VIENNA ART WEEK 2012 - Predicting Memories by Vienna Art Week

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

Already in its eighth year, the VIENNA ART WEEK art festival has become a crowd puller. Initiated by the DOROTHEUM and designed by Art Cluster Vienna, this year’s high-caliber program “Predicting Memories” explores the complex relationship between the present, past and future that underlies highly charged concepts like “future prediction” and “culture of memory.” In a series of exhibitions and panels in museums and art institutions, gallery and studio tours, performances and alternative space projects, the 2012 VIENNA ART WEEK program has trained its focus on art as a reservoir of memory and knowledge. Our warmest thanks go to all the program partners and sponsors who have made this possible!

The rapid spread and limitless circulation of information in our digital world has also had consequences for art, increasing its public visibility. Today, we generally associate digitalization with better access to information; at the same time we also see a tendency to outsource memories to digital media – a trend with a strong impact on our understanding of individual and collective identity. Contemporary art production is also undergoing a transformation, in the way in which artists deal with the present and contemporary history, but also with regards to the conditions museums and art institutions create for it.

As the title “Predicting Memories” would suggest, the production of memory and history today is based on a mutual impact or reciprocal effect: on the one hand, history permeates the present; on the other hand, a history that provides us with a vision for the future is not an automatic given. Artists actively intervene, engaging with a discourse on history, memory and the reclaiming of utopia. These days, Vienna is home to numerous international artists. The focus of this year’s VIENNA ART WEEK – studio visits – gives the public an opportunity to take a peek at their studios. With its official overview of the events, including profiles of the participating institutions as well as interviews with artists, VIENNA ART WEEK MAGAZINE offers a taste of what awaits you.

Peter Bogner, Künstlerhaus The Vienna Künstlerhaus envisions itself as a creative lab; it is a central, open place presenting the entire spectrum of contemporary artistic work like almost no other Viennese institution does. This openness gives way to something new, benefiting both the art discourse and the scene as a whole. Projects focus on the interface between fine arts, society and everyday phenomena. With its offbeat exhibitions on youth culture, architecture and the art market, the Künstlerhaus has managed to get a new audience enthusiastic about art. It is in this way that the Künstlerhaus – like VIENNA ART WEEK – contributes to creating a new image for Vienna.

Christoph Thun-Hohenstein, MAK Vienna – an inspiring mélange of ambition and Gemütlichkeit, straightforwardness and charm, generous spaces and smallscale habitats, splendor and humility … in other words: Vienna is like any other world metropolis, but as the enormous capital of a relatively small country, it is very special as well. And that is actually a good thing, since it means Vienna is predestined to be the center of the growing Central European cultural sphere. It also opens many interesting opportunities for an arts-oriented city that is constantly in search of its own, true greatness – one that draws its impressive, experimental potential from the tensionfilled relationship between the undefined and the city’s omnipresent tradition.

Bettina Leidl, departure – The Creative Agency of the City of Vienna With its long tradition of art production and cultural reception, Vienna has a rich legacy to build upon. The city’s innovative potential lies in its successful crosslinking of various cultural fields, from architecture to fine arts, design and music. All areas of cultural production are testament to the fact that innovative ideas are most sustainably implemented in places where sometimes extremely diverse forces and ways of thinking work together. The specialization of creative scenes in a single field – or of contemporary art in a single medium – has long been replaced by transdisciplinary approaches. departure has dedicated itself to this challenge for the future: that of bringing together the multifaceted, creative work of all artistic minds and positioning it at the international level. © Leopold Museum

Franz Patay, KUNST HAUS WIEN Vienna has potential as an art hub – first, if it uses its cultural legacy not only as a tourist asset, but as raw material for some vigorous artistic engagement; second, if it cultivates an atmosphere of openness, the kind best fostered by an environment of democracy and cultural diversity; third, if it promotes a culture of contact and places for encountering art that involves the public sector as well as businesses and private initiatives; and fourth, if it manages to translate its excellent quality of life into good working conditions for artists.

Agnes Husslein-Arco, Belvedere und 21er Haus Vienna is in a state of constant flux. The city is becoming more and more important in the international art market, many artists are moving to the city, the professorate is increasingly international and its exhibition spaces are second to none. In a nutshell: the conditions are excellent for both the development of art and the atmosphere in the city. The new district around the Vienna Main Railway Station will provide fresh impetus in terms of urban planning: by 2015, the colossal project will have changed not only the area around the 21er Haus, but the rest of the city as well. © Aleksandra Pawloff/MAK

Ursula Hühnel-Benischek, KUNSTHALLE wien It fills me with pride that, in the last 20 years, KUNSTHALLE wien has been instrumental in making Vienna an important place for contemporary art. In fact, Vienna’s importance as an art hub between Eastern and Western Europe was recognized very early, to say nothing of the international art greats who had – and still have – their works presented in Vienna at the invitation of KUNSTHALLE wien. In 2000, for example, the KUNSTHALLE’s quinquennial exhibition “lives and works in vienna” was the start of an ongoing engagement with the city’s artistic production and diversity. Vienna is a highly culturally attractive, livable place and a highly creative soil – and it still has a lot of potential for development, particularly when it comes to contemporary art.

Dietmar Steiner, Architekturzentrum Wien Vienna’s future significance as an art location lies in its geopolitical position between East and West. Only with the creative power of the East can Vienna take a leading position in the art world. Architekturzentrum Wien is committed to discovering and conveying 20th-century Eastern European communist architecture. As a “gate to the West” we have in recent years devoted ourselves to South European and Balkan architecture. Starting in fall 2012, the “Soviet Modernism” exhibition is to broaden this horizon.

Martina Taig, KÖR Vienna is growing. By 2040, it will have two million inhabitants. If Vienna continues to be a hub for national and international contemporary artists and if the quality of public art serves as a measure for the mental state of a society, then there is great potential for art in Vienna’s public space. Its versatility allows for new concepts between nature and architecture, but also includes new technical media and makes it possible to continue the traditional art-for-architecture program.

Christine Kintisch, BAWAG Contemporary The discourse on the necessities and functions of art has dominated economic issues for some time now, causing a more sophisticated engagement with artistic content to retreat further and further into the background. Without a doubt, art and culture make an important contribution to the way in which a country or city is perceived. But art must not be reduced to this aspect alone; it needs spaces dedicated to the investigation of complex artistic content and experiences. With this in mind, BAWAG Contemporary aims to be a place that generates and conveys artistic knowledge through exhibitions, publications, concerts, film screenings and artists’ talks. It is only when contemporary art production is given vibrant, dynamic and open spaces that the debate about the city as an art hub will gather momentum.

Eva Blimlinger, Academy of Fine Arts Vienna Art is all over Vienna. Art is in the museums along and near the Ringstrasse; art is in the Academy of Fine Arts; art is in the galleries here and there, in this or that district; art is in the studios in Böcklinstrasse and in Prater; art is in the art depots, containers and cellars; art is in the alleys and streets, in the squares and parks; art is in and on the buildings; art is in the offices and apartments; art is in the rail and subway stations, in demonstrations, at openings and events. Art = Vienna = site.

Klaus Albrecht Schröder, Albertina Vienna is a multifaceted and likewise highly concentrated art location with an ever-growing density of art exhibitions. This is the place where museums of international standing gather, where the number of galleries is huge in relation to the city size, and where you can find no less than two renowned art universities, a wealth of art in public spaces, and countless small but deeply committed exhibition and alternative spaces. The unique interplay of tradition and the contemporary adds an enormous dynamism to this city, which is as attractive to art lovers as ever.

Tobias G. Natter, Leopold Museum Returning to Vienna makes me discover the city anew, as I refresh old contacts and establish new ones. Vienna is a popular partner for international exchange: the city is imbued with the easy-going diversity of its cultural offerings. Its high concentration of art institutions creates friction, excellence, and sometimes competition as well, which I think is good, because it stimulates the art scene. Both Vienna’s audience and its visitors from abroad are very much interested in the arts, whose richness whets the appetite for more. A good case in point is the dynamism of Vienna’s MuseumsQuartier, which really is an interface between art and everyday life, a vib rant platform for interesting encounters and boundless opportunities, stimulating and inspirational.

András Pálffy, Secession There is still a lot to discover in Vienna. Whole areas are waiting to be explored in the relations between art and society and art and the city. Urban wastelands, the temporary use of vacant sites and “fringe areas” are tempting, though often illegal. But breaking new grounds isn’t easy: there are hurdles to be cleared in terms of official regulations and the predominant, rigid conception of art. Even now. There is, however, an enormous artistic, urban and social potential in the friction between today and tomorrow. Hence: To every age its art. To art its freedom.

Sabine Haag, Kunsthistorisches Museum Vienna’s international reputation as an art and cultural capital is still unbroken, as the visitor figures show: 2011 was a record-breaking year for Vienna’s tourist industry. This is clearly the result of the vast array of cultural pursuits on view in Vienna’s museums. To ensure that Vienna keeps its leading role in the future, city authorities – but also we as a museum – will be launching a wide range of initiatives. In 2013, with the reopening of its Collection of Sculpture and Decorative Arts (Kunstkammer) to the public, the Kunsthistorisches Museum will make a substantial contribution to Vienna’s longstanding reputation as an attraction and mainstay for the arts.

Danielle Spera, Jewish Museum Vienna Vienna’s international image is strongly associated with art and culture. Its harmonious blend of historical art and outstanding contributions in contemporary art also adds to Vienna’s public standing, enhances its presence in the media, and propels its art scene. In no other city have the arts, humanities and the cultural landscape been so strongly influenced by members of the Jewish community. Today, once again, Vienna is enriched by a wide variety of cultures. The Jewish Museum Vienna joins others in honoring this history and present. © Kunsthistorisches Museum, Vienna

Gabriele Senn, Association of Austrian Galleries of Modern Art Vienna’s urban space boasts a particularly high density of galleries, institutions and museums, setting a very high standard for cities around the world. It is, from a historical perspective, vital to raise social awareness about the need for contemporary art. The gallery defines itself as a place in which artists can first present their works to the public. This is an opportunity for curators, critics and collectors to be part of the process right from the start. These structures are the first to facilitate reception and raise awareness – and define a city a center for the arts.

Christian Strasser, MuseumsQuartier Wien Vienna has always been known as a city of art and culture in the heart of Europe. The contrast between old and new art, the symbiosis of art production/ experience and leisure activity/recreation, its combination of architecture from many centuries … all of this makes the MuseumsQuartier a unique place in one of the world’s most livable cities.

Berthold Ecker, MUSA Vienna has traditionally been a geographic and cultural gateway between East and West, the center of a rich international cultural landscape whose history-laden influences, tensions and interplay of forces have been a source of energy and identity for all fields of art – particularly visual art. Many Eastern European artists study in Vienna and have made it the center of their life and artistic work. As a home ground for Austria’s art scene, the MUSA takes this circumstance into account by focusing its efforts on cultivating a lively exchange with Eastern European art institutions.

Inge Scholz-Strasser, Sigmund Freud Museum Art is an integral part of Vienna’s urban life. This manifests itself in current building projects, which contrast with baroque Vienna, fin-de-siècle architecture and the architecture of the past 50 years. The boundaries between contemporary architecture and sculptural contemporary art have become blurred in the 21st century. Art has left the confines of its exhibition spaces and invaded people’s everyday environments, becoming a sign of the city’s developmental state. This is why – to make a statement in the public space – the Sigmund Freud Museum is turning the museum’s spaces inside out, showing a series of installations in the storefront of its building at Berggasse 19.

Sabine Folie, Generali Foundation Vienna is still prospering as a cultural city, one that – despite its manifold highculture institutions – leaves niches for lively subcultures and still unestablished scenes. In terms of its urban development, Vienna has the convenient advantage of being able to offer a great deal in a very concentrated space. Yet on the other hand, this is the very reason why (as opposed to more complex, chaotic conurbations) urban or resistive energy is sometimes choked off. Higher perforation of the art sector by “social” reality would generate new tensions, but also lead to even more vibrancy.

Gerald Bast, University of Applied Arts Vienna The University of Applied Arts is the place in Vienna where I most like to be. It is truly an interface between life and art: a space in which art and artistic processes originate and evolve. Here, these processes are directly, palpably tied to people struggling for aesthetic positions, using everything that makes life and art what they are: aspiration and fear, hopes and doubt, enthusiasm and exhaustion. © WIEN MUSEUM

Karola Kraus, mumok With its incredibly high density of museums and exhibitions, Vienna plays a major geographical, social and cultural political role in Central Europe, as it sustainably promotes the exchange and renewal of creative and artistic developments. Today, as in the past, these developments serve to maintain our cultural diversity and richness, and have proved stimulating for so many spheres of life. We should continue expanding this infrastructure, secure its sites and programs and thereby contribute to the future viability of our collections and cultural assets. They are one of our society’s most important resources.

Karlheinz Essl, Essl Museum The density of Vienna’s museums and art spaces has made it a global art capital. Art contributes to a high quality of life. Artists have also come to realize that Vienna has a lot to offer, and often decide to make the city their home. Today’s museums are oases in which people take refuge from everyday stress, and Vienna is incomparably diverse in that regard: an abundance of contemporary art, old masters and engaging alternative scenes … In the end, any society changes through art and becomes more tolerant and open. I believe that – regardless of any crises – Vienna will continue to gain importance as a center for the arts.

Alexander Horwath, Austrian Film Museum Vienna’s qualities in arts are often discussed in two parallel discourses that never touch. On the one hand, there is – quite rightly – a lot of enthusiasm about the wealth of classic museums, which are mainly located in the city center. On the other hand, there is – also quite rightly – a lot of amazement at what a vibrant place for “non-classic” art forms and associated (“decentralized”) institutions, places and venues Vienna has become in the last two years. The city’s challenge for the future lies in overcoming this double division, for in the world’s leading art hubs, fringe and center, tradition and contemporaneity always merge into each other.

Wolfgang Kos, Wien Museum One can tell Vienna isn’t exactly the dark side of the moon by the international standing of its art academies – and by the simple fact that many artists decide to make Vienna the center of their life and work. In this city of music and theater fans, it may very well be that new forms of art are embraced only by a minority of culture followers, but still you can feel the enthusiasm. I’m positive that fine arts will play an even more important role in the future, provided Vienna doesn’t turn its back on the rest of the world.

ART HUB VIENNA

Vienna in the International Context

max hollein

barry lord

kenny schachter

Two Speeds

Beyond Taste

Local Flavor vs. Global Uniformity

Vienna the art city is a metropolis of two speeds: on the one hand, it’s a pleasure to return again and again. There is comfort to be found in the familiarity of finding the same excellence, the same outstanding faces in the same old place (probably due to the city proponents’ attachment to their hometown, a loyalty that is unique to the globalized art scene). At the same time, Vienna’s current art scene is characterized through and through by a truly refreshing and incredibly inspiring activity and dynamism. But there again: you have to return to Vienna again and again to keep your finger on the city’s pulse; to discover, experience and fully immerse yourself in the city.

The spirit of ’68 convinced the directors of the Venice Biennale to disallow sales of works of art, which had formerly characterized that event. Two years later Art Basel opened, timed so that Venice’s visitors could fly up to Basel after the Biennale vernissage. Today, the tote bags distributed at the Hong Kong Art Fair (which, like Art Basel, is majority-owned by the Schweizer Messegesellschaft) carry the slogan: “Money Creates Taste.” The art dealers at the Fair read it backwards: “Taste Creates Money.” Since Art Basel was founded in 1970, fairs and auction houses have granted more and more power to patrons whom the Occupy Movement would call the 1%. To a large extent, the hundreds of Biennales around the world confirm the “taste” that they “create.” The artist is still central: artists create the values and meanings that patrons respond to when they spend their money; but the range of what many artists perceive as possible is inevitably affected by their prospective patrons’ “taste.” Fortunately there are artists who work above, below or in blissful ignorance of “taste.” Our challenge is to find means of patronage which at least some of the 99% can respond to. May the Vienna Art Week be one such venue, stimulating art “beyond taste.”

We live in a fair-driven art world whose environment is morphing so quickly and continually it is sometimes hard to pin down a result. The recent influence of auction houses in primary markets and the proliferation of fairs have forever changed the gallery paradigm of how art is bought and sold. In the process, the art-going public has never been afforded such diversity, complexity and sheer volume of visual overload. Whether the changing of our viewing habits from experiencing art (of all stripes) in galleries to the realm of fairs and auction previews is a good thing is yet to be seen or fully appreciated. I recently attended Hong Kong’s ART HK 12, now in its fifth year – and recently majority purchased by ART Basel. Now there is Basel Miami, Basel Switzerland, and Basel Hong Kong, a concept similar to the spread of Disney’s theme parks to Los Angeles, Orlando, Paris and Hong Kong (which I didn’t know existed). Maybe Switzerland should be next in line for a Disney franchise; it seems to fit the pattern. My point is that the world needs more projects like Vienna Art Week, hybrid events seeking to blur boundaries between commercial and institutional enterprises and to broaden and expand the process of seeing and learning about art and its related fields. There is an indisputable local flavor to such an event, which in today’s world of homo genization is a good thing.

Max Hollein is Director of the Städel Museum, the Schirn Kunsthalle Frankfurt and the Liebieghaus Sculpture Collection.

Barry Lord is Co-President of Lord Cultural Resources and coauthor of “Artists, Patrons and the Public: Why Culture Changes” (AltaMira, 2010).

Kenny Schachter has curated contemporary art exhibits, given lectures, held academic seminars, published related texts, received a Rockefeller grant, and was profiled in “The New York Times Magazine”, the “Observer”, “The Independent” and “The Telegraph”. Kenny Schachter’s dealings in international art stretch from Impressionism and Modernism up to modern-day art and design.

jörg heiser

walter seidl

judith eisler

Vienna, as Seen From Berlin

Vienna, Art Hub Between East and West

An Improvisatory Approach

Vienna cuts a fine figure in terms of art institutions. Particularly when seen from Berlin, where the Deutsche Guggenheim is about to be shut down and the Berlin Kunsthalle has yet to materialize. A number of Viennese institutions (mumok, MAK, KUNSTHALLE wien) have new directors, and the Belvedere has a new site (21er Haus). In this phase of museum upheaval, mid-level institutions have stepped to the fore: after a lean period some years ago, BAWAG Contemporary, the Generali Foundation and the Secession have continued to show exhibitions at the highest international level. TBA21 has revived the Atelier Augarten (previously starved by the Belvedere). As for future prospects: one hopes to see the mumok break away from the sound, respectable reprocessing of classic positions from time to time; that the MAK will not throw the baby out with the bath water when it comes to contemporary art (which, under Peter Noever, was always given absolute precedence over applied art); for an open acceptance of the KUNSTHALLE wien’s transition from the institution’s multicolored compilation style (à la “Art & Porn” or “Art & TV”) to a more sober engagement with contemporary trends in art and society; and last but not least, that the artist’s PhD will not lead to a false standardization of free practice.

Vienna’s status in the international art world is particularly characterized by its specialization in Eastern and South-Eastern neighboring countries. This is reflected in the programs of galleries, museums and art collections and is an incentive for international curators to stop over in the city again and again. Vienna’s focus on the young scene is fuelled by the special projects of many galleries and is particularly important for its numerous alternative institutions. This is how the city preserves its off-beat, autonomous potential, which is disappearing in many art market capitals. Various discourse formations, propelled by academic debate and in internationally influential art magazines, testify to a genuine engagement with the current art production. It is to be hoped, however, that Vienna will be able to maintain its position as an art fair location in the long run.

There is a vibrant and diverse art scene in Vienna, one that makes itself known in museums, galleries and particularly in the artistrun spaces that continue to pop up throughout the city. Painting undoubtedly has a much larger presence and audience in NYC than in Vienna, where the focus seems to be more about conceptual work. In both cities, young artists have initiated their own spaces and situations as a way of gaining more control over the exhibition and distribution of their work. A highly improvisational approach is evident in both the making of the work and in the way in which it is presented.

Judith Eisler is an artist living and working in NYC and Vienna. Since 2009, she is Professor of Painting, Tapestry and Animated Film at the University of Applied Arts Vienna.

Walter Seidl has been curator of the art collection of Erste Group and ERSTE Foundation, Vienna, since 2004. He has curated numerous projects in Europe and North America, as well as in Hong Kong, Japan and South Africa. Regular publications in international art magazines, including Austria’s “Camera Austria” and “springerin”.

Jörg Heiser is co-editor of “frieze” and co-publisher of “frieze d/e”. His most recent publication is “Sculpture Unlimited” (ed., with Eva Grubinger, Sternberg Press 2011).

ART HUB VIENNA

The Eternal Pearl of the Danube Fluctuations in aura and nostalgia

Text by Hans-Jürgen Hafner It is a well-known fact, particularly in the tourist industry, that the kind of aura enjoyed by “big” cities is generally composed of two things: a little urban reality and a lot of real or projected history. Those are the ingredients that – as a locally colored aura, so to speak – can be mixed and baked to form the brand that is “City.” The functional aspects, the things that make up the bulk of everyday life in the city, are of a matter of relatively little interest to city-hoppers and heavy-duty tourists. Who cares about the rent index or the looming municipal trade tax as long as the water runs, the subway keeps a reasonably regular schedule and the trash is removed at least now and again? On the contrary: if a city wants to become its own myth, it and all of its stakeholders would have to downright deliberately invest in the incongruity between the city’s desired image and its actual reality. Vienna has been almost unbelievably lucky in this regard – for quite some time at that. And by the look of the tourist numbers, pretty successful as well.

Photos © Klaus Fritsch 6

Unlike Berlin, for example, which presents itself as the city of a seemingly endless present, of a moment that promises everything; unlike Istanbul, the city on the border between Europe and Asia that peddles its future viability, the prevailing mood in Vienna is nostalgic through and through.

Vienna is nostalgia; sentiment become city. And it is truly no wonder. At every turn, we are faced with earlier and, one automatically thinks, better times. Every cobblestone is ennobled by literature, and every house corner is immortalized by the loveliest music. Alberti basses, twelve-note rows, Kruder & Dorfmeister. Way beyond the Berggasse area, Vienna’s urban canyons are psychologyturned-solid architecture; the inhabitants even of its furthermost outskirts are like the protagonists in a piece of theater – a play that performs and re-performs a city as characteristic and quintessentially Viennese as we can possibly imagine, day after day. But we should know better. Not even in Vienna, the Pearl of the Danube, can every beautiful building be an Otto Wagner creation, not every uncomfortable chair an Adolf Loos. Besides, it would take a good number of Helmut Qualtingers and even more Hermes Phettbergs to counterbalance the constant cursing, the omnipresent piles of shit to some extent. Even through the eyes of a lover, shit is nothing more than shit – even in Vienna. And so long as we’re on the subject of prosaic reality: when it comes to downtown mobility, at some point even the most stubborn Vienna nostalgic would choose a taxi over a horse-drawn Fiaker carriage. Just as, for all the sentimentality (and this goes for more than just culture-vulture tourists), it is completely OK to not find Thomas Bernhard’s

legendary Bordone Room. What the Kunst historisches Museum has to offer in terms of real treasures should be compensation enough for the disappointment suffered. If, on the other hand, Vienna opts to remain the city of nostalgics and sentimentalists – and rightly so – then there is reason to fear that our Old-Europe-grown idea of the city as a realm of experience between specific urban culture and urban life has itself become mythical and equally unreal, even if, as a theme park of urban culture, it lends itself so beautifully to global marketing. The effects of this can be studied especially well when looking at the urban development of cities like Paris, London or New York. Clearly, whoever actually still lives there must be willing and able to pay the lunatic prices for participating in the myth of the urban. The city center will cost you. Unfazed, the tourism industry can and may continue to work on the basis of this kind of legend-building. But they are joined by more and more protagonists on the (cultural-) political stage as well. It isn’t for nothing that nostalgia is currently one of the city’s most valuable commodities. Sentiment is very effective when it comes to post-political politics – a politics that does not acknowledge real conditions and thus threatens to make us forget them completely. Consensus manufactured with sentiment can be politically planned and controlled. And this has been going on for quite some time, as we know.

I myself got to know Vienna in the early 1990s, first as a tourist with a penchant for the morbid, hollowed-out ruins of high culture, second as a place to become acquainted with nightlife and club hedonisms of all kinds, and came to appreciate it more and more. The thing that propelled my travels to the city, what contributed to the increasingly more intense explorations of its mythical potential, was an extremely peculiar, but in effect astonishingly productive coexistence of times and atmospheres, or the cultural concepts and practices associated with them: Helmut Lang’s presentation of straight-up, continued 1980s coolness, for example, and the lack of a solid club and disco landscape that gave way to the necessarily self-organized party sound of Erdem Tunakan and Patrick Pulsinger’s techno label Cheap Records; the astonishingly politicized art criticism in newspapers and magazines from “Falter” to “springerin”, complete with plugged-in artists’ initiatives with a focus on public and social spaces; the pioneering spirit of the Krischanitz box erected as what was then a temporary KUNSTHALLE on Karlsplatz, standing in the strongest thinkable contrast to the dusty, “Sleeping Beauty”-like dormancy of the established “modern” art at the Palais Liechtenstein. These heterogeneous and temporally shifted ingredients could generate a climate that suddenly made the still pre-globalized Vienna – working with and against its myth – seem

pretty contemporary and “fascinating,” as we say these days. This is not to say that those days are comparable with ours today. But in many respects – as far as I can observe – the economic and cultural effects of globalization might happen a bit more slowly in Vienna than they do in other places. At the same time, the historical legacy is so great that it is difficult to separate its actual significance from pure sentimentality. How else could the official face of art still be dictated by all-too-autocratic, all-too-feudal seeming administrators, and the culture industry hold onto its typically Viennese charms, if not its international profile? How else, on the one hand, could the still havens of the aestheticcultural spirit of initiative have been able to maintain themselves in the form of remarkably long-lived alternative art spaces and project rooms, without – as we see in Berlin, for example – immediately having to become a gallery or an institution? How, on the other hand, can artistic and cultural practices avoid having to completely surrender to the dictates of profitable efficiency, to the terror of the commercial, if state-sponsored cultural funding is completely subsumed by the trend of privatizing the public. How much longer can the (even in Vienna) ever-more-urgent problem of gentrification continue to be swept under the rug, rather than tackled with urban planning and precisely with regard to

its ruinous effects on urban milieus? Studying these effects no longer requires a look at Paris or London. The consequences can be studied in greater detail in Vienna’s 2nd and 16th districts. It is therefore fitting that public housing projects – an important part of the Vienna myth, both socially and in terms of architecture history – have largely come to a standstill with the city as its administrative body. In this sense, I would like to take up the cudgels for the potential of nostalgia and for a conscientious commitment to the myth that is Vienna. Not everything was better in the old days. That does not mean, however, that everything is good today. Which is the very reason I shall like to visit Vienna again soon.

Hans-Jürgen Hafner, born 1972 in Freystadt, Germany, studied history and German language and literature. He works as an author and art critic and creates exhibitions. He is currently Director of the Art Association for the Rhineland and Westphalia in Düsseldorf. Hafner lives in Düsseldorf.

Art Cluster

21er Haus 21er Haus Museum of Contemporary Art Schweizergarten Arsenalstrasse 1 1030 Vienna T +43 1 795 57 700 F +43 1 795 57 136 E public@21erhaus.at www.21erhaus.at Opening hours: Wed. 10:00 a.m.–9:00 p.m. Thu.–Sun. 10:00 a.m.–6:00 p.m.

GUIDED TOUR Curator Harald Krejci leads a tour through the Belvedere’s collection of contemporary art*

Wednesday, 21 November 2012 2:00 p.m. Now, with the reopening of the 21er Haus, the Belvedere finally has a suitable space to permanently exhibit its own collection of contemporary art as well. The content-oriented presentation will regularly shift its thematic focus in longer intervals, offering new perspectives on Austria’s artistic production and highlighting a wide range of artistic trends and alternative developments. This includes shedding light on the idiosyncrasies and characteristics of local art production, which is linked to the mechanisms of international contemporary art in various ways. The aim is to give a differentiated, expanded thematic overview of Austria’s contemporary art. * Limited number of participants. Registration required: www.21erhaus.at/de/events

FILM “Portraiture Series #2: Hetzenauer” Bernhard Hetzenauer: Works*

Wednesday, 21 November 2012 6:00 p.m. Blickle Cinema, 21er Haus For the “Portraiture Series”, the Blickle Cinema invites young artists and filmmakers to present their work and put it up for discussion. The aim of the series is to create a social space in which the latest trends can be experienced and mediated within its own context. Contemporary film and video works are viewed in relation to film and art history, highlighting cross-connections and historical developments. Bernhard Hetzenauer was born in Innsbruck in 1981 and grew up in Linz. He studied stage and film design at the University of

Applied Arts Vienna, and film at the Buenos Aires Universidad del Cine and the University of Fine Arts in Hamburg. He has worked on feature film productions in Vienna and as a cameraman and editor for art projects and short films. Hetzenauer made his first documentaries as a director and cinematographer during several stays in Latin America (Mexico, Argentina, Ecuador). In 2006 he won the Ursula Blickle Video Award. For further information, see: www.21erhaus.at

by means of installations, interventions and performances by students of the Master in Critical Studies program at the Academy of Fine Arts Vienna, which will be carried out in cooperation with lecturers Diedrich Diederichsen and Constanze Ruhm. The collective exhibition presents artistic positions that engage with this development of society as a whole. Curator: Bettina Steinbrügge Adapted from an idea by Cosima Rainer.

* Limited number of places available, registration is required: www.21erhaus.at/de/events

GUIDED TOUR

EXHIBITION

Curator Bettina Steinbrügge leads a tour through the exhibition “Busy”*

“Busy”

Friday, 23 November 2012 2:30 p.m.

Industrial society, based on discipline and submission, has been replaced by an information capitalism characterized by flexibility and self-determination, in which immaterial, creative work continues to gain importance. The difference between these two forms of society currently tends to be defined by the diseases they cause: role conflicts and schizophrenia have been replaced by mental overload, depression and burnout, particularly among those unable – or not allowed to – maintain the work/life balance, people expected to fully identify with their work. Art once represented a utopian counter-model to performance-oriented, heteronomous gainful employment – a realm of freedom as opposed to the realm of necessity. Today, before our very eyes, it is turning into the model of a mobile, autonomous one-man business, into the ideal project-based work. Rather than simply register these tendencies, “Busy” also reacts to opposing trends and movements such as craftivism, which aim to re-define excluded skills by reappraising crafts and related forms of practice. This approach is emphasized in the exhibition

20 September 2012–20 January 2013 DISCUSSION “Every Man for Himself! Multiple Roles in Today’s Art Market”

Friday, 23 November 2012 4:00 p.m. Participants: Markus Miessen, architect, author and consultant, Studio Miessen, Berlin; Rita Vitorelli, “spike” art magazine; Bettina Steinbrügge, curator at the 21er Haus.

Art Cluster

Academy of Fine Arts Vienna

Academy of Fine Arts Vienna Schillerplatz 3 1010 Vienna T +43 1 588 16 1301 F +43 1 588 16 1399 E info@akbild.ac.at

KEY TOPIC

CONFERENCE

“Dildo Anus Power: Queer Abstraction”

22–25 November 2012

22–25 November 2012 Aula, Academy of Fine Arts Vienna Schillerplatz 3, 1010 Vienna

www.akbild.ac.at

EXHIBITION “Pink Work on the Golden Street”

10 November 2012–2 February 2013 xhibit, Academy of Fine Arts Vienna Schillerplatz 3, 1010 Vienna Opening hours: Tue.–Thu. 10:00 a.m.–6:00 p.m.

Tim Stüttgen, Performance, 2012, © Tim Stüttgen

The conference project “Dildo Anus Power: Queer Abstraction” initiated by Hans Scheirl at the Academy of Fine Arts Vienna and the related exhibition “Pink Work on the Golden Street” curated by Christiane Erharter and Dietmar Schwärzler both focus on queerness at work and in everyday life. The project raises questions regarding gender differences and ratio as well as post-colonial and postpornographic contents in view of material and artistic necessities. The conference includes lectures and workshops by Judith Nikita Dhawan, Tim Stüttgen, “Jack” Halberstam, Eliza Steinbock, Antke Engel, Gini/i Müller, Maria Llopis, Sushila Mesquita et al.

Art Cluster

Albertina

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

GUIDED TOUR

LECTURE

Curator Eva Michel gives a tour of the exhibition “Emperor Maximilian I and the Age of Dürer”*

“Emperor Maximilian I – Self-Dramatization Beyond the Grave” Lecture by Thomas Schauerte*

Wednesday, 21 November 2012 5:00 p.m. * In German and English. Limited number of participants. Registration required: E presse@albertina.at

EXHIBITION “Emperor Maximilian I and the Age of Dürer”

14 September 2012–6 January 2013

Bernhard Strigel, Die Familie des Kaisers Maximilian I. / Family of Emperor Maximilian I, 1515/16 © Kunsthistorisches Museum, Vienna 10

Friday, 23 November 2012 3:00 p.m. In his lecture at the Albertina, Thomas Schauerte of the Nuremberg Municipal Museums, Director of Albrecht Dürer’s House and of the Graphic Art Collection, addresses one of Europe’s most impressive and wellknown tombs – the cenotaph of Emperor Maximilian I in Innsbruck’s Hofkirche, which still puzzles us today: what are we to make of the 28 larger-than-life bronze statues surrounding the tomb? Are the giant “black men” standing the wrong way round? Thomas Schauerte will approach these questions following a brief introduction into Emperor Maximilian’s life (1459–1519) and selfdramatization by Eva Michel, curator of the exhibition “Emperor Maximilian I and the Age of Dürer”. * in German

Art Cluster

Architekturzentrum Wien

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

Lenin Palace, Almaty, 1970, Kazakhstan, © Simona Rota

STUDIO VISITS

CONGRESS

EXHIBITION

Visits to selected architecture studios*

19th Vienna Architecture Congress “Soviet Modernism 1955–1991. Unknown Stories”*

“Soviet Modernism 1955–1991. Unknown Stories”

Friday, 23 November 2012 1:45 p.m. Meeting place: Az W shop at the MQ, Museumsplatz 1, 1070 Vienna 2:00 p.m. Departure of the shuttle ca. 2:30 p.m.–3:15 p.m. BEHF Architects ca. 3:45 p.m.–4:30 p.m. Veech Media Architecture ca. 5:00 p.m.–5:45 p.m. gaupenraub +/- 6:15 p.m. Arrival at the Az W Moderation: Anneke Essl, Az W * Maximum 25 participants. Reservation is required: E office@azw.at, T +43 1 522 31 15

24–25 November 2012 10:00 a.m.–5:00 p.m. on both days

8 November 2012–25 February 2013

Further information at www.azw.at/sowjetmoderne

The 19th Vienna Architecture Congress is the first time that all leading experts on the extraordinary and still little-studied Soviet Modernist era come together in one place. Architecture historians, urban planners and cultural theorists from the former Soviet republics will meet with other international experts to debate the four thematic blocks “Capitalism vs. Communism. Modernist Architecture in the East and West”, “The Soviet Legacy: National or Russian?”, “Local Modernism. Architecture of the Former USSR Republics”, and “Built Ideologies” from architectural-historical, political and economic perspectives. Participants include: Ruben Areshvatyan, Levan Asabashvili, Vladimir Belogolovsky, Elke Beyer, Boris Chukhovich, Marija Dremaite, Sergej Fedorov, Mart Kalm, Dimitrij Zadorin, sowie Andrej Bokow, Andrej Kosinskiy and Feliks Novikov. * In German, English and Russian. Further information, registration and tickets at www.azw.at/kongress

Art Cluster

BAWAG Contemporary

BAWAG Contemporary Franz-Josefs-Kai 3 1010 Vienna T + 43 (0)59905 919 E office@bawagcontemporary.at www.bawagcontemporary.at Opening hours: daily 2:00–8:00 p.m.

EXHIBITION Michaël Borremans

23 November 2012–20 January 2013 Opening: Thursday, 22 November 2012 7:00 p.m. The films, paintings and drawings by Belgian artist Michaël Borremans (born in Geraardsbergen in 1963; lives in Ghent, Belgium) engage the viewer with stilled images, precision, and gravity. His seductive works comprise timeless images of inner drive and external force, of the latent pressure involved in being human. Like puzzles, his intensely atmospheric images operate with political and psychological patterns of perceiving the world, patterns that oscillate between an inexorable realism and nebulous distance in a camouflaging, fragile way.

