian Association of Women Artists (VBKÖ) rented an attic apartment in the 1st district as early as 1910, making it a space for exhibitions and production. A female artist can move into the light-flooded studio for up to nine months and present her work at Open Studio Days held on site. Vienna’s galleries have also discovered residencies in recent years as an opportunity to advance international artists and curators: Ernst Hilger provides exhibition spaces and live-in studios at the BROTKunsthalle, and recently at Hilger NEXT, to those working closely with the gallery. For her residency at the Projekthaus, Ursula Krinzinger invites artists with interesting positions to Vienna and offers them exhibition space in addition to a living area and studio. She considers the two- to threemonth artist residencies as interesting grounds for experiment. For both gallery owners, this is also a way of finding new artists for their galleries. GUIDED TOURS

Artist-in-residence programs in Vienna Saturday, 23 November 2013 at the top of every hour from 12:00 noon das weisse haus Studio visit with curator Herbert Justnik 12:00 noon / Meeting point: studios das weisse haus, Vogtgasse 28, 1140 Vienna quartier21 / MuseumsQuartier Wien Studio visit with cultural journalist Alexandra Matzner 1:00 p.m. / Meeting point: MQ Staatsratshof, Courtyard 7 ­(entrance vis-à-vis Volkstheater), 1070 Vienna VBKÖ Studio visit with curator Herbert Justnik 2:00 p.m. / Meeting point: Maysedergasse 2/4th floor, 1010 Vienna LENIKUS COLLECTION Studio visit with cultural journalist Alexandra Matzner 3:00 p.m. / Meeting point: Bauernmarkt 9, 1010 Vienna Kunsthalle Exnergasse Studio visit with curator Herbert Justnik 4:00 p.m. / Meeting point: Währinger Strasse 59/stairway 2 1st floor, 1090 Vienna Krinzinger Projekte Studio visit with cultural journalist Alexandra Matzner 5:00 p.m. / Meeting point: Schottenfeldgasse 45, 1070 Vienna Galerie Hilger Studio visit with curator Herbert Justnik 6:00 p.m. / Meeting point: BROTKunsthalle, Absberggasse 27 stairway 1, 1100 Vienna

Alexandra Matzner, born in Linz in 1974, studied art history, history and Romance studies in Vienna and Rome. Her numerous publications as an art mediator and cultural journalist include catalog essays on 20th- and 21st-century art and photography. She works in Vienna as a freelance writer and runs the cultural platform

© Klaus Pichler 41


“Art Is Not an End in Itself” A conversation with Nicolaus Schafhausen Text by Anne Katrin Feßler

Nicolaus Schafhausen, © Klaus Pichler

Last fall, Nicolaus Schafhausen took over as Director of the Kunsthalle Wien. Having started his program with the interdisci­plinary festival “WWTBD – What Would Thomas Bernhard Do” in May 2013 and the “Salon der Angst” exhibition, he speaks to Anne Katrin Feßler about productive skepticism, the Kunsthalle as an urban stage and the importance of art mediation. Your announcement that “institutional spaces have to change” and creation of a dramaturgy department at the Kunsthalle Wien were met with some suspicion at first. Some people doubt that this is the right direction the institution should be taking. How do you deal with this skepticism? Nicolaus Schafhausen: Skepticism can be very productive. My main intention in coming up with the new concept for the Kunst­ halle Wien was to show that art is not an end in itself. Kunsthalles, unlike museums, are relatively young institutions; many were built in the 1960s, with the aim of showing current exhibitions and making them accessible to the largest possible audience. The objective, in a certain sense, was to draw art out of the ivory ­tower. In other words, critical engagement with contemporary art is also a decidedly socio-political task. Kunsthalles do not com­ pete with museums; they genuinely supplement them. As an in­stitution without its own collection, a Kunsthalle can operate much more freely and also initiate events that deal with things beyond the visual arts. This is something we should take advantage of. What is the advantage of a festival like “WWTBD – What Would Thomas Bernhard Do” as opposed to a “classic” visual art exhibition? Or was your discourse-oriented festival meant to signal a break from the old program? Nicolaus Schafhausen: I did actually want to create a turning point, and show what the Kunsthalle can stand for in addition to 42

classic exhibitions. By starting with a festival, I was alluding to the fact that basically anything is possible in this institutional framework. This does not mean that the main focus will be shifted from art to something else. Contemporary art exhibitions are and will continue to be the most important part of the Kunsthalle Wien program, but now it will also be accompanied by other, sometimes discursive events. I like the idea of the Kunsthalle being an urban stage. How do you motivate visitors to actively participate? Nicolaus Schafhausen: You have to appeal to the public on very different levels. I sometimes have problems with traditional exhibition tours, because very often they are just about consuming whatever it is you are looking at. So there will be “master classes” for young people, where they can examine the added value of an exhibition together and in dialogue with each other. Art mediation will be playing a very significant role overall. Here it’s not about explaining the art shown in the exhibition, but showing that art is a medium for looking at the world through different eyes. I’m ­positive that in one or two years, we will have reached a very hete­ rogeneous audience that will be very happy to see something they don’t already know. Would you say an exhibition, as Nicolaus Schafhausen defines it, is an adventure that you have to actively get involved in? Nicolaus Schafhausen: Yes, because that’s what these kinds of public institutions are there for. Kunsthalles – in the broadest sense – are not there for amusement, but to educate the public. But that doesn’t mean provocation for the sake of provocation.


Fear of the Unknown “Salon der Angst” at Kunsthalle Wien Text by Anne Katrin Feßler

Didier Faustino © Klaus Pichler

An ambitious exhibition explores artistic approaches to the anxieties of our age, presenting them in light of their social and political causes.

geois straight-jacket – that’s why we call it a ‘salon’ – where it’s only about maintaining the status quo, not asking questions about where we are going as a society, where we will be in a few years.”

Creating protective buildings might be the architect’s most important role – a thought that came to architect and artist Didier Faustino after seeing a newspaper article about refugees who had hidden in the landing gear shafts of airplanes. The protective hollows he eventually built illustrated human transport with something equally intolerable: “Body in Transit” (2000) was little more than a cello case-like transport crate, with space for a single person curled up in the fetal position. His 17-meter-tall “One Square Meter House”, a work examining the availability of (living) space, had a similarly confining quality.

Anxiety about the future also figures into Didier Faustino’s thoughts. “We live with the feeling that major social changes are on the way, but there is a lingering feeling of uncertainty. Tomorrow is an unknown, a terra incognita. Tomorrow only exists as a possibility. The fear merges with doubt about what tomorrow will be.” Faustino questions whether the fact that it is an unknown makes it easier to live with this fear. Or have people lost their lightheartedness about the future? The dangers and catastrophes usually only find us through the media; they have become virtual and abstract, says the artist. For him, fear begins its grip in the place we typically rest and gather strength: at home. “I think the first level of fear starts in your bed, on your couch; it hits you where you live, in your intimate sphere.” In Faustino’s hands, the protective becomes fragile; he puts holes in pieces of furniture that, loaded with concepts like “family” and “consistency,” have become protective strongholds of our existence – a metaphor for the way fear pervades even our last sanctuary.

Fear is not a space, Faustino says, but an atmosphere tied to the domestic – to the salon – in other words, places commonly associated with intimacy. This ordinary, private retreat is precisely where his ideas for a contribution to “Salon der Angst” begin – a project that explores the fears of our time in the context of their socio-political causes. Faustino is joined by other contemporary artists including Özlem Altin, Kader Attia, Rainer Ganahl, Thomas Hirschhorn, Carsten Höller and Erik van Lieshout, who explore topics such as fear of poverty, fear of physical and psychological violence, of losing control, of strangers or even any kind of change.


“A lot has been accomplished with fear tactics alone,” says Nicolaus Schafhausen, curator and Director of Kunsthalle Wien. Thus one thesis of the exhibition, which occupies both the venue at the MuseumsQuartier and Karlsplatz, is “Fanning fear is a political condition.” According to the curators, Austria behaves the same as every other European country in this regard: “We live in a bour-

“Salon der Angst” 6 September 2013–12 January 2014 Kunsthalle Wien Museumsquartier & Kunsthalle Wien Karlsplatz

Anne Katrin Feßler was born in 1973 in Frankfurt. She studied journalism and communication science at the University of Vienna. Before embarking on journalism in 1999 Feßler worked in the field of cultural PR and communication of art (e.g. for the Generali Foundation). She has been working as a cultural journalist and art critic for the Austrian daily newspaper “Der Standard”. 43


Danielle Spera and Andrew M. Mezvinsky, © Klaus Pichler

“It’s the Context That Counts” A conversation with the Director of the Jewish Museum and American artist Andrew M. Mezvinsky Text by Michaela Knapp


Former journalist and political scientist Danielle Spera has been directing the Jewish Museum Vienna since 2010. Now, as a last step in the institution’s renovation and re-conception, Spera has opened a new, historical permanent exhibition. Danielle Spera speaks about the Jewish Museum Vienna and why Andrew M. Mezvinsky is a perfect fit for the program. The museum is glowing with Brigitte Kowanz’s light installation, which you can see even from the outside. Newly renovated and revamped, it’s presenting itself as a bright place for people to meet. What should a Jewish Museum offer today? Danielle Spera: These days, I think it’s especially important to contextualize the objects. More and more, we’re dealing with an audience that is not as familiar with the historical facts. They want to get an overview of Vienna’s significant Jewish history, but they also want to know where we stand now. You also opened a new permanent exhibition on the 20th anniversary of the museum’s opening at the Palais Eskeles. Danielle Spera: After almost 20 years, the permanent exhibition needed to be redone. Now, we’re focusing on the Jewish history of Vienna – up to the present day! It was important to me to shed light on the period after 1945 as well, to show what has happen­ ed in Vienna since the Shoah. How has the Jewish community reestablished itself since then? Who built it up again, and how did they fare in post-war Austria? No permanent exhibition of Viennese Jewish history should end with 1938 – or 1945, for that matter! So the exhibition starts with the present? Danielle Spera: The narrative strategy is something like a look into the rearview mirror: it starts with the years after 1945. We have fascinating objects that shed light on the various destinies of Jewish individuals: Viennese who never came back, or the ones left hanging as “displaced persons” in Vienna. Then the visitor goes back into history, from the Shoah in Vienna around 1900 and on to the city’s immigrants in the 19th century, the court Jews, to the ghetto in the Lower Werd in the 17th century, and through to the Vienna Judenstadt of the Middle Ages. How can you show that in a modern way? Danielle Spera: We’ve accumulated some exciting objects. Our budget is extremely tight, so we are very grateful for the various donations and permanent loans we’ve received in recent years, which include pieces documenting post-1945 history, but also the period before that. One lady, for example, was tearing down her garden shed on the outskirts of the city and discovered a turnof-the-century wooden panel listing the names of several Jewish patrons, women in particular. City Councillor Mailath-Pokorny gave us a street sign from Dr.-Karl-Lueger-Ring – objects with a historical story to tell, but also ones that bring us to where we are in the present.

Michaela Knapp studied theater arts and has been editor of the culture and lifestyle sections of the “FORMAT” magazine since 2006. Since 2002, she has also been responsible for the annual “FORMATKunstguide”, which includes a ranking of the top 100 Austrian artists. Michaela Knapp has contributed to numerous exhibition catalogs and books, exploring the interface between theater, visual art, performance and fashion.

How do you strike a balance between the present and the past? Danielle Spera: It is important that we focus on precisely that aspect, especially in Vienna, where there is no “House of History”, unfortunately. The Jewish Museum Vienna is the only Viennese museum with a permanent exhibition offering a cursory overview of Vienna and Austria. But we have a very diverse audience, so we have to accommodate a lot of different interests.

Berlin. The space is limited, so you have to take that into account. Sometimes the other museums in Vienna overlap and interfere with each other, while your institution’s profile is comparatively well staked-out. What is the deciding connection when it comes to contemporary art? Danielle Spera: It’s important for us to invite artists to engage with our particular topic. We show aspects of Jewish history and the Holocaust in a Viennese context – something no other Viennese institution does. We invite Jewish artists to show at the Museum Judenplatz, in the context of our “Jewish Museum Contemporary” exhibition series. Judenplatz is the most important site for ­Viennese Jewish history; it saw the start of a thriving Jewish ­community in the Middle Ages, and it’s home to the Lessing ­monument and Rachel Whiteread’s holocaust memorial. There’s an active synagogue there, too. The artists are supposed to res­ pond to this. Now, after Austrian Zenita Komad and French photographer Tatiana Lecomte, U.S. artist Andrew M. Mezvinsky will be showing his installation “A Good Day”. How did you cross paths? Danielle Spera: His partner works with Hermann Nitsch, and I’m good friends with him and his wife. We were also put in touch by a good friend of ours who is very involved in contemporary art. Mr. Mezvinsky, the title “A Good Day” references a chapter of a book by Primo Levi describing his survival in Auschwitz. Do you have a special connection to Levi? Andrew Mezvinsky: I admit I read the book for the first time seve­ ral years ago, but I was very impressed by this chapter, by the will to survive, by how Levi writes about hope, by the prospect of the spring after all the cold and of a new life. I tried to create an animated scene of the “Rite of Spring” as a symbol of liberation and renewed will to live. A multimedia project? Andrew Mezvinsky: I am a painter, but I had always wanted to see my drawings animated. So I worked out various animations that make the viewer a part of the installation: the closer you get to the works, the more the sun comes up, the closer you get to hope. Humor plays an important role in your work. Is that the case here as well? Andrew Mezvinsky: Absolutely. I’m also showing a work with ­denim fabric, drawing a connection between Primo Levi, Levi Strauss and Levi’s jeans. You lose focus if you take yourself too seriously. Visitors get more out of it if it is presented in a humo­ rous way, especially with a subject like this one. Danielle Spera: That’s the exciting thing about his project. ­Mezvinsky isn’t out to hit you over the head with a hammer; it’s up to the visitor to approach the work with an open mind. What makes the Jewish Museum the right venue for Andrew M. Mezvinsky’s work? Danielle Spera: It’s the right place for many reasons, but basically it’s a perfect interplay between the venue, Primo Levi’s writings and the artist’s work. And the message fits: “A Good Day” is a positive starting point.

How permanent can a permanent exhibition be in the age of new media? Danielle Spera: The permanent exhibition was conceived with an eight- to ten-year duration in mind. It’s the centerpiece for the institution. It’s plain to see that our building is a historical palace, not an ambitious Libeskind building like the Jewish Museum in 45


“A Cool Guy!” The Director of the Belvedere on Prince Eugene and his Winter Palace Text by Nina Schedlmayer

Agnes Husslein-Arco, © Klaus Pichler

Prince Eugene’s Winter Palace in Himmelpfortgasse was home to the Austrian Ministry of Finance for more than 150 years. Now its resplendent interiors will be open to the public as well. True to its original purpose, the residence will soon serve as another exhibi­ tion space for the Belvedere. In a conversation with “meet art”, Belvedere Director Agnes Husslein-Arco discusses the confronta­ tion of contemporary art and the Baroque, the stream of tourists between the city center and Belvedere, and Prince Eugene, a man as fascinating as he was ugly. Dr. Agnes Husslein-Arco, the Belvedere has been given the task of creating exhibitions for Prince Eugene’s Winter Palace. According to your plans, contemporary art will feature prominently in the program. What do contemporary artists have to do with the Baroque? Agnes Husslein-Arco: There are already excellent examples of this working very well: we saw it with Jeff Koons’ sculptures at the Château de Versailles, and Miuccia Prada also shows contempora­ ry art in a Baroque palazzo in Venice. There is always a thin line when it comes to confrontations between contemporary and historical art: they can easily come across as arbitrary and flat. Agnes Husslein-Arco: There really is a danger there. You have to go about it very carefully. Finding artists for this kind of program is a real challenge. You have to strike a balance. But before you settle on a selection of artists, you first have to get a feeling for the place and its atmosphere. But one thing is for sure: the ­Winter Palace is mostly about elaborating the Baroque. 46

Also with works from the Belvedere? Agnes Husslein-Arco: Definitely. We’re also dedicating two rooms to Prince Eugene at the Upper Belvedere. At the Winter Palace, we definitely want to give some insight into the history behind it – to show how Eugene served three emperors. The Belvedere owns beautiful paintings from Leopold I, Joseph I and Karl VI. The Baroque rooms in Himmelpfortgasse are impressive in their own right: you have the Sala terrena with its wonderful original fres­ coes that were only just recently rediscovered – they’d been covered with plasterboard. Then there’s the ancestral portrait gallery, the entrance hall and Fischer von Erlach’s stairway with its marvelous reliefs. Prince Eugene’s heirs sold the moveable elements shortly after he died, which is unfortunate. We’re hunting down individual pieces, but the search has turned out to be rather ­difficult. They were scattered all over the world. The Winter Palace is owned by the Finance Ministry. How did the handover come about? Agnes Husslein-Arco: I had already asked about opening the ­Winter Palace for the Prince Eugene exhibition at the Lower Belvedere in 2010. Unfortunately, it wasn’t possible back then, because it was still in the process of being renovated. Then last year, Finance Minister Maria Fekter approached me, to ask if I could image programming the Palace as part of the Belvedere. With renovation costs of 5.6 million euros and an annual budget of 2.55 million, funding for the project seems pretty healthy. Agnes Husslein-Arco: It’s all relative. We get a one-time payment of 700,000 euros for our museum-specific adaptations – building

Nina Schedlmayer was born in St. Pölten in 1976 and studied art history in Vienna and Hamburg. She has been a journalist and art critic since 2004, contributing to “profil”, “artmagazine”, “EIKON” and “Camera Austria” and other publications.

a ticket counter, coat check, security equipment, etc. – and 2.55 million a year for annual overhead costs. We only get a proportionate sum this year, of course. We also have to stock up on personnel, not only guards and the like, but also at the curatorial level. How many visitors are you expecting? Agnes Husslein-Arco: I haven’t thought about that yet. But I know one thing for sure: for us it’s a challenge, but also an opportunity to have a mainstay in the city. We’re offering combined tickets for a Baroque trip from the Winter Palace up to the Palaces at Belvedere. We’re expecting a lot of Viennese visitors at the beginning, and of course tourists. We’ll find our audience! Even though the museum landscape in Vienna is already ­extremely dense. Agnes Husslein-Arco: You can say that again! The typical tourist visits two art venues at most. There is a lot of competition, of course. But the Belvedere also has a lot of visitors. I’m not worried. The first exhibition is devoted to Prince Eugene, on the occasion of what would have been his 350th birthday. The Belvedere already highlighted his role as a patron and military general in a 2010 exhibition, and Schloss Hof holds a big exhibition about the Prince this year. What else is there to say about him? Agnes Husslein-Arco: A lot – he was a fascinating character! He grew up close to the court of Louis XIV; his mother was one of the King’s mistresses. No one looked after him, he must have had a horrible youth – but also an iron will! Small and ugly as he was, at

age 20 he asked Emperor Leopold to give him a chance – and even with his first battle with the Turks, he was already in the spotlight. He mastered his career with meticulousness and determination, mostly by creating alliances: he was a great networker. At the same time, Prince Eugene deliberately took on an outsider role; he made himself scarce. In those days, aristocrats typically settled around Hofburg Palace, where the Emperor lived. And what did he do? He put his palace in Himmelpfortgasse, far away from it. A cool guy! Many Austrians remember Prince Eugene for his role as the “Conqueror of the Turks” – he’s also been revered by the wrong side from time to time. Agnes Husslein-Arco: One shouldn’t forget that later, the Muslims and Turks, his former enemies, came to revere him as well. The wars he fought in were of course horrific, but they were part for the course back then; we can’t compare that time to our own in a democratic country. We also shouldn’t overlook the fact that back then, the Turks really did pose a threat to Vienna. But it’s also a delicate topic in a city like Vienna, which has such a substantial population of Turkish immigrants. It calls for a careful approach. Agnes Husslein-Arco: We will do that – and use the opportunity to take a different perspective. I want to get rid of the image of Prince Eugene as the conqueror of the Turks. He was a lot more than a mighty man of war: he was also someone who supported science, the arts and architecture. 47


“Art and Architecture are Part of One Totality” Building with art in mind Text by Maik Novotny Lord Norman Foster, © Carolyn Djanogly

They are museum and exhibition planners and art collectors in one: architects Norman Foster and Wilfried Kuehn talk about how art influences their thoughts and designs. When did your fascination with art begin? Norman Foster: I think it began when I became independent and established my practice. I enjoyed the friendship and conversations with artists of the same generation. When my wife Elena and I came together in the 1990s, the collection became more than the works of some friends. Wilfried Kuehn: It began some 15 years ago, when we started working with artists and gallery owners of our own generation and came in contact with curators. In 2001 we were invited to design the documenta 11 architecture. Private collectors like Friedrich Christian Flick and Julia Stoschek, who didn’t see art as furniture, became our clients. That’s when we started collecting art our­ selves. Are you looking for architectural aspects in the art you collect? Wilfried Kuehn: We focus on installations and works with features characteristic of models, which can be experienced spatially. We often realize joint projects with the artists, most of whom are our own generation, like Marko Lulic´ in Vienna or Michael Riedel in Frankfurt. The same goes for photography and its relatedness to 48

space. Candida Höfer, for instance, has been a frequent partner; her photos are an integral part of our office. Do you look for the same principles and values in art as you pursue in architecture? Norman Foster: From my point of view, art and architecture are part of one totality. I don’t see them as separate worlds. I can also find pure beauty of form in a locomotive, an aircraft, or a piece of art. I appreciate there is a difference, in that art of course exists for its own sake. It is a privilege to own art, it improves the quality of life. Wilfried Kuehn: We have learned from our many exhibition architectures that space is neither the foreground nor the background, neither sculpture nor scenery. Architecture is actually a kind of joint, and space a kind of parcours. We mainly proceed from the perception of the visitor and then transfer the idea of the parcours from the museum to any other field – urban planning, business and residential building, etc. Does your knowledge of art inform or improve the way you design museums and exhibitions? Norman Foster: Until recently, I was personally piloting aircraft and thus have an awareness of what an airport would need operationally. It is the same with art: thanks to my passion for art, I

Norman Foster, born in 1935, is one of the most renowned and prolific architects of our time. He designs airports, stadiums, banks, and residential buildings. Foster’s first museum building was the Sainsbury Centre for Visual Arts in Norwich (1978), followed by the Joslyn Art Museum in Nebraska (1994), a redevelopment of the British Museum in London (1999), and the Museum of Fine Arts in Boston (2010). Norman and Elena Foster have been collecting art for a long time. In May 2013, he curated his first art exhibit at the Carré d’Art in Nîmes. Norman Foster (Lord Foster since 1999) has received numerous awards, including the Pritzker price in 1999.

Wilfried Kuehn, © Florian Rainer

Wilfried Kuehn (b. 1967) founded the Kuehn Malvezzi office in Berlin in 2001, together with Johannes ­Kuehn and Simona Malvezzi. The team has since made a name for themselves in the field of art architecture. In 2002, Kuehn Malvezzi designed the documenta 11 in Kassel, followed by Frankfurt’s Schirn and Vienna’s Belvedere. Their projects include extensions and redevelopments of museums, as well as around 80 exhibitions; in 2012, they featured at the Venice Biennale of Architecture. Wilfried Kuehn is Professor of exhibition design and curatorial practice at the Karlsruhe University of Arts and Design. Maik Novotny, born in Stuttgart in 1972, studied architecture in Stuttgart and Delft. He has been living in Vienna since 2000, where he co-founded the “Eastmodern” online ar­chive of late modern architecture in Eastern Europe. Novotny publishes regularly on architecture and design in “Der Standard”, “Falter” and other media.

have been aware of a greater dimension to the kind of spaces which you design for a museum. With the new experience of cura­ ting a show for the public for the first time in the Carré d’Art in Nîmes this May, I probably would know how to design better galleries now. But I’m still thinking about that – so please don’t expect a manual just yet! Wilfried Kuehn: At the Karlsruhe University of Arts and Design, where I teach, the concept of Curatorial Design has emerged in recent years. Curators, artists and architects use different languages and terminologies, which merge in the design of an exhibi­tion. So exhibition architecture isn’t didactic, because it doesn’t merely mediate but is in itself an inherent part of the spatial experience. To produce architecture for art is to orchestrate the visitors’ paths and movements; architecture takes shape in the sequence of rooms, not in an individual room, just as film is a sequence of images rather than a bunch of stills. It really is more about editing, dramaturgy and choreography.

broadened our horizons. There are occasional works which we target over a period of time, but that is really the exception. It’s all about the discovery! Do you have favorite places for acquiring art? What role does Vienna’s art scene play in this respect? Wilfried Kuehn: Vienna’s vibrant and multifaceted gallery scene is a staple both in the city itself and at international art fairs. Apart from that, the Viennafair, whose original booth layout was de­­ signed by our office, is an important foothold for Eastern and Southeast European art production. I think this not only applies to the commercial market but also to curatorial aspects. Norman Foster: We do have works by the younger generation of Austrian artists who have strong associations to galleries in ­Vienna. It is a fantastic city, we love it very much. But in terms of buying art, there is no preference. We buy in galleries, museums or directly from artists. We are restless, curious and inquisitive, it’s as simple as that.

