Kunsthalle Wien #Destination Museumsquartier Booklet DESTINATION

VIENNA 2015 17/4 – 31/5 2015 www.kunsthallewien.at Welcome to The Performances section (pages 37-44) Kunsthalle Wien an outflow of the population. Nowadays, provides an alphabetical listing of the artists brownfield sites characterize the once- Kunsthalle Wien, who are presenting a temporary performative Museumsquartier prosperous industrial city as well as its work at one of Kunsthalle Wien’s locations inhabitants will to change. welcome to or their urban surroundings. The booklet introduces the artists, the concept of each Adrian Alecu Destination performance as well as its time and location. *1972 in Bucharest, lives in Hamburg and Anna Artaker Vienna 2015! The booklet aims to give brief and essential Vienna information, guidance and explanation *1976 in Vienna, lives in Vienna With this booklet you can explore the regarding the artistic content and intentions landscape of contemporary art in Vienna. in the exhibition. A digital book will offer At its venues at Museumsquartier and more in-depth information on the concept Karlsplatz, Kunsthalle Wien offers a cross- of Destination Vienna 2015, the selection of section of over 70 selected artistic positions works and the individual artistic contributions in various media and concepts, together both on their own terms and in relation to with a rich program of events spanning the exhibition: this book will be available many artistic genres and current themes. as a free PDF download on the Kunsthalle Besides the locations of Kunsthalle Wien, Wien website from May 10, 2015 onward. almost 60 Viennese galleries, off-spaces, Alternatively, this publication can be ordered cultural associations and institutions are as a bound paper brochure (Book on simultaneously presenting over 250 further Demand). In addition to introductory essays artistic positions originating from or relating by the curators, the digital book will contain The Egg, 2014 to Vienna. For more information about the texts by Christian Egger, Christian Holler, HD video, color, sound, 16:9, 16 min. Die Rothschild’sche Gemäldesammlung in program, being organized by the other oellinger/rainer and Stefanie Sargnagel Wien, 2013–2014 participating cultural institutions, please (written in German) as well as a photo series Working City, 2014 Pigment print on paper, five parts, consult the Destination Vienna EXTENDED of installation shots. HD video, color, sound, 16:9, 28 min. 100 x 60 cm, 100 x 250 cm, 100 x 220 cm, folder or www.kunsthallewien.at. 100 x 60 cm, 100 x 120 cm We wish you a stimulating, enjoyable and Courtesy the artist Courtesy Arbeiterkammer Wien insightful time in Vienna – where Destination Vienna 2015 sets light on the city’s The modernist building in the center of In 2014, Anna Artaker created a site- How to use the contemporary art scene until the end of May. Beirut, designed in 1965 by the architect specific installation for an exhibition at Philippe Karam, was conceived as a Vienna’s Chamber of Labor built on the site Destination Vienna Kunsthalle Wien Team multifunctional complex: the idea was for of the former Palais Rothschild. A partial office premises to adjoin leisure activities reconstruction of the collection of paintings 2015 booklet in the form of a cinema and a shopping compiled by the Rothschild family that center. Because of its appearance, the had been expropriated by the Nazis only The first section of the booklet (pages completed building was nicknamed the hesitantly restored by the Austrian state 3-34) provides an alphabetical listing ‘Egg’. Destroyed during the Lebanese Civil after the Second World War and is now of all the artists on show at Kunsthalle War, twenty years later it still stands as a scattered to all parts of the world. Artaker Wien Museumsquartier, irrespective of ruin and functions as a metaphor for the city was able to research 80 illustrations of the location of their works within the two in itself, as a cinema that no longer shows works from the once opulent collection, exhibition halls or their foyers. films but nonetheless exists as a site of mainly Old Masters, which she reproduced Labels next to the art works state the artists’ projection. The ‘Egg’ is a place of forgetting in original size on wallpaper. Dutch painting names and work titles. In this booklet, you and of the imagination, revealed in Adrian of the 17th century, French rococo and can find additional information beneath the Alecu’s film during a long drive through the English portraits and landscapes of the 18th name of each artist: a short bio, information city, accompanied by a narrative about the century all bear witness to the refined taste on their works, an image of one of the Beirut of yesteryear and of today. of the former owner whose war-damaged exhibits, as well as an introductory text on the Working City also reflects Alecu’s interest palace had to make way for the functional work. in urban situations of upheaval, which he building of the Chamber of Labor after the records in a mixture of the documentary war. The provenance of the works is noted The section of the book entitled Exhibition approach and participative observation. next to each illustration, reconstructing the Displays (pages 35-36) provides information The filmic study of the American city of pictures’ odyssey through expropriation, on the concepts of the exhibition architecture Cleveland explores its decline due to the restoration and in some cases sale. at Kunsthalle Wien Museumsquartier and economic restructuring processes in the By adopting the mode of a matter- Karlsplatz. second half of the 20th century, amplified of-fact inventory, Artaker condenses by high unemployment, poverty, crime and her reconstruction of the Rothschild

2 3 collection into a concentrated image of way that is minimalist and poetic in equal inside and outside and regulates the Adrian Buschmann Austrian history. The selection on show at measures. Therefore, Josef Bauer’s artistic transition from public to semi-public Kunsthalle Wien is an advancement of the practice incorporates concrete poetry, or private. As a steel construction, it is *1976 in Katowice, lives in Vienna and site-specific installation. performance and sculpture, which he reminiscent of one-way passageways like Vallebona combines in personal, authentic manner. those encountered at public swimming The observers, as the addressees of the pools or building sites: collective spaces verbal form, are physically integrated in that are not open to all. Placed in the middle Josef Bauer his works and become the co-producers of the exhibition space, however, the of linguistic composition. Even seemingly, revolving door loses its functionality. In her *1934 in Wels, lives in Linz autonomous sculptures reveal themselves work, Cäcilia Brown references structures to be rebus-like structures that put of public space. By presenting set pieces conceptuality and materiality to the test. from the urban environment, she not only questions public-space structures but also thematizes the presentation space itself. She is interested in the relationships Cäcilia Brown between space and human bodies, in architectural details that create physical *1983 in Sens, lives in Vienna order and organize social space. Brown’s preferred materials are steel and concrete, but nonetheless her works always possess an element of lightness and fragility. For her work nun entschuldigen sie mir, ich bin hier she cast cardboard boxes, used as Blaues Bild, 1985 makeshift dwellings in niches and corners Oil on canvas, laminated on hardboard, of public space, in concrete, thus reversing 80 x 103 cm the logic of the materials. Through the resulting confusion and discomfiture, BuchSTABEN, 1968–1980 these objects reveal the contradictions of (P, R, E, S, L ägyptisches Kreuz – T) the public arena and create traces of the Wood, aluminum, polyester, varnish, personal within the urban. dimensions variable Flirt, 2015 Oil on canvas, 210 x 260 cm Körpergalerie, 1974 Black and white print, two parts, 24 x 16 cm Abstrakte Bildidee, 2015 each (framed) Wood, metal, straw, oil on canvas, approx. 40 x 30 cm Ohne Titel (Betonkugel), 2008 Concrete on plaster, diameter: 74 cm Courtesy Gabriele Senn Galerie, Vienna

Courtesy unttld contemporary, Vienna Adrian Buschmann’s works juxtapose art-historical references with irrelevant Josef Bauer is both a sculptor and an author banalities, the familiar with the unknown and of concrete poetry. Some of his early works the abstract with the figurative. Observing were defined as ‘tactile poetry’ in the sense his paintings, one repeatedly has the vague of literature that one is allowed to touch. The Drehfoyer, 2014 feeling of seeing familiar elements of art literal ‘grasping’ of language as a reflection Steel, ball-bearing, pressboard, history that however appear to be rearranged on the naming and symbolism of things 150 x 200 x 220 cm in a seemingly irrational manner. His work themselves is however also a feature of involves an examination with other artists. written works such as the BuchSTABEN nun entschuldigen sie mir, ich bin hier, 2013 By adopting motifs, recombining and created from 1968 onwards. These are Reinforced concrete, five parts, abstracting them as well as adding his own individual letters attached to the tips of dimensions variable elements, Adrian Buschmann questions the long rods, which lean against the wall in a notion of authorship. The points of departure deactivated state, but which can also be Courtesy the artist and Gabriele Senn for Flirt and Abstrakte Bildidee are two works held in groups. As a mobile swarm of letters, Galerie, Vienna by the artist Raoul Hausmann, born in Vienna the rods constantly create new meanings. in 1886. Buschmann discovered formal Other sculptures and installations examine As a place of transit, a revolving door similarities in the paintings of the Dadaist the object status of colors and things in a separates two areas, defines between and his own and uses these coincidental

4 5 aspects as a trigger for producing new the exhibition’s architecture. The ephemeral Mitya Churikov archaeological methods to investigate the works. He takes up the Dadaists’ ideas of object in the outdoor environment seeks architectural, economic and ideological parody and collage and mixes these anew encounter, but also exists on its own terms *1985 in Kiev, lives in Berlin dimensions of a place that imagines a with concepts of original and copy, of the and lends a transitory substance to the future designed in the past. The integrated past and that which follows. He is not only immateriality of the word. video Unknown Alt-Erlaa shows a visual interested in the creative act as such but representation of the residential complex in the procedural aspects of artistic work, created with 3D scan software. However, which can also involve coincidence and during the slow tracking shot through the uncertainty. Here, the lightness with which Julian Charrière complex one repeatedly sees startling digital Buschmann brings together the familiar and moments that disrupt the perfectly stylized the unexpected always lends his pictures a *1987 in Morges, lives in Berlin surface. By combining digital and analogue humorous aspect, too. elements, Churikov generates an associative topography of Alt-Erlaa. Hugo Canoilas Eva Egermann *1977 in Lisbon, lives in Vienna *1979 in Vienna, lives in Vienna

Panoramen, 2013 HD video, color, sound, 8:20 min. Courtesy Dittrich & Schlechtriem, Berlin

Mountains with snowy peaks, valleys with drifting mist, a rainbow between the clouds Untitled (Alterlaa-AG 1968), 2015 – a picture book Alpine landscape. However, Installation and video, various materials, The sun in darkness, 2015 something does not seem quite right in the approx. 270 x 120 x 30 cm Acrylic on found tree leaf, installed in the natural scenery. A vague sense of doubt Courtesy the artist Probe Heiligenstädter Lände, 2015 Lainzer Tiergarten in Vienna, appears, because reality cannot be quite Two-channel HD video, color, sound, 16:9, dimensions variable so unblemished and undifferentiated. The The residential apartment complex 11:55 min. Courtesy the artist photographs in Charrière’s Panoramen are Wohnpark Alt-Erlaa in Vienna is the starting Recorded in April 2013 with the musicians not only further stereotypical images of his point for Mitya Churikov’s newly created Veronika Eberhart, Bernhard Hussek, Many of Hugo Canoilas’ works are based on home country Switzerland, but were also installation Untitled (Alterlaa-AG 1968). Bernhard Kern, Julia Mitterbauer, quotes from philosophical texts or poems, fabricated at various building sites in Berlin. As one of the biggest residential complexes Agnes Slowik, Cordula Thym and which he applies to a variety of image The artist uses the excavated soil there to in Austria, built in the 1970s, the settlement Martin Zenker; Sound and camera assistants: carriers. Here, the concept of the picture is create a picturesque idyll – with the help of has a full infrastructure that gives its Roland Gaberz, Cordula Thym and not confined to the idea of an object on the flour and fire extinguisher foam. By means residents a wide range of leisure activities Philipp Schwarzbauer. wall, but follows a free logic of objectified of this perfect visual illusion, he not only and aims to meet all living requirements in presence in space. questions our romanticized ideas of nature, the satellite town. The modernist architecture SPK Cover, 2015 Guided by a concept of painting that but also points to its fragility and the limits of the complex is reminiscent of the building Digital print, 118.9 x 84.1 cm understands this medium both as material of natural resources. Charrière’s artificially styles of the socialist east, which now Sozialistisches Patienten Kollektiv (SPK): Aus and metaphor, Canoilas mediates between created landscape remains as fictitious symbolize a failed utopia. der Krankheit eine Waffe machen (KRRIM– abstraction and realism, between the space visual construction so that the artist draws Churikov’s installation comprises PF–Verlag für Krankheit, Mannheim, 1987) of words and that of visual representation. attention to an ecological consciousness, concrete pedestals that resemble the Foreword by Jean-Paul Sartre. His work for Destination Vienna 2015 which is increasingly displaced by economic facades of Alt-Erlaa. Copper wires spread intentionally departs from the institutional and political interests. out from the pedestals like organic growths to An Outcast Night, 2015 space in favor of an almost marginal which elements from the residential complex Performance with Redhead Army presence in an outdoor setting: a leaf are attached: found objects, hand-written inscribed with a poem, installed in the Lainzer notes, and leftovers. The objects reference Courtesy the artist Tiergarten. In the exhibition, a picture of the the past and present of the complex telling location has been transferred directly on the less of a linear story and instead opening Stop making sense was the title of the wall and hence physically incorporated in up an investigative space. Churikov uses well-known Talking Heads concert film