Michaël Borremans, Automat (I), 2008 Photo: Peter Cox 12

Collections with works by the artist include the Art Institute of Chicago, the Carnegie Museum of Art in Pittsburgh, the Los Angeles County Museum of Art, the Dallas Museum of Art, the High Museum of Art in Atlanta, the Hudson Valley Center for Contemporary Art in New York, the Musée d’Art Moderne de la Ville de Paris, the Los Angeles Museum of Contemporary Art, the Boston Museum of Fine Art, the New York Museum of Modern Art, the San Francisco Museum of Modern Art, the National Gallery of Canada in Ottawa, the National Museum of Art in Osaka, the Public Art Collection of Basel, the Rubell Family Collection in Miami, the Stedelijk Museum voor Actuele Kunst in Ghent, the Israel Museum in Jerusalem, the UCLA Hammer Museum in Los Angeles, and the Walker Art Center in Minneapolis. Guided tours every Thursday at 6:00 p.m. Videos on facebook.com/BAWAGContemporary

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: Lower Belvedere and Orangery Thu.–Tue. 10:00 a.m.–6:00 p.m. Wed. 10:00 a.m.–9:00 p.m. Palace Stables daily 10:00 a.m.–12:00 noon T +43 1 795 57 134 F +43 1 795 57 136 E public@belvedere.at www.belvedere.at

GUIDED TOUR

Curator Alexander Klee gives a tour through the exhibition “Masterpieces in Focus: Emil Jakob Schindler”*

Curator Brigitte Borchhardt-Birbaumer gives a tour through the exhibition “Night in Twilight. Art from Romanticism to the Present”*

Tour through the “Jubilee Exhibition: 150 Years Gustav Klimt”

Tuesday, 20 November 2012 2:00 p.m. Upper Belvedere As part of the exhibition series “Masterpieces in Focus”, the Belvedere presents “Emil Jakob Schindler”, one of the most eminent exponents of Austrian landscape art, whose work oscillates between the poles of the French Barbizon school of painting and Ferdinand Georg Waldmüller’s work. Schindler, who was born 170 years ago and died 120 years ago, developed his own style of atmospheric painting which defies common labeling like Impressionism, Realism or Romanticism. His novel vision of nature offered an alternative to the sumptuous art produced during the Ringstraßenstil era. Schindler is regarded as a painter of light and air. Pursuing neither a purely documentary realism nor an overly poetic romanticism, he strove to reconcile nature with the manmade artifact. This universality, which his pictures convey even today, will be the focus of the show. * Limited number of participants. Registration required: www.belvedere.at/events

EXHIBITION “Masterpieces in Focus: Emil Jakob Schindler”

27 September 2012–6 January 2013 Upper Belvedere

Wednesday, 21 November 2012 6:00 p.m. Lower Belvedere

Thursday, 22 November 2012 4:00 p.m. Upper Belvedere

* Limited number of participants. Registration is required: www.belvedere.at/events

As owner of the world’s largest collection of paintings by Gustav Klimt, the Belvedere takes this anniversary year as an opportunity for a special exhibition. “Jubilee Exhibition: 150 Years Gustav Klimt” in the Upper Belvedere’s piano nobile will showcase the entire collection of Klimt paintings in a very special way. Unlike in most exhibitions in recent years, the focus here is on the masterpieces themselves and on the message that each work has for the beholder, rather than on stylistic aspects and art-historical contextualization. The anniversary seems like an invitation to engage with every single year that followed Klimt’s death. Therefore, the exhibition also highlights the hitherto neglected history of reception of Klimt’s work and personality. Over the last 150 years, Klimt has become a phenomenon of art theory and contemporary history alike. The interdisciplinary approach and selection of exhibits as well as their graphic and multimedia presentation will no doubt portray Klimt and his impact on an entirely new level of mediation.

EXHIBITION

* Limited number of participants. Registration required: www.belvedere.at/events

Arranged in thematic sections, the exhibition “Night in Twilight” spotlights the transition from the “outer” to the “inner” night: The first part is dedicated to Romanticism as a reaction to the Enlightenment. It is followed by the “embrace of scientificity,” which involved electrification of cities around 1900 and brought out photography as a new artistic and scientific medium. The last part of the exhibition focuses on the return to the night in contemporary art. The exhibition showcases masterpieces of painting – including works by Ferdinand Georg Waldmüller, Philipp Otto Runge, Caspar David Friedrich, Moritz von Schwind, Anselm Feuerbach, Johann Heinrich Füssli, William Blake, Edvard Munch, Emil Nolde, Paul Delvaux, Ernst Ludwig Kirchner and Gerhard Richter – as well as works by famous photographers like Ansel Adams, Edward Steichen, Bill Brandt and Jürgen Klauke.

“Night in Twilight. Art from Romanticism to the Present”

EXHIBITION

24 October 2012–17 February 2013 Lower Belvedere

“Jubilee Exhibition: 150 Years Gustav Klimt”

13 July 2012–6 January 2013 Upper Belvedere

Art Cluster

departure – The Creative Agency of the City of Vienna

Get toGether, create toGether, work toGether!

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 office@departure.at www.departure.at

PANEL DISCUSSION

GUIDED TOUR

“What Makes a City?”*

departure fashion tour*

Thursday, 22 November 2012 3:30 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Vienna

Saturday, 24 November 2012 11:00 a.m.–2:00 p.m.

Over half of the world’s population lives in cities. And the numbers are growing. Some say globalization allows the significance of real living spaces and habitats to seem less important. In fact, places have never been as important as they are today. The city moulds our identity, and the creative person’s task is to participate in the design and organization of this identity. As part of VIENNA ART WEEK, departure asks the question “What Makes a city?” Leading creative artists will contribute interviews and give information within the context of a discussion on current topics related to the urban environment: How does creativity develop? What does a city have to offer in order to attract creative people? What is changing about the relationship between the center and the outskirts? How do we deal with gentrification? What is the quickest possible way to turn technology and innovations into marketable products? Participants: Barbara Albert, film director; Barbara Holub, architect and artist; Bettina Leidl, Managing Director of departure; Nada Nasrallah, Soda Designers; Petar Petrov, fashion designer in Vienna; Elfie Semotan, photographer; Tomas Zierhofer-Kin, Artistic Director of the Danube Festival Moderation: Clarissa Stadler * in German

Four fashion studios will be opening their doors to welcome visitors during VIENNA ART WEEK. Participants will be taken on an exciting tour of Vienna’s fashion scene, meet fascinating personalities and encounter a variety of different approaches to design and production. The tour will be led by Bettina Leidl, Managing Director of departure. Anna Aichinger Vienna-born Anna Aichinger studied fashion at the University of Applied Arts in Vienna under Jean-Charles de Castelbajac, Paolo Piva, Viktor & Rolf and Raf Simons, and graduated head of her class in 2003. With her straight-line designs and an approach to fashion that is as feminine as it is rebellious, Anna Aichinger knows how to give modern women a self-confident edge. Her unmistakable style shows an ironic play with quotations and revolutionary gestures; her designs are straightforward and marked by their versatility, high-quality materials and carefully measured sex appeal. www.annaaichinger.com

Gebrüder Stitch Some time ago, two marketing experts came up with the idea of making jeans. They quit their jobs, attended sewing courses and textile fairs, visited producers and tailors from China to Italy and learned all there is to know about perfect jeans. After more than 100 years of factory production, the blue “everyday uniform” finds its way to the tailors’ workshop, where jeans are made to measure and finished however the customer sees fit. Gebrüder Stitch makes individual pieces in a way that is both ecologically and socially sustainable – and in doing so creates a new context for both the production and consumption of jeans. www.gebruederstitch.at

superated & Samstag Peter Holzinger, designer behind the superated label, studied at the University for Applied Arts in Vienna under Viktor & Rolf and Raf Simons and has worked for Stephan Schneider, Wendy&Jim, as well as Veronique Branquinho in a teaching context. superated has been presenting men’s collections internationally since 2008 and women’s since 2011. At the “festival for fashion & photography” by Unit F, superated won the AFA (Austrian Fashion Award for International PR) in 2010 and the Fashion Production Award of the Vienna Economic Chamber in 2012. At the Samstag shop, Peter Holzinger and Christian Moser give Viennese and visitors to the city access to not only international labels, but also designs by young, globallydistributed Austrian designers. In addition to a wide range of men’s clothing by superated, house of the very island’s and Edwina Hörl, Samstag carries women’s fashions by designers such as Hussein Chalayan, cooperative design and Hartmann Nordenholz among others, along with accessories by the likes of Andy Wolf and Eva Blut. www.superated.com, www.samstag-shop.com

Florian Ladstätter Startling forms in constantly new combinations of materials quickly made Vienna designer Florian Ladstätter an international success. His jewelry collections are published in the world’s best-known magazines and sold in the most prestigious concept stores. More than anything, it is the openness to the various fantasies of wearer and viewer that makes Ladstätter’s jewelry so multifaceted and desirable. * Limited number of places available, registration is required: E office@departure.at. Registered participants will be notified of the meeting place.

Art Cluster

DOROTHEUM

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.

PANEL DISCUSSION “Artists as Collectors”

Thursday, 22 November 2012 3:00 p.m.–4:30 p.m. Artists need to see their sources of inspiration to create art. Some of them also constantly revisit masterworks by other artists that they find especially inspiring and influential, using these works – and their own, changed view of the history of great art – as a “yardstick” for measuring their own creative output. Why do artists collect? Is collecting a source of inspiration, a sort of backlight, a “cultural political performance,” or even an investment? Moderation: Edek Bartz

PANEL DISCUSSION “New York – Capital of Art? Art Production Between Market and Discourse”*

The art market, on the other hand, has defied the ubiquitous depression. It appears unfazed by these economically turbulent times – flourishing, even. As a result, the monetary value of art dominates the current discourse, while artistic content appears to have taken a back seat. International experts will determine the status quo and discuss how, in spite of the pressure from the market, a niche can be found in the arts in which the content matters again and where “uncollectible” art has significance too. Participants in the discussion: Julieta Aranda, artist and founder of E-Flux, Berlin; Axel Haubrok, Haubrok Collection, Berlin; Barry Lord, Co-President of Lord Cultural Resources, Toronto; Kenny Schachter, curator, London; Berta Sichel, independent curator, Madrid Moderation: Robert Punkenhofer, Artistic Director of VIENNA ART WEEK

Thursday, 22 November 2012 5:00 p.m.–6:30 p.m.

PANEL DISCUSSION

For detailed information, see the Essl Museum’s program on page 16.

“Vienna–Moscow. Art Scenes in Close Dialog”*

LECTURE “The Resale Right Directive and Other Measures: How the European Art Market is Being Spoiled”* Lecture by Antoon Ott, art historian, lawyer and founder of Artilaw, Amsterdam

Friday, 23 November 2012 12:00 noon–12:45 p.m. PANEL DISCUSSION “Keeping up Appearances. The Value of Art in Times of Economic Insecurity”*

Friday, 23 November 2012 1:00 p.m.–3:00 p.m. Hard times are upon us. Day in, day out we are inundated with new, bad tidings about a collapsing global market, the ailing euro, reluctant investors, a stagnant cash flow, slumping stock markets, etc., etc.

Friday, 23 November 2012 3:00 p.m.–5:00 p.m. Participants in the discussion: Tanja Skorepa, STRABAG KUNSTFORUM; Anna Jermolaewa, artist; Hans Knoll, Knoll gallery, Vienna and Budapest; Simon Mraz, Director of the Austrian Cultural Forum Moscow; Christina Steinbrecher and Vita Zaman, Artistic Directors of VIENNAFAIR; Dimitri Ozerkov, State Hermitage Museum, Saint Petersburg Moderation: Michael Huber, journalist, Vienna For detailed information, see the article “Vienna–Moscow, Round Trip. On Cultural Transfer and Cultural Dialogue“ (page 71).

PANEL DISCUSSION

PANEL DISCUSSION “What Makes a City?”**

Friday, 23 November 2012 7:00 p.m. For detailed information, see departure’s program on page 14.

DOROTHEUM DAY DOROTHEUM goes mumok

Sunday, 25 November 2012 10:00 a.m.–6:00 p.m. mumok – Museum Moderner Kunst Stiftung Ludwig Wien, Museumsplatz 1, 1070 Vienna On DOROTHEUM day, the mumok has a wide program to offer to all guests of the DOROTHEUM: A special exhibition showcases “Dan Flavin”, a leading proponent of minimal art. Parallel to this, the mumok is exhibiting “Poesie der Reduktion. Minimal, Concept, Land Art” from its own collection, as well as Judith Barry’s double projection “Voice Off” and “Alejandro Cesarco”, who was awarded the Baloise Art Prize 2011. www.mumok.at

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

19–23 November 2012 10:00 a.m.–6:00 p.m. on all days 24–25 November 2012 10:00 a.m.–5:00 p.m. on all days All items to be auctioned at the DOROTHEUM in its fourth week of auction (26–30 Novem ber 2012) will be on display during the VIENNA ART WEEK. Experts in the respective fields will be available for information and guided tours. * in English ** in German

“Body and Art – the Image of Hysteria in the 21 Century”*

Friday, 23 November 2012 5:00 p.m.–6:30 p.m. For detailed information, see the Sigmund Freud Museum’s program on page 31.

Art Cluster

Essl Museum – Contemporary Art

Steven and William Ladd, New York City, September 2007, Photo: Andrew Zuckerman, © the artists Essl Museum – Contemporary Art An der Donau-Au 1 3400 Klosterneuburg / Vienna

KEY TOPIC “New. New York”

“New. New York”

T +43 2243 370 50 150 F +43 2243 370 50 22 E info@essl.museum

PANEL DISCUSSION

www.essl.museum

“New York – Capital of Art? Art Production Between Market and Discourse”*

Opening hours: Tue.–Sun. 10:00 a.m.–6:00 p.m. Wed. 10:00 a.m.–9:00 p.m.

Thursday, 22 November 2012 5:00 p.m.–6:30 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Vienna New York has been considered the visual art capital of the world for decades. Artists will discuss the question as to what extent the New York art world continues to set the international standard, and how working conditions for young artists have changed: is New York still the city leading the international contemporary art discourse? Or has the scene shifted to other places in the global arena? Is the market stronger than discourse? Are there characteristics specific to a city’s art scene that are taken directly from other scenes? How does a local scene establish itself in a global context? How important is the Brooklyn art scene in light of these considerations? Panelists include: John Silvis, curator and artist, New York; Judith Eisler, artist, Vienna and New York; Shelly Silver, artist, New York; Ryan Ford, artist, New York Moderation: Robert Punkenhofer, Artistic Director of VIENNA ART WEEK * in English

EXHIBITION

23 November 2012–31 March 2013

MOVIE NIGHT

Opening: Thursday, 22 November 2012 7:30 p.m., Essl Museum* As part of its “emerging artists” series, the Essl Museum’s “New. New York” exhibition shows current trends from New York. Recent years have seen a shift in the city’s artistic production particularly to the Bushwick neighborhood of Brooklyn, where there are many studios and art spaces. Curated by John Silvis, who studied at the Academy of Fine Arts Vienna under Arnulf Rainer and lives and works in New York, “New. New York” presents works by 19 artists aged between 22 and just over 50, all of whom were chosen according to a common criterion: the artists – all at different stages in their careers – deal with the artistic medium, the material in itself, and reinterpret it. Though made with well-known media such as photography, video, installation, sculpture, painting and textiles, their work deconstructs existing art genres, decelerates time, repurposes material and revives old technologies – without elevating it to a standard approach. * Free transfer to the Essl Museum; shuttle bus departs at 6:45 p.m. (be on time!), Albertinaplatz 1, 1010 Vienna; registration is required: E info@essl.museum

“New. New York – The Long Night of Young American Art Movie”

Friday, 23 November 2012 Gartenbaukino, Parkring 12, 1010 Vienna

A cooperation of Gartenbaukino and the Essl Museum in the context of the exhibition “New. New York”. Curators: Norman Shetler (Gartenbaukino) and John Silvis, artist and curator, NYC. Further information at: www.essl.museum/film

EXHIBITION Xenia Hausner, “ÜberLeben”

September 2012–20 January 2013 EXHIBITION Alex Katz

15 September 2012–6 January 2013

On November 23 and 24, 2012, admission to the Essl Museum is free for all visitors of the VIENNA ART WEEK!

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 office@filmmuseum.at 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.

HOMAGE Jack Smith Film maker, photographer, performer, illustrator and author Jack Smith, who was born in Columbus, Ohio, in 1932 and died in New York City in 1989, is secretly acclaimed as a key figure in the art history of the last half century. By art market standards, his work remained utterly unsuccessful throughout his life. Yet in view of the artistic processes and discourses that were inspired by his work and personality or actually materialized in it – from the late 1950s and early 1960s New American Cinema to contemporary Queer culture, from the transformation of the avant-garde by means of “camp” elements and “superstardom,” through to the history of performance art – his work was tremendously influential, and continues to gain importance. The tribute to Jack Smith features a program of 15 events dedicated to his cosmos as a film maker and actor, performer and cinephile. His best-known works include “Flaming Creatures” (1962/63) and numerous other films that were extremely hard to come by for decades and were only recently restored. Guests and participants include New York-

based curator and film critic J. Hoberman, who conceived the retrospective; Peter Kubelka, co-founder of the Film Museum, who introduced Smith to the Austrian public as early as the 1960s; film scholar Marc Siegel, who in recent years has supervised several published works and events on Jack Smith; and Diedrich Diederichsen, professor at the Academy of Fine Arts Vienna and author of numerous publications on the underground/ avant-garde/pop culture. All events are open to the public and can be visited at the Film Museum’s regular admission prices. Advanced ticket sale starts on 12 October 2012.

FILM SCREENING Jack Smith, “Flaming Creature”

16–29 November 2012 6:30 p.m. and 8:30 p.m. LECTURE AND FILMS Lecture by Marc Siegel, “Could Jack Smith’s Art Ever Be Useful?”*

Wednesday, 21 November 2012 8:15 p.m. CONVERSATION AND FILMS Peter Kubelka in a conversation about Jack Smith

Thursday, 22 November 2012 8:15 p.m. LECTURE AND FILMS J. Hoberman, “The Secret Flix of Jack Smith”*

Friday, 23 November 2012 8:15 p.m. LECTURE AND FILMS Diedrich Diederichsen, “Smith and Music”

Wednesday, 28 November 2012 6:30 p.m. * in English

Jack Smith, 1977, © Friedl Kubelka 17

Art Cluster

Generali Foundation

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

WORKSHOP “Me–You: Choreographies, Games, and Exercises” “collective-conversation” with Ricardo Basbaum

20–23 November 2012 2:00 p.m.–6:00 p.m. on all days “In the frame of the exhibition ‘Counter-Production’, I propose to organize a new action as part of my series ‘collective-conversation’ with a group of participants who are willing to share some collaborative moments. The action involves the preparation of a script and its performative reading within the context of the exhibition. Topics addressed by the conversation will be defined in relation to the concrete group participating in the workshop, but will include aspects such as group dynamics, experience, and collective and intersubjective interplay. The ‘collective-conversation’ should be recorded and eventually included in the exhibition as a sound piece. The aim of the ‘collective-conversation’ is to present some impressions and topics in a polyphonic mode, an interplay of the voices of all the participants – both as writing and as sound. The public reading will be arranged in terms of a musical presentation, including refrains, choruses, silences, improvisations, and other aspects of musical dynamics.” (Ricardo Basbaum)

Ricardo Basbaum (born 1961, São Paulo) lives and works in Rio de Janeiro. As an artist and writer, he has been investigating art as an intermediating device and platform for the articulation of sensorial experience, langu age, and sociability. Since the late 1980s, he has been nurturing a vocabulary specific to his work, applying it in a unique way to each event or institutional relationship. Recent solo shows include “conjs., re-bancos*: exercícios&conversas” (Museu de Arte da Pampulha, Belo Horizonte, 2011/2012). His work was exhibited at documenta 12 (2007) and the 7th Shanghai Biennale (2008). This year, he will participate in the Busan Biennale and the 30th Bienal de São Paulo.

According to filmmaker and author Alexander Kluge, counter-production – a term coined in the 1970s – is a strategy able to articulate a mode of counter-control. The exhibition questions the entanglement of this term in works and texts by contemporary artists. It addresses how artists position themselves or maintain a critical stance between affirmation and negation of the system which we are all part of. With works by Ricardo Basbaum, Mary Ellen Carroll, Dexter Sinister, Goldin+Senneby, Marine Hugonnier, Henrik Olesen, Seth Price, Josephine Pryde, Lili Reynaud-Dewar, Josef Strau and Marion von Osten.

Exhibition

GUIDED TOUR “Counter-Production” Curators Diana Baldon and Ilse Lafer guide through the exhibition “Counter-Production”

Friday, 23 November 2012, 4:00 p.m. The exhibition “Counter-Production” focuses on methods of production and questions how artistic production is experienced and addressed today. These artistic approaches can be described as “counter-productive” for the way they question the purpose of and implication in the hegemonic rules and logics that govern the established structures of art and other fields: global finance, urban planning, work of reproduction, etc.

7 September–16 December 2012

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 info@jmw.at www.jmw.at 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.

Exhibition

EXHIBITION

“Vienna Today 2012. Photographs of Contemporary Jewish Life by Josef Polleross”

“Vienna’s Shooting Girls. Female Jewish Photographers from Vienna”

12 September 2012–20 May 2013 Museum Judenplatz

LECTURE TOUR “Time travel through the Mazzesinsel. A walk with photographer Josef Polleross and the Jewish Museum Vienna”*

Sunday, 25 November 2012 11:00 a.m. Time traveling with Josef Polleross: for his exhibition at the Museum Judenplatz, the photographer followed religious Jews and their traditional rituals. Yet his pictures also bear witness to secular Jewish life – between the sporting events, commerce and publishing, street festivals, music and customs that animate and connect the lives of religious and non-religious Jews alike. What does the photographer like best about this district? What address, which corner or angle of the Leopoldstadt has seduced his eye? A walk through Vienna is a stroll through history – past monuments, important addresses or statues of the people who have shaped this city in one way or another. Wandering in Jewish Vienna, visitors can appreciate the past and encounter the present at the same time. The city’s second municipal district, the so-called Mazzesinsel (“Matzoh Island”), was once the heart of Jewish Vienna, and beckons to a travel through time.

Atelier Geiringer & Horovitz (Trude Geiringer / Dora Horovitz), Elisabeth Bergner on Vienna’s “Cobenzl”, 1931 Silver gelatine print, brown tinged Photo museum WestLicht

19 October 2012–3 March 2013 Jewish Museum Vienna, Dorotheergasse

* Maximum 20 participants. Participants will be informed of the meeting place upon registration: E info@jmw.at

Lecture by Lisa Silverman as part of the exhibition “Vienna’s Shooting Girls. Female Jewish Photographers from Vienna”*

Thursday, 22 November 2012 6:30 p.m. Jewish Museum Vienna, Dorotheergasse The exhibition “Vienna’s Shooting Girls. Female Jewish Photographers from Vienna” provides an intensive look at the large number of photography studios run by Jewish women in Vienna until 1938. But it does more than simply give the reasons for the unusually high number of wealthy women who chose this profession. The exhibition also revisits the high aesthetic quality of the works of many of these unjustly forgotten female photographers. A selection of photographs by around 30 Jewish female photographers in Vienna – including not only Dora Kallmus (d’Ora) and Trude Fleischmann, but also Edith de Barakovich, Trude Geiringer & Dora Horovitz, Edith Glogau, Pepa Feldscharek, Cécile Machlup and Edith Tudor Hart – shows just how extraordinary the percentage of Jewish women in this field was. Lisa Silverman (University of WisconsinMilwaukee) will speak about the education, training and employment of women from the Jewish bourgeoisie in Vienna around 1900 as preconditions for this striking phenomenon. * in English

Art Cluster

KÖR Kunst im öffentlichen Raum Wien

KÖR Kunst im öffentlichen Raum GmbH Museumsplatz 1 / Stiege 15 1070 Vienna T +43 1 521 89 1257 F +43 1 521 89 1217 E office@koer.or.at www.koer.or.at

SYMPOSIUM “Planning Unplanned_Exploring the New Role of the Urban Practitioner” Workshops, lectures and discussions*

19–20 November 2012 Faculty for Architecture and Planning / Vienna University of Technology (TU) In a context of deindustrialization, deregulation and privatization, artists have joined architects and urban planners to assume an ever more important role in the restructuring of cities. The aim of this international symposium is to discuss and reposition these urban practitioners’ activity: what significance do artistic practices gain in view of the increas ingly investor-oriented (urban) planning? What tools and methods have urban practitioners developed so far, and how have they experienced cross-disciplinary cooperation? What conditions are needed for artistic and experimental urban strategies to enter into the current planning practice? How can such strategies resist exploitation for neoliberal interests and facilitate the social effective ness of future-oriented, innovative ideas? The international symposium is conceived as a productive event combining workshops, public lectures and discussions. It addresses both practitioners and theorists interested in discussing the possibilities for an independent implementation of their artistic and urbanistic practices within processes of urban development.

Specific artistic formats will be developed for the workshops, which will be attended by experts on various disciplines and representatives of municipal departments responsible for urban planning. These formats can be experienced firsthand as new tools and methods of communication and production for current urbanism-related issues, and we will be exploring their potential for implementa tion in the (planning) practice. The results of the workshops will be presented to the public and put up for discussion before each evening lecture. Contributions to the symposium will form an integral part of the publication “Planning Unplanned”, which will round off an eponymous research project carried out in 2013 under the direction of Barbara Holub at the Institute of Art and Design 1 (Vienna University of Technology). Participants include: Regina Bittner, cultural scientist, Bauhaus University, Dessau; Grant Kester, art theorist, UCSD, San Diego; Georg Winter, artist, Saar College of Fine Arts, Saarbrücken; Mick Wilson, artist, curator and art theorist, GradCam Dublin; Angelika Burtscher, Osservatorio Urbano / Lungomare, Bolzano; Yvette Masson-Zanussi, EFAP / European Forum for Architectural Policies, Brussels; Markus Miessen, architect and architectural theorist, Städelschule Frankfurt; Torange Khonsari, public works, London; Paul O’Neill, artist, curator and art theorist, Bristol; Markus Ambach, artist and curator, MAP Projects, Düsseldorf; Alisa Prudnikova, curator, Ural Industrial Biennial, Yekaterinburg; Folke Köbberling, artist, Koebberling Kaltwasser, Berlin.

Conception and Organization: Barbara Holub / Institute of Art and Design 1, Faculty for Architecture and Planning / Vienna University of Technology (TU); supported by the Department of Housing and Design (at the TU), the Centre of Local Planning (IFOER), in collaboration with the Academy of Fine Arts Vienna. * In German and English. For detailed information, see: http://urban-matters.org/symposium, www.koer.or.at

Art Cluster

KUNSTHALLE wien

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 project space / public space Treitlstrasse 2 1040 Vienna Opening hours: Tue.–Sat. 1:00 p.m.–12:00 midnight Sun.–Mon. 1:00 p.m.–7:00 p.m. T +43 1 521 89 33 F +43 1 521 89 1217 E office@kunsthallewien.at www.kunsthallewien.at

Daniel Knorr, Explosion, 2012, Courtesy of the artist and Galerie nächst St. Stephan / Rosemarie Schwarzwälder, Vienna © Daniel Knorr, Photo: KUNSTHALLE wien 2012

CONVERSATION

EXHIBITIONS

“Extreme Art and The Body Politic: Mike Parr & Leigh Bowery”* Australian art theorist Anne Marsh in conversation with curators Synne Genzmer and Angela Stief

“Art in Public Space: Obsessive Controversies or Recurrent Polemics?” Artist Daniel Knorr in conversation with curator Cathérine Hug

“XTRAVAGANZA. Staging Leigh Bowery”

Wednesday, 21 November 2012 7:00 p.m.–10:00 p.m. (including a drink or two) KUNSTHALLE wien karlsplatz project space

“Mike Parr. Edelweiß”

Tuesday, 20 November 2012 5:00 p.m. KUNSTHALLE wien museumsquartier In fall, KUNSTHALLE wien is presenting “Mike Parr. Edelweiß” and “XTRAVAGANZA. Staging Leigh Bowery” – two artistic positions that could not be more different in their approaches to the subject of performance. In his radical actions Mike Parr, born in Australia in 1945, goes to the limits of his body and physical capacity – even to the point of self-mutilation – to explore the nature of memory and the control over the self. In his performances, Parr proceeds on the identity of the artist and triggers shock, pain, disgust and taboo to provoke extraordinary reactions and debates on ethical values. Cross-over talent Leigh Bowery (b. 1961 in Sunshine, Australia) on the other hand, used to stylize himself as a walking piece of art and emphasize his self-display with flamboyant fashion designs. With his “looks” he accentuated, deformed and overemphasized his appearance, which was big and voluminous by nature, and positioned himself as a colorful figure of London’s subculture between art, fashion, music and performance. Leigh Bowery’s glamorous and eccentric performances in urban fashion shows and London’s hippest nightclubs came to a sorry end when he died of AIDS-related illness on New Year’s Eve 1994. * in English

19 October 2012–3 February 2013 KUNSTHALLE wien museumsquartier

8 November 2012–24 February 2013 KUNSTHALLE wien museumsquartier

KUNSTHALLE wien presents “Explosion”, a sculpture by Bucharest-born (1968) and Berlin-based artist Daniel Knorr, which he designed especially for the institution’s project space on Karlsplatz. His work is the materialization of an explosion. The sculpture shows a split-second process: the volume extension caused by the shock wave is “frozen” in the air and thus becomes physically tangible. Due to media coverage – most notably, in recent times, “embedded journalism” – and video games like the popular first-person shooters, explosions have long ceased to be terrifying symbols of destruction, and “dynamite” has found its way into everyday language as a metaphor for powerful, intense moments. In times like these, Knorr’s “Explosion” sculpture is food for thought. The “Explosion” sculpture and a conversation between curator Cathérine Hug and artist Daniel Knorr within the framework of VIENNA ART WEEK are presented by KUNSTHALLE wien and the Romanian Cultural Institute in Vienna.

EXHIBITION “skulptur: Daniel Knorr. Explosion”

30 March 2012–28 February 2013 KUNSTHALLE wien karlsplatz public space

Art Cluster

KUNST HAUS WIEN

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

EXHIBITION

COMPETITION & AWARD PRESENTATION

“Photo Booth Art. The Aesthetics behind the Curtain, from the Surrealists to Rainer and Warhol”

Award ceremony for the winners of the “Photo Booth Art” competition

10 October 2012–13 January 2013 Until a few years ago, photo booths could be found at every train station and at numerous other places in cities; today they are a vanishing species. When the first photo booths appeared in Paris in 1928, artists, too, were fascinated by the possibility of obtaining automated self-portraits within minutes for very little money. The Surrealists were the first to recognise the artistic potential of photo booths. Many other artists were to follow, for example Cindy Sherman, Arnulf Rainer, Andy Warhol or Thomas Ruff. With more than 300 works by about 60 international artists, this exhibition introduces us to the world of the “aesthetics behind the curtain,” which ranges from the photo booth’s “original” function of producing passport photos, to artistic ways of playing with identities, to the telling of short stories, through to the creation of individual worlds. The exhibition was developed by the Musée de l’Elysée Lausanne and will be shown only three times in Europe: in Lausanne, Paris and Vienna.

Wednesday, 21 November 2012 7:00 p.m. As part of the “Photo Booth Art” exhibition, KUNST HAUS WIEN is holding a competition for the creative and artistic use of a photo booth available in the entrance hall of the museum from 9 October 2012. To participate in the competition, candidates must submit a strip of four photos and a completed entry form to the museum’s ticket office by 11 November 2012. A jury headed by Andreas H. Bitesnich will select the ten most creative and original motifs. The winners will be announced and the prizes awarded on 21 November 2012, 7 p.m., at KUNST HAUS WIEN. The 1st, 2nd and 3rd prizes will be LAMBDA enlargements of the winning motifs, the 4th to 10th prizes will be digital enlargements of the winning motifs, provided by cyberlab. The winning motifs will be displayed in the “Photo Booth Art” exhibition until 13 January 2013.

Cindy Sherman, Untitled (Lucille Ball), 1975 © Musée de l’Elysée, Lausanne

Art Cluster

Kunsthistorisches Museum

Ed Ruscha, Photo: Gary Regester © Courtesy Gagosian Gallery Kunsthistorisches Museum Maria-Theresien-Platz 1010 Vienna T +43 1 525 24 4025  F +43 1 525 24 4098 E info@khm.at www.khm.at  Opening hours: Tue.–Sun. 10:00 a.m.–6:00 p.m. Thu. 10:00 a.m.–9:00 p.m.

EXHIBITION Ed Ruscha, “The Ancients Stole All Our Great Ideas”

25 September–2 December 2012

GUIDED TOUR

KHM Adjunct Curator Jasper Sharp gives a tour through the exhibition “The Ancients Stole All Our Great Ideas”*

Guided tour through the exhibition “The Ancients Stole All Our Great Ideas”*

Tuesday, 20 November 2012 4:00 p.m. Thursday, 22 November 2012 6:00 p.m. As of 2012, the Kunsthistorisches Museum will be inviting internationally-renowned artists to curate exhibitions with objects from the museum’s own collections. The series kicks off this fall with a presentation by American painter Ed Ruscha; starting September 25th 2012, the artist will be revealing his own, very personal perspective on the collections with “The Ancients Stole All Our Great Ideas”, an exhibition at KHM’s Picture Gallery that situates the art pieces into a new context. The primary focus of Ruscha’s exhibition consists of objects from the Kunstkammer (Collection of Sculpture and Decorative Arts), thus allowing the public an opportunity to see the treasures of the Collection even before its grand reopening on February 28th, 2013. Guided tours through the exhibition will offer the public an exclusive taste of what is to come with next year’s art calendar highlight.

* In German. Limited number of participants. Registration is required: E viennaartweek@khm.at

* In English. Limited number of participants. Registration is required: E viennaartweek@khm.at

Art Cluster

Künstlerhaus k/haus

Künstlerhaus k/haus Karlsplatz 5 1010 Vienna T +43 1 587 96 63 F +43 1 587 87 36 E office@k-haus.at www.k-haus.at Opening hours: Fri.–Wed. 10:00 a.m.–6:00 p.m. Thu. 10:00 a.m.–9:00 p.m.

EXHIBITION

THEME DAY

PERFORMANCE

“Kann es Liebe sein?”

“Photography at the Künstlerhaus”

20–25 November 2012

Wednesday, 21 November 2012 1:00 p.m.–6:00 p.m.

“Between All the Stools of Love” with Julius Deutschbauer, as part of the exhibition “Kann es Liebe sein?”*

Opening: Monday, 19 November 2012 6:00 p.m. In the 1980s, young singer Falco and actress Désirée Nosbusch mused on the meaningful question “Kann es Liebe Sein?” (Can it be love?) in a saccharine duet song. Thirty years later, Berlin-based curators Nora Mayr and Gilles Neiens took the question as the starting point for an exhibition exploring the subject of love and its meaning in contemporary art. After Berlin and Luxembourg, the exhibition has now come to Vienna. Participating artists from Austria, Luxembourg, Cyprus and Singapore include: Maria Anwander, Julius Deutschbauer, Katharina Lackner, Christoph Meier, Max Mertens, Suzan Noesen, Christodoulos Panayiotou, Armand Quetsch, Letizia Romanini, Kay Walkowiak and Ming Wong.

Presentation of the Künstlerhaus projects as part of “Eyes On – Month of Photography Vienna” in the presence of the artists and curators: “Pez Hejduk: vor ort_on site” (curator: Ruth Horak); “FRAME – eine (inter) aktive Foto-Videoinstallation”; “Me Myself & Them” (Renate Bertlmann, Ilse Chlan, Linda Christanell, G.R.A.M., Matthias Herrmann, Leo Kandl, Brigitte Konyen, Paul Albert Leitner, Edgar Lissel, Claudia-Maria Luenig, Karin Mack, Sabine Maier, Sissa Micheli, Michael Michlmayr, Klaus Pamminger, Margot Pilz, Josef Wais, Elisabeth Wörndl); “Sabine Hauswirth: Menschen in Wien”, “Marko Zink: Im Kurhotel”, “Wojciech Krzywobłocki: Zwischen Rot und Weiß”, “Zeitgeist: Photography – Vice Photography Exhibition” (Philippe Gerlach, Daliah Spiegel, Piotr Sokul, Christoph Pirnbacher, Bree Zucker, Katarina Šoškic´ , Rita Nowak; curators: Mario Grubišic´ und Magdalena Vukovic´ ).

Saturday, 24 November 2012 4:00 p.m. Künstlerhaus k/haus Passagegalerie, Karlsplatz 5, 1010 Vienna, afterwards STUDIOS of the Lenikus Collection, Bauernmarkt 9, 1010 Vienna How do you love yourself? – And what if you’re not enough for yourself? – Am I not offended to be your self-love? – Are you capable of loving someone in any other way than a shadowy one? – Can any love, no matter how great, be more than the shadow of a love if there is no sensual gratification? – When it comes to love, are you actually just a visitor? – And what the other one says and thinks and really is … does it have any bear ing on it? These and similar questions (all culled from “Conversations about Love” in Robert Musil’s “The Man Without Qualities” will be let loose on the audience, which will also be called upon to participate in a number of love exercises. * in German

Art Cluster

Leopold Museum

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

GUIDED TOUR

EXHIBITION

GUIDED TOUR

Japanologist Peter Pantzer (University of Bonn) leads a guided tour through the exhibition “Japan – The Fragility Of Being. Masterpieces from the Genzo Hattori Collection”

“Japan – The Fragility Of Being. Masterpieces from the Genzo Hattori Collection”

Special tour through the exhibition “naked men”; welcome address by Director Tobias G. Natter

28 September 2012–28 January 2013

Friday, 23 November 2012 3:00 p.m.

Wednesday, 21 November 2012 4:00 p.m.

LECTURE

“Japan – The Fragility Of Being” is the first exhibition in Austria to showcase a representative selection of around 50 masterpieces of traditional Japanese ink painting (Sumi-e) and calligraphy (Shodo¯) from the Genzo Hattori Collection. Never before has this ex traordinary private collection, which includes 12th- to 20th-century works, been shown to the public. The show also includes never-before-seen 17th- to 20th-century Japanese color woodcuts from the Leopold II Collection.

