Kunsthaus

kub 2012 Program 2012

04|02|2012—20|01|2013 English Kunsthaus Bregenz Balance 2011

“Not the least important reason for the sensational impact of many Kunsthaus Bregenz exhibitions is the fact that they have been planned for the museum’s unique spaces in close cooperation with the artists involved.”

Yilmaz Dziewior

Scarcely any other institution outside of the big art metropolises attracts as broad an international public as does the Kunsthaus Bregenz. The two main reasons for this are the unique architecture of the building designed by and the museum’s outstanding program of exhibitions. Again and again the building’s distinctive architectural aura has inspired artists to new works created specifically for the museum. As well as the interdisciplinary and cross-generational nature of its programs, the activities of the KUB are characterized by an increasing openness to non-Western art and artists. Additionally, the kub Arena and its innovative curatorial approaches lend the museum program with its major exhibitions an altogether unique slant. The elements of contemporary art production are thus treated in their complexity at different levels in combination with a broad-based education program consisting of guided tours, workshops, film screenings, and visits to architectural practices in the region. The wide range of activities of the Kunsthaus Bregenz is rounded off by its excellently researched publications and editions that accompany the exhibitions and

Photo: weissengruber.biz Photo: are produced in close collaboration with the artists.

02 03 kub Program 2012 Kunsthaus Bregenz Balance 2011 Haegue Yang Cittadella, 2011, installation view 2nd floor, Kunst- haus Bregenz Photo: Markus Tretter © Kunst haus Bregenz, Haegue Yang

Ai Weiwei’s exhibition Art|Archi tec ture was the highlight of 2011 attracting the most visitors – it was attended by over 40,000 people. After the Roy Lichtenstein exhibition (2005) it was thus the best- attended show in the history of the Kunsthaus Bregenz. In addition to the exhibition itself the kub’s solidarity actions in support of the Chinese artist and architect were positively received by the public, professional art circles, and the media. Figures 2011 Antony Gormley’s unique landscape project Horizon Field Number of visitors: approx. 65,000 in the Vorarlberg Alps still attracts enormous attention more than Visitors to Horizon Field: several thousand | no count a year after its opening. A continuing stream of press reports and a wealth of feedback from visitors confirm the positive echo Revenue of this project which can be seen until April 2012. Vorarlberg State contribution: eur 1,999,000 = 61.3% The kub exhibitions are generally well received by the Own earnings: eur 1,200,000 = 36,7% public and the media. More than half the visitors questioned came from Germany, With an anticipated 65,000 visitors in 2011 the kub can register most of them from Baden-Württemberg and Bavaria. 23% of visitors a 40% increase compared to 2010. The year was also satisfactory were from , more than half of those (53%) from Vorarlberg, from the financial point of view. In terms of its program the followed by Vienna (19%) and Tirol (14%). Of the Swiss visitors (19%) Kunsthaus Bregenz once again confirmed its status as one of the majority were from Zurich (32%), followed by St. Gallen (15%). Europe’s leading exhibiting institutions with solo exhibitions and Current surveys indicate that more than half of all visitors new productions by Haegue Yang, , and . questioned (55%) had been to the KUB more than once. Reasons The major group exhibition That’s the way we do it was likewise for visiting the kub are, first and foremost: “This can’t be missed” very positively received by the public being attended by some (39%), the architecture, and the great interest in the exhibitions. 10,000 visitors. To the question how the KUB had come to their attention 37% Artists repeatedly remark that nowhere else are the con- replied “Who doesn’t know the kub?”; 32% came on the recom- di tions for presenting their work so ideal. At the press conference men dation of friends; 22% learnt about it in the media. valie export expressly thanked the entire kub team for their All in all this amounts to a far-flung, interested public with professionalism in realizing her exhibition. whom good relations have been knit. An essential role here was The success of the kub Arena’s exhibitions in the second undoubtedly played by vital public relations and educational work year of its activity increased as may be seen not only from a wealth (780 guided tours, workshops, youth projects, and film projects) of press reports both regional and national, but also from the as well as the publications and editions that are distributed well-attended and in part booked-out events. worldwide.

