Radical Austria Everything Is Architecture English

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RADICAL AUSTRIA EVERYTHING IS ARCHITECTURE

ENGLISH AUSTRIA RADICAL AUSTRIA EVERYTHING IS ARCHITECTURE

ENGLISH RADICAL AUSTRIA RADICAL RADICAL AUSTRIA From the adage ‘Everything is architecture’ formulated EVERYTHING IS ARCHITECTURE by Hans Hollein, he and his Austrian contemporaries The experimental work by Austrian architecture collec- shape their vision of the world in all possible domains: tives and designers from the early 1960s to mid-1970s from inflatable shelters to performances, from fashion has been described as ‘the Austrian avant-garde’. to furniture and from television programs to cities of the This exhibition is dedicated to the mind-expanding, future. Early on they start experimenting with cyberne boundary-shifting and socially critical work of these tics, space travel, drugs, media and gender. Finding designers. Not accepting limitations of definitions inspiration in pop culture, they often organise them- and disciplines, they created buildings, environments, selves as improvising collectives, like the example set objects, fashion, performances, furniture and even by psychedelic rock groups. experiences. The combination of experiment and analysis makes the Works by groups such as Coop Himmelb(l)au, Austrian avant-garde one of the most radical move- Haus-Rucker-Co, Zünd-Up and independent designers ments of that time. Their topics are still relevant today: and artists such as Walter Pichler, Hans Hollein and addressing the relationship between man and machine, VALIE EXPORT are a reaction to social and technolo communication versus isolation and the desire to create gical developments at large as well as to the specific personal bubbles. The visions these activist designers Austrian context. What sets the Austrian avant-garde had of the future were often predictive: instead of mak- apart from its Italian and British contemporaries is ing us look back, these works make us face the future that their designs often go beyond the concept phase. once more. Many works have actually been executed and allow the public to experience how new technologies would change the world in the near future.

The first spacewalk by Russian cosmonaut Alexei Leonov, 18 March 1965.

1 Haus-Rucker-Co Roomscraper, 1969 cardboard, plastic, acrylate, screen print courtesy Günter Zamp Kelp VIENNA 1918 – 1945 THE SIXTIES The transformation of a socialist city, vibrant with intellectual The Cold War, the quest for individual liberation and the rise of youth. and artistic life, into a deserted Nazi town. Austrian intellectuals, designers and artists continue their work in exile. The 1960s were a time of great change in the world, and also in Austria. The tension of the Cold War was constantly felt. The wars Until 1933 Vienna was a socialist city with its own signature. in the aftermath of colonialism, for example in Vietnam, often turned Austro-Marxism was a scientifically focused movement. The country into a bitter struggle between communism and liberalism. Popular side, on the other hand, was mainly Christian Democratic and magazines and new media such as radio and television delivered much more conservative. Inspired by Italian Fascism, Christian and the wars and famines with all their horrors into the living rooms. right-wing resistance to Austro-Marxism increased, culminating The sexual revolution and women’s movement resulted in processes when Chancellor Engelbert Dollfuß seized power in 1933. Dollfuß of individualization in the West. The family became less and less suppressed the socialists in the Austrian Civil War, but also banned important, young people wanted to be taken seriously and longed the Austrian Nazi Party. He was murdered in a failed coup by Nazi for more freedom. The first youth culture, defined in no small part by agents in 1934. The politics of Austro-Fascism were continued by his pop music, emerged. The young generation of the baby boomers successor Kurt Schussnigg until Austria joined the Third Reich in 1938. suddenly became a large commercial market. Student revolts broke The persecution of Jews started immediately. Many ended up in con- out in Austria, like they did in the United States and elsewhere in centration camps and were murdered. Tens of thousands of Austrians, Europe. Young artists and designers tried to integrate the achievements including many scientists, artists and architects, left the country from of youth culture into their work. Many of the Austrian collectives, such 1933 onwards because of race or political affiliation. This also meant as Haus-Rucker-Co, Coop Himmelb(l)au, Zünd-Up and Salz der Erde, their work and ideas were widely disseminated internationally. structured their collective and styled their appearance after jazz and rock bands, mirroring their presumed lack of hierarchy and constant VIENNA 1945 – 1955 improvisation. The journey of an allied-occupied city to become the neutral centre of world politics at the fringes of the West. THE PRINCIPLE OF CLOTHING Architecture as clothing: the Austrian tradition views architecture After the Second World War it took a long time for Austria to become foremost as a form of clothing or covering. an independent republic again. The Allied occupation, under which Austria was divided into Russian, American, British and French zones, According to the nineteenth-century architectural theorist Gottfried lasted until 1955. An important Russian condition for total independ- Semper, the brickwork wall originated from the textiles used in earlier The Seven Veils of ence was that Austria stay neutral. As a result, Vienna became an im- times to protect fire. The development of new techniques resulted in the Male Stomach, portant base for international organizations such as the International giving the material more and more layers, eventually becoming a cross-section of a Atomic Energy Agency, the United Nations Office for Outer Space wall. The wall always refers to the original fabric nonetheless. soldier’s uniform from Affairs and many other UN agencies during the Cold War. After New The etymological relationships between words such as ‘Wand’ and Bernard Rudofsky’s York and Geneva, Vienna became the most important seat of the UN. ‘Gewand’, wall and clothing, demonstrate this, according to Semper. 1947 publication OPEC, the organization of oil-producing countries, is also based in Clothing has therefore traditionally been an important theme in Are Clothes Modern?. Vienna. Austrian architecture. Adolf Loos not only conceived the Prinzip der Bekleidung in architecture, he also wrote extensively about women’s FROM 1955 and men’s fashion. In his essay Are Clothes Modern? Rudofsky shows Renewed focus on national and international intellectual and a schematic cross-section of a soldier’s body, surrounded by the layers artistic developments. Reconnecting with exiled Austrians. of his uniform. He questions the relationship of military clothing to the body and criticises its lack of functionality. He advocates improving Although Vienna had a thriving nightlife after the war, partly because these by introducing new technologies. of the presence of military personnel, from 1933 onwards an intellectual and cultural destruction took place. Vienna had become a gray, In the 1960s, spacesuits, capsules and inflatable structures increas- isolated city at the fringes of the West, with the consequences of the ingly appear as a kind of minimal architecture. Reyner Banham, war still visible for a long time. Young Austrian artists and architects the British architectural theorist, collaborating with architect Francois were looking to connect with new cultural developments abroad. Dallegret, extends Rudofsky’s diagram to include an inflatable home For them, the United States became the promised land. They discov- in his internationally influential essay A Home is not a House, publis ered that Austrians in exile often played an important role there. hed in Art in America in 1965. SPACE TRAVEL Leary was a charismatic personality with many followers. With the The spacesuit and space capsule: architecture at its most minimal slogan turn on, tune in, drop out, he called on people to activate their and technologically advanced. nerves, to live in harmony with the world, to leave social conventions behind and to break down hierarchies. LSD was used by artists to Because the United Nations Office for Outer Space Affairs is based stimulate creative processes. During the 1960s, a culture emerged in in Vienna, conferences and exhibitions highlighting both American which special spaces were created for LSD use. Discotheques were and Russian space travel are regularly hosted there. UNISPACE I was opened in New York where the psychedelic and spatial effects of the Yuri Gagarin during a convention and a spectacular exhibition of rockets, satellites and drug were simulated and enhanced with, among other things, light the first manned spacecraft in 1968. Alexei Leonov, the first cosmonaut to go on a shows and music. Andy Warhol organised a series of these kinds space journey with spacewalk, visited. The 20er Haus was a museum of modern art and of events with The Exploding Plastic Inevitable around his band The The cover of the Vostok 3KA-3 one of the focal points of the Viennese avant-garde. In 1970, Werner Velvet Underground. The most famous, however, was Cerebrum Club LIFE magazine (Vostok 1), on Hoffmann organised the exhibition Der Mensch im Weltraum there, in SoHo, a Jimi Hendrix’s favourite. Even the clothes handed out to September 9, 1966, 12 April 1961. elevating space travel to a cultural theme. Consequently, it’s no sur- visitors at the entrance were included in the design of the club. Haus- dedicated to LSD art. prise that space travel influenced the work of most Austrian architects. Rucker-Co and Coop Himmelb(l)au visited these clubs. LIFE magazine In their hands the spacesuit and space capsule become architecture devoted three cover stories to LSD, the new nightclubs and art influen at its most minimal and technologically advanced. ced by LSD in 1966.

