Kunsthalle Wien Museumsquartier

Artists Susanne Kriemann Kasper Akhøj David Maljković Heba Amin Jumana Manna Monica Bonvicini Ingrid Martens Mark Boyle Isa Melsheimer Andreas Bunte Olaf Metzel Tom Burr Maximilian Pramatarov Thomas Demand Heidi Specker Werner Feiersinger Ron Terada Karsten Födinger Tercerunquinto Cyprien Gaillard Sofie Thorsen Isa Genzken Klaus Weber Liam Gillick Tobias Zielony Annette Kelm Hubert Kiecol Curators Jakob Kolding Vanessa Joan Müller Miki Kratsman Nicolaus Schafhausen

25/6 – 16/10 2016 Booklet www.kunsthallewien.at The building material concrete is a style of building evolved which both solid and flexible. As it can be bore a strong relation to the moulded into the desired shape material – so-called Brutalism, on site, it constantly offers new named after the French word for possibilities. High-rise buildings, raw concrete: béton brut. Brutalist pre-stressed concrete bridges, architecture signified intransigence and other spectacular icons of the and radicalness. The flexibility 20th century would not have been of the material with its potential conceivable without concrete. for expressive design allowed Nevertheless, concrete was for for an experimental approach a long time perceived as a material and an exploration of its inherent without qualities, the refractory possibilities to the very limit. of modern mass society. Many But concrete also stood out due associate the “inhospitality of to its significant social element: in cities” with the grey anonymity post-war times, extensive projects of hastily constructed, uniform for social structures such as council buildings. However, the innovations buildings, educational institutions, of the 1960s and 1970s connected and cultural centres were often with concrete construction carried out in concrete. After falling and the urban development it into disrepute in the late 1980s, this enabled are often overlooked. material is currently experiencing The uncompromising nature a renaissance: contemporary of the material, its affirmation of artists are fascinated by the duality the present, and its break with of expressive aesthetics and the traditions, reflects a time defined “Human Modernism” associated by the emphatic belief in the with concrete architecture, or at architectural malleability of the least, its underlying concept. future. The economic and cultural Despite the fact that some of these boom of the post-war era and its structures remain only as ruins dreams of a different, more socially today – as though testimonials of integrated society resulted in a failed ideology – they still convey buildings that no longer aspired the modernist promise of creating to modernist timelessness, but innovative designs for real living instead saw the present as a vector conditions. Hence, the exhibition pointing towards a time yet to come. takes a retrospective look ahead City blocks, floating streets, and in order to reactivate the potential space age design: urban planning of concrete for the present: as a of late Modernism was about more projection surface for the quality than mere construction. It was that is often missing in residential concerned with implementing and functional buildings of today, a “concrete utopia” based on the and as an appeal to always most advanced material of the time. perceive architecture as a design To this day, concrete is perceived for social coexistence. as progressive and continues to provide new possibilities for structural design. In the 1960s,

1 Kasper Akhøj

* 1976 in Copenhagen, lives in Copenhagen

999, 2015 Concrete, seven modules, each 60 x 60 x 25 cm

Courtesy of Ellen de Bruijne Projects, Amsterdam

Kasper Akhøj, 999, 2015, Courtesy of Ellen de Bruijne Projects, Amsterdam

2 3 Kasper Akhøj’s series of bush- especially while under the leadership environment that occurred in São Courtesy of the artist hammered sculptures signify a lot of president Juscelino Kubitschek Paulo in the 1950s and 1960s. more than the material they first (the “father” of modern Brazil who His casted blocks assert the qualities On 27 January 2011, the Egyptian and foremost represent. The seven held office from 1956 to 1961), regarded by Vilanova Artigas to affect authorities shut down the internet monolithic pieces are decidedly an intense albeit contradictory phase consciousness, the intrinsic nature of in response to the increasing poetic in their presentation and of democracy was experienced by the material to affect the people who number of protests against conception. The artist cements the people of the nation. Architects came into contact, or indeed inhabited the government, which had social, political and anthropological had from the early 1950s questioned its rawness. been mainly organised via social reflections into the substance of how their profession could contribute media. However, over the course his sculptures. 999 stands, in one to the social revolution and one of of a weekend a group of program- respect, as a monument to João the ideas put into play was envisaged mers developed the platform Vilanova Artigas (1915–1985), by revolutionary housing plans for Heba Amin Speak2Tweet, which enabled the the celebrated Brazilian architect the Brazilian bourgeoisie. Vilanova protesters to post news on Twitter of such notable brutalist creations as Artigas devised an educational * 1980 in Cairo, lives in Cairo via voicemail despite the internet the Londrina Bus Station (1950–51), architecture, one that utilised blockade. Consequently, thousands the Morumbi Stadium (1952–60), exposure to béton brut – whose of Egyptians posted messages and the Faculty of Architecture and rawness was considered to have between hope and rebellion. Urban Planning Center (FAC) at the profound effects on the people who Heba Amin’s video installation University of São Paulo (1962–69). came into contact with it, connecting Project Speak2Tweet is based on He is widely considered as the them to socialist ideology. Far from this archive of a collective mind, and founder of the São Paulo school, decorative and superficial, the modest reopens it to some extent. While otherwise known as the Escola and austere material was argued many voices have long since van- Paulista movement. In contrast to to encourage collective thought. ished into the depths of the internet, the smooth concrete sheet structures He emphasised the physical weight this project has unearthed individual hailing from Rio de Janeiro, initiated of his structures and the high degree stories and connected them to the Heba Amin, Project Speak2Tweet, 2011 ongoing, Installation view, by architects from the earlier so-called of technical expertise and engineering Kunstverein in Hamburg, 2016, Photo: Fred Dott present. In her constantly growing Carioca School (whose most well- necessary to support them. archive of experimental films, Amin known exponents include among The combination of sophisticated Project Speak2Tweet, 2011 ongoing creates a dialogue between the mes- others Oscar Niemeyer, Machado engineering with concrete and the Videoprojection sages shared on the Speak2Tweet Moreira, and Affonso Reidy), the crude, raw execution of the material, platform before Mubarak was work of the Paulista school embraced both linked with the political and The Flag, 2011 overthrown in February 2011 and rougher finishes, exposed surfaces, economic situation in Brazil. On the Voice recording: January 31, 2011, the imagery of deserted buildings. and was characterised by chunkier one hand utopian motivations as well 2:11 min. These construction projects yet massing. Akhøj’s sculptures recall as familiarity with global architectural to be completed reflect the lasting the brutalism of the Paulista School, developments, and on the other, the The Gecko, 2014 effects of a corrupt dictatorship. and in particular, the relationship of backwardness of labour and capacity Voice recording: February 2, 2011, In her film project, Amin uses the architecture, politics, and the animist for industrial production. Actively 2:39 min. interplay between different voices to beliefs held by Vilanova Artigas with incorporating the abundant unskilled question the re-imaginations of an respect to the magical nature and labour force available in Brazil with I’m the Son of the Nile, 2013 urban vision in the face of the ruins of potential of concrete. The period forward-thinking designs marked Voice recording: February 5, 2011, modernity. It shows how inner mono- saw the political programme of the ways in which the architect sought 2:43 min. logues can conjure up an imagined Brazilian Communist Party vouch to suggest strategies to combat the city and inspirit the visible concrete for societal transformation through Latin American economic crisis. My Love for You, Egypt, Increases backdrop, while simultaneously the moral re-education of the middle Akhøj’s work draws attention to by the Day, 2011 questioning historical narratives on classes. During this highly active the development of an alternative Voice recording: February 8, 2011, the basis of jumps and omissions period in the country’s history, discourse of concrete and the built 6:18 min. in the digital memory.

4 5 Monica Monica Bonvicini is interested Andreas Bunte in the boundaries between public Bonvicini and private space, the way in * 1970 in Mettmann, lives in Berlin which physical space becomes * 1965 in Venice, lives in Berlin a psychological and social sphere, and the mechanisms which Add Elegance to your Poverty, control our behaviour in certain 1990/2016 environments. Architecture as Poster, pigment print on wallpaper, a field allegedly dedicated to its 300 x 437 cm potential inhabitants’ needs, while often determining these needs itself, Courtesy of the artist is a key topic in her works and is manifested in an array of different media. Her belief that municipal structures are significantly defined Andreas Bunte, O.T. (Kirchen), 2012, Videostill, Courtesy of the artist by political, ideological, and gender- specific convictions also finds Welt vor der Schwelle [O.T. (Kirchen), vivid expression in her sculptures, O.T. (Language, Truth & Logic)], 2012 installations, videos, drawings, and Video installation, 16mm transferred photo works. “Add Elegance to Your to HD video, sound, colour, Poverty”, a slogan sprayed on a wall 10:27 / 2:44 min. in Berlin, is a modified version of an advertising claim which is often Courtesy of the artist used to sell real estate in California: “Add Elegance to Your Property”. In post-war times, hundreds The phrase “Arm, aber sexy” (poor of churches were rebuilt or but sexy) coined by Berlin’s former reconstructed in Germany. While mayor Klaus Wowereit in an attempt redevelopment immediately after to give the German capital with the war predominantly called for an its chronic budget deficits a cool economic approach, the economic image seems to follow along the boom in the 1950s led to a new era in same lines. Bonvicini repeatedly the typology of church construction integrated “Add Elegance to Your when renowned architects Poverty” into exhibition contexts dedicated themselves to this cause. as a text sprayed onto the wall. The quest for a contemporary The photo work shows the phrase interpretation of the sacred resulted as a marking in the gloomy post-war in an array of previously unknown architecture of the previously divided forms, which not only conveyed city whose image is defined by its a new relationship with godliness, rough urban allure, rather than by but also a new understanding classical beauty. However, in front of the role of faith and church in of the backdrop of the real cityscape an increasingly secular society. these words seem a lot more Andreas Bunte’s Welt vor der cynical than the marketing strategy Schwelle (World at the threshold) suggests: it is difficult to gloss over consists of two films, one of which Monica Bonvicini, Add Elegance to your Poverty, 1990/2016, © VG Bild-Kunst, Bonn / BILDRECHT GmbH, Wien/Vienna, Courtesy of the artist true poverty with elegance. portrays the interiors of three

