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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.