04 05 kub Program 2012 Kunsthaus Bregenz Balance 2011 Ai Weiwei Moon Chest, 2008, huanghuali wood, 8 pieces, each 320 x 160 x 80 cm, installation view 3rd floor, Kunst- haus Bregenz Photo: Markus Tretter © Ai Weiwei, Kunst - haus Bregenz

Ai Weiwei Modell ordos 100, 2011, pine wood, 13 x 15 x 0,8 m, installation view 2nd floor, Kunst- haus Bregenz Photo: Master Builder Ai. Markus Tretter © Ai Weiwei, Kunst - Architecture as art on unsteady ground: haus Bregenz An exhibition in Bregenz goes to the heart of Ai Weiwei’s work “...The strong point of the exhibition is its concentration. Rather than repeating what had already been seen in the major retrospectives in London and Munich it shows us the artist and curator in his true role with his cross-media aspirations and activities.”

Hans-Joachim Müller Welt am Sonntag, July 17, 2011

Solidarity with Ai Weiwei “Kunsthaus Bregenz handed out 5,000 red bags printed with ‘Free Ai Weiwei’ at the press preview of the Venice Biennale at the beginning of June. The protest action took place to accompany the kub show ‘Ai Weiwei: Art|Architecture’ (July 16 to October 16) and met with considerable interest: after only two days the supply of bags was exhausted. They could be seen in the Giardini and Arsenale serving either as handy carriers for the art interested public or as a means of making a statement.”

Kunstjahr 2011: Die Zeitschrift, die Bilanz zieht ed. G. Lindinger, K. Schmid, et al., No. 11

06 07 kub Program 2012 Kunsthaus Bregenz Balance 2011 Exhibitions 2012

In 2012 the Kunsthaus Bregenz will be presenting a classic of recent art history – Ed Ruscha – and an icon of postmodern dance and experimental film – Yvonne Rainer – as well as younger artists such as Danh Vo from Vietnam and Florian Pumhösl from Austria. Typical for these artists are a marked interest in conceptual issues and extra-artistic areas such as politics, society, and pop culture. In this sense the kub will once again this year be pursuing a program committed to discussion that not only goes far beyond Yvonne Rainer art-immanent discourse but also directs attention at non-Western- centered perspectives. 04|02—09|04|2012 While Danh Vo’s interest in the culture of the country of his birth has an autobiographical impulse, Florian Pumhösl’s involve- kub Arena Enduring Value? Cooperation ‘springerin’ ment with non-European cultures is also invariably connected with the question as to how the phenomena of Modernism has devel- oped in Asia or Latin America. Danh Vo Alongside these intercultural approaches, the kub with its major Yvonne Rainer survey exhibition will be presenting – follow - 21|04—24|06|2012 ing valie export – another legendary female artist whose works deal seminally with issues of feminism and intermediality in the kub Arena Ulrike Müller 20th and 21st centuries. Yvonne Rainer’s approach here is decidedly interdisciplinary, which coincides with the kub’s fundamental orientation. Ed Ruscha A definite highlight of the exhibition program is Ed Ruscha who, apart from a presentation of his artist books, photographs, 07|07—14|10|2012 and works on paper, will also be exhibiting paintings he is creating specially for his Bregenz show. kub Arena Summer Academy: Art and Ideological Critique after 1989 Parallel to the big exhibitions on the three upper floors the advanced presentation formats of the kub Arena are to be continued and will be presenting a cooperation with a journal, a solo exhibi - Florian Pumhösl tion, a summer academy, and a cooperation with the Goethe

Photo: weissengruber.biz Photo: Institute Nairobi. 26|10|2012—20|01|2013 kub Arena Cooperation Goethe Institute Nairobi A cooperation with springerin – Hefte für Gegenwartskunst, one of Austria’s leading art magazines, will open the 2012 exhibition series. A project-oriented presentation will be developed on the ground floor of the Kunsthaus Bregenz to accompany the production of the magazine’s spring 2012 issue around the subject of Enduring Value. The cooperation between kub Arena and springerin will also con - sider what the specific spaces are that museum and journal create and how they are used. For the second kub Arena 2012 project the artist Ulrike Müller (born in Vorarlberg, lives and works in New York) has been invited to develop an exhibition for the ground floor, which will be followed by a summer academy investigation into the question what ideology and ideological critique after 1989 can be in art. In cooperation with the Institute for Art and Cultural Studies at the Academy of Fine Arts Vienna Eva Birkenstock and Max Jorge kub Arena 2012 Hinderer will be organizing a summer academy with students and international guests to diagnose “ideological constellations” of the present. Public lectures will accompany the seminar and a comprehensive reader will finally be brought out in the While independent projects were developed for the kub Arena when kub Arena series of publications. it was established in 2003, in subsequent years it generally served In fall 2012 following a research stay in Nairobi, Kenya, as an extended exhibition space for the regular Kunsthaus Bregenz Eva Birkenstock with Johannes Hossfeld (Director of the Goethe solo exhibitions. However, since summer 2010 the Arena has been Institute Nairobi) and local cultural producers will be looking at used for its own program of exhibitions and events that extend the art and cultural scenes in one of East Africa’s major economic beyond the sphere of the visual arts to probe the areas bordering centers. Together they will be presenting Nairobi’s art and cultural other fields of cultural production. scene by means of art works, lectures, and films. Following the successful cooperation with the Van Abbe - A basic concern of the kub Arena is to react more sponta - museum in Living Archives at the start of 2011, then Yona Friedman neously and flexibly to current art discourse than is possible in the & Eckhard Schulze-Fielitz and Anfang gut. Alles gut and to close major representative exhibitions with their long planning phases. the year 2011 the presentation of the theater project Hate Radio, On top of this the kub Arena makes use of exhibition and mediation four interdisciplinary projects are to be specially developed formats that strike out on new paths precisely in virtue of their for the ground floor of the Kunsthaus Bregenz in the coming year. experimental character.