CYBERNETICS MARSHALL MCLUHAN The rise of cybernetics causes speculation about its role in architec- Multimedia installations train people to handle the increase of ture and urban design. media impressions.

Cybernetics as a science studies the control and management of Marshall McLuhan was a Canadian philosopher and media theorist biological and mechanical systems and processes. After the Second whose ideas were widely influential in the 1960s. He saw new media World War, the importance of this science increased due to the and devices as extensions of the human senses and abilities and automation of weapon systems and processes. Feedback is a central explored the psychological and social consequences of the rise of concept in cybernetics. This involves feeding the results of a process radio, film and television and of products such as cars being widely In 1964, media back to the system itself, just as our senses feed back information available. McLuhan believed media would bring people closer theorist Marshall about the environment to our brain. In a control unit, the information together in a collective identity: ‘the global village’. He argued for McLuhan published is compared with the target and depending on this, action is taken or investigating media itself - and not their content: ‘the medium is the the book Understan not. Consider, for example, a thermostat that switches on the heating message’. He distinguished hot and cool media. The first category ding Media: The when it gets too cold. Cybernetics makes it possible for machines to concerns media that, with an abundance of information and details, Extensions of Man. function largely independently, but humans, animals and plants also leave little to the imagination and do not require an active role from respond to feedback. Cybernetics plays an important role in con- the consumer. Cool media leave more to the imagination and there- trolling very complex systems, such as a city, economy or ecosystem. fore demand a more active role from the viewer. Due to the increase of different media and devices, we are exposed to an increasing The experimental writer Oswald Wiener made important contri- bombardment of impressions. butions to cybernetics and artificial intelligence as far back as the 1960s. In appendix A: der bio-adapter, Wiener outlines a device that McLuhan saw an important role for art to produce multimedia takes over all essential functions of the person in it. The device am- installations that train the public to deal with those many impressions. putates the person’s body parts as they imagine themselves walking Many of the multimedia installations in this exhibition are a direct through an idyllic landscape. Wiener was inspired by Walter Pichler’s response to McLuhan’s mission. In his manifesto Everything is Prototypen, some of which can be seen in this exhibition. Pichler in Architecture, Hans Hollein defines architecture as a medium, and turn made a series of drawings based on Wiener’s bio-adapter. numerous Austrian designers experimented with multimedia installations. A number of them also made television shows. VALIE EXPORT LSD became one of the pioneers of video art. The popularity of psychedelic drugs in the United States impacted Austrian artists and designers profoundly. FRIEDRICH KIESLER The architect Friedrich Kiesler: a spider in the web of the New York LSD is a synthetic drug with a hallucinogenic effect first created in avant-gardes. 1938 and legal in most countries until 1971. The drug played an important part in the counterculture of the 1960s. During this period, When Günther Feuerstein and his students travelled to New York to former Harvard professor Timothy Leary became the most important connect with modern art and architecture in 1964, the first architect advocate of both the therapeutic and mind-altering qualities of LSD. they visited was Friedrich Kiesler. Kiesler is still a point of reference for Austrian culture and to this day countless exhibitions and publications WILHELM REICH are dedicated to him. The Austrian avant-garde kept returning to The father of the sexual revolution wanted to liberate people sexual- New York; Haus-Rucker-Co opened an annex there. ly to avoid fascism.

Fiedrich Kiesler connected with the avant-gardes of his time at an Wilhelm Reich was an influential and controversial physician, psy- early stage. He worked for Adolf Loos in the early 1920s when Loos chologist and activist. He was a student of Sigmund Freud, who later headed the Siedleramt as an architect. This service supported people renounced him. Reich tried to connect psychoanalysis and Marxism. A replica of who self-built huts illegally around the time of the First World War. His belief in the significance of the orgasm is a central element in this Wilhelm Reich’s Friedrich Kiesler in the The temporary homes were architecturally improved and fitted into research. In 1933, when Austria came under fascist dictatorship, Reich Orgone Accumulator, Bucephalus. Photo by the larger neighbourhoods of social and urban developments. This is established a connection between the authoritarian suppression of hu- late 1950s. John F. Waggaman, where the Austrian tendency for urbanism to begin with the smallest pos man impulses and the fascist ideology in his book Massenpsychologie ca. 1956. sible unit originated: start with the house and the people who live in it. des Faschismus. In the same year Charakteranalyse was published and in it Reich contrasted his behavioural analysis with Freud’s psy- In 1922 Kiesler developed the first multimedia installation as set design choanalysis. In Reich’s behavioural analysis, the repression of psycho- for Karel Čapeks Rossum’s Universal Robots in Berlin. In 1924 he logical problems can be gauged by bodily tensions. Relaxing those organised the international exhibition for new theater technology in tensions helps release sexual energy which can solve a problematic Vienna. New forms of dance, pantomime, theater and film were at the attitude to life. The Sexual Revolution, the title of the 1936 English center of the Viennese avant-garde of the time. The body was seen to translation of Die Sexualität im Kulturkampf by Reich, became the be more expressive than language, just like the Aktionisten believed in namesake for the sexual changes happening in the 1960s. The book the 1960s. was not only about sexual liberation, but it was also about social restructuring towards a socialist society. In 1926 Kiesler left for New York, where his studio became a center for artists and architects. Kiesler’s work Endless House is a sequence Exiled in the United States, Reich believed he had discovered a life of cocoons and can be seen as one of the forerunners of the capsules energy he called Orgone. He built Orgone Accumulators, pods or and the urban development proposals of the Austrian avant-garde. capsules patients can sit in to improve their health and sex life. The The Film Guild Cinema, designed by Kiesler in 1929, was transformed Accumulators were ubiquitous in the popular culture of the 1960s and into the famous psychedelic Cerebrum Club in the 1960s. 1970s. The Mind Expanders, capsules and helmets from Haus-Rucker- Co, Coop Himmelb(l)au and Walter Pichler echo these machines THE SEXUAL REVOLUTION and their curious scientificity. The US Food and Drug Administration The sexual revolution was not an end in itself, but a means of social considered the Orgone program to be a fraud. In 1956, Reich was liberation. sentenced to two years in prison and his publications burned.

The sexual revolution impacted the way people interacted enormous- The contraceptive ly in many countries in the 1960s: ranging from increased acceptance pill is launched in the of sex outside of traditional heterosexual relationships, to the legalisa- United States in 1960. tion of abortion and the acceptance of birth control and the pill, public nudity, pornography, homosexuality, masturbation and alternative sexual customs. Austrians in exile, like the psychiatrist Wilhelm Reich and fashion designer Rudi Gernreich were key figures in this process. Reich because of his view that repressed sexuality led to fascism. His ideas greatly influenced the Aktionisten. Gernreich because of his groundbreaking designs such as the wireless swimsuit, the tanga, unisex clothing and the topless monokini for which he developed new materials and techniques. He also became known as a champion of gay liberation. Still, the sexual revolution did not happen without difficulties. For a long time, men and heterosexuality were dominant. Homosexuality wasn’t decriminalised in Austria until 1971. Rudi Gernreich presents his unisex Not everything in this exhibition is acceptable by current standards. fashion collection at In this context, it is relevant that in 1991 Otto Mühl was sentenced to the World Expo in a long imprisonment for sexual acts with minors in his authoritarian Osaka, 1970. Photo led Friedenshof commune. Not until 2010 did Mühl apologise for his by Patricia Faure. conduct. ACTIONISM ACTIONISM Actionism is the unique Austrian brand of performance art, with Hermann Nitsch, Günther Brus, Rudolf Schwarzkogler and Otto Mühl as its main agents. By means of choreographies with naked bodies, paint and blood, combined with loud music, they intoxicate the participants and the audience.