“Stripped Bare but not Exposed: The Male Nude in American Art”* Lecture by Jonathan Weinberg (Yale University) as part of the exhibition “naked men”

The present flood of images intrinsic to our modern-day lifestyle has brought an unprecedented degree of public presence to depictions of the male nude. At the same time, categories such as “masculinity,” “body” and “nudity,” which once seemed persistent and tenacious, have increasingly blurred on a broad social basis, contributing to a redefinition of the male role. For the Leopold Museum, this development is an occasion to journey through both contemporary and historical visual arts in search of the nude male, an exploration with a focus ranging from the lure of antiquity prevalent in art around 1800 to the present.

Thursday, 22 November 2012 7:00 p.m.  * in English

EXHIBITION “naked men”

19 October 2012–28 January 2013

Art Cluster

MAK

Koloman Moser for Wiener Werkstätte Writing Cabinet for the Waerndorfer family, 1903/04 MAK Furniture Collection, © Gerald Zugmann/MAK MAK – Austrian Museum of Applied Arts / Contemporary Art

EXHIBITION

GUIDED TOURS

Stubenring 5 1010 Vienna

“Vienna 1900” Redesign of the MAK Permanent Collection

Solo exhibition “Pae White. ORLLEGRO” MAK Permanent Collection Contemporary Art

Special guided tours through the exhibition “Vienna 1900”*

T +43 1 711 36 346 F +43 1 711 36 291 E office@MAK.at www.MAK.at 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 6:00–10:00 p.m.

starting 21 November 2012 Opening: Tuesday, 20 November 2012 7:00 p.m. On 20th November 2012, as part of the successive redesign of its permanent exhibition, the MAK (Austrian Museum of Applied Arts / Contemporary Art) is opening three showrooms dedicated to the development of applied arts in Austria between 1890 and 1938. Underlying the conceptual reorganization was the decision to position the MAK as a center of competence for Viennese arts and crafts from around 1900. Keeping with the MAK’s previous practice, the showrooms are designed according to an artist’s master concept; this time, we were able to enlist the help of American artist Pae White. Christian Witt-Dörring is responsible for the content and concept.

21 November 2012–12 September 2013 Opening: Tuesday, 20 November 2012 7:00 p.m. Pae White is one of the most eminent international artists of her generation. She was born in 1963 and lives and works in Los Angeles. Her work focuses on synergies generated by an interaction of visual and applied arts, design and architecture. For the show (her first institutional solo exhibition in Austria) Pae White has created a fullscale installation taking up various thematic aspects of the MAK’s multi-discipline collection, particularly the redesign of the Permanent Collection “Vienna 1900”.

LECTURE “Let Objects Speak. Conceptual Thoughts on the Redesign of the Permanent Collection ‘Vienna 1900’” Lecture by Christian Witt-Dörring

Saturday, 24 November 2012 11:00 a.m.–12:00 noon MAK Lecture Hall

Thursday, 22 November 2012 Friday, 23 November 2012 at 4:30 p.m. on both days * Limited number of participants. Registration is required: E education@MAK.at

PRESENTATION Presentation of the MARS Crystal Collection*

Saturday, 24 November 2012 12:30 p.m. MAK Columned Main Hall Artist Jenny Holzer based her 2006 design for the MAK ART SOCIETY’s (MARS) Annual Gift on a classic glass from Adolf Loos’s drinking set no. 248 – a classic of glass manufacturer J. & L. Lobmeyr’s collection since 1931. Following designs by Franz Graf (2007), Eva Schlegel (2010) and Manfred Wakolbinger (2011), other luminaries of Austria’s art scene including Heimo Zobernig, Brigitte Kowanz have continued this engagement with Loos’s provocative perfection. Glasses were painted, engraved and tattooed, sometimes very noticeably and other times with only very subtle modifications. The resulting series is richly varied – both a contemporary document and a collection of utility objects, since the glasses come in an unlimited edition and are made for everyday use. * Limited number of participants. Registration is required: E makartsociety@MAK.at

Art Cluster

mumok Museum Moderner Kunst Stiftung Ludwig Wien

EXHIBITION

LECTURE

MuseumsQuartier, Museumsplatz 1 1070 Vienna

“Dan Flavin – Lights”

T +43 1 525 00 0  F +43 1 525 13 00 E info@mumok.at

Dan Flavin (1933–1996), a leading proponent of minimal art, made groundbreaking works of art with nothing but standard fluorescent tubes. His installations are as sober as they are sensual, creating new relationships between the artwork, the viewer, and space. This is Austria’s first survey exhibition of Flavin’s fluorescent tubes, whose presentation has been specially adapted to suit mumok’s architecture.

“The Abyss of Presentness. Flavin’s Skepticism”* Lecture by Juliane Rebentisch; welcome address by Director Karola Kraus

www.mumok.at Opening hours: Mon. 2:00 p.m.–7:00 p.m.   Tue., Wed., Fri.–Sun. 10:00 a.m.–7:00 p.m.   Thur. 10:00 a.m.–9:00 p.m.

13 October 2012–3 February 2013

Friday, 23 November 2012 7:00 p.m. “It all seems so simple: standard neon tubes in mostly empty spaces – familiar objects in straightforward situations. Yet Dan Flavin’s art raises a number of questions that go to the core of our understanding of art: how should we figure the relationship between art and design, artwork and the situation, singularity and seriality, transcendence and irony, subject and object these days? What comes of central aesthetic categories of the industrial age, such as beauty and the sublime? And finally, across all of these questions: as evident as the aforementioned impression may seem in the case of Flavin’s works, how can we pin down their presence?” (Juliane Rebentisch)

In a lecture held on the occasion of the Dan Flavin exhibition, art theorist and philosopher Juliane Rebentisch will be dealing with questions related to his art. Juliane Rebentisch is professor of philosophy and aesthetics at the Offenbach University of Art and Design and an associate member of the Frankfurt Institute for Social Research. * in German

Photo: mumok 27

Art Cluster

MUSA

© MUSA, Photo: Michael Wolschlager MUSA – Museum Startgalerie Artothek Felderstrasse 6–8 1010 Vienna T +43 1 4000 8400 F +43 1 4000 99 8400 E musa@musa.at www.musa.at 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.

CONGRESS “Materiality/Immateriality in Photography”* Congress with introductory presentations, discussions and statements

Saturday, 24 November 2012 9:30 a.m.–5:00 p.m. In recent years, Internet, virtual reality and social platforms like Facebook, Twitter and Flickr have fundamentally changed the means of spoken, written, sound and visual communication. Held by MUSA and the European Society for the History of Photography (ESHPh) as part of “Eyes On – Month of Photography Vienna”, the congress will focus on the consequences of this “digital turn” for our concept of material in photographic image systems and question what shape the specific structures, mechanisms and intentions of materiality/immateriality can take in future photography. Photography as an image system can neither evolve nor be perceived without “materiality,” and yet immateriality is an inherent part of present-day digital systems: physical image carriers, specific locations, time structures and contexts are prerequisites for the complex interrelationships between photographic production, communication and reception. The extent to which materiality, immateriality and virtuality can – in view of the digital media paradigm shift – be conceived of as constructs of images, will be investigated and discussed in the contexts of production, media and society.

The transdisciplinary event, in which science will meet photographic statements and practice, is aimed at anyone with a special interest in contemporary photography, which particularly includes artists, theorists, historians, webmasters and graphic designers. Individual contributions will feature in a catalog published by the ESHPh in 2013. Participants include: Hubertus von Ame lunxen, Braunschweig University of Art (HBK); Thomas Freiler, Academy of Fine Arts, Vienna; Caroline Fuchs, University of Vienna; Danielle Leenaerts, Université Libre de Bruxelles; Amélie van Liefferinge, Musée de la Photographie, Charleroi; Edgar Lissel, Vienna; Moritz Neumüller, Barcelona; Jeanna Nikolov-Ramírez Gaviria, New York; Monika Schwärzler-Brodesser, Webster University, Vienna; Uwe Schögl, ESHPh, Vienna (conception and organization); Andreas Spiegl, Academy of Fine Arts, Vienna; Peter Weiermair, Innsbruck/Frankfurt am Main * In German and English. Free admission. Registration required: E musa@musa.at

Art Cluster

quartier21/MQ

quartier21 Museumsplatz 1 1070 Vienna T +43 1 523 58 81 F +43 1 523 58 86 E tours@quartier21.at www.quartier21.at www.quartier21.at/facebook www.quartier21.at/twitter

CATALOG PRESENTATION

TOUR

Presentation of the “AiR 300” catalog and studio visits

Curator Georg Weckwerth gives a tour of TONSPUR 54 by Candice Breitz

Tuesday, 20 November 2012 5:00 p.m.–8:00 p.m. MQ, artist studios 501 and 513 (Staatsratshof entrance)

Tuesday, 20 November 2012 5:30 p.m. MQ, TONSPUR_passage (between Courtyards 7 and 8)

Since founding its studio program in 2002, quartier21 has invited more than 300 international artists to spend an average of two months living and working at the MuseumsQuartier as Artists-in-Residence (AiR). After “AiR 100” and “AiR 200”, “AiR 300” features the profiles of another 100 stipendiaries, as well as a few selected extensive portraits. As part of the catalog presentation, patrons will get the chance to take a peek at the studios and meet artists who currently reside there.

Georg Weckwerth, curator and artistic director of “TONSPUR für einen öffentlichen raum”, leads a tour through TONSPUR 54, which was created by South African artist Candice Breitz during her tenure as artist-in-residence. Since 2003, the series “TONSPUR für einen öffentlichen raum” has been presenting sound art by international artists in the public space of MQ Wien. Their multichannel compositions transcend the usual stereophonic experience, creating fascinating acoustic architectures and enterable sonic spaces. In May 2006, Vienna’s first permanent performance space for sound art was established, the TONSPUR_passage. Artists have since been taking turns developing four sound projects per year for the passage – a concept which is unique in the world. At Ars Electronica 2010, “TONSPUR für einen öffentlichen raum” was distinguished in the Digital Musics & Sound Art category.

KEY TOPIC “Digital Memories: Tomorrow’s Memories”

Tuesday, 20 November 2012 6:00 p.m.–10:00 p.m. MQ, Electric Avenue Free admission Taking up the theme of this year’s VIENNA ART WEEK, “Predicting Memories”, the Quartier für Digitale Kultur focuses on tomorrow’s memories: What of today will we remember tomorrow? How do we archive the constant flow of information in our digital culture? How private is our “private life” in the age of data retention and Facebook? How will the stored data of mailboxes, blogs, databases, our online friends and gaming habits reconstruct our lives 20 years from now? For one evening, the future of memory will be the focus of reflection at the MQ’s Electric Avenue, including digital culture and media art prognoses for the digital emotional life on social media platforms, or even the complete system failure.

www.tonspur.at

Artist-in-Residence Studio quartier21/MQ, Photo: Francesco Vezzola 29

Art Cluster

Secession

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

EXHIBITION

CONVERSATION

Anja Kirschner and David Panos

21 September–25 November 2012

Christian Kravagna talks to Kerry James Marshall*

EXHIBITION

Thursday, 22 November 2012 7:00 p.m.

Anne Hardy

21 September–25 November 2012 The large-format photographs of British artist Anne Hardy are ambivalent images of artificial spaces that unsettle our perception of reality by the way they are constructed.

EXHIBITION Kerry James Marshall “Who’s Afraid of Red, Black and Green”

21 September–25 November 2012 In his figurative paintings, Kerry James Marshall addresses the social and cultural experience of African Americans. The exhibition title refers both to the flag of the Universal Negro Improvement Association, founded in 1920, and to Barnett Newman’s famous painting “Who’s Afraid of Red, Yellow and Blue”. In this new series, Marshall’s interest as a painter in the formal characteristics of flatness fuses with stylistic elements of a “Black aesthetics” and thus makes a confident and reflective approach to defining the shifting ideas of integration and history, individual fulfillment and liberty.

Kerry James Marshall, Black Star (Detail), 2012, Courtesy of the artist, Jack Sheinman Gallery, New York und Koplin DelRio Gallery, Culver City 30

* in English

GUIDED TOUR

Curator Jeanette Pacher takes us on a tour through the “Anne Hardy” exhibition

Friday, 23 November 2012 11:00 a.m.

Art Cluster

Sigmund Freud Museum

EXHIBITION

PANEL DISCUSSION

Berggasse 19 1090 Vienna T +43 1 319 15 96 F +43 1 317 02 79 E office@freud-museum.at

Michael Huey, “Archivaria”

“Body and Art – the Image of Hysteria in the 21st Century”*

www.freud-museum.at Opening hours: daily 9:00 a.m.–5:00 p.m.

23 November–14 December 2012 Opening: Thursday, 22 November 2012 5:00 p.m. The cycle of interrelated works by Viennabased American artist Michael Huey reveals connections as unexpected in formal terms as they are in their array of possible meanings. The works are the offspring, as it were, of the most diverse historical archive material, including a 1930s inventory album, a 1940s Kodachrome transparency from an ice-fishing expedition to an American lake, a contemporary paper shredder with its enigmatic contents intact, an eighty-year-old biscuit miraculously preserved in wax paper, and recaptured vintage 1950s family film material. As in color experiments, where the perception of a single hue changes dramatically through its placement near other tones (known as the Bezold Effect), the perception of these works alters according to their composition and spatial setting: they influence, explain, and complete one another. At their core are the twinned rhythms of creation and destruction, memory and oblivion. Together, they lead the visitor through a landscape of loss and redemption at once austere, inscrutable, and strangely inviting.

Michael Huey, On the Ice 2012 Based on a 1950s 35 mm Kodachrome transparency by Richard K. Huey, C-print

Friday, 23 November 2012 5:00 p.m.–6:30 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Vienna Hysteria is the physical representation of a psychological condition, which thus becomes visible. Creating art through the body therefore implies a hysterical dynamic. How do psychoanalytic concepts of hysteria fit into an interpretive discourse on art? Do symptoms vanish by turning into art? Is it ok in the 21st century to scrap the concept of mental illness by declaring it to be art? Does art give direct insight into the dynamics in the individual and in society? Does art allow us to look ahead into the future of society or is it in danger of getting stuck in a dead end, of degenerating into a symptom rather than bringing progress? Participants: Simone Korff-Sausse, Université Paris-Diderot; Silke Schauder, Université d’Amiens; Klaus Spiess, Meduni Wien; Ekaterina Sukhanova, City University of New York; Jeanne Wolff Bernstein, Sigmund Freud University Vienna Moderation: Hans-Otto Thomashoff, World Psychiatric Association *in English

Art Cluster

Thyssen-Bornemisza Art Contemporary © Jakob Polacsek / TBA21, 2012

Exhibitions: Thyssen-Bornemisza Art Contemporary – Augarten Scherzergasse 1A 1020 Vienna Opening hours: daily 11:00 a.m.–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 augarten@tba21.org www.tba21.org

EXHIBITION “Sharon Lockhart | Noa Eshkol”

23 November 2012–January 2013 Opening: Thursday, 22 November 2012 “Sharon Lockhart | Noa Eshkol” is the second TBA21 exhibition at its Augarten premises with works from its own collection. The new group of works by the 1964-born Californian artist engages with the legacy of Israeli choreographer, dancer and textile artist Noa Eshkol (1924–2007), whose archive Lockhart discovered during a trip to Israel in 2008. Central to the metaphorical cooperation of the two artists is the issue of reconstructing, interpreting and historicizing a choreographic system. A multi-channel video installation shows the slow dance moves of the Eshkol dance group, contextualized with photographs of Eshkol’s revolutionary dance notation system, as well as with a selection of her tapestry and other archive material.

Founded in Vienna in 2002 by Francesca Habsburg, Thyssen-Bornemisza Art Contemporary (TBA21) represents four generations of the Thyssen family’s dedication to the arts. With its move to new premises at Augarten Park in June 2012, TBA21 entered into an institutional collaboration with the Belvedere for a renewable period of four years. The inaugural exhibition “Reprototypes, Triangulations and Road Tests” featured new commissioned works by Simon Starling and SUPERFLEX as well as other works from the foundation’s holdings. What was once the Atelier Augarten now serves as TBA21’s institutional laboratory and exhibition space. Set in a lush corner of the Augarten Park, the premises were designed in the 1950s as an artist’s studio, home, and museum for the Austrian sculptor Gustinus Ambrosi. The location is especially wellsuited for the presentation of large-scale, three-dimensional artworks. Subtly restyled, the space fosters an atmosphere of intimacy and a pleasant working ambience.

Based on research and experimentation, TBA21’s exhibitions are drawn from the foundation’s extensive and internationally celebrated collection. Artists are also invited to select materials from their individual archives of works, documents, and ephemera and devise presentations that possibly reveal gaps and reiterations or create resonances between artworks.

Art Cluster

University of Applied Arts Vienna

EXHIBITION

Oskar-Kokoschka-Platz 2 1010 Vienna

“REALM”

T +43 1 711 33 2161 F +43 1 711 33 2169 E pr@uni-ak.ac.at

13–29 November 2012 Exhibition Center Heiligenkreuzer Hof

www.dieangewandte.at

Eröffnung: Monday, 12 November 2012 7:00 p.m.

Exhibition Center Heiligenkreuzer Hof Entrance on Grashofgasse 3 / Schönlaterngasse 5 1010 Vienna Opening hours: Mon.−Fri. 1:00 p.m.−6:00 p.m.

Welcome address: Gerald Bast, Rector of the University of Applied Arts Vienna, and Gabriele Rothemann, Head of the Photography Department at the University of Applied Arts Vienna In November 2012, students of the Photo graphy Department at the University of Applied Arts Vienna will exhibit their works at the University’s exhibition center Heiligenkreuzer Hof. Cellular cubes fitted into the baroque living spaces will form modular exhibition areas for the students to work with. Each student picks a module that forms the basis for his or her artistic work. The way these artificial spatial structures dissociate, yet at the same time open up towards each other, is essential to the experience.

For further information and registration for guided tours: University of Applied Arts Vienna, T +43 1 711 33 2161, F +43 1 711 33 2169, E pr@uni-ak.ac.at

GUIDED TOUR Gabriele Rothemann gives a tour of the “REALM” exhibition

Thursday, 22 November 2012 5:30 p.m.

Art Cluster

Wien Museum

Wien Museum Karlsplatz

LECTURE

CITY EXPEDITION

1040 Vienna T +43 1 505 87 47 0 F +43 1 505 87 47 7201 E office@wienmuseum.at

“Josef Frank and the Meanings of the ‘Wiener Moderne’”*

“The Refurbishment of the Vienna Werkbundsiedlung” City expedition as part of the exhibition “Vienna Werkbundsiedlung 1932. A Model for New Living”*

www.wienmuseum.at Opening hours: Tue.–Sun. and public holidays 10:00 a.m.–6:00 p.m.

Wednesday, 21 November 2012 6:30 p.m. Lecture by Christopher Long, professor of architectural history and theory at the School of Architecture, University of Texas at Austin. Christopher Long is an internationallyrecognized expert on Viennese architecture. He has written a seminal book on Josef Frank and is coeditor of a comprehensive collection of writings by Josef Frank, due to be published by Metroverlag in fall 2012. * in English

Werkbundsiedlung, Houses 25–28 (today Veitingergasse 87–93) Architect: André Lurçat Photo: Martin Gerlach © Wien Museum 34

Friday, 23 November 2012 3:00 p.m.–ca. 5:00 p.m. Meeting place: at the corner of Jagdschlossgasse and Gobergasse, 1130 Vienna (come rain or shine!) With Martin Praschl and Azita Goodarzi (p.good architects), and Eva-Maria Orosz, curator of the Wien Museum The Werbundsiedlung (Werkbund Housing Estate) in Lainz was designed as an international showcase for modern residential building; it attracted more than 100,000 visitors in the summer of 1932. Josef Frank was responsible for the overall plan for the exhibition, for which 32 architects from Austria, France, Germany, the Netherlands, and the U.S.– including Richard Neutra, Adolf Loos and one female architect – designed 70 fully-furnished model houses. The exhibition promoted a new concept of space and living, but was also a manifesto of a social and aesthetic utopia inspired by the spirit of Modernism. Nevertheless, this Viennese development was characterized by a highly individual and flexible concept of space and living rather than dogmatic functionalism. A number of innovative furniture manufacturers presented their latest products in the houses.

The Werkbundsiedlung was also a response to “Red Vienna’s” residential building program: to Josef Frank, the single-family and residential homes represented a perfect alternative to inner-city “superblocks.” Now, 80 years after its construction, the Werkbundsiedlung is undergoing another refurbishment. Restoration work was commissioned by the City of Vienna and commenced in 2011. In June 2012, with four houses refurbished, architects from the firm p.good have completed the first building stage and are giving an on-site presentation of the results of their work thus far. * Limited number of participants. Registration is required: E service@wienmuseum.at or T +43 1 505 87 47 85173

GUIDED TOURS

Vienna Gallery Weekend 2012 * as part of – Month of “ Photography Vienna”

Like in other prominent gallery districts worldwide, such as New York’s “Chelsea,” there is a concentration of galleries taking place in Vienna, which is why those interested in participating in the Guided Gallery Tours are in a fortunate position: with a few exceptions, the galleries are not scattered across the city but are concentrated in or around Schleifmühlgasse and Eschenbachgasse. Each gallery has arranged its own program, which clearly is a sign of great diversity, increasing pluralism, and the differentiated and segmented structure of Vienna’s gallery scene. Gallery work nowadays includes expanding the art market and presenting an internationally recognized high-quality program, but also leaving room for experimentation and new art trends. The Guided Gallery Tours will be led by renowned experts of the art scene, including Lucas Gehrmann, Georgia Holz, Ruth Horak, Hartwig Knack, Thomas Mießgang, Ursula Maria Probst and Hemma Schmutz. Some of the participating galleries will exhibit photos as part of – and emphasizing their collaboration with – “Eyes On – Month of Photography Vienna”.

Saturday, 24 November 2012

2:00 p.m. Guided tour with Ruth Horak Meeting place: Galerie Raum mit Licht, Kaiserstrasse 32, 1070 Vienna Galerie Raum mit Licht, exhibition Anita Witek, “Best of …”* Konzett Gallery, exhibitions Christian Eisenberger, photography*; Otto Muehl, works from the last decade; Franz West, furniture and object Galerie Julius Hummel, exhibition “Femininity in Viennese Actionism and Current Aspects in the Photography of Heidi Harsieber and Claudia Schumann”* Galerie Hubert Winter, exhibition Michael Höpfner, after five and a half days the trail peters out* All galleries exhibit photographs as part of “Eyes On – Month of Photography Vienna”.

Saturday, 24 November 2012

2:00 p.m. Guided tour with Ursula Maria Probst Meeting place: Galerie Krinzinger, Seilerstätte 16, 1010 Vienna

Artmark Galerie, exhibition “Concrete Art from Hungary”, Dóra Maurer, Tibor Gáyor, János Megyik Galerie Chobot, exhibition Manfred Wakolbinger, sculptures and photos* Galerie Ulrike Hrobsky, exhibition Andrea Freiberger, “Leben eben”, photography and installation*

Galerie Krinzinger, exhibition Marina Abramovic´ , “With Eyes Closed I See Happiness” Galerie Lang, exhibition Herwig Zens, “Cassandra, Phaedra, Helena, …” Galerie Elisabeth & Klaus Thoman, exhibition Norbert Schwontkowski, Carmen Brucic Mario Mauroner Contemporary Art Vienna, exhibition “‘Die Nacht ist in den Tag verliebt’. Arbeiten mit Licht und Spiegel”, Tatsuo Miyajima, Bruno Peinado, Javier Pérez, Bernardí Roig, Fernando Sánchez Castillo, Douglas Henderson white8 Gallery, exhibition Patrizio Travagli, “DOPPELGANGER” project, video stills in the white cube*

Friday, 23 November 2012

Saturday, 24 November 2012

Thursday, 22 November 2012

4:00 p.m. Guided tour with Hartwig Knack Meeting place: Artmark Galerie, Singerstrasse 17, entrance on Grünangergasse, 1010 Vienna

4:00 p.m. Guided tour with Georgia Holz Meeting place: Galerie Emanuel Layr, An der Hülben 2, 1010 Vienna Galerie Emanuel Layr, exhibition Benjamin Hirte Galerie nächst St. Stephan, exhibition “James Welling in discourse” Charim Galerie, exhibition VALIE EXPORT and Olga Neuwirth Hilger modern, exhibition Peter Krawagna, New Works Hilger contemporary, exhibition Asgar / Gabriel

3:00 p.m. Guided tour with Thomas Mießgang Meeting place: Gabriele Senn Galerie, Schleifmühlgasse 1A, 1040 Vienna Gabriele Senn Galerie, exhibitions Hans Weigand; Elfie Semotan* Christine König Galerie, exhibition: for information, see www.christinekoeniggalerie.com Kerstin Engholm Galerie, exhibition Marita Fraser Galerie Renner Prinz, exhibition “I’ve Seen that Face Before”, Margaret Lee, Carsten Fock,

Galerie Michaela Stock, exhibitions Marko Zink, “Im Kurhotel”, analog photography*; Lukas Troberg, “Lukas Torberg – Recent Works”, sculpture / installation / performance

Saturday, 24 November 2012

4:00 p.m. Guided tour with Lucas Gehrmann Meeting place: ZS art Galerie, Westbahnstrasse 27–29, 1070 Vienna ZS art Galerie, exhibition “AusZeit”, Jean-Paul Dumas-Grillet, Robert Staudinger, Christian Zürn* Knoll Galerie, exhibition Patrick Schmierer, Tomek Baran Galerie Hubert Winter, exhibition Michael Höpfner, after five and a half days the trail peters out* Kro Art Contemporary, exhibition Knut Sennekamp, “Eine Reise zwischen Himmel und Erde”* Sunday, 25 November 2012

12:00 noon Guided tour with Hemma Schmutz Meeting place: Galerie Ulysses, Opernring 21/top floor, 1010 Vienna Galerie Ulysses, exhibitions Karel Appel, “Paintings from Five Decades”; Arnulf Rainer, “Landscapes”; Wolfgang Hollegha “Recent Work” Galerie Steinek, exhibition Matthias Herrmann, “270 West 17th Street #20c NY NY 10011”* Galerie Meyer Kainer, exhibition Henning Bohl Krobath, exhibition Maria Hahnenkamp Galerie Mezzanin, exhibition Christian Mayer

Lucas Gehrmann was born in Heidelberg, Germany, and lives in Vienna, where he studied art history and archeology. He is curator at KUNSTHALLE wien and works as a freelance curator in Austria and abroad, as an art journalist, art mediator and editor. Gehrmann was the director and program manager of Triton Verlag. Ruth Horak is an art historian, writer, curator and lecturer for contemporary art and photography. Georgia Holz is assistant curator at the Generali Foundation and works as an independent author and curator in Vienna. Hartwig Knack was born in Kamen, Germany. He studied art history, art, European ethnology and cultural studies at the Universities of Marburg an der Lahn and Vienna, and works as a freelance art scientist, curator and author. Thomas Mießgang studied German and Romance languages and has been working as a journalist and freelance writer for “Falter”, “profil”, “Die Zeit” and ORF Radio (“Musicbox”, “Diagonal”). He was chief curator at KUNSTHALLE wien. Hemma Schmutz studied art history and German language in Vienna. She was research assistant at the Generali Foundation and co-curator of various exhibitions. Since March 2005 she has been Director of the Salzburger Kunstverein. Ursula Maria Probst lives and works as an art historian, university lector, art critic, curator and artist in Vienna. 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.

PROGRAM

The Galleries – Association of Austrian Galleries of Modern Art * as part of – Month of “ Photography Vienna”

Artmark Galerie

Galerie Chobot

Galerie Ulrike Hrobsky

Exhibition: “Concrete Art from Hungary”, Dóra Maurer, Tibor Gáyor, János Megyik Singerstrasse 17, Eingang Grünangergasse, 1010 Vienna T +43 1 512 98 80, F +43 1 512 98 804 E wien@artmark.at, www.artmark.at

Exhibition: Manfred Wakolbinger, sculptures and photos* Domgasse 6, 1010 Vienna T / F +43 1 512 53 32 E office@galerie-chobot.at www.galerie-chobot.at

Exhibition: Andrea Freiberger, “Leben eben”, photography and installation* Grünangergasse 6, 1010 Vienna T +43 1 513 76 76, F +43 1 513 76 09 E galerie@hrobsky.at, www.hrobsky.at

Charim Galerie

Galerie Heike Curtze

Exhibition: VALIE EXPORT and Olga Neuwirth Opening: Tuesday, 20 November 2012, 7:00 p.m. Dorotheergasse 12/1, 1010 Vienna T +43 1 512 09 15, F +43 1 512 09 15 50 E charim@charimgalerie.at www.charimgalerie.at

Exhibition: Guillaume Bruère, “Am Zeichnen sterben” Opening: Monday, 19 November 2012, 6:30 p.m. Seilerstätte 15/16, 1010 Vienna T +43 1 512 93 75, F +43 1 513 49 43 E wien@heikecurtze.com www.heikecurtze.com

Schleifmühlgasse 6–8 / 2nd floor, 1040 Vienna T +43 1 586 02 37, F +43 1 586 02 37 12 E art@galerieandreashuber.at www.galerieandreashuber.at

Christine König Galerie

Galerie Kerstin Engholm

Exhibition: for information, see www.christinekoeniggalerie.com Schleifmühlgasse 1A, 1040 Vienna T +43 1 585 74 74, F +43 1 585 74 74 24 E office@christinekoeniggalerie.at www.christinekoeniggalerie.com

Exhibition: Marita Fraser Schleifmühlgasse 3, 1040 Vienna T +43 1 585 73 37, F +43 1 585 73 37 10 E office@kerstinengholm.com www.kerstinengholm.com

Gabriele Senn Galerie

Exhibition: Maria Moser, oil / canvas Rauhensteingasse 12, 1010 Vienna T +43 1 512 99 17, F +43 1 512 52 65 E office@galerie-exner.at, www.galerie-exner.at

Exhibition: Marina Abramovic´ , “With Eyes Closed I See Happiness” Seilerstätte 16, 1010 Vienna T +43 1 513 30 06, F +43 1 513 30 06 33 E galeriekrinzinger@chello.at www.galerie-krinzinger.at

Galerie Johannes Faber

Galerie Kunst & Handel

Exhibition: Bill Brandt, André Kertész, “Photographs 1925–1965”* Dorotheergasse 12, 1010 Vienna T / F +43 1 512 84 32 E info@jmcfaber.at, www.jmcfaber.at

Exhibition: NUNC STANS – Anna-Maria Bogner, Christina Boula, Iris Dostal, Frederike Schweizer Opening: Monday, 19 November 2012, 7:00 p.m. Himmelpfortgasse 22, 1010 Vienna M +43 664 30 77 179 E office@kunstundhandel.com www.kunstundhandel.com

Exhibition: Hans Weigand Sunday, 25 November 2012, 4:00 p.m., Thomas Edlinger in conversation with Hans Weigand Exhibition: Elfie Semotan* Sunday, 25 November 2012, 3:00 p.m., Hans-Peter Wipplinger in conversation with Elfie Semotan Schleifmühlgasse 1A, 1040 Vienna T +43 1 585 25 80, F +43 1 585 26 06 E office@galeriesenn.at www.galeriesenn.at

Galerie bei der Albertina Exhibition: Sculptures by Joannis Avramidis to celebrate his 90th birthday Corner Lobkowitzplatz 1 and Gluckgasse 1010 Vienna T +43 1 513 14 16, F +43 1 513 76 74 E zetter@galerie-albertina.at www.galerie-albertina.at

Galerie Wolfgang Exner

Galerie Frey Exhibition: Harald Gangl Opening: Tuesday, 20 November 2012, 7:00 p.m. Gluckgasse 3, 1010 Vienna T +43 1 513 82 83, F +43 1 513 82 834 E art@galerie-frey.com, www.galerie-frey.com

Galerie Andreas Huber

Galerie Julius Hummel Exhibition: “Femininity in Viennese Actionism and Current Aspects in the Photography of Heidi Harsieber and Claudia Schumann”* Bäckerstrasse 14, 1010 Vienna T +43 1 512 12 96, F +43 1 512 12 964 E galerie.hummel@chello.at

Galerie Krinzinger

Galerie Lang Wien Exhibition: Herwig Zens, “Cassandra, Phaedra, Helena, …” Seilerstätte 16, 1010 Vienna T +43 1 512 20 19, F +43 1 512 20 19 10 E glw@glw.at, www.glw.at

* as part of – Month of “ Photography Vienna”

Galerie Emanuel Layr

Galerie Renner Prinz

Galerie Michaela Stock & next door

Exhibition: Benjamin Hirte An der Hülben 2, 1010 Vienna T +43 1 524 54 90, F +43 1 523 84 22 E gallery@emanuellayr.com www.emanuellayr.com

Exhibition: “I’ve Seen that Face Before”, Margaret Lee, Carsten Fock, Alex Ruthner, Vassilis H., Paul DeFlorian Margaretenstrasse 9 / Schleifmühlgasse, 1040 Vienna T +43 1 581 25 49 E galerie@rennerprinz.com www.rennerprinz.com

Exhibition: Marko Zink, “Im Kurhotel”, analog photography* Guided tour & catalog presentation: Saturday, 24 November 2012, 1:00 p.m., with Günther Oberhollenzer, curator at the Essl Museum Surprise breakfast: Sunday, 25 November 2012, 1:00 p.m., including artist talk Exhibition: Lukas Troberg, “Lukas Troberg – Recent Works”, sculpture / installation / performance Performance & catalog presentation: Friday, 23 November 2012, 6:00 p.m. Surprise breakfast: Sunday, 25 November 2012, 1:00 p.m. Schleifmühlgasse 18, 1040 Vienna T +43 1 920 77 78 E info@galerie-stock.net, www.galerie-stock.net

Galerie Meyer Kainer Exhibition: Henning Bohl Open Studio Day: Elke Silvia Krystufek, Saturday, 24 November 2012, 2:00 p.m.–4:00 p.m. Eschenbachgasse 9, 1010 Vienna T +43 1 585 72 77, F +43 1 585 72 77 88 E info@meyerkainer.com www.meyerkainer.com

Galerie Mezzanin Exhibition: Christian Mayer Getreidemarkt 14 / Eschenbachgasse, 1010 Vienna T +43 1 526 43 56, F +43 1 526 91 87 E office@galeriemezzanin.com www.galeriemezzanin.com

Galerie nächst St. Stephan Rosemarie Schwarzwälder Exhibition: “James Welling in discourse” Artist talk with James Welling: Saturday, 24 November 2012, 11:30 a.m. Grünangergasse 1/2, 1010 Vienna T +43 1/512 12 66, F +43 1 513 43 07 E galerie@schwarzwaelder.at www.schwarzwaelder.at

Galerie Raum mit Licht Exhibition: Anita Witek, “Best of …”* Artist talk & tea with Walter Moser: Sunday, 25 November 2012, 4:30 p.m. (RSVP) Kaiserstrasse 32, 1070 Vienna T +43 1 524 04 94 E galerie@raum-mit-licht.at www.raum-mit-licht.at

Galerie Lisa Ruyter Exhibition: “Galerie Lisa Ruyter is a Temporary Autonomous Zone”. Initial participants: Delia Gonzalez, Mathilde ter Heijne, Antje Majewski, Amy Patton, Jen Ray, Juliane Solmsdorf Kantgasse 3/2/20, 1010 Vienna T +43 1 505 61 00 E beethovenplatz@gmail.com www.galerielisaruyter.com

Galerie Slavik Exhibition: “Winterreise”, Stefano Marchetti, Bruno Martinazzi, Helfried Kodré, J. Lisa Defner, Jacqueline Ryan, Michael Becker, et al. Opening: Tuesday, 20 November 2012, 6:00 p.m. Himmelpfortgasse 17, 1010 Vienna T +43 1 513 48 12, F +43 1 513 07 48 E galerie.slavik@vienna.at www.galerie-slavik.com

Galerie Steinek Exhibition: Matthias Herrmann, “270 West 17th Street #20c NY NY 10011”* Eschenbachgasse 4, 1010 Vienna T / F +43 1 512 87 59 E galerie@steinek.at, www.steinek.at

Galerie Suppan Contemporary Exhibition: Gabriele Seethaler, “Immortal Identities”* Opening: Monday, 19 November 2012, 6:00 p.m. Habsburgergasse 5, 1010 Vienna T +43 1 535 53 54, F +43 1 535 53 54 35 E info@suppancontemporary.com www.suppancontemporary.com

Galerie Elisabeth & Klaus Thoman Exhibition: Norbert Schwontkowski, Carmen Brucic Seilerstätte 7, 1010 Vienna T +43 1 512 08 40, F +43 1 512 08 40 13 E wien@galeriethoman.com www.galeriethoman.com

Galerie Ulysses Exhibition: Karel Appel, “Paintings from Five Decades” Exhibition: Arnulf Rainer, “Landscapes” Exhibition: Wolfgang Hollegha, “Recent Work” Video installation: Kucsko “Collect” (starting at 5:00 p.m.) Opernring 21, 1010 Vienna T +43 1 587 12 26, F +43 1 587 21 99 E ulysses@galerie-ulysses.at www.kunstnet.at/ulysses

The Galleries – Association of Austrian Galleries of Modern Art

* as part of – Month of “ Photography Vienna”

Galerie V&V

Knoll Galerie Wien

Lukas Feichtner Galerie

Exhibition: Margit Hart, “Shifted Relations. Fotografie als Schmuckkunst”* In conversation: Sunday, 25 November 2012, 11:00 a.m. and 2:00 p.m., Margit Hart on photography as ornamental art Bauernmarkt 19, 1010 Vienna T +43 1 535 63 34, F +43 1 810 21 21 40 E vundv@aon.at, www.galerievundv.at