6 7 dating from 1983. Turn illness into a weapon Christian Eisenberger Christian Falsnaes Marina Faust (Aus der Krankheit eine Waffe machen) was the title given to a manifest by the *1978 in Semriach, lives in Vienna *1980 in Copenhagen, lives in Berlin *1950 in Vienna, lives in Paris and Vienna Socialist Patients’ Collective from 1987. Eva Egermann revives these phrases together with many other anti-conventional statements in a new context: in her video work Probe Heiligenstädter Lände, which includes instrumental accompaniment, she thematizes practices of resistance around the so-called deviance, illness and handicap through various contexts and appropriations. The artist’s works were created in an underground studio. The point of departure for the installation is a one-off impro-session in which Egermann and several musician friends Paar, 2014 RISE, 2014 improvised counterculture slogans and Acrylic on canvas, 100 x 120 cm HD video, color, sound, 15:15 min. sounds, investigating the different and Courtesy the artist and PSM, Berlin divergent for their constructive potential. O.T., 2014 Here the artist also makes use of existing Acrylic on canvas, diptych, 120 x 200 cm Christian Falsnaes describes the public elements, using remix and mash-up as the raw material for his performances. processes to concentrate video and audio Courtesy Galerie Krinzinger, Vienna He asks the spectators to follow his material into a fragmentary and distorted instructions and then generates relatively overall image. Moreover, the examination Christian Eisenberger has a huge artistic absurd situations. This is also the case with of and confrontation with nonconformity output. One can only estimate how many RISE, a performance, which took place at are issues of a performance with the punk works he has created to date. A few years Akademie der Künste in Berlin in summer musician Redhead Army at Kunsthalle ago, apparently he had already produced 2014. Encouraged by Falsnaes’ instructions, Wien Karlsplatz: in 1910 in New York, tens of thousands. For ten years, he worked the audience’s hesitant participation quickly anarchists organized an Outcast Night in in complete anonymity and made subtle changes to euphoric exuberance. The video Five Times Meret from the series which they turned the concept of normality interventions in nature, especially in his presented in the exhibition is more than just STACKS, 2014 on its head. Egermann’s academic home region of Styria. This was followed by a documentation of this event. The recording Inkjet print on tissue paper, five parts, research combines with her artistic artistic actions in public spaces all over the follows a script and was subsequently 49 x 33 cm each examination of deviations from the norm world as well as spectacular performances, processed to make the video an autonomous Courtesy the artist and moments of confusion and irritation. but also with a constant output of paintings. work. By taking the role of a director, The nebulous staged event resists logics of These follow the principle of the spontaneous Falsnaes involves the public in the process The overlay of see-through images does rationality and lends a new connotation to gesture, of coincidence and of impulses of the work’s creation and simultaneously not necessarily offer transparency. Rather, the unreasonable and the opaque. created by the paint that are realized in questions the relationship between artist and the underlying layers become visible. compositional terms: ‘My technique arises public. Consequently, it is each individual’s They are like shadows of the above image. The performance by Eva Egermann takes from the paint itself ... you just have to let it do performance by which social norms, power Marina Faust’s STACKS is comprised place at Kunsthalle Wien Karlsplatz on April the work.’ relationships and gender roles become of photographic images taken from her 27, 2015 at 8 pm. Vanitas, life and death are essential subject of the work. Falsnaes, who studied at archive and printed onto thin tissue paper. themes for the artist and are not only realized the Academy of Fine Arts Vienna, conducts Ten different images are presented in each as motifs but also reflect his approach to a social experiment by manipulating stack. Five Times Meret is a multiple portrait artistic production. Eisenberger generally the collective, whose obedience seems of Meret Oppenheim, which takes a filtered rejects the art world and its logics of almost intolerable. By trying the audience’s look at Oppenheim’s work. Each stack exploitation: He leaves it to coincidence willingness to the limit, he critically questions includes the same ten images but in each whether his works end up in an exhibition participatory approaches in art, which variation, the top image is a different one. Not or on a rubbish dump. The materials for ultimately are subject to the authority of the all ten images are fully visible, but they each his art literally lie in the streets: cardboard artist. At the same time, he questions artistic play their part in creating the associative packages, all sorts of bits and pieces, objets authorship, since his works are always portrait. ‘In his costume dramas, Erich von trouvés of everyday life. Whatever the artist created in a collective process. Stroheim demanded of the actors that their finds is being used and transformed into underwear also be historic. The awareness of something new. But this something new, too, wearing historic underwear would thoroughly is repeated until the idea becomes outworn support the actor’s attitude and gestures. and has made its contribution to the art- The invisible layer of clothing was crucial to becoming of the world. the actors’ play.’ (Marina Faust)

8 9 Lukas Feigelfeld Daniel Ferstl alienation and caricature. The painting, which Postcard (Rosso Antico Muhri), 2014 resembles cartoon images, depicts a row Marble, steel, dimensions variable *1986 in Vienna, lives in Berlin *1982 in Linz, lives in Vienna of boards frontally opposing the viewer. The accompanying sculpture of a tree stump Courtesy the artist and Georg Kargl Fine Arts, initially seems natural, but this impression is Vienna reduced to absurdity by an attached ribbon in batik look. The title is taken from a song by The Andreas Fogarasi’s work revolves around Bangles, an American pop group of the 1980s, architecture, urban branding and the and thus notches up the kitsch a stage further. commercialization of public space. Here, art The motif of yellow shows a scene from and design as legitimizing elements of urban Sergio Martino’s Lo strano vizio della Signora restructuring collide with the mechanisms of Wardh (1971). This film belongs to the Giallo cultural hegemony and so develop a dense category, a specifically Italian subgenre of the frame of reference involving requirement thriller characterized by explicit violence and and appropriation. Fogarasi is interested in nudity as well as the excessive use of stylistic how cities or political ideas are condensed devices. The film, known in English as The into images and what role various cultural Beton, 2011 Strange Vice of Mrs Wardh and in German formulations play in this process. HD video, color, sound, 4:3, 55 min. as Der Killer von Wien, presents images of Formally, he often utilizes existing display Vienna that in part are strongly alienated and elements, temporary architectures and Interferenz, 2013 reflect the film aesthetics of the 1970s. Ferstl elements of street furniture, which he HD video, color, sound, 16:9, 45 min. takes this as a springboard for developing the represents in other types of materiality subject further and adding new references. while abstracting their functions. His Courtesy the artist Placemarks, made of marble, are conceived as trademarks in public space but remain Beton depicts Vienna in the late 1990s as empty signs. Their rhomboid form is from the perspective of Ana and Markus, Andreas Fogarasi derived from the Renault logo, which in turn a young couple whose daily life is shaped is taken from a design by Viktor Vasarely that by boredom, drugs and the constant search *1977 in Vienna, lives in Vienna proclaims a universal language of form. In for the next adrenalin kick. An analogue, contrast, the Placemarks draw attention to hand-held camera documents two yellow, 2015 the marble from which they are made of and young people and their restless lifestyle; Hand-dyed linen, transfer prints, acrylic, in doing so reference architectural history as fragments of an existence that soon merge 180 x 150 cm a history of the material and its origin. The to form a tragic story. Lukas Feigelfeld’s striking installation of postcard-sized pieces filmBeton not only grants an insight – of the captain’s daughter, 2013 of marble appears to float in space, but the both private and exhibitionist in nature – Oil, acrylic, linen, 180 x 150 cm pieces are suspended with wire cables. The into the life of two young people, but also small panel could be assigned to a specific provides an ethnographic perspective on if she knew what she wants (he’d be giving it stone quarry, replacing a landscape view so Vienna in the 1990s. to her …), 2013 that the marble pieces become a projection Interferenz tells the story of Piwonka, Unfired clay, varnish, epoxy resin, surface for an imagined exoticism and thus one of a dozen migrant workers who live approx. 50 x 25 x 25 cm the foundation for modern built environments in Colony #191286 on an unknown island. and their claim to universality. Hard work, harsh weather conditions brezelchen, 2015 and barren landscapes determine his Unfired clay, varnish, epoxy resin, monotonous life. Finally, an incident on one approx. 50 x 25 x 25 cm of the drilling rigs off the coast of the island leads to his separation from his beloved Courtesy the artist wife. For months, he lives on his memories and when he is almost dying of his desire Daniel Ferstl’s artistic vocabulary references for her, a link between the two arises in a pop-cultural phenomena from various dream. They are able to meet again in an periods. He appropriates styles, transfers intermediate world, and to gain new hope. them to various subjects and consciously Interferenz tells of desire and rebellion in incorporates coincidence in the genesis of times of seeming hopelessness. his works. The two-part work if she knew what she wants (he’d be giving it to her …) comprises a painting and a clay-sculpture Placemark (Tardos Pannonia), 2014 that represent the material wood in various Marble, steel, 100 x 70 x 10 cm ways. Here Ferstl is chiefly interested in Postcard (Verde Guatemala), 2013

10 11 Heinz Frank qualms about using artistic trends and olfactory identity of the city, which although a commodity product, challenging the the stylistic idiom of indigenous art, then experienced subjectively is nonetheless desire to see and to possess. In contrast, *1939 in Vienna, lives in Vienna combining them to create new forms. The shared collectively. The city image associated the photograph – with its isolation of the point of departure for his works is always a with the scent-based stimulus arises object against a neutral background – thought, an immaterial idea that becomes as an olfactory engram that can only be imitates the objective gaze that is applied concrete material. His artistic practice communicated by language. Here the scent in the systematic registration and inventory might be illustration or material articulation varnish functions as an artistic premise that of objects for the purposes of study and of a mental creation. For Frank, translating produces an immaterial image of Vienna. scientific research. For von Gabain, who has language into form represents a process that also worked with computer-generated 3D can never be completed. graphics, the relationship of such created objects to the virtual space is not radically Kerstin von Gabain different from the relationship between real objects and spatial qualities of the Heribert Friedl *1979 in Palo Alto, California, lives in Vienna photographic image.

*1969 in Feldbach, lives in Vienna Till Gathmann

*1977 in Paderborn, lives in Berlin and Vienna

DAS VIS A VIS DES GEGENÜBERS, 1974 coexist, 2015 Wood, mirror, carpet, text of a Haiku on Scent varnishes on a wall, dimensions cardboard, 135 x 405 x 83 cm variable Courtesy the artist DAS VIS A VIS DES GEGENÜBERS, 1981 Symposium on the dark ages, 2014 Mixed media on canvas, 200 x 70 cm Heribert Friedl’s installation coexist is not Black and white photography, evident at first glance: it becomes perceptible 37.5 x 37.5 x 3 cm (framed) Courtesy Charim Galerie, Vienna for a visitor when he or she interacts with the work. Various scent varnishes applied to a Ossobuco, 2015 Heinz Frank’s assemblies generally consist white wall need to be haptically activated in Plaster, paper, cord, plastic, 32 x 25 x 17 cm of found objects, which combined in a order to become perceivable as odors. Friedl specific way, develop a new and mysterious eschews visual stimuli and puts the focus Courtesy Gabriele Senn Galerie, Vienna essence. The installation DAS VIS A VIS DES on the synesthetic perception of the public. GEGENÜBERS by Frank, who has been The varnishes are almost transparent and Kerstin von Gabain combines sculptural active as an artist since the 1970s, presents only indicate the points where the observers and photographic reflections both two draped wooden beams on trestles, can participate. Rubbing the surface of the representing and alienating reality. Her which in turn stand on carpets. Two mirrors wall thus becomes an act of reading and works focus on the human body, alluding are inserted in the middle of the beams. The a precondition for reception of the work. to prostheses and dissociated body parts Some Formal Aspects of the Letterform B / surfaces of the mirrors face each other, so In turn, the interpretations of the odors in a manner both surreal and macabre. Table B (for Institute), 2014–2015 that the mirrored image reflects itself and evoke images of things and places that are Photographs of limbs cast in plaster Wood, steel tube, inkjet print coated on MDF, thus doubles into infinity. This escalation to a associated with individual memories. The are juxtaposed with installations in the A4 copies, 70 x 130 x 130 cm hyper-reflection ultimately loses its content coexistence of various odors in the urban exhibition space – items that might have and decays into empty loops. environment sets the point of departure for a narrative function but are intentionally Some Formal Aspects of the Letterform B, 2015 Frank’s works are inspired by primitivism this associative representation of Vienna. restricted to hints. Performance, woolen threads, graphite and a longing for the original or primordial, Through the act of smelling the scents, the The photograph of the plaster fragments pencil, oil crayons, garden rake, slide but always present themselves with an ironic white surface of the wall is charged with of a thigh encounters a real thigh-shape projection, A4 copies twist. Simultaneously they retain something images referring to personal experiences. packed in newspaper. Presented on the mysterious and strange. The artist has no Simultaneously the work examines a possible floor in a plastic bag it thus almost becomes Courtesy the artist