6 7 eminent churches in the Rhineland In this book, Ayer introduced the Brutalist Bulletin Board, 2001 architecture was ahead of its expressively realised in concrete: concept of “Logical Positivism” and Photographs on birch plywood time, much in the same way as the church Johannes XXIII by Josef described his idea of a verification stained black, 61 x 244 x 3 cm The Doors’ music. Tom Burr, who Rikus in Cologne (built in 1968), principle as a basis for every also comes from New Haven, is the pilgrimage church by Gottfried philosophy. According to Ayer, Museum Moderner Kunst Stiftung interested in the social effects of Böhm in Neviges (1966–68), and a statement is only reasonable Ludwig Wien, Vienna architecture and the way in which the church St. Anna by Rudolf if it can be verified by the senses. our built environment influences Schwarz in Düren (1951–56). He argued that neither existence, Brutalist Bulletin Board, 2001 our identity – its regulatory function, He filmed with a 14mm-lens which is nor the non-existence of God, Photographs on birch plywood its restrictive capacities, and the closest to the human field of vision. can be the object of philosophical stained black, 60 x 300 x 4.5 cm contexts in which it is liable to The films are accompanied by consideration, as neither hypothesis become a politically contested a computer-generated voice in the “can be demonstratively proved”. Thomas Grässlin and Nanette terrain. He combines pictures background which quotes passages Hagstolz Collection, Stuttgart which convey the idea of rebellion from a manual with guidelines against an established system on church construction by Otto On 9 December 1967 The Doors but are derived from different Bartning and Willy Weyres (Kirchen: Tom Burr singer Jim Morrison was arrested ideologies. By presenting these Handbuch für den Kirchenbau, on stage during a concert in images as public announcements 1959). The passages not only * 1963 in New Haven, lives in New Haven, Connecticut. He had on bulletin boards, he makes cover practical, but also aesthetic New York apparently behaved indecently them the object of discussion: questions such as the use of artificial and offended “public morals”. on the one hand, Jim Morrison’s light, or the way in which the size and Tom Burr’s Brutalist Bulletin Boards provocative body politics, and on arrangement of the windows effect juxtapose photos of this incident the other hand, Paul Rudolph’s the worshippers’ concentration. with buildings the American expressive Brutalist architecture. In addition, short animations based architect Paul Rudolph (1918–1997) These contrasting pictures convey on diagrams from Rudolf Schwarz’s constructed in New Haven. Rudolph different forms of revolt. The one book The Church Incarnate from became internationally known for was opposed by state authority 1947 lend structure to the interiors his design for a building for the embodied by the local police, of the churches. These diagrams Art + Architecture Faculty at Yale the other by a counter-public in the illustrate Schwarz’s idea of the University, and is now considered shape of student protests. Making religious community as a dynamic one of the most prominent these kinds of contradictions visible process, which undergoes different representatives of modern concrete without creating a new narrative phases in its relationship with architecture. During student is the essence of Tom Burr’s God and society as a whole. Each unrests in 1969, the faculty was set artistic practice, which explores represents a particular level of on fire because the overcrowded the relationship between design the ongoing transformation of the building was perceived as and application, and appropriation community’s form. The second a symbol of failed university and the potential for change on film in the installation is dedicated politics. It was also believed that many levels. to the three senses which enable there was a connection between the individual to relate to the the monumental complex and Tom Burr, Brutalist Bulletin Board, 2001, Courtesy of the artist and Galerie architectonic space, that is to say, Neu, Berlin the protests on site, since the the sense of sight, hearing, and building “puts demands upon touch. O.T. (Language, Truth & Logic) Brutalist Bulletin Board, 2001 the individual user that not every shows the ears, eyes, and hands Photographs on birch plywood psyche will be able to meet.” of a young man who is reading stained black, 60 x 300 x 4 cm (Vincent Scully: “A Note on the excerpts from the book Language, Work of Paul Rudolph”, Yale, New Truth & Logic by A. J. Ayer from 1936. Collection Thorsten Koch, Cologne Haven, 1964). In a sense, Rudolph’s

8 9 Thomas Thomas Demand’s pictures are 1920s the Singapore Improvement not exactly what meets the eye. Trust (SIT) was set up by the British Demand What one may believe, at first colonial government to address the glimpse, to be a photograph of poor living conditions and housing * 1964 in Munich, lives in Los a housing estate at sunset, or issues. By 1965 the percentage of Angeles and Berlin a snapshot of a motorway, on closer the local population living in public inspection reveals an uncanny, housing rose from 9% in 1959 to Brennerautobahn, 1994 almost artificial configuration 23%. Roughly 80% of Singaporeans C-Print / Diasec, Alu Dibond, of an image. Brennerautobahn now live in flats built by the Housing 150 x 118 cm and Public Housing are in fact and Development Board (HDB), photographs of models. Whether a remarkable statistic unique to Private collection it is a specific document, or an idea Singapore. Brennerautobahn drawn from memory, the image depicts the Brenner motorway Public Housing, 2003 as a departure point always of the renowned Alpine mountain C-Print / Diasec, Alu Dibond, relates to a real space and place pass which acts as a key transport 100 x 157 cm of historical, cultural and political corridor between northern and significance. Demand translates southern Europe. The angle of Private collection this original source into a three- perspective, photographed from dimensional model using paper a low vantage point, serves to and cardboard. Built in the image intensify the monumentality of the of other images, he photographs highway. Connecting Austria and the handcrafted environments. Italy from Innsbruck to Modena, The resolution of Public Housing at an altitude of only 1375 m, it is the looks almost digital; the subtle use lowest crossing point of the Central of light and toned paper creates the Eastern Alps range and as such atmosphere of a virtual world with the pass has been a strategically a hazy, rose-tinted hue. His paper important route since the time of architecture recreates the image the Roman Empire Construction of “Public Housing” that is printed of the Brenner motorway began in on one side of the pink ten-dollar 1959, and as soon as 1963 part of note from Singapore. The year the route was open counting it as of 1965 saw Singapore gain political one of the first mountain motorways independence from Malaysia and in the world. The Brenner motorway, become the Republic of Singapore. spanning a modest 36 km by Following this transition, the comparison, is regarded as the most monetary union began to break geologically difficult section of this down. Singapore established route, encountering and overcoming the Board of Commissioners of many engineering challenges in Currency in 1967 and issued the first such an environmentally sensitive coins and notes of the sovereign area. Indeed, the development nation. A high-rise public housing included the 777 m long “Europa block features on the very first one Bridge” or the “Bridge of Europe” cent that went into circulation. Public (1963) which was celebrated as a feat housing is an inescapable part of of engineering, at 190 metres off the Singapore’s physical, social and ground over the Wipp valley. After Thomas Demand, Brennerautobahn, 1994, © Thomas Demand, VG Bild- Kunst, Bonn / BILDRECHT GmbH, Wien/Vienna, Courtesy of Sprüth Magers political landscape. Already in the signing the Schengen Agreement

10 11 in 1992, and Austria’s official entry Untitled (Gino Valle), 2009 Karsten the material” is a key aspect in this into the European Union in 1995, Photographs, each 157 x 125 cm construction. The intervention also the customs and immigrations posts Födinger appears to be a comment on the at the Brenner Pass were closed Courtesy of the artist and Galerie architecture of the Kunsthalle Wien – a testament to why the Brenner Martin Janda, Vienna * 1978 in Mönchengladbach, whose exhibition hall is defined by motorway has grown to become lives in Berlin two concrete cubes which house a symbol of the Schengen principle Italian post-war architecture is functional elements – the staircase of free travel – of Europe’s peaceful characterised by a broad spectrum of Unterachmann II, 2016 and the freight lift – and thus cohesion facilitated by concrete. trends and a consistent focus on the Shuttering panel, ferroconcrete, prominently display the “transport “modern” building material concrete. 250 x 325 x 100 cm routes” for both visitors and art. Werner Feiersinger captured this Italian version of modernity in his Courtesy of the artist and Werner portraits of selected buildings. RaebervonStenglin, Zurich His aim was not so much to create Cyprien Gaillard Feiersinger an inventory, but rather to present Concrete is the material Karsten the specifically sculptural quality Födinger prefers to use for his * 1980 in Paris, lives in New York and * 1966 in Brixlegg, lives in Vienna of these edifices. His photographs sculptural interventions in existing Berlin are free of embellishments and architecture which he usually he took care to avoid a neutral develops on site. He is interested perspective, thus revealing unusual in the connections, coherencies, qualities in these objects. Dante and breaks in the relationship Bini’s concrete domes, which were between material and form. As it is constructed with the help of moored comparatively heavy and has to be balloons, are juxtaposed with shaped with moulds or framework, shots from the ten-storey housing concrete is less flexible than plaster, complex Corviale on the outskirts for example, and hence not an easy of Rome, and Vittorio Giorgini’s material for his artistic approach. expressive concrete summer house This is why he often works together Cyprien Gaillard, Cities of Gold and Mirrors, 2009, Filmstill, © Cyprien Gaillard, in Baratti. The designs of these with engineers who provide him Courtesy Sprüth Magers, Berlin / London and Laura Bartlett Gallery, London structures of the 1960s and 1970s with structural calculations and reflect the emphatic commitment show him how he might implement Cities of Gold and Mirrors, 2009 to a cosmopolitan society. his ideas. He examines the relative 16mm Film, Colour, Sound, 8:57 min. This undeniably experimental strengths within a given area in architecture is defined by vitality and order to develop forms that convey Copyright Cyprien Gaillard, Courtesy lightness, and bears testimony to a new sense of space, cut through Sprüth Magers, Berlin / London and the economic and cultural upswing visual axes, or create physical Laura Bartlett Gallery, London in a time characterised by the belief barriers. Some of his sculptural Werner Feiersinger, Untitled (Musmeci), 2015, © Werner Feiersinger, Courtesy of Galerie Martin Janda, Vienna that the future could be shaped interventions and additions almost Bare-chested young men in shorts with architectonic means. In these seem to express aggression towards and flip-flops stumble forth in front Untitled (Burri), 2016 photographic portraits the projection the room as it is and challenge its of the camera, gathering with Untitled (Fregene), 2015 surface for the sculptural and structure. For the Kunsthalle Wien bikini-clad girls cheering in disarray Untitled (Corviale), 2015 material quality often lacking in the Födinger delevoped a new work and drunken spectacle under Untitled (Musmeci), 2015 residential and functional buildings for the exhibition hall. Although the discernibly baking heat of the Untitled (Dante Bini), 2013 of today is not timeless modernity, this element is defined by its Mexican sun and onto the resort’s Untitled (Baratti), 2011 but an Italian culture of construction weight and solidness, its shape golf course, the artificially vivid green Untitled (Morandi), 2010 which was the product of its time. suggests lightness. “Mastery of grounds of a huge holiday complex.