Inspired by the Austrian psychoanalyst Wilhelm Reich, the Actionists wanted to free the people from the bourgeois oppression that leads to fascism and war. The liberation of the body is central to this. Hermann Nitsch refers to his Orgien Mysterien Theater as plays in which the participants can release their pent up aggression.

The Aktionisten move in the same circles as the pro- gressive architects, exhibiting their work in the same galleries. In Otto Mühl’s video Wehrertüchtigung, a group of young students, who would later establish the architecture collective Zünd-Up, are submitted to a shared humiliation inspired by military drills. Hollein and Pichler emphasize the cultic and ritualistic origins of architecture, the Aktionisten often refer to rituals and attributes of the Roman Catholic Church, turning everyday phenomena such as sexuality and the slaughter of animals into spiritual theater.

Günther Brus, Ana, 1964 photography: Siegried Klein courtesy Atelier Otto Mühl CULTIC CITIES ACTIONISM 2 Positioned between the physicality of the Otto Mühl Actionists and the apparent detachment of Wehrertüchtigung, Aktion 40, 1967 the architecture, furniture and utensils shown 16mm film transferred to DVD here, Walter Pichler’s Bett (Bed) holds a key duration: 3.48 min. position in this exhibition. Bett is conceived collection mumok - museum moderner kunst after the Prototypes, on display elsewhere stiftung ludwig, Vienna, acquired with the in this exhibit, and consists of an old hospital support of Gesellschaft der Freunde der bed, on which the mattress is replaced by bildenden Künste Vienna, 2009 a lead volume with the imprint of a body, and with broken plates of glass placed between the virtual limbs. In a drawing from 1970, produced a year before the sculpture 3 itself, Pichler calls it a Metallkleid für einen Hermann Nitsch Schlafenden (a metal dress for one who Das Orgien Mysterien Theater, sleeps). In Pichler’s oeuvre the design for Die Aktionen, Teil I, 1962 – 1992 Stuhl für einen Selbstmörder in den Bergen digital video (chair for a suicide in the mountains) from duration: ca. 120 min. 1970 precedes the bed. A chair is carved courtesy Hermann Nitsch out in the rock, for someone to sit with their arms spread out, and gutters carved out to allow blood to flow from their wrists. Bett precedes the drawing Wagen from 1971, showing a person nailed to a cross on wheels, which can be moved around. Here too, glass plates have been placed between the limbs This series of works is eminently cultic. Christian symbolism such as the cross and suffering are transferred to an anonymous human being. Sometimes Bett is shown in a glass display case, similar to the way some churches in Austria exhibit the remains of saints.

4 Walter Pichler Bett, 1971 hospital bed, lead , glass Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna CULTIC CITIES CULTIC CITIES This group of works includes the cities that needs of the mediocre, it is not the environ- The need for radical change manifested itself in post- Walter Pichler and Hans Hollein presented ment for the small-minded happiness of the in 1963 in the legendary Architektur exhi masses. Architecture is created by those who war Austrian architecture in a series of megalomaniac bition at the Galerie nächst St. Stephan in are at the highest level of culture and civilisa- urban designs. These projects are connected by an Vienna. These works aim to enrich as well tion, at the height of the development of their obsession with technology and infrastructure and the as dominate people through technology. era. Architecture is a matter for the elites. (…) urge to create completely new ways of living together. ‘She (the architecture, red.),’ Pichler wrote in The shape of a building does not arise from the accompanying manifesto, ‘will be born the material conditions of a goal. A building The stage was set by Hans Hollein and Walter Pichler of the strongest thoughts. For people she will is not intended to show how it is used, it is not with the exhibition Architektur which they arranged in be coercion, they will choke on it, or they will an expression of structure and construction, 1963 in the Galerie nächst St. Stephan in Vienna. live – live as I intend it. Architecture is not the it is not a fence or shelter. A building is itself. shell for the primitive instincts of the masses. Architecture is aimless. What we build will Architecture is the epitome of the power and find its purpose.’ The practical purpose of these projects is initially desires of a few people. It’s a cheeky thing unclear. In the manifesto accompanying Absolute that has long stopped using art. It doesn’t 6 Architektur, Hollein stresses that architecture can im- take stupidity and weakness into account. ORF, Zeit Im Bild, 9.5.1963 / bue everyday actions with a spiritual value, turning It never serves. It crushes those who cannot Wien: Architektur-Ausstellung bear it. Architecture is the right of those who broadcast on May 9th 1963 them into rituals. He labels this cultic architecture. do not believe in the law, but make it. It’s a Hollein’s aim is not a classic beauty, but a sensual weapon. Architecture makes unreserved use 7 and violent one. of the strongest resources available to it at Hans Hollein & Walter Pichler any given time. Machines have taken pos Architektur, Ausstellung in der session of her, and in her domain people Galerie nächst St. Stephan, 1963 Pichler views architecture as an expression of power are only tolerated now.’ It is noteworthy that poster in which people are forced to live conforming to his most of the radical architectural projects of private archive Hans Hollein social vision. Early designs by Raimund Abraham and Pichler and Hollein were traffic junctions, Laurids Ortner depict the city as an enormous machine interchanges, connected to other cities and 8 dependent on the existing infrastructure of Walter Pichler inhabited by people dressed in space suits. Günther cities. Compact City, 1963 Feuerstein presents his designs for city centers as time- ink, pencil, Letraset, correction fluid, less archetypes. 5 tracing paper Walter Pichler collection FRAC Centre, Orléans Unterirdisches Gebäude mit ausfahrbarem Kern, 1963 9 tin, concrete Hans Hollein collection Tiroler Landesmuseen, Innsbruck Stadtstruktur, ca. 1960 ink, paper private archive Hans Hollein