12 13 Alfred Kallir (1899–1983), who grew up in a without head, 2012–2013 Julian Göthe G.R.A.M. Viennese Jewish family, was a historian and HD video, color, sound, 8 min. autodidact who researched the history of the *1966 in Berlin, lives in Berlin Artist group, founded by Günther Holler- alphabet, devoting special attention to the Courtesy unttld contemporary, Vienna Schuster, Ronald Walter, Armin Ranner and hidden meaning behind the forms of letters. Martin Behr in Graz in 1987 He experienced the collapse of the Habsburg Language is a recurring element in Sofia Empire, dreamed of a career as a violinist in Goscinski’s work, not only as a signifier the USA, worked as a manager for a steel and autonomous sign system, but also as company in Czechoslovakia, in Amsterdam an expressive articulation of the invisible. and in London, and witnessed its destruction The photo series Rainbow Country consists through Hermann Göring’s policy of seizure. In of eighteen images in the colors of the 1941, it was Winston Churchill’s famous victory rainbow with letters carved with a needle sign that finally inspired him to an intensive on the original film and then blown up and indeed obsessive study of the letter V and and printed. On approaching the abstract the genealogy of typographic letters in general. photographic prints, the words ‘major In his work, Till Gathmann examines the depression’ appear, but they do not actually virtually unknown biography of Kallir, the issue seem to match the chromatic and are of how historical conditions can be represented experienced as a dissonant level that and their influence on Kallir’s thinking. Guided alters perception. Der Wiener Minimalkompromiss, 2015 by the Freudian principle of transference, The head box in the video without head, Wallpaper and neon writing, 238 x 336 cm Gathmann creates performances in which he a black, coffin-like box with a hole in the himself – in a mimetic approach to his research middle, in which one could stick his head, Ja, Ja, Ja, Ja, Ne, Ne, Ne, Ne, 2015 subject – becomes a figure of obsession and has an ambivalent function: Originally a Performance failure and establishes a personal connection sculpture, it can also be transformed into a to the relationship between writing and image, prop for a performance. As well as presenting Courtesy the artists and Galerie Christine photography and typography, as researched artificial-looking poses and reflecting on her König, Vienna by Kallir. For Destination Vienna 2015, his own self in a peculiar disembodied fashion performance takes place in an installation Goscinski recited a mantra-like text that Political leaders of the 5+1 negotiation in which a table amplifies the architectural, revolves around heedlessness and its impact group from the UN veto-holding powers ideological and symbolic dimensions of the on mankind’s life and the course thereof Télépathique, 2010 and Germany gather for a group photo letter and research materials emphasize during these performances. Wood, metal, acrylic glass, gloss paint, following the protracted negotiations with Alfred Kallir’s obsessive endeavor. The As soon as the speaking self solely electronic components, 200 x 94 x 60 cm Iran on the nuclear dispute. The most performance by Till Gathmann takes place at manifests itself fragmentarily, more than just Courtesy Galerie Buchholz, Berlin/Cologne striking feature of the press photo is bowed Kunsthalle Wien Museumsquartier on April 30, transforming the perception of the body, heads and a search for the right place in the 2015 at 7 pm. it will become an abstract symbol of Julian Göthe’s sculptures are reminiscent formation of government representatives. human physique. of giant flacons, of jagged tectonic bodies The Austrian foreign ministry had rented in space. They refer to familiar shapes and the Redoutensaal (Grand Ballroom) of the appear to quote something, but it becomes Vienna Hofburg to announce a possible Sofia Goscinski apparent there is no specific referee. agreement to the world press, but due to With their glossy black surface, they are the minimal compromise that was finally *1979 in Vienna, lives in Vienna noticeably present, which in turn gives reached – yet another deadline extension their immobility an air of temporality. They to the negotiations – the hall remained could be part of a backdrop or a display, empty. G.R.A.M. selects motifs like these nonetheless remain self-referential. from the universe of media images, lending The starting point of these sculptures them new visibility in a re-enactment. They is the fact that Göthe is primarily a expose the gestures, the rhetoric of body draughtsman and interprets his three- language, the pathos and self-staging, dimensional works as a translation of lines as well as the constructed nature of such in space. Artisans meticulously implement seemingly coincidental but in fact precisely the edges, surfaces and volumes of choreographed pictures. Göthe’s graphic designs. These larger than life figures appear to be turned and The performance by G.R.A.M. takes place at mark coordinates within the space. They Kunsthalle Wien Museumsquartier on May charge this space with their somewhat 28, 2015 at 7 pm. Rainbow Country, 2012 eerie presence and captivate the onlooker: Fine art print on paper, 18 parts, Telepathic forces disguised as a minimalist 40 x 28 cm each (framed) construction.

14 15 Eva Grubinger Michael Heindl by chance, the arrangement reminds one of positioning of the viewer impossible. a triptych and could be read as a reference to In The Queer Family Album, photography *1970 in Salzburg, lives in Berlin *Born in 1988 in Linz, lives in Vienna and Heindl’s own study of painting. taken from differing contexts is combined Scharten with specific individual narratives, thereby establishing queer representations and fictional relations within the context of what Ana Hoffner would seem to be everyday motives.

* 1980 in Yugoslavia, lives in Berlin and Vienna Produced in collaboration with Les Complices*, Zurich. Supported by Bundeskanzleramt Österreich Sektion Kunst und Kultur.

David Jourdan

Café Nihilismus / Handlebars, 2014 *1974 in Martigues, lives in Vienna Polished steel bars, leather, 90 x 200 x 40 cm Zwischenlösung (Workaround), 2013–2014 Adhesive tape, 44 x 44 x 7 cm Café Nihilismus / Pinstripe, 2014 Metal, textile, 53 x 48 x 160 cm Destination Unknown, 2014 Press board with working marks, three parts, Courtesy the artist and Kerstin Engholm 100 x 38 cm, 100 x 135 cm, 100 x 38 cm Transferred Memories – Embodied Galerie, Vienna Documents, 2014 Courtesy the artist HD video, color, sound, 16:9, 14:35 min. One of Eva Grubinger’s sculptures is slightly reminiscent of a racing bike and thus of Michael Heindl works in, and with materials The Queer Family Album – Me and my Three speed in relation to human movement. The taken from, public spaces. He is interested Daddies, 2014 wide gap between the handlebars also in the characteristics and peculiarities of Photo installation, two parts, 21 x 29.7 cm suggests a bridging of distance, space and locations and sites, their transformation each (framed) time. Another abstract sculpture cleaves to and reinterpretation. In Zwischenlösung the form of Le Corbusier’s famous chaise (Workaround), he pursues improvised repairs The Queer Family Album – Vacations before longue but wraps it in pinstripe fabric, so that that can be found throughout the urban space Migrations, 2015 the corporate world and the psychoanalyst’s of a city. He specifically seeks out objects Photo installation, four parts, 21 x 29.7 cm couch both move into a private interior. that have been repaired using adhesive tape. each (framed) In her exhibition Café Nihilismus, Eva The tape is removed in a filmed intervention, Grubinger combined motifs of Viennese with the found objects thereby being returned Courtesy the artist modernism and those of rapid progress to their original, broken state. Heindl then rolls around the beginning of the last century to up the adhesive tape to a new shape. The Ana Hoffner’s film and photographic works an abstract portrait of an era, which looks material constituting these new objects bears pursue a performative approach, combining uncannily like our present day and is defined clear traces of its former use, the story of which fiction with found material to allow for new by innovative technology and scientific is intertwined with Vienna’s urban spaces, readings and interpretations of images. This findings. In her sculptures, Grubinger yet one which has now experienced a re- way, differences incorporate the given and Ohne Titel, 2015 appropriates the superimposition of design codifying through Heindl’s treatment. Through raise questions in regard to its dichotomies. 1208 x 681 x 19 mm with socially progressive thinking of the his conversion of this improvised putty, he Referencing Ingmar Bergman’s Persona, past by combining different materials and highlights the fractures in a public society Transferred Memories shows a conversation Ohne Titel, 2015 ambivalent forms to hybrid structures as geared towards functionality and perfection. of two women in extreme close-up. They 1002 x 589 x 22 mm mediators between epochs. The journalist For his piece Destination Unknown, describe iconic images of violence and and writer Ludwig Hevesi mockingly called Heindl brings material from his studio horror while these images remain invisible. Ohne Titel, 2015 the Vienna Café Museum and close to the into an urban environment for it to The seemingly disembodied voices indicate 997 x 533 x 19 mm Vienna Secession – designed by Adolf Loos – undergo modification. Near the Belvedere content, but hold back any concrete reference ‘Café Nihilism’. neighborhood, he places a tabletop from to a specific situation as much as they abstain Ohne Titel, 2015 his workplace on the tracks of the Vienna from any form of explanation. The presence of 1198 x 367 x 22 mm Schnellbahn (Rapid Transit). As it passes the bodies in motion serves to counteract the by, it splits the board into three precise parts. disassociation of the viewer due to the lack of Paper prints, coated on chipboard The result is a three-piece object carrying the visual representation of events referring the traces of paint of earlier works. Almost as if Bosnian War and the Holocaust, making a Courtesy the artist

16 17 David Jourdan examines various types of and their possibilities for exchange. Are corner of something 3, 2006 Tina Lechner transfer processes as well as transmissions we guided by objects? Do they speak to Jute fabric, aluminum frames, animal carbon, and duplications of meaning that arise from us? The objects out of glazed clay asked 160 x 225 cm * 1981 in St. Pölten, lives in Vienna these. Here, he also questions the economy to be touched, but at the same time, are of images and their symbolic usage in a not items of any practical usage. Nor are Courtesy the artist and nous moules system of meaning. For the items exhibited, they magical objects – they shift between he takes some of his own works on paper expression and form. In his mural, Tonio Kröner depicts Medusa as point of departure, which are based on The system of objects, in reference to sitting on a melting ice cube playing a various types of found images and texts, the title of one of the early works by French violin. He borrowed the female figure from transformed by Jourdan into multi-layered philosopher Jean Baudrillard, is a system a French lemonade ad. Painted in a shade objects. The images are applied to raw of significance. Objects have the tendency of light grey on a white wall, the figure chipboards and cut to size, thus physically to drift out of the ‘reality of the experienced alternatively appears and disappears. condensing, graphically transferring and world of objects’ and into cultural spheres The image was projected onto the wall alienating them in terms of content. The of meaning. According to Baudrillard, and seems afloat. The pixels of the digital focus shifts from the actual motif to its instrumentality constitutes only one of projection materialize but do not, however, margins, new contents present themselves, many categories relevant to our dealings take on the status of a human being. A three- protruding elements disappear. The works with objects, but not the most important dimensional object representing a back refer to printing processes with flatbed category at that. Kapusta’s objects tell of tooth is installed next to the figure. It is part of printing presses as well as sliding table saws the hybridization of design, of everyday a series in which Kröner made imitations of used to cut prints to size. Jourdan brings items and artistic objects of use, touch, his set of teeth. The corner of something on these references together and combines surface and material, of objects with unclear black material is made out of pigment from them to form a new object. meaning and significance, such as objects so-called animal carbon, which is generated of desire. ‘And then we look at you and speak from burnt cattle bone. to you. Moreover, you look back. Look back, Oftentimes Kröner’s sculptures and understand our language and your tools fail installations have something slightly surreal Barbara Kapusta you.’ (Barbara Kapusta) about them: their scale is out of alignment and while they seem realistic, they are Ohne Titel, 2015 / Ohne Titel, 2015 *1983 in Lilienfeld, lives in Vienna The performance by Barbara Kapusta takes exaggerated; their unlikely combination Gelatin silver print, 70 x 58 cm each (framed) place at Kunsthalle Wien Museumsquartier makes them appear fierce. While the back on April 23, 2015 at 7 pm. tooth, as a human asset needs to be cleaned, Ohne Titel, 2011 Medusa was seized from a soft drink Gelatin silver print, two parts, 44.5 x 36.5 cm corporation. Kröner conducts a sampling each (framed) within and with reality pushing a dynamic Tonio Kröner way of thinking by combining different levels Courtesy the artist and Galerie Hubert of representation, navigating his way through Winter, Vienna *1984 in Datteln, lives in Munich intervals of painting and sculpture and through abstract and tangible portrayals. His The sculptural motives in Tina Lechner’s focus lies on the body’s status in the digital analogue photography, with their modulated, space and on its application as an image of a black and white asceticism, are reminiscent of brand or a metaphor. the aesthetics of Bauhaus, constructivism and the style of ‘New Vision’. Self-created, abstract Ein Gedicht für 22 kleine Objekte, 2015 elements made of paper and geometrical props Enameled clay, textile, screen printing on are applied to female models, which Lechner paper, dimensions variable then photographs, creating portraits turning their backs to individuality. The bodies locked Ein Gedicht für 22 kleine Objekte, 2015 into the image seem to lose their liveliness Performance in favor of an approximation of the object. Through the masking and superimposition of Courtesy the artist physiognomy with objectivity and the leveling of the figure into the overall composition, Small amorphous objects with both rough Lechner designs artificial, constructivist beings and smooth surfaces. Pleasing to the Vanity Fair, 2015 that seem to come straight out of a long-lost touch, representing nothing, yet exhibiting Emulsion paint, dimensions variable vision of the future. At the same time, the a spoken existence: Barbara Kapusta’s rigorous interplay of forms meets the individual Ein Gedicht für 22 kleine Objekte (A Poem being out, 2014 materiality of the photographic print, which for 22 Small Objects) circles around the Styrofoam, fiberglass, primer, serves to counteract the objectification of the relationship between subject and object 46 x 19 x 24 cm female physique in a multifaceted fashion.