How do you choose what art to acquire? Are these choices spontaneous or planned long in advance? Norman Foster: It’s a very intuitive process. My wife and I travel together related to my projects. We take advantage of this in engaging with the artists wherever we are. We have become aware in a much wider sense of the wealth of talent in the world. It has 49


The Tireless Pioneer A portrait of gallerist Ernst Hilger Text by Eva Komarek

Stay true to the represented artists, but always keep it interesting, seek for constant self-renewal … In his 40 years as a gallerist, Ernst Hilger’s passion for art, unbelievable curiosity and irrepressible fighting spirit have proved the impossible possible. His success is a case in point. Vienna gallerist Ernst Hilger never planned on a career as an art dealer, despite his enthusiasm for art. But as a business student, when he and some friends started publishing affordable, studentmade graphic art, his success charted a course into the future. It was also through a friend that he had one of his first encounters with art, meeting for weekly card games at the Infeld family home. The stringed-instrument music producer was one of the biggest art collectors in Austria. “And there we would sit with ­artists like Walter Navratil, Franz Ringel, Edi Angeli and many others,” says Hilger, recalling his early days. Later, the group would go out afterwards: to the Atrium with the first “Nacht­ galerie” (night gallery), to Jazzland, which had just opened, or to Café Dobner, where Joe Berger wrote his manic texts and the “King of Hungary” boozed with “Hauptplatz Kurti”. “Walter Navratil was also at the Dobner, explaining art to Heinzi Kammerer while standing on a barstool. Even back then, Arnulf Rainer had a kind of spreadsheet you could use to calculate the future value appreciation of his works,” Hilger says with a smile. In the early 1970s, he founded Galerie Spectrum, which emerged from the Studenten-Edition, showing artists from Otto Dix to ­Enrico Baj in a program unlike anything Vienna had seen before. “The attitude was one of pure lust for art and unbelievable curiosity,” says Hilger. He would later open two more galleries in Vienna and Salzburg, and in 1976 open the location in Dorotheergasse 2. Even early on, Hilger was represented at the most important art fairs in the world – he started at Art Basel in 1976, at FIAC Paris in 1980, at Art Cologne in 1977, along with many other, newer art fairs. A jaunt abroad In the boom years of the 1980s, Hilger expanded internationally. He was invited to Frankfurt on the initiative of art-loving Jesuit Father Mennekes, where he opened Hilger Frankfurt in a gallery building that also housed Sotheby’s and Neuendorf. He describes this time as being “very fruitful.” The branch was closed in 1992, when the recession hit. The late 1990s saw the enterprising gallerist going international again, this time in Paris. Around the same time, he opened the artLab for and with Siemens, was one of the pioneers of the Internet with his website and co-initiated an art site for the Austrian galleries, together with Werner Rodlauer. His clients included 50

companies that he had consulted on various art projects, e.g. Mastercard, Bank Austria and Austrian Airlines. Though he has remained faithful to Vienna since then, Ernst ­ ilger has lost none of his pioneering spirit. In 2001, he expandH ed his gallery on Dorotheergasse 5 to include Galerie Hilger Contemporary, which was entirely dedicated to work by emerging artists. “I think it’s important we remain loyal to older artists the gallery represents, while constantly renewing ourselves at the same time. We have to stay interesting to the audience and ourselves,” says the gallerist.

Ernst Hilger, © Klaus Pichler

BROT (BREAD) for the art scene Besides showing promising young artists – he currently counts 13 that have gone as far as the Venice Biennale – Hilger is always looking for new places to show art. Such was the impulse that brought him to open up a new Kunsthalle in 2009, in the middle of the global financial crisis. He invested 600,000 euros into the loft-like exhibition spaces of the former Ankerbrot bread factory in Vienna’s Favoriten district, which he aptly dubbed the “BROTKunsthalle” (Brot being the German word for “bread”). Hilger is convinced that “if an opportunity arises, you have to take advantage of it and not think, ‘Is the market good or bad?’ If what you do is exceptional and individual, then it doesn’t matter what the times are.” The idea came to him while looking for a studio for one of his artists. “I went into this old, industrial bakehouse and saw the hall of my dreams, a hall with eight-meters-high walls and an arch in a 140-year-old, brown brick building,” he says. “It has history and an aura.” It was at BROT, as he lovingly calls it, that Hilger began curating themed exhibitions. His success proves him right. Even the first exhibition, “The Promise of Loss: A Contemporary Index of Iran” broke all records. The show gained international media attention. “We had 3,000 visitors in those two months, and we didn’t even have the heater installed. That’s a great number even for places downtown,” the gallerist recalls. He was the first, and since then several other art institutions have settled at the Brotfabrik, including Lichterlohs, photography expert Peter Coeln with OstLicht and Anzenberger Gallery. The location has meanwhile achieved cult status. On to new horizons But Hilger is not one to sit back and rest on his laurels. Never really content with the success of his contemporary gallery, he had to come up with a new concept. “When it turned out that I could buy 400 square meters right next to the BROT, it was like a sign,” Hilger grins. The place is big, the light is great, and so the dealer decided to close his Contemporary location on Dorotheergasse and break into the new age with Galerie Hilger Next. “The Dorotheergasse was never a place for young art. What people want

Eva Komarek inherited the love of art from her artist father. Professionally, she has devoted herself to business coverage for Dow Jones, the “Wall Street Journal”, Reuters and the “WirtschaftsBlatt”. She started the art market column in “WirtschaftsBlatt”, and has served as its editor since 1996.


MEET ART DAY at the BROTFABRIK Friday, 22 November 2013 from 12:00 noon Brotfabrik, Absberggasse 27, 1100 Vienna As part of VIENNA ART WEEK, the art institutions located at the Brotfabrik open their doors on Meet Art Day, giving visitors an opportunity to attend artist talks, lectures, and studio tours to get a vivid impression of the artistic atmosphere in the halls of the former bread factory. 12:00 noon–6:00 p.m. / former Anker Expedithalle (dispatch department): Exhibition “Todesreigen mit Catrina” – works by Enrique Fuentes The exhibition is part of a collaboration with the following galleries, where other works by Enrique Fuentes are shown: Philipp Konzett Gallery, Vienna; Galerie Kunst and Handel, ­Gerhard Sommer, Vienna; Galerie Trapp, Salzburg; GalerieGALERIE, Vienna. Project idea and realization: Anna Brus 2:00 p.m. / Loft City GmbH & Co KG: Tour of the Brotfabrik factory site Duration: approx. 30 minutes. Restricted number of ­participants. Registration is required: E 2:30 p.m. / Hilger BROTKunsthalle: curators’ tour of the exhibition “Black Sea Calling”, curated by <rotor> center for ­contemporary art, Graz 3:00 p.m. / Galerie OstLicht: Tour of the Anja Manfredi show with curator Rebekka Reuter and the artist herself The OstLicht gallery, specialized in photography and photo art, features a comprehensive exhibition of Austrian artist Anja Manfredi (b. 1978), whose engagement with normative body images always reflects on the nature of photography as a medium as well. © Klaus Pichler

4:00 p.m. / Loft City GmbH & Co KG: Tour of the Brotfabrik factory site Duration: approx. 30 minutes. Restricted number of participants. Registration is required: E 4:30 p.m. / ATELIER 10: Open studio and presentation of ­ATELIER 10 and its artists there is something established, like what I was showing at Galerie Ernst Hilger on the first floor, which I continue to operate,” Hilger remarks, justifying his decision. Favoriten would also attract new people who would take their time looking at the art. According to Hilger, the days of popping into a downtown gallery on a Saturday stroll and buying art are over. So he decided to jump into the new. “It’s incredibly energizing. I want to be more than just an art dea­ ler – I want to work with young artists. Galerie Hilger Next is a chance to present and install on a large scale,” he says. That is also why he changed its name to Next, sending a signal even with the gallery name. “These days, every gallery is called Contemporary,” says Hilger. The time had come for the gallery to redefine itself. “We used to be a welcome exhibitor at all the major fairs. For a long time, I was even on board of Art Basel. But ever since the crisis, we’ve been beaten below our value.” This is something he wants to change, but it will only happen with a great program and an exhibition space where he can show art like never before. “I want our art to be desirable to the biggest players again,” says the gallerist with a fighting spirit, and is currently in the process of completely reinventing himself.

5:00 p.m. / Loft 8: Artist talk with Frenzy Hoehne and Maria Munoz In a conversation moderated by Günther Oberhollenzer (Essl Museum), Loft 8 presents its Artists in Residence Frenzy ­Höhne (Dresden) and Maria Munoz (Berlin). 5:30 p.m. / Hilger NEXT: curator Lucie Drdová gives a tour of the exhibition curated by_vienna 2013, “Reconstruction of a Mosaic” 6:00 p.m. / Lichterloh: Exhibition “Austrian Design 20/21” The Brotfabrik is the perfect setting for an exhibition of the Lichterloh collection of Austrian design with a focus on the period form 1910 to 1970. As part of the exhibition presen­ tation, Carl Auböck gives a lecture on “Die Auflösung von ­Vergangenheit Gegenwart Zukunft”. 7:00 p.m. / Anzenberger Gallery: “Stillleben” – Lecture by Peter Weiermair 51


Elisabeth Menasse-Wiesbauer, © Klaus Pichler

© Klaus Pichler

Hands On! ZOOM: please touch the art! Text by Olga Kronsteiner

With its program geared to kids eight months old and up, the ZOOM Children’s Museum Vienna knows how to delight even the smallest visitors, giving them easy, carefree access to art. “Museum,” a term generations have known to be virtually synonymous with bad weather. A place children and youths only “enter­ ed” as a proverbial Plan B, after whatever other excursions had fallen through. Field trips were always either to the Art or the ­Natural History Museum: looking back, there are only vague ­recollections of paintings, the details of which you could never admire because of the respectful distance. The monstrous jars “preserving” deformed embryos are actually fascinating, because kids instantly imagine grandma using a similar process to make her fruit compote. But for a long time, there was no alternative to the usual museum display methods, which were originally designed for the adult, educated bourgeoisie. It was only in the 1990s that museum educators took a more intensive look at the needs of school-age children or even younger: first on the institutional level and with regard to the in-house collections, where playful knowledge transfer became more important, and second in the creation of sepa­ rate, or special “worlds of wonder,” as kid’s museums are often called these days. 52

Perfected Viennese know-how And in these places, something like “grasping,” in every possible sense of the word, is not only allowed but explicitly encouraged: the underlying concept is “hands on,” or jargon for kindling curio­ sity, enthusiasm and creativity by touching the objects and trying things out for yourself. Little ones have been doing this in Vienna since 1994, when ZOOM opened its doors as the first children’s museum in Austria. The result has been a resounding success, as the interest of other national and international institutions goes to show. Eager to build children’s programs of their own, other museums are keen to draw upon the years of refined Viennese know-how. Because here, going to the museum is seen as ­something fun. Ideally, this creates positive associations with museums as institutions, and therefore also a carefree, happy point of access to art and culture. ZOOM’s content was also massively influenced by its location at the MuseumsQuartier. Situated in the middle of this heavily trafficked cultural complex, the museum – which is about to celebra­ te its 20th anniversary next year – was shaped by its surroundings in many respects. Unlike other children’s museums, which adhere to fixed theme settings, ZOOM’s program – which benefits from “excursions” into science, popular culture, sociology, philosophy and of course art – draws from a much broader spectrum. The results stem from the program structure ZOOM uses to accompa-

Olga Kronsteiner, born 1967 in Graz. Studied art history, journalism and communication. Freelance reporter and correspondent specialized in the art market; additional research on Austrian applied arts. Contributes the weekly art market report (“Album”) for the Austrian newspaper “Der Standard”, and regularly contributes to publications including “Handelsblatt” and the “NZZ”.

Cäcilia Brown and Stephen R. Mathewson, © Klaus Pichler

ny its visitors throughout their formative years of development; it is specifically geared towards the various, age-appropriate needs of the target group, whose ages range from eight months to 14 years. From the ocean to the atelier The fun starts with a play- and learning zone unique to the museum landscape: “ZOOM Ocean” (for toddlers and preschoolers), where some 340,000 sailors aged eight months to six years have set off on an adventurous journey with the Famosa steamship. It is currently anchored in South America. There, in the mysterious, green habitat of jaguars, armadillos, chameleons, tapirs and other exotic animals, children can transform themselves into colorful creatures of the wild: dressed in costumes that – like everything in this fascinating cosmos – were specially created by artists. The “ZOOM Atelier” gives three- to 12-year-olds the chance to create in workshops, becoming the architects of their own fancy. Recent months have seen, for example, the building of a motley “Furniture City”, where nightstands quickly morph into skyscra­ pers and coffee tables become farms. Anything goes, whether it’s three year olds discovering a love of cordless screwdrivers or tenyear-olds wanting to spend an hour and a half doing nothing but sawing or hammering. Work here is done for the sake of process – the teacher explicitly points out – not outcome. Period. Four- to eight-year-olds can also sign up for weekly atelier ses­ sions, where they can try out any number of artistic techniques and materials. Each course consists of three Saturdays led by artists Cäcilia Brown and Stephen R. Mathewson, where kids paint, think, draw and chat, invent, build – and sometimes, just play. “Texts are useless …” There’s a hint of pride in Elisabeth Menasse-Wiesbauer’s admis­ sion that ZOOM is actually Vienna’s largest employer of young artists. Menasse-Wiesbauer took the helm in 2003, taking over for the museum’s founder and long-time director Claudia Haas. This year, she’ll be celebrating ten years there. The biggest lesson from the past decade? “Question everything,” Menasse-Wiesbauer says, and points to the changes in childhood, which is now fundamentally different to what was experienced just a few decades ago: “What can we do to make a positive impact here?” she asks

and goes on to describe the program’s general direction, which also includes an animation studio – a massive hit with kids. Certainly one of ZOOM’s biggest unique selling points is its devotion to programming that does not “water down” adult subject matter; instead, it looks for topics explicitly aimed at children. Right when she “took office,” Menasse-Wiesbauer set up a children’s advisory board and sought out “fresh, inquisitive and competent candidates” to actively take part in their environment and its design. These candidates have since supplied a steady flow of ideas and suggestions, many of which are already tested in the development phase. The most challenging exhibitions are ones that distinguish themselves from adult exhibitions in one important respect: there is no text. The reason being, as Menasse-Wiesbauer explains, that ­these are useless because kids simply do not read labels. Instead, content has to be mediated in the children’s active participation. For the exhibition “Once Upon A Time … The Middle Ages”, this meant mining ore from the most sinister of mines, mastering tests of skill (on horseback) modeled after exams faced by young squires, or pressing coins. So why do we still see text panels lurking around? Well, that’s a concession to tag-along parents and teachers, who have a somewhat harder time with active access and experimenting with the object. The onslaught of visitors at ZOOM, which has continued over many years, speaks for itself; say nothing of the fact that – just hours after a new exhibition has been announced, all appointments for school classes are completely booked. And it has nothing to do with other planned excursions, or the weather.


Art Workshop for children from 6 to 10* Saturday, 23 November 2013 11:00 a.m.–1:00 p.m. In German *Restricted number of participants. Registration is required: T +43 1 524 79 08



Between Magnificent Art and Panels of Oak Still lots in store for the Kunsthistorisches Museum Wien Text by Stefan Musil

From the revamped presentation of the “cradle of the museum” to a research project on the paintings of Pieter Bruegel the Elder: Sabine Haag, General Director of Kunsthistorisches Museum Wien, and her team have their hands full keeping the most important building on the Ring up-to-date. “There is basically no other art collection that can compare,” says General Director of the Kunsthistorisches Museum Sabine Haag when asked about the Kunstkammer Wien and how it ranks among the world’s great collections. Re-opened just a few months ago, visitors can once again marvel at the many treasures housed in its walls. The titanic task, which took eleven years to complete, finally ended last February with the much-anticipated and internationally significant reopening of the Kunstkammer and its newly-installed displays. With this, “the cradle of the museum,” says Haag, has been returned to the public. “Cradle” because the phenomenon of the Kunstkammer – literally “art chamber” – evolved from the treasure rooms of the early Middle Ages and was influenced by the idea of an encyclopedic collection. The same can be said of the Kunstkammer Wien, which is singular in its own right. “It is very often compared to the Grünes Gewölbe in Dresden, but that one is more of a treasury art collection, like the one at the Hofburg Palace Schweizerhof Museum. Also, the Grünes Gewölbe focuses on the Baroque, while the unifying factor in our collection is that all exhibits were collected by Emperor Rudolf II and ­Ferdinand of Tyrol. The uniqueness is already evident in the key exhibit, the Saliera by Benvenuto Cellini; it’s literally a one-of-akind object and the only surviving goldsmith work by Cellini,” says Haag. Collecting has long been carried out according to academic plans, and a very rigorous concept was applied, particularly with regard to Rudolf’s Kunstkammer. In the heyday of art chambers at the end of the 16th century, theoretical treatises dictated how the ­ideal collection should look. This, of course, involved a sizable injection of funds. “Looking at what came to us from Rudolph II’s collection, one can only imagine the incredibly deep pockets ­need­ed to build a collection as high-quality and comprehensive as this one,” Haag explains.


Today the Kunstkammer’s holdings, which is based on the 1891 museum collection along with later gifts and acquisitions, amounts to about 8,000 objects, 2,200 of which are currently on view. Choosing from this kind of abundance – and coming up with a display that can meet both the highest academic demands and the latest standards in terms of museum education – is no small task. “We decided to make a tabula rasa. Rather than follow ear­ lier concepts, we considered what, to us, characterizes an ideal presentation at the beginning of the 21st century,” says Haag. We settled on a chronological tour through the history of the collection, combined with the very focused, profiled presentation of the art collectors, and that became the guiding principle. A second element that seemed equally important to us is the history of col­ lecting: from the Church treasuries and aristocratic collections from the Middle Ages, which led to humanist studioli in the early Rennaisance and later to the art- and curiosity cabinets in the late Renaissance, which changed again during the Baroque ­period, and all the way to the 1891 museum collection.” With the reopening of the Kunstkammer, the last major step on the way to new displays in the main building at Kunsthistorisches Museum Wien is taken. But Sabine Haag’s work is far from done. For one, the existing displays will need constant updating if they are to keep pace with current conservation and technical presentation practices. Then there is the mammoth task of re-fitting the Weltmuseum Wien, and finally – with an underground tunnel beneath Maria-Theresien-Platz – the project of realizing the longstanding desire for new special exhibition areas and space for museum education facilities, a shop and gastronomy in line with international standards. Still, an institution as important as the Kunsthistorisches ­Museum has to contend with more than just presentation and ­display; there is also the matter of conservation and research. November marks the start of an important scholarly project related to one of the most important holdings in the collection: the paintings of Pieter Bruegel the Elder. “It involves a thorough examination of the works’ condition and technique, especially with regard to the panel painting constructions and their stability,” explains Elke Oberthaler, the senior conservator at the Picture Gallery. The K ­ unsthistorisches Museum Wien owns twelve pain­

Stefan Musil, born 1970 in Vienna, studied art history. He was culture editor of the daily newspaper “Die Presse” until 2002, and press officer for the Albertina in Vienna from 2002 to 2006. He has since contributed to a number of projects in the culture sector, including the Salzburg Festival and KÖR Kunst im öffentlichen Raum GmbH, and writes for “Die Presse”, “Die Welt”, ”Tiroler Tageszeitung”, and “Bühne” as a freelance culture reporter.

Elke Oberthaler, © Klaus Pichler

Sabine Haag, © Klaus Pichler

tings by Pieter Bruegel, including the world-famous “Peasant Wedding”, all of which were painted on oak. “This project is supported by the Getty’s Panel Painting Initiative, a platform dedica­ ted to promoting knowledge in the area of panel painting restoration,” says Oberthaler. Current training for conservators has become increasingly more academic and theoretical, leading to a dearth of technical craft. There is, however, no shortage of panel paintings in need of conservation and restoration. “But that inti­ midates a lot of people – they’d rather not touch it.” As part of the research project, Elke Oberthaler, experts from Madrid, London and New York and younger colleagues will be ­taking a close look at Vienna’s Bruegel panels. One problem with

paintings on wood is earlier conservation efforts: many have been planed off, thinned down and supposedly stabilized by a fixed construction that often did more harm than good. Luckily, one of the panels in Vienna, “Christ Carrying the Cross”, has been kept in its original condition – a rarity that is extremely important to current research. Today, the wooden painting surfaces, which were once professionally crafted in special workshops, offer a wealth of information that can be used to develop the most preservative conservation and restoration strategies possible. It is, in other words, a critical research project that will allow future gene­ rations to stand in front of Bruegel’s masterpieces and enjoy them as much as we do. 55

Design in Vienna

“A Symbiosis of Innovation and Tradition” WIEN PRODUCTS Collection

Wolfgang Köchert, Herbert Schullin, Rainer Mutsch, Stefan Knopp, Alexander Skrein and Christoph Köchert (from left to right), © Klaus Pichler

For the WIEN PRODUCTS Collection, jewelers Alexander Skrein, Christoph Köchert and Herbert Schullin have worked with designers outside of the jewelry scene. The idea behind the WIEN PRODUCTS Collection is to bring together Viennese businesses with designers. Alexander Skrein “I teamed up with Stefan Knopp on this project because he is not a designer in the traditional sense. He is a wood artist and a fascinating lateral thinker who creates wonderful furniture with dazz­ ling charisma. I discovered him several years ago at the Blickfang Design Fair and immediately recognized my jewelry in his objects. His approach is the following: he takes wood from a 300-year-old oak, cuts a sheet out of it, allows it to dry, chars it in the fire and combines it with iron to make a table. In this way, he gives the material life. It’s also important to him that the wood he uses for his work comes from trees that have already reached the end of their natural lifecycle. His work gives them a new kind of life. For him, it wouldn’t make sense to cut down a tree for the sake of his work alone. Conversely, he is also very fond of my jewelry designs and has had me make jewelry for his wife. I gave Stefan Knopp full reign when it came to this project. His design has to do with the symbolic power of the originality of wood; it’s about free structures, about emotion and haptics. We translated this ‘liberated power’ into three rings made of gold, platinum and a cut diamond solitaire.” Christoph Köchert “We were on board with the WIEN PRODUCTS Collection from the very beginning, because we think the idea of traditional Viennese companies working with young designers is brilliant. We’ve already worked with the design duo Danklhampel, with Thang de Hoo, Sebastian Menschhorn, Thomas Feichtner and Julia Landsiedl; this year we’ve partnered with Rainer Mutsch. Very few of these designers have worked with jewelry before, so it’s important to us that they understand how a goldsmith or stone cutter works: which gems qualify, how they are cut, whether or not new shapes can be tried out for the stones, how the stones are set afterwards, and so on. In short: what are the possibilities and where do the goldsmiths and gemcutters run up against their 56

limits? Personally, this collaboration is always a pleasure. It’s a joy to be taken beyond the limits of your own mind, and our ­goldsmiths are also encouraged to develop new techniques. It also brings in new customers – a lot of people are astonished to see that a traditional company like Köchert enters into these kinds of projects. I think dealing with young, contemporary design is absolutely vital.” Herbert Schullin “The work with external designers came out of a cooperation with the University of Applied Arts Vienna, with whom I’ve have very good experiences; several very nice designs have already made their way into our collection. The process goes like this: first, we establish a certain direction, then we discuss the initial ideas and sketches and test the feasibility of their realization. Finally we do a virtual mock-up of the design – a 3-D construction that we then use to come to an agreement with the designer about the design idea and its realization. We are trailblazers in this business when it comes to applying 3-D design, because we started using it very early on. It helps us refine design concepts in advance. The whole idea behind this project is to give the designer free hand, though there is of course a lot of room for interpretation when it comes to the way the design is implemented, and industry-specific requirements play a significant role in the outcome. What I expect from these projects is new stimuli and ideas – an expansion of our company’s creative signature, to a certain extent. This is not the first time, and it is always an exciting challenge for us. In my opi­ nion, the constant search for new ways of designing is the most important challenge in my profession right now. It’s only when the innovative part, or the idea, can enter into symbiosis with the traditional, or craft, that making jewelry becomes a really interesting thing.”