Between 1956 and 1969, Hans Hollein de- 10 signed a series of ‘sculpture-cities’ that act as Hans Hollein a manifesto against functionalism, in the form Überbauung Salzburg, 1962 of drawings and photomontages. In 1963 he ink, offset print co-presented these works with Walter Pichler collection FRAC Centre, Orléans in the exhibition Architektur at the Galerie nächst St. Stephan in Vienna. In the accompanying manifesto Architektur, Hollein writes: ‘Architecture is elementary, sensual, primitive, This model city is based on collective hous- Hans Hollein, Überbauung Wien, 1960 brutal, terrible, formidable, dominating. But it ing and urban concentration. The primitive collection Centre National d’Art et de Culture is also the incarnation of the subtlest emo- sculptural shape goes hand in hand with Georges Pompidou, Paris tions, the sensitive registration of the finest advanced technology. The primary structure courtesy private archive Hans Hollein impulses, the materialisation of the spiritual. consists of a framework of interconnections Architecture is not the satisfaction of the which can also be used for communication. CULTIC CITIES The individual housing units multiply around 13 16 24 it. An artificial air conditioning system protects Nine drawings Walter Pichler Raimund Abraham the city from the elements by means of gigan- Walter Pichler Sakrales Gebäude, 1962 Continuous Building, 1967 tic transparent spheres. Pichler considered Compact City, 1963 plaster, wax collage this project his last work of ‘real’ architecture. pen, pencil, paper Estate Walter Pichler, courtesy Gallery collection Una Abraham It was presented at the Architektur exhibition collection FRAC Centre, Orléans Elisabeth & Klaus Thoman, Innsbruck / Vienna at the Galerie nächst St. Stephan in 1963. 25 Raimund Abraham 11 Moon-Crater City, 1967 Walter Pichler Walter Pichler’s drawings provide insight 17 collage Compact City, 1964 into his creative process. Through small Raimund Abraham collection Una Abraham plaster, brass, plastic, paint changes the meaning of organic shapes shift Cities, 1962 collection FRAC Centre, Orléans and their scale may shift entirely. In this way ink, paper Raimund Abraham vertebra become an enormous building and collection D.A.M., Frankfurt Moon-Crater City, 1967 vice versa. collage 18 collection Una Abraham 12 14 Raimund Abraham From left to right Walter Pichler Cities, 1962 26 Walter Pichler Ohne Titel (Schmetterling), 1962 ink, paper Seven collages Kompakte Stadt mit Klimahülle, 1964 pencil, paper collection D.A.M., Frankfurt Raimund Abraham pencil, paper Estate Walter Pichler, courtesy Gallery Air Ocean City, 1967 Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna 19 collage Elisabeth & Klaus Thoman, Innsbruck / Vienna Raimund Abraham collection Una Abraham Walter Pichler Continuous Building, 1966 Walter Pichler Ohne Titel (Schmetterling), 1962 collage Raimund Abraham Kompakte Stadt mit Klimahülle, 1964 pencil, pen, paper collection D.A.M., Frankfurt Air Ocean City, 1966 pencil, paper Estate Walter Pichler, courtesy Gallery collage Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna 20 collection D.A.M., Frankfurt Elisabeth & Klaus Thoman, Innsbruck / Vienna Raimund Abraham Walter Pichler Kapselhaus, 1974 27 Walter Pichler Ohne Titel (Schmetterling), 1962 ink, paper Raimund Abraham Kompakte Stadt mit Klimahülle, 1964 pencil, mixed media, paper collection D.A.M., Frankfurt Universal House, 1967 pencil, paper Estate Walter Pichler, courtesy Gallery screen print Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna 21 collection Una Abraham Elisabeth & Klaus Thoman, Innsbruck / Vienna Raimund Abraham Walter Pichler Megastructures, 1965 28 Walter Pichler Ohne Titel (Schmetterling), 1962 collage Raimund Abraham Kompakte Stadt mit Klimahülle, 1964 pencil, paper collection D.A.M., Frankfurt Empire State Building, 1971 pencil, paper Estate Walter Pichler, courtesy Gallery collage Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna 22 collection Una Abraham Elisabeth & Klaus Thoman, Innsbruck / Vienna Raimund Abraham Living Capsule, 1966 29 Walter Pichler collage Laurids Ortner Kompakte Stadt mit Klimahülle, 1964 15 collection Una Abraham Stadt, 1969 pencil, paper Walter Pichler collage Estate Walter Pichler, courtesy Gallery Schmetterling, 1962 23 collection Laurids & Manfred Ortner, Elisabeth & Klaus Thoman, Innsbruck / Vienna plaster Raimund Abraham archive Haus-Rucker-Co Estate Walter Pichler, courtesy Gallery Utopische Stadt, 1962 Walter Pichler Elisabeth & Klaus Thoman, Innsbruck / Vienna ink, paper Kompakte Stadt mit Klimahülle, 1964 collection D.A.M., Frankfurt pencil, tracing paper Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna REALISED MANIFESTOS REALISED CULTIC CITIES 30 Laurids Ortner Stadt, 1969 collage, pencil, photo, collection Laurids & Manfred Ortner, archive Haus-Rucker-Co

31 Laurids Ortner Stadt, 1967 collage, pencil, tracing paper collection Laurids & Manfred Ortner, archive Haus-Rucker-Co

32 Günther Feuerstein Salzburg Superpolis, Stadtzentrum, 1965 – 1967 colouring pencil, ink, paper collection FRAC Centre, Orléans

33 Günther Feuerstein Archetypen, Emanationen, Integration, Introversion, Isolierung, 1965 – 1971 ink, pencil, felt pen, collection FRAC Centre, Orléans

Günther Feuerstein Archetypen, Ring + Kreuz Städtebau Hoschurling, Wien, 1965 – 1971 ink, pencil, felt pen, tracing paper collection FRAC Centre, Orléans

Günther Feuerstein Archetypen, Wohngebiet Ameisbachzeile, Wien, 1965 – 1971 ink, pencil, felt pen, tracing paper collection FRAC Centre, Orléans

Günther Feuerstein Archetypen, Wohnsiedlung Vogler Hörsching Bei Linz oö, 1965 – 1971 ink, pencil, felt pen, tracing paper collection FRAC Centre, Orléans

Walter Pichler Walter artist Kiki in the Kogelnik Galaxy I chair in studio,1969 her York New digital print Michael Horowitz photo: Noever collection Peter Pichler Walter Jochen Rindt in the Galaxy 1967 I chair, digital print Noever collection Peter Pichler Walter prototype Galaxy I in the SELECTION 66 exhibition in MAK Vienna digital print Noever collection Peter Arnulf Rainer, his face painted, was also face his painted, was Arnulf Rainer, pictured the in chair. 39 Pichler, Walter Galaxy 1966 I chair, plastic,aluminium, textile production: R. Vienna Svoboda & Co., collection MAK – Museum für angewandte ViennaKunst, 40 Skrein Christian Arnulf Rainer inposter, the Galaxy I chair 1968 Pichler, designed Walter by print planographic paper, collection MAK – Museum für angewandte ViennaKunst, 41 Pichler Walter the Galaxyloading of chair I for the EXPO in Montreal at airport67 Vienna, 1967 digital print Noever collection Peter digital print collection Peter Noever 42 Pichler Walter Leonov at Alexei theKosmonaut I exhibition in the GalaxyUNISPACE I 1968 chair,

in collaboration in with Peter

Walter Pichler developedWalter the aluminium Galaxy Chair for the AustrianNoever furniture company put production into It and was Svoboda. quickly became a success with buildings in the Austrian like a representative character, Montreal. in pavilion at the EXPO 1967 presented thePichler and Noever chair in different situations to its emphasize modern opted for the they so, doing In character. association with modernity hard and avant- art.garde on display The chair at was the 1 driver Jochen of Formula Rindt. auto show the first United Nations 1, At UNISPACE Alexei cosmonaut 1968, in space conference the in photographed was chair.Leonov 34 Hollein Hans Retticandle shop, Vienna, 1965 black and white photos private archive Hans Hollein 35 Hollein Hans 1965 – Retti candle shop, Vienna, 1964 cardboard collection Centre National et de Culture d’Art Georges Paris Pompidou, 36 Hollein Hans stickers and bags for the Retti shop, 1965 print paper, private archive Hans Hollein 37 Hollein Hans drawing façade Retti shop, 1964 paper tracing pencil, private archive Hans Hollein 38 Hollein Hans Hermann DeskRoto (for 1966 Miller), plastic metal, collection Centre National et de Culture d’Art Georges Paris Pompidou, - - - has all the trademarks of the cities designed by the the of by trademarks cities all designed has

REALISED MANIFESTOES REALISED Hans Hollein, Retti candle shop, Vienna, 1965 Vienna, Retti shop, candle Hollein, Hans courtesy private Hans Hollein archive The designers and artists in the Austrian avant-garde obsessed with theories and change social were of the about manifestos wrote processes to implement that Despite change. their often manifestos being very their of number impressive an realised they radical, projects. a num designed Hollein Hans career, his in on Early ber of shops in downtown Vienna. The shop Vienna. candle downtown in ber of shops Retti The mys scale. a smaller on albeit at theHollein time, tery prominently facade, of the windowless aluminum the above lamps and featuring conditioners the air is suggests The floor plan a futuristic machine. door, shape the cross by emphasised a church, of reminiscent The entrance display. on theof the space and candles width in by its enlarged smallness showroom, a tiny is in place two blessing of takes The transaction mirrors. sorts. of altar an of front in the The room, fashion second an like looks polyester, made of entirely CM, boutique with instrument condition the air mechanical elegant the design. into integrated similarly ing objects everyday of environments, and In their design the death, to modern cults referred life, of the designers mundane the most even making religion, and cosmos vision. social their radical of expressions designs