18 19 Sonia Leimer Paul Leitner and thereby obstructed from carrying on its broadcast the contours of the sculpture onto journey towards a potential germination spot. the wall surfaces, depicting fleeting images. * 1977 in Meran, lives in Vienna * 1983 in Vienna, lives in Vienna It is an experimental design, one that moves a New details continue to develop and change small, fragile object into the center of attention. through the movement of these fragile objects. Elaborate in its construction, the traveler The line becomes a pattern, which oscillates makes visible the ephemeral of the everyday. between the abstract and the figurative, telling paper-jack, on the other hand, is stories all the while. Connections are made and an installation which presses stacks of cartography of thought is constructed. Luser’s standardized A4-size paper between walls, objects distinguish themselves through their ceilings and arches using a screw clamp. This processual nature and the openness of their process allows the paper to become a compact character, which only fully develop through the form, an expansion within the space or an perception of the viewer. The artist constantly intervention within a given structure. Here, too, crosses the borders of the image carrier, we are presented with an easily comprehended opening manifold associative spaces that are arrangement, which simultaneously alters the linked together into poetic structures. perception of an inconspicuous object, such as Neues Land / Nowaja Semlja / New Land, 2014 a piece of paper. Aluminium, paper, video, color, no sound, 16:9, 7:37 min., dimensions variable Nana Mandl Ohne Titel (Versenkbares Objekt), 2014 Constantin Luser * 1991 in Graz, lives in Vienna Concrete, fender, 65 x 53 x 55 cm *1976 in Graz, lives in Vienna Ohne Titel (Versenkbares Objekt), 2014 Concrete, fender, 42 x 42 x 110 cm

Ohne Titel (Versenkbares Objekt), 2014 Concrete, fender, rope, 65 x 53 x 55 cm

Courtesy the artist and Galerie Nächst St. paper-jack, 2011 Stephan Rosemarie Schwarzwälder, Vienna A4 paper, screw clamp, 21 x 29.7 x 100 cm and Barbara Gross Galerie, Munich the traveler #1, 2012 Once an icon of Soviet technological progress, Fan, wind tunnel, acrylic glass tubes, straws, the nuclear-powered icebreaker Lenin now hornbeam seed, dimensions variable sits as a swimming museum in Murmansk, a remembrance of past glories. Sonia Leimer the traveler #2, 2015 combines historical footage of the icebreaker Fan, wind tunnel, acrylic glass tubes, straws, in action from the film archives in Moscow with dandelion seed, dimensions variable pictures from her visit to Murmansk, as well as excerpts from Soviet propaganda footage the traveler #3, 2015 of the space program. This historic view of Fan, wind tunnel, acrylic glass tubes, straws, D1.1 the landing, 2015 / D1.2 the landing, 2015 the arctic thereby seems just as exotic as maple seed, dimensions variable Wire installations, dimensions variable the view into space. The video Neues Land / Courtesy Österreichische Galerie Belvedere, Nowaja Semlja / New Land is projected onto Courtesy the artist and unttld contemporary, Vienna an oversized envelope, which carries on it a Vienna stamp depicting the Lenin and an illustration Drawing constitutes the point of origin for from the beginnings of nautical navigation. Paul Leitner’s installations are constructions Constantin Luser’s sculptures, as he sees this happy brake, 2015 The buoys cast in concrete cubes, which and apparatuses that develop complex effects technique as embodying the most original Acrylic, oil crayons, paper and glitter on Leimer presents together with this installation, through simple interventions. With their focus artistic medium. Multiple, parallel-led pens digital print on canvas, 190 x 130 cm also appear like functionless nautical material, on familiar and easily overlooked objects, create contours on the page that still manage cute collection, 2014 having lost their lightness and ease through they alienate said objects from both a formal, to capture a three-dimensional effect despite Mixed media, 43 x 33 cm (framed) the sculptural form. This swimming signal as well as a phenomenological perspective. their inherent flatness. In a further step, he then system has become a submersible object, His installations called the traveler use wind translates these drawings into the exhibition hang on $$, 2015 yet it remains an abstract viewing object tunnel technology to facilitate the suspension space. His delicate wire objects float freely and Mixed media, two parts, dimensions variable within the exhibition space, just like the Soviet of a natural process in air: a single flying present themselves differently, depending on icebreaker in its museumized form. seed is virtually fixed through an air current the perspective of the viewer. Light and shadow Courtesy the artist

20 21 Nana Mandl creates collages of visual Christian Mayer of this prospective past. Mayer also shows were accordingly planned in detail. Ralo worlds in sugary colors that combine recordings of the openings of such time Mayer embarked on a research trip to the online fragments with the common to *1976 in Sigmaringen, lives in Vienna capsules, mounting the historical documents San Francisco Bay Area where he studied form abstract surfaces. Lacking any on blow-ups of the respective flipsides of the relics of those early draft versions for recognizable underlying structure, some the photo prints. In this way, two sides of the a life in space. Striking is the personnel of her works are reminiscent of media same visual field become recognizable, the overlap between protagonists of the Space images that have been enlarged so far visible and the reference to its archiving, Colony movement and those of the later that the structure of their pixels becomes with the present and the past thereby digital revolution as well as the spatial superimposed over everything, or where quasi-amalgamated. The video Nine of overlap between the epicenters of the 1960’s the blur of the image creates abstract Hearts shows a grandmaster of memory drop-out movement and today’s internet planes of color where one once found who is able to remember every single card companies. information. Actually, Mandl’s collages in a pack by creating a so-called ‘memory Mayer’s installation is a compilation consist of Google images that were digitally palace’. Therefore, he translates three-cards of essays and posters that promote space distorted and distanced even further from combinations in interior images, which he colonies and interviews with visionaries of the photographic original by painting incorporates in imaginary spaces. Here, too, yore. Fiction overlaps reality; documentation over them. The traces of color become mnemonics proves to be the storage of time is superimposed on an autotomized vision an analogue image-editing program, in space. of the future creating a plausible unity that facilitating a leveling of the source reflects on expansion and imagination on material. When taking stickers of cute different levels. animals, putting them on reproductions from newspapers and combining these Ralo Mayer with illustrations, the result resembles an analogue version of the technical process *1976 in Eisenstadt, lives in Vienna Melitta Moschik of image creation. These suggestive works leave almost no room to decipher *1960 in Villach, lives in Vienna and Graz which images have been edited using Photoshop, which are digital and which are analogue. They emit visual stimuli, only to then ultimately and confidently turn these against the expectations of the viewer. Nine of Hearts, 2015 HD video, color, sound, 14 min. Courtesy the artist and Galerie Mezzanin, Vienna

Putting in time (04/17/85) / Putting in time (06/07/62) / Putting in time (10/16/87) / Putting in time (03/03/61), 2014 66 x 53 cm each (framed) Silicium, Sequoias, Schwindel: Kinder Putting in time (08/04/92) / Putting in time zwischen Mond und Erde, niemand weiss (06/89) / Putting in time (03/28/80), 2014 was dann passiert. So what bashed open 53 x 66 cm each (framed) their skulls and ate up their brains and imagination? (Space Post-Colonialism), Original press photographies of a newspaper 2013–2014 archive, UV print on passepartout, Installation, various materials, OUTER SPACE, 2014 acrylic frame dimensions variable Wall object, steel plate, painted black, CNC Courtesy the artist and Sammlung der machining, aluminum frame, 120 x 120 x 2.5 cm How does our memory function? How Kulturabteilung der Stadt Wien – MUSA does time manifest itself beyond simple DESTINATION TR34, 2013 chronology? In his Putting in time series, The mission to the moon with the aim of Wall object, steel plate, painted black, CNC Christian Mayer presents original colonizing it and establishing permanent machining, aluminum frame, 120 x 160 x 2.5 cm photographs taken from American habitats was not a mere fantasy in the 1970s, newspaper archives dealing with the but pertained to serious planning in the face DESTINATION NYC, 2013 burying of time capsules: containers with of prophesied over-population and finite Wall object, steel plate, painted black, CNC documents that are embedded into the resources. Space colonies with unlimited machining, aluminum frame, 120 x 160 x 2.5 cm foundation of a house during its construction solar energy were a beacon of hope as a with the intention of a future remembrance solution for urgent earthly problems and Courtesy the artist

22 23 Punched plates display the abstracted ach Otto, hiányozni fogsz, 2015 Michael Part about an abstract pattern in subtle hues on topographies of the metropolises of Istanbul Installation, radio, poster, pedestal, the surface. The slide installation untitled and New York City. The individual points dimensions variable *1979 in Vienna, lives in Vienna exhibits photograms that were produced create the effect of an abstract urban Courtesy the artist using silver gelatin slides and a chemical landscape as it might be seen from the air. The solution called malachite oxalate. Although points have various diameters, though they are On a hot summer’s day in July of 2011, a they were developed in a darkroom, plotted to a grid of vertical and horizontal lines. black-clad procession of aristocrats made there are no signs of exposure. These The apparently computer generated images their way with trumpets and sabers through nonrepresentational, monochrome images are complemented by a further metal plaque Vienna’s first district, grieving the death of combine the history of photography with that showing a satellite view of the entire globe. Otto von Habsburg, the eldest son of the of abstraction into a multi-layered reflexion Melitta Moschik takes up the mechanical last Austrian emperor. After the service on imaging techniques and inquiries about aesthetics of our mediatized everyday world in St. Stephen’s Cathedral, the coffin, representation. and processes existing images into pieces accompanied by this funeral procession, was without any recognizable signature. She brought to the Capuchin Crypt, the traditional appropriates the familiar language of visual gravesite of the Habsburgers. Thousands of information and accentuates its claims of interested individuals and curious onlookers Nicola Pecoraro universal significance. Modern imaging observed the cortege’s passage through procedures provide the basis for an artistic downtown Vienna. Josip Novosel, who *1978 in Rome, lives in Vienna and Rome appropriation that nevertheless succeeds was present at the event by chance, took a in developing an individual approach to photograph that shows a couple dressed questions of representation, through factors in black amid a crowd of tourists. Though such as selection, extraction and dissociation. merely silent participants, they nevertheless What we believe to recognize on the plaques expressed something akin to commiseration does not correlate to any humanly possible with their black clothing. Novosel has had the point of view but instead a perspective photograph printed up in poster size, so that facilitated by media. it now somewhat recalls the royal portraits that one sometimes finds in restaurants. It sits atop a pedestal painted in ‘Schönbrunn Yellow’ (a shade beloved for the facades Josip Novosel of Viennese palaces) and is ballasted by a untitled, 2015 heavy-duty jobsite radio set to an Austrian Nine photograms on 35 mm silver gelatin *1988 in Zagreb, lives in Vienna boulevard radio station. There’s something slides, chemical solution (malachite oxalate), out of place about hearing a radio in an art digitally controlled projection, loop, 8:55 min. institution. Like the appropriating gesture of the colored pedestal, the radio station untitled, 2013 reflects an ideology and value system in Silver on brass (cementation), 39 x 26 x 1.7 cm which the superimposition of the past and present are as dissonant as that of the black untitled, 2013 ribbons of the grieving and the clothing of Silver on brass (cementation), tourists. 100 x 66.6 x 1.7 cm

Courtesy the artist and Galerie Andreas Huber, Vienna

Michael Part studies processes that date Untitled, 2015 back to chemical experiments from the early Wax on carpet, five parts, 200 x 100 cm each days of photography. His work has focused Courtesy the artist extensively on silver gelatin photography that is based on complex chemical formulas The material and its transformation through and reactions. His adaptation of these artistic practice are the basis of Nicola historical processes results in works that Pecoraro’s work. The transformation itself are experimental yet composed. Part’s is as important as the transformation’s monochrome images are created using process that remains discernible in the a silver gelatin solution, a by-product of finished work. Fittingly, Pecoraro’s works are photographic processing. As part of the created in a somewhat performative manner: chemical process, these metal plates are as an exploration of different materials used to bind the silver again. This brings with an open outcome. The result of these

24 25 experiments could be a painting, sculpture, into a single heterogeneous complex. captivate the viewer. Some of them have thus emphasize the process itself, even sound, installation or an amalgamation of Flora from the tropics, Alpine valleys or the been devised beforehand; others are motifs though the result always seems finished. them all. botanical garden encounter sea animals or that already existed. For the most part, The creation of the image is recorded and Pecoraro’s recent works oscillate transgenic plants cultured in the laboratory. the works unfold a theme within a series. encapsulated in the picture, which often between image and object, surface and This painting, which translates hybridization Editing each series plays a big role, as recent overcomes normal boundaries and moves depth, disclosure and superimposition. into the composition of the image, presents works are set in a different context to older into the exhibition space. For Destination He has partially removed the upper layer of itself like a jungle of forms and colors whose works, reappearing again or disappearing, Vienna 2015 Reiter Raabe has created a jacquard velour carpet tiles and reworked surface has been leveled off. depending on which topic the artist is painting surface that can literally be entered them with pigmented wax. The lines between Pliem, however, alters the form, color and interested in. The formal approach of the work and walked upon: it transforms the floor into the surface and what lies beneath become size of the individual vegetal elements as the favors a visually compressed reality, which an image and in so doing generates a tension blurred in surreal landscapes that are pictorial invention requires: the formulation deflects from the individual over a depiction between the picture and the installation that comprised of abstract colored zones. While of details within the multi-layered surface of of living reality. People waiting produces a can be resolved neither in one direction nor the preserved carpet surface suggests a the classical panel painting adheres above all concise image of passing time whilst also in the other. The painting presents itself as visual stability, the image area of the removed to compositional considerations. As a result, reflecting on the nature of photography the trace or remnant of a previous process, carpet opens up into an ever-expanding color the idea of the human who shapes nature itself which permanently captures a specific increasingly extended by the traces of those gamut of imaginary depths. gains direct access to the genesis of painting: moment. Hanna Putz recorded people in who interact with it. as an entity that forms and deforms, enables different places in different poses who seem and destroys, the human does not place itself to be in a state of waiting for something or for outside of nature, but instead right in the someone.The image’s titles hint at the time Karin Pliem middle of it. frame of waiting. What, however, does the Valentin Ruhry state of waiting itself mean? What kind of *1963 in Zell am See, lives in Vienna suspension routines are we developing? *1982 in Graz, lives in Vienna Hanna Putz *1987 in Vienna, lives in Vienna Andreas Reiter Raabe

*1960 in Raab, lives in Vienna

Concursus naturae I / Concursus naturae II, 2015 Oil on canvas, 200 x 250 cm each