12 13 Cities of Gold and Mirrors is the result of Cancún known as “Ruinas del Rey” Isa Genzken of one of Cyprien Gaillard’s many (Ruins of the King) dating to c. 200 BC. “suburban odysseys”. Exploring The montage of footage later cuts to * 1948 in Bad Oldesloe, lives in Berlin an eclectic array of landscapes, this site wherein a bandana-masked architectures and artifacts marked member of the Bloods gang dressed Luke, 1986 by erosion and evolution, his work in completely red attire dances Concrete, steel, 70 x 52.5 x 19.5 cm is concerned with contemporary and displays the distinctive hand reality, with the precariousness of gestures of the criminal group with Museum Moderner Kunst Stiftung the here and now. Gaillard’s practice an air of religious ritual. The bizarre, Ludwig Wien, Vienna, acquired with often looks at cycles of creation drowsy and dreamlike quality of the support of mumok Board 2011 and demolition, and his point of slow-paced, grainy film is not only departure is openly professed as induced by the medium itself, the rich that of decay, of failure and “the fall”. colour saturation and sun-dappled Discovering the beauty latent in surfaces. The visual intoxication urban deterioration, disorder, and witnessed at the beginning sets chaos, is a trip the artist repeatedly the tone for the sequences that takes the viewer on with his works. follow such as: the surreal, beautiful The 16mm film exhibited captures excerpt of dolphins swimming, (and confronts) a number of cultural or the optically dazzling demolition disjunctions made apparent through of a mirrored building. The overall his interventions and observations soporific state is significantly in and around Cancún – a city heightened by the hypnotic and developed in the state of Quintana repetitive synthesized soundtrack: Roo in the 1970s as a tourist Le feu de St. Elme by Haim Saban and destination – now synonymous as Shuki Levy. The mesmerizing audio popular pilgrimage for American accompaniment originally provided college students embarking on their the music for the 1980s TV animation “spring break”. The documentary series – The Mysterious Cities of travelogue of sorts is executed Gold – alluded to in the work’s own by a hazy stream of consciousness title, which continues the reference style that ultimately revolves around to gold emphasised in Mayan culture. old and newly built environments The French-Japanese cartoon goes in this Mexican coastal area. on a journey with a young Spanish The modernistic, Mayan inspired boy called Esteban in search of his Iberostar mega-hotel (formerly the father and the lost cities of gold in Hilton Cancun Golf & Spa Resort) the New World. Explosions of trance- plays a significant role with numerous inducing coloured rays oscillate from exterior and interior shots, mirrored the ceiling of the Cocobongo night windows reflecting the sunbeams club in the final sequence revealing and lush vines falling down the tiers the elaborate mechanics of the light of the inner atrium. Mimicking the show and showing a glimpse of the pre-Columbian pyramidal structures hanging mirrored disco balls. Gaillard of Mesoamerica the hotel hints at addresses the ways in which history it’s extremely close proximity to operates as a hall of mirrors, exposed the historic archaeological site of to refraction, re-contextualisation Isa Genzken, Luke, 1986, Photo © Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, acquired with support of mumok Board 2011, © VG Bild-Kunst, Mayan ruins situated on the periphery and reformation. Bonn / BILDRECHT GmbH, Wien/Vienna

14 15 Between 1986 and 1992, The sculpture’s allusion to Thamesmead, a satellite town in A Clockwork Orange was finally the sculptress Isa Genzken the viewer, and ultimately, to the South East London, was planned released after Kubrick’s death developed a large number human body and its proportions by the Greater London Council in later in 1999 and shown on British of concrete sculptures. During also plays an important role. the 1960s. The town was supposed television for the first time in 2001. this time, her artistic interests Furthermore, the seemingly to combine country life with the went far beyond formal and unfinished or perhaps sketched advantages of living in the city, and aesthetic ideas and involved appearance of a sculpture like is characterised by wide expanses observations on the urban space Luke, and the fragility it conveys, of green. In order to decrease the Annette Kelm and its predominant development. visibly contrasts the actual social tensions liable to arise in Particularly West-German post- qualities of the building material an estate designed at the drafting * 1975 in Stuttgart, lives in Berlin war architecture – that resorted to concrete: durability, hardness, table, the planners relied on the concrete as both an affordable and and gravity. idea adopted from Sweden which practical building material – and propagated the calming influence which soon dominated entire city of water. An artificial lake in the centres with its greyness. Genzken town centre and a number of processed this uniform gloom Liam Gillick canals emulate this concept, in sculptures which are vaguely which, however, was soon to be reminiscent of architectural * 1964 in Aylesbury, lives in New York tested by reality in the shape of models and specifically allude to increased criminality, especially their presentation. Tall steel tube among adolescents. Stanley structures display Genzken’s Kubrick filmed some of the key intentionally abstract and scenes of A Clockwork Orange Annette Kelm, House on Haunted Hill, II (Day), 2005, Private Collection incomplete pieces and fragments (1971) in Thamesmead. In the film of architecture, which can be the town serves as the setting House on Haunted Hill, I (Night), interpreted as niches, gates, for a dystopic London ruled by 2005 or windows. Many are hollow, anarchy and violence. In 1999 C-Print, 50 x 60 cm thus providing vistas. Ruins of Liam Gillick went to Thamesmead, the past and visions of the future because he wanted to see if Private collection metaphorically merge in these the place could still be a setting brittle cubes. Genzken cast for a film. A Clockwork Orange was House on Haunted Hill, II (Day), 2005 the shapes in concrete without pulled from distribution in Britain C-Print, 80 x 100 cm removing or adding anything after only a short release period subsequently. The evolvement following a trial in 1972 where Private collection of the sculpture is intended as the judge had implicated the film a physical and chemical process. in a murder case. Kubrick received House on Haunted Hill Detail, The artistic part is the conception death threats and withdrew the 2005/2016 of the work, while its manifestation film from distribution. At the time C-Print, 5 pieces, requires the construction of this work was made it remained approx. 61 x 75 cm each an appropriate wooden mould. Liam Gillick, Pain in a building, 1999, © Liam Gillick, Courtesy of the artist impossible to see A Clockwork In this group of works Genzken’s Orange or buy it on video in Courtesy of the artist and König approach, which is characterised Pain in a building, 1999 Britain. And Thamesmead had Galerie, Berlin by the ambivalent relationship Projection, Sound been characterized as a concrete between openness and closeness, distopia. When taking the photos House on Haunted Hill I (Night) & severity and fragility, geometry Courtesy of the artist, it was clear that Thamesmead II (Day) are similar to a diptych and free forms, is clearly Esther Schipper, Berlin and was quiet and a little depressed – however hinged together expressed for the first time. Meyer Kainer, Vienna nothing more. conceptually the images reflect

16 17 and unfold one another in a subtle The title of Kelm’s pieces derives Hubert Kiecol Even though his works do not refer to play between reality and fiction: from the original title of a low- specific examples in the built world, an authentic image juxtaposed budget American horror movie * 1950 in Bremen, lives in Cologne they inspire a familiarity which stems with a forge. The house that we House on Haunted Hill (1959) that from their formal omnipresence in see on the hill is the Ennis House. is now regarded a cult classic. our surroundings. Mass and fragility, This superstructure was designed The film features a number of heaviness and lightness, openness by Frank Lloyd Wright in 1923 exterior shots of the Ennis house, and closeness engage in a dialogue for Charles & Mabel Ennis. Built only beginning its extended history in these “post-minimalist” sculptures. in 1924, the construction was as a popular filming location. Furthermore, the different sizes and supervised by the architect’s son The iconic tech-noir movie Blade the way in which these correspond Lloyd Wright. Today the building Runner (1982) and the television to human proportions establish remains the last and largest of series Buffy the Vampire Slayer a relationship with the viewers and the elder Wright’s four “textile (1997–2003) are among other their spatial positions. Although block” houses in LA. Noted for notable productions that have Zeile (Row) and Drei Straßen Hubert Kiecol, Zeile, 1981, © VG Bild-Kunst, Bonn / BILDRECHT GmbH, their pronounced patterns and included the unique backdrop Wien/Vienna, Courtesy of Galerie Bärbel Grässlin, Frankfurt a.M., Photo: (Three Streets) are of model-like precast perforated concrete blocks, of the house. In a throwback to the Wolfgang Günzel, Offenbach a.M. proportions, they are presented the textile houses pushed his Hollywood heritage of the house, as universal forms. As schematic ideas for what could be done with Kelm manipulated the photographic Zeile, 1981 representations of typical houses a block of concrete; the “gutter film to produce a night-time effect Concrete, 12 pieces, 26 x 9 x 13 cm and streets they are firmly rat”, “the cheapest (and ugliest) similar to day-for-night shooting. established in the collective memory thing in the building world” and A masterpiece of the Mayan Revival Courtesy of Häusler Contemporary, which links them to an array of both how it might become “permanent, Style, the bizarre mix of motifs Munich / Zurich real and fictional places. In the 1980s, noble beautiful.” Wright designed from Mesoamerican cultures Kiecol displayed the repertoire of a different pattern for each of his present in both the exterior and Drei Straßen, 1989 everyday construction with his house houses. For the Ennis House, interior of the Ennis House certainly Concrete, 4 pieces, sculptures: blocks of flats, offices, the sequence was a Greek key, arouse an otherworldly, almost total approx. 26 x 50 x 50 cm towers, and bunkers on a small scale. interpretable as a stylized “g” amid spiritual sentiment. Torrential rains, Clichés and real environments, the interlocking forms – alluding the Northridge earthquake and Courtesy of Günter Hackenberg interior and exterior images, and the to Ennis’ links with the Masonic disrepair have contributed to the Collection, Munich aesthetic experience of everyday order and the organisation’s curious consequence that the Ennis life in connection with individual symbol. Annette Kelm often uses House began to resemble the ruins Im Wald, 2009 memories play an important role textiles or printed matter within that inspired its conception. Concrete, 45 x 120 x 44 cm, wood, in these miniatures. In comparison, her photographic compositions Spanning over 6,000 square feet, 270 x 128 cm later works such as Im Wald (in the to draw attention to the flatness of the position on high land and its woods), an installation consisting of photography. In House on Haunted gigantic size comes across as Courtesy of Galerie Bärbel Grässlin, a concrete bench and five strongly Hill the facade and ornament of almost saturated in the pieces with Frankfurt am Main grained wooden slats on the wall the unique textile house becomes the perspective directed upward trigger diverse interpretations. the printed matter that serves as in a form of reverence attuned to Hubert Kiecol’s sculptures translate The wooden silhouette on the a signal for the two-dimensionality its monumentality. Layered with architecture into minimalist forms wall resembles an uneven skyline of the medium. An estimate of cultural inscriptions that interweave and metaphorical signs. Wooden, that was apparently designed to 27,000 concrete blocks constitute and intersect one another, much steel, and concrete allusions to be viewed only from the bench. the double-wall construction, all like the steel rods that “knit” the houses, gables, and stairs are the The “forest” is represented by the hand-cast in aluminium molds using concrete blocks together, Kelm’s result. In their reduction to significant materiality of the wood, but otherwise concrete that was a combination of photography is a metaphorical typologies these works reveal remains a minimalist construction, granite, gravel and sand extracted textile open to each individual immediate associations which are which might also be an allusion to from the site and mixed with water. viewer to decipher. also reflected in the materials. the absence of nature.