10 11 kub Program 2012 kub Arena 2012 kub 2012.01 Yvonne Rainer 04|02—09|04|2012

With Yvonne Rainer, who was born in San Francisco in 1934, the Kunsthaus Bregenz is presenting in collaboration with the Museum Ludwig in Cologne and the Getty Research Institute, Los Angeles, an internationally leading choreographer, dancer, and film-maker. Already at the beginning of the 1960s, Yvonne Rainer surprised the New York art and dance scene with choreographies in which she succeeded impressively in developing a completely new fascinating language characterized not least of all by the introduction of everyday gestures and actions into modern dance. Ten years later, Yvonne Rainer took leave of the stage to make feature films that united fiction and reality as well as the personal and the private with a way of directing specific to her. Apart from their character as documents of the times, political topics such as racism, autobiographical aspects, and feminist questions render her seven films made between 1972 and 1996 as outstanding exemplars of 20th century film history. Already at the beginning of her career, she was, both personally and professionally, constantly in close contact with artists of whom some, such as Carl Andre, Robert Morris, and Robert Rauschenberg, became involved as actors or in some other way in her dance pieces. Since 2000 Yvonne Rainer has started once again to choreograph pieces in which she draws on elements from popular culture such as the animated series Pink Panther, from sport, dance history in general, and from her own works. Even though Yvonne Rainer has had film retrospectives in Yvonne Rainer institutions such as the Museum of Modern Art in New York and Terrain, April 1963, the London Tate Modern, and her influence on the visual arts, Yvonne Rainer in the duet section, especially among the younger generation, cannot be overestimated, Judson Memorial up until now there has been no large comprehensive exhibition Church, nyc, black and white in Europe that has undertaken to ascribe to this complex oeuvre photograph its significance for art history and to come to terms with its current Photo: Peter Moore relevance. This will change with the exhibition in Bregenz © Estate of Peter Moore |vaga, nyc and Cologne (April 28 to July 29, 2012).

12 13 kub Program 2012 Yvonne Rainer Yvonne Rainer Assisted Living: Good Sports 2, 2011, color photograph Photo: Mathieu Malouf

Yvonne Rainer

↖ Yvonne Rainer Yvonne Rainer was born in San Francisco in 1934. A cofounding Kristina Talking member of the Judson Dance Theater, she made a transition Pictures, 1976, Ivan Rainer and Yvonne to filmmaking following a fifteen-year career as a choreographer Rainer, production and dancer (1960–1975). After making seven experimental feature still, black and films – Lives of Performers (1972), Privilege (1990), murder and white photo graph, ca. 20 x 25 cm Photo: murder (1996), among others – she returned to dance in 2000 via Babette Mangolte a commission from the Baryshnikov Dance Foundation for the © 1972 Babette Mangolte White Oak Dance Project. Her most recent dance pieces are ag Indexical, with a Little Help from H. M., a re-vision of George Balanchine's Agon; RoS Indexical, a re-vision of Vaslav Nijinsky's Le sacre du printemps (The Rite of Spring), as well as two Per- forma commissions, Spiraling Down (2008), and Assisted Living: Good Sports 2 (2011). Yvonne Rainer Judson Memorial The Mind Is a Muscle, Church, nyc, black Rainer’s dance pieces and films have been presented May 1966, William and white photo - world wide. A memoir, Feelings Are Facts: a Life, was published Davis, David graph, ca. 20 x 25 cm Gordon, Yvonne Photo: Peter Moore by mit Press, Cambridge, Mass. in 2006. Rainer has received Rainer, Becky © Estate of Peter numerous awards and fellowships, including two Guggenheims, Arnold, Barbara Moore |vaga, nyc three Rocke fellers, a Wexner, and a MacArthur. A selection Dilley, Peter Saul in an early of her poetry was published in 2011 by Paul Chan’s Badlands version Unlimited, New York City.