WIEN PRODUCTS was initiated by the Vienna Chamber of Commerce in 1995. Its purpose is to give selected, top-quality product manufacturers the opportunity to market themselves internationally under a single umbrella brand. All WIEN PRODUCTS members have made it a special priority to allow the charms of the city to come alive in their products.

Art and Economy

The Vienna Insurance Group: Committed to Art Text by Stephan Hilpold

Barbara Grötschnig, © Klaus Pichler

Since its beginnings as a local insurance company, cultural activities have been part of the self-concept of the Vienna Insurance Group and its principle shareholders, the Wiener Städtische Versicherungsverein. Even today, the company has lost none of its frontier-crossing openness for art. Quite the contrary, explains Barbara Grötschnig, the VIG’ Sponsorship Officer. It is an inner city landmark. With its annual covering in the summer, Vienna’s Ringturm building becomes one of the largest artworks in the city – and one of its most visible. Six years ago, painter Christian Ludwig Attersee was the first to cover the tallest building in central Vienna. His successors included artists Hubert Schmalix and Xenia Hausner, and most recently Hungarian artist László Fehér, who covered the building last spring. “Tour busses came over from Hungary to see the artwork, some 4,000 square meters large,” says Barbara Grötschnig. This year, it’s Slovakian artist Dorota Sadovská’s turn, calling her work “Ties”. Following a stint as the VIG’s spokesperson, Barbara Grötschnig has been in charge of sponsorship and art at the Vienna Insurance Group for the past five years. The wrapping of the insurance company’s headquarters is only one of many contributions to art, and it is by no means the largest. Cultural and social activities have always been an important part of the company’s self-conception, from the beginning of its history as a local insurance group to the rise of what is now one of the largest insurance corporations in Central and Eastern Europe. In fact, the company commissioned an artist as early as the late 1920s, when the firm celebrated its 30-year anniversary. His project was to create the Tuchmacherbrunnen (Clothmaker’s Fountain) on Tuchlauben in central Vienna. Today, the group’s cultural activities – and those of its various subsidia­ ries, like the Wiener Städtische – are almost impossible to overlook. The range of projects spans across the board, from sponsoring the Gustav Mahler Youth Orchestra or Thyssen-Bornemisza Art Contemporary (TBA21) to supporting the Wiener Festwochen and VIENNA ART WEEK, to advancing its own cultural initiatives. Many of these projects are also supported by the Vienna Insu­ rance Group’s principle shareholders, the Wiener Städtische Versicherungsverein.

“One of the two constants is to promote young artists,” says ­Barbara Grötschnig of their portfolio. She is also referring to acquisitions for the Group’s corporate collection, a representative cross-section which had its first public exhibition at the Leopold Museum in Vienna two and a half years ago. The majority of col­ lected works hang in the halls and offices of Ringturm employees. The other constant is the cultural focus on artists from Eastern and Southeast European countries where the Vienna Insurance Group is active. “Early in the summer, I toured Prague, Sofia and Istanbul, among other cities,” Grötschnig explains. In each of these cities, a jury chooses two finalists for the Essl Art Award CEE, which is awarded every two years. The prize is for art students from Central and Eastern Europe, and has been suppor­ ted by the Vienna Insurance Group since 2007. The VIG Special Invitation, an award category in the same context, offers young artists not only financial recognition, but also the opportunity to present their work to the public. The VIG Special Invitation exhibition is of course held at the Ringturm. The former cash hall, which architect Boris Podrecca has redesigned into a modern events center, has been home to the “Architecture in the Ringturm” exhibition series since 1998. “It’s made a name for us, both in Austria and abroad,” notes Grötschnig. There are almost no private companies that support architecture; the field is considered too abstruse, too ineffective from a publicity standpoint. This year’s exhibition was devoted to Theophil Hansen, the most outstanding representative of Ringstrasse-era architects, to mark his 200-year anniversary. But the father of Vienna’s magnificent buildings (including the Parliament and the Palais on Schottenring, which was recently reopened as Hotel Kempinski) created marvels in other cities as well, which is why the exhibition also shed light on work that is less familiar to Austrians, such as his buildings in Central and Eastern Europe. “That is important,” says Barbara Grötschnig emphatically, “for us, it always comes down to crossing boundaries.”

Stephan Hilpold is editor of the “Rondo” lifestyle supplement of the daily newspaper “Der Standard” and lecturer at the Linz University of Art and Design in Hetzendorf, Vienna. 57


“Curators Are Important Multipliers” The art and creative industries’ significance for the city Text by Norbert Philipp

Bettina Leidl, © Klaus Pichler

Bettina Leidl, CEO of departure – The Creative Agency of the City of Vienna, in a conversation about the added value generated by art and the creative industries for society and the city, and the significance of galleries for the art hub Vienna. Ms. Leidl, what significance does the art scene have for the creative industries? And what relevance does art have for your work as head of departure – The Creative Agency of the City of Vienna? Bettina Leidl: On a purely non-material level, the visual arts have always been a mood barometer for social conditions. As such, they anticipate a great deal that is taken up – frequently at a later point in time – by other creative fields such as design, architecture and fashion. Art is a source of inspiration in many areas of life. But it is also a product, circulated in various contexts of economic utilization. Artists need dynamic galleries; galleries, in turn, need the best artists in the country if they want to score international success. Do you have the feeling that the interaction between producers and marketers is particularly successful in this country in international comparison on account of the great concentration of galle­ ries in proportion to the relatively small location? Bettina Leidl: There are indeed some examples of how artists and galleries grew together into something big and hence were instrumental in creating a specific art location or consolidating its significance. The most important factor is the mediation work per­ formed by the galleries; after all, their aim consists in anchoring an artist’s status – whether Austrian or international – on the international market. When this succeeds, it has a retroactive influence on the home scene’s impact outside the country. Some galleries make a major part of their revenue abroad. So it 58

seems all the more important from departure’s point of view to support the local art market with a great variety of activities. Whe­ ther as part of our project “curated by_vienna”, or by participating in activities such as the VIENNA ART WEEK in November, which is integrated into the secondary market. But generally, as said, it is always an active gallery scene that is pivotal for the significance of an art location. So Vienna should appear in the CVs of artists as often as possible then? Bettina Leidl: Vienna certainly works very well as a biographical link for an artist. The international resonance of the sector has increased, particularly since the expansion of the gallery scene since the late 1990s, and this also benefits artists exhibiting in Vienna. If we follow the careers of artists, we can easily see which were their key exhibitions – the ones that also had an international impact. For young artists, the first steps abroad are extremely important. This requires, as said, gallery owners who do a good job as agents, who promote their artists, invest in them. This distinguishes gallery owners from art dealers. From your time as CEO of KÖR Kunst im öffentlichen Raum GmbH you have gathered plenty of experience with art in the public space … Bettina Leidl: Art in the public space is for me one of the most exciting things. When we go to a museum we are prepared to take an active part as a visitor. Here, however, art itself takes the bold step outside. This also has a very different potential for provocation. When art is sensitively created for the specific location it can recharge a whole neighbourhood anew. The important thing for me was always that art didn’t assume a prettifying function in

Norbert Philipp studied ­german language and literature and philology and was a german teacher and copywriter. For four years now, he has been working for the newspaper “Die Presse” as editor for the arts supplement ­“Schaufester” and the ­Sunday edition “Die Presse am Sonntag” in the features on design, architecture, urban development and the creative industries.

the public space, but entered into interaction, took up political themes and worked on them. A very successful example for me is the monument for the Turnertempel, the synagogue in the 15th District, which was destroyed by the Nazis. It was always a place of encounter, and Iris Andraschek and Hubert Lobnig conceived this place of remembrance for the population in accordance with the role it once played. Today, people sit there on benches, which symbolize the collapsed roof timbers. departure is cooperating with the Master’s degree course Social Design at the Vienna University of Applied Arts. The policy there is to implement interdisciplinary projects to get art and its impact out onto the streets. Bettina Leidl: Yes, what I want to do is develop projects in colla­ boration with the University of Applied Arts that address ques­ tions of urbanism – most particularly in the preparation of a call devoted to the theme of social entrepreneurship. For instance, departure is supporting a conference at the university to be held in September on the theme of social design. Such key topics help us to communicate the message that art and creative industries yield an added value for society. As head of departure you are also interested in accessing new spaces in the city for creative people and their enterprises. Bettina Leidl: Artists and creative people are open to accessing new spaces and areas that were never on their urban radar before. Of course, in the end it’s all about making the production spaces in a city available and affordable. For me, opening the city to ­creative use is one of the key tasks. This is why we are scrutini­ zing the options for intermediate usage very closely. The real es­­ tate industry is already working on exploiting the image transfer of

art and the creative industries for its strategic advantage. This of course needs long-term perspectives. Therefore I think it important that the city as the largest real estate owner should clearly assume responsibility for encouraging the creative usage of spaces. The successful project “curated by_vienna”, which will start simultaneously with the VIENNAFAIR in October, was initiated by departure and is entering its fifth year already. Bettina Leidl: This project is arousing an extremely high level of awareness. The cooperation between international curators and local galleries has become established on a grand scale. Basically, it is an extensive network and communication project. We are the ones who want to strengthen Vienna as an art location, and for us, curators are important disseminators: they come to Vienna, get to know artists and the art scene, and when they work on projects themselves in their museums or exhibition venues, in the best-case scenarios they then rely on Austrian artists as well. What theme is in focus this year in “curated by_vienna”? Bettina Leidl: The title is “Why Painting Now?”. The project addresses the complex issues relating at present to the medium of painting – it must be said that in the German-speaking regions there was a break with painting, and a return to it since the 1990s. The intention is to discuss the many different approaches to painting. This year, 20 Viennese galleries for contemporary art are joining in with exhibitions, conceived by 20 international curators. VIENNA ART WEEK will also include a panel discussion on it. Whatever happens, it is immensely enjoyable to work on a project such as this one.


BMUKK Artist Studios

The Studio as the Center of Artistic Life Förderateliers des Bundes and the BMUKK Praterateliers Text by Ursula Maria Probst © Klaus Pichler

Artists working at the Förderateliers des Bundes and BMUKK ­Praterateliers put out the welcome mat for VIENNA ART WEEK’s Open Studio Day, offering a behind-the-scenes glimpse usually reserved for insiders. Even today, seemingly antiquated notions of space as an incubator for the imagination, creative haven, oasis, creative hotbed, cultic site, life-as-artwork, and genius’s playground are alive and well when the discussion turns to the artist’s studio. The studio is an inseparable reflection of the artist’s personality, inextricably tied to his or her life and work. It is the place where an artist’s attitude is made visible; where adjustments are made, productive formal and thought processes are brought in dialogue with conceptual methods, where art and knowledge find their spatial ­manifestation and where analysis, observation and discourse mesh and intertwine. An artist’s studio doubles as the site of ­production and presentation. Access to a separate studio – the ability to store artworks there and leave work situations in mid-process – is what gives artists the time and space to build relationships between pieces and develop their effects. But studio rents continue to climb and affordable, temporary-use situations are often only a short-term solution. Limited financial resources frequently leave artists with little room for maneuver, and when living and working spaces overlap, as is often the case for many artists, the shortage of space influences the artist’s choice of methods and format. Under the circumstances, one can only imagine how fortunate the artists at the Förderateliers des Bundes on Westbahnstrasse and Wattgasse feel to have these rooms at their disposal, having successfully passed the submission and selection process in late 2012, early 2013. Like the BMUKK Praterateliers in Prater Park, the light-flooded spaces over the rooftops of Vienna offer the best conditions for artistic production. Communication with artists in neighboring studios creates a so­cial space and is a welcome relief from the myth – but also the reality – of solitary artistic existence. The Austrian government pro­vides nine Förderateliers des Bundes (federally-funded studios for visual art and photography) on Westbahnstrasse, 1070 Vienna – each between 36 and 54 square meters in size – and eleven 44 to 65 square-meter studios on Wattgasse, 1170 Vienna, for artists to use free of charge for a period of six years; the artists pay only the cost of energy and electricity. Established Austrian artists have been working in Vienna’s 2nd-district Praterateliers for seve­ 60

ral decades now. After 2001, when these fell under the auspices of the Bundesimmobiliengesellschaft (BIG, Austrian Federal ­Property Association), the sixteen 45- to 435-square-meter-large Praterateliers were integrated back into the Federal Ministry for Education, Arts and Culture’s realm of responsibilities. They are under monument protection, located in the city’s two surviving (or reconstructed) pavilions from the 1873 Vienna World’s Fair, situated on a 25,000 square-meter field in the middle of Prater Park. The north pavilion was badly damaged in the Second World War and reconstructed to its present form after 1945, while the south pavilion remained largely intact as a three-wing, walk-in construction with high windows. In 2011, these recently-renovated empty or vacant studios were also awarded to another generation of artists for a period of seven years. Chosen artists, who work in a variety of media, were also selected through an open submission ­procedure, and though the Praterateliers are not free (unlike the federally-funded Förderateliers in Wattgasse and ­Westbahn­strasse) rents are affordably low. Part of VIENNA ART WEEK 2013, Open Studio Day offers visitors a behind-the-scenes glimpse usually reserved for “insiders” such as other artists, gallerists, collectors or curators. For the artists, Open Studio Day is a welcome occasion to show their work on their own turf – without the stress that sometimes comes with shows in galleries or art institutions – and to use the studio situation as a platform. The definition of an artist’s studio as a place with (and through) which artistic work develops is more than a programmatic statement; it is reflected in research and experiments with aesthetic phenomena, and in investigations of sociopolitical structures and issues. The studio serves as a showroom in which an artwork develops its effect, but is also a chance to enhance the artist’s own professional profile – in recognizing the key components through which one’s own work becomes art. Open Studio Day sheds light on the origin and course of the artistic act, brings viewers closer to the creative process, reveals the concentration and introspection that permeate an artwork, and makes these palpable. As opposed to the attending phenomena of a product-oriented aesthetic, the way in which an artist presents his or her own studio also implies a staging of their own occupa­ tion and role. A studio presentation can, with its promise of authenticity, convey a directness less commonly found in other dealings with art. Studio visitors are given access to moments of sensory experience, can take part in situation-based exchanges with the artist,

Artists at the Förderateliers des Bundes in Wattgasse: David Pinter, Florian Schmeiser, Moni K. Huber, Bernhard Hosa, Paul Wagner, Nick Oberthaler, Letizia Werth, Michael Kargl, Sabine Schwaighofer, Eva Würdinger, Barbara Sturm Artists at the Förderateliers des Bundes in Westbahn­ strasse: Svenja Deininger, Lazar Lyutakov, Liddy Scheffknecht, Markus Krottendorfer, Roberta Lima, Anja Manfredi, Miriam Bajtala, Irena Eden/ Stijn Lernout, Eva Chytilek Artists at the BMUKK Praterateliers: Ulrike Truger, Joannis Avramidis, Roland Goeschl, Werner Würtinger, Walter Kölbl, Hans Kupelwieser, Oswald Oberhuber, Ingeborg G. Pluhar, Oswald Stimm, Hans Hollein, Ruth Schnell, Judith Fegerl, Christian Mayer, Hans Scheirl, Roland Kollnitz, Claudia Märzendorfer

Ursula Maria Probst lives and works in Vienna as an art historian, university lector, art critic, curator and artist. She studied art history at the University of Vienna and did scholarly and artistic work on and with Louise Bourgeois in New York. She is co-initiator of the performance collective Female Obsession.

Stijn Lernout and Irena Eden, © Klaus Pichler

Moni K. Huber, © Klaus Pichler

Anja Manfredi, © Klaus Pichler


Studio Visits Saturday, 23 November 2013 Curator Elsy Lahner gives a tour of the Praterateliers 11:00 a.m. / Meeting point: Meiereistrasse, vis-à-vis Ernst-Happel-Stadion, 1020 Vienna the work and the space, spontaneous snapshots or artist-led pre­ sentations tailored specifically to the studio visit. Featured work includes drawing, photography, painting, sculpture, installation or sound art. When representing artistic production to the outside, the studio becomes an image, showroom for models, or a platform for discussion. Studios are infused with a creative atmosphere that emerges from accumulated materials, but also the mutual impact of craft-based and discursive practices. This is particularly true of the Prater­ ateliers, where we find both approaches at work and intermingling in today’s sculpture and other media, and can see how closely a direct perception of the object is related to the presentation of concepts and ideas. The studio presents itself to the public as a show- and exhibition space, but also permits a poignant analysis of contemporary production aesthetics.

Curator Ursula Maria Probst gives a tour of the studios in ­Westbahnstrasse 3:00 p.m. / Meeting point: Westbahnstrasse 27, 1070 Vienna Curator Ursula Maria Probst gives a tour of the studios in ­Wattgasse 5:00 p.m. / Meeting point: Wattgasse 56–60, 1170 Vienna PARTY

Open Studio Day final party Saturday, 23 November 2013 7:00 p.m. Förderateliers des Bundes, Wattgasse 56–60, 1170 Vienna


Art and Public Space

The Tunis Project Probing public space Text by Maria Rennhofer Bettina Habsburg-Lothringen, © Klaus Pichler

The idea of museum outreach has to be more than just a fashionable attitude, says Bettina Habsburg-Lothringen, director of a transnational project spotlighting public space as a site for communication and critique. The setting is Tunis, where the “Arab Spring” first ignited. Life is change – always, everywhere and especially in the “Arab Spring” countries over the past two years. Art accompanies, documents, reflects and questions these changes, and it is up to museums and cultural institutions to acknowledge and analyze these in their own way. Against this backdrop, a new project will be on view in Tunis starting fall 2013. An initiative of the Austrian Federal Ministry for European and International Affairs (FMEIA) in cooperation with the Museumsakademie Joanneum Graz (headed by Bettina ­Habsburg-Lothringen) and the Centre National d’Art Vivant, Bel­ védère – Tunis (directed by Sana Tamzini), the project focuses on the notion of public space, its role and purpose, the various inter­ ests at stake and the resulting potential for conflict. The explosive nature of the topic is particularly felt in countries like Tunisia, where artists and cultural producers have discovered public space as a site of communication and criticism – a deve­ lopment felt in Europe as well, if under different circumstances. But while the authorities here tend to tolerate political action and artistic interventions, public space in the North African countries has been subject to decades of strict bans on assemblies, making it a hotly contested stage for highly competitive, often deeply conflicting interests. There is growing evidence of a tendency to “limit or censor the content of artistic activities,” ­Habsburg-Lothringen says. “The new governments do want to use public space as a forum and direct means of contact with the people, but only to serve their own interests.” At the heart of this program in Tunis is the idea of exchange and knowledge-sharing concerning the theory and practice of changes observed both in Europe and in North Africa. Using a city district as a case study, artists and curators will document social, urbanis­tic and architectural changes and display the results in an exhibition at the Centre National d’Art Vivant. “These projects are about building a sustainable network between artists and museum people from various regions,” says HabsburgLothringen, and lists project goals including “the possibility of informal exchange, better insight into our own role as a cultural 62

institution in times of social transition, raising awareness of the population’s claim to ownership over public space and view of it as a widely accessible forum.” Austria – a country unburdened by any colonial past in these regions – could act as a credible intermediary in the discussion, without being suspected of Eurocentric arrogance. Bettina Habsburg-Lothringen experienced something similar in Sarajevo, where small teams roamed the city on a mission to document changing Sarajevo in the form of photographs, sound recordings, interviews, texts and objects. “The idea of museum outreach has to be more than just a fashionable attitude. Allowing things from the local surroundings to develop and investigating their conditions and effects – that’s our job.”


“The relevance of public space for the art discourse” Thursday, 21 November 2013 5:00 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Vienna In German

Last year, for the first time, the Austrian Federal Ministry for European and International Affairs and the Museumsakademie Joanneum Graz organized a one-week exchange for curators from Tunisia, Egypt and Algeria, and representatives of Austrian museums in Graz and Vienna. Its continuation in Tunis in fall 2013, entitled “Outreach”, focuses on the increasing importance of public space for the artistic discourse, both in Europe and in North African and Arab countries. Panelists: Bettina Habsburg-Lothringen, Head of the Museumsakademie Joanneum, Graz; Elke Krasny, lecturer at the ­Academy of Fine Arts Vienna and freelance curator, Vienna; Sana T ­ amzini, Director of the Centre National d’Art Vivant, ­Belvédère – Tunis Moderation: Michael Huber, journalist, Vienna

Maria Rennhofer is a cultural journalist and publicist. She studied journalism and art history at the University of Vienna, headed the contemporary cultural radio broadcasts of the Austrian Broadcasting Corporation (ORF) for many years, has been active as a freelance journalist and author and working independently on culture and media projects since 2010. Rennhofer has published various books, including a monograph on Koloman Moser.

Art and Economy

“Young ART Lounge” The sociopolitical synergies between art and business Text by Ursula Maria Probst

Richard Rella, © Klaus Pichler

What do artistic and commercial thinking stand to gain from each other? Art and business increasingly enter into cooperations to anticipate the challenges of the times together. The Zürcher ­Kantonalbank Österreich AG’s “Young ART Lounge” shows us how it’s done. Private commercial enterprises are increasingly interested in supporting art. Aware of the arts’ important role in cultural identity building, large banks and corporations are investing in art collections. Without this commitment, the variety of artistic positions in the art world would be severely impaired. But at a time of so much talk about art funding and art as an investment, it also rai­ ses another question: how important is the much-evoked “love of art” in these considerations?

Ursula Maria Probst lives and works in Vienna as an art historian, university lecturer, art critic, curator and artist. She studied art history at the University of Vienna and did scholarly and artistic work on and with Louise Bourgeois in New York. She is co-initiator of the performance collective Female Obsession.

For some businesses, like the Zürcher Kantonalbank Österreich AG, commitment to the arts goes beyond collecting. The bank’s “Young ART Lounge” provides emerging artists with an exhibition and communication platform aimed at intensifying the dialogue between art and commerce. “Young ART Lounges” are held twice a year; each edition presents three artists whose work is shown at the premises of Zürcher Kantonalbank Österreich in Hegelgasse, Vienna, for a period of six months. Due to space constraints and the current use of the rooms for business meetings, the focus is on painting. According to Richard Rella, Director of the Vienna branch of Zürcher Kantonalbank Österreich AG, there are no restrictions in terms of subject matter, though the artistic approach should show a connection to reality. Works shown to date include those by artists Stefanie Salzburger, The Flowerbeds (Anita Duller and Hannah Stippl), Rudi Cotroneo and Lukas Posch.

not disappear into storage but hang in the offices and become part of everyday business life. By demonstrating a personal pas­ sion for art, the company deliberately steers away from the pheno­ menon of treating art like stocks. Conscious of art’s social function, the Zürcher Kantonalbank also follows its cultural and political mission in Switzerland, where it is committed to promoting and encouraging cultural life. In this case, “sustainable thinking” is more than just a buzzword; it's a starting point for action. The Vienna format for the “Young ART Lounge” offers students and graduates from the University of Applied Arts a public platform. This partnership gives students or recent graduates an opportunity to gain a foothold in the art market. The choice of artists needs to ensure that a wide spectrum of art styles and techniques is represented. This commitment yields art projects which not only open exciting artistic and creative perspectives for all participants, but also enable new views and forms of the relationship between art and life. For Zürcher Kantonalbank Österreich AG, the “Young ART Lounge” is more than just a platform for young artists: it's a passion, the proverbial “love of art” …

Not least, the “Young ART Lounge” also gives young artists a chance to sell. Works are often sold at the exhibition openings, and paintings bought by the Zürcher Kantonalbank Österreich do 63


“There Is No Formula” On the crossover between art and design Text by Michael Hausenblas

Thomas Feichtner and Heimo Zobernig, © Klaus Pichler 64

Thomas Feichtner (b. 1970) is a product designer. His clients include such long-standing companies as the Wiener Silber Manufactur, Augarten Porzellan, J. & L. Lobmeyr, and Carl Mertens. Feichtner teaches product design at the Muthesius Academy of Fine Arts and Design in Kiel, Germany. He was the 2011 recipient of the Austrian State Prize for Design. Heimo Zobernig (b. 1958) is among Austria’s most internationally renowned artists with exhibition projects across the globe. Zobernig has been a sculpture professor at the Academy of Fine Arts Vienna since 2000.