18 19 Jakob Kolding In his collages, which are made up Miki Kratsman the individual flats within a building. of photocopies featuring modern The transition from underground * 1971 in Albertslund, lives in Berlin architecture and motifs from youth * 1959 in Argentina, lives in Tel Aviv bunkers to shelters above ground culture, Jakob Kolding contrasts was explained as a necessary social housing and its appropriative precaution in view of the possibility use. The artist himself grew up in of chemical weapon attacks by a model suburb of Copenhagen neighbouring countries, which and places special emphasis on the would demand quicker access to discrepancy between the ambitions the shelters. Miki Kratsman, one of manifested in the planning of these Israel’s best-known photographers estates and societal reality. However (who also regularly works for he does not see the misguided social the daily press) documented an politics reflected in the model cities array of old and new safe rooms as an expression of failure. Instead, in Israel as well as frontier posts Miki Kratsman, Checkpoint, Road 443, 2014, Courtesy of the artist and young people’s appropriation of Chelouche Gallery, Tel Aviv, Photo: Miki Kratsman along the Road 443, which partly suburban areas and their interest in leads through Palestinian territory. skateboarding, football, and music, Public Shelter, Acre, 2006 He also dedicated himself to shifts the focus to other target groups Public Shelter, Tel Aviv, 2016 elements in the urban sphere than those originally envisaged, and Colour photograph, 34 x 50 cm each which seem almost sculptural at represents a different approach to first sight and indicate that security urban space. Formally inspired by the Checkpoint, Road 443, 2014 cannot be taken for granted in this aesthetics of Russian Constructivism, Checkpoint, Road 443, 2014 country. The entrances to the older Kolding’s collages are ultimately Checkpoint, Road 443, 2014 subterranean bunkers contrast Jakob Kolding, Species of Spaces, 2011, Installation view, Courtesy of Galerie Martin Janda, Vienna, Photo: Wolfgang Wössner also a reflection of a yet to be fulfilled Black and white photograph, with the entrances to the newer social utopia. In his more recent 70 x 90 cm each shelters, which are discretely Social Classes, 2000 works, Kolding is interested in taking embedded in the buildings. Area Redevelopment, 2000 questions regarding the interpretation Public Shelter Tel Aviv, 2007 Integrated into the cityscape, it is Production of Political Space, 2001 of “built space as social space” a step Public Shelter Tel Aviv, 2007 almost impossible for outsiders The Politics of Scale, 2001 further. In this case, however, his Public Shelter Tel Aviv, 2007 to identify them as structures Paper collage, 71.5 x 109 cm each concept of space is more abstract and Black and white photograph, created for war situations and other also involves a psychological element. 100 x 70 cm each expressions of violence or terror Courtesy of Galerie Martin Janda, It is represented as a complex attacks. Kratsman juxtaposes Vienna reference system involving societal, Courtesy of the artist and Chelouche black-and-white and colour political, and individual interests and Gallery, Tel Aviv photographs, although the latter Species of Spaces, 2011 requires constant renegotiation. are also dominated by the grey Paper, glass, steel, 200 x 100 x 100 cm The ideal construct of modernity Israel’s self-defence law requires of the concrete. The intentionally with its alleged ability to anticipate the installation of shelters in all unsensational view of these evn Collection, Maria Enzersdorf, its inhabitants’ needs is replaced by buildings, residential houses, and extremely politically and socially Austria a concept of space, which is based on industrial facilities. It also regulates charged elements of the urban many variable sites and continuously the upkeep of bunkers in houses, landscape (that counteract the Untitled (Masquerades), 2014 questions itself. Kolding also chose residential buildings, and factories. idea of normality and peaceful Digital print on birch-veneer chipboard, the collage to depict this open After the First Gulf War, the concept coexistence between Israelis 190 x 76.2 x 40 cm / 171 x 47.5 x 40 cm concept of space, albeit in a three- of the “safe room” was developed and Palestinians) alludes to dimensional interpretation of the in addition to the existing the omnipresence of this conflict, Courtesy of Galerie Martin Janda, medium which combines elements bunkers, thus providing a steel precisely because of the incidental Vienna from different epochs. concrete room with access to nature of Kratsman’s approach.

20 21 Susanne commissioned during the war by and urbanism – lie at the heart a collage on canvas, a framed the Swedish air force to construct of the revelations that arise photo, a collage of wool, coloured Kriemann a reconnaissance camera to rival when reflecting on the visual cellophane, slide projection with one found in a wrecked German and conceptual voyage of the 80 slides * 1972 in Erlangen, lives in Berlin aircraft. Kriemann managed to installation. Often addressing an obtain an original Hasselblad aerial investigative gaze on modernity, Courtesy Annet Gelink Gallery, camera from 1942 and chose to her distinctive practice is founded Amsterdam fly over the vast housing projects on social research. Her oeuvre is on the outskirts of Stockholm. captured by an imaginative process A Long Day for the Form, 2012 Her photographs employ the of historiography – the constant Interfit reflector with holder and “bird’s eye” perspective of flux and impermanence in the stand, headlight, MDF shelf Modernism, a distanced and writing, recording and preservation with galvanized wire and Bomix visionary view. The renowned of cultural history – illuminated Hypercrete, soundtrack “million programme”, referenced by insightful photographic traces in the title, is the common phrase and signs. Going above and Courtesy of the artist and Metro given to the optimistic social beyond the subjects depicted, Pictures, New York Susanne Kriemann, One Time One Million, 2009, Courtesy of the artist and Wilfried Lentz, Rotterdam housing venture carried out by the interconnected imagery the Swedish Social Democrat brings about a broad spectrum David Maljković’s works often One Time One Million, 2006–2009 Party that sought to provide one of suggestive issues relating to deal with the changeful history Installation, Offset prints, framed, million housing units between the contextual and ideological of former Yugoslavia, its social 33 x 39 cm each 1964 and 1974. Now renowned underpinnings of photography, transformations, and economic for the high concentration of perception and present day civic and cultural changes. In these Courtesy of the artist and Wilfried recent immigrants, the concrete circumstances. works, buildings and monuments Lentz, Rotterdam estates were developed by of the 1960s and 1970s inscribed embracing new technologies and with the promises of Socialism Susanne Kriemann’s One Time industrialised building methods. serve as testimonials of a failed One Million takes one on a poetic Realised as a rational, cheap and David Maljković ideology which, despite its ruinous flight. The walkable panopticon fast solution on account of the state, still reflects the Modernist portrays a journey into the history housing shortage after the war, * 1973 in Rijeka, lives in Zagreb promise of innovative design of the Swedish Hasselblad sites such as Rosengård, Fittja, for real living conditions. Past, camera. Forty-six photographs Skärholmen, Rinkeby, Tensta and present, and future overlap in an are presented, including pictures Hammarkullen were constructed. open experiment which reactivates of birds, aeroplanes, aerial views Symbols of the welfare state, of the potential of unrealised social of housing estates in the suburbs utopian ideals, and yet tragically and artistic concepts. As the title of Stockholm, and images of the of segregation, such districts Missing Colours implies, colours iconic medium-format camera are currently referred to as play an important role in activating itself – a symbol of modernist intercultural globalisation centres. monotone architecture in this ingenuity. The inventor Victor In one fell swoop, Kriemann links work. Inspired by a scene from the Hasselblad (1906–1978) was the photographic apparatus, Yugoslavian comedy Balkan Spy an enthusiastic ornithologist migratory birds, and aeronautical (1984), in which an artist attacks the David Maljković, Missing Colours, 2010, Courtesy of the artist and Annet and some of his photographs engineering, with the war that Gelink Gallery, Amsterdam grey housing blocks in Novi Zagreb of migratory birds are included caused diaspora and exile, to with colour and is consequently in Kriemann’s multifaceted the post-war architecture that Missing Colours, 2010 arrested by the police, the slide photo suite. Born into the family proceeded afterwards. Migration Installation of 3 framed black projector casts coloured projections photography business Hasselblads and military technology – and and white photographs, a framed onto the walls of the exhibition room Fotografiska AB, he was later their relationship to photography photo collage as a diptych, and the collages presented there.