Courtesy the artist

Nature and culture are productive O.T., 2015 opposites. While the former represents Acrylic on chipboards, 950 x 670 cm the original, the unspoiled, the latter is Courtesy the artist and Charim Galerie, considered its transformation, if not its Vienna transcendence. The relationship between nature and culture is not however one of The work of Andreas Reiter Raabe takes the Vorsitz, 2015 antagonism, instead they are virtually 07min02, 2015 / 15min47, 2015 / 04min33, medium of painting as its point of departure Shirt of the artist, coat-hook, metal bar, dependent on one another. Art likes to play 2015 / 12min21, 2015 but extends it into the realms of installation dimensions variable them against one another, although at best, Photography, 120 x 96 cm each (framed) and sculpture, which then in turn treat as an abstract system of representation painting as their matter. Reiter Raabe’s Gladys Anna Elizabeth, 2015 itself, it can merely simulate the concept of Courtesy the artist approach to color, to coincidence and Poster, 139.5 x 89.5 cm (framed) naturalness. Karin Pliem’s painting brings control creates an extended field of action together creatures from diverse parts and The analogue photographs by Hanna Putz, that includes both expressive gestures and 3,20€, 2015 ecosystems worldwide and blends them with their subtle colors and clear composition, performative image generation. His pictures Book, dimensions variable

26 27 Courtesy the artist and Galerie Maruša Sagadin capitalism? Where do high and low meet and his own perfection for which the healthcare Christine König, Vienna what kind of dialogue would they have? By industry gladly provides him with the *1978 in Ljubljana, lives in Vienna superimposing various perspectives onto the appropriate means. Though Sariannidis’ Valentin Ruhry’s sculptures feature a work, Sagadin’s art transcends analysis and dystopia might appear futuristic, it has already minimalist aesthetic and a formal simplicity. abstraction and refers to an inherent change become reality in some parts of the world. Each of the three pieces exhibited in – including changes of social conditions. the show stand for themselves and are intelligently linked to one another. The shirt on the wall titled Vorsitz can only be reached Leander via a metal bar. It is reminiscent of early Ari Sariannidis works of conceptual art and emphasizes Schönweger Ruhry’s conceptual approach. The artist *1986 in Berlin, lives in Vienna and Berlin concerns himself with sociocultural * 1986 in Meran, lives in Vienna processes of change, which accompany the economization and digitalization of life. He observes affirmative strategies of companies in the digital industries that intend to sell a lifestyle along with their products. The idea of decentralization and democratization that arose with the development of the internet proves to be an unobtainable undertaking in the face of the monopoly of some of Silicon Valley’s companies. Consumerism is portrayed as an identity-conferring experience and the potential of a global network life surplus / we’re not just another local drug crumbles, becoming a commodity fetish. mall, we’re your friends, 2015 Der innere Mensch, 2015 Gladys Anna Elizabeth refers to the first Installation, various materials, video, Wooden closet, key, motor, 200 x 221 x 63 cm names of Austrian political economist dimensions variable Courtesy the artist Joseph Schumpeter’s three wives. Triptychon, 2014 Courtesy the artist Schumpeter shaped the concept of a Cement on basis, three parts, 250 x 340 x A dark closet leans against the wall. In one ‘creative destruction’, which states that 2.5 cm Governmentality is a concept French of its doors, a key slowly turns in circles as economic development is only possible philosopher Michel Foucault used to describe if guided by an invisible hand. All the doors when established production is persistently Hand (die B.I.G.), 2014 the type of modern government that is no have keyholes, but there is only the one key. suppressed and eventually destroyed Wood, concrete, steel, paint longer confined to political structures. The Leander Schönweger designs scenarios whereby generating desire becomes an 230 x 62 x 35 cm focus shifts more towards the individual that do not tell stories, but instead create end in itself. 3,20€ deals with the handling and its biological existence. Performance, atmospheres that develop their own type of public goods. The title states the exact Extra Extra Elle (Bergisel), 2014 perfection and improvements in efficiency of dreamlike logic because of their sheer amount of the overdraft fee Ruhry will have Wood, paint, 165 x 38 x 38 cm have become the dictum of a body regime openness. In the end, it is not so much about to pay the library by the end of the exhibition that no longer aspires to be coerced but the turning key as it is about the childhood for a book on the topic of depts, which he Courtesy the artist that targets the practice of the self. Through memories of dark closets as spaces of the loaned there. his installation life surplus / we’re not just hidden and concealed. The interplay between Formally, Maruša Sagadin’s sculptures another local drug mall, we’re your friends Ari inside and outside, hiding or being frightened refer to an architectural vocabulary, yet they Sariannidis creates a scenario of transformed by the unknown lurking behind the dark walls alienate it and add new layers of meaning to and physically optimized bodies that obey of the doors, forms the coordination of an it. Sculptures placed on pedestal like models a system of rationality and productivity. arrangement that appears simultaneously play with the buildings’ tectonics meanwhile Anthropomorphic structures commingle into both strange and familiar. Schönweger’s establishing anthropomorphic references. The abstract growths and present human kind as minimal interventions into everyday situations, materials used add an additional reference a modularized unit of function. In YouTube as recreated in the exhibition space, live as plane: wood, metal and concrete are exhibited videos adolescents explain how they pop their much from the disassociation and alienation in their raw form or cladded in pastel colors. daily ration of pills more efficiently, pills that they create as they do from the déjà vu effect One could refer to it as ‘Modernism meets add the value that is missing from their lives. they evoke. The associations they trigger are Memphis’, but this implies that the verbal The neoliberal logic has permeated all aspects as variable as the memories connected to aspect backs the works and through the title of life, even the instance of the physical being, them and the cultural matrix into which they enunciates a contemporary perspective on and transmuted humankind into a regulative are integrated. There is nothing mysterious the progressive redesign of urban space instrument of capitalistic bio politics. As a about the installation; nothing dramatic about and its architecture. What is life like under deficient being, he bears responsibility for the way it has been staged, yet it reveals

28 29 darkness. The title is taken from the concept of perspective because it refrains from displaying Three years ago, Mishja Stroj withdrew from Give me first then I give you back. It’s the ‘inner child’, lifting it here to an universally the usual historical recordings. On the contrary, the art scene, manifesting his proclaimed capitalism!, 2014 valid level and, in doing so, playing on a hidden the viewers are prompted to question their own ‘abolition of the artist’ with a belt stretched Private collection world of emotion that we previously believed history-images. between two hooks on the wall. For his art we had overcome. Nichts gesehen! resents those parts of scene comeback last year, he found another I’m having a serious wtf moment. Like, what the system that looked away, that denied they use for his belt, now strapped around an am I doing here? The whole world is just so were to blame and within which the refutation A-shaped bent aluminum bar leaning against random., 2014 of the memories served as a repression of the wall. This was by no means a profane Private collection Johann Schoiswohl what is painful. gesture: Linked to the triangular shaped bar, Besides the installation, two photographs the artist’s belt marks the compass arc in the It’s nice. I feel relatively ‘safe’ or whatever., *1979 in Wels, lives in Scharnstein and of objects found in recent years close to the golden ration. 2014 Vienna artist’s family home are being exhibited: bomb Stroj uses found objects, wood and metal Collection Kay Scherpe, Cologne fragments and a steel helmet from the Second to create works that exist between imagination World War. The photographs against a black and reality; nevertheless questions regarding UV direct print on epoxy resin on canvas, background are reminiscent of museum art system, authorship, interpretation and the engraved acrylic glass, 92 x 72 cm each images and thematize the historicizing and alleged sovereignty of the artist’s subject play (framed) accompanying defusing and distancing from a vital role in his work. Latent anthropomorphic past events. Basing his approach on personal sculptures collide with abstract formalistic Courtesy the artist and Galerie Emanuel Layr, history and the fictionalization of traces and works and a concurrence exists between Vienna evidence from the past, they simultaneously architectural allusions and his works. demonstrate a different approach to history. Stroj acts out the possibilities of an The titles of Philipp Timischl’s works refer Johann Schoiswohl’s works emphasize artistic handwriting, only to marginalize it. to a hedonistic world in which belonging is that the private perspective is also always a Thus, a work of art comes into being between expressed through self-portrayal and labels. collective one, too (and vice versa) – one that poetry and pragmatism, consciously In his collages, materialistic superficialities also has its blind spots. exposing its own fragility. and private images commingle, blurring Nichts gesehen!, 2010 the lines between reality and media. 35 mm slide projection, metal shelf, Icons of consumerism have replaced the projection surface, dimensions variable identity of portraits. Timischl’s leitmotifs Mishja Stroj Philipp Timischl are contemporary youth culture and its Bombensplitter, 2015 points of reference, since they seem to Stahlhelm, 2015 *1974 in Ljubljana, lives in Vienna *1989 in Graz, lives in Wien establish a tense interplay between hype C-print, 61 x 51 cm each (framed) and triviality. He is interested in forms of medial communication, in image- Courtesy the artist creating processes and their on-going transformability. His artistic practice Johann Schoiswohl is concerned with how we constantly addresses medially delivered deal with our collective history. As documents image contents, branded by popular culture. of the past photographs play a unique role in The resin lends the pieces a haptic quality. the constitution of historical images. In Nichts They emphasize the canvas’ essentiality, gesehen! (Seen nothing!), the main focus whilst rendering it unfinished. The inherent has shifted to private photographs within a open-endedness of the artistic act refers to National Socialistic context. The starting point the continuous (re)generation of collective of the slide projection is a photo album that image-archives that are virally spread was found on a flea market and presents a through various media. subjective perspective on Nazi dictatorship and Io non aumento più (Versionen Fanfarone), the post-war period. Many of the photos in the 2012/2014 family album simply vanished, were taken out Belt, aluminum, 163.5 x 105 x 4 cm of the photo corners or were torn out. Often a caption remained that is just enough to guess Wiener Kante, 2000 its motif. It is precisely these blank spaces in papier mâché, 103 x 108 x 112 cm history that are of a particular interest to Johann Schoiswohl. He photographs the placeholders, Der Verrat, 2005 thus producing an image of a non-existing Wooden chairs, wire netting, newspaper, picture that activates associations – with the decoration paper, 320 x 50 x 234 cm war, with a criminal regime, but also with the Bin gerade aufgewacht und noch immer banalities of everyday life in the authoritarian Courtesy the artist and Kerstin Engholm betrunken., 2014 state. The project eludes a perpetrator Galerie, Vienna Collection Raj Parmar, San Francisco

30 31 Jenni Tischer the focal point on its aesthetic quality. While Octavian Trauttmansdorff’s installation untitled, 2012 the framework still refers to the origins of Soziales Korn (social corn) is a study of Wood core plywood, MDF coating, ink, glass, * 1979 in Heidelberg, lives in Berlin caning a chair, the creative elements already movement in public spaces. The artist 112 x 100 x 100 cm attain a formal autonomy through Tischer’s examines hierarchies in body language, new compositions. In both her sculptural which are upheld as social patterns and untitled, 2012/2015 objects Making Grid, which are part of a show situations of control, observation, fear Screen, anodized aluminum pipes, large-scale series, the artist again reverts or abnormalities. To the artist the current connecting elements, bath mat, headphones, to the use of craftsmanship, wickerwork means of expression are a projection 90 x 62 x 55 cm, video, color, sound, 5 min., and amorphous shapes. The materials and screen for social states, which he critically music title On My Body by M.E.S.H surfaces themselves are charged with cultural addresses and places in a larger context. references and historical meaning, which As part of the installation, the video shows Courtesy the artist and Georg Kargl Fine Arts, Tischer transfers into a new stylistic idiom. a person who hopelessly struggles to bring Vienna She re-contextualizes textile craftsmanship order into a situation of never-ending chaos. and interweaves it with reflections on interior The images that bring to mind conditions Astrid Wagner designs. She interprets material as an of precarity, as seen in television reports, ohne Titel, 2012 information storage unit and as coded history also challenge a charitable observation of Glazed ceramic, 16 x 10 x 14 cm that in its formal arrangement cannot be such images. Octavian Trauttmansdorff Courtesy the artist denied a decorative component. examines conditions of art production and art reception as well as the invisible mechanics Nadim Vardag’s sculptural and architectural of social behavior. In his work, he uncovers interventions can be interpreted as fixtures social norms and strategies of control. He and schemes for show casing, expositions Octavian points to the complex interaction of political, and misappropriated displays. Vardag economic, architectural and social spheres. has developed a set of arrangements that Trauttmansdorff In his artistic practice, Trauttmansdorff looks he adjusts to the setting of the respective at the methods of 1990s art, with its media- exhibition space. Their modular structure *1965 in Vienna, lives in Vienna oriented and critical approach on institutions, allows these elements to be arranged to lend and applies them to current social and the space a structural syntax, albeit without political situations. relinquishing the autonomy of the individual objects. The black structures, reminiscent of Making Grid XII, 2015 furniture or abstracted pedestals, incorporate Glass, modeling material, needle, thread, a dispute; one between cinematography and metal stand, diameter: 27 cm Nadim Vardag film through the film-reel’s formal citation and one with the interior through the design of Making Grid XIII, 2015 *1980 in Regensburg, lives in Vienna and a potential party table. A small sculpture by Glass, metal, knitting needles, textile, Berlin Astrid Wagner, placed on top of the objects, diameter: 47 cm, height: 10 cm interrupts this train of thought as if they were commenting on the different functions, Vienna Texture (Singer/Dicker), 2014 corresponding usages and social interactions. Stained wood bars, cotton thread, wall paint, In the cinema the eye is directed towards what 280 x 450 cm is happening on the big screen, at a party the interconnectedness of those present Courtesy the artist and Galerie Krobath dominates the scene. Spaces thus become Wien|Berlin stages of different forms of communication and within these spaces, even the interior’s Jenni Tischer’s Vienna Texture (Singer/ utilization turns out to be adjustable. Dicker) is inspired by Viennese wickerwork, a weaving technique that was made popular by the Thonet chairs. As coffee house chairs the wooden chairs from the Thonet manufactory untitled, 2012 became famous and can still be found in Wood core plywood, MDF coating, ink, many Viennese coffee houses. Tischer uses anodized aluminum, acrylic, glass, the wickerwork here as a creative element 65 x 100 x 100 cm through which the space is constituted. In her Soziales Korn, 2015 Courtesy private collection Hainz, Vienna work, the pattern has become abstract and Installation, three black and white liberated from its original function. A figuration photographs, paper, HD video, color, sound, untitled, 2012 of the wickerwork is achieved through an 16:9, 10 min., dimensions variable Wood core plywood, MDF coating, ink, overlap of the singular cords, thus placing Courtesy the artist anodized aluminum, glass, 90 x 100 x 100 cm