REALISED MANIFESTOS EVERYTHING IS ARCHITECTURE IS EVERYTHING REALISED MANIFESTOS 43 Hans Hollein Boutique CM (Christa Metek), design for a bag, 1967 pencil, colouring pencil, paper private archive Hans Hollein

44 Hans Hollein Boutique CM, Vienna, 1967 black and white photos private archive Hans Hollein 50 Hollein Hans magazine Bau, of cover for architecture 1968 1/2, nr. urban planning and private archive Hans Hollein 51 Günther Pichler, Walter Hollein, Hans (editors) Oberhuber Oswald Feuerstein, Alles ist Architektur 1968, Bau 1/2 courtesy private archive Hans Hollein

(opening exhibition Cooper-Hewitt exhibition (opening 1974 Museum, York), New digital print courtesy private archive Hans Hollein 45 Hollein Hans Architekturpillen, Non-physical 1967 Kit, Control Environmental pills, paper private archive Hans Hollein 46 Hollein Hans 1969 Mobile Office, digital video min. 1.36 duration: from ‘The Austrian Portrait / episode 19: production Telefilm for HansORF Hollein’, courtesy Generali Foundation Collection - Moderne der Museum permanent to loan Salzburg 47 Hans Hollein Noever & Peter 1967 Spray, Svobodair silkscreen print on transparent sheet private archive Hans Hollein 48 Hans Hollein Noever & Peter Umweltveränderung, zur Spray Svobodair, 1968 spray can private archive Hans Hollein on the exhibition Hans Hollein worked MAN for transFORMS the opening of the from Cooper-Hewitt York New in Museum attempt an map is This to to 1976. 1974 themultiple between connections represent architecture, design, fashion, art and science. The The body this central in diagram. is that aimed to show exhibition design the is activity of human premise and creativity and efforts. our that all design governs 49 Hollein Hans matrix MAN transFORMS - mine it. it. mine is the title is published manifesto a of by Hans Hollein in 1968. According According 1968. in Hollein Hans by ces: everyday objects that are enlarged to to objects everyday enlarged thatces: are tion and clothing, the telephone and the home.’ tion clothing, and the telephone the and home.’

EVERYTHING IS ARCHITECTURE EVERYTHINGIS in magazine Bau is architecture definitionof the traditional Hollein, to efforts ‘Our the on en focused are relevant. longer no that media deter all and a whole as vironment the as artificial well as transpor climate, Television ta technical necessarily not is a building; Architecture an architectural experience.aids ‘Buildings can evoke Hollein manifesto his In be simulated.’ therefore can different of types examples architectural of shows experien electron sprays, art, proportions, visual gigantic pills, ‘A true inflatable and structures. code computer ics, itself redefining therefore time is our of architecture in its resources expanding as well as a medium as then If course of everything architecture, is that area.’ shows The manifesto architect. an also is everyone architects who became eventually famous or infamous Sergej different a completely for filmmaker career: designers fashion writer and Max Frisch, Eisenstein Nazi hunter Rabanne, Paco and Courrèges André Simon Wiesenthal Nazi and Albert minister Speer. Alles ist Architektur Coop Soft Himmelb(l)au, Space, 1970 Gertrudphotography: Wolfschwenger courtesy Coop Himmelb(l)au

EVERYTHING IS ARCHITECTURE ART AND REVOLUTION AND ART KUNST UND REVOLUTION The performances of the Actionists increasingly sparked scandals attracting attention of both police and media. This culminated in 1968 in the happening Kunst und Revolution, arranged by the artist Peter Weibel as part of student protests and taking place in a prominent lecture hall of Vienna University. The Actionists Günter Brus, Otto Mühl, Peter Weibel, Oswald Wiener and Malte Olschewski broke many taboos: they performed naked, pooped and masturbated extensively; the resulting goods were then smeared all over the room and the participants. One injured himself, another was whipped, and largely unintelligible lectures were held. All this happened on top of the Austrian flag, while the national anthem was being played.

The Kunst und Revolution happening resulted in serious consequences for the world of Austrian art and architecture. Günther Brus and Otto Mühl were sentenced to prison terms and Oswald Wiener was held in custo- dy for three months. Brus and Wiener were eventually forced to emigrate. Günther Feuerstein, the influential teacher of the young generation of architects who had invited Mühl for a lecture shortly before the event, was fired by the University of Technology.

Ernst Schmidt jr., Kunst und Revolution, Universität Wien, June 7, 1968 courtesy sixpackfilm, Vienna SCHÖNER WOHNEN ART AND REVOLUTION 52 Ernst Schmidt jr. Kunst und Revolution, Universität Wien, June 7, 1968. participants: Günter Brus, Otto Mühl, Malte Olschewski, Peter Weibel, Oswald Wiener digitalized 16mm film duration: 2 min. courtesy sixpackfilm, Vienna -

. (the improvement improvement (the . is a film commissioned by thecommissioned a film is

pression of the shit of one’s soul, the soul, wasting pression of the shit of one’s of the psyche’. 58 Erde der Salz Casa,Mi Su Casa, 1971 black and white photos collection Timo Huber 56 Erde der Salz 1972 Wohnpfeil, media mixed collection Timo Huber oder die Zerstörung des Schöner Wohnen Wohnsarges on Broadcast ORF. state television Austrian was part the film of a longer, 1972, May 4, Die called broadcast similarly experimental Österreichs Verbesserung of Austria) 57 Erde der Salz Zerstörung die oder Schöner Wohnen 1971 Wohnsarges, des digital video collection Timo Huber to invited Salz was der Erde In 1971, contribute to an Italian architecture mag series The photo azine. the and manifesto a critiquethat it accompanied were of purist skin a third afterdesign. Architecture,like the clothing, second, directly formed our is by contrasted to the skin. sensitive human The only matter between in the two the is of living. Hans Jascha,waste one of the members of Zünd-Up the whosein house saw the confrontation taken, of were photos the body with the the idleness remains, and symbol for the non-re the of life ‘a as waste - . During ) from which waste series at the Techni Hitl ) and a tower ( a tower ) and Hitl, Kristl, Krippl and Taferl and Krippl Kristl, Hitl, ), the model of the), Auto Expander

Krippl Taferl sche Otto Universität Wien, the invited Mühl students to help create a performance. Otto Hermann Nitsch, Wiener, Oswald Mühl, performed, Weibel Peter and Rühm Gerhard The frenzied a pseudonym. using displaymost terminated the was police. by 53 Otto Mühl Zock Fest, 1968 black and white photos collection Timo Huber During a guest lecture in Günther Feuerstein’s During a guest lectureGünther in Feuerstein’s Gegenwartsarchitektur black and white photos collection Timo Huber Hitl, Salz is Kistl, der Erde’s Krippl, Taferln earlierfirst presentation.public Several suchworks, the as Zünd-Up-Tryptichon ( black and white photos collection Timo Huber entertaining an Invited to produce con tribution to the International Architects’ Adolf Loos designedCongress a house in by Salz their reinstalled der Erde Payerbach, in works performance partly – provocative – naked a texts about the architectural profession were driven across was bull A young being read. representative of the herd’. the ‘silent as hall the members of Salz der Erde Ultimately, the of the architects out forced by hall were involved. the were and police 55 Erde der Salz Aktion Payerbach, 1970 ( constructed dripping, were front of in was oil Schloß Mirabell inSalzburg, accompanied among other things, the of a reading by, Festspiele. Salzburger the against manifesto 54 Erde der Salz Hitl, Kistl, 1970 Krippl, Taferln,