22 23 Another slide projection shows By putting these once lively and Mark Boyle reproductions of the original pillars a construction with a filter made now remotely nostalgic places at the entrance of the Høyblokka up of the four primary colours and moments in a contemporary 1934–2005 that serve to support and elevate which Maljković set up at different context, he also questions the the rising structure delineated locations in Novi Zagreb where he present as part of a linear concept Secretions: Blood, Sweat, Piss and by a narrow vertiginous concrete lives. This colourful intervention also of history. Tears, 1978 grid. The high-rise was conceived emphasises the prevailing grey of 4 photographs, 68.5 x 68.5 cm each amid a post-World War II wave of the actual surroundings, and thus optimism and represents the sheer the emptiness of failed utopias, Henie Onstad Collection, height and aspirations of the which not only defines places like Jumana Høvikodden, Norway Nordic model of the Welfare State. Zagreb. According to Maljković, the Following the tragic events of literally vitalising role art could play Manna The three stelae that solemnly 2011, the Høyblokka has become in this situation should definitely be stand in the exhibition space are an even more politically charged taken into consideration. A Long * 1987 in New Jersey, lives in Berlin at the core of Jumana Manna’s national symbol. On the 22nd Day for the Form (2012) also focuses Government Quarter Study. of July, the site was bombed in on the activation of a given space. The “Regjeringskvartalet” the first of two terrorist attacks In this case, however, the artist – the government quarter in carried out by right-wing extremist alienated the abstract vocabulary question – is a district area in Oslo Anders Behring Breivik and still of exhibition architecture. A large where a collection of brutalist bears the scars of this trauma. reflector illuminated by a spotlight buildings houses the offices As a consequence, the decision directs light into a corner where the of the Norwegian government. whether to preserve or demolish sound of chirping crickets can be The central building, which remains both the H and Y block structures heard. The monotonous noise from a landmark of the capital’s skyline, has become the subject of an the crickets enlivens the room but is the towering “Høyblokka”, ongoing emotionally intense also awakens memories of long “H-Block”, or high-rise, built in 1958 national debate. Juxtaposed with summer days with reduced activity. with concrete mixed with pebbles the columns Manna has chosen It corresponds with a geometric from the riverbeds surrounding to present Secretions: Blood, structure made of gypcrete which the city. The lower “Y-Block” to the Sweat, Piss and Tears by the British is presented as an autonomous north and west, was completed in artist Mark Boyle (1934–2005) form and yet gives rise to the 1969. Both blocks were designed that lays emphasis on the abject question of its specific shape. by the Norwegian architect Erling materiality of the body. The relief A Long Day for the Form with its Viksjø (1910–1971), a prominent of the thick, casted columns interaction between different, but exponent of modernist architecture resembles the patterns that arise formally interrelated elements can in Norway and an enthusiastic in the four microscopic studies Jumana Manna, Government Quarter Study, 2014, Co-produced by Public be interpreted as an expression Art Norway (URO) proponent of concrete. Viksjø, drawing a number of allusions of a missing reference or past, together with engineer Sverre to the skin and life of architecture. but also as an expression of stories Government Quarter Study, 2014 Jystad, developed a form of Similar to totem poles they are which have yet to materialise or Jesmonite reinforced with fibers concrete facade involving almost like sacred objects, both maybe never will. In Maljković’s and coloured pigment, 3 pieces, sandblasting and casting methods monuments and ruins emblematic work, the optional realm of things 440 x 95 cm each to obtain special surface effects. not of a group of people or clan in the making spreads across the Patented in 1950 as “Naturbetong” but the collective solidarity of timeline in both directions. Alluding KOR Public Art Norway his use of natural concrete a nation. Reproducing the pre- to specific Socialist structures, he became his trademark as the existing pillars that represent both holds on to the lethargy manifested Presented together with: material features prominently in the architectural and symbolic in places where memories and all of his major works. Manna’s foundations of the Høyblokka, ideology have fallen silent. striking sculptures are full-size the support for the structure and

24 25 its standing in society, Manna a prominent landmark of the city’s Brutal, iconic architecture aside, Isa Melsheimer finds the allegorical in the objects, skyline and at a height of 173m it Ponte’s infamy also relates to and calls into question their role has remained the tallest residential its prime location on the edge * 1968 in Neuss, lives in Berlin as anchors or guards, which complex in South Africa. Designed of Hillbrow – one of the most preserve not only the building – by Mannie Feldman, Manfred dangerous neighbourhoods in but also the memories and Hermer and Rodney Grosskopff, Johannesburg. The area was once ideologies embedded in its form – and built in 1975, the striking a cosmopolitan hotspot where from collapse. brutalist structure resembles the bookshops and cafes were open form of a tube due to its distinctive late and even under the tight rule hollow inner core that provides of apartheid, interracial mixing was additional light down to the central common. Architectural neighbours Ingrid Martens courtyard. A matrix of identical included modernist styles from windows encircle the inner and 1930s Art Deco to 1950s “little * 1972 in Johannesburg, lives in outer exterior to the effect of a sheer Brazil”. Did the monumental height Johannesburg grid of concrete skin punctuated of the skyscraper correspond to the with glass. Hailing from every corner aspirations of the high apartheid of Africa, the film is a testament to era to fabricate Johannesburg into the different cultural backgrounds the next New York City? Or were the of the skyscraper’s inhabitants. communal and integrated intentions Occupying any one of the eight of the building unrealized? By the lifts of the 54-storey building, 1990s, the district began to change. Ingrid Martens captures the subtle Most of the first residents of the body language and vulnerability “luxury” apartments (namely the Isa Melsheimer, Possibility Of A Ruin V, 2016, Courtesy of the artist and of the residents sharing personal apartheid’s white privileged class) Esther Schipper, Berlin, Photo: © Andrea Rossetti space; confronting, reflecting and had left joining the exodus to the overcoming prejudices. Martens supposed safety of the northern Possibility Of a Ruin V, 2016 Ingrid Martens, Africa Shafted, 2012, Courtesy of the artist also provides a microphone for suburbs and many South Africans Possibility Of a Ruin VI, 2016 the people of Ponte that choose to of colour, as well as immigrants from Possibility Of a Ruin VII, 2016 Africa Shafted: Under One Roof, chat. The multitude of voices on neighbouring countries, moved in – Possibility Of a Ruin VIII, 2016 2011 African issues portrays a metaphor in search of a better life. The towering Reinforced concrete, ceramic, Video, 56 min. of Ponte as “Little Africa”, providing residential block, through high pedestal, measurements variable perspectives that not only cover demand, grew to become densely © 2013 by I’M Original Productions the problems and dreams of populated, and reportedly Nr. 407, 2016 prosperity of the continent, but transformed into a place of poverty, Gouache on paper, 57 x 45 cm Ponte Tower; a gravity-defying poignant as well as provocative drugs, gun crime, prostitution and Owen Luder and Rodney Gordon, dystopia, or a multicultural utopia? opinions on contemporary life. urban decay. Today, after different 1977, Tricorn Centre Portsmouth, GB Shot over a period of five years, We hear snippets of their stories phases of renovation and tightened 2004 demolished mostly within the confessional and and musings, intercut with glimpses security, the situation at Ponte is claustrophobic confines of a lift, of the architecture, and combined considered to have greatly improved, Nr. 408, 2016 Africa Shafted is an emotional, with a rich, eclectic soundtrack despite tall tales perpetuating the Gouache on paper, 57 x 45 cm endearing, and at times eye- featuring celebrated musicians menacing legend, making it difficult James Stirling, 1966, Runcorn opening journey up and down from across Africa’s vast borders. to separate concrete fact from Southgate Estate, GB the soaring elevator shafts of Conversations and comments fiction. In the film, the reality of the 1990–1992 demolished Johannesburg’s colossal Ponte are passed concerning the myths remains unseen. What is City Apartments. The cylindrical notoriety of Ponte City, touching shown is the humanity of the current Nr. 409, 2016 concrete tower has become on its complex history. community living under one roof. Gouache on paper, 33 x 26 cm