14 15 kub Program 2012 Yvonne Rainer kub Arena Enduring Value? Cooperation‘springerin’ 04|02—09|04|2012

Concepts such as “changing values” or “the decline in values,” normally in relation to the corruption or erosion of traditional values, are much talked about nowadays. At the same time, material goods and increasingly all-embracing individualistic values seem to be becoming more important than ever. How is this development reflected in the sphere of art? What new positions, erosions, and breaks with the past have come about in the past ten to fifteen years? What visible factors pertaining to value and validity have established themselves in conjunction with what more or less valid articulable factors? What ideas of value, transient or enduring, are inscribed in such different art-related formats as exhibitions, works, discourse, or media such as journals and magazines? In the framework of a collaboration between springerin and the kub Arena concurrent with the production of the journal’s spring 2012 number, a project-oriented presentation will be developed on the ground floor of the Kunsthaus Bregenz. Central issues here are questions about the durability and “shelf-life” of art and cultural appreciation and the different productive and distributive modes of exhibitions and magazines. A complete overview of springerin publications to be presented in the kub Arena and a jointly conceived program of events are further core areas of the project Enduring Value?

16 17 kub Program 2012 Enduring Value? Cooperation ‘springerin’ Danh Vo Daily Active, 2010, gold on cardboard, unique, 261 g Courtesy Galerie Isabella Bortolozzi, Berlin | Danh Vo © Galerie Isabella Bortolozzi, Berlin, Danh Vo (Detail)

kub 2012.02 Danh Vo 21|04—24|06|2012

Danh Vo, an artist who was born in Vietnam in 1975 and grew up in Copenhagen, had his international breakthrough in 2009 with a solo exhibition at the Kunsthalle Basel. Since then he has partici pated in the biennials in Berlin, Gwangju, and Singapore as well as in exhi- bi tions at the Galleria d’Arte Moderna in Turin and the Museum of Modern Art in New York. His large solo exhibition in autumn 2011 at the Kunsthalle Fridericianum in Kassel also drew a lot of attention. At this exhibition he presented for the first time his ambitious project of a full-scale reconstruction of the Statue of Liberty that will attain its consummation in 2013 at the Musée d’Art Moderne de la Ville de Paris. At the Kunsthaus Bregenz last year, his work Oma Totem, composed of a washing machine, refrigerator, television, and crucifix, was among the public favorites at the exhibition, That's the way we do it. In his objects, installations, photographs, and works on paper, Danh Vo combines personal experiences from his childhood in Vietnam, the story of his family, its flight to Europe, with questions about colonialism, migration, and cultural identity. In doing so he succeeds repeatedly in creating works with an iconic intensity, such as his modified u.s. flags painted in gold on cardboard, or his long-term project of a reconstructed Statue of Liberty made of thin copper and dismantled into individual parts. The presentation at the Kunsthaus Bregenz is his first solo exhibition in Austria, bringing together some of his most well-known works with new installations that have been made especially for this occasion.

18 19 kub Program 2012 Danh Vo Danh Vo Untitled (shop window), 2010, C-print, 48 x 64 cm, unique Courtesy Galerie Isabella Bortolozzi, Berlin|Danh Vo © Danh Vo

↖ Danh Vo Tombstone for Nguyen Thi Ty, 2009, marble, granite, bronze, and wood relief, Danh Vo 220 x 60 x 20 cm, exhibition view 2nd floor Kunst- Danh Vo was born in Phu Quoc, Vietnam in 1975 and grew up haus Bregenz 2011 Photo: Markus in Copenhagen. He graduated from the Staatliche Hochschule Tretter © Kunst- für Bildende Künste – Städelschule in Frankfurt am Main haus Bregenz, and lives and works in Berlin and New York. Danh Vo Recent solo exhibitions include Uterus, Renaissance Society Chicago (2012); july, iv, mdcclxxvi, Kunsthalle Fridericianum, Danh Vo Foreground: Background: Photo: Serge Hasen- Where the Lions Are, 08:03:51, 28.05.2009 Tomb stone for böhler, Courtesy Kassel (2011); Hip Hip Hurrah, Statens Museum for Kunst, Copen- 2009, installation 2009, late 19th Nguyen Thi Ty, Galerie Isabella hagen (2010); Autoerotic Asphyxiation, Artists Space, New York view Kunsthalle century chandelier 2009, relief Bortolozzi, Berlin| Basel; from the ballroom from marble, Danh Vo © Kunst- (2010); All Your Deeds Shall in Water Be Writ, but This in Marble, of the former granite, bronze, halle Basel, 2009, Isabella Bortolozzi Galerie, Berlin (2010); Where the Lions are, Hotel Majestic, and wood Danh Vo Kunsthalle Basel (2009). He was the recipient of the blauorange Avenue Kléber, Paris Art Prize (Kunstpreis der Deutschen Volksbanken und Raiffeisenbanken) in 2007.