32 33 Tanja Widmann hand projector is designed for amateurs. It Exhibition Eric Kläring yields no flawless photo series but shows *1966 in Villach, lives in Vienna an idiosyncratic algorithm, portraying Displays *1978 in Wolfen, lives in Vienna images at will or in a blurred fashion. Thus, the apparatus remains not only a silent witness but becomes a performer and an Ovidiu Anton instrument used for interpretation. The projected images and abstract areas show *1982 in Timişoara, lives in Vienna modulations of forms, which Widmann had already employed in other works. With the economy of production in mind, the artist materialistically and ideally reconfigures elements from earlier works. The letter ‘O’ refers to the philosophical movement of ‘Object Oriented Ontology’, which rejects Kant’s paradigm that objects only exist in relationship to human cognition. The OOO, Ohne Titel (out of stock), 2015 however, regards references to and between Exhibition display Kunsthalle Wien objects as equal to human contexts. In Museumsquartier, exhibition hall ground floor Widmann’s piece, the ‘O’ can be seen as a Carpet, aluminum tubes, wooden poles, referring letter, a Zero or a hollow form wryly wooden composite boards, projection leaving open the question of the point of view Ohne Titel (Exhibition display), 2015 screens, Molton emulsion paint of the artist whose pieces oscillate between Exhibition display Kunsthalle Wien Karlsplatz Courtesy the artist theoretical reflection and artistic speculation. Wood, metal Courtesy the artist Eric Kläring’s exhibition architecture on the ground floor has been developed through an The French ethnologist Claude-Lévi Strauss interaction of the spatial conditions and the gave a new meaning to the word bricolage existing materials at Kunsthalle Wien. Every (tinkering): for him, bricolage is a previously material type – pedestals, wooden composite TJW/ presents undefined reorganization of directly available boards, tubing, and carpeting – is deployed if it’s not me. Let’s make out let’s make out (A signs or events to create new structures. For according to specific principles to create Little Later Remix), 2015 Kunsthalle Wien Karlsplatz, where a series different spatial situations. In the central of performances and talks are going to be section of the exhibition space, ceiling- Screen print from the series OMG ONG OH NO held during the exhibition, Ovidiu Anton has high wooden strips define a clear spatial Ed. 1/18, Philips PicoPix 3410, USB flash drive, designed a setting with a modular structure order, which however, due to the flexibly Slideshow OMG ONG OH NO 18/18, inkjet print and utilized display elements from previous adjustable wooden boards, remains open in on labels, glass, dimensions variable exhibitions – elements that already exist formal and constructive terms. The modular but are no longer in use. Benches from the display creates performative moments in Remix version by Johannes Porsch. Screens equipment store of other art institutions meet the positioning of the exhibited artworks printed with David Jourdan. OMG ONG OH replicas of Le Corbusier’s Tabouret Cabanon, and simultaneously refuses to submit to a NO (matrix) performed by Catharina Wronn. a cubic seating element that is easy to spatial hierarchy. In the rear section of the OMG ONG OH NO (slideshow) performed by transport and can be variously utilized thanks hall, pedestals are stacked on benches and Philips PicoPix 3410. to grips on the sides. Made from parts of old so form a backdrop that exists as a sculptural exhibition assemblies, the featured materials object on its own terms while also producing Courtesy the artist and colors of these exhibitions manifest a cabinet environment in the space behind. themselves in Anton’s redesign and charge A further space within the space is presented Tanja Widmann creates her work out of the neutrality of the White Cube with the in the side section of the hall, where a second interest in the performativity of language, the history of other locations. The functionality ceiling comprised of projection surfaces is creative potential of technical reproduction of the setting encounters an autonomous suspended. A strip of carpet that extends and variation as well as the digital circulation semiotic layer that raises elements of past across the full width of the exhibition space of information. She devotes herself to the events to the subtext of a future occurrence. simultaneously creates a threshold marking procedures of remixing and to the complex the Destination Vienna 2015 area. Despite relationships between idea and material, the heterogeneous individual elements, and between construction and reaction. or perhaps precisely because of them, the In TJW/ presents, by deploying a Pico modular architecture forms a synergetic beamer to perform, the artist engages in whole and generates a continual dialogue speculations on artistic authorship. The small with the works.

34 35 Johannes Porsch Destination Vienna 2015: the examination of Performances LOS DESTINADOS the societal differentiation between art as an *1970 in Innsbruck, lives in Vienna operating and experiential system. On one Julius Deutschbauer / hand, the installation negates the existing Kurdwin Ayub architecture of the hall, while on the other Klaus Pobitzer / Johannes Porsch Project Proposal #11 it transforms the hall’s actual space into a *1990 in Dohuk, lives in Vienna surplus space, which enables other angles Panos Mylanos and points of view of this other installed volume. The ‘shifter’ thus becomes a vector, *1961 in Klagenfurt, lives in Vienna which also reimagines the concept of *1971 in Schlanders, lives in Schlanders and destination as a moveable sign. Vienna

*1967 in Munich, lives in Munich and Vienna

Wien, 6. Februar 2015 Februar 6. Wien,

„Destination Wien“) auf. Wien“) „Destination

Ausdifferenzierung des Betriebssystems und Erfahrungszusammenhangs Kunst (mit Blick auf auf Blick (mit Kunst Erfahrungszusammenhangs und Betriebssystems des Ausdifferenzierung

das ihm immanente soziale System und dessen Begehrensstrukturen, die gesellschaftliche gesellschaftliche die Begehrensstrukturen, dessen und System soziale immanente ihm das

“white cube”, als materielle und mediale Problematisierung dessen ästhetische Konventionen, Konventionen, ästhetische dessen Problematisierung mediale und materielle als cube”, “white

Der räumliche Eingriff führt als ortsspezifi sche, historisierende Abwandlung des Dispositivs Dispositivs des Abwandlung historisierende sche, ortsspezifi als führt Eingriff räumliche Der

und Schichtung von Bedeutung, der institutionellen Prozessualität des Bezeichnens. Bezeichnens. des Prozessualität institutionellen der Bedeutung, von Schichtung und

signation“, als Differenzbildung Differenzbildung als signation“,

konzeptueller Skulptur verschiebt sich „Destination“ hin zu „De zu hin „Destination“ sich verschiebt Skulptur konzeptueller Performance on demand, 2015

wechselnder Standpunkte, Blickwinkel, ein phänomenologischer Vektor. In der Leseweise (post) Leseweise der In Vektor. phänomenologischer ein Blickwinkel, Standpunkte, wechselnder

Erfahrungsmodus minimalistischer Skulptur etwa wird „Destination“ so zu einer Serie fortlaufend fortlaufend Serie einer zu so „Destination“ wird etwa Skulptur minimalistischer Erfahrungsmodus

s hellen weißen Quaders. Im Im Quaders. weißen hellen s de Raumes, eingebauten des Erscheinen das Reserve als Restraum,

le, jetzt ein Überbleibsel, ein ein Überbleibsel, ein jetzt le, Hal der Raum der stützt Umgekehrt unterfüttert. Möglichkeit mit

möglich ihre Wirklichkeit Wirklichkeit ihre möglich wo macht; beobachtbar diese der hin, Umgebung zur Schnitt einen

ns doch gleichzeitig auch auch gleichzeitig doch ns Einbaue des Maßnahme die zieht so – Quaders des Raum abstrakten eren Raum, nämlich den den nämlich Raum, eren

Anderswo versetzt – der Besucher betritt buchstäblich einen and einen buchstäblich betritt Besucher der – versetzt Anderswo Performance

Denn negiert der Einbau die bestehende Architektur der Halle, indem er den Besucher in ein ein in Besucher den er indem Halle, der Architektur bestehende die Einbau der negiert Denn

des „shifters“, der die bewegliche Beziehung des Zeigens umreißt – gedacht werden soll: soll: werden gedacht – umreißt Zeigens des Beziehung bewegliche die der „shifters“, des

denn im dynamischen Verhältnis eines „hier/dort“ Bezugs – im linguistischen Verständnis Verständnis linguistischen im – Bezugs „hier/dort“ eines Verhältnis dynamischen im denn

entsteht ein Innen-Außen Verhältnis, das jedoch weniger in Ein- und Ausschlusslogiken, Ausschlusslogiken, und Ein- in weniger jedoch das Verhältnis, Innen-Außen ein entsteht

chens, verdoppelt. So So verdoppelt. chens, Zei theatralischen des Charakters ambivalenten des Darstellung,

Durch den Einbau des weißen Quaders wird die Halle, durchaus im Sinne der theatralischen theatralischen der Sinne im durchaus Halle, die wird Quaders weißen des Einbau den Durch Courtesy the artist des Präsentierens dienen sie zur inhaltlich motivierten Gestaltung des Raumes. Raumes. des Gestaltung motivierten inhaltlich zur sie dienen Präsentierens des

subarchitektonisches Set steht eine Toolbox aus Säule, Wand, Podest bereit; als Vorrichtungen Vorrichtungen als bereit; Podest Wand, Säule, aus Toolbox eine steht Set subarchitektonisches

Rigipsplatten. Die Wände, im Trockenbausystem aufgezogen, sind weiß gestrichen. Als Als gestrichen. weiß sind aufgezogen, Trockenbausystem im Wände, Die Rigipsplatten.

Gewölbe der bestehenden Hallenarchitektur sichtbar. Der Boden besteht aus hellgrauen hellgrauen aus besteht Boden Der sichtbar. Hallenarchitektur bestehenden der Gewölbe

bestückten Lichtbändern versehen. Teilweise ist durch die Gitterkonstruktion der Decke das das Decke der Gitterkonstruktion die durch ist Teilweise versehen. Lichtbändern bestückten

m mit mit Leuchtstoffröhren Leuchtstoffröhren mit mit m 2,50 von Achsabstand im und abgehängt Halle der Gewölbe vom ist

großer Fenster, die sich auf die weiße Maueroberfl äche hin öffnen, gegliedert. Die Decke der Box Box der Decke Die gegliedert. öffnen, hin äche Maueroberfl weiße die auf sich die Fenster, großer

zur Außenmauer 1,20 m. Die Wand zur Außenmauer Richtung Messeplatz ist durch eine Reihe Reihe eine durch ist Messeplatz Richtung Außenmauer zur Wand Die m. 1,20 Außenmauer zur

enüberliegenden Wand Wand enüberliegenden geg der Abstand der m, 3 beträgt Messeplatz Richtung Außenmauer

Raumes unter Berücksichtigung administrativer Vorgaben ab. Der Abstand der linken Wand zur zur Wand linken der Abstand Der ab. Vorgaben administrativer Berücksichtigung unter Raumes heller, weißer Quader eingebaut. Die Maße leiten sich aus der Geometrie des bestehenden bestehenden des Geometrie der aus sich leiten Maße Die eingebaut. Quader weißer heller, In die Halle 1 der Kunsthalle Wien wird ihrer Grundrissfi gur folgend ein 15 m x 52 m x 5 m großer, großer, m 5 x m 52 x m 15 ein folgend gur Grundrissfi ihrer wird Wien Kunsthalle der 1 Halle die In Kurdwin Ayub supplies her performance for the visitors, as they require. For an entire evening, the artist will be connected to the exhibition space from her home via live stream to receive the wishes of the audience. She aims to set herself apart with Shifter, 2015 a customized offer and will look after each Exhibition display Kunsthalle Wien recipient individually. Ayub supplies her art Musuemsquartier, exhibition hall top floor as a service and in doing so plays with the Rigips plaster boards, flooring panels, filler concept of the exhibition space: What is possible within the framework of art? How Loardship and Bondage, 2015 far will the spectators go with what they Poster, offset print on paper, 1.000 pieces, ask of her? How seriously or humorously is 59.5 x 84.1 cm the situation dealt with? At the same time, Performance, Concert and Collapse, 2015 her presentation references acts of media Performance Courtesy the artist exposure in the internet. Advertising chat Courtesy the artist windows that appear when visiting porn Johannes Porsch wanted to insert a websites, YouTube videos made for an The performance is a combined effort of large white cube into the upper hall of the anonymous recipient or also the intimate Deutschbauer / Pobitzer in collaboration Kunsthalle Wien Museumsquartier, doubling revelations of young people, especially with musician Panos Mylonas. the hall and transforming the references of girls, in video blog entries – Ayub satirizes a Deutschbauer who so skillfully imitates here and there to a dynamic relationship pseudo-authenticity of various media. She Pobitzer impersonating him that neither between inside and outside. Presenting and is interested in everyday staging that, thanks Pobitzer nor Deutschbauer knows who representing in the context of the exhibition to the internet, becomes more explicit. is who anymore. Pobitzer’s imitation of would have taken on a performative aspect of The main strategy for gaining attention is Deutschbauer copying him is so real, even the act of exhibiting in itself. The space in turn to use emotions, and thus to gain the 15 Mylonas cannot keep them apart. Together would have become a sign and ‘shifter’ in the minutes of fame so many people long for. they simulate a performance i.e. they linguistic sense: an element (of speech) to be By imitating the aesthetics of Web 2.0, perform together. Deutschbauer / Pobitzer / shifted or varied from context to context. Ayub simultaneously deconstructs its claim Mylonas simulate a concert. As a site-specific variation of the White to authenticity and blurs the boundaries One plays the other one’s reflection Cube, which exposes the problematic nature between cliché and irony. upon his request. They all talk of its aesthetic conventions, the current simultaneously and feign something room within a room also serves as a stage The performance by Kurdwin Ayub takes place different to what the other one says. for a scenario, which lies at the heart of at Kunsthalle Wien Karlsplatz on May 10, 2015. Prompting each other, by replacing one

36 37 another while blowing the other half away. The performance by Marina Faust and frames of reference between the quote and The performance by Aldo Giannotti takes Thus creating a performance between Sonia Leimer takes place at Kunsthalle Wien the surroundings. In contrast, the micro- place at Kunsthalle Wien Karlsplatz on double eagle and double-edge ax, double Museumsquartier on May 21, 2015 at 7 pm. performances – consisting of instructions for May 10, 2015. bed, ambiguousness, double rifle, double action and spontaneous interventions – pass thief, Doppler effect, double fugue and the script to other people and emphasize double grave, twin home, double chin, the coincidental moment as an innovative double hole, double murder and double Peter Fritzenwallner narrative authority. Harald Gsaller Mylonas, double jester, colon, double frenzy, double slit, great snipe, double *1983 in Mittersill, lives in Vienna The performance by Peter Fritzenwallner *1960 in Lienz, lives in Vienna vision, doubling and duplex viola, hybrid takes place at Kunsthalle Wien Karlsplatz on creature and double twine … April 24, 2015 at 7 pm.