26 27 John Madin, 1969, Paradise Place of Christ, Scientist, Washington D.C. as perhaps a natural process. preservation attempts made to Central Library, Birmingham, GB 2014 demolished Possibility Of a Ruin V & VIII take grant the building with listed status. 2015–2016 demolished as their departure point elements In recalling these structures and Nr 428, 2016 of a school building designed by their ideological underpinnings, Nr. 410, 2016 Gouache on paper, 24 x 17 cm the famous Japanese architect Melsheimer pays tribute – to lamented Gouache on paper, 33 x 26 cm Bertrand Goldberg, 1971–1975, Arata Isozaki. Located in Ōita, architectural landmarks and civic Franz Kiessling, 1963, Kuhstall Gut Prentice Women´s Hospital, Chicago Japan, the Iwata Girls’ High School spaces. By providing different frames Lichtenberg 2013–2014 demolished (1963–1964) was Isozaki’s second to view the now-lost relics, through 1998 demolished / burned major commission after establishing abstracted forms and the sense of Courtesy of Isa Melsheimer and his own firm, following his much magical enchantment in the colourful Nr. 411, 2016 Esther Schipper, Berlin acclaimed Ōita Prefectural Library yet cloudy gouaches, the hazy and Gouache on paper, 33 x 26 cm (1962–1966). Both are significant yet sharp reality of the sites are Paul Rudolph, 1963, Orange County Isa Melsheimer’s installation is part- early works that portray affinities with recontextualised and reimagined. Government Center homage, part-reinterpretation of Brutalism and Metabolism. Despite Since 2011 listed building, renovation now-demolished brutalist buildings. the fame of Isozaki’s Iwata School since July 2015 structural restoration Her sculptures from the Possibility – that had two six-storey concrete with complete reconstruction and Of a Ruin series, and gouaches of towers and triangular details – Olaf Metzel partial destruction architectural sites on paper, are the complex has now been destroyed. exemplary of her practice drawing The greenish-yellow glazed ceramics * 1952 in Berlin, lives in Munich Nr 423, 2016 heavily from research into the history that feature inside Melsheimer’s Gouache on paper, 24 x 32 x cm of architecture and looking at the concrete works are bizarrely organic, John M. Johansen, 1967, Morris A. legacy of Modernism. Through these geometric frameworks similar to Mechanic Theatre, Baltimore artworks she makes both direct plants. Possibility Of a Ruin VI & VII 2014–2015 demolished and indirect references to brutalist were inspired by the Birmingham structures dating from the 1960s and Central Library (1969–1974) that used Nr 424, 2016 1970s. Whether the concrete buildings to dominate the central Paradise Gouache on paper, 24 x 32 cm she draws from are recognisable or Circus district of Birmingham. A solid John M. Johansen, 1970, Mummers not, the familiarity of her constructions and muscular example of British Theater, Oklahoma City certainly strike the unconscious with Brutalism, the inverted ziggurat 2014–2015 demolished an uncanny recognition of the formal building by local architect John HD vocabulary of modern architecture, Madin is also depicted in gouache Nr 425, 2016 a vocabulary that Melsheimer Nr. 409, where the top heavy concrete Gouache on paper, 24 x 17 cm acutely assimilates into her abstract planes remain just visible on the Rodney Gorden, 1967, Trinity sculptures. Each sculpture in the right-hand side, rising up like steps Square, Gateshead GB Possibility Of a Ruin series consists into the starry, fiery sky. The angular 2008–2010 demolished of a fragile ceramic piece contained foreground highlights the inner ring- within a concrete work that sits atop road that ran beneath the library of Nr 426, 2016 a custom-made plinth. Juxtaposed the “motor city”. The monumental Gouache on paper, 24 x 32 cm with the solidity of concrete, the scale, functional spatial design, and Olaf Metzel, Treppenhaus Fridericianum, 1987, Documenta Kassel, © VG Bild- John Bancroft, 1967–1970, Pimlico delicate, oxidised ceramics on top of stark use of concrete contributed Kunst, Bonn / BILDRECHT GmbH, Wien/Vienna, Photo: Ulrich Görlich, Zurich School, London the concrete objects, could be seen to its status as a symbol of social 2010 demolished to portray the “nature” of the ruins, progressivism. To pave the way Treppenhaus Fridericianum, 1987 a vividly abstract and imaginative for a new multi-million-pound office Concrete, measurements variable Nr 427, 2016 way to convey the instability of and retail development scheme, Gouache on paper, 24 x 17 cm structures, the disintegration of their demolition of the library began in Courtesy of the artist and Wentrup Araldo Cossutta, 1971, Third Church conceptual and physical foundations 2015, undeterred by protests and Gallery, Berlin

28 29 In 1987, on the occasion of his Direct, argumentative, and dimensional impression which Heidi Specker participation in the documenta in confrontational, they interact with modulates the motif and merges Kassel, Olaf Metzel produced a mural space, time, and the viewer in whom different perspectives. In this case, * 1962 in Damme, lives in Berlin for the staircase in the Fridericianum. they often awaken the urge to enter the oscillating light enlivens the The cladding consisted of a gridded into a dialogue or to protest. photographed surfaces and lifts concrete relief with a repetitive them out of their vague presence structure. The facing on the existing in Vienna’s cityscape. The technique architecture oscillated between behind the lenticular image mainly dull grey and lifeless green and Maximilian involves photographing an object resembled egg cartons, although from different perspectives while it had not been cast from actual Pramatarov the camera remains in the horizontal packaging material. Many of Olaf axis. The resulting photographs are Metzel’s objects and sculptures look * 1979 in Sofia, lives in Vienna then dissected into narrow strips and as if they have been assembled from exposed on a paper surface upon everyday items. In fact, he remoulds which a transparent raster of vertical and remodels them or changes their cylindrical lenses are placed. Related scale, thereby extracting the familiar image strips are covered by one from its mundane context and turning lenticular lens, and according to the the recognisable into a symbol angle, the lens plate directs the focus of complex social constellations. onto a different image strip. Owing to Metzel, who is in the habit of critically the fact that there is distance between approaching architecture, discovered the eyes, each eye sees an image the basic form of the egg cartons on suited to “its own” angle, which leads Heidi Specker, Travertin I, 2010, © VG Bild-Kunst, Bonn / BILDRECHT GmbH, the facades of commercial buildings to an astounding spatial impression. Wien/Vienna, Courtesy of the artist Maximilian Pramatarov, untitled (reflection study I), 2016, © Maximilian in Kassel’s city centre. For the Pramatarov Nevertheless, Pramatarov avoids exhibition Béton at the Kunsthalle spectacular effects in favour of Travetin I – VI, 2010 Wien, the artist adapted the relief for Untitled (reflection study I), 2016 a motif that brings the mundane to life 6 photographs, Archival pigmented the exhibition area by covering one Lenticular print, 80 x 120 cm only at second sight. “I am fascinated print, 30 x 40 cm each side of one of the concrete cubes with by the possibility of integrating gridded panels. In this setting the work Courtesy of the artist different pieces of information into Courtesy of the artist seems more substantial and imposing a photographic image and letting than in the narrow staircase in Kassel, Concrete, glass, and steel define our them become individually discernible Travertine is the Roman also the colouring is more distinct. present. The undistinguished shades again when the picture is viewed. concrete which Benito Mussolini The material seems less heavy, of concrete grey have become an I am not so much interested in had envisioned for the EUR, thus emphasising the impressive integral part of the cityscape. Due to strategies of realistic representation, the Esposizione Universale height of the ceiling. Like a spatial their omnipresence they often go but rather in the question of actual Roma. In the 1930s, the area was image, Treppenhaus Fridericianum unnoticed. However, Maximilian spatiality. To be precise: in the designated for a world exposition, transports the commercial, Modernist Pramatarov quite literally shows relationship between space, image, which was to take place in 1942 aesthetics of the facade to the interior. them in a new light: in his photo works and movement. The modification as a celebration of the first twenty Olaf Metzel made a name for himself reflections in puddles and on glass of the photo leads to a shift, an years of Fascism. The EUR was with interventions in public spaces become a spread of spectral colours. overlapping of temporality and conceived as an urban expansion as direct references to current political Pramatarov chose a procedure for spatiality, as one part is in the past and a new centre, however, due and social events, predominately his works that is only rarely applied (the unmoving part) and the other is in to the Second World War the in the Federal Republic of Germany. in the artistic field: the lenticular, the future (the moving part), although exposition never came to pass. His works function as challenging or raster image. In this process, both are actually in the same time.” In the 1950s and 1960s, the comments on the situation at hand. tiny optical prisms create a three- (Maximilian Pramatarov) unfinished structures of the Fascist

30 31 era were finally completed and She created her pictures of the urban environments specifically this multiple reference structure is further governmental buildings Travertine in Rome in 2010 during question the function of language integrated does not contribute to an and office complexes were a one-year residency fellowship at as an objective semiotic system. unambiguous interpretation. All that constructed in an expansive the Villa Massimo. By adopting the aesthetics of remains is to reflect on this pictorial park. During the planning phase, advertising surfaces, neon writing, text and its ambivalence. two rivalling groups faced each and billboards only to show them other: Marcello Piacentini, who at places with little commercial represented a reactionary, and Ron Terada potential, he presents viewers with Giuseppe Pagano, who advocated a new perspective. The artist plays Tercerunquinto a progressive style of architecture. * 1969 in Vancouver, lives in with the signal effect of certain Both commissioned their architects Vancouver words or the appellative function Julio Castro Carreón (* 1976), of choice to design buildings for of signs, which he takes to the Gabriel Cázares Salas (* 1978), the new district. Thus, the EUR point of absurdity or invests with Rolando Flores (* 1975), live in presents a partial picture of what new meaning by placing them in Mexico City urban Italy would look like if the an unusual context. “See Other Fascist regime had not been Side of Sign” is the instruction on overthrown: wide, axial roads and a sign set up at a derelict site in severe buildings, either in the Stile front of a backdrop of prefabricated Littorio inspired by antique Roman concrete components. However, architecture, or in the rationalist, the notification to consult the other modern style featuring traditional side of the sign to find the actual limestone, tuff, and marble. message leads nowhere. On the Ron Terada, Concrete Language, 2006/2016, Courtesy of the artist and Today the EUR is a residential and Catriona Jeffries Gallery, Vancouver other side of the billboard at the business centre in the south of the Kunsthalle Wien Karlsplatz, the city. Large parts of Michelangelo See Other Side of Sign, 2006/2016 same sign in front of the same Tercerunquinto, Gráfica reportes de condición, 2010, Courtesy of the artists Antonioni’s film L’eclisse from 1962 Print, Alu Dibond, 316 x 400 cm background shows the laconic and Proyectos Monclova, Photo: Moritz Bernoully take place there, and also Federico words “Concrete Language”. Fellini’s 8 ½ (otto e mezzo) shows Concrete Language, 2006/2016 Concrete as an adjective can be Gráfica reportes de condición, many of this district’s buildings. Print, Alu Dibond, 316 x 400 cm used to describe something existing 2010–2016 Heidi Specker has been in a material, physical form – 18 serigraphs on photo prints photographing architecture since Courtesy of the artist and Catriona synonymous with “real” or “specific”, on cotton paper, the 1990s. In her digital images Jeffries Gallery, Vancouver and as a noun the word refers to 56.5 x 44.5 x 3.5 cm each she uses the possibilities provided the building material. The double by the medium to create pictorial, Kunsthalle Wien Karlsplatz meaning of the word is not only an Courtesy of the artists and intentionally flat and ornamental allusion to the text itself, but also to Proyectos Monclova, Mexico City representations of facades and Ron Terada’s artistic work deals the surroundings in which concrete buildings. Despite this levelling of with questions of authorship and represents a visible element. In other The Mexican artist collective the surface, the photographs appropriation, language and its words, “concrete” is not only a type Tercerunquinto explores the convey a sense of space, and her contextual meaning. Especially of building material, but also a stable boundaries between public and minimalistic excerpts of reality evoke encounters with texts in public condition – nothing speculative, private spaces and the socially complex narratives. In Specker’s spaces, the conventions they follow but rather a specific reference to defined structures determining work, representations of cityscapes and the resulting interpretations, a certain thing. However, neither these lines. The artists stage seem like an abstraction, a basic interest the Canadian artist, who an immaterial nor a material architectonic interventions in urban pattern which clearly explores the semiotics of everyday “concrete language” is provided public spaces and transform well- underlines the qualities of the life in many different ways. Terada’s with a system of reference in this known places into something material, shape, and colour. photo works and installations in picture. The surroundings into which new and waiting to be discovered.