20 21 kub Program 2012 Danh Vo kub Arena Ulrike Müller 21|04—24|06|2012

Ulrike Müller works with different formats and combinations based on her investigation of conceptual practices and the political potential of artistic production. The interplay of these different types and their combinations has given rise to a multifaceted oeuvre consisting of drawings and paintings, sound and performance works in which she explores the ambivalences of contemporary gender discourse and elaborates them beyond binary categorizations of identity such as man|woman, hetero|homo. From 2005 to 2007, along with K8 Hardy, Ginger Brooks Takahashi, and Emily Roysdon, Müller co-edited the journal lttr – a gender queer collaborative artists cooperative that strove to continue and update the feminism of the 1970s in a wide range of genres and forms of expression. The historical period was thus saved from becoming a mere icon, a cult image without significance for the present, and became instead an eventful and moving point of reference. After studying at the Academy of Fine Arts in Vienna, Müller (born in Vorarlberg, Austria, living in New York) took part in the Whitney Independent Study Program (2003) and the PS1 Studio Program (2004) and has since taught at various universities in the Ulrike Müller usa. Last year she represented Austria at the Cairo Biennale gelb (mit einem Photo von A. L. with a new series of enamel works. Steiner), 2011, A new exhibition project to be developed in Bregenz together inkjet print and with Ulrike Müller will take a comprehensive look at her work on papier collé on paper the one hand while also responding to the format of the kub Arena.

22 23 kub Program 2012 Ulrike Müller Ed Ruscha not a bad world, is it?, 1984, oil on canvas, 251,5 x 202 cm Courtesy Gagosian Gallery © Ed Ruscha (Detail)

kub 2012.03 Ed Ruscha 07|07—14|10|2012

There is scarcely anybody who has captured artistically the American way of life as it was on the West Coast in the 1960s in such an apt and characteristic way than Ed Ruscha, who was born in 1937. His paintings on canvas, in which he has placed individual words or sentences on monochrome or chromatically graduated backgrounds in such a way that they seem to hover magically in front, are the most well-known. No less popular are his works with motifs from landscape and architecture. Already at the beginning of the 1960s, he made artist's books that today are legendary. For instance, he took photos of gasoline stations on the route from his place of residence in Los Angeles to Oklahoma, where his family lived (Twenty Six Gasoline Stations, 1963) or of all the houses on Sunset Boulevard (Every Building on the Sunset Strip, 1965). Already with these works, Ed Ruscha had written art history and, with them, continues to influence a younger generation. His paintings, drawings, prints, photographs, and artist's books are represented worldwide in the most important museums, and just recently, a large retrospective of his painting toured through museums in North America and Europe. In contrast to this exhibition, the KUB is showing not just one medium, but a wide spectrum, starting with photographs, through painting to his books. In doing so, the focus is on a theme that is close at hand, but up until now has not been extensively considered, namely, the significance that can be ascribed in his oeuvre to the act of ‘reading.’ The spectacular climax of the Bregenz presentation will surely be the new paintings done by Ed Ruscha especially for this exhibition.

24 25 kub Program 2012 Ed Ruscha Ed Ruscha bible, 2002, acrylic on raw linen, 61 x 51 cm Courtesy Gagosian Gallery © Ed Ruscha