There is a growing overlap between design and art. Michael ­Hausenblas speaks to artist Heimo Zobernig and designer Thomas Feichtner about the mutual relationship between the two disci­ plines. Why is art’s relationship to design a topic in the first place? Why do we feel the need to address this issue? Heimo Zobernig: I think it goes back to the avant-garde, to the artists who set out to make a new world 100 years ago. A lot of these modernist art-makers thought about the issue and wanted to be seen as engineers, for example. Thomas Feichtner: I’d agree with that. But the question also reminds me of how strange it is – to me anyway – that designers are so extremely reluctant to cross the line and go into art. Artists cross that same line all the time with no problem. Where is this line? Thomas Feichtner: I think it’s somewhere in the question about the meaning and purpose of objects. As soon as this isn’t immediately evident, a line has been crossed for the designer, and I think this boundary should be watered-down somewhat. Heimo Zobernig: Our contemporary notion of art has become more porous around the edges – wherever you find everyday objects, or design, in art. Ultimately, I think the context determines what stands for what. The same goes for the kind of display, and where it is presented. Is there more crossover between art and design? Thomas Feichtner: I think design follows art market mechanisms much more in this networked world. Also in terms of how often an object is being produced: it’s not as much of a quality indicator as it used to be. Heimo Zobernig: More and more artists have been invited to design exhibition spaces, lounges, cafeterias, etc. in the past 20 years – a job that could really be done by designers. Artists probably write the briefing themselves and demand total freedom as opposed to whatever the client has in mind, which in this case, is actually what the client wants. Experimental design is also gaining momentum, very noticeably so – is this also a case of design going the way of art? Thomas Feichtner: I would distinguish between an experiment within a design process and an experiment as the end result. I think opening the procedure so that the result is left open is definitely legitimate, though I personally am rather closed to the idea of the experiment as a subject. Heimo Zobernig: I visited a house in Bordeaux that was built and designed by architect Rem Koolhaas. Before construction began, he made a contract with the client agreeing that a lot of elements would not be subject to the typical warranty period because they would have a prototypical character. I’m the same way – when I accept a contract, I have to have total liberty of interpretation. This doesn’t mean I completely ignore the client’s needs, only that I don’t give any non-artistic guarantees. If a work doesn’t serve its practical function for whatever reason, then its function is either visual or symbolic.

Michael Hausenblas has been working for “Der Standard” daily newspaper since 1999, primarily as an editor in the field of design.

The American artist Richard Artschwager said, “If you can sit on it, it’s a chair; if you walk around it and look at it, it’s a sculpture.” Do you think that still holds true? Heimo Zobernig: Yes, I think so. When he said that, the separa­ tion between the two was even more pronounced. A lot of spatial, installation-based art being made today crosses this line as a matter of course.

Big design auctions selling editions show how the mechanisms of the art market are also moving into design. Do you think the line we’ve been talking about is shifting here as well? Thomas Feichtner: You’re not designing for a target group in that particular field, and there’s no corporate risk behind the product. That gives the designer a lot of freedom. He can address a parti­ cular topic without having to think about outside factors. It is very interesting to find out how a designer can develop with this kind of freedom. So these objects are also very interesting. They don’t have to be successful in the classical sense, commercially speaking. Heimo Zobernig: Whenever design or art objects turn up in art auctions, it is a good reflection of how the objects in this area pan out relative to one another. A prototypical design product natu­ rally has another price tag than a mass-produced one. Young artists envy the prices some of these design pieces fetch at auctions, but it is basically negotiated at a pretty similar level. Presu­­mably for collectors, the ones passing a monetary judgment, the division between art and design is fairly balanced-out. Thomas Feichtner: I don’t think there’s any formula or line that makes one design and the other art. The older I get, the less of an issue it is for me. The whole thing would require not only a definition of design, but of art as well. Recent years have seen a lot of talk about the “economic factor” of design. What economic or commercial factor does art have, apart from the art market and its importance for museums? Thomas Feichtner: I completely disagree. Design shouldn’t be part of that value chain; I don’t see design as a marketing tool. There is an inherent risk to design as well. Good design can certainly unleash its share of stomach-tingling, charms and sophistication. A number of very good designs are less beholden to a particular strategy or concept than they are to a good relationship between the company and the designer – two parties setting off on an adventure. It’s about mining the limits. And it also requires risking that the whole thing will be a flop. Could the same be said of art? Heimo Zobernig: I think anyone gearing up for the adventure of art needs individuals around him or her to assume part of the risk, a counterpart group of friends or mediators who work in this area. This is probably very similar, maybe more familial and less strategic. Does the art world turn its nose up at design? In other words: What image does design have in the art world? Heimo Zobernig: I wouldn’t say so, not at all. On the one hand, there is a lot of respect for the design ethic of someone like Victor Papanek, and then you have a lot of admiration for the glamorous design and fashion presentations in big cities like Milan, Paris, New York, etc. A lot of fashion magazines have an enviably better print quality than the majority of art catalogs. Thomas Feichtner: I know there is a much sharper division bet­ ween art and design at art schools. I have friends that are desig­ ners and friends that are artists. The struggle, the communication etc. is handled with very similar mechanisms. A designer needs a manufacturer to survive, an artist needs a gallerist. I think it really is comparable. It is a question of the attitude toward art or toward design. Of course there are design firms that see themselves more as service providers than designers.



A Congenial Partnership? Art and industry are growing closer together Text by Ursula Maria Probst

Karin Handlbauer, © Klaus Pichler

Cooperation between art and industry has long ceased to be limited to the collecting and fundraising activities of major business enterprises; there are now other manifestations, such as the deve­ lopment of presentation forms and structural measures. The art critic Ursual Maria Probst spoke about this with the President of the Vienna Chamber of Commerce Brigitte Jank and the gallery owner Karin Handbauer.

Art galleries are becoming more and more relevant for Vienna as a center of business. The Vienna Chamber of Commerce has been supporting this development since 2006 by awarding the Gallery Prize during VIENNAFAIR, the international fair for contemporary art. What positive impulses for the art market has the prize sparked so far? Brigtte Jank: The Gallery Prize is of great significance both financially and as regards its resonance with the public. A creative, vibrant art scene only thrives in a dynamic art market. This means that artists and galleries enter into a symbiotic relationship, ­whose success is based on art as tangible and buyable cultural heritage. Galleries bring art a great deal closer to us – sometimes even into our own living rooms. But gallery owners are more than just business agents. They are frequently important motivators, supporters and friends of the artists. With the Gallery Prize we want to honour these achievements and express our thanks for their promotion of the Viennese art scene – the galleries are ­decisive in providing impetus here! A gallery’s agenda goes far beyond selling, marketing and performing as an intermediary for art. Karin Handlbauer: For private galleries, the awarding of a gallery prize and other affirmative actions are very important for the professional development and sponsorship of artists. This releases funds that enable them to realize new projects. The gallery land­ scape in Vienna has expanded enormously – and the competition with it, not least through the auction houses, which likewise 66

include contemporary art in their programs. It’s a tough business, which demands enormous competence. Why did the Vienna Chamber of Commerce decide in 2008 to award two prizes at once, namely the Emerging Gallery Prize and the Established Gallery Prize? Brigitte Jank: Like artists, galleries go through various phases in life. With the Established Gallery Prize we want to pay tribute to the commitment of Viennese gallery owners, which has often endured over decades. Meanwhile, the Emerging Gallery Prize is an award for young gallery owners who on account of their exceptional achievements hit the public eye right at the start. Both prizes have a common aim: to promote the Viennese art market. What do galleries stand for today? How much does it matter to you as a gallery owner to provide a platform for new artistic trends? Karin Handlbauer: Concepts like professionalism and networking play a major role today in the gallery system. A gallery’s image is greatly determined by its content orientation and international flair. The Galerie Mezzanin has evolved out of an alternative space. It was, and is, very important to me that the name ­Mezzanine remained during its restructuring into an internatio­ nally active gallery, in order to signal how relevant it is for a gallery today to be very close to the productive art scene. I meet the artists of my gallery regularly for the exchange of ideas, and I intentionally push exhibitions that appeal across the board to all generations. Has the increasing international resonance of Austrian galleries through their keen participation in art fairs had effects on the purchasing policy of collectors on site? Brigitte Jank: The Viennese gallery scene is booming; since the late 1980s it has developed step by step into a dynamic hub of contemporary art in the international context. Many established galleries have been regularly exhibiting for years in international

Ursula Maria Probst lives and works in Vienna as art historian, university lecturer, art critic, curator and artist. Studied art history at Vienna University, scholarly and artistic work on and with Louise Bourgeois in New York. She is co-initiator of the performance collective Female Obsession.

Brigitte Jank, © Meinrad Hofer

art fairs – Art Basel, Arco in Madrid, FIAC in Paris, the Frieze Art Fair in London, and so on. With their extraordinary commitment and tireless energy they are important ambassadors for Vienna abroad. This development naturally strengthens the art market in the local collectors’ scene. Karin Handlbauer: International participation in fairs enhances the image of a gallery. It still applies however that, considering the available potential, there are far too few Austrian artists of international significance. Taking part in international fairs is a way of counteracting this. The development of young artists often means hard graft for years until success knocks at the door; this is then magnified through their representation in public institutions or important private collections. The Vienna Chamber of Commerce is also an important partner for VIENNA ART WEEK. What other initiatives are being planned for Vienna as a center of the art market? Brigitte Jank: The Viennese art scene is flourishing – this is also because the creative industry in the city is highly successful in its international public image. A decisive step for Vienna as an art location will be to open up ground-floor zones for artists even more. What I would like is that many young creative people, gallery owners and artists make premises now standing empty into dynamic places of creative exchange. This would complement the already existing structures of trade, gastronomy and service industry on the shopping streets. People are resorting more and more to methods borrowed from art, not only in the creative industry but also in other branches. What do you see as the cause of this trend? Karin Handlbauer: Our society and our industry urgently need ­creative people. Through their works, artists stimulate the formation of new, challenging hypotheses. People who otherwise are bound to the world of industry want to benefit from art by accessing and developing something else, they want to approach questions of our contemporary existence in a creative way. The com-

munity is constantly growing, whereas previously the discourse was mainly conducted by art historians, curators and art critics. Collectors love to get to know the artist, among other things they want to go into his studio. An excellent example is Peter Kogler’s studio. What partnerships between art and industry should or could be intensified? Brigitte Jank: I think art and industry in Vienna have grown far closer together in recent years. The platform has contributed much to this, bringing together creative people and traditional crafts. It goes without saying that we need to work on intensifying these partnerships even more. There’s still a great deal to be done in creating places where industry and art coin­ cide. The service center Geschäftslokale der WK Wien offers support to interested parties and those seeking information. In 2012, 35,000 people visited the VIENNA ART WEEK, the number of international guests is growing all the time. What do you think has sparked off the phenomenon that art is fulfilling an increasingly important social function? Brigitte Jank: This is particularly so in Vienna, where, in a very small space, a rich contemporary creative scene is shoulder to shoulder with outstanding art from the past, thus there is a high concentration of creative forces. Not for nothing is the brand “Vienna” associated across the world with art and culture. And of course, you mustn’t forget one essential factor: art is an investment with superlative growth potential.



Art and Economy

“An Interesting Investment, Not Least From a Tax Perspective” Art as an investment

Christian Wilplinger and Gernot Schuster © Klaus Pichler

Text by Vanessa Voss

Deloitte tax experts Gernot Schuster and Christian Wilplinger on art as an increasingly popular form of investment, and why investing is especially worthwhile from a tax point of view. Many collectors say that they buy art out of passion. But more and more often, we see other motivating factors coming into play. What factors are we talking about? Christian Wilplinger: We’ve observed more and more consideration of art as an asset class. Individuals with substantial assets tend to invest in it because they want to add more diversity to their portfolio. Art offers them the opportunity to invest their money in something independent of financial markets. The more uncertain the times, the more people feel it is important to own something tangible, and art – next to real estate – lends itself especially well to this. Gernot Schuster: Art investments generally aren’t aimed at shortterm profits but are supposed to provide long-term asset security. Take the Austrian painter Ferdinand Waldmüller, for example. One of his paintings, from the 19th century, has maintained a stable value over 150 years. You would be lucky to find a stock corporation that has been around for 150 years. Evaluating art as an asset class also involves tax considerations. Securities or paintings: why choose art? Gernot Schuster: The tax issue shouldn’t be the main motivator for buying art. But anyone that has decided to make an investment should take care that it doesn’t turn out to be a disadvantage. Christian Wilplinger: From a tax perspective, one thing that speaks for art is that any value accrued from private assets is taxfree after one year. In other words, private individuals who sell after the speculation period can profit from the full increase in value. This no longer applies to securities and real estate where, ever since the capital gain tax or new real estate tax was intro­ duced on 1 April 2012, accruals are taxed at a flat rate of 25 percent. Beyond that, is there anything else people should consider before investing in art? Christian Wilplinger: Before buying, it’s especially important to think about how an art piece is going to be used. Those looking for paintings and sculptures for their own homes – something to enjoy on a day-to-day basis – should invest their private assets. If, on the other hand, you want to store the pieces in a facility or loan them to a museum, then you should consider buying via a capital company or private foundation. The type of use can have important tax implications. 68

Many collectors buy art at international auctions. Does it make a difference if I buy a painting or a photograph there? Christian Wilplinger: Yes, because the import sales tax you pay depends on the medium. Reproducible art like photography, for example, is taxed at 20 percent, while non-reproducible art such as painting is always taxed at just 10 percent. And there are other important issues to think about when buying international art, like which EU country the work will be imported to, or the customs issue. Anyone interested in buying and selling art on a regular basis must also observe the border between their activity and commercial art dealing. What could lawmakers do to promote art investment? Gernot Schuster: Legislature could allow tax-deductible art ­purchases. Art acquisitions are categorically non-deductible because they do not depreciate in value. But there could be a tax law that would allow owners to write off a painting, say, over a period of 20 years. Unfortunately given the current budgetary ­situation, there is little chance of something like that going through.


“Art collectors – between passion and investment” Thursday, 21 November 2013 3:00 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Vienna In German

Should we collect art for passion alone? Can art be a “sensible” investment? What legislative improvements could be made to incentivize investment in art? Panelists: Thomas Angermair, art collector, Vienna; Rudolf Humer, Humer Privatstiftung, Hinterbrühl; Gernot Schuster, Partner Deloitte Österreich, Vienna; Walter Seidl, ERSTE Foundation, Vienna Moderation: Gerda Ridler, free curator, author, consultant for private art collections, Munich

Vanessa Voss works as an editor at the business magazine “trend”. Given the growing number of companies and managers interested in art, she deals with topics such as corporate collections or art as an investment. Vanessa Voss studied in economics and graduated from the Cologne School of Journalism.

Art Mediation

MACH(T) KUNST / MAKE ART – Looking for Austria’s Next Top Curator? 1

Participation in contemporary art mediation Text von Andreas Hoffer

Tell me and I'll forget. Show me and I may remember. Involve me and I will understand. attributed to Confucius Participation found its way into contemporary art mediation no later than the 1960s, coming hand in hand with an expanded notion of art and the rise of activist and emancipatory productionand exhibition methods.2 The concept of participation recalls not only Beuys’ social sculptures and his often misunderstood statement that “everybody is an artist”, but also highly influential socio-political, feminist and gender-oriented interventions in Anglo-America and Eastern Europe from the 1970s forward.3 There is, however, no denying the difficulty of applying participatory methods in this context – particularly when participation is confused with populism and the real aim appears to be a leveling of any standards whatsoever. We see this perversion of participa­ tion very often in the world of pop culture, where one needs only think of formats where the audience has “veto” power over prota­ gonists, or where anyone can produce media using their personal problems as content. Erosion of quality and leveling are common warnings when spea­ king of participatory approaches in visual art, but they are usually voiced by people who either have no experience with participatory models, or no interest in jeopardizing their elite position by questioning it through participatory processes. Contemporary art – and especially its mediation – should not be used to cultivate elite classes. Art mediation is not there to pro­ vide exclusive, insider access to the content behind objects that have become less and less important and have meanwhile have all but lost their “work power” (Peter Sloterdijk). It is precisely in contemporary art – where much of the work is, in fact, geared towards a (theoretical) elite – that a participatory approach to mediation can break down barriers that the art world is so keen on building. Participation means not only including art consumers in a process of reception, but carefully planned, attendant proces­ ses that empower the audience and encourage them to become agents in their own right. Applying participatory methods to mediation only makes sense when the initiators are curious about processes and results that are not already pre-determined. Participation can also have out­ comes that are very far from what the art mediator intended, a fact that should be clear to anyone looking to embark on this fascinating process. Rules, a clearly defined setting and a careful

discussion of methods are absolutely indispensible to the preplanning process of any participation-oriented project. Here the initiators should always be clear about why they are using participatory methods and what role participants are to play, to avoid abusing it as a subterfuge for personal intentions. At this point, besides a quick reference to particularly impressive initiatives such as StörDienst and WochenKlausur4 – who did pioneering work in participatory art mediation in Austria from the 1980s onwards – two recent projects bear mention: In 2009, the Essl Museum’s Art Education team co-curated a ­large exhibition of its collection along with visitors. Its target group was one to whom comprehensive museum collections of original works of art are rarely dedicated: children. Participatory methods were used both to conceive the exhibition “Festival of Animals” and design its catalog. A section of the exhibition was curated by four very different groups – the special-needs class at an elementary school, a high school class, women from Haus ­Miriam (part of the Caritas women’s shelter) and ten “Facebook friends” of the museum – who intensively prepared for this task in multi-part workshops with art mediators. Their highly individual curatorial approaches were presented one after another. And by the way: the special needs class’s exhibition proved the biggest hit with audiences, both thematically and in terms of presentation! The “LIKE IT!” exhibition in the fall of 2013 will take another participatory route – one that integrates social networks into curatorial work. We will be posting a selection of Essl Collection artworks on Facebook and our friends will “like” their favorite things. Works with the most “likes” will feature in the exhibition. For us curators, the unbelievably spontaneous and rapid selection process online is a counter model to the usual exhibition preparations, which are reflective and very cerebral, but certainly no more objective. Since we are also very aware of the possibility of failure, it will be interesting to see what kind of exhibition comes of it. It is an experiment in the truest sense of the word – one centered on the idea of e-participation, the outcome of which is still completely unknown.

1 The spring 2013 exhibition “MACHT KUNST” by René Block at the new Deutsche Bank KunstHalle in Berlin employed participation in the manner of Josef Beuys. Reviews and blog discussions about the show revealed the possibilities and dangers of participatory models. 2 Contemporary art mediation, as the author understands it, includes forms of public art production (actions, performance, etc.) as much as it does the mediating processes of post-production (curating, composing texts about art, and especially in-person mediation). 3 Cf. Suzanna Milevska, Partizipatorische Kunst [www. php?textid=1761]; Stella Rollig, Zwischen Agitation and Animation [ transversal/0601/rollig/de/ print] 4 Characteristic of the Verein StörDienst at the Museum of Modern Art Ludwig Foundation Vienna – which Heiderose Hildebrandt and her team founded in 1986 with the “Kolibri flieg” project, before continuing in the form of an autonomous association – was an intense discussion of methods and an approach that sought to empower museum visitors to become subjective actors. Many of the methods developed t­here (“Chinese basket”, “art discussion” etc.) are used in institutional mediation today, though often in an unreflected and perverted form. Mediation as art: http://www.wochenklausur. at/kunst.php?lang=de Andreas Hoffer, born 1956 in Bremen. Studied studio art, art education and art history in Braunschweig. Independent projects in Berlin during the 1980s and 1990s, visual art and cultural mediation in Vienna, e.g. the Verein StörDienst at the Museum of Modern Art Vienna (mumok), and curatorial work with Lucie Binder-Sabha in the field of new media. Head of art education at the Essl Museum since 1999, where he has been chief curator since 2006. 69

Art in the Public Space

No Place Art Can’t Happen

Fiona Rukschcio, © Klaus Pichler

Personal takes on public art interventions Text by Sigrit Fleisz

The greeting varies. “Look here, what a surprise!” Or: “It’s been ages!” The welcome is warm, like running into a good, old friend or acquaintance. Strolling through the city, artists keep their eyes open – and whenever Fiona Rukschcio, Wendelin Pressl, Esther Stocker and Eva Chytilek encounter an art intervention, they agree on one thing: there is no place art isn’t possible.

Wendelin Pressl, © Klaus Pichler

Fiona Rukschcio “Artworks can develop in a generally very apolitical way, but take on an explosive force.”

Wendelin Pressl “As an art producer, I’m not aiming to create an immortal artwork, but you do hope to strike a chord with the times.”

“I have been very preoccupied with the phenomenon of how and to what degree places can retain memories. This is exactly what Carola Dertnig is exploring in ‘ZU SPÄT’ (Too Late), which subtly deals with Morzinplatz, but also the question of whether or not the past affects the collective unconscious. That place, a ‘nonsite’ that has once again attracted the attention of urban planners, has always interested me. The square has a heavy history: on it is the former Hotel Metropol, which was once the Gestapo’s Vienna headquarters. Morzinplatz is now a transit zone where – except for the homeless or people waiting – pedestrians are not generally inclined to spend any length of time. The Danube used to run along here. You still have air to breathe – and cope with the memory of what once was. I think it would be a kind of luxury to leave this place the way it is.”

“‘Picassos Auge’ (Picasso’s Eye) works on various levels: television, advertising, suspense. It deals with digital media; in fact, you can only make out its shape from a distance. Up close, the pixe­ lated form seems very technical. But sitting in front of it, I could spend hours pondering very different stories. Recently, I had to think of a cyclops. But ‘Picassos Auge’ also recalls a monitoring eye, like Orwell’s Big Brother. Robert Adrian X’s work is asto­ nishing, not least due to its very theoretical, media-technological underpinnings, but because it is also effective in a purely aesthet­ ic sense – a work for the eye, so to speak. There are housing developments to the left and right, and the Eye is nestled be­tween them, calmly looking out over the surface of the water. ­There is something banal about it, but also romantic. You can’t tell if its gaze is good or evil. All of this creates a very special atmosphere.”

Fiona Rukschcio lives and works in Vienna.

Wendelin Pressl lives and works in Vienna. Sigrit Fleisz lives and works as a journalist, author and cultural advisor in Vienna and Vorarlberg.


American conceptual artist Lawrence Wiener printed the anti-war slogan “Smashed to pieces (in the still of the night) / Zerschmettert in Stücke (im Frieden der Nacht)” on the upper part of the so-called “Leitturm”, the fire-control command center of the Vienna flak towers. The piece was in­ stalled in the context of the 1991 Vienna Festival. 1060 Vienna, Esterházypark, Fritz-Grünbaum-Platz 1

Carola Dertnig and Julia Rode made their temporary installation “ZU SPÄT” with resilient flowers. It is dedicated to the memory of the persecuted sexual minorities in the Third Reich. 1010 Vienna, Morzinplatz

For his 1993 work “Picassos Auge”, media artist Robert Adrian X, born 1935 in Toronto, enlarged a photograph of Pablo Picasso’s left eye and reconstructed it with 576 rectangular paintings in various shades of gray. 1020 Vienna, Handelskai / Wachaustrasse 28

Eva Chytilek, © Klaus Pichler Austrian-American artist Erwin Hauer developed his “Architectural Screens” – cast, molded or milled stone, acrylic, laminate or aluminum walls perforated with modular openings – in the early 1950s. Hauer also left his mark on a building façade in central Vienna. 1010 Vienna, Dorotheergasse 22

Esther Stocker, © Klaus Pichler

Esther Stocker “The street is also a place of truth: you can adjust in a room. Everything is a little more real on the street.”