The performance by Los Destinados takes place at Kunsthalle Wien Karlsplatz on April 24, 2015 at 8 pm. Aldo Giannotti

*1977 in Genoa, lives in Vienna Marina Faust / Sonia Leimer

Laozi in Vienna/Taiji ist diese Dinge, 2015 Lecture Performance With Taji master-disciple Anna Muck (Studio Zhang, Wien), video Courtesy the artist

‘Der Gegner findet mein Gewicht nicht.’ (The opponent cannot find my weight.) Taiji Temporary Wealth Index, 2015 means showing or integrating opposites. Performance In his lecture performance, Harald Gsaller Courtesy the artist introduces the world of Chinese Taoism, the principle of a unity of complementary Für eine Weile, wer weiß wie lange, 2015 Aldo Giannotti stages situations polarities and the writings of Laozi. Rather Performance, table and chairs by Franz West A decent set of several Micro-Performances, and constellations, using seemingly than giving a historical account of the Courtesy the artists and Franz West 2015 simple formations and encounters of writings, Gsaller updates them in regards Privatstiftung Performance people within a space to express social to current thoughts and actions. Through Courtesy the artist structures, social inequalities and the meandering movements, he enables us The performance by Marina Faust and mechanisms of power relationships. to take part in the search for traces of Sonia Leimer references an event in 1999 Peter Fritzenwallner’s performances relate Giannotti often takes on the role of subject the effectiveness of ‘wu wei’, the guiding when Franz West, together with a gallery to ‘pseudo-scientific content’, slapstick re- and narrator in his performances or sees principle of Taoism attributed to Laozi, and owner, wrapped up a table with colored enactments of scenes from films such as The himself as an actor who is part of the other teachings of Taoism. He presents us gaffer tape. However, this performance is Third Man or Quentin Tarantino’s Inglourious social structure that is being presented with the central meaning of (the quality of) conceived not as a re-enactment but as the Basterds. In conjunction in scenes. Thus becoming the subject the emptiness of the mind. This he does execution of an existing set of instructions. with the public, spontaneous ‘social matter of his study within the framework through observations of daily life, through the The result of the performance can be sculptures’ arise in the exhibition area of a cultural or social formation. Referrals propositions of Master Zhang from Vienna seen on the wall. ‘It remains unclear what and in public space. to his own origins are points of reference and by means of a live show by Taiji adept the object is. The bewilderment or the Colored objects that seem to be through which Giannotti debates and master student Anna Muck. question as to whether this is an artwork extracted from philosophical and literary the perceived immutability of social or not supports my claim that there is no texts or that reference works of historical constellations. In this sense, Temporary The performance by Harald Gsaller takes art without misunderstandings, that this art become performance tools with which Wealth Index is a performative discussion place at Kunsthalle Wien Karlsplatz on April only interests me when the freedom of Fritzenwallner equips his public and in about shifts, movements and value. The 25, 2015 at 8 pm. misunderstanding is possible. Perhaps the so doing incorporates them in a flowing audience is prompted to form a temporary performance itself is the artistic element dialogue and discourse. Performance wealth-index based on the amount of and the result is just a waste product.’ walks with sculptural banners follow routes money they have with them. A photo is (Marina Faust) through the city and create temporary then taken of the participant’s formations.

38 39 Rebekka Hagg the physical movement through the space, Sarah Hans Nevidal the haptic presence of the works, their *1992 in Klagenfurt, lives in Tel Aviv dialogue with each other and the overall Mendelsohn / *1956 in Vienna, lives in Vienna ambiance. Still, narrating an exhibition does Fred Schmidt- not connote a depiction; it much more stimulates the viewers’ imagination. Arenales Not only do they create their own image but they become the curators of their own *1990 in New York, lives in Los Angeles and art exhibition. Vienna *1991 in Boulder, currently living in Vienna The performance by Rebekka Hagg takes place at Kunsthalle Wien Karlsplatz on May 10, 2015.

Nicholas Hoffman

*1985 in Canton, Ohio, lives in Vienna

To Lepperova from Kunsthalle, 2015 Performance Courtesy the artists

Litzi Gedye is Lepperova, formerly Back to the Future, 2015 known as Lepper and born in Vienna in boko halal, 2015 Performance 1910 as Alice Mehler. Lepperova was her Lecture performance Courtesy the artist code name when she was a spy in the Courtesy the artist Special Forces unit in the Second World What do you tell someone about an birdhouse / nuthouse, 2015 War. In their performance, Mendelsohn On May 10, 2000, Hans Nevidal began exhibition? What will be remembered, Performance with Veronika Eberhart / and Schmidt-Arenales explore the his project Projektionen zum 10. Mai how important is the atmosphere and what Stephen Mathewson / William Meleyal / interpretation of a place in regards (projections on May 10) in which he eludes the mere descriptive? Rebekka Klemens Waldhuber to personal history, to how a person projected so-called fire safety films (films Hagg conducts a tour through an exhibition Courtesy the artist fictionalizes a place and to how a story on technical fire protection) onto the that cannot be perceived at this location begins at one place and ends somewhere facade of the German National Library in and perhaps might not even exist. She birdhouse / nuthouse is a medley of songs completely different. Frankfurt am Main. This took place on the elucidates the art, the choreography of that revolve around ideas of domesticity, Based on performance, video and anniversary of the Nazi book burnings, the display and the viewers’ movement proportion and identity. Five people interact sometimes on painting, Mendelsohn which happened on the May 10, 1933. through space. The audience is allowed like echoes. They muse on animals, furniture and Schmidt-Arenales develop complex In 2001, the initiative was resumed at to ask questions and will receive answers. and the weather forecast and in the process projects. The act of writing is the binding the Bücherturm of the German National Afterwards, they are invited to describe get so entangled with each other that they element here. It is not, however, to be Library in Leipzig. Thirty-four initiatives or even review the exhibition they just create a deliberately imprecise classification perceived as a secluded, homogenizing are planned with the last one taking place experienced. Their texts are added of the world around them. The performance process but rather as an open system of in 2033. So far, two conferences at the to a collection of such secondary makes use of videos, song, furniture and bad ever changing phrases, readings and acts. Galerie für zeitgenössische Kunst Leipzig exhibition reviews. jokes to give a little insight into daily life – with accompanied the initiatives, as did various In times of increasing virtuality, its boring, redundant and simultaneously The performance by Sarah Mendelsohn performative speeches in Frankfurt. In experiencing exhibitions solely via online spectacular grandiosity. and Fred Schmidt-Arenales takes place 2007, Nevidal himself put the project accessible views of the installation has at Kunsthalle Wien Karlsplatz on April 26, up for discussion for the first time. In his become a widespread phenomenon. It The performance by Nicolaus Hoffmann 2015 at 7 pm. presentation, he referred to Paracelsus who, seems the visual online presence has takes place at Kunsthalle Wien Karlsplatz on in the year 1527 in the city of Basel, threw become an effective substitute for the April 26, 2015 at 8 pm. a medical compendium into a fire. In this actual visit to the exhibition. However, this context, fire safety can be regarded as the practice fades out certain moments such as espousal of freedom of expression.

40 41 The performance by Hans Nevidal takes work. Its fragility and strength, its shape to authorship. As an experimental field that perspectives: the ‘I’ splits once more into ‘I’ place at Kunsthalle Wien Karlsplatz on and modification as well as its attributes proclaims an expanded concept of art, the and ‘you’. April 28, 2015 at 7 pm. of expressivity all allow it to become an open-air breakfast represents the occupation instrument, which is capable of lending of a particular space for a particular purpose, The performance by Lilly Pfalzer and Sergio different connotations to a statement in which those having breakfast act as their Valenzuela takes place at Kunsthalle Wien through various nuances, much like own medium. All the actions taking place Karlsplatz on May 10, 2015. Denise Palmieri the voice. under the title permanent breakfast are announced and documented on a website *1986 in Sao Paulo, lives in Vienna The performance by Denise Palmieri takes (www.permanentbreakfast.org). place at Kunsthalle Wien Karlsplatz on Ritornell May 10, 2015. The performance by permanent breakfast takes place at various sites between Richard Eigner / Roman Gerold Kunsthalle Wien Museumsquartier and *1983 in Linz, lives in Linz and Vienna permanent Karlsplatz on May 8, 2015 starting at 11 am. *1983 in Bruck an der Mur, lives in Vienna breakfast Lilly Pfalzer / Friedemann Derschmidt / Ursula Hofbauer / Abbé Libansky / Karin Schneider / Sergio Valenzuela Barbara Zeidler a.o. *1991 in Vienna, lives in Vienna *1978 in Santiago de Chile, lives in Vienna

Concert to accompany the finissage

The closing evening of the exhibition Destination Vienna 2015 features a concert by the Austrian music group Ritornell. Richard Eigner and Roman Gerold transform familiar kitchen implements into permanent breakfast, 2015 musical instruments, combine them with As Lived Our Parents, 2015 Performance in public space traditional African wooden instruments Performance Edit me please, 2015 and then add self-built apparatus. These Courtesy the artist An open-air breakfast of a different kind: Performance various elements are used to create sound permanent breakfast is an invitation and Courtesy the artists collages in which natural and electronic Como nossos pais (As Our Parents), a song appeal to temporarily take possession of tones merge. The miscellany of different by the Brazilian composer Belchior dating public space and to meet other people Shot and reverse angle; single takes and items, some of which seem to float above from the country’s years under dictatorship, over breakfast. What started on May 1, montage. Edit me please revolves around the stage, also lends the performance a is a tune full of metaphors describing the 1996 has become an international project the subject of filming from a person’s special visual quality. The sound artist young generation’s struggle against the that continuously takes on new shapes perspective. The performers film their duo Ritornell explores the tonal potential censorship and oppression of the ruling and ventures into the neuralgic zones of movements with a hand-held camera and of synthesizers, percussion instruments, regime. The song however also tells how discourse on participation and the general one attached to their bodies. The relationship double basses and vibraphones, together the young people will still end up living public – but nevertheless is confined to a between artist and audience is recorded in with everyday objects and children’s toys. just like their parents, regardless of their single concept or plan of action. order to make it possible to experience the Each and every artifact can potentially ambitions or ideals. Denise Palmieri sings A person extends a breakfast invitation and action from the point of view of a common become noise, and self-generated tones Como nossos pais in two different ways: in claims a physical space for this happening. subject: ‘you’ and ‘we’ become a singular ‘I’. are mixed with found sounds. During the its original key and then just a bit higher. The invited guests commit to organize such The artists enter the exhibition space and fix finissage on May 31 at Kunsthalle Wien Clothed in a cocktail dress, she kneels on a breakfast the next day, and so on. In the their gazes on the situation. At a certain point, Museumsquartier the duo will embark on an the floor. Her body is shielded from her spirit of the ‘reclaim the street’-movement, they change roles, donning their costumes open improvisation, combining individual surroundings by a cloak made of plaster, permanent breakfast refers to a real as well and becoming performers: the dancer and musical textures and instrumental sounds which protects but also isolates her. as virtual network and exemplifies a different the singer. In the end, the recorded material into organic arrangements. In the process, The body represents a constant in approach to urban space, while as an art is edited, creating two different films, which they will also integrate the acoustic aspects Palmieri’s performance and installation project it also poses questions with regard show the collaboration from two different of the present moment.