Ed Ruscha

Born in Omaha, Nebraska in 1937 moved to Los Angeles in 1956 to attend the Chouinard Art Institute. Ruscha has been the subject of numerous museum retrospectives, which have traveled worldwide, beginning in 1982 with the San Francisco Museum of Modern Art, followed by the Centre Georges Pompidou, Paris in 1989, as well as the Hirshhorn Museum and Sculpture Ed Ruscha Garden, Washington d.c. in 2000. the mountain, 1998, Recent solo exhibitions include: Modern Art Museum acrylic on shaped canvas, 193 x 183 cm of Fort Worth, Texas, The Hammer Museum in Los Angeles (2011); Courtesy Gagosian Moderna Museet, Stockholm (2010); Hayward Gallery, London, Gallery © Ed Ruscha Haus der Kunst, Munich (2009); Galerie nationale du Jeu de Paume, Paris (2006), The Whitney Museum of American Art, New York, Museum of Contemporary Art, Los Angeles, The National Gallery of Art, Washington, d.c.,The Museum of Contemporary Art, Sydney, Museo Nazionale delle Arti del xxi Secolo, Rome, Scottish National Gallery of Modern Art, Edinburgh (2004); Museo Nacional Centro de Arte Reina Sofia, Madrid (2002). Ed Ruscha represented the United States at the 51st Venice Biennale in 2005.

26 27 kub Program 2012 Ed Ruscha kub Arena Summer Academy: Art and Ideological Critique after 1989 07|07—14|10|2012

The kub Arena summer program this year is devoted to research in the form of a summer academy. In collaboration with the Institute for Art and Cultural Studies of the Academy of Fine Arts in Vienna Eva Birkenstock and Max Jorge Hinderer will be organiz- ing a summer seminar with students and international guests to diagnose “ideological constellations” of the present. The critical developments in art and aesthetic theory in an increasingly global - ized world since the end of the Cold War are especially important here. A tendency toward political critique has been discernible in the world of art since the 1990s and over the past fifteen years has been increasingly articulated in the institutional context. It is a development found not only at conceptually curated biennales and contemporary art museums but increasingly in the world of art galleries and on the art market. One sees here that the “critique of social conditions” is not only tolerated but that it also satisfies a demand. In this spirit the kub Arena summer seminar this year and the accompanying publication are devoted to analyzing the self-conception of society underlying the production and the various interests at the heart of the post-1989 art world.

In collaboration with Dr. Jens Kastner, Prof. Diedrich Diederichsen,

Photo: Roland Icking (Detail) Photo: Prof. Ruth Sonderegger, and other guests.

28 29 kub Program 2012 Summer Academy: Art and Ideological Critique after 1989 Florian Pumhösl Untitled (Kader), 2004, assemblage, wood on loden, 121 x 160 cm Private collection (Detail)

kub 2012.04 Florian Pumhösl 26|10|2012—20|01|2013

In his diverse oeuvre comprising films, installations, objects, and reverse glass paintings, Florian Pumhösl succeeds in exercising extreme strictness in the choice of his artistic expression, whilst nevertheless generating within this barrenness a visual power and a seductiveness. The Austrian artist involves himself mainly with the historical vocabulary of forms and specific questions of content from the beginning of the 20th century or, more generally, with the diverse phenomena of modernity. Frequently he is interested not only in the genealogical origins of a form, but also in its social and political location. His projects are generally preceded by a long phase of extensive research which leads him not infrequently to countries such as Japan, India or, most recently, to the Finnish- Russian landscape of Karelia. At the kub, Florian Pumhösl will show new works on all three floors in which he engages, among other things, with historical embroideries from Peru that already inspired Bauhaus artists such as Anni Albers in the late 1930s. These historical references, as is often the case in Pumhösl’s work, will merely form the subtext before whose background his own works will be presented as large, space-enveloping installations, unfolding their visually impressive beauty.

30 31 kub Program 2012 Florian Pumhösl Florian Pumhösl Florian Pumhösl Untitled (Feline Untitled, 2008, Faces with Raised synthetic resin Arms), 2004, varnish under glass, Pre-Columbian 44 x 46 cm, framed Chancay gauze on Private collection loden, 91,5 x 121 cm Photo: Hannes Böck Courtesy Galerie Daniel Buchholz, Cologne|Berlin Florian Pumhösl

Florian Pumhösl was born in Vienna in 1971, where he lives and works. Recent exhibitions include: Raven Row, London (with Mathias Poledna); 678, edna), 678, mumok Museum moderner Kunst Stiftung Ludwig Wien, Vienna (2011); Florian Pumhösl, Krobath, Vienna (2011); Diminution, Galerie Daniel Buchholz, Berlin (2010); Bewegliche Bühne, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2010); Florian Pumhösl, Lisson Gallery, London (2008); Florian Pumhösl, Galerie Daniel Buchholz, Cologne (2007); documenta 12, Kassel (2007); 27th São Paulo Biennial, São Paulo (2006); Florian Pumhösl. Animated Map, Neue Kunst Halle St.Gallen, St. Gallen (2005–2006); Florian Pumhösl, House of Art, Ceské Budejovice (2005).