Eva Chytilek “An artwork has to be very special if it can only exist in the right place at the right time.”

“Hauer’s work is very delicate – not very noticeable at first glance. It comes out of sculpture and embeds itself in the architecture. When light falls into it, you see the shadows. The work is about the question of infinity. I’m fascinated by the way Erwin Hauer draws such an abstract topic from something so banal. He’s ­dealing with concepts and questions like, ‘What is a surface?’ and ‘What’s happening behind this wall?’ Hauer breaches a certain boundary and makes a philosophical object out of it – that is no small feat. He takes this subject and draws the greatest possible complexity from it. His works are not isolated art objects. Art is by nature something that you can never penetrate completely. Objects that people find mysterious work at any point in time, in whatever period. A street belongs to everyone. Art and architecture always went hand-in-hand, historically speaking. Architecture appears and art latches onto it somewhere – almost parasitically. I always take it very personally.”

“The flak tower has always been part of the cityscape for me. I grew up with that artwork. The first time I saw it, I was more ­taken with the Haus des Meeres aquarium inside the tower. Some artworks are embedded in the way you picture the situation as a whole. This can change from day to day. A dialogue develops depending on the conditions, whether it’s day or night, because you perceive the place differently. Even when it happens unconsciously. Weiner’s work is timeless. It touches me time and time again, everytime I see it. It’s not a visual representation but a thought, so it’s always changing in your mind – with different images, too. The work goes beyond illusionism, which is what keeps it alive and enriches the place. His handling of its history is ideal in my opinion. The architecture is what it is. I think ‘beau­ tifying’ something you can’t hide is a strange approach. I can’t imagine what it would be like with Nemo below and art on top!”

Esther Stocker lives and works in Vienna.

Eva Chytilek lives and works in Vienna.


Art and Economy

The End of the Hope Principle High time to rethink sponsoring

Andreas Pulides, © Klaus Pichler

Text by Wojciech Czaja

How can art and business collaborate better in the future? A conversation between the artists Krüger & Pardeller and Viennese architect Gabu Heindl about new possibilities of collaboration and sponsoring. The unusual call was commented by Andreas Pulides, Chairman of the Supervisory Board of the König Holding AG, and moderated by Wojciech Czaja. “It doesn’t really come as a surprise that there is no budget for art,” says Doris Krüger from the Viennese artist duo Krüger & ­Pardeller. “Even big institutions regularly ask you to do unpaid work. It’s absolutely irresponsible. It’s important in such a case ­ to remain true to oneself and say NO!” Krüger’s partner Walter Pardeller has his own explanation for the fact that a lot of work is still done for free in the art and creative industries: “The whole system is based on the principle of hope. Many people hope that working for a prestigious client or institution for free might bring them good publicity and new business – in a word: might boost their careers.” Yesterday’s patrons are today’s sponsors – people, firms, and businesses with an interest in art and willing to sponsor it. There are plenty of examples. “Art projects and art in architecture allow us to make a statement in the public,” says Andreas Pulides, Chairman of the Supervisory Board of the König Holding AG. The group is geared to state-of-the-art technology innovation, offering its clients in the building sector systems of aluminum, steel and plastics, as well as complete solutions in the fields of photovoltaics and solarthermics. “Of course, art projects are also a means of marketing and publicity for us. But there’s more to it: first, being a large business, we have a certain cultural responsibility; and second, every art project is also a sign and mirror of our philosophy.” How is this kind of sponsoring seen by the art world? “Project sponsoring certainly has its merits and can be an important, adequate contribution in individual cases; but it only benefits the sponsee, not the issue as such,” explain Krüger & Pardeller, ­whose works deal with space and space production. “Although of course we would prefer a more sustainable communication between the client and the contractor, a certain understanding and sensitivity for art and architecture.” Communication should not only include the supervisory board, but all parts of the firm. 72

Gabu Heindl, Walter Pardeller and Doris Krüger, © Klaus Pichler

In architecture, too, it’s high time to rethink sponsoring, says Viennese architect Gabu Heindl, whose projects include a lot of art-in-architecture planning. “The industry could make a major contribution by questioning and loosening construction standards where possible and reasonable.” Many standards today miss the target. Heindl cites the redevelopment of existing structures as an example: “Particularly in case of old buildings it is getting more and more important to find individual, specific solutions with architects. That’s worth a thousand times more than project-specific sponsoring.” “However,” adds Heindl, “the biggest problem is the strong lobby of the building industry. It’s all the more important for the industry to take its responsibility and make sure anything built has a high quality. You can see this as an appeal to the industry and business to cooperate.” So what does Andreas Pulides answer to this appeal? “Sure, I can definitely see us cooperating more in the future, and see myself playing a more active part in the formulation of building regulations and norms. It’s a good idea, though I’m afraid difficult to put into practice. Let’s say it’s a good plan for the future.”

Wojciech Czaja, born in 1978 in Ruda ­Slaska, Poland, studied architecture at the Vienna U ­ niversity of Technology. He works as a freelance architectural journalist for “Der Standard”, among other papers. He has been a visiting professor at the University of Applied Arts Vienna and lecturing ­communication for ­architects since 2011.

Art and Economy

Room For Experimentation WWTF supports “artistic research”

Michael Stampfer, © Klaus Pichler

Text by Christian Höller Observations from the arts and cultural studies shed an entirely new light on classic areas of research. With a corresponding sti­ mulus program, the Vienna Science and Technology Fund (Wiener Wissenschafts-, Forschungs- and Technologiefonds) brings art and science together. An interview with Michael Stampfer, Director of the WWTF. The WWTF has been running a stimulus program for the humanities, social and cultural studies (GSK) since 2008, which also includes artistic activities. What was the main reason for opening up to the arts? Michael Stampfer: It started when we were intensely confronted with the specific needs and work of various research institutions, first and foremost the University of Applied Arts and the Academy of Fine Arts, whose graduates often wanted to try something new in terms of methodology. There were also a number of classical scientists who said that there should be room for experimentation beyond the typical scientific formats. The concept of inter- or transdisciplinarity plays prominently in the funding guidelines. What do you see as the most important criteria for a successful collaboration between science and art? Michael Stampfer: As a research funding agency, it’s important to me that researchers work with one another and not simply side by side. We try to avoid “quarry communities” that submit applications together but do little actual cooperating beyond that. Second, we want to implement a kind of verification mechanism that tells us whether a project is relevant on the international level. For us it’s about research questions that are current and not repeating something that has already been established in the international community for 20 years. The third important point is to find a balance between trying something new and proving that it is affordable in the existing framework. “Artistic research” is currently regarded as a kind of magic or panacea. What makes it so attractive compared to all of the other historical precedents? Michael Stampfer: I generally see it as a plus when art and art education adopt research paradigms to support a more methodand theory-driven approach. I also think trying things out or ­methodologically looking for areas of overlap between the arts and sciences is very important. Looking at the topics for previous years, you can see a shift be­tween a more general art-and-science connection (2008 and 2009) to topics dealing with diversity and identity (2010 and 2011) on to questions of public space (2013). Is coming up with more thematically pointed projects part of a long-term plan? Michael Stampfer: Art/Science was thematically very open, but the range of possible partnerships was relatively limited. To me,

the identity focus seemed even narrower than the public spaces call, at least as far as the submitted projects were concerned. Altogether, I would hope that the two million euros in subventions per call would not be so conspicuous – which they are, because the GSK financing is not great in general. The first projects funded starting 2008, which have meanwhile ended, went between two and four years. Which do you see as being especially successful? Michael Stampfer: I do not necessarily want to highlight individual projects, but some have led to interventions in public and so­cial space as well as to good publications. The one dealing with issues related to the perception of space and community life in municipal housing is certainly one of the most impressive. What I find important as a whole is that the successful projects facilitate a different perspective – a new take on the life sciences, for example, which, with a 40 percent share of the total funding ­volume, are an important point of focus for the WWTF. Observations from the arts and humanities allow us to see them in a different light. PANEL DISCUSSION

“Art and science – the boon and bane of interdisciplinarity” Friday, 22 November 2013 4:00 p.m.–5:30 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Wien In German

There has been a tendency in recent years to use research in art and scientific methods for artistic research and production. Research funding programs and universities support the collaboration between researchers and artists. How should this development be judged from the view of artistic practice? And vice versa, where lies the potential of creative-artistic work for innovation processes? What are the current program topics of the research funding programs? What significance do universities have for the development and establishment of a culture of interdisciplinary research? And finally: what benefit does this synergy between art and science – and its potential for the educational landscape – have for society? Panelists: Elisabeth von Samsonow, philosopher and artist, Academy of Fine Arts, Vienna; Thomas Feuerstein, artist, Vienna and Innsbruck; Michael Stampfer, Managing Director of WWTF (Wiener Wissenschafts-, Forschungs- und Technologiefonds), Vienna; Bernd Kräftner, scientist, Shared Inc./University of Applied Arts, Vienna Moderation: Axel Stockburger, artist and theorist, Vienna

Christian Höller, born 1966, lives in Vienna. He is editor of “springerin – Hefte für Gegenwartskunst” (www., freelance author and translator and has published widely on art. 73

Special Projects

Thomas Feuerstein, HYDRA, 2012, Courtesy Galerie Elisabeth & Klaus Thoman, Galerie Nicola Von Senger

Kunstraum BERNSTEINER OPENING © Klaus Pichler

AnzenbergerGallery Absberggasse 27 1100 Vienna T +43 1 587 82 51 F +43 1 587 90 07 E  Opening hours: Mon.–Fri. 10:00 a.m.–6:00 p.m. Sat. 12:00 noon–6:00 p.m. Kunstraum BERNSTEINER Schiffamtsgasse 11 1020 Vienna M +43 664 307 70 97
  E Opening hours: Wed.–Fri. 4.00 p.m.–7:00 p.m. Salon für Kunstbuch Mondscheingasse 11
 1070 Vienna
 M +43 660 445 71 16 E Opening hours: Wed.–Fri. 2:00 p.m.–7:00 p.m. Sat. 12:00 noon–5:00 p.m. Academy of Fine Arts Vienna Schillerplatz 3 1010 Vienna T +43 1 588 16 1301 F +43 1 588 16 1399 E

AnzenbergerGallery LECTURE

“Überlegungen zur Aktualität des Themas Stillleben” Lecture by Peter Weiermair Friday, 22 November 2013 7:00 p.m. In German

On the occasion of the exhibition “Klaus Pichler: One Third. Heinrich Kühn: The Collection of Autochrome Plates 1907– 1913”, art historian and curator Peter Weiermair shares his thoughts on the cur­ rent relevance of still life as a topic. The exhibition presents two completely differ­ ent positions within the genre: in “One Third”, Austrian photographer Klaus Pichler shows food in advanced states of putrefaction, meticulously arranged as still lives. He deliberately exceeds the shelf life to draw attention to the current dimension of food wastage: according to a study com­ missioned by the UN, one third of the world’s food goes to waste. To counterpoint Klaus Pichler’s contem­ porary position, AnzenbergerGallery also premières twelve reprints of autochromes by Heinrich Kühn from the years 1907 to 1913, developed in collaboration with the Austrian National Library and Intercultural Social Project. Heinrich Kühn is consid­ ered to be one of the first color photogra­ phers worldwide and an outstanding prac­ titioner and theorist of artistic photography. His estate of autochromes is archived at the Austrian National Library.

Exhibition “Thomas Feuerstein: FUTUR II” Monday, 18 November 2013 7:00 p.m. “Cash for art,” chants a choir, sounding the bell for a 69-day drama. The protagonist is a black iron sculpture called ­“PERFEKT” – a submarine and a hydrothermal carbonization reactor in one, though with different functions, processes and effects. “FUTUR II” is a piece of work that will never be concluded. Having ­turned into a time machine, it produces ever-new transmutations. A jungle of artificial plants bears organisms whose biomass is the source material for the works on display: they are pressurized by hydrothermal carbonization and within a few hours take a time journey that would normally last millions of years. The plant cells turn into coal, which in turn serves as a material for art. “FUTUR II” creates an artificial land­ scape ranging between stage and laboratory. It palimpsests scenarios of geology, forensics and science fiction to yield a biotope where artistic fiction, social utopias and scientific facts merge. Feuerstein’s sculptures, paintings and drawings of charcoal activate pataphysical cycles of generating meaning and possibilities that defy the traditional division into nature and culture, past and future: the future appears as a fossil, a petrified future of a possible past. Thomas Feuerstein, born in 1968, lives in Vienna. His works deal with the interplay of language and visual elements, the exploration of potential ties between fact and fiction, and the entanglement of art and science.


“Klaus Pichler: One Third Heinrich Kühn: The Collection of Autochrome Plates 1907–1913” 13 September–23 November 2013



“Thomas Feuerstein: FUTUR II” 19 November 2013–25 January 2014

© Andreas Sindeisen

Salon für Kunstbuch CONVERSATION

Exhibition “Bernhard Cella: 9742” – Andreas Spiegl in a conversation with Bernhard Cella Thursday, 21 November 2013 6:00 p.m. Library of the Academy of Fine Arts Vienna In German

Bernhard Cella is interested in the econo­ mic and sculptural conditions under which artists’ books, which are basically highly informed objects themselves, can in turn be used as artistic material. To find out, he established in his studio the Salon für Kunstbuch, the “model of a bookstore on a scale of 1:1”. This experimental set-up has by now accumulated 9,000 artists’ books, constantly rearranged by Cella to form unusual neighborships and enter material dialogues, while their sale and acquisition become part of an individual artistic practice. For VIENNA ART WEEK 2013, Cella confronts the library of the Academy of Fine Arts Vienna, a leading archive of old ­European art history, with his installation. He fits the space volume of his studio into the reading room of the historical collection. The intervention is at the heart of an exhibition conversation between Bernhard Cella and Andreas Spiegl at the Academy of Fine Arts.

EIGENSINNIG – ­Schauraum für Mode and Fotografie Sankt-Ulrichs-Platz 4 1070 Vienna T +43 1 890 66 37 E Opening hours: Tue.–Fri. 11:00 a.m.–7:00 p.m. Sat. 10:00 a.m.–6:00 p.m. EIKON – International Magazine for Photography and Media Art quartier21 / MuseumsQuartier Kulturbüros, 1st floor
 Museumsplatz 1 / e–1.6 
 1070 Vienna 

 T +43 1 597 70 88 F +43 1 597 70 87 

 E The Austrian Museum of Folk Life and Folk Art Laudongasse 15–19 1080 Vienna T +43 1 406 89 05 
 F +43 1 408 53 42 
 E Kunsthalle Wien Karlsplatz Treitlstrasse 2 1040 Vienna T +43 1 521 89 33 F +43 1 521 89 1217 E

© Matt Stuart

© Austrian Museum of Folk Life and Folk Art

© Darek Gontarski

EIGENSINNIG – Schauraum für Mode and Fotografie

EIKON – International Magazine for Photography and Media Art & The Austrian Museum of Folk Life and Folk Art

Marcello Farabegoli


Exhibition “Matt Stuart shoots people” Friday, 22 November 2013 7:00 p.m.–10:00 p.m. Matt Stuart is definitely one of the most fascinating contemporary street photographers. EIGENSINNIG – Schauraum für Mode and Fotografie features works by the London-based artist and member of the British “In-Public” Street Photography ­collective in his first solo exhibition in Austria. Stuart shows people in humorous, mundane situations and settings in everyday life. His use of perspective creates the impression that the pictures are an illusion of reality, but actually all photographs are candid snap-shots that instantly burn into the beholder’s memory and make him chuckle. “The lovely thing about Street Photography is (…) that the best stuff there’s absolutely no way you can stage, or even think of. It just like (…) happened, and isn’t that weird? Then it’s gone.” Matt Stuart EXHIBITION

“Matt Stuart shoots people” 9 October–22 November 2013


“Bebilderte Welt. Dokumentarische Formen des visuellen Berichtens in Kunst, Ethnografie and Fotojournalismus” Thursday, 21 November 2013 6:00 p.m. The Austrian Museum of Folk Life and Folk Art In German

Photojournalists, ethnographers and artists have various strategies of dealing with the world on a visual level; their ways of capturing the world in pictures are just as diverse as the forms of the captured subject. So what are these forms? And where do the fields of art, ethnography and photojournalism overlap? What methods do they apply in their respective fields? What image of the world can art, ethnography and photojournalism conjure up in a visually dominated world; what channels do they use? And finally: what narratives and counternarratives do they present us with? Panelists: Reinhard Braun, director and publisher of “Camera Austria”; for other panelists, see A collaboration between The Austrian Museum of Folk Life and Folk Art and EIKON


“The Club of Polish Failures” Tuesday, 19 November 2013 7:00 p.m. Kunsthalle Wien Karlsplatz In German

The show of the Germanophile Poles Adam Gusowski and Piotr Mordel, founders of the legendary Club of Polish Failures in Berlin, is a satire on complicated neighborly relations. Whether one thinks of the Battle of Vienna under John Sobieski or Reinhold Messner’s encounter with a Yeti – the boundaries between success and ­failure, truth and projection are redrawn over and over again. The Club of Polish Failures is a Slavic island of ill success, a Polish haven of failure amidst the Germanic landscape of perfection. What worlds have we created in Central Europe? Gusowski’s and Mordel’s tour de force includes shows at Berlin’s Neue Nationalgalerie, the Grosse Sendesaal at Rundfunk Berlin-Brandenburg, the state theaters in Frankfurt, Bremen, Hanover and Leipzig, but also performances at clubs and old people’s homes. Their presence in the media is enhanced through TV gigs like their appearance on Alfred Biolek’s talk show together with Britney Spears and ­Jürgen Flimm, and by their book “Der Club der polnischen Versager”, published by Rowohlt Verlag. For further information, go to: and


Special Projects

Anna Jermoaewa, Good Times, Bad Times, 2007

FOTO-RAUM Theresiengasse 25–27, 1180 Vienna M +43 676 517 57 41 E Opening hours: Mon., Wed., Fri. 10:00 a.m.–1:00 p.m.
 Thu. 4:00 p.m.–7:00 p.m. Sammlung Friedrichshof Stadtraum Schleifmühlgasse 6 in the courtyard 1040 Vienna T +43 2147 7000 190 F +43 2147 7000 191 Opening hours: Tue.–Fri. 2:00 p.m.–6:00 p.m. Sammlung Friedrichshof Römerstrasse 7 2424 Zurndorf Visits by prior appointment:
 M +43 676 749 76 82 or M +43 660 417 28 11 Austrian Frederick and Lillian Kiesler Private Foundation Mariahilfer Strasse 1b 1060 Vienna T +43 1 513 07 75 
 F +43 1 513 07 755 E Opening hours: 
 Mon.–Fri. 9:00 a.m.–5:00 p.m. 
 Sat. 11:00 a.m.–3:00 p.m.


© Sofia Goscinski

Sammlung Friedrichshof Stadtraum



Curator Petra Noll gives a tour of the exhibition “How long is now?”

Georg Schöllhammer on Denisa Lehocká

Thursday, 21 November 2013 7:00 p.m.

Tuesday, 19 November 2013 8:00 p.m. Sammlung Friedrichshof Stadtraum

In German

In German

The exhibition “How long is now?” presents photographs and videos from 18 artists who feature in the FOTO-RAUM’s collection, as well as from external artists. The participants have taken up the challenge of visualizing time, time courses / movement, and transformation, or have actually gone beyond this aim by interve­ ning and manipulating: some pictures are staged or edited so as to create new, irritating and largely illusionary constructs of time and space, which ultimately unmask time for what it is, namely an inhomogeneous dimension. In the presence of seve­ ral participant artists, the curator will comment on the exhibition concept and the works on display.

On the occasion of the Denisa Lehocká show at the Sammlung Friedrichshof exhi­ bition venue and at Sammlung Friedrichs­ hof Stadtraum, curator and “­ springerin” editor Georg Schöllhammer gives an insight into the Slovak artist’s work.


“How long is now?” 9 October–11 December 2013

The Sammlung Friedrichshof has been running a project space in Vienna’s gallery district in Schleifmühlgasse since early 2012. The artworks shown refer to the biannual, temporary exhibitions at Fried­ richshof, which the Collection of Vienna Actionism is contextualized with. The comprehensive, digitalized archive of the Commune is part of Sammlung Friedrichs­ hof and is available in a reading room for scholarly and curatorial research. Rede­ signed by architect Adolf Krischanitz, the Sammlung Friedrichshof is located on the ground of Otto Muehl’s former Action ­Analytic Commune. Today, the park-like land­scape is home to various apartments, artists’ studios, social projects and a hotel with a restaurant.

Paul T. Frankl, Woodweave Chair, around 1938 (Photo: courtesy of Paulette Frankl)

Austrian Frederick and Lillian Kiesler Private Foundation EXHIBITION

“Paul T. Frankl – A Viennese Designer in New York and Los Angeles” 4 October 2013–1 February 2014 Architect and designer Paul T. Frankl (Vienna 1886 – Los Angeles 1958) has shaped American modernism like few ­others. In the mid-1920s, his skyscraper furniture took New York City’s society by storm, with his gallery for contemporary furniture becoming an epicenter of ­modern interior design. In 1934, Frankl moved to Los Angeles and henceforth de­signed apartment interiors for Hollywood’s high society. The appeal of his fashionable interior design lies in its combination of East Asian motifs and the modernist form language of Europe’s avant-garde. Today, only few Austrians are familiar with Paul T. Frankl’s work. The exhibition aims to revive the cultural memory of this extra­ ordinary designer and his colorful biography in his native city. Curators: Christopher Long, Laura McGuire CONVERSATION

A conversation with curator Laura McGuire Friday, 22 November 2013 5:00 p.m. In English

American theorist and Kiesler expert Laura McGuire talks about differences and similarities between the Austrian avant-garde designers Paul T. Frankl and Friedrich Kiesler, and about their work in the United States.


Christina Gillinger, An Audience Who Cannot Speak English Is No Audience, 2013, © Yuri Correa Vivar

Kunstraum Niederoesterreich CONVERSATION

Galerie Krinzinger Seilerstätte 16 1010 VIENNA T + 43 1 513 30 06 F + 43 1 513 30 06 33 E galeriekrinzinger@ Opening hours: Tue.–Fri. 12:00 noon–6:00 p.m. Sat. 11:00 a.m.–4:00 p.m. Kro Art Contemporary Getreidemarkt 15 1060 Vienna M +43 676 503 05 32 E Opening hours: Tue.–Fri. 2:00 p.m.–7:00 p.m. Sat. 12:00 noon–5:00 p.m. Kunstraum Nieder­ oesterreich Herrengasse 13 1014 Vienna T +43 1 90 42 111 199 F +43 1 90 42 112 E Opening hours: Tue.–Fri. 11:00 a.m.–7:00 p.m. Sat. 11:00 a.m.–3:00 p.m.

© Fam. Powidl © Fam. Powidl Courtesy Galerie Krinzinger

© Fam. Powidl © Markus Mittringer

Galerie Krinzinger

Kro Art Contemporary



Exhibition Chris Burden / Gottfried Bechtold

Robert Mittringer, “Humour, Charm and Firs”

Tuesday, 19 November 2013 7:00 p.m.

Friday, 22 November 2013 7:00 p.m.

Chris Burden is an American artist born 1946 in Boston. The sculptural work he has produced since the 1990s testifies to his fascination with technology. Burden’s megalopolises, for example, are kinetic models of hypermodern cities, animated by the soundscapes of whizzing miniature cars and trains (“Metropolis I” and ­“Metropolis II”, 2004/2008). The bridges are assembled from construction kits for children and are partly patterned on real models. The “Coyote Stories” (2005) recount the artist’s dangerous encounter with coyotes in California.