Exhibition: Patrick Schmierer, Tomek Baran Lecture: Friday, 23 November 2012, 6:00 p.m., Małgorzata Jedrzejczyk, ˞ “Young Polish Abstract Art” Gumpendorfer Strasse 18, 1060 Vienna T +43 1 587 50 52, F +43 1 587 59 66 E office@knollgalerie.at, www.knollgalerie.at

Exhibition: Stephan Reusse, “Lightshows and More” Seilerstätte 19, 1010 Vienna T +43 1 512 09 10 F +43 1 513 05 47 E office@feichtnergallery.com www.feichtnergallery.com

Konzett Gallery

Mario Mauroner Contemporary Art Vienna

Galerie Winiarczyk

Exhibition: Christian Eisenberger, photography* Exhibition: Otto Muehl, works from the last decade Exhibition: Franz West, furniture and objects Spiegelgasse 21, 1010 Vienna T +43 1 513 01 03, F +43 1 513 01 04 E gallery@artkonzett.com, www.artkonzett.com

Exhibition: “‘Die Nacht ist in den Tag verliebt’. Arbeiten mit Licht und Spiegel”, Tatsuo Miyajima, Bruno Peinado, Javier Pérez, Bernardí Roig, Fernando Sánchez Castillo, Douglas Henderson Weihburggasse 26, 1010 Vienna T +43 1 904 20 04 E office@galerie-mam.com www.galerie-mam.com

Eschenbachgasse 7, 1010 Vienna M +43 699 119 11 606 E office@gallerywiniarczyk.com www.gallerywiniarczyk.com

Galerie Hubert Winter Exhibition: Michael Höpfner, after five and a half days the trail peters out* Breite Gasse 17, 1070 Vienna T +43 1 524 09 76, F +43 1 524 09 76 9 E office@galeriewinter.at, www.galeriewinter.at

Hilger modern Exhibition: Peter Krawagna, New Works Dorotheergasse 5, 1010 Vienna T +43 1 512 53 15, F +43 1 513 91 26 E ernst.hilger@hilger.at, www.hilger.at

Hilger contemporary Exhibition: Asgar / Gabriel Opening: Wednesday, 21 November 2012, 7:30 p.m. Dorotheergasse 5, 1010 Vienna T +43 1 512 53 15, F +43 1 513 91 26 E ernst.hilger@hilger.at, www.hilger.at

Hilger BrotKunsthalle Exhibition: “Shuffling the Cards. Contemporary Chinese Art Reloaded”, curated by Li Xianting and Alexandra Grimmer Guided tour: Saturday, 24 November 2012, 4:00 p.m. Absberggasse 27 / Staircase 1, 1100 Vienna T +43 1 512 53 15, F +43 1 513 91 26 E brot@brotkunsthalle.com www.brotkunsthalle.com

Krinzinger Projekte Exhibition: Artist in Residence / Hungary, Peto˝ mihályfa 2011/12: Steffi Alte, Nicola Brunnhuber, István Csákány, Steven Guermeur, Markus Hanakam & Roswitha Schuller, Tamás Kaszás, Adi Matei, Little Warsaw, Bernd Oppl, Wendelin Pressl, Anja Ronacher, Kamen Stoyanov, et al. Schottenfeldgasse 45, 1060 Vienna T +43 1 512 8142 E krinzingerprojekte@gmx.at www.galerie-krinzinger.at/projekte

Projektraum Viktor Bucher

Kro Art Contemporary

Exhibition: Patrizio Travagli, Projekt “DOPPELGANGER”, video stills in the white cube* Zedlitzgasse 1, 1010 Vienna M +43 664 202 67 54 E dagmar@white8.at, www.white8.at

Exhibition: Samuel Henne, “there is no comfort in conquering”* Opening: Friday, 23 November 2012, 7:00 p.m. Venue: Kunstraum 16th, Wilhelminenstrasse 35, 1160 Vienna Exhibition: Knut Sennekamp, “there is no comfort in conquering”* Getreidemarkt 15, 1060 Vienna T +43 1 585 71 43, F +43 1 587 20 98 E office@kroart.at, www.kroart.at

Krobath Exhibition: Maria Hahnenkamp Eschenbachgasse 9, 1010 Vienna T +43 1 585 74 70, F +43 1 585 74 72 E office@galeriekrobath.at www.galeriekrobath.at

Exhibition: Marlene Hausegger, “Détournements”* Opening: 20 November 2012 Open Studio Day: Saturday, 24 November 2012, 11:00 a.m.–5:00 p.m. Praterstrasse 13/1/2, 1020 Vienna T / F +43 1 212 69 30 E projektraum@sil.at www.projektraum.at

white8 Gallery

ZS art Galerie Exhibition: “AusZeit”, Jean-Paul Dumas-Grillet, Robert Staudinger, Christian Zürn* Artist talk: Sunday, 25 November 2012, 11:00 a.m.–2:00 p.m., as part of “Meet the artists” Westbahnstrasse 27–29, 1070 Vienna T +43 1 895 93 95 0 F +43 1 895 93 95 20 E galerie@zsart.at, www.zsart.at

PROGRAM

Predicting Memories

Memories in the context of new historical perceptions and pictures of the future

EXHIBITION “Predicting Memories” Curated by Robert Punkenhofer and Ursula Maria Probst

19–25 November 2012 Former K. K. Telegrafenamt (Telegraph Office), Börseplatz 1, 1010 Vienna Opening: Monday, 19 November 2012 6:00 p.m. International group exhibition with: Horst Ademeit, Julieta Aranda, Anna Artaker, Jennifer Baichwal, Wojciech Ba¸kowski, Christian Boltanski, Sophie Calle, Doug Fishbone, Agnes Fuchs, D-Fuse, Terence Gower, Fariba Hajamadi, Yao Jui-Chung, Klub Zwei, Rosmarie Lukasser, Anja Manfredi, Christian Mayer, Jakob Neulinger, Hans Op de Beeck, Patricia Reinhart, Simona Rota, Maria Serebriakova, Ekaterina Shapiro-Obermair, Fiona Tan, Joëlle Tuerlinckx, Kara Walker, Ai Weiwei, Sislej Xhafa, et al. Performances by: Doug Fishbone, Anna Mitterer & Katherina Olschbaur, Lilo Nein and Suzie Léger Curatorial assistance and exhibition organization: Angelika Lienhart For further information, see: www.viennaartweek.at The exhibition space is kindly provided by IMMOVATE and Herbert Buhl Immobilien GmbH.

Text by Robert Punkenhofer and Ursula Maria Probst It’s almost a given in the year 2012: dealing with the relationship between memories and future predictions. Today we know that the prophesied doomsday on December 21, 2012, was a misinterpretation of the ancient Maya calendar, but still the countdown seems to continue. Are we moving towards the end of history or is this the start of a new decade? And to what degree do end-of-theworld scenarios act as a symbolic summary of our current, crisis-ridden era? In light of this comprehensive set of issues, the exhibition “Predicting Memories” is a call for that moment of freedom through

which our consciousness is confronted with the issue of memory production. An international group exhibition for VIENNA ART WEEK, “Predicting Memories” focuses on a cross-section of the concept of memory and the “anticipation of memory constructs” in contemporary art. Participating artists in the exhibition show an explosive, at times ironizing visual language in their break with current, realpolitikal events. Around the world, dictators, nationalist rhretoric, religious fundamentalism, the omnipotence of global players and the commercialization of mainstream media increase the risk of restrictions to the freedoms of speech and opinion – and the history productions they are associated with. Master plans imposed on urban structures cause naturally-evolved memory spaces to disappear, or prevent them from being established in the first place. Artists around the world are reacting to these processes and the impending loss of individual and collective epics by making them an integral part of their aesthetic work. This – as various works show – leads to a constant re-figuration of memory, not least in light of the observation that the historical experience of past trauma exceeds the scope of representation. The manipulative momentum of ideology-laden historical perceptions and their dubiousness is subject to analysis. The identity-political proof of authenticity put up for discussion urgently raises the (banal-sounding) questions: Where do we come from, and where are we going?

etc. replace the human brain. Advancing forgetfulness has become a popular topic in art, as has the associated neural dysfunction reflected in statistics showing the growing prevalence of dimensia. Art assumes a counter-position, rouses memories of a cultural practice developed long ago. Since Plato, we know that all culture is based on memory. The densifying complexity and memory capacity of art constitutes an answer to all that is fugitive. For the cultural and artistic practices of today, it is imperative to presuppose possible futures and to speculate on making a number of critical philosophies, theories and practices – which, for now, are too abstract for our society – a reality. To preserve a spark of optimism in the current sociopolitical climate, it is important to create areas that allow us to overcome any doom and gloom – a universe of competence where we can exist as sovereign individuals.

Robert Punkenhofer navigates the boundaries between art, architecture, design and international business. He is responsible for more than 100 exhibitions on three continents, including the first solo exhibitions of artists such as Santiago Sierra, as well as Mur Island in Graz with Vito Acconci and Austria’s contribution to the World Expo in Aichi in 2005, Zaragoza in 2008 and Shanghai in 2010. Punkenhofer is a visiting professor at New York University and a member of the International Advisory Council of the Princeton University / PLAS. More info at: www.art-idea.com 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 the University of Vienna and did scholarly and artistic work on and with Louise Bourgeois in New York. She is co-initator of the performance collective Female Obsession.

The dramatic knowledge gain that characterizes our information and internet age will not protect us from forgetting and being forgotten. Cultural theorist Ernst von Alphen describes the danger of a slow erasure of the great memories of our time as a transition to a society of collective amnesia. The latest wave of digital technology – smart phones and tablets – promotes the same process by which our capacity for remembering becomes inversely proportional to the storage capacity of the memory sticks on our devices. These days, memory performance is measured in gigabytes rather than IQ, as Google, Yahoo, 39

PROGRAM

Spaces for the Viennese Design Vocabulary On the concept for a new installation in three exhibition rooms at the MAK – Austrian Museum of Applied Arts / Contemporary Art

EXHIBITION “Vienna 1900” Redesign of the MAK Permanent Collection Opening: Tuesday, 20 November 2012, 7:00 p.m.

Text by Christian Witt-Dörring Now, more than 20 years after its opening in 1993, the content and design of the permanent collection at the Austrian Museum of Applied Arts / Contemporary Art (MAK) is being renovated in stages under its new director, Christoph Thun-Hohenstein. The initial phase includes a new installation for three large rooms on the first floor, which until now have been dedicated to Art Nouveau and Art Déco, to the Wiener Werkstätte as well as modern and contemporary architecture. Keeping with the MAK’s previous practice of basing the design on an artistic overall concept, this time we were able to enlist the help of American artist Pae White. The guiding idea for this conceptual renewal, which I was placed in charge of, was the decision to position the MAK as a center of excellence for Viennese applied arts in the years around 1900: a task for which not only the museum – with its active response to questions of modern design at the time – but also its extensive collection of turn-of-the-century objects offer the best possible conditions. These objects will no longer be presented as a closed chapter in art history, but as 40

one of many in the long series of developments in the search for an adequate, formal solution for managing the everyday lives of people. Rather than convey a snapshot, the exhibition seeks to provoke an understanding of the ongoing need to adapt and/or react to changed social conditions. This understanding will not come through superficial considerations of whether or not something is pleasing to the eye; instead, viewers will be put in a position to question the validity of the formal appearance of objects surrounding them within a larger, outlying social context. What holds as valid in one context can stand for the exact opposite in another. Like gene rations in a family tree, the MAK can document a continual change of values from one generation to the next in its own collection. The sum of these individual steps, successful or not, reveals the path to the present and prepares us for the future. Thus an object’s acquisition date, for example, gives evidence of its sometimes ephemeral, sometimes cate gorical validity and acceptance. Because of this, it will have an equally prominent place on the object label, next to the date of origin. By illustrating the context of reactions and counter-reactions, viewers will once again be able to experience the timeliness of the objects. For it, we would have to begin as early as the years around 1800, the heyday of historicism, and track the impact of the Viennese Art Nouveau around 1900 on the times up to the Nazi takeover in 1938. Like most totalitarian regimes, it resulted in a leveling of individuality, thereby bringing the

independent Viennese design vocabulary to a temporary halt. Though basically chronological, the presentation (wherever it would contribute to a better understanding) is sporadically interrupted and stimulated by recourses to earlier eras or a look forward to later developments. At the same time, the most important international sources of inspiration for Viennese design will be highlighted and, wherever the museum’s collection allows, its counter-movements addressed. Echoing the spatial structure of the three available rooms, the topic will be divided into three chapters. The first room is dedicated to the search for a modern style. Starting with Otto Wagner’s call to overcome anachro nistic historicism with a new, utilitarian aesthetic, the Secessionists (inspired by Western countries and Japan) demanded a gesamtkunstwerk or “total artwork” as part of a modern bourgeois and Austrian style. The story concludes with Adolf Loos’ response: in asking not for a modern style, but a modern man, he established an alternative solution for the design of modern everyday life – one that ultimately bore fruit with the objects shown in the last room of the permanent collection. The narrative is illustrated not only with Viennese objects, but also using “example” art objects that the museum purchased as early as 1900, including pieces from England, Scotland, Belgium, France, Germany and Japan, as well as works they inspired within the imperial and royal art academies. For the first time in a long while, they will be shown in this original context as

exemplary models. Formally, this development (traceable from the late 1890s until around 1900) was translated to the surface as a curvilinear style, which was eventually discarded in favor of a Biedermeier-inspired, geometrically reduced style. Displays in the second, middle room are devoted exclusively to the results of the path set by the Secessionists (and thus also the professors at the Kunstgewerbeschule, or School for Applied Arts) towards establishing a modern “Viennese style.” Effective after 1900, it was followed through the founding of the Wiener Werkstätte in 1903 and into the years of the First World War. In these years, the artistic individualism postulated by Secessionists as a regenerative force against historicism developed a creativity and variety all its own. Besides professors Josef Hoffmann and Koloman Moser, it was mostly the next generation of arts students who facilitated the spread of the style across the territories of the Austro-Hungarian Monarchy and Germany. The battle against historicism was won, and the Viennese style – unmistakable in the international art market of the day – had established itself. Its spectrum of styles ranged from the Wiener Werkstätte’s

early use of provocative forms as a means of persuasion, to national reflections on folk art and Biedermeier-inspired decorative products, to tectonically ambiguous, classicism and rococo-inspired forms. The space is dominated by Klimt’s cardboard drawings for the mosaic frieze in the dining room of the Stoclet Palace in Brussels, by work produced either in or for the Wiener Werkstätte as well as a wealth of exhibits that were regarded as exemplary even in the museum’s earliest days. These were purchased as part of its so-called traveling inventory, and were to be used as models for the imperial and royal art academies. Finally, the third and last room is devoted to showing how the Viennese style developed into an international one. With it the content comes full circle, revealing where the search for a modern style in Vienna (shown in the first room) eventually led. Here it becomes clear which approach – that of the Secessionists or of Loos, the lone wolf – paved the way for modernism. Visitors find themselves confronted with two opposing worlds: those true to the convictions of Josef Hoffmann and his students, and those closely connected to the views of Adolf Loos or international

modernism. Although formally different, both worlds were in the Viennese tradition of exclusive artisanry, and only sporadically confronted the social approach advocated by international modernism. This gave rise to the typically Viennese, content-ambiguous approaches to the modern commodity, such as those offered by Josef Frank and Oskar Strnad, among others. Chronologically, exhibits span the decades from the First World War until the Nazi seizure of power in Austria. They were profoundly influenced by enormous social and economic upheavals and a new social consciousness that emerged even in product design. As in the first room, the Viennese products are juxtaposed with objects from the Bauhaus and De Stijl movements as international points of reference. The principal aim of the presentation is to convey a balanced relationship between historical and sensory information: the design language used in the exhibited objects should be heard at the same volume as the didactic wall texts.

Christian Witt-Dörring studied art history and archeology in Vienna, where he was head of the MAK furniture collection from 1979 to 2004. He currently works as a freelance art historian in Vienna and as curator at the Neue Galerie in New York City.

Stool for the kitchen at Paul Wittgenstein’s villa “Bergerhöhe”, 1898 Soft wood, white paint MAK H 2802 © Fritz Simak/MAK 41

INTERVIEW

The Urban Power of Art Vienna is becoming a “Social Design” laboratory

You have to allow art to take effect, says Gerald Bast, Rector of the University of Applied Arts in Vienna. Especially in the social sense. And it can do this best of all in a place where it encounters as many people as possible: in the city and its spaces. The new interdisciplinary masters studies program “Social Design – Arts as Urban Innovation” aims to reinforce this effective power. @ bauer concept & design / Manuel Radde

Text by Norbert Philipp No one has to convince Gerald Bast, Rector of the University of Applied Arts, of what art can do. Especially when art’s potential for social impact has room to move – beyond the buildings where art is often “musealized and privatized,” as Bast puts it. In urban spaces, for example, where one would have to intervene with “applied art” and allow its “integrative character” to have an effect. Half of the world’s population already lives in cities, but in the cities “the social groups clearly drift apart,” whether we try to parse them in terms of age, ethnic origin or other characteristics. Therefore, art should not be barricaded in museums, galleries, private collections or bank safes, says Gerald Bast, but face society with confidence – in places where people come together, which is where art is most effective. “For a university like ours, it is important to not only enter the art market, but the social field as well.” So “Arts as Urban Innovation” is a fitting subtitle for the university’s new masters studies program, which starts in October 2012, while “Social Design” stands large in the curriculum and all of these intentions. Evidence of the wide range of things that fall under the “social design” label can be found in the entries and winner of the “Victor J. Papanek Social Design Award”, a design contest that the university held in the fall of 2011, in collaboration with the Austrian Cultural Forum and the Museum of Arts and Design in New York. Take an ambulance, for example, redesigned to be more humane; an indestructible laptop as an educational tool for children in developing countries; or even a new, sustainable vision for Brooklyn, in which the borough requires nothing more 42

than itself to exist. “But ‘social design’ can also be a social process drawn up by artists and academics working together,” says Bast. And in the future, the laboratory for social transformation could be Vienna. “Of course, another goal of the masters program is to work with the city to develop things and processes with an urban relevance; things that can be implemented.” Another strong signal is the partnership with the Vienna Konservatorium, a private music conservatory. The curriculum aims to include the widest possible spectrum of disciplines. “We’ve set up seven different fields of expertise to serve as expert pools: music, dance, composition, design, architecture, visual art and cultural studies.” Adding to this are external cooperations with disciplines of economics or the social sciences. It is precisely this multi-disciplinary, project-oriented approach that Bast has been missing at universities of late. “The academic landscape has become extremely fragmented into little niches, and study courses into little modules.” To Bast, this is an academic task: using art to set a counter-movement on its way – out into the city. We know urban transformations from the Meatpacking District in New York and from other areas where art and artists were urban pioneers. However, until now it hasn’t been the urban community that profited from these developments so much as the real estate business. “So far, art has rarely been used as a strategic tool in urban deve lopment,” says Bast. His university is also home to a foundation researching the Victor J. Papanek Estate. According to Papanek, “everybody is a designer.” And everybody is a city developer – a conviction shared by many urban planners in the age of participation. Even before finishing their studies, “Social

Design” students can work as city developers in transdisciplinary teams. This time using artistic, aesthetic means.

Norbert Philipp studied linguistics and German language and literature; he was a German teacher and copywriter. In the past four years, he has been working with the newspaper “Die Presse” as an editor for the “Schaufenster” and “Die Presse am Sonntag” sections in the fields of design, architecture, urban development and creative industries.

INTERVIEW & PROGRAM

“There Is a Desire to Reconnect With Extreme Art” Anne Marsh on performance art and its impact on social realities

VIENNA ART WEEK invited Anne Marsh for an interview. Synne Genzmer posed a few fundamental questions to the Australian art theorist, who made a name for herself with her academic work on performance art.

IN CONVERSATION “Extreme Art and The Body Politic: Mike Parr & Leigh Bowery”* Australian art theorist Anne Marsh in conversation with curators Synne Genzmer and Angela Stief

Tuesday, 20 November 2012 5:00 p.m. KUNSTHALLE wien museumsquartier * in English

Text by Synne Genzmer

Is there a rediscovery of performance art going on at the moment? There is certainly a renewed interest in body/ performance art as an extreme form, which speaks directly about the body/psyche in the world. The new generation/s of performance artists are looking to the older generation as mentors in many respects, but they inhabit a media-saturated world. Although performance and video art developed side by side in the late 1960s and 70s, artists in the 21st century are media-adaptive, and some are making performance works exclusively for a screen environment. This re-making or resituating of the body questions the ontological position of performance.

performance art. We might say they gain a sort of legacy from the Real of performance/ body art, but they create from this Real a commodity. In so doing, they deny the politics of the body. The body politic. They engage with the psycho-social in a safe way. Does performance art have a political agenda today? Or what perspectives can it offer in terms of its relationship to and impact on social realities? Yes, performance art is mostly political. However, there have been some parentheses in terms of theory. Relational aesthetics has seduced some artists. Art and the everyday has re-emerged, but this often manifests inside the gallery as an aesthetic. There is certainly a renewed interest in the corporeal and gender, much of this work is intense and confrontational. Others have embraced the public sphere via social networking so we see large performance-like events, often political, enacted by crowds. I’d say that we have been experiencing a return to radical performance art in the last decade. This is not a big movement, but there is certainly a desire to reconnect with extreme art.

Synne Genzmer is art historian and curator at the KUNSTHALLE wien.

What do you think of modern artists’ interest in performative forms of expression? I don’t like the word ‘performative;’ it is so broad and theoretically compromised. We have performative photography, for example, which has been celebrated by the market to such an extent that it is the new collectable. There are now hundreds of artists in Australia producing ‘performative’ photographs and videos, some of which can be compared to 43

VIENNESE DESIGN

WIEN PRODUCTS collection Designers design for traditional companies

Working with traditional houses to create a new product is a unique challenge for any designer. Exactly what distinguishes this kind of process from other, more conventional collaborations is something the two Polka designers and fellow designers Sebastian Menschhorn and Thomas Feichtner know all too well. They have created new designs for the WIEN PRODUCTS umbrella brand, an initiative by the Vienna Chamber of Commerce aiming to place products from traditional Viennese companies on the international market.

Text by Michael Hausenblas Monica Singer and Marie Rahm, Polka design studio “We’ve already worked with such well-known design houses as Lobmeyr, Köchert and Backhausen. With each of these projects, it was extremely important to take a good look at the history behind the company – at its spirit, you could say. This goes down to the details, to the way some of these products have been manufactured for a long time. A lot of analysis goes into this kind of collaboration. This, in turn, requires a very intensive dialog, which we find very inspiring. It involves an investigation into the company’s development, into its cosmos of products; then you work together to decide what the next step could be. This process is something you do as a team, and the collaborative aspect of working with these companies is what makes it so special. There are more things you have to consider than with other commissions, which is what makes such projects very interesting and fuels the enthusiasm we feel in the design process. This way, you become part of these traditional companies’ histories. They usually are family businesses, so personalities have played a major role in making them what they are, which in turn makes for a very unique dynamic in terms of the decision-making structure. You can just feel the lifeblood in it. So sometimes the collaborative process becomes more impulsive. Going with your gut feeling is also very 44

important. It is a kind of shared crystallization process. This can result in a good, new product.” Sebastian Menschhorn “What’s special about these traditional-house collaborations is something I would call a very unique form of intensity – intensity in the sense of an already-existing abundance, a wealth of objects and things that has developed over a long period of time. Starting a project from scratch is exciting too, of course. But once you get involved in a project with a company like Lobmeyr or the jewelers at Köchert – that’s when the intensity I mentioned starts to develop. There is the opportunity to play with many different roots. You can use them to enter into a kind of interaction with what makes that particular company what it is. It creates a tension with what already exists. You’re not creating anything unique. I would characterize the design process in this context as being more of an evolution. There is, of course, a lot that has to be taken into consideration – it’s the only way you can become part of this development. But that is exactly what makes it so exciting. I’m interested in the history, the culture, the sociology and all the things that make such an enduring brand – a design house – what it is.” Thomas Feichtner “Regardless of who I’m working for – be it the Wiener Silber Manufactur or Augarten

Porcelain – the brand’s heritage is not my primary concern. Tradition doesn’t impress me in terms of seriousness or respect, either. I respect the people who make the products. Take your vase design to the specialists at Augarten and you’ll be rewarded with a smile and learn right away that, when it comes to porcelain, a lot of things can’t be drawn or planned. What really impresses me about these kinds of collaborations is the experience these craftsmen have. I designed a bowl for the Wiener Silber Manufactur and a master silversmith executed it; he had the most incredible knowledge of materials and production techniques. In the old days, the guild had its own masters specialized only in bowls. I don’t care who buys these bowls, whether it’s a Russian oligarch or anyone else. I am only interested in the craftsmen.”

Michael Hausenblas has been on staff at the daily newspaper “Der Standard” since 1999, and primarily works as editor for topics in the field of design. WIEN PRODUCTS was initiated by the Vienna Chamber of Commerce in 1995. Its purpose is to give carefully 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. www.wienproducts.at

Photos © Klaus Fritsch

PROGRAM

Open Studio Day On Saturday, 24 November 2012, more than 70 artists will open their studios to the public between 12:00 noon and 5:00 p.m. to mark Vienna’s first Open Studio Day. Visitors of VIENNA ART WEEK are welcome to compose their individual studio tours and listen to talks between curators and artists in some of the studios. There will be guided tours led by Achim Hochdörfer, Elsy Lahner, Bettina Steinbrügge, Angela Stief and Ursula Maria Probst. For further information and time schedules of artists’ talks, see www.viennaartweek.at

Text by Katharina Aigner

Open Studio Day Saturday, 24 November 2012 12:00 noon–5:00 p.m. Open Studio Day – Artists open their studios to the public Steffi Alte Liebhartsgasse 22/4–6, 1160 Vienna Ovidiu Anton Lorenz-MandlGasse 33–35/1st floor, 1160 Vienna Thomas Baumann Wimberger- gasse 15/1, 1070 Vienna Sabine Bitter Lorenz-MandlGasse 33–35/1st floor, 1160 Vienna Bernhard Cella Stumpergasse 23, 1060 Vienna Cut and Scrape address at www.viennaartweek.at Regula Dettwiler Franzensgasse 19/ Top 5 (access around the corner via Grüngasse and up the metal stairs in the yard; left entrance), 1050 Vienna Thomas Draschan Grüngasse 12, 1050 Vienna Judith Eisler Aichholzgasse 51–53, 1120 Vienna Manfred Erjautz Münzwardeingasse 2a/1st floor, right-hand side, 1060 Vienna Stefan Feiner Lorenz-MandlGasse 33–35/1st floor, 1160 Vienna Julian Feritsch Liebhartsgasse 22/4, 1160 Vienna Christian Flora Lorenz-MandlGasse 33–35/1st floor, 1160 Vienna Nikolaus Gansterer Favoritenstrasse 17/door no. 13, 1040 Vienna Michael Gumhold Margaretenstrasse 47, 1040 Vienna Oliver Hangl Kirchengasse 48/ premise 2, 1070 Vienna

Marlene Hausegger Projektraum Viktor Bucher, Praterstrasse 13/1/2, 1020 Vienna Caroline Heider Hetzendorfer Strasse 43–45 (studio in the yard), 1120 Vienna Helmut Heiss Liebhartsgasse 22/4–6, 1160 Vienna Markus Hofer Karmeliterplatz 5, 1020 Vienna Julia Hohenwarter Liebhartsgasse 22/4–6, 1160 Vienna Katrin Hornek Lorenz-MandlGasse 33–35/1st floor, 1160 Vienna Ursula Hübner Münzwardeingasse 2a/4th floor, 1060 Vienna Harald Hund Lorenz-MandlGasse 33–35/1st floor, 1160 Vienna Iris Andraschek & Huber Lobnig Apostelhof, Apostelgasse 25–27 (brick building in the yard, left-hand side, 1st floor), 1030 Vienna Luisa Kasalicky address on www.viennaartweek.at Isabella Kohlhuber Bauernmarkt 9/ stairwell 1/door XVII, 1010 Vienna Krüger & Pardeller Doris Krüger, Walter Pardeller, Aichhorngasse 3–5, 1120 Vienna Elke Silvia Krystufek Eschenbachgasse 9, 1010 Vienna Christian Mayer Prater studios, Studio 13, Meiereistrasse 3, 1020 Vienna

Ralo Mayer Ausstellungsstrasse 49/7 (entrance on Schrotzbergstrasse 9/7), 1020 Vienna Anna Meyer Goldeggasse 29/14, 1040 Vienna Sissa Micheli Lerchenfelder Gürtel 22/14, 1070 Vienna Anna Mitterer Müllnergasse 3/21, 1090 Vienna Ute Müller Zinckgasse 2/1A, 1150 Vienna Noële Ody Liebhartsgasse 22/4–6, 1160 Vienna Bernd Oppel Rechte Wienzeile 39/38, 1040 Vienna Fritz Panzer Ganglbauergasse 38/1, 1160 Vienna Roman Pfeffer Grosse Mohrengasse 25/6, 1020 Vienna Liesl Raff Liebhartsgasse 22/4–6, 1160 Vienna Nora Rekade Schmalzhofgasse/ Mariahilfer Strasse 101 (passage, bottom yard), 1060 Vienna Isa Rosenberger Hohlweggasse 28/1/13, 1030 Vienna Lisa Ruyter Brucknerstrasse, between no. 4 and no. 6, 1040 Vienna Stefan Sandner Embelgasse 42/9, 1050 Vienna Anne Schneider Blumengasse 13/ courtyard house, 1170 Vienna Eva Seiler Liebhartsgasse 22/4–6, 1160 Vienna

Nina Springer Lorenz-MandlGasse 33–35/1st floor, 1160 Vienna Axel Stockburger address at www.viennaartweek.at Saskia Te Nicklin Rechte Bahngasse 10/basement, 1030 Vienna Tina van Duyne Veitlissengasse 2c, 1130 Vienna Jannis Varelas Bauernmarkt 9/1/1, 1010 Vienna Martin Vesely Schikanedergasse 11/3, 1040 Vienna Christoph Weber Inzersdorfer Strasse 106, 1100 Vienna Helmut Weber Lorenz-MandlGasse 33–35/1st floor, 1160 Vienna Herwig Weiser Diehlgasse 50/7, 1050 Vienna Nives Widauer Lainzer Strasse 49, 1130 Vienna WochenKlausur Gumpendorfer Strasse 20, 1060 Vienna

Katharina Aigner, was born in Austria in 1983. She lives and works in Vienna as an artist. 45

open studio day

Open Studio Day Saturday, 24 November 2012 12:00 noon–5:00 p.m. Open Studio Day – Artists in conversation with curators Artists in conversation with curator Achim Hochdörfer*

Artists in conversation with curator Angela Stief*

Florian Pumhösl: meeting point at www.viennaartweek.at Heimo Zobernig: meeting point at www.viennaartweek.at Artists in conversation with curator Elsy Lahner*

Susanne Bisovsky: Seidengasse 13/6, 1070 Vienna Kiki Kogelnik Foundation: meeting point at www.viennaartweek.at Lukas Pusch: Gassergasse 19/Stairway 5/2b, 1050 Vienna

Judith Fegerl: Prater studios, Meiereistrasse 3, 1020 Vienna Mahony: meeting point at www.viennaartweek.at Wendelin Pressl: Haberlgasse 91, 1060 Vienna Eva Schlegel: Weissgerberlände 56, 1030 Vienna

Artists in conversation with curator Ursula Maria Probst*

Artists in conversation with curator Bettina Steinbrügge*

Anna Artaker: Girardigasse 5/20, 1060 Vienna Barbara Holub: Grosse Mohrengasse 23 (in the yard, left-hand side), 1020 Vienna Katherina Olschbaur: Hintere Zollamtsstrasse 3/1st yard, 1030 Vienna * For further information and schedule of conversations, see: www.viennaartweek.at

Leopold Kessler: at the corner of Koppstrasse 55 / Hyrtlgasse, 1020 Vienna Sonja Leimer: Rechte Bahngasse 10/1 (basement; entrance faces the street), 1030 Vienna Lisl Ponger: Steingasse 26/38–39, 1030 Vienna

Curators Achim Hochdörfer: curator at the Museum moderner Kunst Stiftung Ludwig Wien. Lectureships at the Academy of Fine Arts Vienna and the Department of Art History, University of Vienna. Numerous publications on contemporary art in catalogs and magazines, including “Artforum”, “Camera Austria”, and “Texte zur Kunst”. Elsy Lahner: curator at the Albertina since 2011, worked as a freelance curator before. Lahner has directed and arranged various exhibitions, including “Space Invasion”, “Into Position”, and “das weisse haus”. Bettina Steinbrügge: curator of contemporary art at the Belvedere. From 2001 to 2007, she was the artistic director of the Halle für Kunst Lüneburg, and holds a lectureship at the HEAD in Geneva since 2009. Co-curator at the Forum Expanded of the Berlin International Film Festival (Berlinale) from 2007 to 2012.

Photos © Klaus Fritsch 46

Angela Stief: curator at the KUNSTHALLE wien. Group exhibitions include “POWER UP – Female Pop Art”, “Lives and Works in Vienna III” and “videorama”; solo shows by Nathalie Djurberg, Urs Fischer, Gert & Uwe Tobias, Wangechi Mutu, Andro Wekua et al. Her work further includes lectures on art theory, as well as publications, articles and interviews on contemporary art. Ursula Maria Probst: lives and works as an art historian, university lector, art critic, curator and artist in Vienna. 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 coinitiator of the performance collective Female Obsession.

open studio day

“My studio is a place where I practice all sorts of work rituals, try a lot of different things out, discard them, and then, ideally, the result is a painting that I’m satsified with. In the studio, I’m very exposed to myself and my moods. It makes me so happy when I somehow manage to surprise myself in the work. Then I’m devastated when something fails. It is not a peaceful place.” Katherina Olschbaur

“I share my studio with two colleagues, the exchange with whom also influences my work. I sometimes arrange my work in the space to test its effect in an exhibition. So far as that is concerned, I don't see the studio and the exhibition space as being so separate.” Leopold Kessler

“A beautiful space makes the work easier and more of a pleasure. The studio is a workshop with good working conditions, and I'm happy to be there. When visitors come, I am the host and am more than happy to answer questions. Unfinished workpieces are shown there, too – in that case, they are how they are. There are no secrets; anyone can understand.” Heimo Zobernig

“My studio has an enormous influence on my artwork. It really means a lot to me. It is important to me that the space is as large and bright as possible. It’s the main place where my work and projects come about – a laboratory where I can try new things undisturbed. A studio is like a second skin.” Lukas Pusch

“The most important thing in my work room is the table where I read, research online or talk on the phone. I also work in libraries a lot and, more recently, in an office at the Academy of Fine Arts. My work area does not fit the classic picture of an artist’s studio. It’s only when I’m making a new work that I sometimes need a larger space. A lot of times, it’s workshops where I have things made, worked out, framed, etc. – in other words, places where I don’t work myself.” Photos © Klaus Fritsch

Anna Artaker 47

“A large studio, lights, pictures leaning against the wall, an inviting, white sofa ideal for reading in the library. Costumes and props; on the desktop is a computer, postcards, notes, snapshots. Through the door is a second room – a darkroom bathed in red light. That’s how I picture it: the perfect studio. Lots of space and no rent.”

open studio day

Lisl Ponger

“I am very involved with issues of urban space in my work, so for me, the place of production (and by that I mean not only the physical, but also the mental space) is often elsewhere and is inspired by whatever context I am dealing with. So the studio really is just one place for me to produce art.” Barbara Holub

“I would draw a distinction between the symbolic component of the studio and the necessity of the studio. I have little interest in the symbolic component of the studio, but the necessity of it interests me a great deal. Once at a panel discussion, I joked that I was a robot who tries to outsmart himself in the studio. Then a colleague – John Knight – asked, ‘Florian, why do you still have a studio?’”* Florian Pumhösl * from: “Florian, why do you still have a studio?” A conversation with Viennese conceptual artist Florian Pumhösl, in: “all-over. Magazin für Kunst und Ästhetik”, July 2011 (http://allover-magazin.com/?p=427, 21 June 2012)

“I like this studio here because of how it’s structured: workshop in the back, then the office, and the shop in the front with a storage attached. Workshop, office, shop – a classic small business. It’s fitting: after all, I’m the manager of a one-man company. Visitors are always welcome, of course, and important; I really enjoy visits. I don’t see the studio as a refuge.”

Wendelin Pressl

“My work space is a place where I can think well and like to spend time. I chose it specifically for myself, modified it to suit my needs. So in other words, work and my way of working have had an influence on the space. A lot of my work is hard to show or build up quickly. Most of it only takes place on site, at the exhibition. People who visit me in the studio are entering a laboratory situation, not an exhibition.” Judith Fegerl

Photos © Klaus Fritsch 48

open studio day

“The work room is a space in which ideas are created, pursued, developed and elaborated. In this case, calling it a ‘studio’ might not be enough. Because often it is momentary spaces that we are occupying. These are both physical and virtual – they could be a ship, tent, hotel, the internet, beach, landscape, etc.” Mahony

“My studio is a space for thinking, planning, executing and experimenting; it’s also an archive. It’s important to me that I have a place where I can concentrate. I am surrounded by works-in-progress here, but also by studies and experiments that need more time. The studio is usually a very intimate place that allows a different, deeper look at the artist.”