32 33 kub Program 2012 Florian Pumhösl kub Arena Cooperation Goethe Institute Nairobi 26|10|2012—20|01|2013

Nairobi the capital of Kenya is not only one of East Africa’s most important economic metropolises and the seat of numerous inter - national organizations, it has also developed over the past decades to become the vibrant hub of a dynamic contemporary art and cultural scene. Against the backdrop of their home country with its history of colonialism and its different variants of post-colonialism and neocolonialism, a young urban generation of artists, musicians, and writers are working in multifarious ways to elaborate alter - native visions of their own identity. Fields such as migration and the far-reaching effects of globalization are important in this context. Apart from local institutions such as Kuona Trust and organi - zed artists initiatives like Maasai Mbili or Nairobi Arts Trust | Center for Contemporary Art of East Africa (ccaea), foreign institutions are also important centers of artistic production precisely because of the continuing lack of state support for the cultural sector. Especially the Goethe Institute in Nairobi through its exhibiting activities and other events has established itself as an important discussion space with strong roots in the local scene. Following a research stay in Nairobi Eva Birkenstock with Johannes Hossfeld, Director Upgradaison, 2010, video instal- of the Goethe Institute Nairobi, and local cultural producers will lation, produced develop a show for the KUB Arena. Together they will be presenting by Slum-tv a view of Nairobi’s art and cultural scene by means of art works, © Slum-tv, Chris King, 2010 lectures, and films.

34 35 kub Program 2012 Cooperation Goethe Institute Nairobi kub 2012 kub Billboards

Yvonne Rainer Ever since the opening of the Kunsthaus Bregenz in 1997 national and international artists have continuously been invited to de- 23|01—09|04|2012 velop art projects for the seven 342 x 342 cm KUB billboards lining kub Billboards See straße in Bregenz. Thanks to their position along this much frequented street linking the railroad station and the Kunsthaus through downtown Bregenz the billboards are a striking and Danh Vo often intensely debated intervention in public space. The kub billboards are an important tool in informing and 10|04—24|06|2012 communicating with a broad public both for the Kunsthaus Bregenz kub Billboards and for the artists involved. The billboards also reach those who, for whatever reason, fail to make it to the Kunsthaus, and open up a platform for discussing contemporary art and current issues. Ed Ruscha Over and over the subjects of the billboards lead and have led to positive and controversial reactions in readers’ letters in the local 25|06—14|10|2012 press, in phone calls and internet forums, as well as in public radio kub Billboards debates and discussion rounds at the Kunsthaus itself. The artists mounting exhibitions at the Kunsthaus Bregenz in 2012 – Yvonne Rainer, Danh Vo, Ed Ruscha, Florian Pumhösl – Florian Pumhösl will design the kub billboard program and thus communicate their work outside of the museum. 15|10|2012—20|01|2013 kub Billboards kub Program 2012 Tools Invitation cards and info brochures, program brochures, “save the date” cards, newspapers, image brochures, postcards, posters, mega posters, flyers, ads, copy text, press department, web- site, newsletters, art fair presence, liais ing with spon - sors, friends ex- cur sions, events program

kub 2012 kub 2012 Education Communications

Linking the works of art, the public, and society, art education The goal of the Kunsthaus Bregenz Communications Department represents a vital activity at the Kunsthaus Bregenz. The kub is to consolidate the national and international standing of the Education Team is there to be contacted to discuss needs and to museum by ensuring that media presence is continuous and broad- help develop custom-tailored programs for individual groups based as well as by means of targeted marketing and the use of of visitors. Exhibition brochures and the audio guide with basic other public relations tools. information about the art on show provide a preliminary Among these tools some of the most important are the media point of entry. that the kub itself publishes. The invitation cards, info brochures, Regular guided tours are a fixed item of every exhibition and posters published for each new exhibition as well as the annual pro gram. Special highlights are guided tours with the director program and website keep the public informed and simultaneously or curator, studio visits, dialog tours with artists, as well as archi- communicate the kub’s distinctive and unique image. tec tural, subjective, and backstage tours.