“What would you call a solo exhibition dedicated to a neo-dadaist sorcerer and set in the period of annual conifer glorification? ‘Humour, Charm and Firs’ is epo­ nymous to a series of works by Mittringer consisting of a wooden stool and a piece of work on canvas with the same slogan. Mittringer constantly looks out for appa­ rent coincidences. A coincidence is when something happens for no particular reason, and is therefore neither necessary nor predictable, but contingent. Allowing for the principle of contingency in literary and artistic production thwarts any attempt to interpret art. The negation of meaning causes disorientation and alienation in the beholder, but can sometimes prompt more thoughtfulness than any doctrine. Those who use their eyes and brains in an unconventional way might find themselves rewarded with an undreamt-of liberation of the mind from the barriers of conformity. For, in the end, it is all a matter of perception.” Excerpt from a text by Brigitte Reutner

As an important Austrian position, the work of Gottfried Bechtold, born 1947 in Hörbranz, Vorarlberg, will be on display at the same time. The “Ready Maids” series (2006/2013) explores the boundaries of classic sculpture, as does “Panamera” (2009–2012), which also illustrates the artist’s continuous engagement with the complex topic of automobiles.


Chris Burden / Gottfried Bechtold 20 November 2013–11 January 2014


Robert Mittringer, “Humour, Charm and Firs” 23 November 2013–10 January 2014

Michael Zinganel in a ­conversation on art in Lower Austria’s public space Tuesday, 19 November 2013 7:00 p.m. In German

Since 2008, Public Art Lower Austria (KiöR NÖ) has been hosting a series of evening talks approaching the topic of public space from different angles. This year, architecture theorist Michael ­Zinganel was invited to engage himself in the neglected issues of art in public space and percent-for-art schemes. Architects, artists and cultural theorists will participate in the discussion, which aims to fat­ hom potentials and points of conflict in this downright historical subject matter. PERFORMANCE

“S/HE IS THE ONE” Thursday, 21 November 2013 7:00 p.m. In German

Curated by Ursula Maria Probst, the exhibition “S/HE IS THE ONE” focuses on current performative art production, embodiment strategies, and their articulation in diverse media, contrasting them with historical positions in performance art. On this evening, Kunstraum Nieder­ oesterreich is showing three performances: Veronika Hauer & Nicole Miltner, “In a Manner of Speaking #2”; Christina ­Gillinger, “An Audience Who Cannot Speak English Is No Audience”; and Anna Ceeh & Iv Toshain, “(HOT) ВИЗИБЛ”. With: Bernadette Anzengruber, Elke Auer, Renate Bertlmann, VALIE EXPORT, Katrina Daschner, Carola Dertnig, Iris D ­ ittler, Suzie Legér, Roberta Lima, Anja Manfredi, Ana Mendieta, Lilo Nein, Saskia Te Nicklin, Susanne Richter, Hans Scheirl, Esther Straganz, Female Obsession, and others EXHIBITION

“S/HE IS THE ONE” 25 October–14 December 2013 77

Special Projects

Hermann Nitsch, 1st Action, 19 December 1963 Crucifixion and irrigation of a human body Mühl apartment, Vienna © Atelier Hermann Nitsch / Nitsch Foundation; photo: Niederbacher

© Sammlung Lenikus

STUDIOS of SAMMLUNG LENIKUS Bauernmarkt 9 1010 Vienna T +43 1 516 31 0  F +43 1 516 31 190 E Lust Gallery Hollandstrasse 7/15
A 1020 Vienna
  T +43 1 21 21 06 E 
 Opening hours: Wed.–Sat. 12:00 noon–7:00 p.m. Nitsch Foundation Hegelgasse 5 1010 Vienna T +43 1 513 55 30 F +43 1 513 55 30 13 E office@nitsch-foundation. com Opening hours:
 Tue.–Fri. 11:00 a.m.–6:00 p.m. Admission is free


Lust Gallery

Nitsch Foundation




Guided tour with curator Cosima Rainer / Director Angela E. Akbari speaks about the Collection and its ­artist-in-residence program

Exhibition “Janus”

Exhibition opening and action by Hermann Nitsch “Hermann Nitsch – Action Photographs 1960 to 1979”

Wednesday, 20 November 2013 5:00 p.m. In German

Since the year 2000, the LENIKUS ­COLLECTION has turned its artist-inresidence program on Bauernmarkt in Vienna’s 1st district into a network of international renown. Every year, six graduates from Vienna’s two art universities are chosen for a grant that allows them to work in a studio for almost a year; in addition, established international artists are given a scholarship for a period of three months. Thus the collection, which is constantly increased by artworks purchased from the fellows, has become an inventory of Vienna’s lively artist exchange. Events organized at the SAMMLUNG LENIKUS’ so-called STUDIOS attract art lovers from all over the globe: these exhibition spaces function as studio outposts, as project spaces for ideas and initiatives from the artists in residence and their cooperation partners. The quality assurance and selection of artists in residence are overseen by an advisory board consisting of Cosima Rainer, Jasper Sharp and Francesco Stocchi.

Monday, 18 November 2013 6:00 p.m. Do we only travel through time backwards, averted to the future? The Romans be­lieved we are only able to see the past. For ­example, how many retrospectives have you seen, but can you think of a single futurespective? Both mortals and gods alike are stuck viewing the past. One of the few exceptions is Janus, a god with two faces looking in opposite directions, one toward the past and the other toward the future. What would a gallery see through Janus’s four eyes? Past and future programs at the same time? How could a curator pass this vision to us mortals? Simply by selecting works form the past and upcoming shows? Or by showing emerging artists in contrast with artists who already made their mark in history. Early depictions show Janus with a young and an old face on opposite sides. Perhaps it’s impossible to see an overlapping time line in reality, but it is definitely worth a try. Participating artists: Hans Bellmer and Markus Proschek; Shepard Fairey and Peter Fritzenwallner; Mel Ramos and Ronald Kodritsch; Joel-Peter Witkin and Christina Boula Curator: Max Lust EXHIBITION


Annual Exhibition at STUDIOS 3 October–25 November 2013

“Janus” 19 November 2013–18 January 2014

Tuesday, 19 November 2013 7:00 p.m. The exhibition opening starts with Her­ mann Nitsch’s 139th Action, whereby the audience immerses into a body action accompanied by a musical piece com­ posed by Hermann Nitsch. The Nitsch ­Foundation for the first time focuses on early action photographs of Hermann Nitsch’s “Orgien Mysterien Theater” ­(Orgiastic Mystery Theater), showing origi­ nal prints, contact prints, collages, curiosi­ ties from the archives and studio treasures never displayed before. Photography is as essential an element of the “Orgien Myste­ rien Theater” as painting, drawing, printed graphics or music. He had his actions doc­ umented from the very beginning and always insisted that the photographs serve the artwork: they had to be neutral but were supposed to be taken from a per­ spective that captured the deeper purpose of the Orgiastic Mystery Theater. “only a moment, an instant, a centisecond of the course of the action is captured. almost all of my early actions came to be known through photographs. it was virtual­ ly impossible to stage them publicly, so we arranged photo shoots.” Hermann Nitsch 1979 On the occasion of the exhibition opening, the Nitsch Foundation is hosting an artist talk with Hermann Nitsch, who will discuss the role of photography in Actionism and in the overall context of “Orgien Mysterien Theater”.


“Hermann Nitsch – Action Photographs 1960 to 1979” 22 November 2013–8 March 2014


© Hans Kotter

Galerie Michaela Stock OPENING Yuko Ichikawa, My New Way

Stable Gallery at Palais Brambilla Dr. Markus Swittalek Franz Josefs-Kai 43 1010 Vienna M +43 676 330 28 43 E markus.swittalek@ Opening hours: Viewing by appointment Galerie Michaela Stock Schleifmühlgasse 18 1040 Vienna T +43 1 920 77 78 E Kubus EXPORT – The Transparent Space Stadtbahnbogen 48 Lerchenfelder Gürtel 1160 Vienna Tian Shang Ren Jian Stollgasse 8 1070 Vienna

Stable Gallery at Palais Brambilla OPENING

Exhibition Yuko Ichikawa, “My New Way” Wednesday, 20 November 2013 7:00 p.m. Yuko Ichikawa, born in Kyoto, Japan, presents her photographic works (photograms) and videos of people’s everyday activities. She has produced fotograms since 2005 and combined them with light box elements since 2008. On the occasion of VIENNA ART WEEK 2013, her “My New Way” series in wooden light boxes is shown in a new way. Welcome address: Marion Elias, University of Applied Arts Vienna “I sometimes suffer from my life and from creating artistic works. I am a foreigner and would like to stay and make art in Vienna for a long time. But foreigners find it hard to extend their residence permits, which is a great problem for me. I’m actually afraid each time I need­to extend my visa. Everyone suffers sometimes and has their problems, not just me. Everyone else experiences the same. ‘Ausgang / Exit’ means that new ways need to be found after the suffering. We can live on. I show this situation we’re in. I wish we could go on and live after the suffering.” Yuko Ichikawa EXHIBITION

Yuko Ichikawa, “My New Way” 21 November–22 December 2013

Opening of the light installation “replaced – light flow” Monday, 18 November 2013 6:00 p.m. Kubus EXPORT – The Transparent Space


“replaced – light flow” Light installation by Hans Kotter, with a text by Hendrik Lakeberg 18–24 November 2013 Kubus EXPORT – The Transparent Space A cooperation of VIENNA ART WEEK 2013 and Galerie Michaela Stock Hans Kotter’s art immediately takes its beholder into a world of aesthetic perfection: smooth, high-grade materials like chrome or acrylic glass are combined to become complex, partly illuminated installations with strong, dazzling colors. The title of the light installation, “replaced – light flow”, draws on the recycling process: for the VALIE EXPORT cube, Hans Kotter takes a number of light boxes and arranges them, along with their transport crates of various sizes, like a stage in the space. The light boxes are found pieces, discarded from industrial plants or offices. When combined with the wooden crates, their meaning alters. Like palimpsests, the light and wooden objects reveal their former purpose, as lamp shapes become reminiscent of the industrial lighting of production halls, etc. Yet at the same time the light boxes and wooden crates turn into sculptures of a more traditional type. An interval timer switches on the individual light boxes in alternate order and thus produces ever new images, creating the impression of light flooding the space, imbuing it with color, casting diverse ­shades and opening new perspectives. With this ever-changing installation, Hans Kotter also insinuates a debate on the concept of sculpture.

© National Library New Zealand


“Sailing By” A shipping performance by Aldo Giannotti and Gerald Straub* Thursday, 21 November 2013 Cast off: 5:00 p.m. at the Tian Shang Ren Jian In German and English

Roam the city by boat … Artists Aldo Giannotti and Gerald Straub pick up on the English composer Ronald Binge’s theme of “Sailing By” from 1963, which is also played as a signature tune before the shipping forecast on BBC Radio 4, to embark on an adventurous trip in quest for Paradise. * For further information, go to:


Special Projects

Tanzquartier Wien Museumsplatz 1 1070 Vienna T +43 1 581 35 91 F +43 1 581 35 91 12 E Cornelis van Almsick
 M +43 699 1088 1984 E SAMMLUNG VERBUnd
 Am Hof 6a
 1010 Vienna T +43 (0) 503 13 50044 E

© Karner Samaraweerová

© Wolfgang Lehrner

© Olafur Eliasson / SAMMLUNG VERBund, Vienna, Photo: Rupert Steiner


Cornelis Van Almsick





Philipp Gehmacher, “Exhibition 2013” (working title)

Wolfgang Lehrner, “VIE CEE”*

Olafur Eliasson, “Yellow Fog”*

Wednesday, 20 November 2013 7:00 p.m.

Friday, 22 November 2013 7:00 p.m. VERBUnd Headquarters, Am Hof 6a, 1010 Vienna

Thursday, 21 November 2013 7:00 p.m. Friday, 22, and Saturday, 23 November 2013, 8:30 p.m. Tanzquartier Wien, Hall G WORLD PREMIERE

Karl Karner / Linda Samaraweerová, “WHITE FOR” Friday, 22, and Saturday, 23 November 2013 7:00 p.m. Tanzquartier Wien, Studios On the occasion of VIENNA ART WEEK, Tanzquartier Wien is showing Philipp Gehmacher’s “Exhibition 2013” and “WHITE FOR” by Karl Karner and Linda Samaraweerová. In “Exhibition 2013”, Philipp Gehmacher picks up on the theme of black stage areas of theaters and white exhibition spaces of galleries, which he already engaged with successfully in “grauraum mit Egon Schiele”. In Gehmacher’s studio in Schottenfeldgasse, the “black box” and the “white cube” merge into a “grey room”, which now finds its counterpart on the stage of Hall G of Tanzquartier Wien. The new work from visual artist Karl ­Karner and performance artist Linda Samaraweerová examines how the environment shapes people in their existence and their desired existence. The basic idea, or goal, is to visualize the social order and development by disfiguring and capturing objects and rooms in their originality. “WHITE FOR” oscillates between material objectivity and hard-earned or spontaneously assumed individuality. *All events at the normal entry fee of Tanzquartier Wien. Reduced-price tickets for events on 23 November 2013, available in advance at, key word “Art Week” (while stocks last).


In his solo show, Wolfgang Lehrner pre­ mières the art project “VIE CEE”, the quest for the essence of a possible Central ­Eastern European capital. The complex background is visualized with seemingly simple images of the everyday: what com­ mon features do the centers of the former Austro-Hungarian Empire still have after 100 years? Are the cities of the former Eastern Bloc more Western than those of the West? In the quest, Central Eastern European interspaces are recorded and woven into a thought-sound-image world. What common “other” is there to be found today, in view of the future? Dismissing the idea of a time machine or cyberspace, Wolfgang Lehrner hits the good old road, the routes that connect Vienna with its nearest neighbors. He heads for cities within a day’s bus ride from Vienna, their commonness lying in the relation to Vienna, be it historical, cul­ tural, economical or in terms of traffic. More than 200 video sequences of various Central Eastern European cities blend into a multi-channel video installation and thus become one, yielding the image of a city that Vienna could be some day. The linear narrative fabric is broken up, reading becomes a place for writing, the reader turns into an author, and the observer gen­ erates images. For further information, go to:,


Wolfgang Lehrner, “VIE CEE”* 20 November–24 November 2013 * Event/exhibition location:

In German and English

As part of VIENNA ART WEEK, Gabriele Schor, Director of SAMMLUNG ­VERBUnd, presents “Yellow Fog”, giving the public a unique opportunity to gain insight into the technical construction of the installation. Olafur Eliasson’s intervention is an impres­ sive work in the public space, installed by the artist in 2008 in cooperation with the VERBUnd electricity company at its head­ quarters in Vienna’s city center. Every day at dusk, the façade of the VERBUnd buil­ ding is immersed in yellow fog. The instal­ lation reflects on the transition from day to night, subtly drawing attention to the change in the diurnal rhythm. The VERBUnd collection focuses on inter­ national contemporary art after 1970. True to the maxim “depth rather than breadth,” it concentrates on two main themes: the “Feminist Avant-garde” (with works by Cindy Sherman, Birgit Jürgenssen, ­Francesca Woodman, et al.), and “Spaces / Places” (Olafur Eliasson, Gordon MattaClark, Fred Sandback, Jeff Wall, Louise Lawler, etc.) Producing scholarly publications is one of the collection’s essential objectives (cf. the “Catalogue raisonné” of Cindy ­Sherman’s early works from 1975–1977). * Registration is required: or T +43 503 13 50044

das weisse haus Hofbauergasse 9 1120 Vienna T +43 1 236 37 75 E www.das-weisse-haus. Opening hours:
 Tue.–Fri. 1:00 p.m.–7:00 p.m. Sat. 12:00 noon–5:00 p.m. Yoshi’s Contemporary Art Gallery Wollzeile 17 1010 Vienna T +43 1 9095343 Opening hours: Tue.–Fri. 11:00 a.m.–7:00 p.m. Sat. 11:00 a.m.–6:00 p.m. ZOOM Kindermuseum
 Museumsplatz 1
 1070 Vienna T +43 1 524 79 08
 F +43 1 524 79 08 1818

Max Mertens, Ventilateur, 2013, Photo: Julien Becker

Cyril Helnwein, Knickers In A Twist

© Klaus Pichler

das weisse haus

Yoshi’s Contemporary Art Gallery

ZOOM Children’s Museum




“Une affaire luxembourgeoise”

Exhibition “Beautiful Disasters”

Art Workshop for children from 6 to 10*

Tuesday, 19 November 2013 7:00 p.m.

Saturday, 23 November 2013 11:00 a.m.–1:00 p.m.

Tuesday, 19 November 2013 4:00 p.m.–7:00 p.m.

das weisse haus is a place to meet and exchange, a place that contributes to the creative and artistic development of young artists. das weisse haus picks up the theme of this year’s VIENNA ART WEEK, “Projecting Worlds”, and takes a glance over the borders as far as Luxembourg. The young curator Sandra Schwender pre­ sents the works of Fabienne Feltus, Esther Koenig, Max Mertens, Pasha Rafiy, Sté Ternes and others who departed from the Grand Duchy to Vienna. They have been inspired by the influence of both coun­ tries, and this can be seen in their works, which include performances, photography and installations. das weisse haus ass eng Plâtz wou een zesummen kennt, sech austauscht – en Uert, den zu kreativer an kënschtlerescher Entwécklung vun villen jonken Kënschtler­ innen an Kënschtler bäidréid. “Projecting Worlds“ – das weisse haus greift Thema vun der VIENNA ART WEEK op an bléckt iwer’t Grenzen bis op Lëtzebuerg. Déi jonk kuratorin Sandra Schwender presentéiert d’Ârbeschten vum Fabienne Feltus, Esther Koenig, Max Mertens, Pasha Rafiy, Sté Ternes, a weideren, déi sech aus dem Grand-Duché op den Wé op Wien gemâch hun, an sech an hiren Wierker, sief et ­Performance, Fotografie oder Installatioun, durch Afless vun den zwê Länner inspiré­ ieren gelooss hun.

In German

“Fun is the keyword here: as a child and young man, all I wanted to do was have fun and adventures; nothing else interes­ ted me the slightest bit. To a degree, this is still quite true today, although I have learned a lot from my ‘fun’ mistakes in the meantime and discovered many other ways to still have fun every day. This photo series, which I call ‘Beautiful Disasters’, is all about that most important part of life (having fun) and my love for strange, crude and curious expressions. As a side note, I decided a long time ago never to digitally manipulate my work to the extent where it wouldn’t be possible to do the same by analog darkroom means (changes to contrast, dodging or burning some areas, etc.). Because I started as a photographer in the film era, shortly before the advent of affordable digital cameras and tools, I always found it a lot more exciting to compose an image or scene using the old techniques only, even if I often use digital cameras myself.” Cyril Helnwein

“Hands on, minds on, hearts on!” At the ZOOM Studio, children get in touch with art using all senses. They experiment freely to become aware of their own abilities and means of expression and discover their own creative potential. In the Art Studio, directed by the artists Cäcilia Brown and Stephen Mathewson, children can try out various artistic techniques and materials. Whether they want to paint, think, draw, plan, chat, invent, build or play is entirely up to them. The workshop ends with a real, joint exhibition which all parents and friends are welcome to come and see. * Limited number of participants. Registration is required: T +43 1 524 79 08


Alternative Spaces

Artist-Run Spaces Room for art in the basement and other venues Text by Barbara Wünsch

Martin Vesely, © Klaus Pichler

Artist-run initiatives (or “off-spaces”, in Viennese parlance) are booming – and nothing new to the Austrian capital. The trend has shown no sign of slowing since the first project spaces for young, emerging contemporary art opened about ten years ago. Some of them have become institutions in their own right. What does it mean for an artist to run a space? For some, it represents the first tentative steps at self-promotion and the art market; for others, an ambitious labor of love has become a highly professional endeavor. Unarguably, both cases call for a high level of idealism. As different as the two concepts are, they have one thing in common: alternative spaces breathe new life and innovative content into the art scene, and it is hard to imagine Vienna without them. No Plaything Ve.Sch – Verein für Raum und Form in der bildenden Kunst Ve.Sch, the “rock” in Vienna’s scene of alternative spaces, has been an active part of the city’s artistic life since it opened in 2008. The basement venue in Schikanedergasse in the 4th district is home to two exhibition rooms, with a bar in the middle as a communicative centerpiece. Designed and built by initiator Martin Vesely, it also provides the project space with a solid financial basis. The initiative’s original goal – to establish itself as an art space – was met long ago. The conceptual backbone for the project consists of a dense program of exhibition openings, performances, etc. on Thursdays, as well as Tuesday events helmed by various, changing curators guaranteeing diversity. The space’s operators are not only committed to striking a balance between their own artistic practice and curatorial decisions, but also to creating the organizational framework and conditions for a variety of carefully selected content. Monthly issues of “Ve.Schheft” and “Freie Sammlung Wien” (founded in September 2012) have made Ve.Sch a lasting art world fixture. “Ve.Sch gives us the chance to take an active stance with regard to the power relationships and deficits of artistic life in Vienna. It 82

is important to us to be able to hold up in comparison. Constant comparison creates a positive competitive situation. In Vienna, there is a prevailing practice of observation – you get put in rela­ tion to professional structures based on the lowest common de­nominator. There is a static quality to space itself that offers too ­little potential for confrontation. With the ‘Freie Sammlung Wien’ and ‘Ve.Schheft’, we saw the chance to build a much more direct relationship to museums, galleries and other professional struc­ tures, and to create a sustainable reflection of our own position.” Dialogue Without Borders HHDM Hinter Haus des Meeres Hinter Haus des Meeres (literally “Behind the Aqua Terra Zoo”) was founded by recent art school graduates and students Daphne Ahlers, Philipp Timischl and Roland Matthias Gabertz in April 2012, in a former street locale behind the public aquarium. Spurred by the founders’ impression that Vienna was still a little bit on the outside of the international scene, the group felt the urge not only to devote themselves to art production, but also to create a space for exchange beyond the Austrian borders. Young artists met during exchange semesters and on travels are invited to exhibit at HHDM, allowing them a creative way to continue the dialogue and stay in touch. Programming decisions are made together at Hinter Haus des Meeres, and at short notice. There is no curating involved: the exhibition design is entirely up to the artist. “One thing that distinguishes us from other alternative spaces in Vienna is that we’re looking more for exchange with artists outside of Vienna or Austria. We show Viennese artists too, but mostly it’s about an opening and exchange. Most of the artists we show are close to finishing their studies or just recently graduated – people we think have already found a certain position for themselves. We never plan more than half a year in advance and use the means we have to realize one exhibition per month, if possible.”

Ve.Sch – Verein für Raum und Form in der bildenden Kunst Board: Ludwig Kittinger, Martin Vesely, Franz Zar Tuesday evenings by Anna Barfuss, Noële Ody, Ursula Maria Probst, Barbara Rüdiger, Ludwig Kittinger, Johann Neumeister, Martin Vesely, and Franz Zar Schikanedergasse 11 1040 Vienna T 
+43 676 674 87 96 E Opening hours: Tue., Thu. 7:00 p.m.–midnight HHDM Hinter Haus des Meeres Founding and operating team: Daphne Ahlers, Philipp Timischl, Roland Matthias Gaberz Damböckgasse 8 1060 Vienna E No fixed opening hours / by appointment flat1 Operating team: Karin Maria Pfeifer, Ellen Semen, Sula Zimmerberger Founding team: Maria Hanl, Karin Maria Pfeifer, Sula Zimmerberger Current address at E
 Opening hours: during exhibitions Thu. 6:00 p.m.–9:00 p.m. or call for appointment Vacant Galleries Operating team: Cornelis van Almsick, Daniel Haider E

Daphne Ahlers and Philipp Timischl, © Klaus Pichler

Daniel Haider and Cornelis van Almsick, © Klaus Pichler

Curious About the Curatorial Perspective flat1

Spaceless Offspace as Kamikaze Intervention Vacant Galleries

Open door number 1 to a former superintendent’s apartment on Schikanedergasse, near the Schleifmühlgasse gallery district, and you’ll find flat1. With its wonderfully high ceilings, the project space offers stunning presentation possibilities even in the littlest niches (the building courtyard has been used as an exhibition space). Karin Maria Pfeifer, Ellen Semen and Sula Zimmerberger have been running the space since January 2009; now, renovations in the building are forcing them to leave it. Fascinated by the idea of assuming the curatorial perspective for once, the ­artists set off to gain an intensive insider’s look at V ­ ienna’s art scene, conducted studio visits and twice put out an open call. flat1’s annual program is guided by a thematic framework; besides the usual events and exhibitions, the owners have also cultivated a lively exchange with artist-run initiatives outside of Austria.