Eva Schlegel

“We don’t separate work and life, so the studio is a workspace and living area in one. The room is large, but actually you always need more space. Part of the studio is a comprehensive collection of costumes that allows me to make work within the context of fashion history. The ‘artistic practice’ label is something people attach to me more and more; I myself do not mix fashion and art, either deliberately or intentionally.” Susanne Bisovsky

“This charming, pre-war apartment with furniture and style elements from the 1920s and 1930s is home to a mixure of archival space, warehouse, former residence, work and presentation room. Kiki Kogelnik (1935–1997) lived and worked in New York from the beginning of the 1960s on, but she never really left Austria as her home country. She would stay in the Wollzeile when she visited Vienna. Now the Kiki Kogelnik Foundation has its headquarters here. Selected works in the exhibition show the currency of this self-assured eccentric’s extraordinary oeuvre, which moves between abstraction and Pop, painting, graphics and sculpture.” Angela Stief on the Kiki Kogelnik Foundation

“The space always influences one’s work. My studio was once a print shop. Traces of it are still visible on the walls or on the floor, for example. The space is in the basement of a Gründerzeit building. It’s a very lovely, large, but also very raw room. I like the direct connection to the street. But my studio is not limited to this room, because a lot of things in my work come out of other spaces: my apartment, a café or the public space.” Photos © Klaus Fritsch

Sonia Leimer 49

PROGRAM

Soviet Modernism 1955–1991 Unknown Stories

“The nationalities and the union republics named after them started the fire that eventually led to the fall of the Soviet Union and provided the basis for the post-Soviet state order.” Andreas Kappeller

EXHIBITION “Soviet Modernism 1955–1991. Unknown Stories”

8 November 2012–25 February 2013 Further information at: www.azw.at/sowjetmoderne

Text by Dietmar Steiner We believe ourselves to know all about the history of 20th century modern architecture, while in fact it is not yet written in stone. There are still plentiful unknown masterpieces and developments waiting to be studied. In particular the decades of the Cold War were characterized by a certain hegemony inherent in the Western European and American historiography, which, for various reasons, refused to cast a glance across the Iron Curtain. One such blank spot of historiography is the architecture of the former Soviet Union, that big, mysterious, often-demonized Cold War enemy. While Western architectural history took note of revolutionary-era Constructivism and Stalinist architecture, it remains largely 50

blind to Soviet architecture from the second half of the 20th century, its knowledge seemingly limited to stereotypes of the region’s dull and grey large-panel system buildings and its bleak, deserted public spaces. But the Soviet Union included more than just Russia; on its fringes it incorporated a great number of national identities that later became independent countries. In recent years, a research group from the Architekturzentrum Wien (Az W) together with local experts have turned their eye toward regional architectural variants in an effort to bring to light other “stories” from the period. Their ambitious goal is to première the architecture of the fourteen former Soviet republics Armenia, Azerbaijan, Estonia, Georgia, Latvia, Lithuania, Moldova, Kazakhstan, Kyrgyzstan, Ukraine, Uzbekistan, Turkmenistan, Tajikistan, and Belarus. Western architectural histories widely restrict themselves to only occasionally mentioning one or another masterpiece from these regions. Only lately has systematic research investigated this important second continent of Modernism between Tallinn and Tashkent. In it, we bid adieu to the idea of an impersonal, uniform

Soviet architecture, look out for characteristic regional features, each of which has evolved in individual processes, and eventually come across a wealth of regional architectural developments, spectacular biographies, and previously unknown objects. The birth and identity of new states Quite contrary to Western prejudice, which posits that all Communist states produced identical architectural styles allegedly due to identical production conditions and norms, it is precisely because of the Soviet Union’s wide cultural diversity that we discover a great variety of regional architectural strategies no less diverse than those of capitalist states in the same period. In a word, the “fringe republics” within the closed Soviet political system yielded a tremendous variety of architectures. Today, we classify four cultural regions outside of Russia. Whereas the Baltic states’ persistent political resistance to Soviet occupation is clearly reflected in their inclination toward Scandinavian architecture, the Belarussian, Ukrainian and Moldovan regions, judging from their Russian architecture,

Lenin Square, Tashkent, Uzbekistan, © private archive, Tashkent

seem to have been more accepting of this cultural annexation. On the southern Russian border, however – i.e. the Central Asian republics and the Caucasus – there emerged various local identities from both national roots and national constructs. The last chance By virtue of its geopolitical position, the Architekturzentrum Wien has made it one of its major tasks to convey 20th century Eastern European Communist architecture and has in recent years concentrated on Southeast European and Balkans architecture. Aiming to broaden this spectrum, the study of Soviet Modernism evolved into a major research project, evidenced by the inclusion of a time and region-specific project database and a topic-related research library. The primary objective of this substantial Architekturzentrum Wien project is to reinvigorate communication structures neglected after the USSR’s fall and to build a network for architects, researchers and experts. Many of the protagonists, town planners and contemporaries, whose histories remain undocumented and works are not yet viewed in

context, are still alive. But time is short, and there is an urgent need for action in some of these countries. Many buildings awaiting recognition by architecture historians are under threat: on the one hand, the poor building technology of their time led to their rapid decay; on the other there is a lack of financial resources to maintain them. And while the former USSR’s economically strong successor states seek to renovate and modernize such buildings, they make them disappear behind the mask of present-day real-estate development. Moreover, many “Soviet Empire” buildings in emerging post-communist countries may fall victim to attempts to come to terms with the past or draw a veil over it.

time made on our side of the Iron Curtain. It probably takes the distance of a generation to truly recognize the cultural and architectural achievements of a period as well as its hopes and promises for the future, though they may not be delivered yet.

Dietmar Steiner is the director of the Architekturzentrum Wien and current president of the International Confederation of Architectural Museums (ICAM) as well as chairman of Vienna’s “Qualitätsbeirat Wohnbau”, the advisory council for quality in housing construction. He also works as architectural consultant in many juries and peer reviews.

The discovery Even 20 years after the fall of the Soviet Union, there is a lack of thorough knowledge of its successor states. The exhibition and accompanying publication “Soviet Modernism 1955–1991. Unknown Stories” give an initial insight into the stories and architectural masterpieces of a formerly “forbidden zone.” Perhaps discovering the great Soviet architecture of the period 1955–1991 will also help us value the achievements of the 51

INTERVIEW

“We’re Building a Bridge st to the 21 Century”

Sabine Haag on the political function of the Kunstkammer (Collection of Sculpture and Decorative Arts), its timeliness and the narwal tooth’s miraculous powers

Art historian Dr. Sabine Haag has been director of Vienna’s Kunsthistorisches Museum (KHM) since 2009. On February 28th, 2013 – after more than ten years of closure – she will reopen the important cabinet of curiosities at the museum’s premises on Burgring.

Text by Nina Schedlmayer

Benvenuto Cellini, Salt Cellar (Saliera) © Wien, Kunsthistorisches Museum

Dr. Haag, the Kunstkammer will reopen for visitors in February 2013. You yourself started your career in the collection of the museum that is tied to the Treasury. How did you happen upon this museum in particular? Sabine Haag: I’d just finished my studies when one of my teachers, the now late Günther Heinz, said to me: “I might have something interesting for you.” That’s how I ended up in the Treasury: It was my job to enter the collection’s handwritten inventory – around 10,000 inventory numbers! – into a data base. Naturally I wanted to investigate every object. I was lucky that the director at that time, Manfred Leithe-Jasper, allowed me to delve into practical museum work. When they offered me the chance to write a dissertation, I of course agreed right away. The topic – the ivory pieces – did you pick it out yourself? Sabine Haag: I was given a choice between ivory, jewelry or glass. I chose ivory without hesitation – a unique collection that had yet to be adequately cataloged. What fascinated you about it? Sabine Haag: The unbelievable beauty and sensuality of the material. The Kunsthistorisches Museum owns an extensive collection of it, and I could carry out really fundamental research there since I had to record and catalog every single object. Even later, you continued to publish several pieces on the Kunstkammer. In one of your texts you talk about how the museum systematically held tours for visitors as early as the 18th century. Do you think this could be regarded as the beginning of cultural education? Sabine Haag: Such tours were, of course, a kind of cultural education. They were offered by just about every collection; we know this

from accounts written by people who had traveled through Europe. In Vienna, the Imperial Treasury – predecessor of the later Kunstkammer – was considered an absolute must-see. To see it, you would have to pay a “gratuity,” which by the way was much higher than the one for the Picture Gallery. How would you explain that? Sabine Haag: Obviously the Imperial Treasury was seen as more important. The objects in it were several times more expensive than the paintings in the Picture Gallery, even when made by artists of equal importance. Was it the rarity of the Kunstkammer objects that made them so expensive? Sabine Haag: For one, the materials alone – precious metals, ivory – were very exclusive, as were the heavily sought-after exotica and other rarities. Second, the cost of making them was significantly higher than it was with other art objects. Still there were other reasons: we have a narwhal tusk, for example, which like many materials was imbued with a mythical quality – it was thought to have a detoxifying, but also virility-enhancing effect. You could buy the tusk, also called the “horn of a unicorn,” from the apothecary. The price of it was seven times higher than the price of gold – precisely because people were hoping for a miracle. Cabinets of art and curiosities also served as a kind of transfer site for gifts between rulers; what kind of political and diplomatic relevance would you say they had? Sabine Haag: It’s true that besides commissioned works, gifts and objects of exchange formed an important basis for these kinds of art cabinet collections – and served yet another purpose: Rudolf II became more and more reluctant to attend political functions. But if you sent him a Giambologna beforehand, then you could bet he would be more sympathetic to the idea of a conversation.

So you could think of these visits as something like the hunting invitations we have today? Sabine Haag: Nothing’s changed! But it’s interesting how complex the whole thing was. Amber, for example, was a typically Prussian product – no other ruler had access to it. So Prussian rulers liked to give amber: not only was it very exclusive, it also demonstrated their own possessions and wealth – in the end, no one else was in a position to give it away. If you were to give Leopold I a throne inlaid with amber, then it was also a subtle indication of your own power. How do you want to convey this kind of complex content in the museum? Sabine Haag: We’re preparing various narrative storylines on it. One of them will describe how the collection developed, another one will deal with techniques and object groups or artist landscapes. You can’t go into every single detail for every object. But with Benvenuto Cellini’s Saliera, for example, you can bring up a number of topics: the object as such, the complex iconography, the commissioner, how it came into the collection – and finally, we wouldn’t want to leave out the most recent story about its theft. That sounds like a big challenge in terms of museum education. Sabine Haag: Undoubtedly, the Kunstkammer’s reopening in February 2013 comes with a huge museum educational challenge. To meet the high demands, we have been working intensively with a team of experts to implement a pioneering overall concept for museum pedagogy. For it, we will be depending more on the use of new media; when it comes to future-oriented teaching concepts, incorporating the latest technology is an absolute must. So the Kunstkammer, for example, will have it’s own media room, and visitors can also access important information on their mobiles using an app. We

are especially proud of the numerous iPad stations, which are an integral part of our interactive media concept. Right now, there is a lot of effort going into the Kunstkammer’s reopening. Doesn’t the KHM need an important, internationally touring exhibition – like the late Titian exhibition a few years ago? Sabine Haag: Of course, we’ve had those kinds of projects in the last four years – the well-noted Karl der Kühne exhibition, for example, which garnered a lot of international attention. Or the one on winter, which we handed over to the Kunsthaus Zürich. But I think we are well-advised to focus on content rather than big names and insurance sums. Redesigning a collection is in itself something like a giant exhibition – only there’s x-times more budget behind it.

meant to reflect the current state of not only the arts, but especially mathematics, the natural sciences and technology. With the refurbishment, we’re already aiming to build a bridge to the 21st century – by installing lighting by Icelandic artist Olafur Eliasson, for example. His work is very closely tied to technology. What would the founder of the Kunstkammer, archduke Ferdinand of Tyrol, collect today? Sabine Haag: Maybe works by Eliasson, or art objects made of new materials like Corian, curios that are hard to come by, and I’m sure he would own this wonderful, fur-lined teacup by Meret Oppenheim.

Nina Schedlmayer was born in St. Pölten in 1976. She studied art history in Vienna and Hamburg and has been active as a journalist and art critic since 2004, writing for publications including “profil”, “artmagazine”, “EIKON” and “Camera Austria”, among others.

Recently, the KHM has also devoted itself to contemporary art; will this new track play a role in the Kunstkammer as well? Sabine Haag: We invite contemporary artists to come and work with our collections. The Kunstkammer will certainly be a point of interest there. An exhibition of work by Joseph Cornell is planned for 2014, though he died in 1972. His boxes, called “constructions” – assemblages in which he combined poetic collections of photographs, star charts, balls or Victorian toys according to his own symbolism – bear a strong relation to our Kunstkammer. The Kunstkammer was originally created as a theatrum mundi with encyclopedic ambitions. What would its counterpart look like in today’s information society? Sabine Haag: Today’s Kunstkammer would be just like the historical one – a collection of objects that brings together many materials and is super-modern in terms of technology. I am sure technological advances would figure into it quite a bit, because it was always 53

ART & ACADEMIA

Functional Logic Without Function Art and academia in the neoliberal era

Text by Jenni Tischer The tangency, entanglement and mutual criticism of art and scholarship in the broadest sense has been an important issue for some time now, both internationally and at Vienna’s Academy of Fine Arts. Take the PhD program, for example, or the comprehensive “Troubling Research” project. After numerous discussions and publications, conferences and analytical investigations1 of the topic, one would think its explosive, controversial potential would have faded.

1 Cf. e.g. Artistic Research, Texte zur Kunst 82/2011. 54

And it has – on the one hand. Because at this point, we certainly no longer need to pay lip service to the similarities and differences between art and scholarship, though discussion continues about art forms that develop from these cooperations, along with the obvious facts and platitudes these have produced (also and especially in speaking about them). This art – in its compliance with institutional demands – risks succumbing to a diction of proposals and third-party funding, ultimately enabling its own evaluation within the competition of our knowledge society: who generates the most knowledge where, and how can it be utilized efficiently?

It is therefore advisable, on the other hand, to continue taking a concentrated look at points of intersection – places where bleeding art of its freedom seems to benefit attempted endeavors to legitimize it within a neo-liberal logic. Because what remains is often only a shell, one inflated in the interdisciplinary hodgepodge according to the current promotion and demand. A bubble here, a protrusion there – every crack is coaxed, puttied together with words, and analyzed away. I am not saying that artists should read, meet with scientists and scholars, listen in on philosophy lectures or even plan projects together. We do, however, have to ask ourselves whether and to what degree the constitutional right to “free art and scholarship, research and teaching” still applies in our neo-liberal society and what responsibilities this incurs for art in particular, namely the preservation of a liberty. And for artists this liberty, quite clearly, does not mean independence from gallerists, collectors and patrons, but freedom of choice within one’s own art. This also implies opening oneself to the absence of a pre-formulated mission or assignment, be it political, theoretical or academic.

Yet it is precisely in these cooperations that freedom gets lost in the inability to strike a balance between one’s own artistic position and the various expectations cheerfully projected onto it. It is, in the end, about everything and nothing. The artistic-scholarly proposal delivers the essential keywords: dehierarchization, performative, informal knowledge production, transparency and interdisciplinary intervention … hasn’t art lost its way in the obscure, political skirmish? Lurking in this nebula is the danger of functionalizing art exclusively as a tool, an instrument for representing either various “political interests” (as in the case of the Berlin Biennale 2012) or other institutional concerns, and leading it to a smoother, more creative, more innovative and ultimately more utilizable flow of goods and knowledge.

Jenni Tischer, born 1979, lives and works as an artist in Berlin. She worked as an editor for the magazine “Texte zur Kunst” in Berlin from 2010 to 2011. She completed her studies in visual art at the Academy of Fine Arts Vienna.

KUNSTSAMMLER IN WIEN

“An Artwork Only Makes Sense if You See It” From private collection to public art space

When art is an indispensable part of life that has outgrown one’s own four walls, some collectors consider opening a public art space of their own. Ursula Maria Probst spoke to three collectors who did just that.

Andra Spallart

Text by Ursula Maria Probst Personal passions and the desire to be part of the exhibition scene: for many collectors, these are compelling reasons to not only invest in art or support artists, but to run a space of their own. The unrestricted access to art that turned Andra Spallart into a photography collector, as well as her enthusiasm for exciting visual frontiers, can be felt in the architecture and exhibition concept of her space FOTO-RAUM. “I am an incurable romantic, but I also love provocation. A picture that fascinates, disturbs, stirs or touches me stands a good chance of being bought.” It was the desire to bring her art collection into larger contexts curated by others – to see it hold its own, to give it the stage and space, the urge to invite others to confront art, to encounter it and marvel – that prompted Andra Spallart to open FOTO-RAUM in April 2011.

Fotos © Klaus Fritsch

It was a search for new discoveries that eventually took Alois Bernsteiner, a world traveler who has crossed the Sahara and stood on the Himalayas, to art. “A picture has to tell me a story!” When Bernsteiner, along with family

Alois Bernsteiner

and friends, began his art space activities in the late 1980s, there was a dearth of exhibition opportunities in Vienna. Today, his Kunstraum Bernsteiner is located in the heart of Vienna’s Leopoldstadt, in a courtyard building once used as artist studios. The exhibitions do not reflect the collector’s preference for painting or photography; installations or multimedia projects are realized as well – sometimes with enormous effort.

Christian Hauer

Ursula Maria Probst lives and works as an art historian, university lector, art critic, curator and artist in Vienna. 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.

Christian Hauer came to the painted image via cinema, his intense preoccupation with film and the “picture” in the film still. Then as now, Hauer – an active collector since 1961– is fascinated by the art of the 1950s and 1960s, and by the way artists at that time “reinvented” the world, rejected representationalism and expressed themselves using the language of the non-representational. “The fact that I subsequently opened an art space is simply the result of my own four walls being full, and of the fact that numerous pictures had spent their lives in storage. But an artwork only makes sense if you see it.” Open since 2004, his space 16/17 is still first and foremost a private room – but one he makes available any time, to anyone interested in having a look. 55

ART COLLECTORS IN VIENNA

On Complex Simplicity! What the primary market does for art collectors

While analysts and investors use record auction prices or “hipness” lists to sound out the commodity value of art, passionate collectors appreciate the primary market’s role as an intermediary; here, they can follow an artist’s career from the beginning.

PANEL DISCUSSION “Primary Market” Margot Fuchs at the Le Loft (Sofitel Vienna Stephansdom), © Klaus Fritsch

Saturday, 24 November 2012 11:00 a.m. KUNSTHALLE wien karlsplatz, Treitlstrasse 2, 1040 Vienna Moderation: Andrea Schurian www.viennagalleryweekend.com

Text by Michaela Knapp For a long time, the classic division between the “primary market” – the gallery domain – and the “secondary market” of art dealers and auction houses was considered absolute. The general rule went: a gallerist makes exhibitions, builds the artist’s career, gives them advice and support and presents or markets their fresh-from-the-studio wares; a dealer only sells. The line between dealer and gallerist has become more fluid these days. Many gallery owners hold their own “secondary market” in the back room, and many less-than-two-yearold works have been appearing on auction house floors. The art market as a whole has grown in recent decades, becoming a giant machine of fairs, galleries, auction houses and online retailers. Keeping track of this booming market has become more and more of a challenge as the mechanisms behind pricing become more and more subtle. A gallery will try to control prices; an auction 56

house aims for precisely the opposite. So simple. So complicated. Still the question remains: what is important for an artist’s career? On the one hand, we have record results on the international auction market – providing fuel for many artists’ careers and fuel for debate. On the other hand, you can’t have a secondary market without a primary one! An artist is only as strong as the gallery backing him or her. After all, it is still the galleries that care for their artists and give them room to mature, put their names into circulation, explain their work and, in doing so, make and secure the value of their art on the market. When it comes to business, a gallery is in it for the long haul. They strike and maintain the balance between the ideals of art and the market, and for the vast majority of collectors, they are the first and most important contact and intermediary. Collectors want more than just to buy paintings; they also want to be entertained and to immerse themselves in another, very rewarding social milieu. As American gallery owner and market expert Michael Findlay writes in his book “The Value of Art”, “the acquisition of art is an art and not a business.” And with good reason. Pleasure the senses first, investment second That's how Margot Fuchs sees it. The doctor and mother of five says her love for art was first ignited by her husband Roman’s collection-in-progress – and quickly caught fire. That was 16 years ago. “My first work was by Julian Opie, a large portrait of his

then-wife Christine.” She now sees collecting as a fascinating counterbalance to her family and career; it has become a passion. “My immediate enthusiasm intensified the collection-building process and internationalized the collection.” As for the purpose of art, Margot Fuchs clearly ranks sensual pleasure over investment. When it comes to building her collection, the most important criterion is simply pleasure, says Fuchs, “though my intensive involvement with art has made me very selective with regard to relevance, innovation, sustainability, etc. In any case, the collection is more qualitative than quantitative.” Hence, the family lives with art “not to own it, but to enjoy it,” the collector adds. Artworks are hanging and lying over 1,350 square meters of living space, strewn over a more than 4,000-square-meter lawn: paintings and sculptures by Austrian artists and international ones, emerging and established – from Fabian Seiz to Erwin Wurm, Lisa Ruyter to Antony Gormley. Let your eyes and heart be your guide – or so the expert maxim goes –, not your ears. Still, Margot Fuchs takes a very close look at the art market, scouring galleries and exhibitions both at home and abroad, watching auctions, researching with catalogues and the internet. She dedicates an average of three to four hours a day to her passion. “To call it a hobby would be an understatement.” According to the collector, the primary market is the most important resource in the research process. “The vast majority of purchases

Maria Holzer at the Le Loft (Sofitel Vienna Stephansdom), © Klaus Fritsch

are mediated by gallerists.” Though when it comes to buying, she is the more cautious one. “My husband would probably give the shirt off his back for something he wanted. The combination creates a balance, though of course we always spend more on art than we had planned in terms of budget – typical collectors! Luckily, we usually agree on what to buy and know almost all the artists personally. Not that we necessarily need to talk to them about their oeuvre, but personal acquaintance gives the work another point of access.” “Pictures are like pets” A horizon expanding, a plunge into another world – that’s what Maria Holzer loves about engaging with art. The now-retired physician gave up her large practice and now has more time to devote to her passion. She and her husband have accumulated a fine collection of conceptual art, minimal art and abstract painting. She has been dealing with art for 20 years – intensely and passionately, as the collector vividly describes: “I’ve divided my family between Berlin, Paris and London, so I get to a lot of art venues and spend my free time going from one museum to another, from one exhibition to the next. It trains the eye!” Though she now has a large selection of key works by established artists and is always happy to lend them for exhibition, Maria Holzer is reluctant to use the term “collection.” “We just have an accumulation of pictures;

they’re like pets. I like them and can not imagine living without them.” These “pets” include works by renowned artists from Fred Sandback to Ernst Caramelle, Helmut Federle and Mary Heilmann. New considerations come into play as the collection continues to grow – considerations with regard to personal needs, focus in terms of content. After all, every collection says a lot about the collector. Maria Holzer’s selection process is easy to explain. “A picture looks at me and in a second, I’m caught. This is a very emotional process.” It is the reason why she could never buy something at auction, which, in her view, is “completely devoid of the sensual experience! Contact with the artists is important to me! It’s about growing relationships, following an artist’s career as it develops.” American radical painter Joseph Marioni, for example, hung his work in Holzer’s house himself; the collectors also enjoy a long-standing friendship with Belgian installation artist Joëlle Tuerlinckx. They met at a gallery dinner.

“There, I definitely take the opportunity to speak with an art historian or the artist about their work, and learn more about art,” says Holzer, who is all for a functioning primary market. “I think living in the 21st century and feeling the contemporaneity is interesting. But 20th- and 21st-century art is cumbersome and not always easy to understand. Dealing with it is hard work sometimes. So galleries are important go-betweens.”

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

They never buy “straight from the farm,” i.e. directly from the artist in the studio. “I can haggle with a gallery, but not with an artist.” Despite the collection’s international focus, the Holzers primarily buy works in Austria. As for the primary market: “You have three or four galleries that you trust.” The collector also appreciates advanced mediation programs, whereby galleries might invite them to join specially-themed concerts or talks. 57

STUDIO VISITS

A Reflection of the Times

The BMUKK Prater studios – inspiring sites of artistic production

STUDIO VISITS Curator Ursula Maria Probst guides a tour through the Prater studios

Wednesday, 21 November 2012 2:00 p.m. Meeting place: Meiereistrasse, vis-à-vis Ernst Happel Stadium

Photos © Klaus Fritsch 58

Text by Ursula Maria Probst Visit the artists’ studios in Prater and you will always have one foot in the green. Not far from Vienna’s Giant Ferris Wheel, between the harness racing course and the soccer stadium, the 25,000-square-meter grounds are home to both a wildly proliferating habitat and monument-protected architecture, to the contemporary and the historical, to artistic exchange and productive retreat. A tour of the studios, which are occupied by established and emerging artists alike, offers intergenerational insight into Austrian art production in the present and recent past. The history of the state-funded artist studios in Krieau, which goes back to the 1873 Vienna World’s Fair, makes them a unique phenomenon. Though it barely registers in Austria’s cultural collective memory today, the international exhibition marked a high point of Viennese architectural history. The exhibition became a testing ground for building types that had not been realized in Vienna until then. The originally 200 pavilions were designed by Ringstrasse architect Carl von Hasenauer, who (in an allusion to the Austrian master painter) was called the “Makart of architecture.” The two opposing, symmetrically conceived buildings containing the Prater studios are the only pavilions that still stand today. Dedicated to the arts by Emperor Franz Josef I of Austria in 1875, during the Fair they served as part of an arts

district for showcasing art collections. The original inscription “DER KUNST” (meaning “to the arts”) can still be found in the entrance to the south building complex. In 2001, the premises of the Prater studios – which until then had remained property of the Austrian State – were handed over to the Bundesimmobiliengesellschaft (BIG, Federal Property Association). On May 1, 2010, they were transferred back to the Austrian Federal Ministry for Education, Arts and Culture (BMUKK). The pavilions housed the studios of such antithetic sculptors as Bruno Gironcoli, Alfred Hrdlicka, Rudolf Hoflehner, Karl Prantl and Josef Pillhofer, who worked there until their deaths. Some of its current occupants – among them Ulrike Truger, Joannis Avramidis, Roland Goeschl, Walter Kölbl, Hans Kupelwieser, Oswald Oberhuber, Gerhardt Moswitzer-Hewiach, Ingeborg G. Pluhar, Oswald Stimm, Werner Würtinger and architect Hans Hollein – have been using these studios for decades. Since 2011, after a round of refurbishment and renovation measures, newly available or vacant studios are gradually being given to a new generation of artists for a period of up to 7 years. The juried selection procedure follows an open call. In addition to the artists listed above, the current occupants of these 16 studios for sculpture, object art and painting include artists Judith Fegerl, Christian Mayer, Zenita Komad, Hans Scheirl,

Roland Kollnitz and Claudia Märzendorfer. Each studio is between 45 and 435 square meters large. The extensive area in Krieau has the feel of a sculpture park. Here you encounter (among other things) Joannis Avramidis’ sculptural, figurative works, which have had decades of international acclaim. Gerhardt Moswitzer’s sharp-edged Corten steel sculptures from various creative periods break with the Arcadian idyll. Anyone entering the Prater studios will be treated to an artist studio visit in the truest, best sense of the word. Almost no other studios have such a light-filled atmosphere as these, thanks to the skylights and daylight streaming in through the sides. Oswald Stimm’s studio is an organicallygrown ensemble leading into the cosmos of a life journey, one that includes a 14-year stay in Buenos Aires and an artistic engagement with dialectical materialism. Quite unlike installation artist Judith Fegerl, who handles electricity, tubing and copper, sculptor Ulrike Truger – who finds the influx of young artist colleagues and intensive collegial exchange very invigorating – carves imposing five-ton stones in the outdoors area. Another artist who tends to work in larger dimensions is Roland Goeschl, with his modular, architecturally referential color elements. Walter Kölbl designs precise formations with minimalistic features from industrially-manufactured products, while work by Hans Kupelwieser, whose sculptures incorporate kinematic

processes, shows the notion of “expanded sculpture” in practice. Artworks make use of anything from vacuum cleaners for vacuum production to text, which is constantly applied when it comes to intervening with reality by means of language configurations. The generously-sized spaces allow the artists to leave things without always having to clear them away afterwards and to place the works next to each other – as a continuation and a starting point for new work. Conditions in the Prater studios have an influence on the work, as we also see in artwork by other artists. Work by Claudia Märzendorfer, for example, is altered by the given spatial proportions. Thanks to their location in the middle of the Prater grounds, the studios offer a different relationship to the outdoors than an urban studio would, says Hans Scheirl. Ingeborg Pluhar compares the conditions one encounters at the Prater studios to those on an island. Zenita Komad sees a lot of potential for collaboration with other artists in the neighboring studios. Roland Kollnitz, for example, whose work develops its aura by the way in which the sculptures are set in relation to one another, invited his new neighbors Oswald Stimm and Gerhardt Moswitzer to participate in an exhibition at Vesch, a Vienna project space.

tions on programmatic aspects of recent art history flow into the artwork of Werner Würtinger. As the chronicler of the Prater studios, Würtinger published “Arkadien und angenehme Feinde. Die Bildhauerateliers im Prater” (Arcadia and Pleasant Enemies: The Sculpture Studios at Prater) in 2011. The book includes a statement by Joannis Avramidis, who describes two ways of working as an artist: either expose yourself to the pulsating dynamics of your surroundings or withdraw and concentrate on your own work in isolation, which latently leads to reflection about it. This decisive question is not a factor for the younger generation of artists: for them, it’s about taking advantage of the Prater studios’ excellent conditions for concentrated artistic production and actively taking part in exhibitions.

Conceptually-oriented artist Christian Mayer’s interest lies in the historical component – the building as a World’s Fair relic – while reflec59

CREATIVITY & ECONOMY

Against Plastic Bag Buildings and for More Exceptions to the Rule Innovative building in the city

Andreas Pulides, CEO of König Holding AG, and architect Marie-Therese Harnoncourt of “the next ENTERprise” spoke to the cultural journalist Stefan Musil about architectural culture and innovation, about possibilities and facts.

Text by Stefan Musil “There is, in principle, a high standard of architectural culture in Vienna. New projects should always stand in dialog with the existing cityscape. But this idea means it should have artistic significance as well,” says Andreas Pulides, describing important parameters for innovative building in the city, and he adds: “Realizing a sensational design is always easier in the open countryside!” Architect Marie-Therese Harnoncourt disa grees. She and Ernst J. Fuchs are “the next ENTERprise”, a collective well-known for visionary architecture. One of its most prominent buildings is the so-called Cloud Tower in Grafenegg, a deconstructivist outdoor stage. “The big challenge – even in Grafenegg – is always how to realize what was planned. The question is, how are innovations supported not only technologically and artistically, but also in terms of sociology?” In most cases, rigorous rules and regulations stand in the way when it comes to realizing ambitious architecture. According to Harnoncourt, we need a new policy: “You have to allow exceptions. Otherwise you inhibit the creative process!” For Andreas Pulides, reinforcing architectural culture has a lot to do with mediation. “Innovation and new ideas have to be formulated in such a way that other people can under60

stand them. For that, we need to educate the public, and the media would have to go along with it as well.” Architecture should be given the same status as Vienna’s other cultural flagships like art and music. Harnoncourt misses traditions – such as garden design in the UK, for example, or the natural way of dealing with interior design that we see in Scandinavia. This creates “self-understanding and access to a certain creative level that also has a connection to everyday life.” Naturally, sophisticated architectural culture is also a question of money. Here, Harnoncourt brings into play the reality of construction costs. Clearly Austria is keen on projects with innovative potential, paired with architectural culture. These often fail due to underestimated building costs. “Architectural culture would certainly benefit from a greater awareness of the fact that quality costs a bit more!” Andreas Pulides understands the importance of the building industry as an economic factor and export commodity. He and his associate Peter König head the group ALUKÖNIGSTAHL, which uses the latest technology to develop aluminum, steel and plastic systems for the construction sector and machinery and plant engineering. Currently, he sees two main factors that also have a big influence on planners: “Sustainability and efficiency. This area requires a lot of creativity on the

part of the architect.” Harnoncourt agrees, but would like to see a paradigm shift: “The constant demand to meet the passive house standard is absurd. Everything has to have massive insulation, then it molds if I don’t open the windows! These ‘plastic bag’ buildings are not suitable living spaces.” So an active way of thinking about energy seems important. Buildings that generate their own energy. But Harnoncourt sees another problem here: funding for these kinds of projects is difficult to come by and only pays off very late in the game. “And yet it would be so easy,” Pulides adds. “Higher building costs should not deter the construction company, nor the clients nor the architects from building in a sustainable, energy-efficient way! Vienna lives from a kind of inner renewal right now, palpably so, but also from city development projects like Aspern or the Central Station district. It would be worth a call on decision-makers, building authorities and politicians to reconsider this!”

Stefan Musil, born 1970 in Vienna, studied art history. He was culture editor for the daily newspaper “Die Presse” until 2002 and press spokesman for the Albertina in Vienna from 2002 to 2006. Since then he has worked on various projects in the cultural sector, including the Salzburg Festival and Kunst im öffentlichen Raum Wien (KÖR), and as a freelance culture journalist for magazines and newspapers including “Die Presse”, “Tiroler Tageszeitung” and “Bühne”.

CREATIVITY & ECONOMY

“Vienna Goes All the Way to Hollywood” The design language of two new Viennese hotels

Martin Lenikus, art collector and CEO of the LENIKUS consortium, and architects Stephan Ferenczy (BEHF) and Michael Manzenreiter discuss Wiener Werkstätte, architectural quotation and art hotels. Sammlung Lenikus Parkring 10 1010 Vienna   T +43 1 516 31 0 F +43 1 516 31 190  E sammlung@sammlunglenikus.at www.sammlunglenikus.at STUDIOS of the Lenikus Collection Bauernmarkt 9 1010 Vienna

Michael Manzenreiter, Martin Lenikus and Stephan Ferenczy (f.l.t.r.) © Nathan Murrell

OPEN STUDIOS AND GUIDED TOUR

Guided tour of the Lenikus support program participants’ studios and of the exhibition “Kann es Liebe sein?” at the Collection’s exhibition space STUDIOS*

Martin Lenikus, your hotel Topazz is inspired by the Wiener Werkstätte, a movement whose design language is frequently cited in this city but is scarcely reflected in its hotel architecture. Why did you want to change this? Martin Lenikus: We wanted the hotel to be unmistakably Viennese. The question was: which form language should we use, and how can it be translated into today’s Vienna?

Thursday, 22 November 2012 4:30 p.m. Meeting place: Bauernmarkt 9, 1010 Vienna Project and collection manager Angela E. Akbari leads a guided tour through the studios held by Lenikus studio program participants. Curator Nora Mayr (Berlin, Künstlerhaus Bethanien) guides through the exhibition “Kann es Liebe sein?” (Can it be love?), which is shown at the collection’s exhibition space STUDIOS and, parallel to this, at the k/haus Passagegalerie. Since 2000, the Lenikus Collection has been supporting young Austrian and international artists by providing them with studios and apartments in Vienna’s 1st district. Every year, six graduates are nominated from Vienna’s two art universities. This is complemented by the artist-in-residence program, where twelve already internationally-renowned artists live and work in Vienna for a period of three months. Last year’s program participants included, among others, Liudvikas Buklys, Diana Hakobian, Keegan McHargue, Yngve Holen, Eva Kotatkova, Mustapha Akrim, Marieta Chirulescu and Tom Nicholson. The selection and content-related guidance of grantees is overseen by an advisory board consisting of Cosima Rainer (contemporary art curator), Jasper Sharp (Adjunct Curator of modern and contemporary art, Kunsthistorisches Museum Wien, commissioner of the Austrian pavilion at the Venice Biennale 2013) and Francesco Stocchi (curator in Vienna, Rome and at the Rotterdam Museum Boijmans Van Beuningen). The collection’s new exhibition space, the STUDIOS, gives artists space to test out vari ous possibilities for their work, for flexible and spontaneous actions, for small or also complex exhibitions – allowing them to bypass rigid institutional structures and allow their creative energy to take effect in an unpretentious way. * Limited number of participants. Registration is required: E sammlung@sammlunglenikus.at or T +43 1 516 31 0

Text by Stephan Hilpold

So what is a Viennese hotel to you? Martin Lenikus: Difficult to say … There’s something like a Viennese attitude towards life, and we want to reflect this in our service. Then there is Viennese architecture, which is much influenced by Jugendstil, Biedermeier and Baroque. The façade of the Topazz and its oval windows really are a very contempo rary statement – one that meets with great approval, happily. Michael Manzenreiter, how did you as the architect go about translating this design language for the 21st century? Michael Manzenreiter: Actually the façade design reminded me of a vase by Koloman Moser, and got me thinking about the Wiener Werkstätte. It’s a very modern perspective that I’m using to look at the past. The wall paintings in the guest rooms, for instance, are based on Koloman Moser’s “Rosengarten” textile design, and Dagobert Peche’s golden mirrors served as a model for the rings adorning the bed headboards.

the “Viennese,” because obviously Vienna doesn’t cease to exist at its city limits but goes as far as Paris, Berlin or Hollywood. The term “grand hotel” suggests a big hotel, but actually the Lamée is a very intimate building, and so is the Topazz. Stephan Ferenczy: This is not about the number of rooms. The hotel is just a stone’s throw from St. Stephen’s Cathedral and gets a lot of public attention. There is an imposing lobby and an appealing bar with a charming lounge area open to the public. The Lamée is a luxurious hotel in Vienna’s inner city, not a remote country hotel. Martin Lenikus, you are a known art collector. Does this passion have any influence on your activity in the area of hotel development? Martin Lenikus: I wouldn’t separate these two fields, but I don’t want to force art on anyone, either. The Topazz is a gesamtkunstwerk as a whole and needs no additional artworks, but we haven’t decided for the Lamée yet. Are you considering an art hotel? Martin Lenikus: All art hotels I’ve seen so far were hideous. So no, I’m not.