- - - - was an influential was interior design , on the other hand, is a film made by archi the made a film is the, on other hand, boration ended when they felt his conduct was too too was conduct felt his when they ended boration

SCHÖNER WOHNEN la independently continued Zünd-Up They as authoritarian. Their become Salz provocative der Erde. to eventually is materials of body their choice and the of (naked) use the Actionists. from derived But Zünd-Up Salz and der counter hippie the radical by inspired also were Erde the States. in United culture performancesZünd-UpIn collages, and films, and the of the context social against protest Salz Erde der and bourgeois In their view, their time. of architecture its of past. fascist disposed yet not has Austria Catholic attitude their ambivalent is the of groups Characteristic body of tech and fusion the ever-increasing towards it, fascinated by are They machine. and man nology, criticalof it. fiercely also but tecture collective Salz der Erde in 1971 in which the which in 1971 in Salz Erde der collective tecture mercilessly is undermined. ofideal Schöner Wohnen were Zünd-Up Salz and Erde The der collectives by Actionism. initiallyThe members directly influenced actions. The col on somecollaborated of Otto Mühl’s magazine promoting a tasteful bourgeois lifestyle. bourgeois tasteful a promoting magazine destruction the of habitable ‘the or Wohnen, Schöner coffin’ Schöner Wohnen Johann Jascha, Schöner Wohnen, Vienna, Vienna, Schöner Jascha, Johann Wohnen, 1969 – 1975

SCHÖNER WOHNEN SCHÖNER WOHNENSCHÖNER The film Metro was Salz der Erde’s entry to a Timo Huber presentation was a multimedia show in 69 competition for the design of a Viennese un- My Habermassy, 1969 an underground parking garage. Forty Zünd-Up derground station. The entry was not accept- mixed media members of motorcycle clubs demonstrated Präsentation Auto Expander / Parkgarage, ed by the jury. The film was made to question collection Timo Huber the fascination for and power of machines. 1969 the competition criteria, that were limited to Professor Schwanzer rode with one of them black and white photos design aesthetics. Friends from many disci- Timo Huber and assessed the project positively. collection Timo Huber plines contributed to the film, which opposes Panther, Tiger u. Co., 1968 the sterile, one-sided functional character mixed media 63 70 of underground stations. As Salz der Erde collection Timo Huber Zünd-Up Zünd-Up writes in their script: ’The film presents our The Great Vienna Auto Expander, 1969 Schrottpresse, 1969 ideas about the use of metro stations in Timo Huber collage, ink, paper collage both an actual and a utopian sense, but its Täuscher, 1969 collection FRAC Centre, Orléans collection Timo Huber alienation illustrates the impossibility of those mixed media wishes.’ collection Timo Huber 64 71 Zünd-Up Zünd-Up 59 62 The Great Vienna Auto Expander, Secret Weapons, 1969 Salz der Erde from top to bottom Service Ebene, 1969 collage Metro, 1970 Timo Huber ink, paper collection Timo Huber digital video Warten, 1971 (2018) collection FRAC Centre, Orléans collection Timo Huber photo collage 72 collection Timo Huber 65 Zünd-Up Zünd-Up Stephandsdom / Patrone, 1969 Timo Huber The Great Vienna Auto Expander, postcards 60 Yesterday – Today, 1971 Zentralperspektiver Schnitt, 1969 collection mumok - museum moderner kunst from top to bottom photo collage ink, paper stiftung ludwig, Vienna Timo Huber collection Timo Huber collection FRAC Centre, Orléans Auf dem Verhandlungstisch, 1971 73 photo collage Timo Huber 66 Zünd-Up collection Lentos, Linz In Our Living Room, 1971 Zünd-Up Postcard (Johann Strauss), 1969 collage The Great Vienna Auto Expander, black and white photo, cardboard Timo Huber collection Timo Huber Dragster Start, 1969 collection mumok - museum moderner kunst Confrontation of Faces, 1972 ink, paper stiftung ludwig, Vienna collage, paper Timo Huber collection FRAC Centre, Orléans collection Lentos, Linz Special Mirror, 1971 74 photo collage 67 Zünd-Up Timo Huber collection Timo Huber Zünd-Up St. Stephans Car Tower & Die Aufführung ist gesichert, 1971 Das Auto Heute, 1969 Racing in the Dome, 1969 photo collage collage postcards collection Lentos, Linz collection Timo Huber collection Timo Huber The Great Vienna Auto Expander was an Timo Huber educational design project by Professor 75 Pope and President, 1971 (2018) Karl Schwanzer at the Technische Universität Zünd-Up photo collage in Vienna. The supervisor was Günter Zamp 68 Heldenplatz / Dragster, 1969 collection Lentos, Linz Kelp from Haus-Rucker-Co. The assignment Zünd-Up postcard was to develop a parking garage at Die Zehn Objekte, 1971 collection mumok - museum moderner kunst 61 Karlsplatz. Zünd-Up placed the assignment mixed media stiftung ludwig, Vienna from top to bottom in a socially critical context by presenting the collection Timo Huber Timo Huber car as a fetish. The Auto Expander is a colos- Help, 1969 sal pinball machine in which the motorist mixed media can experience fantasy worlds. His car, for collection Timo Huber example, tuned up so it’s fast like a racing car, can be shot through two pipes on the roof of St. Stephen’s Cathedral. The final BODY SEXUALITY AND SCHÖNER WOHNENSCHÖNER The Zünd-Up Triptychon was a contribution to the Kunst und Technische Umwelt exhibition developed by Dieter Schrage in the Galerie Seilerstätte in Vienna. We are confronted with a kind of cyborg family: a proud, ‘technical’ father and a mother who gives birth to the ‘technical child’, whom she loves very much. Explaining the contribution Zünd-Up wrote: ‘The technical bug stabs us in our own flesh, when did it poison us?’.

76 Zünd-Up Triptychon (altar), 1970 photos, wood collection Timo Huber - - - magazine in , and initially she col , she people invites the in

laborated with her then partner, the withlaborated Actionist then her partner, the outset, EXPORT From has Weibel. Peter thebeen media works. interested how in my in actionism’ ‘I speak can of a ‘media the context work; the media and the body, materials,’ my are and the were and concept she says. In the performance public TAPP und TASTKINO street to touch her breasts while her torso with a box curtains. by And just covered is impossible in a cinema that, what’s like the to replace visual possible: purely is now 1960s, ‘Inby touch. the of a film impressions Vienna, in movement women’s no was there a singleand not artist engaged feminist in though these even media, thinking new or in says a partwere of avant-garde expression,’ the to incomprehensible ‘It was EXPORT. This project was published in IN publishedin was project This to the destruction issue an in devoted 1971, how Abraham shows of the object. Raimund a chair implicitly both enables and disables certain attitudes behaviours. and Bisecting woman, a naked theand hinging chair, when sitting unexpectedly is on the chair, able to open and closelegs, her allow thus at look sex. to her us ing 85 Abraham Raimund 71 – Hinge-Chair, 1970 digital print collection FRAC Centre, Orléans 86 Abraham Raimund 71 – Hinge-Chair, 1970 pencil pencil, colouring white black photo, and collection FRAC Centre, Orléans 87 Abraham Raimund 71 – Hinge-Chair, 1970 chair collection FRAC Centre, Orléans the Austrian media EXPORT, and per VALIE a been has formance artist filmmaker, and in internationalcentral figure the art feminist Her work and 1970s. scene since the 1960s stems from Aktionisme