32 33 The current configuration of As serigraphs, they were printed inkjet prints on paper, 110 x 80 to The protagonists among Tercerunquinto was established onto photographs of Bogotá in which 130 x 90 cm, highest part 280 cm the sculptors, who designed in 1998 when Julio Castro Carreón, the degree of social discontent is large numbers of autonomous, Gabriel Cázares Salas, and Rolando generally reflected in the structural Courtesy of Galerie Krobath, Vienna multifunctional play statues Flores started studying at the surroundings and the urban from 1953 onwards, were Josef Facultad de Artes Visuales of the landscape. The written forms of Between the 1950s and the 1960s, Seebacher-Konzut and Josef Universidad Autónoma de Nuevo protest inscribed on houses and an extensive art-in-architecture Schagerl. They distinguished León in Mexico. At the time, they facades is political and directed project was carried out in Vienna. themselves due to their were interested in the architectonic against the government (“no more On the one hand, it was supposed experimental approach to the functionality of doors and walls and state terror”, “Neither your, nor my to increase the popularity of task. Their designs – featuring carefully analysed the typology of government”), incites resistance contemporary art, and on the either polished concrete or steel housing developments. Later on, (“When hunger is the rule, rebellion is other hand, it aimed at giving the tubes coated in primary colours they changed their focus to spatial a right”), or urges its readers to abstain municipal housing construction – refuse any kind of figurative relations in urban neighbourhoods from voting (“Don’t vote – there is of the post-war era a more humane allusion or trivialisation in favour and the overall societal effects no space for our dreams in your appearance. The commissioning of an expressive handling of the of segregation as a result of ballot boxes”). As in many countries, of Viennese artists with the design material. Sofie Thorsen’s series urban development. The Spanish the public sphere is the billboard of sculptures – that were also to of works is the result of intensive expression Tercerunquinto (literally: for those who wish to mobilise serve as playground equipment research and lends new visibility the third fifth) refers to something like-minded people or to express for children was at the heart of the to these play sculptures, which not (yet) complete and describes their dissatisfaction with existing project. These play statues with have largely disappeared from the individual parts constituting the circumstances. Like ethnologists their abstract formal language the urban landscape and are whole. As it comprises the words of everyday life, Tercerunquinto combined the aesthetics of only documented in a handful “tercer un quinto”, this term – at commission inventories in order to the post-war avant-garde with of photographs. Her examination least in Spanish – can be read in study the interrelationship between functional elements and could be of an all but forgotten typology different ways, such as “terce runqu society and urbanity. used as climbing frames, slides, of forms primarily emphasises into”. Hence the division of the and gymnastics apparatuses. the merging of abstract semantic space into meaningful Their colourful appearance sculpture, architecture and urban units is not restricted to one highlighted the grey blocks of planning, aesthetics and society. meaning alone. The photo series Sofie Thorsen flats and animated their residents. Thorsen enlarged the historical Gráfica reportes de condición is The fusion between art and design photographs and accentuated a collection of so-called status quo * 1971 in Århus, lives in Vienna became an innovative field of the objects with cut-outs which reports (reportes de condición). experimentation and as such, give the paper itself a sculptural The collective commissioned the Modernist idea of a synthesis quality. Wrapped around the a specialist on restoration and of art, life, ambitious design and detached steel structures in the structural preservation, and practical value, was partly realised. exhibition room, the photographic a group of students, to produce Inspired by international pioneers documents conjure up an reports on the condition of the such as Aldo van Eyck, who during imaginary course leading through graphic material in urban spaces, the post-war period implemented an experiment in urban planning commonly known as graffiti. over 700 playgrounds with in which the educational approach This material can be found on walls artistically inspired play objects to modern art and the possibilities and facades throughout the urban in the Netherlands, the project provided by concrete were texture of Bogotá in Columbia. initiated by the cultural department advantageously merged. Sofie Thorsen, Spielplastiken, 2013, Installation view, tresor, Kunstforum The task was to create an inventory Wien, Vienna, 2013, Photo: Hannes Böck of the city of Vienna also aimed specifically of those markings which at playfully introducing broad represent political slogans or texts Spielplastiken, 2010–2016 sections of the population to with political content. Varnished steel structures, contemporary art.

34 35 Klaus Weber Wilson and George L. Kelling in 1982. Tobias Zielony They used it to describe the process * 1967 in Sigmaringen, lives in Berlin in which a broken windowpane * 1973 in Wuppertal, lives in Berlin triggers further destruction and eventually leads an entire district to Le Vele di Scampia, 2009 descend into criminality. According From the series Vele, 2009–2010 to Wilson and Kelling, vandalism Photo animation consisting of 7000 and criminality are causally linked separate images, 9:16 min. and can only be stopped with a zero-tolerance strategy and the Courtesy of the artist and KOW, immediate “reparation” of damages Berlin in the urban sphere. In the 1990s, the New York police force adopted this “zero tolerance” approach and took early and rigorous action against petty crime and minor offences as a means of crime prevention. Klaus Weber’s Untitled Broken Window with its artfully shattered surface brings Wilson and Kelling’s theory to mind and contradicts it at the same time. The radial cracks, which give the blue glass window the resemblance of an Klaus Weber, Untitled Broken Window, 2012, Courtesy Herald St, London, Photo: Andy Keate abstract church window, are the main appeal of this otherwise dysfunctional Clock Rock, 2015 object. The reference to its sacral Tiger gneiss stone, brass pendulum, appearance is also valid because the clock mechanism, 100 x 50 x 20 cm church shares the belief that people have to be subjected to a strict control The Vinyl Factory, London, Courtesy system in order to be protected of Herald St, London from sin. Seen in this light, Weber’s Untitled Broken Window is something Untitled Broken Window, 2012 like a call for rebellion against the Coloured safety glass, 200 x 174 cm permanent repairing of the urban landscape – and a reminder that Courtesy of Herald St, London destruction can also be beautiful. Weber’s Clock Rock is similarly The broken-windows theory based on the momentary intervention is derived from the theory of in something existing. The work “delinquency areas” which was consists of a piece of stone and established by the Chicago School of the pendulum of a clock. However, Sociology in view of the relationship the rhythm of the pendulum’s between urban living space and swing seems to follow the beat of human communities. The metaphor time: an indication of continuity of “broken windows” was developed and change, and the possibilities Tobias Zielony, Vela Azzurra, 2010, from the series: Vele, © Tobias Zielony, by the social researchers James Q. provided by improvisation. Courtesy of the artist, KOW, Berlin and Galleria Lia Rumma, Milano

36 37 Le Vele di Scampia is the popular At the end, fireworks cast a surreal Program Thu 21/7, 6:30 p.m. name of a giant housing complex light on the complex, thus giving MQ Art Night in North Naples designed by the the scene the illusive appearance Sunday Tours Tour Italian architect Franz Di Salvo of a film set. In the sequence of in the Brutalist style between Le Vele di Scampia the camera The development from most An exclusive tour of the exhibitions 1962 and 1975. The shape of circles the monumental building progressive material of the post- at Kunsthalle Wien, the mumok, and the towers resembles sails (vele). in the dark of night. The montage war era to its decline in the 1980s the Leopold Museum Conceptually the multi-part produces a wilfully juddering and its renaissance: learn all about building complex was mainly motion. Less than 24 images the building material concrete Wed 20/7, 6 p.m. influenced by Le Corbusier’s Unité per second are projected in this and the fascination it inspires in a_schaufenster 27: Concrete – d’Habitation and was supposed animation compiled from separate contemporary artists. Velvety, Naked, Brutal? to provide the inhabitants with photographs, thereby causing Panel discussion functional facilities for life in the sequences on which the film 26/6, 31/7, 28/8, 4/9, 11/9, 3 p.m. Az W a residential community. Even is based to intervene with the “Concrete Utopia” – From the after the demolition of three of the seamless flow of images. Le Vele Most Progressive Building Material A conversation between architects originally seven buildings between di Scampia intentionally verges on of the Post-War Era until Today, and other experts dedicated to 1997 and 2009, Le Vele is still the border between photography with Martin Pfitscher concrete – the “liquid stone”. seen to be a problematic district. and film, and holds movement After beginning with the historical Tobias Zielony used a digital reflex and stagnation, momentary 3/7, 24/7, 21/8, 18/9, 3 p.m. “brutal” landmarks in West Austria, camera to take 7000 large-scale fixation and the chronologically béton brut – Brutalist Architecture of the group will take a look at photographs of this estate, which evolving narrative in suspense. the 1960s and Its Social Component, contemporary structures. In these is controlled by the Mafia milieu The portrayal of the notorious with Wolfgang Brunner projects fair-faced concrete as the and is apparently one of Europe’s building complex in Naples is purest form of this versatile material biggest drug dealing venues. not axiomatically an analysis 10/7, 17/7, 14/8, 9/10, 3 p.m. plays the main role. In 2009 he assembled these night of its underlying social context. “Unfinished Modernity” – Several times a year, shots in a film with varying speeds. Instead Zielony chooses a literally Wishes and Dreams for the the a_schaufenster presents An immersion in this world of stumbling approach in his quest Construction of Urban Space, original material from the images as in narratively structured for a rhythm, and devotes the same with Michael Simku inventory of the collection of cinema is impossible due to amount of attention to the residents the Architekturzentrum Wien. the rhythm of deceleration and as to the architecture. He avoids 7/8, 25/9, 2/10, 16/10, 3 p.m. acceleration. The predominantly the obvious in favour of an The Utopia of Societal Coexistence, Wed 27/7, 28/9, 6 p.m. youthful protagonists, who intuitive view which ignores with Daniela Fasching Baukunst meets occasionally surface between clichés and prejudices. Kunstwerk: Beton (Architecture the shots of the building, pose in meets Art: Concrete) front of the camera as for a series Tours Combined Tour of portraits, and also the stage- Az W x Kunsthalle Wien like architecture of the Modernist Tue 20/9, 6 p.m. Meeting point: Az W housing complex emphasises Duo Tour their self-presentation in front The combined tour will start with of and for the camera. The further On their communal tour through a visit to the exhibition a_schau. Zielony advances into the heart the exhibition, Vanessa Joan Müller Österreichische Architektur im of the complex, the more enlivened (dramaturg Kunsthalle Wien) and 20. Und 21. Jahrhundert (Austrian it becomes: people appear in Joseph Kitzweger (works manager architecture in the 20th and the background, youths linger on Lafarge Zementwerk, Mannersdorf) 21st century). The “liquid stone” the stairs, a child in a Halloween will discuss the different approaches is an integral part of 20th century mask enters the scene. to concrete. Austrian building culture.