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

Martin Lenikus, your second new hotel, the Lamée, is inspired by the design language used in the grand hotels of the 1930s. Martin Lenikus: We’ve owned the structure for quite a while now and decided, after a good deal of consideration, to go back to the building’s roots. The thirties were a glamorous era, though this is true of America more than of Europe. Stephan Ferenczy, what is a Viennese grand hotel supposed to look like? Stephan Ferenczy: In Vienna, anything Viennese tends to be associated with fin de siècle or with the Maria Theresa period. We really enjoyed taking a broader view of 61

STUDIO VISITS

Studio Programs in Vienna Guided studio visits to artist residencies

On Friday, November 23, 2012, as part of VIENNA ART WEEK, interested visitors can join guided tours of various artist residency locations. Hosted by institutions around the city, these artist-in-residence programs allow international artists or curators the opportunity to work in Vienna.

Lenikus Studio Program & Artist-in-Residence Program Lenikus Collection Studio visit with curator Herbert Justnik

Friday, 23 November 2012 12:00 noon Meeting place: Bauernmarkt 9, 1010 Vienna Since 2000, the Lenikus Collection’s artistin-residence program has been supporting Austrian and international artists by making studios and apartments in Vienna’s 1st district available for their use. Every year, the collection nominates six graduates from Vienna’s two art academies for its studio program; this is complemented by its artistin-residence program, which invites twelve already-established international artists to come live and work in Vienna for three months. An advisory board consisting of Cosima Rainer, Jasper Sharp and Francesco Stocchi sees to the quality and selection of fellowship holders. www.sammlunglenikus.at

Artist-in-Residence Program Kunsthalle Exnergasse Studio visit with Barbara Wünsch, VIENNA ART WEEK

Friday, 23 November 2012 1:00 p.m. Meeting place: Währinger Strasse 59/ Stairwell 2/1st floor, 1090 Vienna Starting in 2012, the Kunsthalle Exnergasse (KEX) at the Vienna WUK is awarding four artist-in-residence stipends per year. Resident artists are selected in cooperation with various institutions and groups according to criteria including, among other things, that the artist is working in an expanded field of innovative artistic practice and research and is from an international area that KEX considers underrepresented in the Viennese and Austrian context. www.kunsthalleexnergasse.wuk.at

Project Studio Program VBKÖ Studio visit with curator Herbert Justnik

Friday, 23 November 2012 2:00 p.m. Meeting place: Maysedergasse 2/ 4th floor, 1010 Vienna A relaunch of the Austrian Association of Women Artists (VBKÖ) in the 1990s resulted in both a critical assessment of its history 62

and the re-establishment of a contemporary art and studio program in its historical premises, which exist since 1912. The advancement of women artists’ interests is still central to the current work approach, along with an investigation of performative queer identity politics, feminism and society. www.vbkoe.org

Curators-in-Residence Program Galerie Hilger Studio visit with Barbara Wünsch, VIENNA ART WEEK

Friday, 23 November 2012 3:00 p.m. Meeting place: BrotKunsthalle, Absberggasse 27/Stiege 1, 1100 Vienna Galerie Hilger has extended regular invitations to international curators since launching its program Siemens artLab in 1996. The partnership with Siemens ended after 2010, and the BrotKunsthalle in Vienna’s 10th district was created as a platform for international curators, offering them temporary living quarters and exhibition space for their selected artists. This place for dialog is also a place where quasi-gallery work and current international curatorial and artistic trends meet. www.hilger.at, www.brotkunsthalle.at

Artist-in-Residence Program Krinzinger Projekte Studio visit with curator Herbert Justnik

Friday, 23 November 2012 4:00 p.m. Meeting place: Schottenfeldgasse 45, 1070 Vienna Krinzinger Projekte has been holding solo and group exhibitions in Vienna’s 7th district since 2002, when it was founded as a project space and extension of Galerie Krinzinger. The programs also include international artist-in-residence programs for stays of two to six months, each culminating in a solo exhibition. Krinzinger Projekte invites curators, critics, collectors and art enthusiasts to enter into dialog with international artists in residence. www.galerie-krinzinger.at/projekte

Artist-in-Residence Studios quartier21 / MuseumsQuartier Wien Studio visit with Barbara Wünsch, VIENNA ART WEEK

Friday, 23 November 2012 5:00 p.m. Meeting place: MQ, Staatsratshof, Courtyard 7 (entrance Volkstheater) Since founding its artist-in-residence program in 2002, quartier21 at MuseumsQuartier Wien has invited more than 300 international artists to spend an average of two months living and working in Vienna. More than 60 art institutions pertaining to quartier21 nominate artists from the fields they are active in. Regarding contents, the spectrum of activities ranges from media art, conceptual art, sound art, digital art, game culture, street art, fashion and design, to film and photography. www.mqw.at

Artist-in-Residence Program Belvedere Studio visit with curator Herbert Justnik

Friday, 23 November 2012 6:00 p.m. Meeting place: Scherzergasse 1a, 1020 Vienna An apartment with a studio was built over the course of renovations to the Augarten Contemporary exhibition rooms in 2001, heralding the start of the Belvedere’s artistin-residence program. International artists are invited to Vienna to present their work, become acquainted with the Austrian art scene and enter into dialog with it. To mark the 50-year anniversary of resumed diplomatic relations between Austria and South Korea, this year’s artist-in-residence program is entirely devoted to cultural exchange with South Korea. Augarten Contemporary is hosting resident artist Sunghee Pae in November. www.belvedere.at

ART & ACADEMIA

Let’s Go For a Little Thought! The CeMM Brain Lounge

The CeMM Brain Lounge sets new standards: with its synergy of art, science, medicine and design, the space is a breeding ground for new ideas.

OPENING and PERFORMANCE CeMM Brain Lounge

Monday, 19 November 2012 7:00 p.m. CeMM, AKH Wien, BT 25.3 Lazarettgasse 14, 1090 Vienna www.cemm.at

Come aboard the carrousel of thought experiments! Spin around, think around, reload your brain … We warmly invite you to think along with us – and think around with us – in a very special space over Vienna’s rooftops, on the eighth floor of the Austrian Academy of Sciences’ CeMM Research Center for Molecular Medicine: the CeMM Brain Lounge.

Research for future medicine Vienna’s 9th district is home to one of the largest and most innovative European medical research centers, the CeMM. On its campus, 120 scientists rack their brains over a more patient-oriented, individualized future medicine, a new understanding of diseases, a more purposeful clinical value of basic research. Cancer, inflammations and immunological diseases rate among the most important fields of research. Ideas first In this very technological, purpose-oriented environment, the CeMM Brain Lounge poses a cultural unicum, if not a provocation – precisely in these times of crisis. The underlying idea for the space was provided by Gulio Superti-Furga, the CeMM’s Scientific Direc tor, who declined to move into the office initially reserved for him in favor of a less privileged workspace. He did this to always be in the thick of the action and at the disposal of his team, but also as a commitment to the significance of thought and ideas.

After all, aren’t ideas more important than the most innovative of scientific instruments, apparatuses and technologies? A surprising environment in which perspectives are constantly shifting makes it easier for new ideas to thrive or even emerge in the first place. In creating the CeMM Brain Lounge, designers Karl Emilio Pircher and Fidel Peugeot of the Walking-Chair studio joined CeMM director Giulio Superti-Furga in creating a space that serves as a knowledge-generating environment and sets new standards for extraordinary brainchildren and trains of thought. The process begins with an abandoning of routine, professional habitus and daily role to symbolically assume a new identity. With its synergy of art, science, medicine and design, the space is a breeding ground for new ideas. The opening of the CeMM Brain Lounge starts with a performance – which participants can follow from the CeMM seminar room – before all guests become part of the think fest themselves.

INTERVIEW

“Quality Needs No Global Players”

A conversation about the “supermarketization” of art, Vienna’s vibrant gallery scene and the species known as the local collector

Vienna’s top galleries are represented at the most prestigious art fairs in the world – but could the same be said of the city; is it also a prominent spot on the international art map? Art critic Michael Huber meets with Brigitte Jank, president of the Vienna Chamber of Commerce, along with gallerists Heike Curtze, Philipp Konzett and Peter Krobath to discuss how the scene can best position itself for the future.

Text by Michael Huber People have been trying to get a grip on the art market with technical means for some time now: generating statistics, setting up databases of collectors and prices, holding online art fairs. Does this factor change the business for you as gallerists? Heike Curtze: That can only be background work. I’m firmly convinced that all dealings with collectors should be conducted in person, and I’ve always had good experien ces with that. Colleagues of mine who have worked a lot with technical innovations tell me that it hasn’t really resulted in much so far. Peter Krobath: The way I see it, it’s more likely to go in a direction that for us – we’re a middle-sized gallery – isn’t necessarily pleasant: towards a “supermarketization” of art, where big shopping malls do all the business and smaller retailers run into trouble. Philipp Konzett: But you also have to draw a distinction between the art market and the gallery business. I think a significant percentage of art commodities in the lower price range, like graphics, for example, are already being sold online. But in the gallery business, you have to show the artwork in exhibitions first, and there I’m also of the opinion that a personal approach is important to collectors. 64

Do small-scale structure galleries in Vienna stand a chance, or is it “get big or get out,” as they say? Brigitte Jank: I do think the small-scale structure stands a chance, though it’s very possible that the larger ones will set the pace. As we see in other industries as well. Heike Curtze: That’s probably true, but you can’t forget that the art market has always been very heavily segmented. Nothing fetches really high prices in Austria, there are no real global players in the gallery sector – which on the one hand is a shame, but it’s also nice. Collectors appreciate this. Peter Krobath: That’s also our strong point! We don’t have any global players, but a lot of first-class galleries. That is not a given and often has to do with a kind of quasi-self exploitation – one that’s almost questionable, economically speaking. The thing that sets Vienna apart is the galleries’ enthusiasm for what they do. Is the gallery prize awarded by the Vienna Chamber of Commerce at VIENNA ART WEEK meant to encourage passion or economic viability? Brigitte Jank: As a service institution for companies, we of course focus on economic considerations. A company has to be profitable for the entrepreneur and his or her employees – that is the commercial aspect. But

by awarding the prize to galleries that stand out for their unique approach and creative solutions, we’re rewarding passion and excellence as well. VIENNA ART WEEK is an initiative designed to focus public attention. But gallerists also emphasize the value of continuity in their work. Are events necessary for survival or simply a good exercise? Philipp Konzett: This is the first year that I’m participating in VIENNA ART WEEK. I don’t rush in to join everything, because as a gallery I can’t orient myself only on fairs or presentations of this kind. I have seen how involved galleries are in the event and their level of commitment – this way, VIENNA ART WEEK benefits not only collectors, but also people who are not yet within the gallery context. The event motivates people to become interested in art in the first place. But is the call from Vienna as far-reaching in the broader international context as it would be if a gallery were to show at a fair in Cologne or Basel? Heike Curtze: It’s more difficult and there is room for improvement. I was at the Art Brussels fair, for example: Belgium is a country with a relatively small structure; the collectors are very well-informed and open to new things. Bringing these types of people

to Vienna would be very interesting. Those aren’t the biggest collectors, and I’m not really thinking about Russian oligarchs. For them, what you can get here is far too cheap if you ask me. Peter Krobath: There is currently a near hysteria in the city about the “Russian investor,” who to me seems a bit like the uncle from America. I am of course more than happy to meet this investor at my gallery, more than happy to do business with him. But I’m still waiting for him to show up. With all these ideas, we can’t forget the Austrian market. Because just as there are first-class artists and galleries here, we also have local collectors who buy from us and from whom we make a living. Ms. Jank, how would you size up the role of corporations as pillars of Austrian art awareness? Brigitte Jank: My impression is that for corporations – and the bigger the corporation, the more this is true – art is part of their selfimage. I think this is a good development. Whether that in itself supports Austrian art is questionable – lack of self-confidence already seems an Austrian trait. We’re always turning our eyes elsewhere. Also many people have a certain inhibition when it comes to contemporary art. So you have to think about how to stimulate broader interest – and with

it, the desire to see an artwork and own it yourself. Peter Krobath: There are, of course, many companies that collect art and have large, curatorially managed collections. It is impossible to overemphasize how sensible this is for a company. It is no favor to the gallerists. Heike Curtze: Still, the last time I heard of important corporate collections being sold, I was shocked. So it seems important that Austrian museums have a considerable acquisition budget at their disposal.

Brigitte Jank: In Vienna – as in many other Austrian cities – we are confronted with an excellent array of art and cultural events. Given this diversity, it could very well be a case of not seeing the forest for the trees. In this respect, we will definitely need more activity if we want to redirect public attention to the galleries and what they have to offer.

Michael Huber, born 1976 in Klagenfurt, has been the art scene reporter for the “Kurier” daily newspaper since 2009. He studied communication studies and art history in Vienna and New York (NYU); in 2007 he completed a masters program in cultural journalism at Columbia University in New York City.

What would the “Vienna route” look like in terms of the gallery system? Philipp Konzett: Galleries took that route a long time ago. There is such a diverse scene, the galleries show everything: from very young art school graduates to the most established, expensive artists in Austria. But maybe the scene’s importance is not as evident as it is in other cities? Peter Krobath: That has to do with the market. German collectors buy German artists, German art institutions show German artists – not exclusively, but very often. Philipp Konzett: One also has to say that it’s really only the insiders who tend to know what a vibrant scene Vienna has. This is something we really have to draw a lot more attention to. 65

ART & ECONOMY

VIENNA INSURANCE GROUP Art at the heart of insurance

The Vienna Ringturm by night. Currently, László Fehér’s artwork “Society” adorns the façade of the Vienna Insurance Group headquarters. © Robert Newald

As one of the leading insurance groups in Austria and Central and Eastern Europe, the Vienna Insurance Group has expanded its core business by a social and cultural engagement in the region. Especially the Wiener Städtische Versicherungsverein, the main shareholder of the group, has set itself the goal of enabling social and cultural projects. It has been promoting art and artists since the 1920s, supporting numerous cultural projects and advocating cross-border cultural exchange. This traditional partnership between art and insurance has made the Vienna Insurance Group (VIG) an expert in art and art transportation insurance, counting various museums, galleries and art institutions among its clients. The resulting sustainable partnerships have added to the appreciation of art and culture within the group. VIENNA ART WEEK creates a new dynamic VIENNA ART WEEK is one of many cultural projects supported by the Vienna Insurance Group. Their partnership has existed since 2006: “It is an opportunity for us to promote both the national and international art scenes. Its distinctive program makes the VIENNA ART WEEK a unique event, even by international standards. The aim is to get international ambassadors of art enthusiastic about Vienna’s inspiring art scene. Our sponsoring partnerships demonstrate our commitment to art as an internationally successful corporation,” explains Peter Hagen, General Manager of the Vienna Insurance Group. 66

For one week, Vienna’s art scene has the opportunity to boast its vibrancy and international radiance. The Vienna Insurance Group aims to bring sustainable impetus and standards to Vienna as an international art hub, true to the principle that the economy should be a driving force in art. Rather than confine themselves to the role of a supporter and patron of the arts, businesses can also realize their own, artistically ambitious projects.

of the Ringturm.” Following presentations by artists Christian Ludwig Attersee, Robert Hammerstiel, Hubert Schmalix and Xenia Hausner, this year, for the first time, the Ringturm façade is cloaked in artwork by an Eastern European artist: Hungarian artist László Fehér created “Society” exclusively for this year’s cloaking. This, among other things, illustrates the Vienna Insurance Group’s commitment in the CEE region.

Internationality as the common thread On the initiative of its main shareholder, and true to the principle that all of its projects should be international, the Vienna Insurance Group supports the ESSL ART AWARD CEE, which promotes young art students from Central and Eastern Europe. The VIG extends special invitations to participate in the exhibition “Young Art from CEE”. Awarded participants are given the opportunity to present works specially created for the exhibition at the Ringturm exhibition center, the Vienna Insurance Group’s corporate headquarters, to the broader public.

The VIG’s partnership with Thyssen-Bornemisza Art Contemporary shows its commitment to the international exchange of arts and culture. This cooperation has yielded, for example, Olafur Eliasson’s and David Adjaye’s “Your black horizon Art Pavilion” on the Croatian island of Lopud, or the unique “Journey against the Current” project, which saw the award-winning installation “Küba” shipped over 1,500 kilometers on the Danube river aboard a container ship, stopping over in Romania, Bulgaria, Serbia, Croatia, Hungary and Slovakia – the Vienna Insurance Group’s core markets. “The Morning Line”, a spectacular mobile sound installation currently presented on Vienna’s Schwarzenbergplatz, was previously presented in Istanbul.

The Ringturm exhibition center also plays host to the “Architektur im Ringturm” series. For almost 15 years, the Vienna Insurance Group – with the support of its primary shareholder – has been showcasing the architectural highlights of the Central and Eastern European countries in which the group has been active. The Ringturm regularly becomes a piece of art in its own right: since 2006, the headquarters’ outer shell has been used as a temporary exhibition space for “Wrappings

ART & ECONOMY

“We Should Do Everything We Can to Make Art Collecting More Attractive” Art and tax: a difficult relationship

Are private collectors and museum owners penalized by the state? Business journalist Eva Komarek spoke to art collector and hedge fund manager Eduard Pomeranz, along with tax experts Barbara Krüglstein and Christian Wilplinger of Deloitte.

LECTURE AND DISCUSSION “Art & Tax. What Art Collectors Should Know About Taxes”*

Wednesday, 21 November 2012 11:00 a.m. Deloitte Renngasse 1 / Freyung, 1010 Vienna * In German. Attendance free, registration required: E lsteinmetz@deloitte.at

Text by Eva Komarek Mr. Pomeranz, you are a very active art collector. Are tax considerations important for you in this context? Eduard Pomeranz: I don’t deal with the tax issue personally – I have advisors for that. But I am interested in why the art I import incurs different tax rates depending on the kind of work it is. I pay a ten percent import tax on paintings, for example, 20 percent for photography and videos, and for conceptual art it varies completely. A question for the experts: How is art importation regulated? Barbara Krüglstein: There are several issues you have to consider when it comes to importing art. Art imported from non-EU countries is also subject to duty tax in addition to import tax. But there again, different rates apply with the duty tax: artworks that are over 100 years old can be imported dutyfree. As to the import tax – it depends on whether or not the art is reproducible. Which is why there is a 10 percent tax for paintings and 20 percent for photography.

Is there a justifiable reason for the different tax rates levied on art? Barbara Krüglstein: That’s a political question. But the fact is, modern art is at a disadvantage in Austria because it is often photography or video art; it is reproducible and therefore subject to the 20-percent import tax rate. Eduard Pomeranz: That’s a socio-political problem in Austria. Actually, we should do everything we can to make art collecting more attractive. All of this comes into play for private museums as well. Private museum owners get all kinds of stumbling blocks thrown their way. Christian Wilplinger: It’s hard to run a private museum profitably. Public museums are funded by the federal government; private ones get no support whatsoever. They also have the problem that sustained losses qualify them as a so-called hobby and they can not write off the losses. Looking at possible reform in this case, you could say: If I want to encourage collectors to make their collection public, then I would have to make concessions, at least when it comes to the hobby question – for instance in terms of tax deductions for these start-up losses over a longer period of time. Barbara Krüglstein: Then there’s the issue of donations – and there again, private museums are at a disadvantage. First of all, a maximum ten percent of last year’s earnings are tax-deductible. Second, de facto only public museums benefit from donations. Private museums have to prove that the exhibited works are significant for all of Austria, and they have to keep opening hours

like a public museum – or are ineligible for the donation beneficiary certificate. Very few private museums have these. Austria in general seems rather hostile when it comes to private commitment to the arts. Christian Wilplinger: To put it very polemically: One might ask why – since last year – donations to many environmental protection and animal rights organizations are tax-deductible, but art donations are not – except for those to public museums and the very few private museums with a beneficiary certificate. Mr. Pomeranz, you are thinking about opening a museum. Do tax considerations have any bearing on your decision? Eduard Pomeranz: If I do decide to open a museum, it will be independent of tax considerations. Christian Wilplinger: Even still, creating tax incentives would certainly motivate private individuals to build collections and make them accessible to the public.

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.

PERFORMANCE IN Vienna

From Scandal to Strategy Performance in Vienna’s public space

Text by Ines Kleesattel It was 1965 in Vienna when a painting left its gallery and set off into the urban environment. At that time, this walking “picture” by the name of Günter Brus was promptly arrested by the police – on grounds of public indecency.1 In the years to follow, many even more “indecent” things were to happen on the part of the Viennese Actionists before finally making their way into the history books. It was equally scandalous and historic when in 1968 VALIE EXPORT led Peter Weibel on a dog leash across Kärntner Strasse, as Weibel crawled on all fours.2 It was a provocative, publicly effective play on gender stereotypes of dominance and obedience, which – as we know today – was only the beginning of an international feminist avant-garde. But how did performance art continue in Vienna’s public spaces, and where does it stand today?

The scandal stayed true to it for some years. Very often, the unexpected “physical co-presence”3 of protagonists and audience members (the actions were not announced as a performance) led to less of an encounter and interaction than an ever-repeating confrontation and uproar. Such was the case in 1982, when a “pink whirlwind” devastated attendees of the Vienna Philharmonic’s traditional New Year’s Concert: as the orchestra played Strauss’ polka “Die Emanicipierte” (Emancipated Woman), Florian Sommer and Robert Herz (the later co-founders of “Rosa Lila Villa”) stormed the stage wearing only their birthday suits (though they did have the decency to wear bow ties) and unfurled a banner deman ding “human rights for gays”. Police were on

the scene in no time and television interrupted the live broadcast, but tabloids feasted on the story with relish. In 2000, Vienna’s high-culture audience became the target of yet another Actionist performance in the time of the conservative/far-right government coalition, when Hubsi Kramar arrived at the Opera Ball dressed as Hitler. “Austria As It Really Is: Adolf Hitler Under Immediate Arrest”, read the headline of the “Falter” weekly paper. And again, who could forget the massive waves that came crashing in that same year, when Christoph Schlingensief flagrantly paraded the sentiments of that very Austria by putting his “Foreigners out!” container next to the Vienna Staatsoper.4 It was, however, no later than that when a decisive shift occurred: in the 1960s, avant-garde fugitives from the art institutions still came into direct conflict with executive ones, and with the legal basis that existed then, it could be denied that provocative interventions into life were part of “genuine artistic pursuit.”5 Of course, at a time of constitutional artistic freedom in which – given the right level of prominence – even the worst enfant terrible augurs profit for the city marketing, the picture is another one entirely. When the press went head over heels scandalizing Schlingensief’s action and multitudes of tourists were supposedly shocked, the city passed out fliers near the container, clarifying that this was only art and not the real Austria. Where no legal measures could be taken against this attack on Viennese hospitality, the indignant public was mollified by the fat “art” stamp Schlingensief was given to downplay and depoliticize him.

VALIE EXPORT/Peter Weibel, Aus der Mappe der Hundigkeit / From the Portfolio of Doggedness, 1968 Photo: Josef Tandl, © VALIE EXPORT, Courtesy of Charim Galerie, Vienna

1 Günter Brus, Vienna Walk, 1965 2 Valie Export and Peter Weibel, From the Portfolio of Doggedness, 1968 3 Erika Fischer-Lichte 4 Christoph Schlingensief, Please Love Austria! First Austrian Coalition Week, 2000 5 OGH Vienna 1971 6 Maruša Sagadin, MC for you vor ort, 2012 7 Ulrich Bröckling

Meanwhile Vienna has grown quiet with regards to performance in the public space. However, there is a vibrant and distinctive performance scene: Carola Dertnig successfully works to counter the weight of the old boys of Actionism; Katrina Daschner regularly welcomes visitors to the queer “Club Burlesque Brutal”, while the Tanzquartier, “brut” and Performance Art Network (PAN) anchor the presentation of performances at the institutional level. But artistic performance seems to have disappeared from public spaces. While the theater of the postdramatic age edges towards performance art and occasionally to urban space – in 2007, for example, the group “theatercombinat” invited citizens to a “turn terror into sport” tap-dance mass choreography on Maria-Theresien-Platz, and God’s Entertainment endeavored to “offend the passersby” in the subway passage at Karlsplatz in 2009 –, the performance closest to visual arts has retreated to stages and art spaces. This may seem surprising in light of the avant-garde origins of the art form – but only at first glance. At a time when the demand for authenticity and intensity has grown omnipresent, an art seeking to elude the market’s mechanisms of exploitation may have little else to do but withdraw. Today the excessive, authentic encounter that performance once was (at least according to legend) has not only been revealed as staged, but has also been appropriated by marketing- and management strategies. Once the intense dissolution of artistic limits failed on a conceptual level and was swallowed by network capitalism, it seems only logical to act within the bounds of the “art” institution. This would make sense, but with it comes an

Adornian aporia: removed from life, art provides a place of resistance against the logics of social exploitation, but at the same time it risks becoming self-referential and petering out into irrelevance. And yet they still exist – performing artists in Vienna’s public spaces –, although you may not find them in the gutter press. For the present generation of artists, a radical standing-apart from the already ever-louder roar of a capital-driven world is no longer the objective. Instead, they appropriate consumerist forms and rely on strategic mimicry rather than confrontation. Such is the case with Maruša Sagadin, who carries a garishlycolorful boom box through Vienna’s shopping streets as consumer slogans drone out of it with a hammering beat, the tune of which sounds as familiar as it does disconcerting.6 Sagadin assembles existing advertising slogans and entrepreneurial narratives into a pastiche of the neo-liberal “entrepreneurial self”7. “Don’t get upset, just shake your head in disbelief” she raps – something the passersby (used to being terrorized by consumerism) have been doing for a long time anyway. Thomas Geiger’s begging performance “I want to become a millionaire”, held every day since 2010, takes this lack of upset one step further. He looks friendly and a touch bohemian, and in return for a euro Geiger hands the donor a signed certificate with a serial number. The proceeds go to his publishing house for artists’ books. When the police approached him on one occasion to ask what he was doing, the reply “I am an artist” was completely sufficient to continue work unpunished. How different this was in

1965, and how different it is today for panhandlers who do not have the artist status. The strategic-utilitarian use of this “being an artist” might be a little reminiscent of the approach used by WochenKlausur who, since the 1990s, have used the financial and social capital of artists to realize social projects. Geiger has as little in common with this kind of direct engagement with social issues as he does with the art/not-art scandal WochenKlausur ignited in the early 1990s – and which has long given way to the hype surrounding politically ambitious art. His performance is not explicitly political, nor is it loud and “totally different,” nor intense, naked or provocative in any other way. And so it results – probably less despite than because of its quiet, reserved way – in more than a monetary exchange between “good” passersby and the artistic precariat.

Ines Kleesattel is a critic and art theorist. She is currently working on a dissertation entitled “Das offene Kunstwerk als politisches. Verhältnisbestimmung mit Rancière und Adorno” (The Open Artwork as a Political One: Determining Relations with Rancière and Adorno) at the Academy of Fine Arts Vienna. She is a fellow of the Gerda Henkel Foundation and lives in Vienna.

INTERVIEW

“We Have to Be Open to Those Reinterpretations” VIENNAFAIR goes East and West

“springerin” co-editor Christian Höller converses with VIENNAFAIR artistic directors Christina Steinbrecher and Vita Zaman about regional markets, the East and West categories and the name affix “The New Contemporary”.

The fair seeks to mirror the changing global geographies of art. One way to do this is to have a strong regional focus. How far does that region extend? Or are there a number of regions you want to cover? Christina Steinbrecher: We both have Eastern European backgrounds and are continuing work with that focus in mind. We are also including the Turkish market, which was started last year, and markets even further East. So the fair should grow to become a larger association – as it did when the focus was Eastern Europe – including all the relevant artists, galleries, collectors and institutions. We would like to develop that association further east.

Text by Christian Höller The VIENNAFAIR’s new description includes the term “The New Contemporary”. In what ways can we understand this “newness,” given that the contemporary has always been about the new, or present moment? Christina Steinbrecher: The wording was somewhat different before, when it was mostly about “the East and South-East of Europe.” We are still positioning ourselves as a fair that includes Central and Eastern Europe, but “The New Contemporary” is looking out further East as well as West. The invitation has been extended to everyone – both established and young, upcoming galleries – regardless of where they are from. Vita Zaman: “New contemporary” means that there are simultaneous and parallel narratives being made in and from a number of traditions, geographical regions and points of view. The new contemporary art discourse will be written not only by Western Europe or North America, but also by new, developing contexts that VIENNAFAIR is looking at in a very practical way. 70

You want to cater to, or take advantage of, the “developing markets” in the East. When it comes to contemporary art, I am wondering if there hasn’t always only been one global market – the one that is hunting for the “hottest” contemporary production around. Vita Zaman: I think the VIENNAFAIR has a unique position in that respect, in that it can address both the “hot,” superfast global market, and different regional markets. New art collectors and galleries are emerging in all of the Eastern European countries, and we want to avoid excluding any of those contexts, but we don’t want to exclude the top-level market, either. Christina Steinbrecher: I think we can, in fact, speak of a plurality of markets. All galleries and collectors associate themselves with a particular region and think in different markets. China, for example, is not included in the global art market but still has huge sales, especially at auctions. Galleries there are very eager to develop their potential, which does in fact seem very rich – but they are different players with a different language and a different cultural background. The same goes for the emerging Eastern European markets that the global market is not yet aware of.

The “East” – with a capital “E” – figures prominently in your concept. How productive is it to continue thinking about that category, given that it implies a persistent East-West divide? Vita Zaman: Art that is made in Hungary or Teheran is still very specific to that context. Even artists who do not live in their native countries are informed by where they come from – and the same goes for collectors. But I think the terms “East” and “West” are always in flux and we have to be open to those reinterpretations. Christina Steinbrecher: The fair is also a service – especially to our clients. By having some notion of different regions and historical backgrounds, we can speak to them easier and offer something particular. The point is that we cannot apply just one standard. What is the main criterion for a “successful” VIENNAFAIR? Vita Zaman: A unique voice and a satisfied clientele.

Christian Höller was born in 1966 and lives in Vienna. He is editor of the magazine “springerin – Hefte für Gegenwartskunst” (www.springerin.at), translator, and has published numerous texts as a freelance author.

INTERVIEW & PROGRAM

Vienna–Moscow, Round Trip On cultural transfer and cultural dialog

PANEL DISCUSSION “Vienna–Moscow. Art Scenes in Close Dialog”*

Friday, 23 November 2012 3:00 p.m.–5:00 p.m. DOROTHEUM, Dorotheergasse 17, 1010 Vienna Participants in the discussion: Tanja Skorepa, STRABAG KUNSTFORUM; Anna Jermolaewa, artist; Hans Knoll, Knoll gallery, Vienna and Budapest; Simon Mraz, Director of the Austrian Cultural Forum Moscow; Christina Steinbrecher and Vita Zaman, Artistic Directors of VIENNAFAIR; Dimitri Ozerkov, State Hermitage Museum, Saint Petersburg Moderation: Michael Huber, journalist, Vienna * in English

Text by Ursula Maria Probst Active cultural politics in changing world orders and civil societies means intensifying international cultural dialog with festivals and co-organized events. With its global network of Austrian cultural forums and 61 Austrian libraries in Southern Europe, Eastern Europe and Central Asia, the Department for Cultural Politics at the Austrian Federal Ministry for European and International Affairs (BMeiA) provides a logistical and operative platform for exactly that. According to its director Martin Eichtinger, the country’s cultural relations with Russia are becoming especially important, as indicated by the increasing number of projects in the region. A year of Austro-Russian culture has been planned starting in summer 2013 and featuring a round of high-profile cultural events in both countries. Both the workflow and institutional organization of the art scene and the cooperation with the cultural institutions are still in the works;

things run differently in Russia, that much is certain. For Simon Mraz, director of the Austrian Cultural Forum in Moscow, this means acting as a scout to seek out and develop the right approaches and contacts: “A Cultural Forum makes the most sense when we work directly with artists, and when we include those who live and work locally.” Held in the spring of 2011, the exhibition “Austria Davaj!” – a collaboration between the Museum of Applied Arts / Contemporary Art (MAK) and Moscow’s Schusev State Museum of Architecture – was the most comprehensive presentation of Austrian contemporary art in Russia to date, and it received wide coverage in the media. In summer 2011, Art Brut Vienna and TsEKh, Moscow’s contemporary dance center, held a multi-day performance art festival at the PROEKT FABRIKA art center, a former paper mill in Moscow. For it, Russian and Austrian performers worked on projects in duos. Another special project titled “Gute Aussichten”, which was realized by the Austrian Federal Ministry of Education, Arts and Culture (BMUKK) within the framework of the 4th Moscow Biennale of Contemporary Art, also resulted in a lively exchange between Austrian and Russian artists: the exhibition venue – a rented apartment in the politically historical, centrally located House on the Embankment, one of the most well-known Stalinist residential buildings directly opposite the Kremlin – became a meeting place during the biennial. Moscow’s visual art and performance scenes have piqued curiosity in the international art world. Nevertheless – and herein lies the discrepancy – art produced in Russia has not been adequately integrated into the art market. Conversely, Russian investors have increased their interest in Europe. The best example of this: in 2012, investor Sergey Skaterschikov became a majority shareholder of VIENNAFAIR. The appointed directors in-

cluded Christina Steinbrecher, who until then had been the artistic director of Moscow Art, and Vita Zaman. According to Simon Mraz, the motivation for this had been to give the middle class a chance to participate in the art market. Until then, the words “Russia” and “art” spoken together only conjured associations with billionaires – who, however, almost never buy work by young artists. A radical change is looming on the horizon, as exemplified by Sergey Skaterschikov’s international presence and support of Russian art. New ideas would require not only attracting sponsors – like, for example, the energy and construction companies EVN and STRABAG, which are active in Russia – but also international prospects. The exhibition “Dust”, which took place until July 15, 2012, was a cooperation between the Austrian Cultural Forum in Moscow and the Laboratoria Art & Science Space; it was devoted to the topic of dust as seen from various artistic and scientific perspectives. Plans for another exhibition – this time about the politically charged issue of migration in Nizhny Novgorod – are coming together under the BMUKK’s Department for Foreign Affairs and Culture and its curator Karin Zimmer. September 2012 saw the 1st Austrian Cultural Festival in Sochi, an event organized by the BMeiA. A large presentation of contemporary art, modern dance and performance, concerts and visuals will be shown at the site of the 2014 Winter Olympic Games.

Focus

Klimt’s Vienna? – Vienna’s Klimt! 2012 anniversary: taking stock

Gustav Klimt would have turned 150 this year. Taking stock at the 2012 anniversary, we see the inextricable link between Klimt and Vienna. Interest in this exceptional painter is still going strong.

Text by Robert Seydel

Klimt still has his draw. And the museums did it right: taking their own collection holdings out of storage and showcasing them over a large area was an excellent idea; placing Klimt in the context of the times – Vienna around 1900, or the Modernists’ Vienna – was ideal. Even today, the city benefits from not only the splendor of imperial Vienna, but Art Nouveau and Modernism as well, and not only in terms of visual art and architecture. Viennese design also has its roots in the turn of the twentieth century: starting 1903, the creative output of the Wiener Werkstätte, of which Klimt was a member, had a lasting influence on producers. The concept of the gesamtkunstwerk, or total artwork, also emerged at that time and continues to live on to this day. Klimt – along with Josef Hoffmann, Otto Wagner, Egon Schiele and many others – had a profound impact on fin-de-siècle Vienna. They are among the city’s most visible and highly touted figures – particularly Klimt and the Expressionist Schiele. The Upper Belvedere is home to the largest collection of Klimt paintings in the world; the Leopold Museum holds the most works by Schiele. Over 853,000 art lovers visited the two institutions in 2011. Though not all of them came for Klimt and Schiele, the (chance) encounter with the artists would have made a lasting impression, perhaps prompting another visit.

Reception of Klimt’s works usually centers around “The Kiss” (on view at the Belvedere), a fact that may be vexing to experts, but for Klimt fans with the image placarded over their couches, it is wonderful. For one, they are in for an even bigger surprise when they discover that Klimt created much more than this “golden” painting. One the other hand, this focus has given Vienna Austria’s most celebrated artwork, and probably one of the world’s most celebrated artworks. Of course, one contributor to the general Klimt euphoria is the fact that, 70 years after the artist’s death, the copyright to his works expired. It was then that these “common domain” works became, in Klimt’s case, “common.” One of the most irritating things about the kitsch and rubbish that has found its way into shops around the globe is, among other things, that the work of this exceptional artist now graces the surfaces of mugs, neckties, underwear and even coffins. Klimt can be used anywhere. Then again, if it helps to draw the greater public interest to his art (and Vienna), then even that is okay. But it isn’t just the blockbuster paintings that prove the continued effectiveness of Klimt and Co. For Klimt Year 2012, the Vienna Tourist Board worked with selected Vienna art dealers to shift the focus to his time – and they were successful in doing so. As participating dealer Patrick Kovacs explained: “If the art market fetches high prices for Klimt works and objects from the Viennese Modern Age, then the interests

of an international public are behind it. Museums, collectors and those interested in art appreciate their quality and originality and stock up on rare artworks.” The range of exhibited works includes everything from Klimt drawings to original photographs to furniture. The art dealers’ task: to search for available works from Klimt’s day and thus contribute to the preservation of Vienna’s cultural treasures. This is important, because Vienna needs these works. For the art lovers who come to Vienna for this reason; for those who are less interested in art, but who are happy to enjoy their morning coffee from a Klimt mug they bought in Vienna. For everyone wanting an up-close experience of the early 1900s. Because for that, Vienna is still the best possible address. Information: www.klimt2012.info, www.vienna.info

Robert Seydel is USP manager for culture and sights and project manager for Klimt Year 2012 at the Vienna Tourist Board. He studied history and journalism and has worked as a journalist and author.