83 Skrein Christian Hans Hollein with the Austriennale glasses, 1968 black and white photo collection Linz Lentos, 84 Hollein Hans glasses for the Austriennale; 1968 ‘The Number’, Great Triennale Milan plastic private archive Hans Hollein 77 Haus-Rucker-Co Electric 1968 Skin 1, paint, plastic collection Linz Lentos, 78 Haus-Rucker-Co 1968 – wrap dress; Electric Skin 2, 1967 plastic, vinyl coloured collection Klaus Pinter 79 Haus-Rucker-Co 1968 – wrap dress; Electric Skin 1967 3, plastic, vinyl coloured collection Klaus Pinter 80 Zünd-Up Fashion Design, 1969 media mixed collection Timo Huber 81 Helene Hollein Clothing for the Austriennale, 1968 contact prints, felt pen, page torn from catalogue private archive Hans Hollein 82 Helene Hollein fordrawings the Austriennale dress, 1968 paper pen, felt private archive Hans Hollein

BODY AND SEXUALITY AND BODY In the 1960s, the body the became starting for point In the 1960s, fashion design, architecture, of rethinking a radical art.and between The boundaries disciplines those increasingly disappeared.Exploring and breaking social norms sexuality around and identity central is to often research period. This this from the of work much the in fieldof developments technological new uses glasses helmets). as and (such both material media and mostly being period, the this of architects However, fantasies. oftenmale, sexual get stuck their own in of one as celebrated now EXPORT, VALIE Not until importantthe artists, most feminist change. does this a direct be seen as can earliest projects Some her of colleagues. male criticism her of the of work Haus-Rucker-Co, Electric Skins with Environment Transformers, 1967 – 68 courtesy Haus-Rucker-Co archive

BODY AND SEXUALITY PERCEPTION BODY AND SEXUALITY audience for a woman to behave so aggres- sively, that a female artist expressed herself so radically in public.’

88 VALIE EXPORT TAPP und TASTKINO, 1968 aluminium, foam courtesy Generali Foundation Collection – permanent loan to Museum der Moderne Salzburg

89 VALIE EXPORT TAPP und TASTKINO, 1968 – 69 (1989) digital video duration: 1.20 min. courtesy Generali Foundation Collection – permanent loan to Museum der Moderne Salzburg performer: VALIE EXPORT, announcer: Peter Weibel, editing: Wolfgang Hajek and Helmut Dimko, produced by ORF/ZDF for Apropos Film

90 VALIE EXPORT Genitalpanik, 1969 silkscreen print, paper courtesy Generali Foundation Collection – permanent loan to Museum der Moderne Salzburg

91 VALIE EXPORT Identitätstransfer III, 2000 (1968) black and white photo collection Lentos, Linz

VALIE EXPORT Identitätstransfer I, 2000 (1968) black and white photo collection Lentos, Linz

VALIE EXPORT Identitätstransfer II, 2000 (1968) black and white photo collection Lentos, Linz

96 Haus-Rucker-Co Viewatomizer, Transformer: Environment 1968 metal plastic, collection Centre Nationalet de Culture d’Art Georges Paris Pompidou, 97 Haus-Rucker-Co 1968 Drizzler, Transformer: Environment metal foil, adhesive plastic, collection Centre National et de Culture d’Art Georges Paris Pompidou,

94 Haus-Rucker-Co 1968 Flyhead, Transformer: Environment paper wood, acrylate, metal, collection Centre National et de Culture d’Art Georges Paris Pompidou, 95 Haus-Rucker-Co 1968 Flyhead, Transformer: Environment headphones foil, adhesive plastic, collection Wien Museum, Vienna 92 Alfons Schilling Sehmaschine das Grosse 1981 Rad, black and white photo collection MAK – Museum für angewandte ViennaKunst, Alfons Schilling Sehmaschine 1984 Dunkelkammerhut, black and white photo collection MAK – Museum für angewandte ViennaKunst, Alfons Schilling Sehmaschine Lichtpumpe, 1982 black and white photo collection MAK – Museum für angewandte ViennaKunst, Alfons Schilling 1978 Sehmaschine kleiner Vogel, black and white photo collection MAK – Museum für angewandte ViennaKunst, 93 Zugmann Gerald Laurids Ortner, Günter & Zamp Kelp Transformers with Environment Pinter Klaus Drizzler), and Viewatomizer (Flyhead, 1968 black and white photo collection MAK – Museum für angewandte ViennaKunst, - -

PERCEPTION nologies made it possible to influence the way people the influence to made it possible nologies becomes an Perception theirexperience surroundings. important artists this theme many for in designers and period. particularly Alfons Schilling. of is the in work This evident that a series machines of restrictHe the builds percep The wearer them extremely. thetion of person wearing Goggles and perception. his of aware becomes thus transform the perception Haus-Rucker-Co helmets by added irritation visual through of the and environment sound. In the 1960s and 1970s, new media such as radio, radio, as such media new 1970s, and In the 1960s the changed relationship television and telephone tech New between their surroundings. people and Cover ‘Bau’ magazineCover 4/1968 courtesy Hans Hollein private archive

PERCEPTION CYBERNETIC CITIES CYBERNETIC CYBERNETIC CITIES That cybernetics would radically influence the func- tioning of design, architecture and urban planning was understood in Austria at an early stage. Its con sequences are speculated on in numerous projects. Will cybernetics give us a better life? Will machines take over? Are new hybrids of man and machine emerging? Although the projects visualise a distant future, they are designed down to the smallest tech nical detail.

Angela Hareiter, Kinderwolken/Children Clouds, 1967 courtesy FRAC Centre, Orléans CYBERNETIC CITIES CYBERNETIC Medium Total was an exhibition project for Between 1965 and 1967, Angela Hareiter, The Kinderwolken is a mobile structure the Galerie nächst St. Stephan in Vienna in one of the few female protagonists of the that grows with the user and can also be 1970. The project shows a unique mixture Austrian avant-garde, developed the project connected to the mega structure or the real of ironic commentary, utopia and dystopia. Crack, Plastik explodiert in which she high city. These clouds are intended to promote Günther Domenig and Eilfried Huth consid- lighted the potential of PVC as an architectural freedom and social activities and grow with ered the impact of consumer society on the material for the future. The weightlessness their users. limited resources on earth. The idea of the of plastic enabled new cognitive experien Medium Total, a yellow, biotechnological, ces and the project was intended to inspire 102 liquid mass that is cybernetically organised users physically and psychologically, by Angela Hareiter that replaces the constructed environment, offering new sensory delights. As a next Kinderwolken - Children Clouds, Schnitt, was their answer. The suprahominids, a new step, Hareiter explored the mobile cell as 1966 – 1967 form of human life, inhabits this medium, an interactive way of life for the future in the print, paper, cardboard and they will expand their colonisation to Live – Information - project. Well before her collection FRAC Centre, Orléans the moon and Mars. Once the solar energy male colleagues did, she defined the cell as system has stabilised again, ‘Medium Total a space capsule modeled after the body, Angela Hareiter clusters’ will return to earth, orbiting as equipped with the latest technologies that Kinderwolken - Children Clouds, satellites, to then colonise the oceans. offer the user new sensory possibilities. Grundriss, 1966 – 1967 Nova-suprahominids will be born, and print, paper, cardboard they will move to land and scatter as tribes. 99 collection FRAC Centre, Orléans New frictions, new rivalry and new wars will Angela Hareiter follow. The project has been developed in Live – Information, 1965 – 1966 Angela Hareiter extraordinary detail, both in terms of content cardboard, wood, paint Kinderwolken - Children Clouds, and technology. The panels on display here collection FRAC Centre, Orléans Grundriss, 1966 – 1967 only show the colonisation of the Moon and print, paper, cardboard Mars. 100 collection FRAC Centre, Orléans Angela Hareiter 98 Live – Information, Self-Information, Angela Hareiter Günther Domenig & Eilfried Huth 1965 – 1966 Kinderwolken - Children Clouds, Schnitt, Medium Total, 1969 – 1970 ink, pencil, tracing paper 1966 – 1967 acrylate, paint, gum resin collection FRAC Centre, Orléans print, paper, cardboard collection FRAC Centre, Orléans collection FRAC Centre, Orléans Angela Hareiter Günther Domenig & Eilfried Huth Live – Information, Self-Information, Medium Total, 1969 – 1970 Grundriss, 1965 – 1966 acrylate, paint, gum resin ink, pencil, tracing paper 103 collection FRAC Centre, Orléans collection FRAC Centre, Orléans Angela Hareiter Future House, Wachsendes Kinderzimmer, Günther Domenig & Eilfried Huth 1966 – 1967 Medium Total, 1969 – 1970 print, paper, cardboard acrylate, paint, gum resin The nomadic elements designed by collection FRAC Centre, Orléans collection FRAC Centre, Orléans Angela Hareiter can be integrated in a megastructure, like the Future House project Angela Hareiter Günther Domenig & Eilfried Huth she conceived subsequently. In this project, Future House, Gerade Gekauft, Medium Total, 1969 – 1970 communication, mobility and interactivity 1966 – 1967 acrylate, paint, gum resin are central to the architectural environment. collage, cardboard, acrylate collection FRAC Centre, Orléans Housing became a commodity and lost all collection FRAC Centre, Orléans representative character. Günther Domenig & Eilfried Huth Medium Total, 1969 – 1970 101 acrylate, paint, gum resin Angela Hareiter collection FRAC Centre, Orléans Future House, 1965 – 1966 plaster, plastic, wood, paint collection FRAC Centre, Orléans PROTOTYPES PROTOTYPES Walter Pichler’s prototypes of furniture and appliances are perfectly executed and functional. By emphasizing certain effects of the use of everyday objects, these prototypes show their cold and disorientating impact. For example, how watching television or listening to the radio disconnects you from your immediate environ ment. According to Pichler, modern media and appliances do not connect people, but rather decrease the connection, both socially and physically. Devices take over the role of your fellow human beings.