42 43 Salvatore Viviano What happens to a work of art when it Picture Credits Vienna; Photo: Jorit Aust/Secession leaves the studio? Does it change? Does Till Gathmann, Table B (for Institute), *1980 in Palermo, lives in Vienna and Paris a bond develop with the person who owns it? 2014; Installation view Württembergischer In her performance, Birgit Zinner looks into Kunsthalle Wien Kunstverein Stuttgart; Courtesy the artist the relationships between artist, work Sofia Goscinski, without head, 2013; of art and owner. In a staged talk show, Museumsquartier Courtesy unttld contemporary, Vienna, while interviewing herself in her studio, © Sofia Goscinski 2013 she also addresses people who purchased Adrian Alecu, The Egg (still), 2014; Julian Göthe, Télépathique, 2010; Courtesy her work. All her pieces made after 1985 are Courtesy the artist Galerie Buchholz, Berlin/Cologne interrelated and part of a bigger whole. They Anna Artaker, Rekonstruktion der G.R.A.M., Der Wiener Minimalkompromiss, are figurative models that expand the aspect Rothschild’schen Gemäldesammlung, 2015; Courtesy the artists and Galerie of painting within which the relationship Arbeiterkammer Wien 2013–2014; Exhibition Christine König, Vienna of the subject, the object and the space view; Courtesy Arbeiterkammer Wien; Eva Grubinger, Café Nihilismus encounters the idea of a simultaneous Photo: Hertha Hurnaus, 2013 (Handlebars), 2014; Installation view Kerstin production and reflection. The ‘live’ talk show Josef Bauer, BuchSTABEN, 1968–2008 (P, Engholm Galerie, Vienna; Courtesy Kerstin at Kunsthalle Wien Karlsplatz is a contrived R, E, S, L, ägyptisches Kreuz – T); Engholm Galerie, Vienna Mozzarella in Carrozza, 2015 play, which focuses on the communication Courtesy unttld contemporary, Vienna Michael Heindl, Destination Unknown, 2014; Cello: Barbara Riccabona of art and features concepts of spontaneity, Cäcilia Brown, Drehfoyer, 2014; Courtesy the artist; Photo: Michael Heindl Performance time, authenticity and deception. Courtesy the artist and Gabriele Senn Ana Hoffner, Transferred Memories – Courtesy the artist Interviewing herself, the artist demands or Galerie, Vienna; Photo: Iris Ranzinger Embodied Documents, 2014; Courtesy denies a statement and specifies or deviates Adrian Buschmann, Abstrakte Bildidee, the artist Salvatore Viviano creates performances, a topic. Is there an entity to a work of art? Or 2015; Courtesy Gabriele Senn Galerie, Vienna David Jourdan, Preliminary sketches photographs, installation and sculptural is the work of art itself an entity? Where does Hugo Canoilas, From your body in flames, for Destination Wien 2015, 2015; Courtesy objects, runs the One Work Gallery and is the piece begin and where does it end? 2012; Courtesy the artist and São Paulo the artist always on the go. He is a master at staging Biennial, Brazil Barbara Kapusta, Ein Gedicht für 22 kleine who will conceive a fitting intervention for The performance by Birgit Zinner takes place Julian Charrière, Panorama, 2009–2013; Objekte, 2015; Courtesy the artist every theme. Taking Destination Wien 2015 at Kunsthalle Wien Karlsplatz on April 25, Courtesy Dittrich & Schlechtriem, Berlin and Tonio Kröner, corner of something 8 exhibition’s concept as a starting point, 2015 at 7 pm. Bugada & Cargnel, Paris (standby), 2014; Photo: Michael Pfisterer Viviano reflects on the city in which he has Mitya Churikov, Untitled (Alterlaa-AG 1968) Tina Lechner, Ohne Titel, 2015; Courtesy lived since 2008 and its characteristics. (rendering), 2015; Courtesy the artist; Photo: Galerie Hubert Winter, Vienna The public will be amazed. © Mitya Churikov Sonia Leimer, Neues Land/Nowaja Semlja/ Information Eva Egermann, Probe Heiligenstädter New Land, 2014; Courtesy the artist and The performance by Salvatore Viviano takes Lände (still), 2015; Courtesy the artist Galerie Nächst St. Stephan Rosemarie place at Kunsthalle Wien Karlsplatz on April For information on tours and education Christian Eisenberger, O.T., 2014; Schwarzwälder, Vienna and Barbara Gross 25, 2015 at 7 pm. program: Courtesy Galerie Krinzinger, Vienna; Galerie, Munich; Photo: maschekS. 2014 / kunsthallewien.at Photo: Jasha Greenberg Susi Maschek blog.kunsthallewien.at Christian Falsnaes, RISE, 2014; Courtesy Paul Leitner, the traveler, 2012; Courtesy the facebook.com/KunsthalleWien PSM, Berlin artist; Photo: Thomas Alpdorf Birgit Zinner instagram.com/KunsthalleWien Marina Faust, Five Times Meret from the Constantin Luser, No. 8, 2014; twitter.com/KunsthalleWien series STACKS, 2014; Courtesy the artist © Constantin Luser; Courtesy Galerie Klüser, *1963 in Steyr, lives in Vienna #Destination Lukas Feigelfeld, Beton, 2011; Courtesy Munich; Photo: Lepowski Studio the artist Nana Mandl, cute collection, 2014; Courtesy Kunsthalle Wien GmbH Daniel Ferstl, if she knew what she wants, the artist Museumsplatz 1 (he’d be giving it to her #1), 2013–2014; Christian Mayer, Nine of Hearts, 2015; 1070 Vienna, Austria Exhibtion view @wellwellwell, Vienna; Courtesy Courtesy the artist and Galerie Mezzanin, www.kunsthallewien.at the artist; Photo: wellwellwell, Philipp Freedrich Vienna +43 (0) 1 5 21 89-0 Andreas Fogarasi, Postcard (Rosso Antico Ralo Mayer, San Francisco Space Colony, Muhri), 2014; Courtesy the artist and Georg Kargl 2014; Courtesy the artist Fine Arts, Vienna; Photo: Edouard Fraipont Melitta Moschik, Outer Space, 2013; Heinz Frank, DAS VIS A VIS DES © Melitta Moschik GEGENÜBERS, 1974, Courtesy Josip Novosel, ach Otto, hiányozni Charim Galerie, Vienna; Photo: fogsz, 2015; Courtesy the artist; Photo: Markus Krottendorfer David Avazzadeh Heribert Friedl, Illustration Destination Wien Michael Part, untitled, 2013; Courtesy the Birgit Zinner Live / Talkshow, 2015 2015, 2015; Courtesy the artist artist and Galerie Andreas Huber, Vienna Performance Kerstin von Gabain, Symposium on the dark Nicola Pecoraro, Untitled, 2015; Courtesy the artist ages, 2014; Courtesy Gabriele Senn Galerie, Courtesy the artist

44 45 Karin Pliem, Concursus naturae I, 2015; Performances Colophon David Avazzadeh Courtesy the artist; Photo: Maximilian Katharina Baumgartner Pramatarov Kurdwin Ayub, Performance on demand, © 2015 Kunsthalle Wien GmbH Bernadette Vogl Hanna Putz, 07min02, 2015; Courtesy 2015; Courtesy the artist Christina Dopplinger (Intern) the artist Los Destinados, Plakatsujet, 2015; Courtesy Director: Andreas Reiter Raabe, O.T., 2015; Courtesy the artists Nicolaus Schafhausen Press and Communication: the artist and Galerie Charim, Vienna; Photo: Marina Faust / Sonia Leimer, Für eine Katharina Murschetz Severin Koller Weile, wer weiss wie lange, 2015; Courtesy CFO: Stefanie Obermeir Valentin Ruhry, Vorsitz (Animation), the artists and Franz West Privatstiftung Ursula Hühnel-Benischek Beatrix Kouba (Intern) 2015; Courtesy the artist and Galerie Peter Fritzenwallner, A painting, consisting Christine König, Vienna of various forms, carried by various people. Destination Vienna 2015 Education: Maruša Sagadin, Hand (die B.I.G.), 2014; (Das öffentliche und gemeinsame Zeigen 17/4 – 31/5 2015 Isabella Drozda Courtesy the artist; Photo: Anna Barfuss von Formen, aus den Bildern schon fast Anna May Ari Sariannidis, life surplus / we’re not just vergessener Maler, durch junge Leute von Exhibition another local drug mall, we’re your friends heute, die auch gerne malen, aber eben nicht Education Team: (detail), 2015; Courtesy the artist nur.), 2013; Courtesy Sammlung der Stadt Curatorial team: Selma Abdic Leander Schönweger, Der innere Wien Marie Egger Wolfgang Brunner Mensch, 2015; Courtesy the artist; Aldo Giannotti, Temporary Wealth Index Anne Faucheret Daniela Fasching Photo: David Avazzadeh (sketch), 2015; Courtesy the artist Lucas Gehrmann Maximiliano Kostal Johann Schoiswohl, Bombensplitter, 2015; Harald Gsaller, Laozi in Vienna / Tajii ist Luca Lo Pinto Ursula Leitgeb Courtesy the artist diese Dinge, 2015; Courtesy the artist Matthias Nothnagel Alexandra Matzner Misha Stroj, Io non aumento piú (Versione Rebekka Hagg, Back to the Future, 2014; Andrea Popelka Michael Simku Fanfarone), 2012/14; Courtesy the artist and Courtesy the artist Nicolaus Schafhausen Kerstin Engholm Galerie, Vienna; Photo: Nicholas Hoffman, birdhouse / nuthouse, Assistant CFO: David Avazzadeh 2015; Courtesy the artist Exhibition management: Sigrid Mittersteiner Philipp Timischl, Give me first then I give Sarah Mendelsohn, Propaganda fish Veronika Floch you back. It’s capitalism!, 2014; Courtesy drawings, 2015; Courtesy the artist Karin Haas Finances: the artist and Galerie Emanuel Layr, Vienna; Hans Nevidal, Projektionen zum 10. Mai, Mira Gasparevic Photo: Georg Petermichl Leipzig, 2011; © Hans Nevidal Construction Management: Doris Hauke Jenni Tischer, O.T. Collage, 2015; Courtesy Denise Palmieri, As Lived our Parents, 2015; Johannes Diboky the artist and Krobath Wien|Berlin Photo: © Anabela Veloso Shop and Ticketing: Octavian Trauttmansdorff, Ohne Titel, permanent breakfast, Performance Wien, Technicians: Christina Zowack 2012; Courtesy Sammlung Fotohof; Photo: 2003; © Abbé Libansky Beni Ardolic Octavian Trauttmansdorff Lilly Pfalzer / Sergio Valenzuela, Edit me Frank Herberg Exhibition Booklet Nadim Vardag, untitled, 2014; Exhibition please, 2015; Photo: Max Kropitz Mathias Kada view ASPN, Leipzig, 2014; Courtesy the artist Ritornell Live im Burgtheater, Photo: Othmar Stangl Publisher: and Georg Kargl Fine Arts, Vienna; Photo: Victoria Kager / Lupi Spuma Kunsthalle Wien GmbH Stefan Fischer Salvatore Viviano, Mozzarella in Carrozza, External Technicians: Tanja Widmann, TJW/ presents If it´s not me. 2015; Courtesy the artist Harald Adrian Texts: Let’s make out let’s make out (A Little Later Birgit Zinner, Overview 2013, 9. Versuch, Hermann Amon (video, audio) Juliane Bischoff Remix), 2015; Courtesy the artist 2013; Courtesy Ulrike Hrobsky; © Bildrecht Dietmar Hochhauser Vanessa Joan Müller Wien; Photo: Johannes Zinner Alfred Lenz Danilo Pacher Editing: Katharina Baumgartner Exhibition Art Handling: Bernadette Vogl Marc-Alexandre Dumoulin displays Chris Fortescue Art Direction: Johann Groebner Boy Vereecken Ovidiu Anton, 18 Tabourets Cabanon Scott Hayes LC14 01 / from the series: Reste Tom Latzel Design: Ausstellungsdisplays Secession, 2015; Lazar Lyutakov Antoine Begon Courtesy Christine König Galerie, Vienna; Johann Schoiswohl Photo: Ovidiu Anton Andi Schweger Eric Kläring, ohne Titel (out of stock), Stephen Zepke Webcam photo exhibtion display, 2015 Johannes Porsch, Shifter, sketch exhibition Marketing: display, 2015 Dalia Ahmed

46 47 Artists Tonio Kröner Adrian Alecu Tina Lechner Ovidiu Anton Sonia Leimer Anna Artaker Paul Leitner Kurdwin Ayub Constantin Luser Josef Bauer Nana Mandl Cäcilia Brown Christian Mayer Adrian Buschmann Ralo Mayer Hugo Canoilas Sarah Mendelsohn Julian Charrière Melitta Moschik Mitya Churikov Hans Nevidal Los Destinados Josip Novosel (Julius Deutschbauer / Denise Palmieri Klaus Pobitzer / Michael Part Panos Mylonas) Nicola Pecoraro Eva Egermann permanent breakfast Christian Eisenberger (Friedemann Derschmidt / Christian Falsnaes Abbé Libansky / Marina Faust Karin Schneider / Lukas Feigelfeld Barbara Zeidler) Daniel Ferstl Lilly Pfalzer / Andreas Fogarasi Sergio Valenzuela Heinz Frank Karin Pliem Heribert Friedl Johannes Porsch Peter Fritzenwallner Hanna Putz G.R.A.M. Andreas Reiter Raabe Kerstin von Gabain Ritornell Till Gathmann Valentin Ruhry Aldo Giannotti Maruša Sagadin Sofia Goscinski Ari Sariannidis Julian Göthe Johann Schoiswohl Eva Grubinger Leander Schönweger Harald Gsaller Misha Stroj Rebekka Hagg Philipp Timischl Michael Heindl Jenni Tischer Nicholas Hoffman Octavian Trauttmansdorff Ana Hoffner Nadim Vardag David Jourdan Salvatore Viviano Barbara Kapusta Tanja Widmann Eric Kläring Birgit Zinner