ART & SHOPPING

To Have or To Be? The art of shopping

Necessity, pastime and guilty pleasure: shopping is a major element of our existence. Shopaholics hunt for the latest must-haves – no surprise there, with all the new desires, limitless promises and luscious temptations we are constantly bombarded with … From simple functional objects to hyped luxury items: temptations lurk around every corner. Three visual artists share their personal approach to shopping, tips included. Text by Nina Kaltenbrunner

Zenita Komad

(born in Klagenfurt, lives and works in Vienna) Shopping as energy transfer “Shopping’s a bad habit!” Zenita Komad views consumerism and materialism with a critical eye. “What do I really need?” is a question she often asks herself. This sets her apart from the masses. For her, shopping is part of a bigger picture: processes of “energy transfer in a higher sense,” for example, can have a positive “midwife effect” due to conscious exchange of goods. “Consumption,” she continues, “thrives on feelings of deprivation.” For Komad, this is a general malaise of modern society; the constant “craving for more” does not necessarily lead to more happiness. On the contrary: “At some point, this madness will have to stop!” Even Komad can’t entirely abstain, though. After all, “One does need a few things!”

TIPS

Feinkoch – The Recipe Market “It doesn’t get more economical than this. You’ll find fantastic recipes for delicious, easy-to-prepare dishes, get all the ingredients in the exact amounts – and feel like a real chef!” The idea is well-conceived and there is “so much love” in the shop that shopping almost becomes a “sacred act.” “The store really is a new social project that shows a possible way out of the consumer society.”

Dieroff – “Buying ropes is fun!” The quaint little store is a relic. It managed to survive in the shadow of big hardware stores. It’s inventory is very selective – the store specializes in ropes, textiles, and matting – but “really beautiful.” Besides, “everyone should have some good-quality rope at home,” the artist opines. She herself uses it to “connect” and make “connections visible” in her works.

Blumenkraft – everyone needs flowers “What a store! And what a pleasure it is to shop there! Flowers are pure energy, they can cleanse entire rooms.” Zenita Komad needs flowers, desperately and all the time, whether for her apartment or while working at her studio. “At Blumenkraft they work with so much love and dedication. Here, shopping as a positive means of energy transfer comes full circle.”

Theobaldgasse 14, 1060 Vienna Mon.–Fri. 11:00 a.m.–9:00 p.m., Sat. 10:00 a.m.–6:00 p.m. feinkoch.org

Westbahnstrasse 46, 1070 Vienna T +43 1 523 75 58 Mon.–Thu. 9:00 a.m.–1:00 p.m., Fri. 9:00 a.m.–5:00 p.m. www.dieroff.at

Schleifmühlgasse 4, 1040 Vienna T +43 1 585 77 27 Mon.–Fri. 10:00 a.m.–7:00 p.m., Sat. 9:00 a.m.–2:00 p.m. www.blumenkraft.at

Nives Widauer

(born in Basel, lives and works in Vienna) Shopping as a voyage of discovery As a naturally curious person, the visual artist (who also designs stages) is constantly on the lookout for things that are new to her and whose significance she wants to figure out. Still, a typical shopping-trip is not her style. She prefers to wander aimlessly and come across things that appeal to her by accident. One of her favorite open-air shopping malls is the local flea market, and over time, the adjacent Kettenbrückengasse has become her favorite promenade, her own recreational area, so to speak: “A really special alley!”

TIPS

Fruth – sweet sugar high Never cut through the Kettenbrückengasse without giving yourself the treat of a vanilla éclair from Fruth! “They are just too good,” the artist gushes, as she consumes the handful of sweet energy right on spot, in the cute little store. Sometimes, an additional nostalgic glass of Crémant d’Alsace reminds her for a short while of her Swiss home near the Alsace. Kettenbrückengasse 20, 1040 Vienna M +43 664 143 22 43 Tue.–Fri. 11:00 a.m.–7:00 p.m., Sat. 9:00 a.m.–5:00 p.m. www.fruth.at

bananas – design & good spirits bananas or nothing at all. Even though she currently prefers empty spaces, Nives Widauer needs at least some pieces of furniture. Almost all of those she got at bananas. Part furniture store, part popular meeting point, you’ll always find “groups of really nice people getting together at Ernst’s.” Apart from affordable design items from the fifties, sixties and seventies, which are sourced form all over Europe, at bananas one also finds an odd assortment of accessories and objects “for even a small budget.” Kettenbrückengasse 15, 1050 Vienna M +43 664 312 94 49 Mon.–Fri. 1:00 a.m.–6:00 p.m., Sat. 11:00 a.m.–4:00 p.m. www.bananas.at

Henzls Ernte – nature’s bounty “Gertrude Henzl is a true expert at finding wild herbs, vegetables and blossoms, and then turning them into great products.” From primrose sugar to orange salt, from preserves and pickled products to beautiful candied blossoms … nature’s bounty is sweetened and perfected right in the adjacent kitchen. With a bit of luck, a fresh delivery arrives while you’re there, filling the store with the most wonderful fragrances. You might as well “opt for a wild vegetable hike, followed by immediate preparation and feast of the harvest.” Kettenbrückengasse 3/2, 1050 Vienna M +43 676 755 25 26 Tue.–Fri. 1:00 p.m.–6:00 p.m., Sat. 9:00 a.m.–5:00 p.m. www.henzls.at

Werner Reiterer

(born in Graz, lives and works in Vienna) Shopping as hedonism with a purpose For the learned graphic designer Werner Reiterer, shopping is an “incredibly pleasant” experience, something he “could fall for.” Especially when it comes to antiques or old engravings, which is why he tries to “avoid potential danger zones” in the first place. Reiterer also finds it “quite exciting to discover what else is (still) being produced and where people get certain things.” Shopping trips for the sake of research, so to speak. However, the really special items he can and wants to afford have to “serve a purpose” and “fit into a functional system.”

TIPS

Käseland – in the beginning was the word It was in his inspiring conversations with the most competent and educated cheese expert Franz Pammer that Werner Reiterer discovered his favorite type of cheese: “Colonial politics in Cambodia brought us to the Comté,” an exquisite raw milk cheese which may only be exported once the demand at home is satisfied – true to the motto “France comes first!” Number two on his hit list of cheeses is the Swiss Vacherin, another seasonal cheese. “Please come and see Mr. Pammer for the explanation!” Naschmarkt, Stand 172, 1040 Vienna T +43 1 587 29 58 Mon.–Fri. 9:00 a.m.–6:30 p.m., Sat. 8:00 a.m.–5:00 p.m. www.kaeseland.at

Martin Auer Bakery – our daily bread “Auer has the best bread in the world!” They even send it to New York with airmail “to rich clients who crave it,” says Reiterer. Personally, the artist prefers the so-called “Steirer”, his absolute favorite among the loafs on offer. He has been buying it for many years now, whenever he happens to be in the inner city. His second choice is the “Erzherzog Johann, a unique, ructic bread.” And yet his preference for dough has “nothing to do” with his Styrian roots, asserts Reiterer. Plankengasse 1, 1010 Vienna T +43 1 512 58 52 Mon.–Fri. 9:00 a.m.–6:30 p.m., Sat. 9:00 a.m.–5:00 p.m.

design 1900–2000 – let there be light Every now and then, a light goes on in the works and installations of the ironic artist. Then he needs lamps, which are available on Wienzeile. Those classic white ball lamps, for example, are always in stock at “design 1900–2000” in all sizes. Apart from lamps, one also finds special bargains such as design highlights from the fifties and sixties, which Reiterer likes “quite a bit.” Rechte Wienzeile 25, 1040 Vienna M +43 676 408 56 10 Sat. 11:00 a.m.–3:00 p.m. (or by appointment)

Nina Kaltenbrunner lives and works in Vienna as a freelance journalist. She curates the “Kunst und Genuss” festival at Festspielhaus Bregenz. Since 2006, she has been working as an editor for “Gault Millau”, as a court correspondent for the local weekly “Falter”, and as a freelancer for “A la Carte”, among others. 75

PROGRAM

“Crowdsourcing Art Markets” eSeL’s experimental art-market intervention

Text by Lorenz “eSel” Seidler Art … doesn’t grow on trees, either! In Vienna, the pressing need for adequate income models for contemporary artists often culminates in a call for improved funding options (or in the attempt to hinder the dismantling of subsidy programs) and in heated copyright debates in light of new online distribution opportunities.

eSeL REZEPTION Electric Avenue / quartier21 MuseumsQuartier Wien Museumsplatz 1, 1070 Vienna E esel@esel.at http://esel.at www.multimart.at

The prospect of sounding out current art forms, captivating a new audience and earning an income often appears a contradiction in terms. Accessing the art market through galleries or institutional commissions – guaranteeing questions about quality and relevant discourse production – is a limited option that often results in pricing that is inconducive to the emergence of new, less affluent collectors. Despite Vienna’s boom as an “art city,” artists gain few new funding opportunities from the “indirect profitability” of tourism and urban planning. New initiatives from the private sector are publicly welcomed, but – with typical Viennese ambivalence – also tied to concerns that profit motives and economic constraints could curtail the freedom necessary for artistic research. Since the “KUNSTMESSung” (Galerie Christine König, 2006), art communicator, curator and artist eSeL (Lorenz Seidler) has created temporary sales situations with targeted artmarket experiments. These stimulate the sale of art at affordable prices, mediate relevant positions and – under unusual conditions as “experimental market models” – plainly show the integration of artistic production and its possibilities for use. ARTmART (together with “Cheapart” Athens and Christian Rupp) tested a unit-price art sales model at the Vienna Künstlerhaus from 2007 to 2010. In 2011, METAmART combined established, alternative sales formats like Anke Becker’s “Anonymous Drawers”(Berlin) or Jasper Joffe’s “Free Art Fair” (London) with other experimental “market models” to create an unusual, parallel art fair. In the anniversary year of the Vienna Künstlerhaus, eSeL added to the question of art and its capital with an exhibition about

the economic situation of the present generation of Vienna’s young, contemporary artists. In 2012, MULTImART is focusing on possibilities of serial art production at various exhibition venues including not only established spaces, but also public ones and new media. Selected artists develop and test a series of works, rewarding a growing class of customers with lower prices and the artists with a higher revenue. Further details about the project, the artists and their specific proposals can be discovered on eSeL’s Guided Offspace Tours during VIENNA ART WEEK, which guide visitors along the shop windows on Gumpendorfer Strasse. www.multimart.at

Lorenz “eSeL” Seidler, born in 1974, studied art history and philosophy at the University of Vienna. He lives and works in Vienna and on the Internet as a curator and artist. The author publishes a program listing art events – including those at alternative spaces – in a weekly newsletter, social media and with daily updates at www.esel.at.

GUIDED TOURS OF ALTERNATIVE SPACES Guided tours of alternative spaces with MULTImART initiator eSeL (Lorenz Seidler)

Tuesday, 20 November 2012 5:00 p.m. Sunday, 25 November 2012 4:00 p.m. Meeting place: eSeL REZEPTION MULTImART initiator eSeL (Lorenz Seidler) guides visitors to exhibition venues along Gumpendorfer Strasse, filling them in on information about the artists, their works and the history and backgrounds of the MULTImART project series.

eSeL / MULTImART SPECIAL PROJECT “More pay less!”

5–25 November 2012 Public exhibition starting at Gumpendorfer Strasse 6 (corner Theo- baldgasse / Getreidemarkt), 1060 Vienna This year’s VIENNA ART WEEK includes a public exhibition of selected art works by contemporary artists in shop windows along Gumpendorfer Strasse. The special MULTImART editions are available for purchase according to the motto “More pay less!”. And here’s the catch: The price drops with every buyer! From the start of VIENNAFAIR 2012 (20 September 2012) to the end of VIENNA ART WEEK (25 November 2012, 11:59 p.m.), interested buyers can indicate their “buying interest” by sending a text message or email and reserve the lowest available edition number in a series. The number of final buyers determines the number of each edition and at what price the limited edition series will be produced and sold. With one buyer, each work in an edition is sold at a fixed price of 1,000 euros. With two buyers or more, the per-work fixed price drops to 750 euros, to 500 euros with four buyers or more; price reductions continue with works going for 300 euros at eight buyers or more, 175 euros at 16 buyers, 100 euros at 32 buyers or more and 70 euros at 64 buyers or more. With an edition of 100 or more, the price drops to just 50 euros for one work of art in the edition! Artists include: Alfredo Barsuglia, Albért Bernàrd, Regula Dettwiler, Christian Eisenberger, Aldo Giannotti, Sofia Goscinski, Franz Graf, Siggi Hofer, Nicolas Mahler, monochrom, Roman Pfeffer, Isa Rosenberger, Stylianos Schicho, Leander Schönweger, Sophia Süßmilch, Corina Vetsch, tat ort (Berlinger, Fiel), among others. For a complete list of participating artists and the current status of MULTImART editions and pricing, visit: www.multimart.at Concept & curator: eSeL (Lorenz Seidler) Curatorial assistance: Flora Peyrer, Isabel Syrek An art project supported by BAWAG P.S.K. – “Mitten im Leben”

PROGRAM

Special Projects

Robert Zahornicky, Bartberg, 2010, © VBK, 2012 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 office@eikon.at www.eikon.at Leopold Museum Museumsplatz 1 1070 Vienna T +43 1 525 70 0 F +43 1 525 70 1500 E office@leopoldmuseum.org www.leopoldmuseum.org Eyes On Infopoint MUSA Felderstrasse 6–8 1010 Vienna E office@eyes-on.at www.eyes-on.at FOTO-RAUM – Ein Spielraum für Fotografie Theresiengasse 25–27 1180 Vienna M +43 676 517 57 41 E office@foto-raum.at www.foto-raum.at Opening hours: Mon., Tue., Fri. 10:00 a.m.–1:00 p.m. Thu. 4:00 p.m.–7:00 p.m.,  or by appointment

* as part of – Month of “ Photography Vienna”

EIKON – International Magazine for Photography and Media Art MAGAZINE PRESENTATION “EIKON” issue #80

Friday, 23 November 2012 6:00 p.m. Leopold Museum, MuseumsQuartier Besides VIENNA ART WEEK, the parallel “Eyes On – Month of Photography Vienna” and gallery anika handelt’s renowned portfolio review are making Vienna a hotspot of the art/photography scene around November 23, 2012. One more reason for “EIKON – International Magazine for Photography and Media Art” to present its latest issue right at the heart of these three events. The latest issue of “EIKON” will be introduced to the public after the portfolio review, fulfilling its own demand for photographic, media and art-historical currency. Its commitment to an inter-generational, trans-media credo has made the magazine a standout among art magazines – an ever-assiduous sensor for contemporary photography, media art, progressive developments and breaks within these scenes: in any case, an anniversary celebration is in order – the magazine is celebrating its 80th issue!

Eyes On – Month of Photography Vienna

FOTO-RAUM

GUIDED TOUR “Eyes On – Month of Photography Vienna”: Thomas Licek, Managing Director, leads a guided tour through several selected exhibitions*

IN CONVERSATION Artist talk with Robert Zahornicky as part of the “Spuren”* exhibition

Wednesday, 21 November 2012 4:00 p.m. Meeting point: Eyes On Infopoint “Eyes On – Month of Photography Vienna” is one of Europe’s largest photography festivals. “Eyes On” takes place biennially in November and aims to strengthen and establish photography as an art form, serving as a platform for the whole spectrum of the medium. This year’s program includes 200 exhibitions with recent works by young artists, as well as documentary, experimental and historical photography. In addition, the participating museums, galleries, exhibition houses and temporary art spaces will offer a wide range of accompanying events related to photography. * Limited number of participants. Registration is required: E office@eyes-on.at

Tuesday, 20 November 2012 7:00 p.m. FOTO-RAUM “It is winter. Robert Zahornicky goes into the forest, stops and looks into the sky. He sees nothing but branches that have lost their leaves. Some of the treetops move gently in the wind’s caress. The process is repeated photographically: Robert Zahornicky walks into the forest in winter, sets up a tripod and points the panoramic camera upwards. As he presses the shutter release, the lens moves until it has captured a 140° angle, creating a 24 x 60 millimeter image on the film. The scene reflected there does not match the gaze the photographer cast at his surroundings. The cold eye of the apparatus sees a different horizon; its perception differs from that of the human sight organ. While the edges of a photograph register every detail with the utmost precision, our vision becomes increasingly blurry the more we fixate on a certain point. Yet, above all, the photograph belies nature and the impression of objects perceived only as silhouettes. To a viewer, the treetops reaching for the center of the photo may look like a dome, protectively vaulting over him or her. But at the same time a glance at the center of a photo creates a pulling effect, dragging us into the picture and making us fall, as it were, into the skies.” Timm Starl on Robert Zahornicky’s “Lichtungen”

EXHIBITION Robert Zahornicky, “Spuren”

7 November–15 December 2012

special projects

k48 – Offensive for Contemporary Perception PERFORMANCE Public shooting of a music video by Fam. Powidl: DAAAAD

Sammlung Friedrichshof Stadtraum

Opening hours: Tue.–Fri. 2:00 p.m.–6:00 p.m.

Tuesday, 20 November 2012 8:00 p.m. Sammlung Friedrichshof Stadtraum

Sammlung Friedrichshof Römerstrasse 7 2424 Zurndorf Visits by prior appointment: M +43 676 749 76 82 oder M +43 660 417 28 11 k48 – Offensive for Contemporary Perception  Kirchengasse 48 / Lokal 2 1070 Vienna http://www.olliwood.com/ k48.html Kunstraum 16th der Kro Art Contemporary Wilhelminenstrasse 35 1160 Vienna http://www.facebook.com/ Kunstraum16th Opening hours: Fri.–Sat. 12:00 noon–6:00 p.m.

* as part of – Month of “ Photography Vienna”

CONVERSATION MAK curator Simon Rees talks to artist Marcel Odenbach

MAK curator Simon Rees talks to the German video artist Marcel Odenbach about his work, his exhibition project at Friedrichshof and “SCHUTZRÄUME”, a film produced by the Friedrichshof Collection and Galerie Gisela Capitain, Cologne/Berlin. The Friedrichshof Collection has been running a city venue in Schleifmühlgasse, Vienna’s gallery district, since early 2012. Artworks shown there refer to biannual, temporary exhibitions at the Friedrichshof, which the permanent collection is contextualized with. The Collection presents major works from the 1960s by Günter Brus, Otto Muehl, Hermann Nitsch, Rudolf Schwarzkogler, Alfons Schilling and Kurt Kren and offers – together with the mumok – an elementary look into the evolutionary history of Viennese Actionism. The comprehensive, digital archive documenting the Commune is part of the Friedrichshof Collection and available for scholarly research in a reading room. Designed by architect Adolf Krischanitz, the Friedrichshof Collection’s exhibition space is located 50 kilometers southeast of Vienna, on the grounds of what was once Otto Muehl’s Action Analytic Commune. Today, the park-like landscape is home to various apartments, artists’ studios, social projects and a hotel with a restaurant.

Wednesday, 21 November 2012 7:00 p.m. k48 The anonymous Swiss artists collective Fam. Powidl is converting k48 into a film studio for one evening. With precise, postcontinent and anti-naturalistic gender strategies, the phantom-feminist anarcho-troupe positions itself as a quasi-sexual gesamtkunstwerk. The carnivalesque live event includes performers interpreting cover versions donned in various costumes; visitors (also in disguise) are made active participants. The results of this travesty will be transmitted over the Internet and TV. The dismantled music video genre serves as a catalyst for the counter-disciplinary collective. Like pop culture, contemporary art is capital’s willing accomplice – the luxury of luxuries, the decadence of decadence. In both disciplines, industrially pre-fabricated and standardized offers of identification suggest maximum individuality and independence. The perfidious marketing strategy and maximal absurdity consist in hoodwinking believers into thinking that these secondhand ideals can be accomplished through imitation and consumption. The difference between “high art” and commerce is a gradual one, not an essential one. Whereas pop has never even pretended to be – or wanted to be – anything but commercial, art (depending on the style) feigns being an aesthetic, cultural, political etc. mission, which really is the height of neo-liberal cynicism. The practical futility of resistance and enlightenment liberates the means: anything goes – nothing works! Curated by: Oliver Hangl

Kro Art Contemporary EXHIBITION OPENING Samuel Henne, “there is no comfort in conquering”*

Friday, 23 November 2012 7:30 p.m. Kunstraum 16 th Fall 2011 saw the Kro Art Gallery’s first exhibition project at Kunstraum 16th in Wilhelminenstrasse 35. This place is not merely an expansion of Kro Art Contemporary’s existing exhibition spaces, but is an independent location in its own right that also serves other artists and art and cultural institutions as a platform for their projects. Kunstraum 16th is both space and projection surface for alternating artistic interventions – and with its adjacent courtyard garden is as natural an alternative space as they can possibly be. During VIENNA ART WEEK, Kunstraum 16th will showcase works by photo artist Samuel Henne, whose series “there is no comfort in conquering” makes use of the artistic strategies of intervention and transformation. Henne’s pictures cautiously initiate a process of interaction between artificial arrangement and natural order, and thus manage to reveal the poetry in daily things.

EXHIBITION Samuel Henne, “there is no comfort in conquering”

24 November 2012–12 January 2013

Science fiction cover from “Researches on the Myth of the Primitive”, Brigitte Felderer Collection

Kunstraum Niederoesterreich Herrengasse 13 1014 Vienna T +43 1 90 42 111-199 F +43 1 90 42 112 E katrin.hilmar@kunstraum.net www.kunstraum.net Opening hours: Tue.–Fri. 11:00 a.m.–7:00 p.m. Sat. 11:00 a.m.–3:00 p.m. Galerie Krinzinger Seilerstätte 16 1010 Vienna T +43 1 513 30 06 F +43 1 513 30 06 33 E galeriekrinzinger@chello.at www.galerie-krinzinger.at Opening hours: Tue.–Fri. 12:00 noon – 6:00 p.m. Sat. 11:00 a.m. – 4:00 p.m. Galerie Lisa Ruyter Kantgasse 3/2/20 1010 Vienna T +43 1 505 61 00 E beethovenplatz@gmail.com  www.GalerieLisaRuyter.com  Opening hours: Wed.–Fri. 3:00 p.m.–7:00 p.m. Sat. 2:00 p.m.–6:00 p.m.

Set and costume design by Leonora Carrington 1917–2011, to be reinterpreted in the Temporary Autonomous Zone

Kunstraum Niederoesterreich

Galerie Krinzinger

Galerie Lisa Ruyter

MOBILE INSTALLATION “Last Exit ‘The Scientific People’ on tour”

LECTURE

TEMPORARY AUTONOMOUS ZONE “Thanksgiving”

Tuesday, 20 November 2012 Geographic coordinates at: www.kunstraum.net DISCUSSION “What we get out of it” – Conversation about art in public spaces

Thursday, 22 November 2012 7:00 p.m. Kunstraum Niederoesterreich In a project titled “Last Exit ‘The Scientific People’ on tour”, artists at the Kunstraum Niederoesterreich investigate the myth of the primitive in the present day. Not least, it is about flight and exit … and searching out new and old imaginative realms. Thanks to a mobile installation on two wheels, the “reality program” can be changed. Ecstasy and exoticism take over a traffic island in the middle of Vienna – its exact coordinates can be determined through the website, all in due time. Artists’ work for the public space often comments on critical trends or tendencies in society. More and more, artists are negotiating political reality in their work. “What we get out of it” will be answered in a conversation about art in the public space. The invitation – a call to pursue the questions that arise as the result of artistic interventions everywhere – is extended to everyone who uses the public space day after day. Viewers are presumed to have the ability to interpret the artistic manifestation and share it with others. Concept and moderation: Bärbl Zechner. Lower Austria’s official art space at 13 Herrengasse in central Vienna has been open to visitors five days a week, free of charge, since 2005. As a relatively new art and pro ject space, the Kunstraum Niederoesterreich is characterized by its openness to experimentation and interdisciplinary projects. It is a space for artistic research and a lively site for communication, serving professionals and art enthusiasts alike.

For date, time and further information, see: www.viennaartweek.at Since the 1970s Marina Abramovic´, born 1946 in Belgrade, has been exploring in her performances both physical and mental limits. In her works, the Serbian artist further focuses on the phenomenon of time and is keen to involve the audience, as exemplified in “Thomas Lips” (Galerie Krinzinger, 1975) and in her more recent performances “Seven Easy Pieces” (Guggenheim Museum, New York, 2005) and “The Artist Is Present” (MoMA, New York, 2010). Galerie Krinzinger now shows works by Marina Abramovic´ from her latest series “With Eyes Closed I See Happiness” – portraits of an iconic artist in a state of self-reflection which invite beholders to look inside themselves and let the external world pass by. Abramovic´ presents the gestures that enable her personally to perform this mental exercise. The large-sized works convey an idea of the atmosphere the artist surrounds herself with: an empty space symbolically focuses all our attention on the performance, reinforcing our perception of the artist as a figure. The photographic work is supplemented by a group of sculptures – plaster casts of body parts of the artist, covered in quartz crystals and placed on glass pedestals

Exhibition Marina Abramovic´, “With Eyes Closed I See Happiness”, 2012

Thursday, 22 November 2012 from 7:00 p.m. “From an astrological point of view, it’s prime time for you to attend a networking extravaganza or collaboration spree. Likewise, this is an excellent phase in your long-term cycle to organize a gathering for the close allies who will be most important in helping you carry out your master plan during the next 12 months. Have you ever heard of the term ‘Temporary Autonomous Zone’? It’s a time and place where people with shared interests and common values can explore the frontiers of productive conviviality. It might be a dinner party in an inspirational setting, a boisterous ritual in a rowdy sanctuary, or a private festival for fellow seekers. I hope you make sure something like that materializes.” Rob Brezsny’s Astrology Newsletter

Our Temporary Autonomous Zone is a field of action in which we can address and overcome certain barriers and problems without replicating restrictive structures. Rather than prepare a packaged collaborative project or group exhibition, we intend to allow the process to be a great part of the content. Participants: Delia Gonzalez, Mathilde ter Heijne, Antje Majewski, Amy Patton, Jen Ray, Juliane Solmsdorf, plus invited and uninvited guests – people who may not even know they are part of the event.

25 October–24 November 2012

special projects

Galerie Lisi Hämmerle im Atelierhaus Raffaelgasse 22 1200 Vienna www.galerie-lisihaemmerle.at Opening hours: 23–25 November 2012 6:00 p.m.–12:00 midnight Lust Gallery Hollandstrasse 7/15 A 1020 Vienna  T +43 1 21 21 06 E lustgallery@gmail.com www.thelustgallery.com  Opening hours: Wed.–Sat. 12:00 noon–7:00 p.m. KUNSTHALLE wien karlsplatz project space Treitlstrasse 2 1040 Vienna T +43 1 521 89 33 F +43 1 521 89 1217 E office@kunsthallewien.at www.kunsthallewien.at

Galerie Lisi Hämmerle at the Atelierhaus

Lust Gallery

Marcello Farabegoli

OPENING Screenings and installations, Barbara Husar – Rainer Prohaska, “Shepherding the Flow”

EXHIBITION OPENING “Sade”

CATALOG PRESENTATION Presentation of the catalog “Hana Usui. Drawings on paper. 2006–2012”

Thursday, 22 November 2012 7:00 p.m.

Marquis de Sade was probably the most influential figure for Hans Bellmer and the surrealists. De Sade had a deep understanding of all the main concepts that were later to become famous through Nietzsche and Freud – the importance of power, the subconscious and the overwhelming obsession with sex. Bellmer devoted two important etching cycles to Sade. The present exhibition contains the complete sets and a few selected drawings. We challenge the idea that what made Bellmer’s work difficult for the public was his erotic obsession. The difficulty rather consists in the fact that his eroticism was imbued with tragedy and death, which most people find hard to handle. Bellmer was the most pessimistic artist since Munch. Of his work, he said, “My work is a scandal because life is a scandal.” Few people wish to look upon their life as a scandal, much less one that is rooted in tragedy, death and fragility. It is eroticism anchored in the void that one finds difficult, rather than eroticism itself.

“In 2007, when I asked women from the elTarrabeen tribe in the Sinai Peninsula if they would sell me sun-dried umbilical cords from their herd animals, they refused because the Bedouins believe that the umbilical cord is the seat of the soul. I might, however, buy myself a herd and personally ask Allah for permission to transfer my animals’ umbilical cords into art. I had been moving through the desert with the el-Tarrabeen on and off for 17 years; after this initial hesitation at what was for them an unusual undertaking, they cooperated after all, and supported me in buying the herd. My herd of what was once six goats has grown to over 20 animals. Hathra the shepherdess and her daughter Farruga shelter my animals with prehistoric rocks and collect the umbilical cords of new arrivals. The information that flows to me through the encounters with the shepherdesses is just as crucial as the mysterious strings (habl surri / Arab. mysterious string = umbilical cord). SHEPHERDESS describes the intensity of the cultural exchange that developed between my immediate surroundings and the bearers of centuries-old nomadic culture, one that is artistically interwoven and condensed in my films, installations and publications.” Barbara Husar (www.husar.tk) Rainer Prohaska (www.rainer-prohaska.net) is currently “on the road”! Book presentation: “Barbara Husar, Protéger le Fleuve / Data Exchange”, Éditions Jannink, Paris, together with Judith Ortner (http://ortner2.at). Sound: DJ Barbara Husar and Rainer Prohaska

Monday, 19 November 2012 6:00 p.m.–10:00 p.m.

EXHIBITION “Sade”

19 November 2012–19 January 2013

Tuesday, 20 November 2012 7:00 p.m. KUNSTHALLE wien karlsplatz project space

Marcello Farabegoli presents the catalog “Hana Usui. Drawings on paper. 2006– 2012”, edited by himself, and a selection of Hana Usui’s original works; the artist will be present, too. Welcome speech: S. E. Eugenio d’Auria, Italian Ambassador to Austria. Introduction: Monika Knofler, Director of the Print Room of the Academy of Fine Arts Vienna. Musical introduction: Prof. Rudolf Leopold and Ernesto Insam (cello). Hana Usui was born in Tokyo in 1974 and studied art history and Japanese calligraphy. In 2000, she moved to Vienna to start a career as a free visual artist – freed from tradition. In the years that followed she primarily worked in Berlin. Since 2011, Hana Usui (www.hana-usui.de) lives and works in Vienna and Bolzano. Her works explore the process of abstraction: things and ideas are only ever implied or reduced. The only constant in her work is the line. Her drawings are monotypes of black or white oil paint, which she carves into paper with a screwdriver and often embeds into ink washes. “Hana Usui. Drawings on paper. 2006–2012” Marcello Farabegoli, ed. 72 pages, color pictures, soft cover Essays by Bernhard Maaz (Director of the Collection of Prints, Drawings and Photographs, and of the Old Masters Picture Gallery of the Dresden State Art Collections) and Andreas Schalhorn (curator of modern and contemporary art at the Museum of Prints and Drawings of the Berlin State Museums).

Nitsch Foundation

Opening hours:  Tue.–Fri. 11:00 a.m.–6:00 p.m.

Thursday, 22 November 2012 7:00 p.m.

Augarten Porcelain Museum at the Augarten Porcelain Manufactory Obere Augartenstrasse 1 1020 Vienna T +43 1 211 24 200 F +43 1 211 24 199 E museum@augarten.at www.augarten.at Opening hours:  Mon.–Sat. 10:00 a.m.–6:00 p.m. SAMMLUNG VERBUND Wallnerstrasse 3 / Top 24a  1010 Vienna T +43 (0) 503 13 50044 E sammlung@verbund.com www.verbund.com/sammlung

OPENING Opening of the “Hearing” exhibition

The Nitsch Foundation was founded in 2009 with the aim of promoting and insuring the importance of artist Hermann Nitsch’s artistic position and gesamtkunstwerk, and to convey his ideas to the public. This objective is achieved primarily by raising awareness for the intellectual superstructure of his work, publishing relevant literature and editions, organizing exhibitions and lecture series, fulfilling archival and documentation tasks as well as compiling a catalogue raisonné. The ongoing and collaborative pursuit of these objectives is the guiding principle behind the Nitsch Foundation and its work. The Foundation’s program of exhibitions includes a biannual demonstration of the five senses in Nitsch’s “Orgien Mysterien Theater” (Orgiastic Mystery Theater), as conveyed in various exhibitions, installations and actions conceived and curated by the artist himself. The Nitsch Foundation is organizing a special project during VIENNA ART WEEK 2012: as part of an exhibition on the topic of “Hearing”, artist Hermann Nitsch is devoting an event on 22 November 2012 to the sense of hearing and his compositions. Visitors at the exhibition opening immerse themselves in one of the artist’s disciplines that is still largely unknown, though it has been a key component of his creation process from the beginning.

EXHIBITION “Hearing”

November 2012–April 2013

Augarten Porcelain Museum

SAMMLUNG VERBUND

GUIDED TOUR Artist Xenia Ostrovskaya and curator Claudia Lehner-Jobst give a tour of the Augarten Porcelain Manufactory and Porcelain Museum*

PRESENTATION Olafur Eliasson, “Yellow Fog”*

Wednesday, 21 November 2012 1:00 p.m. A dialogical tour through the Porcelain Museum, which has taken on a new luster since June 2011, is dedicated to the artistic design of porcelain in different eras spanning nearly 300 years. The tour begins by welcoming visitors to the porcelain manufactory, providing a glimpse into the elaborate process of porcelain production. Housed at the Augarten (Vienna’s oldest Baroque garden) since reopening in 1923, participants will learn about the various stages of porcelain manufacturing. Afterwards, young Russian artist Xenia Ostrovskaya will lead a tour of the museum in dialog with Claudia Lehner-Jobst, art historian and curator of the Augarten Porcelain Museum. Porcelain shows itself to be an exciting cultural and art-historical mirror of its time. To this day, the Augarten factory relies on designs and work by great artists, which are now calling cards for the factory. Each of the over 120 exhibits is not only witness to the lifestyle of an era, but also representative of an art form. Xenia Ostrovskaya studied applied art and ceramics at Saint Petersburg University and now studies graphic design/graphic printing at the University of Applied Arts Vienna. Her work has been shown in numerous solo and group exhibitions in Moscow, Saint Petersburg and Vienna, most recently at the Vienna MuseumsQuartier. Claudia Lehner-Jobst studied at the University of Vienna and the University of Applied Arts Vienna. She works as a freelance art historian, author and curator, and was instrumental in creating the concept for the Augarten Porcelain Museum. * Limited number of participants. Registration required: E museum@augarten.at or T +43 1 211 24 200

Wednesday, 21 November 2012 4:30 p.m. VERBUND Headquarters, Am Hof 6a, 1010 Vienna Gabriele Schor, director of the SAMMLUNG VERBUND, and architect Christian Knechtl present the installation “Yellow Fog” as part of the VIENNA ART WEEK. The general public has a unique opportunity to gain insight into the technical construction of “Yellow Fog”. Olafur Eliasson’s intervention is an impressive work in the public sphere; electricity company VERBUND worked with the artist to install the work at its main building in Vienna’s city center in the fall of 2008: every day at dusk, the VERBUND headquarters façade is immersed in yellow fog. With its play of light, fog and wind, “Yellow Fog” turns the historic Am Hof square into a stage in the middle of the city. Boundaries between buildings, the sidewalk and the square flow into one another and dissolve, altering our perception of the urban space. Olafur Eliasson sees the fog as his “instrument” for making new spatial distances experienceable for the viewer. “Fog structures the space, it adds emphasis, it accentuates and allows us to experience depth and width in a different way,” says Eliasson. “Yellow Fog” focuses on the transition from day to night, subtly drawing attention to the change in the diurnal rhythm. The VERBUND collection was founded in 2004 and focuses on international contemporary art after 1970. True to the maxim “depth rather than breadth,” it focuses on two main themes: the “Feminist Avantgarde” (with works by Hannah Wilke, Cindy Sherman, Birgit Jürgenssen, VALIE EXPORT, and Francesca Woodman, among others), and “Spaces / Places” (with works by Olafur Eliasson, Gordon Matta-Clark, Fred Sandback, Jeff Wall, Loan Nguyen, Louise Lawler, Janet Cardiff / George Bures Miller, et al.). Producing scholarly publications is one of the collection’s essential objectives. In January 2012, SAMMLUNG VERBUND presented the “Catalogue Raisonné” of Cindy Sherman's early work (1975–1977), along with an exhibition at the Vertical Gallery. * In German and English. Registration is required: E sammlung@verbund.com or T +43 (0) 503 13 50044

Galerie Michaela Stock & next door Schleifmühlgasse 18 1040 Vienna T +43 1 920 77 78 E info@galerie-stock.net www.galerie-stock.net Salon für Kunstbuch http://salon-fuer-kunstbuch.at 21er Haus Museum of Contemporary Art Schweizergarten Arsenalstrasse 1 1030 Vienna T +43 1 795 57 134 F +43 1 795 57 136 E public@21erhaus.at www.21erhaus.at

Gerald Straub

Galerie Michaela Stock & next door

Salon für Kunstbuch

SPECIAL PROJECT “Instant Analysis in Residence or: Consul Consult Island” – a project by Gerald Straub as part of VIENNA ART WEEK 2012*

GUIDED TOUR Curator Günther Oberhollenzer and Marko Zink give a tour of the exhibition “Marko Zink ‘Im Kurhotel’”

BOOK SIGNING “Let The Artist Sign Your Book”

“Instant Analysis in Residence or: Consul Consult Island” produces informal knowledge using performative interventions. The focus of the project consists in scouring selected humanities platforms/institutions to examine their strategies/working methods and results with respect to their self-defined urgencies, and to challenge their requirements. A specific form of consultation – the consul – will be adapted as a method for gaining an “outsider’s perspective” of the situation. The consul’s official job is “to grant individuals advice and assistance according to his best judgement.” The project is based on the role of the “consul.” Works from an artistic practice will be produced for selected institutions, all with the aim of enlarging the scope of im/possible socio-political consequences. Besides the artistic “advice” offered, for a special look at the respective institutions, representatives from various consulates are invited to take a position regarding specific intervention proposals. At the consulate of an island state, the head of a cultural studies institute will speak about his work, the artist about his or her intervention proposals (intensifications), while the consul discusses the relevant plan of action. What happens when advice and assistance from a particular field move beyond their references? What references have what consequences? * Further information and registration for participation in the performative interventions at: www.viennaartweek.at.