38 39 In direct competition to the The C³ Studio for Cement, Concrete For adults and children aged Mon 22/8 – Fri 26/8, omnipresent polystyrene cladding, and Competence is an association 12 and above 11 a.m. – 1:30 p.m. béton brut, fair-faced concrete is of knowledgeable planners and Clothing: long pants and sturdy shoes BetonWerkStadt losing more and more ground – it implementers, specialists and test Costs: 10 EUR per person (ConcreteWorkCity) is worth taking a closer look at laboratories who are all active in the Registration: Kunsthalle Wien Museumsquartier recent history. The designs range field of construction. The concept [email protected] from utopian, in some cases even is sponsored by the CRH Wien and What do underground stations, dystopian architectural sculptures the participating businesses, who the houses in your street, to strictly modular structures. as partners are allowed to use the Children’s Programme a climbing wall, and the exhibition In contemporary art, on the other premises for a fee in order to host at the Kunsthalle Wien have in hand, a growing interest in urban special events, hold meetings, and The extensive educational common? The answer is easy: planning of the post-war era present their products. The aim programme developed for the concrete. In the exhibition Béton and hence, a rekindling of the of this platform is to contribute to exhibition Béton (concrete) gives you will learn a lot about this euphoria it brought about has the field of cement and concrete children the opportunity to playfully material and how artists use it. become noticeable. The exhibition with research, development and explore the building material After that, we will show you how at the Kunsthalle Wien focusses consultation and by providing concrete. This was enabled by the concrete is made and you can try on the artistic exploration further education and support kind support of the BUWOG group it out yourself. You will be amazed of the social and ideological through seminars, training, and and the Verein Betonmarketing to see how much you can do with implications of past and present workshops. The C³ Studio offers Österreich. concrete. Please wear something concrete architecture. Concrete is a range of possibilities for learning you don’t mind getting dirty! progressive and can be more than more about cement and concrete, For children aged 8 to 10 built-up space. and the resulting innovations. Vienna Ugly – An Urban On a tour of the C³ Studio, Marko Registration: Exploration Thu 29/9, 6/10, 13/10, 6:30 p.m. Haberhauer and his team will show [email protected] From 25/6 – 8/10 every Saturday, KHM and Kunsthalle Wien you just how diverse and exciting 10:30 a.m. Exception: 6/8, Midnight Combined Tour the building material concrete can be. 3-day-Workshop: Tue 5/7 – Thu 7/7 Tour, 11:55 p.m. Meeting point: Foyer KHM 11 a.m. – 1:30 p.m. City tours Registration: Mixing Machine Studio – Meeting point: Entrance Augarten Old masters meet contemporary [email protected] How Art and Building Material opposite Obere Augartenstraße 40, art and architecture. On the Go Together 1020 Vienna basis of works selected from the Tue 30/8, 1 – 5:30 p.m. Kunsthalle Wien Museumsquartier collection of the KHM and the Visit to the Cement Works Everybody knows the beautiful side exhibition Béton at the Kunsthalle Meeting point: entrance and exit: Since antiquity, people have been of Vienna. Vienna Ugly – An Urban Wien, this tour demonstrates how Kunsthistorisches Museum, using concrete-like building material Exploration, however, looks beyond the old masters already integrated frontage road Burgring at the Maria for their homes. And when you take the clichés of stunning architecture, the “opus caementitium” in Theresien Square a close look around, you’ll notice Schnitzel, and Sissi. On his city their works, and how artists and that concrete is almost everywhere. tours, Eugene Quinn presents the architects are dealing with this Cement is one of the most important In three workshops we will examine top ten of Vienna’s ugliest squares building material today. binding agents in the world, and with how artists use this material in their and buildings. In keeping with his a global production of 2.8 bn tonnes works and which ideas it inspires credo: “Beauty can be boring – but Wed 13/7, 12/10, 10 a.m. it is also the most popular building in architects. We will show you how ugly never is.” Everything about the Building material. On a tour of the Lafarge concrete is made and all the things Material Concrete cement works in Mannersdorf you you can do with it. You’ll be amazed All tours in English, no former Tour at the C³ Studio will learn about cement production how exciting this material can be. registration necessary. Franzosengraben 7, at first hand. Let “Industrial Chic” Please wear something you don’t Contribution towards expenses: 1030 Vienna inspire you! mind getting dirty! 5 EUR

40 41 Communicating Art at the p[ART] background. With the help of its Colophon Kunsthalle Wien Cooperation with Trade Schools partners, the foundation is currently supporting 39 scholarship holders Exhibition Art education plays an important The collaboration between the in Vienna. Kunsthalle Wien GmbH role in helping to find an approach Berufsschule für Frisur, Maske und to contemporary art and in Perücke, Wien 16 (trade school for For the duration of 2015/2016 school Director: emphasising the importance of art hairstyles, masks, and wigs) and term, the Kunsthalle Wien is the Nicolaus Schafhausen in modern society. The Kunsthalle the Kunsthalle Wien is part of the Crespo Foundation’s institutional Wien offers a number of programs programme p[ART] – Partnerschaft partner in the field of art and culture. CFO: which introduce different target zwschen Schulen und The communal project is called Sigrid Mittersteiner groups to topics and issues related Kultureinrichtungen (partnership “Das Politische und das Private (the to contemporary art and inspire between schools and cultural political and the private)”. The young Curators: participants to actively explore the institutions) and is supported people are working together with Vanessa Joan Müller potential of visual art. by KulturKontakt Austria and Francesco Ciccolella, Peter Phobia, Nicolaus Schafhausen For each exhibition, the the Federal Ministry for Education and Johanna Kirsch. Exhibition Management: Kunsthalle Wien develops different and Women. Juliane Bischoff offers which correspond with the This partnership was The Academy Goes to School. Juliane Saupe given content and the expected initiated in 2014 for a period of Equal Chances through audience. Besides classic instruction three years. The aim is to offer Intercultural Education Construction formats, such as free tours and young apprentices insights Management: programs for school classes, we into contemporary art and its Die Akademie geht in die Schule Johannes Diboky offer many events which reflect the institutional roots, and to present (the academy goes to school) is Michael Niemetz contents of the exhibition and provide them with possibilities for creative a cooperation project with the further insights. (self) presentation and forms Akademie der bildenden Künste, Technicians: of expression. Vienna. The intention is to develop Beni Ardolic This includes: lectures, group While the collaboration activities that show ways leading Frank Herberg discussions, film programs, was dedicated to the media to the art academy by means Baari Jasarov performances, tours with the curators, photography and painting in 2014 of low-threshold offers and by Mathias Kada talks with experts, masterclasses. and 2015, the focus in 2016 is creating structures that make this on performance art. The young career path possible. External Cooperation in the field people are working together with The project primarily caters to Technicians: of education the artists Elvedin Klačar, Thomas those studying to become teachers Harald Adrian Hörl, and Barbis Ruder. in the artistic field. The graduates Hermann Amon The Kunsthalle Wien is dedicated have the chance to apply new Dietmar Hochhauser to linking current discourses in START forms of communication work Alfred Lenz the field of art with questions of Cooperation with the Crespo and art educational activities. Danilo Pacher everyday life. Also in 2016, the Foundation and with Youths with As project partner of Die Akademie Kunsthalle Wien is working together an Immigration Background geht in die Schule, the Kunsthalle Art Handling: with Viennese schools, institutions Wien has developed special Marc-Alexandre Dumoulin of higher learning, and differently The guiding principle of the project formats in order to introduce the Chris Fortescue funded organisations involved START is to perceive immigration institution and its professional Johann Gröbner in youth work. In this context, as a chance for cultural diversity fields. It offers insights into the Scott Hayes supporting adolescents with an and dynamism within our society. multi-layered profile of an art hall Lazard Lyutakov immigrant background and social START is financed by the German and encourages the students to Johann Schoiswohl disadvantages is a particularly Crespo Foundation and exclusively actively explore the professional Andreas Schweger important incentive. caters to pupils with an immigration possibilities in the creative field. Stephen Zepke

42 43 Marketing: Text: Dalia Ahmed Vanessa Joan Müller David Avazzadeh Eleanor Taylor Katharina Baumgartner Adina Hasler Editing: Isabella Drozda Press and Communication: Vanessa Joan Müller Katharina Murschetz Martin Walkner Stefanie Obermeir Translation: Fundraising and Katherine Lewald Sponsoring: Silvia Keller Design: Antoine Begon Event Production: Boy Vereecken Gerhard Prügger Dramaturgy: Print: Andrea Hubin REMA LITTERA PRINT Ges.m.b.H. Vanessa Joan Müller Eleanor Taylor © Kunsthalle Wien, 2016 Kunsthalle Wien GmbH is Vienna’s Education: exhibition space for international Isabella Drozda contemporary art and discourse. Martin Walkner Public Fund: Educators: Wolfgang Brunner Main Sponsor: Daniela Fasching Ursula Leitgeb Sponsors: Martin Pfitscher Michael Simku Media Partners:

Finances: Mira Gasparevic Doris Hauke Natalie Nachbargauer

Visitor Service: Kevin Manders Christina Zowack

Exhibition Booklet

Publisher: Kunsthalle Wien GmbH

44 Information

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