Vacant Galleries – Cornelis van Almsick and Daniel Haider are on the lookout for spaces that lend themselves to exhibitions. With considerable esprit, the duo has been organizing one-day exhibitions (complete with an opening and closing event on the same day) in irregular intervals since 2012. Both have networks that complement each other perfectly: event veteran Daniel Haider is in charge of organization while Cornelis van Almsick, an architect by trade, covers the curatorial side. To date, Vacant Galleries has occupied a café-under-construction and a pre-renovation loft apartment. Elsa König and Adrian Buschmann were the invited curators, the latter of whom was res­ ponsible for an institutional exhibition comparing two different generations of artists at the Gschwandner event venue. That exhibition was actually over three days, with a fusion of communication and art, courtesy of Marco Dessí’s specially-designed bar.

“Maybe one thing that distinguishes us from the other alternative spaces is that we try to keep to an overarching theme throughout the year; the individual exhibitions allow us to explore and illuminate various aspects of a particular subject matter from different perspectives. Curatorial decisions are made together, as a consensus.

Barbara Wünsch lives and works in Vienna as a cultural manager. A graduate of the University of Vienna and the University of Applied Arts, Wünsch has been Project Manager for VIENNA ART WEEK since 2012.

Sula Zimmerberger, Ellen Semen and Karin Maria Pfeifer, © Klaus Pichler

We started the foreign co-operations last year. This artistic dialogue has already taken us to Paris, Helsinki and Switzerland, and our network is becoming more international. We always took a few people with us that we got to know in previous years and whose works fit thematically, and went around foreign countries as little troops.

“The – admittedly not new – idea behind Vacant Galleries was to look for empty spaces and show short-term exhibitions there. The exhibition spaces are always higher quality – beautiful spots for showing art. Depending on what we find, we might go for a while without doing anything. What we did was a kind of kamikaze intervention, but there’s a good echo. Vienna is a good place for us, a small city with a ­manageable scene. This makes it easier to be on the public radar. Generally speaking, the audience has a lot of understanding for art and you can build on that. Networking within the art scene is starting to gain momentum. There are always new initiatives springing up, but people still kind of stick to their own area.”

We feel this is the most productive way to run an art space. It provides a lot of scope for actively shaping the art scene and is the perfect complement to our own work in the studio.” 83

Alternative Spaces

Naomi Devil, Rain from pink clouds fall through the eyes (2010)

© Susanne Thiemann

© Matthijs Van Zessen

1899 Grand prix de la ville de Paris de lutte. PYTLASINSKI CONSTANT LE BOUCHER









“The Exponential”

Exhibition ­“Kunst-Stoff-Art ­(Material / Matter)”

Exhibition “Tekeningen – Matthijs Van Zessen”

Group exhibition “mind the gap”

Friday, 22 November 2013 6:00 p.m.

Tuesday, 19 November 2013 7:00 p.m.–10:00 p.m.

Matthijs Van Zessen’s works show (exhibition) spaces with no exhibiti­ on, while at the same time forming an exhibition through their own spatial arrangement. Van Zessen’s work is entirely graphical; he constructs spaces by drawing fine lines on paper – which indicate empty rooms despite being full of lines. The extensive installation as a presenta­ tion format for drawings creates a world that the drawings themselves blend into. Van Zessen’s works are closely connected to their place of presentation; for every exhibition, he creates a new “graphic installation”. Space has been in the focus of art since the 1960s. Matthijs van ­Zessen for his part constructs spaces rather that reflecting on them. His spaces create a world that we can see through his eyes by following his sea of lines.

flat1 is an alternative art space that has been showing thematically curated group exhibitions since 2009. Its emphasis is on contemporary visual art and interdisciplinary art based on music, film and performance. In 2013, the focus is on the relativity of time. To be running out of time is one of the most characteristic sentiments of our century. We keep streamlining and optimizing, but always seem to be at a lack of time. The compulsion to be perfect and adapt oneself to ever-changing circumstances has infested all ­spheres of life. We end up with problems, because some processes just cannot be optimized infinitely and the human psyche can only go that far. Referring to its key theme of 2013, flat1 raises the issue of congruent processes: some processes are too fast, others too slow – it’s as if the soundtrack of a video film ran faster than its image trace, or vice versa. The exhibition aims to close this formal and content-related gap, to help us define our own individual “times”, and question the relativity of time.

7–24 November 2013 An exhibition by AUSARTEN[ ] and imKollektiv Last year’s apocalyptic mood has ­largely faded away, and yet the dark theories about the supposed end of the world have left their marks on the collective consciousness, as if the doom was an accumulation of both our fears and our longing for the possibilities of a new start. It seems we have come to realize the exponentially aggravating impacts of our actions on the planet, starting to free ourselves from the clutches of our prevalent (belief) system. Fol­ lowing the comprehensive discourse on the Anthropocene and its multi­ ple implications, we believe scientists and artists are a powerful motor when it comes to challenging prevalent views and priorities and developing alternative concepts of living and thinking. FILM SCREENING & DISCUSSION

Accompanying the exhibition “The Exponential” Wednesday, 20 November 2013 7:00 p.m. AUSARTEN[ ] Verein zur Förderung künstlerischer Interventionen und transdisziplinärer Vernetzung Neubaugasse 25/1/10 1070 Vienna M +43 699 133 77 332 E

Friday, 22 November 2013 7:00 p.m. This year’s focus of the basement exhibition space is on artistic experimentation with fabric – that is, materiality and matter – and its relation to space and shape. Austrian artists work on this theme with international artists of their own choice to produce exhibition projects under the title “Kunst-Stoff-Art (Material / Matter)” that deal with collaborative, cooperative and connecting aspects of artistic strategies. The terms “Kunst-Stoff” and “StoffArt” reflect the wide spectrum of possible interpretations of textile materials and ways of processing fabric, as well as the interplays and interaction within the artist teams. Participating artists: Barbara Graf, Karin Binder, Helga Cmelka, ­Katarina Schmidl (all from Austria), Uli Fischer (Germany), Hazem El Mestikawy (Egypt / Austria), Susanne Thiemann (Germany). Opening speech: Hartwig Knack, art theorist and art historian


“Tekeningen – Matthijs Van Zessen” 23 November–1 December 2013


“Kunst-Stoff-Art (Material / Matter)” 23 November–8 December 2013 basement Autonomous exhibition space (Verein Neun Arabesken) Grandsteingasse 8/34–35, 2nd courtyard 1160 Vienna M +43 699 192 30 722 E Opening hours: Wed.–Fri. 5:00 p.m.–8:00 p.m. Sat., Sun. 3:00 p.m.–7:00 p.m.

batolit Verein für künstlerische Projekte und Residencies Löhrgasse 19 1150 Vienna M +43 676 704 25 66 E Opening hours: Thu.–Sat. 5:00 p.m.–8:00 p.m.


“mind the gap” 20–30 November 2013 CONVERSATION

Artist talk Saturday, 23 November 2013 3:00 p.m.–6:00 p.m. flat1 For current address, see:
 E facebook: ***flat1***
 Opening hours during VIENNA ART WEEK: Thu. 5:00 p.m.–9:00 p.m. Sat., Sun. 3:00 p.m.–6:00 p.m., or by appointment


Eva Engelbert, Take Space #1 (Briliant), 2013

flooding, floating or else © Collective 2012

© Martin Saether

© Klaus Pichler


Glockengasse No9

Hallway Gallery

HHDM Hinter Haus des Meeres





“In the Cabinet’s Cubage”

Exhibition “Coaching a Collective”

Exhibition “Martin Saether”

“What exactly will happen …?”

Friday, 22 November 2013 7:00 p.m.

Wednesday, 20 November 2013 7:00 p.m.

Friday, 22 November 2013 2:00 p.m.–10:00 p.m.

“Coaching a Collective” documents the process the artists and cultural workers mentioned below went through in forming a group. In a coaching office installed in the exhibi­tion space of Glockengasse No9, the members of the collective will report on their experiences as a group, describing common projects, motivations, rituals, the group strategy, the background, and their manifesto, from individual perspectives. Relics and documents tell the history of the collective. “Coaching a ­Collective” is about the desire to act together, to blur the boundaries between utopia and reality, and involve others in this process of joint development.

Not far from the galleries at Schleifmühlgasse in Vienna’s 4th district, Victoria Dejaco runs the Hallway Gallery. It is a no-budget showroom in the 13-meter long hallway of her apartment. Artist friends are invited to show their works in solo exhibitions in this intimate and by nature experimental space. On the occasion of VIENNA ART WEEK, the Hallway will open a show by the Norwegian artist Martin Saether, who recently graduated from the Academy of Fine Arts, Oslo. At first glance his work appears to be minimalistic, but in essence it exceeds this designation. Despite its basis in a conceptually related practice, the physical examination of materiality and experimentation with it is central to his works. The exhibition will feature a selection of new sculptures and twodimensional works.

The HHDM alternative project space always leaves the door open to all possibilities rather than pre-planning well in advance: it has no annual schedule but only arranges a vague program for six months at a time, which allows it to respond quickly to new situations. It has no fixed opening hours either, but prefers to act and react spontaneously. Its exhibitions of mostly international artists include smaller ad-hoc events. However, in spite of preferring to react to the contingencies of the moment, the HHDM is offering an open house. What exactly will happen ­there remains to be seen – it could be a vernissage, a concert, or anything really …

Wednesday, 20 November 2013 9:00 p.m. In German

How can we create public space through art and thus shape our own living environment, reclaim threatened open spaces, and develop effective production models against imminent restrictions? The artistic practice of the art salon “In the Cabinet’s Cubage”, curated monthly by Ursula Maria Probst and Martin Wagner, brings forth interventions with new strategies to that effect. Three artists were invited to participate in the event during VIENNA ART WEEK: Sophie Dvořák’s cartographic works are based on the idea of seeing maps as power-political artifacts, as projections, as cons­ trued worldviews which organize space according to various criteria. Eva Engelbert’s installation scrutini­ zes the Fluc as a place for individual positioning within social systems. And Katrin Hornek’s space-consu­ ming installation creates an architec­ ture of mobility. Her work is based on research, combining science and poetry to an irony-tinged exploration of societal scopes of action. Fluc Praterstern 5 1020 Vienna E-Mail:

Participating artists: Diana Darabos, Stefan Maria Heizinger, Holger ­Jagersberger, Christine Mederer, Denise Leder, Bernhard Lochmann, Karin Peyker, Hannah Rosa Öllinger, Elisabeth Schmirl, Jürgen Rendl and Stefan Wirnsperger. EXHIBITION

Hallway Gallery Rienösslgasse 16/2/18 1040 Vienna M + 43 680 402 73 02 E

HHDM Hinter Haus des Meeres Damböckgasse 8 1060 Vienna E No fixed opening hours / by appointment

Opening hours: by appointment

“Coaching a Collective” 23 November–6 December 2013 Glockengasse No9 Glockengasse 9/5 1020 Vienna E Opening hours: Wed.–Fri. 5:00 p.m.–8:00 p.m.


Alternative Spaces

© Farhad Ahrarnia

© Björn Segschneider

© Oliver Hangl

Rainer Spangl, Fauteuils, 2013



k48 – Offensive for Contemporary Perception



Exhibition “Gestickt eingefädelt: ­Embroidermania at Hinterland” Wednesday, 20 November 2013 7:00 p.m.


Exhibition “Dem Wahren, Schönen, Guten” Monday, 18 November 2013 7:00 p.m.

The focus of the exhibition curated by Sandra Schwender is on (male) artists who reinterpret the ancient craft of embroidery in a modern way, using the needle and thread to show the audience how versatile and expressive it can be even today.

One generation, one city. 069 Frankfurt has in many respects a special position in Europe’s art and cultural history. From an architectu­ ral point of view, its distinctive cityscape is shaped by its role as a financial center; from an intellectual view, the Frankfurt School has contributed considerably to Europe’s social sciences. Its airport has made the metropolis on the Main river a melting pot of cultures, but also the most dangerous city in Germany to live in. All four artists featured in the exhibition – Leonard Kahlcke, Dennis Loesch, Björn Segschneider and Raul Walch – spent their youth in this ambiguous environment and share a critical attitude towards the structures they found, which is also visible in their works. All artists were educated at different art academies, and none of them currently lives or works in Frankfurt. The exhibition “Dem Wahren, Schönen, Guten” in Vienna is the first time in many years they come together in this set-up.



“Gestickt eingefädelt: Embroidermania at Hinterland”

“Dem Wahren, Schönen, Guten”

Embroidery, one of the world’s oldest crafts, has hardly changed since its early days. It was long regarded as “outmoded” and “stuffy”, a purely “female pastime” – when actually it was initially only practiced by men! – but has seen a boom in recent years. Embroidery has found its way back into everyday life: wittingly or not, fashion magazines, DIY magazines and digital media constantly draw our attention to the art of embroide­ ry. The versatility of the craft allows for ever new interpretations, which can be provocative and confusing, but also amusing. In a word: embroidery has escaped the domestic ­ sphere and has broken new ground.

21 November–21 December 2013 Hinterland Krongasse 20 1050 Vienna T +43 1 581 23 59 E Opening hours: Thu., Fri. 3:00 p.m.–7:00 p.m. Sat. 11:00 a.m.–3:00 p.m., or by appointment



Group exhibition “Pseudo Ano”

Exhibition “Ezara Spangl / Rainer Spangl / Josef Zekoff”

Wednesday, 20 November 2013 7:00 p.m.

Thursday, 21 November 2013 7:00 p.m.

In times of multiple identities and the dissolution of the subject, in which concealment becomes part of the daily routine, we experience a renaissance of pseudonyms and anonyms. Trashmail, fake email addresses and nicknames conceal the true identity of the user signing on for partly illegal Internet applications and thus open new possibilities that should be exploited by the individual.

MAUVE is an emerging art space in Vienna which aims to connect ­Austrian and international artists and open new perspectives on their works. In the curatorial process with MAUVE, the artists develop new forms of joint presentation.

The urge for individuality and originality has a long tradition in art, the pseudonym serving as the artist’s unique brand name. Modern art trade dictates the commercial exploitation of pseudonyms, whose increasing importance even affects the formal realization of artworks. Positive camouflage and concealment: the exhibition “Pseudo Ano”, curated by Oliver Hangl, features pseudonymized works by renowned Austrian artists who seize the artistic freedom beyond their well-known trade marks – and may well cause surprise.

On the occasion of VIENNA ART WEEK, MAUVE presents a new project by Ezara Spangl (b. 1979, Silver Spring, Maryland, USA), Rainer Spangl (b. 1977, Vienna) and Josef Zekoff (b. 1977, Vienna). The artists have been friends for many years and have realized various joint projects, for example the “Artist Lecture Series Vienna”. The exhibition at MAUVE is the first time their artistic works are shown together in one place. EXHIBITION

“Ezara Spangl / Rainer Spangl / Josef Zekoff” 22 November–12 December 2013


MAUVE Lazarettgasse 22 1090 Vienna E

18–23 November 2013

“Pseudo Ano”

Opening hours: Wed. 5:00 p.m.–8:00 p.m.

IM ERSTEN Sonnenfelsgasse 3/00A 1010 Vienna E

21 November, 26–28 November 2013

Opening hours during VIENNA ART WEEK: Mon.–Sat. 2:00 p.m.–8:00 p.m.

k48 – Offensive for Contemporary Perception 
 Kirchengasse 48 / Lokal 2 1070 Vienna E-Mail: office@olliwood.atq1 Opening hours during the exhibition: 3:00 p.m.–6:00 p.m.

© Simon Veres

Anna Artaker & Meike S. Gleim, Atlas of Arcadia, 2012 Urban planning in Phoenix, USA, and the Kaaba at Mecca, Saudi Arabia

Photo: Federica Bueti

© Markus Krottendorfer, 2013


Neuer Kunstverein Wien

Open Systems






Exhibition “PRINCIPIUM PRIVATUM – Projected Sexualities”

Guided tour of the exhibition “Atlas of Arcadia” and artist talk

Tuesday, 19 November 2013 7:00 p.m.

Friday, 22 November 2013 6:00 p.m.

“How to make an ice cream out of a drill” (on the passionate resistance against settling) by Federica Bueti

Performative Screenings #23, Markus Krottendorfer and Tin Man, “TUCSON II”

The exhibition features subjectively sensual/erotic works by artists who perceive the act of opening as crossing a threshold. Unlike pornography, which aims to arouse sexual fantasies in the society, this exhibition presents the artists’ individual imaginings. Openness, a fleeting moment that can’t always be lived, for the protection of one’s personality? Individual fulfillment as an eternal pursuit, commitment to one’s own identity, disclosure of the self, and sharing the self? Austrian and international artists participate in the exhibition curated by Christian Bazant-Hegemark and Simon Veres. The side events in­clude performances, readings and concerts. For further information on the program and a list of participating artists, go to EXHIBITION

“PRINCIPIUM PRIVATUM – Projected Sexualities” from 20 November 2013 mo.ë Thelemangasse 4 1170 Vienna

In English

Junger Kunstverein Wien is an emer­ ging art institution which opened in 2011. Its exhibition “Atlas of ­Arcadia” by Anna Artaker and Meike S. Gleim analyzes our recent past by use of found photographs, which exist of virtually every sphere of 20thcentury life. The idea is not to compile a picture chronicle, but to highlight individual moments of the post-Cold War era and comment on them by means of image/text ­montage. “Atlas of Arcadia” takes its cue from Walter Benjamin’s “Passagenwerk”, which was conceived as a history of the 20th century using the example of Paris. Artaker and Gleim undertake a double translation of ­Benjamin’s work: first, they transfer motifs from the “Passagenwerk” to late 20th-century developments; and second, they collect and create a montage, but unlike Benjamin use images and photographs rather than quotes. Another reference of the project is the “Mnemosyne Atlas”, Aby Warburg’s unfinished cultural history in the form of an image atlas. EXHIBITION

“Atlas of Arcadia” 3 October–24 November 2013 Neuer Kunstverein Wien Hochhaus, Herrengasse 6–8 / floor 13 / top 79 1010 Vienna M +43 664 916 70 16 E Opening hours: Tue.–Fri. 4:00 p.m.–7:00 p.m.

Thursday, 21 November 2013 6:00 p.m.–7:00 p.m. Kunstraum Niederoesterreich In English

Open Systems is to publish a new quarterly journal on various subjects and an interdisciplinary online exhibition within the context of ARTSLAB, while building new zones of networking beyond its function as an online forum in a virtual space. ­There will also be a platform for discussion organized in four cities (Vienna / Istanbul / Ljubljana / Innsbruck) by their respective guest editors. In addition, an exhibition featuring a selection of the four editions under the title of “Open Systems 1-01-04/13” will be held in Vienna. Andrei Siclodi, guest editor of “Out of the Commodity!” (issue 4, winter), focuses on possible productive ways out of the current dilemma of the commodification of artistic practices as research and knowledge production. ARTSLAB 4, “A word on a tree like a body as thing”, is curated by Federica Bueti. Artists are storytellers, but of a different kind. They tell stories not to explain, but to explore the language we commonly use to talk about our identities, about who we are, what we know, and what kind of politics we embrace. The exhibition brings together artists who work with spoken and written words.

Wednesday, 20 November 2013 9:00 p.m. His interest in the complexity of social fabrics and constellations takes Markus Krottendorfer to the places that can be seen in his slide shows and films. The photographs don’t show individual activity so much as they capture collective actions, which merge into an autono­ mic system under seemingly chaotic conditions. Working together with musicians enhances the performative character of the shows: varying tunes put the pictures into ever-new contexts and intensify or even compete with them; the performance always retains is experimental character. Johannes Auvinen a.k.a. Tin Man is an American musician of Finnish descent who creates tunes that oscillate between clear acid house and fragile electronica. He is also a visual artist, owner of a label, archivist, and editor of Arthur Lipsett soundtracks. “TUCSON II” is their second joint project. school Grüngasse 22 1050 Vienna M +43 676 729 29 06 E

Open Systems – Verein zur Förderung und Vermittlung von Kultur Czerninplatz 2/34
 1020 Vienna M +43 699 115 286 32 E Kunstraum Niederoesterreich Herrengasse 13 1014 Vienna


Alternative Spaces

Robert Gruber, Umgebung – Stillleben Mai nr.1, Vienna, 2010


© Arnold Pöschl

Zimmer.Küche.Kabinett & dasVERONIKA


Freie Sammlung Wien Thursday, 21 November 2013 7:00 p.m. Freie Sammlung Wien is an econo­ mical artistic construct based on the idea of artists joining the selection by agreeing to commit a proposed piece of work. There is no cash flow involved in the transaction and the artwork is principally bound to the collection, although the artist retains a 70 percent share. The collection’s task is to administer, communicate, archive, and contextualize. Several times per year, the Ve.Sch art society becomes the venue of presentation for Freie Sammlung Wien, which so far includes Karine Fauchard, Ludwig K ­ ittinger, ­Christoph Meier, Ekaterina ShapiroObermair, Martin Vesely, Mads ­Westrup, Franz Zar and Dino Zrnec. Ve.Sch – Verein für Raum und Form in der ­bildenden Kunst Schikanedergasse 11 1040 Vienna M 
+43 676 674 87 96 E Opening hours: Tue., Thu. 7:00 p.m.–midnight


“NOISE + silence” – An Interdisciplinary Experiment / Part 3 18–23 November 2013 Hägelingasse 7, 1140 Vienna

The audiovisual installation “NOISE + silence” explores the dichotomy between an ever faster lifestyle and the increasing need for peace and slowness in a vibrant metropolis. In spite of the high quality of life in the city, the Viennese are increasingly complaining of noise pollution and permanent time pressure. There has been a countermovement recently, with slow activities like knitting, yoga, and urban gardening booming.


“NOISE + silence” Monday, 18 November 2013 7:00 p.m.


“NOISE + silence” Saturday, 23 November 2013 8:00 p.m.

“NOISE + silence” contrasts noise – which is inherently stressing – with silence and sounds of the nature. Noise becomes synonymous with a society driven by permanent progress, which totally contrasts the principles of a sustainable lifestyle. Ultimately, the focus is on the behold­er, floating between the noisy city bustle and his or her retreat into a realm of silence. b “Das graue B ” consists of three ­visual artists (Zoe Guglielmi, Lavinia Lanner, Elisabeth Wedenig) and two musicians (Johannes Wakolbinger, Michael Wedenig) who pool their approaches to create an interdisciplinary, space-consuming Gesamtkunstwerk. Das graue Bb M +43 650 841 48 50 E Former candy factory Hägelingasse 7 1140 Vienna Opening hours during VIENNA ART WEEK: Tue.–Fri. 5:00 p.m.–8:00 p.m. Sat. 10:00 a.m.–2:00 p.m.