38 39 kub Program 2012 Communications and Education valie export ontologischer sprung|bein, 1974|2011, c-print, 42 x 60 cm limited edition of 35 prints + 4 a. p. numbered, signed, kub 2012 and stamped Publications

The Kunsthaus Bregenz in close collaboration with artists and leading designers publishes catalog books whose graphic design genially mirrors the subjects and pictorial language of the artists. Each catalog book has its own personal style and hence continues kub 2012 the exhibition and the work. Extensive catalog books are to be published for the exhibition Editions Yvonne Rainer: Space, Body, Language as well as for the big summer Ed Ruscha exhibition, the former in cooperation with the Museum Ludwig, Cologne. The catalog raisonné series begun in 2010 will be continued with artists Danh Vo and Florian Pumhösl. Meticulous Special editions are produced in close proximity to the works and extensive documentation and living scholarly research are and artists exclusively for the Kunsthaus Bregenz. In 2010 special Catalog books for central to these books. editions were produced by Candice Breitz, Roni Horn, and Cosima all exhibitions and further issues in The new series of kub Arena theoretical texts is also to Special editions von Bonin; in 2011 by Haegue Yang, Ai Weiwei, and valie export. the new kub series continue and there will be a publication accompanying the lecture will be realized Developed on the basis of the various exhibition conceptions and of theoretical by Danh Vo, series Wiedersehen in Bregenz. All publications are bilingual and being limited number editions these kub special editions are texts will appear Ed Ruscha, and in 2012. distributed worldwide. Florian Pumhösl. an exceptional offer for contemporary art collectors.

40 41 kub Program 2012 Publications and Editions Presenting Sponsor

Principle sponsor Sponsor of Kunsthaus Bregenz for kub Arena

Hypo Landesbank Vorarlberg

With kind Cultural bodies support from

kub 2012 Friends and Partners

Securing the long-term cultural and political support of the state of Vorarlberg under whose auspices the kub operates is an essential prerequisite for the museum’s successful operation. The centralized service provided by the Vorarlberger Kulturhäuser Betriebsge- sellschaft mbH plays an important role here. The Society of Friends of the kub | Gesellschaft der Freunde des kub has also been an important partner ever since the museum was founded. It supports the Kunsthaus Bregenz in realizing its mission and in particular in implementing its education program. Essential partners for the Kunsthaus Bregenz are first and foremost Montfort Werbung, Hypo Landesbank Vorarlberg, Vorarl- berger Kraftwerke ag, and Zumtobel. It is their commitment that makes the museum’s ambitious and technically and financially exacting exhibitions and projects possible. As sponsoring partners the Hypo Landesbank Vorarlberg, Vorarlberger Kraftwerke ag, Vorarlberg Tourismus, and above all Hugo Boss GmbH have contri b - uted substantially to financing the kub Horizon Field project.

42 43 kub Program 2012 Friends and Partners Kunsthaus Bregenz

Kunsthaus Bregenz Karl-Tizian-Platz | 6900 Bregenz | Austria Phone +43-5574-485 94-0 | Fax +43-5574-485 94-408 [email protected] | www.kunsthaus-bregenz.at

Opening hours Tuesday to Sunday 10 a.m.— 06 p.m. Thursday 10 a.m.— 09 p.m. Counter | ext.-433

Information and registration for guided tours Kirsten Helfrich | ext.-415 [email protected]

Office Iris Rothemund-Leonhardt | ext.-409 [email protected]

Director Yilmaz Dziewior Chief executive Werner Döring Curator Rudolf Sagmeister Curator of the kub-Arena Eva Birkenstock Communications Birgit Albers, ext. -413, [email protected] · assistant: Tina Süß Art education Winfried Nußbaummüller, ext. -417, [email protected] · assistants: Lisa Hann, Kirsten Helfrich Publications|artist editions Katrin Wiethege, ext. -416, [email protected] · assistant: Antje Roth Sales editions Caroline Schneider, ext. -444, c.schneider@kunsthaus- bregenz.at Assistance to the director Beatrice Nussbichler, ext. -418, b.nussbichler@kunsthaus- bregenz.at Event management Esther Schweighofer, Telefon +43-5574-531 06-911, [email protected] Technical staff Stephan Moos mann, Markus Tembl, Markus Unterkircher, Stefan Vonier, Helmut Voppichler Copyright ©2011 by Kunsthaus Bregenz Concept Kunsthaus Bregenz Text Birgit Albers, Eva Birkenstock, Yilmaz Dziewior, Winfried Nußbaummüller, Rudolf Sagmeister, Katrin Wiethege Editors Birgit Albers, Tina Süß Translation Artlanguage, Michael Eldred, Christopher Jenkin-Jones Copy editors Antje Roth, Christiane Wagner, Katrin Wiethege Picture credits ©the photographers, artists, and legal successors Visual concept und graphic design Clemens Theobert Schedler, Büro für konkrete Gestaltung Pre-press production Boris Bonev, PrePress & PrintService

kub Program 2012 Version 1.0 | 30 November 2011