Saturday, 24 November 2012 1:00 p.m. Marko Zink’s photo series “Im Kurhotel” (At The Spa Hotel) is comprised of 40 analog photographs taken at the sanatory spa in Schruns, Austria. The series was first shown in the context of “Eyes On” at five different venues in Austria (Montafoner Museen, as a projection on the façade of the spa hotel in Schruns, Galerie Lisi Hämmerle in Bregenz, Galerie Michaela Stock in Vienna and the Vienna Künstlerhaus). Günther Oberhollenzer (Museum Essl) will be leading a tour of Marko Zink’s five exhibitions via live streaming. Panta Rhei It’s a blink of the eye between the lived moment and the past, a flowing from the instant to the once-was, disconcerting and oppressive, a draw in the wake of curiosity while maintaining a respectful distance at the same time: Marko Zink holds them in a steady gaze, the metamorphoses and the transience of things. […] the series about the spa hotel and resort in Schruns: built in the early 1950s, this facility was among the most prestigious and renowned of its kind until the 1970s. But revenues declined, the building complex has been deserted since 2002, and in this almost ghostly emptiness, the owner vanished as well, Porsche left parked by the front door. Many rumors circulated as to both his whereabouts and the time-honored walls; now, the building stands to be demolished. This place, with its unspoken narratives, was predestined for Marko Zink: from it, he created a series filled with unsettling moments, the paradox of a sanatorium in decay – the ‘doctor’ turned patient. What emerged are hidden picture puzzles that, through his special photographic technique, contain transience independent of what is depicted.” Bettina Schulz, Panta Rhei (excerpt), Novum 05/2012

Friday, 23 November 2012 7:00 p.m. 21er Haus Art books are different: some can be read, others only flipped through; still others can be taken apart and worn around the city like shoes. For today’s art books, the technical possibilities are almost endless – making them one of the most original formats contemporary art uses to reach its audience. But how does a personal signature figure into this? Does the rule in other areas of the art market apply here as well – do art books have the character of an artwork only if the author has signed a copy by hand? Bernhard Cella is hosting a book signing as part of the 2012 VIENNA ART WEEK – a value-enhancing event of a special kind: 50 Austrian artists (list of participants at www.cella.at) are signing their books for guests in an environment that has been specially designed for this occasion. A special cocktail supports a unique form of perception. An evening for collectors, bibliophiles, trend scouts and all those with a seventh sense for the non-ordinary. “Bernhard Cella’s aesthetic experiments focus on the question of how things, people and their representations can congregate and be sorted differently nowadays.” Leo Findeisen

das weisse haus Argentinierstrasse 11 1040 Vienna T +43 1 236 37 75 E buero@dasweissehaus.at www.dasweissehaus.at

das weisse haus

white8 Gallery

Permanent Mission of Hungary

Opening hours:  Tue.–Fri. 1:00 p.m.–7:00 p.m. Sat. 12:00 noon–5:00 p.m. or by appointment

SCREENING Dan Graham, “Rock My Religion”

OPENING Exhibition “WALDSEE”

Saturday, 24 November 2012 5:30 p.m. (doors open at 5:00 p.m.) das weisse haus; enter through the inner courtyard of the back building

CONVERSATION & VIDEO PRESENTATION Lucas Gehrmann (KUNSTHALLE wien) in conversation with artist Patrizio Travagli; presentation of the “DOPPELGANGER” video

white8 Gallery Zedlitzgasse 1 1010 Vienna  M +43 664 2026754 E dagmar@white8.at www.white8.at Opening hours: Tue.–Fri. 12:00 noon–6:00 p.m. Sat. 11:00 a.m.–3:00 p.m. KUNSTHALLE wien karlsplatz project space Treitlstrasse 2 1040 Vienna T +43 1 521 89 33 F +43 1 521 89 1217 E office@kunsthallewien.at www.kunsthallewien.at Permanent Mission of the Republic of Hungary to the United Nations Office and Other International Organizations in Vienna Bankgasse 4–6 1010 Vienna T + 43 1 537 80 450 http://vienna.io.kormany.hu/ www.artmarketbudapest.hu www.2b-org.hu http://almaondobbin.org/ Waldsee_1944.html Opening hours: Fridays 9:00 a.m.–2:00 p.m.

Some months ago, das weisse haus moved into its current (fourth) location, a former school in Vienna’s inner city. For the screening, the art society has allocated a secret space within the building complex, which is “inaugurated” for this event in the context of VIENNA ART WEEK. Once again, das weisse haus takes up the challenge of presenting art in an offbeat place. das weisse haus presents Dan Graham’s video “Rock My Religion”, contextualized in a program arranged by Bettina Brunner, who already curated a group exhibition at the art society in early 2012, entitled “Getting It Wrong”. Dan Brown’s video essay, a provocative thesis on the relation between rock music and religion, was produced in the early 1980s. It is a concise illustration of the importance of text and music in the artist’s work. Various examples of text and music presented during the screening will help to decypher themes brought up in “Rock My Religion”.

Thursday, 22 November 2012 6:00 p.m.–9:00 p.m. KUNSTHALLE wien karlsplatz project space Florentine light and media artist Patrizio Travagli (b. 1972) traces the things and phenomena that we generally deem truthful, objective and obvious. Armed with philosophical and natural scientific skills, he conducts what he describes as artistic “thought experiments” – conceptual and sensually/ emotionally experiential projects in which he, as we see in his video “DOPPELGANGER” (first version 2007), zooms his highly perfected camera on unspectacular everyday things such as cooking spaghetti, a ringing mobile phone or a scribbled-over piece of paper, magnifying them to up to 500 times. This makes them impossible to identify by any visual (or acoustic) information; what we perceive instead are color and “formally” abstract sensations – new, otherwise unseen images of “reality.” Boundaries, edges and other distinctive elements blur, dissolve, are put into motion, leave time and space in flux and without coordinates. “His art is one that not only renders the invisible visible, as Klee postulated. Travagli’s art makes the certain uncertain – not in a way that would rob us of pleasure, but quite the opposite: he stirs a curiosity, a desire to tread on unsafe ground.” (Galerie MADONNA#FUST, Bern) “DOPPELGANGER” will be shown in form of multimedia stills at Galerie white8/Vienna from 9 November to 29 December, parallel to the presentation at the KUNSTHALLE wien’s project space on Karlsplatz.

Monday, 19 November 2012 6:00 p.m. The Art Market Budapest international art fair and the Permanent Mission of Hungary to the Office of the United Nations in Vienna present the “WALDSEE” exhibition. The theme was inspired by the memory of Raoul Wallenberg, born a century ago this year, the Swedish diplomat who, stationed in Budapest, risked his own life saving thousands of Jews from certain death. The “WALDSEE” project is also part of a special art program of Art Market Budapest 2012. The exhibition is based on a curatorial concept by Budapest’s 2B Gallery. The Hebrew Union College Museum and Alma On Dobbin in New York, as well as many artists have collaborated in its realization. Postcards sent from Auschwitz in 1944 serve as the point of departure: before their deaths, the Jewish prisoners were forced by the guards to write postcards and inform their relatives about their fortunate arrival and the ideal conditions at Auschwitz. In place of Auschwitz, “Waldsee” was given as the place of dispatch. The aim was to ease further deportations. Artists – including William Kentridge, Sylvia Plachy and her son, actor Adrien Brody – have been invited to produce their own fictive “Waldsee” postcards, supplemented with their own personal stories and texts. A special selection of these “postcards” is exhibited in Vienna.

EXHIBITION “WALDSEE”

19 November 2012–25 January 2013

PROGRAM

Artist Initiatives

DIEAUSSTELLUNGSSTRASSE

flat1

Fluc

Glockengasse No9

CLOSING EVENT Exhibition “Before Aftermath”

EXHIBITION OPENING “Entry-Exit Paris – ‘We are in a net of roses’”

ART SALON Miriam Bajtala and “the whoever tries committee”

OPENING Exhibition #19, “working”

Tuesday, 20 November 2012 7:00 p.m.–10:00 p.m.

Wednesday, 21 November 2012 9:00 p.m.

Since 2009, the program of the alternative space flat1 has been arranged by visual artists Maria Hanl, Karin Maria Pfeifer and Sula Zimmerberger. The thematic focus of the annual program of flat1 is on the presentation of contemporary visual art. The art space is particularly keen to promote national and international artistic exchange and create networks beyond the commercially oriented gallery scene. In 2012, this materializes in a close cooperation with alternative spaces based in Helsinki, Prague, Warsaw and Paris. As part of the VIENNA ART WEEK, the Paris-based alternative space “immanence” will be guest of flat1, with its exhibition “We are in a net of roses” (curated by Frédéric Vincent) making reference to a spectacular Harald Szeemann exhibition from 1996.

This year, Fluc on Praterstern is celebrating its tenth birthday as an artist-run event and project space. The curatorial team Ursula Maria Probst and Martin Wagner have been hosting the series “In the Cabinet’s Cubage – the Art Salon in the Fluc” every month since 2008. Unlike conventional exhibition formats, Fluc forces an interplay of artistic practice and interventions in urban space. Designed by Klaus Stattmann, the performative architecture opens a number of multimedia possibilities for displaying and showing work in the venue’s interior and exterior spaces. Current contemporary art practices and their application in the “public space” now offer the opportunity to not only respond to and transform given situations, but also produce space. In doing so, artistic production forms a mutual dialog with urban conditions and procedures. The starting point for Miriam Bajtala’s installations is a basic one: it’s all about perception, time, space – how these parameters stand relative to one another and which relations they enter into. Sometimes the parameters are switched: “I like to let myself be surprised by the technical aspect of image-making: I think of systems that are beyond my imagination, where I can only make a picture by working on an idea.” Miriam Bajtala uses structures and subverts them at the same time. “the whoever tries committee” is a changing formation of artists whose practice of interruption, reflection and correction deals directly with the situation on site.

Wednesday, 21 November 2012 7:00 p.m.–10:00 p.m. Imagining what is to come, or: in anticipation of the aftermath. Images that do not allow us to draw conclusions about the expected event. Given the meticulousness of the preparations, one could guess that it has more to do with orderly withdrawal than chaos and destruction. In view of all this, the picture of an impending apocalyptic scenario created in the exhibition is a calculable residual risk. Participating artists: Wiebke Elzel, Jana Müller, Julian Faulhaber, Silke Koch & Jan Stradtmann

VERNISSAGE Exhibition Simon Veres, “0MISTANBUL”

Friday, 23 November 2012 7:00 p.m.–10:00 p.m. Multimedia processing technology allows isolated realities to become expanded ones; images are condensed, and new complexes of meaning are created by new ways of seeing.

DIEAUSSTELLUNGSSTRASSE Ausstellungsstrasse 53, 1020 Vienna M +43 680 219 79 69 (Michael Niemetz) M +43 650 433 77 87 (Simon Veres) E dieausstellungsstrasse@gmail.com www.dieausstellungsstrasse.at Opening hours: 19–25 November 2012: Mon., Tue. 3:00 p.m.–7:00 p.m. Wed. 3:00 p.m.–10:00 p.m. Fri. 7:00 p.m.–10:00 p.m. Sat., Sun. 1:00 p.m.–6:00 p.m.

EXHIBITION “Entry-Exit Paris – ‘We are in a net of roses’” With works by Julie Génelin, Ann Guillaume, Stéphane Lecomte, Cannelle Tanc, and Frédéric Vincent.

flat1, Schikanedergasse 2/1, 1040 Vienna E flat1@gmx.at, www.flat1.at Opening hours: 19–25 November 2012: Tue. 7:00 p.m.–10:00 p.m. Thu. 6:00 p.m.–9:00 p.m. Sat., Sun. 2:00 p.m.–5:00 p.m.

Fluc, Praterstern 5, 1020 Vienna, www.fluc.at

Friday, 23 November 2012 7:00 p.m. “Through having reached the percept as ‘the sacred source’, through having seen Life in the living or the Living in the lived, the novelist or painter returns breathless and with bloodshot eyes. They are athletes …” Gilles Deleuze, Felix Guattari: “What is Philosophy?”

The “bloodshot eyes” bear testimony to the path from a perception to an eternal block of perception, one in which the artist’s working process largely eludes linguistic description. Art production is working in and on the material, a development, a process, a thinking-in-relation. The artistic process is hard to put into words without becoming descriptive. A narrative unfolding requires a process of translation capable of transferring a language-less activity into a languagebased description. The most fruitful relationship between language and art does not owe to translation, particularly as the work with and on language can become a purely non-linguistic activity in itself. For this project, as part of the exhibition series of Glockengasse No9, seven artists and theorists collaborate in an experimental setting in which the process itself is unfolded, what Deleuze/ Guattari mysteriously describe as a state of breathlessness. Project participants: Iris Dittler, Silvia Ferrari Lilienau, Emma Gradin, Max Limbeck-Lilienau, Sissi Makovec, Haimo Perkmann and Peter Wehinger.

EXHIBITION #19, “working”

24 November–6 December 2012 Glockengasse No9, Glockengasse 9/5, 1020 Vienna E glockengasseNo9@gmx.at, www.glockengasse.net

Hallway Gallery

Hinterland

umraum stadtbureau

EXHIBITION OPENING “Jörg Reissner”

OPENING Exhibition “The Fragility of Appearances. Looking for the Alleged Paradise”

OPENING Exhibition “Propaganda 1.0 – Public Art in Motion”

OPENING Exhibition “The Organism no1”

Monday, 19 November 2012 8:00 p.m.

Tuesday, 20 November 2012 7:00 p.m.

CLOSING EVENT Exhibition “Propaganda 1.0 – Public Art in Motion”

PERFORMANCE “‘The Noologist’s Handbook’ by Warren Neidich”

Sunday, 25 November 2012 6:00 p.m.

Tuesday, 20 November 2012 8:00 p.m.

As a responsibility of both public and private constructors, percent-for-art schemes are always a manifestation of a given building culture, of image cultivation, a status symbol, as well as arts patronage, beautification and indoctrination. In some countries, percent-for-art schemes include activity in the public sphere. Such public art is intervention art par excellence. KarlJürgen Krause argues that the ephemerality, transitoriness and randomness of first-hand experience can in no other place be multiplied so well as in the public (“Kunstforum”). Art in the public space intervenes, commemorates, conveys insights and reveals interrelations. Vandalism, the event culture and the privatization of public facilities lead to a crisis in the public sphere. Will it bring about a decline of the public and of democracy? In lectures and debates umraum stadtbureau addresses the relationship between propaganda, percentfor-art schemes and art in the public space. Art created in the public space of the landscape and settlement area of the Lindabrunn Symposium experimental lab, as well as art created in the urban environment of stadtbureau will be on display. In front of the stadtbureau, the subject matter materializes in the “COURAGE” installation.

After three years of successful, internationally renowned exhibition activity and event organization Gülsen Bal, founding director of Open Space – Zentrum für Kunstprojekte in Vienna, decided in January 2011 to reposition Open Space, open it for new contents and gradually rename it Open Systems. This transformation includes the active involvement of the advisory board and a stronger focus on the discourse. The exhibition “The Organism no1” addresses the socio-political and epistemological role assigned to art for its mediation of the plurality of free impulses and occurring complexities in our global – though not globalized – world. The art organism is stimulated or manipulated by nothing but its inherent need for freedom. Its structure is not suitable for promoting the politically motivated key words of a potential funding institution; not does its function consist in illustrating, reproducing or undermining the foreseeable geopolitical positioning or an already established art-historical period. “The Organism no1” is based on the concept of “nowhere = now + here,” which aims to free artists from the local narrow(minded)ness and do away with their subordination to given parameters.

Wednesday, 21 November 2012 8:00 p.m. Located not far from the Schleifmühlgasse galleries, Victoria Dejaco’s Hallway Gallery operates as a private no-budget exhibition space. While she was still writing her thesis, Dejaco started exhibiting artist friends of hers in the 13-meter hallway of her rented apartment – and continues to do so after finishing her studies. The current Hallway exhibition showcases Vienna-based South Tyrolean Jörg Reissner (born in 1984), whose works were recently on display at the Graphic Collection of the Academy of Fine Arts Vienna. In his paintings and installations, Reissner engages with surface and space. He includes photographs (many of which are taken in his studio) to investigate varied spatial settings, questioning both his own artistic production and painting itself. The works exhibited at Dejaco’s were created specifically for the Hallway, responding to the quite unusual space and its double function as a corridor and exhibition room. The artist will invite musician friends to meet for a drink and get the vibe going in a private atmosphere – and will of course be present personally.

Hallway Gallery, Rienösslgasse 16/2/18, 1040 Vienna M + 43 680 402 73 02, E victoria.dejaco@gmx.net http://www.hallwaygallery.home.lc/ Opening hours: by appointment

Wednesday, 21 November 2012 7:00 p.m. “The Mayan people predicted thousands of years ago according to their reading of the celestial objects: the awakened people are going to complete the holy mission of ‘Earth purification.’ On December 21, 2012, human beings are going to enter a new civilization.” http://de.clearharmony.net

According to the Long Count calendar of the Maya, the 21st of December 2012 shall bring this human civilization to its end, which once again fuels the debate about (another) apocalypse. For theologian Alois M. Haas, such “ruptures in time” are vital, since they structure our life and prevent us from monotony. From a biblical perspective, apocalypses were seen as harbingers of a better future, entailing hope and purifying creation for visions of new realms. Feeling wistfully nostalgic, we idealize the past. Are we longing to return to a natural life in harmony with the environment, to a carefree life? International artists set out on a quest for the hypothetical paradise and the alleged Arcadia. Is this a utopian attempt to escape the imminent apocalypse? Participating artists: Siegfried A. Fruhauf, Behruz Heschmat, Babak Kazemi, Peter Kees, Steffen Köhn/Paola Calvo, Clemens Krauss, Mariele Neudecker, Susanne Weirich, et al.

Hinterland, Krongasse 20, 1050 Vienna T +43 1 58 123 59, E art@hinterland.ag http://art.hinterland.ag Opening hours: Thu., Fri. 2:00 p.m.–7:00 p.m. Sat. 11:00 a.m.–2:00 p.m. and by appointment

For details, see www.stadbureau.net

EXHIBITION “Propaganda 1.0 – Public Art in Motion”

19–25 November 2012

Open Systems – Zentrum für Kunstprojekte

Open Systems – Zentrum für Kunstprojekte Lassingleithnerplatz 2, 1020 Vienna M +43 699 115 286 32, E office@openspace-zkp.org http://www.openspace-zkp.org Opening hours: Fri., Sat. 1:00 p.m.–6:30 p.m. or by appointment

umraum stadtbureau, off space & urban interface Linke Wienzeile 86 / Ecke Proschkogasse 2, 1060 Vienna M +43 699 110 70 750, E j.h@umraum.net www.stadtbureau.net Opening hours:19–25 November 2012: daily 1:00 p.m.–6:00 p.m.

Program Overview VIENNA ART WEEK 2012

Mon

Tue

Wed

19 November 2012

20 November 2012

21 November 2012

All day SYMPOSIUM KÖR “Planning Unplanned_Exploring the New Role of the Urban Practitioner”: workshops, lectures and discussions

All day SYMPOSIUM KÖR “Planning Unplanned_Exploring the New Role of the Urban Practitioner”

6:00 p.m. OPENING VIENNA ART WEEK at the former K. K. Telegrafenamt (Telegraph Office) Opening of the exhibition “Predicting Memories”, curated by Robert Punkenhofer and Ursula Maria Probst 6:00 p.m. OPENING Künstlerhaus k/haus Opening of the exhibition “Kann es Liebe sein?” 6:00 p.m. OPENING Special Project Permanent Mission of the Republic of Hungary to the United Nations Office Opening of the exhibition “WALDSEE” 6:00 p.m.–10:00 p.m. OPENING Special Project Lust Gallery Opening of the exhibition “Sade” 6:30 p.m. FILM SCREENING Austrian Film Museum Jack Smith, “Flaming Creature” 7:00 p.m. OPENING & PERFORMANCE CeMM Opening of the CeMM Brain Lounge 8:00 p.m. OPENING Alternative Space Artist Initiative umraum stadtbureau Opening of the exhibition “Propaganda 1.0 – Public Art in Motion” 8:30 p.m. FILM SCREENING Austrian Film Museum Jack Smith, “Flaming Creature”

10:00 a.m.–5:00 p.m. EXHIBITION VIENNA ART WEEK at the former K. K. Telegrafenamt (Telegraph Office) “Predicting Memories”

6:30 p.m. FILM SCREENING Austrian Film Museum Jack Smith, “Flaming Creature”

10:00 a.m.–6:00 p.m. GUIDED TOUR DOROTHEUM Preview of the auctions “Modern Art”, “Contemporary Art” and “Design”

(in German, English)

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.–10:00 p.m. KEY TOPIC quartier21/MuseumsQuartier “Digital Memories: Tomorrow’s Memories”

All day MOBILE INSTALLATION Special Project Kunstraum Niederoesterreich “Last Exit ‘The Scientific People’ on tour” 10:00 a.m.–5:00 p.m. EXHIBITION VIENNA ART WEEK at the former K. K. Telegrafenamt (Telegraph Office) “Predicting Memories” 10:00 a.m.–6:00 p.m. GUIDED TOUR DOROTHEUM Preview of the auctions “Modern Art”, “Contemporary Art” and “Design” 2:00 p.m. GUIDED TOUR Belvedere / Upper Belvedere Curator Alexander Klee gives a tour through the exhibition “Masterpieces in Focus: Emil Jakob Schindler” 2:00 p.m.–6:00 p.m. WORKSHOP Generali Foundation “Collective Conversation” with Ricardo Basbaum: “Me–You: Choreographies, Games and Exercises” 4:00 p.m. GUIDED TOUR Kunsthistorisches Museum Guided tour through the exhibition “The Ancients Stole All Our Great Ideas” (in German) 5:00 p.m. CONVERSATION KUNSTHALLE wien Art theorist Anne Marsh converses about “Extreme Art and The Body Politic: Mike Parr & Leigh Bowery” (in English)

5:00 p.m. ALTERNATIVE SPACE TOUR Special Project eSeL / MULTImART Guided tour of alternative spaces

7:00 p.m. OPENING MAK Opening of the solo exhibition “Pae White. ORLLEGRO”, MAK Permanent Collection Contemporary Art 7:00 p.m. OPENING MAK Opening of the exhibition “Vienna 1900” – Redesign of the MAK Permanent Collection 7:00 p.m. CATALOG PRESENTATION Special Project Marcello Farabegoli Presentation of the catalog “Hana Usui. Drawings on paper. 2006–2012” 7:00 p.m. CONVERSATION Special Project FOTO-RAUM Artist talk with Robert Zahornicky as part of the exhibition “Spuren” 7:00 p.m. OPENING Alternative Space Artist Initiative Open Systems – Zentrum für Kunstprojekte Opening of the exhibition “The Organism no1” 7:00 p.m.–10:00 p.m. OPENING Alternative Space Artist Initiative flat1 Opening of the exhibition “Entry-Exit Paris – ‘We are in a net of roses’” 8:00 p.m. CONVERSATION Special Project Sammlung Friedrichshof Stadtraum MAK curator Simon Rees talks to artist Marcel Odenbach

5:00 p.m.–8:00 p.m. CATALOG PRESENTATION quartier21/MuseumsQuartier Presentation of the “AiR 300” catalog and studio visits

8:00 p.m. PERFORMANCE Alternative Space Artist Initiative Open Systems – Zentrum für Kunstprojekte “‘The Noologist’s Handbook’ by Warren Neidich”

5:30 p.m. GUIDED TOUR quartier21/MuseumsQuartier A tour of TONSPUR 54 by Candice Breitz

8:30 p.m. FILM SCREENING Austrian Film Museum Jack Smith, “Flaming Creature”

11:00 a.m. LECTURE & DISCUSSION Deloitte “Art & Tax. What Art Collectors Should Know About Taxes” (in German) 1:00 p.m. GUIDED TOUR Special Project Augarten Porcelain Museum Artist Xenia Ostrovskaya and curator Claudia Lehner-Jobst give a tour of the Augarten Porcelain Manufactory and Porcelain Museum 1:00 p.m.–6:00 p.m. THEME DAY Künstlerhaus k/haus “Photography at the Künstlerhaus” – Presentation of the Künstlerhaus projects as part of “Eyes On – Month of Photography Vienna” 2:00 p.m. GUIDED TOUR BMUKK Prater studios Ursula Maria Probst leads guided tours through the BMUKK Prater studios 2:00 p.m. GUIDED TOUR 21er Haus Curator Harald Krejci guides a tour through the Belvedere’s collection of contemporary art 2:00 p.m.–6:00 p.m. WORKSHOP Generali Foundation “Collective Conversation” with Ricardo Basbaum: “Me–You: Choreographies, Games and Exercises” 4:00 p.m. GUIDED TOUR Leopold Museum Japanologist Peter Pantzer guides a tour through the exhibition “Japan – The Fragility Of Being”

Thu 22 November 2012 4:00 p.m. GUIDED TOUR Special Project “Eyes On – Month of Photography Vienna” Managing Director Thomas Licek guides a tour through several selected exhibitions

7:00 p.m. OPENING Alternative Space Artist Initiative Hinterland Opening of the exhibition “The Fragility of Appearances. Looking for the Alleged Paradise”

4:30 p.m. PRESENTATION Special Project SAMMLUNG VERBUND Presentation of the “Yellow Fog” installation by Olafur Eliasson

7:00 p.m.–10:00 p.m. CONVERSATION KUNSTHALLE wien “Art in Public Space: Obsessive Controversies or Recurrent Polemics?” Artist Daniel Knorr in conversation with curator Cathérine Hug

5:00 p.m. GUIDED TOUR Albertina Curator Eva Michel gives a tour of the exhibition “Emperor Maximilian I and the Age of Dürer” 6:00 p.m. GUIDED TOUR Belvedere / Lower Belvedere Curator Brigitte BorchhardtBirbaumer gives a tour through the exhibition “Night in Twilight. Art from Romanticism to the Present” 6:00 p.m. FILM 21er Haus “Portraiture Series #2: Hetzenauer”: Bernhard Hetzenauer, Works 6:30 p.m. LECTURE Wien Museum “Josef Frank and the Meanings of the ‘Wiener Moderne’” – Lecture by Christopher Long (in English) 6:30 p.m. FILM SCREENING Austrian Film Museum Jack Smith, “Flaming Creature” 7:00 p.m. AWARDS CEREMONY KUNST HAUS WIEN Award ceremony for the winners of the “Photo Booth Art” competition 7:00 p.m. PERFORMANCE Special Project k48 – Offensive for Contemporary Perception Public shooting of a music video by Fam. Powidl: DAAAAD

7:00 p.m.–10:00 p.m. CLOSING EVENT Alternative Space Artist Initiative DIEAUSSTELLUNGSSTRASSE Closing event of the exhibition “Before Aftermath” 8:00 p.m. OPENING Alternative Space Artist Initiative Hallway Gallery Opening of the exhibition “Jörg Reissner” 8:15 p.m. LECTURE & FILMS Austrian Film Museum “Could Jack Smith’s Art Ever Be Useful?” – Lecture by Marc Siegel and films by Jack Smith (in English) 8:30 p.m. FILM SCREENING Austrian Film Museum Jack Smith, “Flaming Creature” 9:00 p.m. ART SALON Alternative Space Artist Initiative Fluc Miriam Bajtala and “the whoever tries committee”

All day CONFERENCE Academy of Fine Arts Vienna “Dildo Anus Power: Queer Abstraction” 10:00 a.m.–5:00 p.m. EXHIBITION VIENNA ART WEEK at the former K. K. Telegrafenamt (Telegraph Office) “Predicting Memories” 10:00 a.m.–6:00 p.m. GUIDED TOUR DOROTHEUM Preview of the auctions “Modern Art”, “Contemporary Art” and “Design” 2:00 p.m.–6:00 p.m. WORKSHOP Generali Foundation “Collective Conversation” with Ricardo Basbaum: “Me–You: Choreographies, Games and Exercises” 3:00 p.m.–4:30 p.m. PANEL DISCUSSION DOROTHEUM “Artists as Collectors” 4:00 p.m. GUIDED TOUR Belvedere / Upper Belvedere Guided tour through the “Jubilee Exhibition: 150 Years Gustav Klimt” 4:00 p.m. GUIDED GALLERY TOUR DIE GALERIEN Hartwig Knack gives a tour of several galleries 4:30 p.m. GUIDED TOUR MAK Special guided tour through the exhibition “Vienna 1900” 4:30 p.m. STUDIO VISITS & GUIDED TOUR Special Project Lenikus Collection Guided tour of the Lenikus support program participants’ studios and of the exhibition “Kann es Liebe sein?” at the Collection’s exhibition space STUDIOS. 5:00 p.m. OPENING Sigmund Freud Museum Opening of the exhibition “Michael Huey, ‘Archivaria’” 5:00 p.m.–6:30 p.m. PANEL DISCUSSION Essl Museum at the DOROTHEUM “New York – Capital of Art? Art Production Between Market and Discourse”

5:30 p.m. GUIDED TOUR University of Applied Arts Vienna Gabriele Rothemann gives a tour of the “REALM” exhibition 6:00 p.m. GUIDED TOUR Kunsthistorisches Museum Adjunct Curator Jasper Sharp gives a tour of the exhibition “The Ancients Stole All Our Great Ideas” (in English) 6:00 p.m.–9:00 p.m. CONVERSATION Special Project white8 Gallery at the KUNSTHALLE wien Lucas Gehrmann in conversation with artist Patrizio Travagli; presentation of the “DOPPELGANGER” video 6:30 p.m. LECTURE Jewish Museum Vienna Lecture by Lisa Silverman as part of the exhibition “Vienna’s Shooting Girls. Female Jewish Photographers from Vienna” (in English) 6:30 p.m. FILM SCREENING Austrian Film Museum Jack Smith, “Flaming Creature” 7:00 p.m. OPENING BAWAG Contemporary Opening of the exhibition “Michaël Borremans” 7:00 p.m. CONVERSATION Secession Christian Kravagna talks to artist Kerry James Marshall (in English) 7:00 p.m. LECTURE Leopold Museum “Stripped Bare but not Exposed: The Male Nude in American Art” – Lecture by Jonathan Weinberg as part of the exhibition “naked men” (in English) 7:00 p.m. OPENING Special Project Nitsch Foundation Opening of the exhibition “Hearing” 7:00 p.m. TEMPORARY AUTONOMOUS ZONE Special Project Galerie Lisa Ruyter “Thanksgiving”

Program Overview VIENNA ART WEEK 2012

Fri 23 November 2012 7:00 p.m. DISCUSSION Special Project Kunstraum Niederoesterreich “What we get from it” – Conversation about art in public space (in German) 7:00 p.m. OPENING Special Project Galerie Lisi Hämmerle at the Atelierhaus Screenings and installations, Barbara Husar – Rainer Prohaska, “Shepherding the Flow”

All day GALLERY WEEKEND DIE GALERIEN All day CONFERENCE Academy of Fine Arts Vienna “Dildo Anus Power: Queer Abstraction” 10:00 a.m.–5:00 p.m. EXHIBITION VIENNA ART WEEK at the former K. K. Telegrafenamt (Telegraph Office) “Predicting Memories”

7:30 p.m. OPENING Essl Museum Opening of the exhibition “New. New York”

10:00 a.m.–6:00 p.m. GUIDED TOUR DOROTHEUM Preview of the auctions “Modern Art”, “Contemporary Art” and “Design”

8:15 p.m. CONVERSATION & FILMS Austrian Film Museum Peter Kubelka in a conversation about Jack Smith

11:00 a.m. GUIDED TOUR Secession Curator Jeanette Pacher guides a tour through the exhibition “Anne Hardy”

8:30 p.m. FILM SCREENING Austrian Film Museum Jack Smith, “Flaming Creature”

11:00 a.m. GUIDED TOUR Generali Foundation Curators Diana Baldon and Ilse Lafer guide through the exhibition “CounterProduction”

Evening OPENING Thyssen-Bornemisza Art Contemporary – Augarten Opening of the exhibition “Sharon Lockhart | Noa Eshkol”

12:00 noon STUDIO VISIT VIENNA ART WEEK & Lenikus Collection Artist-in-residence studio visit with curator Herbert Justnik 12:00 noon–12:45 p.m. LECTURE DOROTHEUM “The Resale Right Directive and Other Measures: How the European Art Market is Being Spoiled” – Lecture by Antoon Ott (in English) 1:00 p.m. STUDIO VISIT VIENNA ART WEEK & Kunsthalle Exnergasse Artist-in-residence studio visit with Barbara Wünsch, VIENNA ART WEEK 1:00 p.m.–3:00 p.m. PANEL DISCUSSION DOROTHEUM “Keeping up Appearances. The Value of Art in Times of Economic Insecurity”

1:45 p.m.–6:15 p.m. STUDIO VISITS Architekturzentrum Wien Visits to the studios of BEHF Architects, Veech Media Architecture and gaupenraub +/- with Anneke Essl

4:00 p.m. GUIDED GALLERY TOUR DIE GALERIEN Georgia Holz guides a tour through various galleries

2:00 p.m. STUDIO VISIT VIENNA ART WEEK & VBKÖ Artist-in-residence studio visit with curator Herbert Justnik

4:00 p.m. STUDIO VISIT VIENNA ART WEEK & Krinzinger Projekte Artist-in-residence studio visit with curator Herbert Justnik

2:00 p.m.–6:00 p.m. WORKSHOP Generali Foundation “Collective Conversation” with Ricardo Basbaum: “Me–You: Choreographies, Games and Exercises”

4:00 p.m. PANEL DISCUSSION 21er Haus “Every Man for Himself! Multiple Roles in Today’s Art Market”

2:30 p.m. GUIDED TOUR 21er Haus Curator Bettina Steinbrügge guides a tour through the exhibition “Busy” 3:00 p.m. STUDIO VISIT VIENNA ART WEEK & Galerie Hilger Curator-in-residence studio visit with Barbara Wünsch, VIENNA ART WEEK 3:00 p.m. GUIDED TOUR Leopold Museum Special tour through the exhibition “naked men”; welcome address by Director Tobias G. Natter 3:00 p.m. LECTURE Albertina “Emperor Maximilian I – Dramatizing His Personality Beyond Death” – Lecture by Thomas Schauerte (in German)

3:00 p.m.–5:00 p.m. PANEL DISCUSSION DOROTHEUM “Vienna–Moscow. Art Scenes in Close Dialog” 3:00 p.m.–5:00 p.m. CITY EXPEDITION Wien Museum “The Refurbishment of the Vienna Werkbundsiedlung” – City expedition with Martin Praschl, Azita Goodarzi (P.Good Architekten) and curator EvaMaria Orosz as part of the exhibition “Vienna Werkbundsiedlung 1932. A Model for New Living”

4:30 p.m. GUIDED TOUR MAK Special guided tour through the exhibition “Vienna 1900” 5:00 p.m. STUDIO VISIT VIENNA ART WEEK & quartier21 / MuseumsQuartier Artist-in-residence studio visit with Barbara Wünsch, VIENNA ART WEEK 5:00 p.m.–6:30 p.m. PANEL DISCUSSION Sigmund Freud Museum at DOROTHEUM “Body and Art – the Image of Hysteria in the 21st Century” (in English) 6:00 p.m. STUDIO VISIT VIENNA ART WEEK & Belvedere Artist-in-residence studio visit with curator Herbert Justnik 6:00 p.m. MAGAZINE PRESENTATION Special Project EIKON at the Leopold Museum Presentation of “EIKON” #80 6:30 p.m. FILM SCREENING Austrian Film Museum Jack Smith, “Flaming Creature” 7:00 p.m. OPENING Architekturzentrum Wien Opening of the 19th Vienna Architecture Congress “Soviet Modernism 1955–1991. Unknown Stories”