Art and Economy

High Stakes For Diversity in Art! Casinos Austria is among the country’s biggest cultural sponsors Text by Stefan Musil

From large institutions to small, innovative projects: without the varied and generous sponsorship of Casinos Austria, the local art and cultural landscape would be a lot poorer. Casinos Austria Executive Director discusses the company’s commitment to sponsorship and the philosophy behind it. Casinos Austria has been in the gambling business for over 45 years. Since its founding, the company has supported numerous institutions and initiatives in the area of art and culture. What is the motivation behind the company’s considerable commitment to sponsoring? Dietmar Hoscher: The idea of sponsoring is firmly ingrained in our company culture. Our activities benefiting art and culture are rooted in the awareness that we have a special socio-political responsibility. So we focus on projects and institutions that are in the public interest. How should or can sponsoring benefit the sponsor and sponsee in an ideal situation? Dietmar Hoscher: The usual understanding of a cultural sponsor is that of someone who gives money and expects due compensa­ tion in the form of advertising or image transfer. But the definition falls short in our case. We support both large festivals and small initiatives, established art and the avant-garde. Young, innovative projects that are blazing new paths often need some help starting out. At Casinos Austria, it’s not about marketing effectiveness, but also about the diversity of art in itself. Art and culture need their freedom, but they also need financing. Luckily there are several companies, including Casinos Austria, that are willing to offer this support. Does corporate sponsorship limit the freedom of art and culture? Dietmar Hoscher: Casinos Austria understands sponsorship as a partnership for mutual benefit. Collaborations in this partnership are always developed jointly for the greatest benefit of the partners. We have no desire to limit or restrict artistic freedom! Nothing could be further from our minds. Dependence and restrictions to freedom are never an issue as long as both parties act fairly and responsibly. Reliability is a characteristic of any good partnership. How important are continuity and sustainability in your sponsoring activities? Dietmar Hoscher: Continuity and sustainability are essential pillars of our corporate culture in every respect. So we see ourselves as a reliable and sustainable partner. Even in economic and financial crisis-ridden times, when other companies have reduced or even stopped their commitments, Casinos Austria put out a

Dietmar Hoscher, © Klaus Pichler

clear signal by continuing and occasionally expanding its partnerships. Art and culture need long-term partnerships so that they can develop. You need funders that stay open to new perspectives and give their creative partners their space. This is the only way to ensure that our creative future is not left up to chance, and to keep Austria a world-renowned destination for arts and culture. What does Casinos Austria want as a major sponsor of the cultural scene? How do you see your company’s sponsorship activities developing in the coming years? Dietmar Hoscher: I would like to see more commitment from both the public sector and private companies. That we seek and find common ways of ensuring the survival of important cultural institutions and allowing new ideas to enter into the picture. Constant cutting-back damages the country, its culture and its reputation. It’s true that the overall economic situation has seen better days, but it is precisely in difficult times that sending a clear, positive signal becomes so important.

Stefan Musil, born 1970 in Vienna, studied art history. He was culture editor of the daily newspaper “Die Presse” until 2002, and press officer for the Albertina in Vienna from 2002 to 2006. He has since contributed to a number of projects in the culture sector, including the Salzburg Festival and KÖR Kunst im öffentlichen Raum Wien, and writes for “Die Presse”, “Die Welt”, “Tiroler Tageszeitung”, and “Bühne” as a freelance culture reporter. 89

Program Overview VIENNA ART WEEK 2013

Sun 17.11.2013 Tue 19.11.2013 4:00 p.m.

10:00 a.m.

Lecture MAK

Guided Tour Upper Belvedere

“Fogo Island Dialogues: Culture as Destination” – Lecture by Marcus Verhagen

Public restoration of the Salzburg polyptych by Rueland Frueauf the Elder: guided tour

Mon 18.11.2013 10:00 a.m.–6:00 p.m. Guided tour DOROTHEUM

Preview of the auctions “Modern Art”, “Contemporary Art” and “Design” 6:00 p.m. Opening Special Project / Galerie Michaela Stock at Kubus EXPORT – The Transparent Space

Light installation by Hans Kotter, “replaced – light flow” Opening Special Project / Lust Gallery

Exhibition “Janus” Opening Konzett Gallery

Exhibition “Enrique Fuentes & Paul Renner: Graphic Works” 7:00 p.m. Opening Special Project / Kunstraum BERNSTEINER

In German

10:00 a.m.–6:00 p.m. Guided tour DOROTHEUM

Preview of the auctions “Modern Art”, “Contemporary Art” and “Design” 3:00 p.m.–8:00 p.m. Lectures and panel discussions MAK

“Fogo Island Dialogues: Culture as Destination” 4:00 p.m. Guided tour Kunsthistorisches Museum Wien

General Director Sabine Haag and artist Elke Krystufek give a guided tour of the reopened Kunstkammer Wien In German

Guided tour Lower Belvedere / Orangery

Curator’s tour of the exhibition “VIENNA 1450 – The Master of Lichtenstein Castle and His Time” In German

Event Special Project / das weisse haus

Opening Galerie Kunst & Handel

Opening Charim Galerie

Exhibition Günther Brus – Enrique Fuentes

Exhibition Erwin Bohatsch

Opening Galerie Slavik

Exhibition “Winterreise”

Exhibition Rudolf Leitner-Gründberg, “Liebende”

Opening Galerie Michaela Stock & next door

Opening Galerie Meyer Kainer

Exhibitions Kate Terry & Lukas Troberg, Michael Nitsche

Exhibition Stefan Sandner

7:00 p.m. Reading MUSA

Gustav Ernst and Antonio Fian In German

Conversation Generali Foundation

Artist talk with Mary Kelly and Gertrud Sandqvist Panel discussion KUNST HAUS WIEN

“Illusion and Emotion in Michel Comte’s Photography” In German

Show Special Project / Marcello Farabegoli

“The Club of Polish Failures” In German

Conversation Special Project / Kunstraum Nieder­ oesterreich

Michael Zinganel in a­ ­conversation on art in Lower Austria’s public space Opening and Performance Special Project / Nitsch Foundation

Exhibition “Thomas Feuerstein: FUTUR II”

“Une affaire luxembourgeoise”

Opening Alternative Space / IM ERSTEN

Presentation quartier21 / MuseumsQuartier

Exhibition opening and action by Hermann Nitsch “Hermann Nitsch – Action Photographs 1960 to 1979”

Exhibition “Dem Wahren, Schönen, Guten”

“Applied individuality: positions and discourses in ­artistic research”

Opening Special Project / Yoshi’s Contemporary Art Gallery

Opening & Concert Alternative Space / Zimmer.Küche. Kabinett & dasVERONIKA

Exhibition “NOISE + silence”

6:00 p.m.

In German

Opening Charim Events

Exhibition “Cyril Helnwein, ­Beautiful Disasters”

Exhibition Ellie Wieser

Opening Alternative Space / mo.ë

Opening University of Applied Arts ­Vienna

Opening Christine König Galerie

Exhibition “PRINCIPUM PRIVATUM – Projected Sexualities”

Exhibition Art & Science, “Crucial Experiments”

Exhibitions Ovidiu Anton, Mircea

7:30 p.m.

Stanescu Opening Gabriele Senn Galerie

Exhibition Michael Riedel Opening Galerie Andreas Huber

Program upon request 90

Opening Galerie Heike Curtze

Opening Alternative Space / flat1

Group exhibition “mind the gap” Opening Special Project / Galerie Krinzinger

Exhibition Chris Burden – ­Gottfried Bechtold

Opening Galerie Mezzanin

Exhibition Thomas Bayrle Opening Galerie nächst St. Stephan Rosemarie Schwarzwälder

Exhibition Michał Budny Opening Galerie Steinek

Exhibition Emmanuel Regent Opening Galerie Ulysses

Exhibition Karel Appel Opening Galerie Martin Janda

Exhibition Alessandro Balteo Yazbeck Opening Krobath

Exhibition Ursula Mayer 8:00 p.m. Lecture Special Project / Sammlung Friedrichshof Stadtraum

Georg Schöllhammer on Denisa Lehocká In German

9:00 p.m. Concert / Performance MAK

MAK NITE Lab: 1982, “Our Universe Unfolds New Wonders”

Wed 20.11.2013 10:00 a.m.–6:00 p.m. Guided tour DOROTHEUM

Preview of the auctions “Modern Art”, “Contemporary Art” and “Design”

4:00 p.m. Guided tour Kunsthistorisches Museum Wien

Opening Alternative Space / k48 – Offensive for Contemporary Perception

Curator’s tour of the exhibition “The Imperial Hunt”

Group exhibition “Pseudo Ano”

5:00 p.m.

Exhibition “Black Sea Calling”

In German

Talk Lower Belvedere / Palace Stables

Opening Hilger BROTKunsthalle

9:00 p.m.

Conversation on Christian Mayer’s intervention

Art Salon Alternative Space / Fluc

In German

“In the Cabinet’s Cubage”

Guided tour Secession

Performance Alternative Space / school

Architecture tour with Otto Kapfinger Guided tour and conversation Special Project / LENIKUS COLLECTION

Guided tour with Cosima Rainer, conversation with Director Angela E. Akbari In German

6:00 p.m. Panel discussion quartier21 / MuseumsQuartier

“Art and capital: community currencies, cryptocurrencies and alternative economies in art and society” In German

7:00 p.m. Lectures and panel discussion Architekturzentrum Wien

“What’s up? Young Architecture from Brazil and Austria” Opening 21er Haus

Exhibitions “The Collection #4” and “21er Raum: Vittorio Brodmann” Opening Special Project / Stable Gallery at Palais Brambilla

Exhibition Yuko Ichikawa, “My New Way” Opening Special Project / Cornelis Van Almsick

Wolfgang Lehrner, “VIE CEE” Film screening & Discussion Alternative Space / AUSARTEN[ ]

Accompanying the exhibition “The Exponential” Opening Alternative Space / Hallway Gallery

Performative Screenings #23, Markus Krottendorfer and Tin Man, “TUCSON II”

Thu 21.11.2013 10:00 a.m.–6:00 p.m. Guided tour DOROTHEUM

Preview of the auctions “Modern Art”, “Contemporary Art” and “Design” 1:00 p.m. Panel discussion DOROTHEUM

“Where have you been, where are you going? Five questions on the current state of contemporary art” In German

3:00 p.m. Panel discussion DOROTHEUM

“Art collectors – between passion and investment” In German

4:00 p.m. Guided Gallery Tour Die Galerien

Guided tour of several galleries with curator Cathérine Hug Guided Gallery Tour Die Galerien

Guided tour with Margarethe Makovec and Eva Meran in Hilger BROTKunsthalle Open House Künstlerhaus

Open House Party with guided tours, discussions and exhibitions

Exhibition “Martin Saether”

Guided tour Lower Belvedere

Opening Alternative Space / Hinterland

Curator’s tour of the exhibition “Emil Nolde”

Exhibition “Gestickt eingefädelt: Embroidermania at Hinterland”

In German

Guided tour Kunsthistorisches Museum Wien

Performance / Lecture Alternative Space / Open Systems

Examining the techniques and condition of Pieter Bruegel the Elder’s panel paintings at the Kunsthistorisches Museum

“How to make an ice cream out of a drill” (on the passionate resistance against settling) by Federica Bueti

In German

Guided tour Generali Foundation

Curator’s tour of the exhibition “Against Method. The Collection Seen by Gertrud Sandqvist” 5:00 p.m. Panel discussion DOROTHEUM

“The relevance of public space for the art discourse” In German

Conversation Jewish Museum Vienna – Museum Judenplatz

Artist talk with Andrew M. Mezvinsky about the installation “A Good Day” Performance Special Project / Gerald Straub at the Tian Shang Ren Jian

“Sailing By” – A shipping performance by Aldo Giannotti and Gerald Straub In German and English

5:00 p.m.–8:00 p.m. Lectures Sigmund Freud Museum

Symposium “Interiors – livingspace, art-space, work-space” – Lectures In German and English

6:00 p.m. Performance Künstlerhaus

Matt Mullican, “Uncovering That Person”

6:30 p.m. Conversation Albertina

Artist talk with Sonja Gangl In German

Lecture Wien Museum

“Politics, Photography and Exile in the Life of Edith Tudor-Hart” – Lecture by Duncan Forbes 7:00 p.m. Panel discussion departure at DOROTHEUM

curated by_vienna 2013: “Why Painting Now?” In German

Opening xhibit, Academy of Fine Arts Vienna

Exhibition “Ich bin eine andere Welt”. Artistic authorship between desubjectivization and re-canonization Conversation mumok kino

Curator Richard Birkett in ­conversation with architectural theorist Reinhold Martin Lecture

quartier21 / MuseumsQuartier Art critic Josephine Bosma (NL) on ­“Hiding in Plain Sight” Guided tour Special Project / FOTO-RAUM

Curator Petra Noll gives a tour of the exhibition “How long is now?”

Conversation Kunsthalle Wien MuseumsQuartier

Performance Special Project / Kunstraum Niederoesterreich

Nicolaus Schafhausen in ­conversation with artist Zin Taylor


Conversation Special Project / Bernhard Cella

Exhibition “Bernhard Cella: 9742” – Andreas Spiegl in a ­conversation with Bernhard Cella Panel discussion Special Project / EIKON & The Austrian Museum of Folk Life and Folk Art

“Bebilderte Welt. Dokumetarische Formen des visuellen Berichtens in Kunst, Ethnografie und Fotojournalismus”

World premiere Special Project / Tanzquartier Wien

Philipp Gehmacher, “Exhibition 2013” (working title) Opening Alternative Space / MAUVE

Exhibition “Ezara Spangl / Rainer Spangl / Josef Zekoff” Presentation Alternative Space / Ve.Sch

Freie Sammlung Wien

In German


Program Overview VIENNA ART WEEK 2013

7:30 p.m.

3:00 p.m.

Opening Künstlerhaus

Guided tour Wien Museum

Exhibition “In Passing 19 – ­Marina Faust / Sherine Anis / Nicolas Jasmin”

Curator’s tour of the exhibition “Edith Tudor-Hart. In the Shadow of Tyranny”

Opening ZS art Galerie

Exhibition Walter Angerer-Niketa, Alex Klein 8:30 p.m.

In German

Guided tour Leopold Museum

Curator’s tour of the exhibition “Kokoschka. The Self in Focus” In German

MEET ART DAY at the Brotfabrik Loft 8

Artist talk with Frenzy Hoehne and Maria Munoz 5:30 p.m. MEET ART DAY at the Brotfabrik Hilger NEXT

Curator Lucie Drdová gives a tour of the exhibition “Reconstruction of a Mosaic” 6:00 p.m.

Film screening Austrian Film Museum

Guided Gallery Tour Die Galerien

David Gatten: in person / Program 1

Panel discussion DOROTHEUM

Guided tour of several galleries with curator Elga Reiter-Trojan

“The art collection – mirror of the art world”

MEET ART DAY at the Brotfabrik Galerie OstLicht

Presentation quartier21 / MuseumsQuartier

Tour of the Anja Manfredi show with curator Rebekka Reuter and the artist herself

John Fekner and Don Leicht, “Urbaniconografi”

Right after the screening Conversation Austrian Film Museum

Artist David Gatten in ­conversation with Eve Heller

4:00 p.m.

Fri 22.11.2013 10:00 a.m.–6:00 p.m. Guided tour DOROTHEUM

Preview of the auctions “Modern Art”, “Contemporary Art” and “Design” 12:00 noon–6:00 p.m. MEET ART DAY at the Brotfabrik Exhibition “Todesreigen mit Catrina” – works by Enrique Fuentes

13:45 p.m.–5:30 p.m. Studio Visits Architekturzentrum Wien

Visits to selected architecture studios 2:00 p.m. Panel discussion Essl Museum at DOROTHEUM

“A Like button for the art ­discourse? Strategies of digital audience participation” In German

MEET ART DAY at the Brotfabrik Loft City GmbH & Co KG

Tour of the Brotfabrik factory site 2:00 p.m.–10:00 p.m. Open house Alternative Space / HHDM Hinter Haus des Meeres

“What exactly will happen …?” 2:30 p.m. MEET ART DAY at the Brotfabrik

Hilger BROTKunsthalle Curators’ tour of the exhibition “Black Sea Calling” 92

Panel discussion DOROTHEUM

“Art and science – the boon and bane of interdisciplinarity” In German

Guided tour Kunsthistorisches Museum Wien

Curator Jasper Sharp gives a tour of the “Lucian Freud” exhibition In German and English

Performance MUSA

“Ich brauch Tapetenwechsel!” – performance by the artist duo CEMS In German

Guided Gallery Tour Die Galerien

Guided tour of several galleries with curator Elsy Lahner MEET ART DAY at the Brotfabrik Loft City GmbH & Co KG

Tour of the Brotfabrik factory site 4:30 p.m. Guided tour Essl Museum

Curator Andreas Hoffer gives a tour of the exhibition “LIKE IT!” MEET ART DAY at the Brotfabrik ATELIER 10

Open studio and presentation of ATELIER 10 and its artists 5:00 p.m. Conversation Special Project / Austrian Frederick and Lillian Kiesler Private Foundation

A conversation with curator Laura McGuire

In German and English

Opening Alternative Space / batolit

CLOSING EVENT Special Project / EIGENSINNIG – Schauraum für Mode und Fotografie

Exhibition “Matt Stuart shoots people” World premiere Special Project / Tanzquartier Wien

Karl Karner / Linda Samaraweerová, “WHITE FOR” Presentation Special Project / SAMMLUNG VERBUND

Olafur Eliasson, “Yellow Fog” In German and English

Opening Alternative Space / basement

Exhibition “Kunst-Stoff-Art (Material / Matter)” Opening Alternative Space / Glockengasse No9

Exhibition “Coaching a Collective” 8:00 p.m.

Exhibition “Tekeningen – Matthijs Van Zessen”

Lecture Sigmund Freud Museum at ­DOROTHEUM

Guided tour Alternative Space / Neuer Kunstverein Wien

Symposium “Interiors – livingspace, art-space, work-space” Keynote address by Beatriz Colomina, Princeton University

Guided tour of the exhibition ­“Atlas of Arcadia” and artist talk In German

MEET ART DAY at the Brotfabrik Lichterloh

Presentation of the exhibition “Austrian Design 20/21” 7:00 p.m. Talk 21er Haus

“On Film, Performance and­ ­Consumer Culture” Opening Thyssen-Bornemisza Art Contemporary

Exhibition “Amar Kanwar: The Sovereign Forest” Opening Secession

Exhibitions Sarah Lucas / Tobias Pils / Guido van der Werve Lecture Special Project / AnzenbergerGallery

“Überlegungen zur Aktualität des Themas Stillleben” – Lecture by Peter Weiermaier In German

8:30 p.m. World premiere Special Project / Tanzquartier Wien

Philipp Gehmacher, “Exhibition 2013” (working title) Film screening Austrian Film Museum

David Gatten: in person / Program 2 Right after the screening Conversation Austrian Film Museum

Audience discussion with David Gatten 9:00 p.m. Clubbing 21er Haus

21er Klub

Sat 23.11.2013 Open Studio Day 10:00 a.m.–7:00 p.m.

Opening Special Project / Kro Art Contemporary

Symposium Academy of Fine Arts Vienna

Exhibition Robert Mittringer, “Humour, Charm and Firs”

“THE GIRL ON ‘SUBJECT’=???” Perspectives of radical ontologies

11:00 a.m.–2:00 p.m.

1:30 p.m.

departure fashion tour departure

Guided Gallery Tour Die Galerien

Bettina Leidl guides a tour through four fashion studios

Guided tour of several galleries with curator Günther Oberhollenzer

In German

11:00 a.m. Workshop ZOOM Children’s Museum

2:00 p.m. Guided Tour KÖR – Kunst im öffentlichen Raum Wien

Art Workshop for children from 6 to 10 In German

“Projecting Walls” Guided tour # 1 of art in Vienna’s public space

Studio Visits BMUKK Prater Studios

Guided Gallery Tour Die Galerien

Guided tour with curator Elsy Lahner

Guided tour of several galleries with curator Maria Christine Holter

12:00 noon

Conversation Alternative Space / flat1

Artist talk 4:00 p.m. Studio Visits VIENNA ART WEEK

Exhibition concertante Galerie V&V

Closing Party Alternative Space / Zimmer.Küche.­ Kabinett & dasVERONIKA

Exhibition concertante with gems of sound 5:00 p.m. Panel discussion VIENNA ART WEEK at the ­Förderateliers des Bundes in Wattgasse

Studio visit to AiR das weisse haus with curator Herbert Justnik

Guided tour with curator ­Elisabeth Priedl in Charim Galerie

“Projecting Worlds – Artists and Curators Connected. A Call for International Structures for the Art Scene”

Guided Gallery Tour Die Galerien

Guided Gallery Tour Die Galerien

Guided tour of several galleries with curator Dirck Möllmann

Guided tour with private ­collector Dr. Herbert Schützeneder in ­Galerie Heike Curtze


Open Studio Day & Artist Talks VIENNA ART WEEK

Chance to visit over 80 artist studios, artist talks and panel discussions 1:00 p.m. Studio Visits VIENNA ART WEEK

Studio visit to AiR quartier21/ MuseumsQuartier with cultural journalist Alexandra Matzner Open Studio Day: Open Talk VIENNA ART WEEK

Curator Severin Dünser in ­conversation with Michael Part Open Studio Day: Open Talk VIENNA ART WEEK

Curator Janina Falkner in ­conversation with Iv Toshain Open Studio Day: Open Talk VIENNA ART WEEK

Curator Alexandra Grausam in conversation with Alfredo Barsuglia Open Studio Day: Open Talk VIENNA ART WEEK

Curator Bettina Spörr in ­conversation with Dorit Magreiter

Studio visit to AiR VBKÖ with curator Herbert Justnik 3:00 p.m. Studio Visits VIENNA ART WEEK

Studio visit to AiR SAMMLUNG LENIKUS with cultural journalist Alexandra Matzner

World premiere Special Project / Tanzquartier Wien

Karl Karner / Linda ­Samaraweerová, “WHITE FOR”

Guided Gallery Tour Die Galerien


Open Studio Day final party

Studio visit to AiR Kunsthalle Exnergasse with curator Herbert Justnik


1:00 p.m.–6:00 p.m.

7:00 p.m. Party Förderateliers des Bundes in Wattgasse

Studio visit to AiR Krinzinger Projekte with cultural journalist Alexandra Matzner Studio Visits Förderateliers des Bundes in Wattgasse

Guided tour with curator Ursula Maria Probst Open Studio Day: Open Talk VIENNA ART WEEK

8:00 p.m.

Exhibition “NOISE + silence” 8:30 p.m. World premiere Special Project / Tanzquartier Wien

Philipp Gehmacher, “Exhibition 2013” (working title)

Sun 24.11.2013 11:00 a.m. Guided tour Secession

Curators Jeanette Pacher, Bettina Spörr and Annette Südbeck give a guided tour of the Sarah Lucas, Tobias Pils and Guido van der Werve exhibitions In German

2:00 p.m.

Curator Severin Dünser in ­conversation with Andy Boot

Guided tour KÖR – Kunst im öffentlichen Raum Wien

Open Studio Day: Open Talk VIENNA ART WEEK

“Projecting Walls” Guided tour # 2 of art in Vienna’s public space

Studio Visits Förderateliers des Bundes Westbahnstrasse

Curator Janina Falkner in ­conversation with Nick Oberthaler

Guided tour with curator Ursula Maria Probst

Open Studio Day: Open Talk VIENNA ART WEEK

Guided tour Wien Museum

Open Studio Day: Open Talk VIENNA ART WEEK

Curator Alexandra Grausam in conversation with ­­ Kollektiv/Rauschen

Curator’s tour of the exhibition “Edith Tudor-Hart. In the Shadow of Tyranny”

Open Studio Day: Open Talk VIENNA ART WEEK

Art Talk Galerie Raum mit Licht

Curator Bettina Spörr in ­conversation with Maria ­Hahnenkamp

Art talk & tea with Ruth Horak

Curator Severin Dünser in ­conversation with Heinrich Dunst Open Studio Day: Open Talk VIENNA ART WEEK

Curator Janina Falkner in ­conversation with Mladen Bizumic Open Studio Day: Open Talk VIENNA ART WEEK

Curator Alexandra Grausam in conversation with Hanakam & Schuller Open Studio Day: Open Talk VIENNA ART WEEK

Curator Bettina Spörr in ­conversation with Anita Witek

Event white8 Gallery

Paul Schneggenburger, ­“Audience” – audience photo

3:00 p.m.

5:00 p.m. Guided tour quartier21 / MuseumsQuartier

Guided curator’s tour of ­TONSPUR 60 by James Benning In German

6:00 p.m. Studio Visits VIENNA ART WEEK

Studio visit to AiR Galerie Hilger with curator Herbert Justnik 93 94