Although there are three beds in Pichler’s dormitory, direct contact is impossible if you were to lie down in one of them. Each bed has its own built-in radio or dildo. In another work a telephone is given its own altar with tabernacle. This way Pichler shows that everyday objects such as furniture and appliances reduce our actions to an empty cult.

Walter Pichler, Kleiner Raum – Prototyp 4, 1968 photography: Christian Skrein courtesy Wien Museum, Vienna FEEDBACK ARCHITECTURE PROTOTYPES 104 Walter Pichler Vorhof, 1968 concrete Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna

Walter Pichler, textile: Elisabeth Campos Telefonkapelle, 1968 aluminium, iron, steel, linen Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna

Walter Pichler Telefon-Set, 1968 polyester, paint, telephone collection Inge Rodenstock, München, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna

105 Walter Pichler, textile: Elisabeth Campos Schlafsaal, 1968 styrofoam, wood, textile Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna

106 Walter Pichler Nicht rollende Kugel, 1967 stainless steel, batteries Estate Walter Pichler, courtesy Gallery Elisabeth & Klaus Thoman, Innsbruck / Vienna

107 Walter Pichler Fingerspanner, 1967 metal, plastic, steel collection MAK – Museum für angewandte Kunst, Vienna

108 Walter Pichler Fingerspanner, 1967 black and white photo collection MAK – Museum für angewandte Kunst, Vienna

, uses showed two

. Face Space, also called Face or another infrastructure. The White

affected its on two users sensory levels. cation, from the Baroque sculptor Franz Franz sculptor the from Baroque cation, fied – into colours and colours into sounds, that can be – fied sensors to read the moods of a person’s sensors the to read moods of a person’s objec – information This converted face. is ti read from an illuminated column. Smiling transformedis cheerful bright, into colours, while turn sad expressions the blue. column supports program sound A the image. The part experiment is of a long Austrian commu non-verbal tradition that explores 116 1969 Flipper, Soul left:photo Himmelb(l)au Coop right:photo Schnetz Peter most impor of Coop Himmelb(l)au’s Many tant projects unfortunately did survive. not the of the is photos This and reason works the performances related that from time are White Suit a ‘blow-up’. as presented here egg-shaped consisting a suit of a white, was thathelmet completely encloses the head, Theseand a pneumatic both vest. are connected to the structure main of the Villa Rosa Suit The helmet of the White Suit 114 Himmelb(l)au Coop The Cloud, 1968 paper ink, pencil, Himmelb(l)au Coop collection Himmelb(l)au Coop The Cloud, 1968 paper tracing pencil, Himmelb(l)au Coop collection Flipper Soul ni MesserschmidtXaver to Arnulf Rainer’s Farces Face 115 Himmelb(l)au Coop 1969 Flipper, Soul colouringpencil, cardboard pencil, Himmelb(l)au Coop collection imagines the way

Coop Himmelb(l)au Coop Astro Ballon, 1969 paper tracing pencil, Himmelb(l)au Coop collection 112 Heart Space, 1969 Erwinphotography: Reichmann 113 Himmelb(l)au Coop model The Cloud, 1968 plasticcardboard, Himmelb(l)au Coop collection Feedback Vibration City scattered whopeople, live the city, around their media toshare heartbeats, new use can and movements and waves alpha breath, change continuously Itthus the the is city. ultimate communication-city. 109 Himmelb(l)au Coop Feedback Vibration 1971 City, collage, canvas Himmelb(l)au Coop collection 110 Himmelb(l)au Coop Soft Space, 1970 chalk,pencil, cardboard collage, Himmelb(l)au Coop collection 111 Himmelb(l)au Coop Herzraum, 1969 / Astro Ballon II cardboard paper, tracing pencil, Himmelb(l)au Coop collection Himmelb(l)au Coop Herzraum, 1969 / Astro Ballon III cardboard paper, tracing pencil, Himmelb(l)au Coop collection

- - , violent film images are are images film , violent fic content of media that should be investiga be media thatof should content fic

FEEDBACK ARCHITECTUURFEEDBACK ted, but the medium itself: ‘the medium is the message.’ the message.’ is itself: medium the but medium ted, ‘the help only not Himmelb(l)au Coop by The installations to teach visitors also but proces, this understand to of bombardment intensive withdeal the increasingly impressions in the media. projected onto a transparent helmet, supported helmet, by a transparent projected onto the a subject that gives vest a pneumatic and scents when seepunch they brutal scenes. guru by media the influenced are These works so that much not it is He believed McLuhan. Marshall the speci in which the three members of Coop Himmelb(l)au Himmelb(l)au Coop of members the which three in off go the to rhythmlet explosions their heartbeat. of their heart accelerates The shock the of explosions the turn rhythm in which increases beat, the of ex White In The Suit plosions. tigates how human test subjects respond to intensive intensive to test subjects respond human tigates how be can these reactions how and experiences media Harter is Anfed example backmedia. those to Raum A series of experiments by Coop Himmelb(l)au inves Himmelb(l)au Coop by A series experiments of Coop Hard Himmelb(l)au, Space, 1970 Gertrudphotography Wolfschwenger courtesy Coop Himmelb(l)au

FEEDBACK ARCHITECTURE MIND EXPANDERS FEEDBACK ARCHITECTURE projections: a pornographic film and a Coop Himmelb(l)au worked between 1966 recording of a traffic accident. In a flash you and 1970 on the prototype for pneumatic would see the crash while smelling blood. architecture, Villa Rosa. The installation is At the same time, the vest would hit the divided into three parts intended to change kidneys. While the porn movie ran, perfume ‘like clouds’. The residents or users move was injected, as ‘olfactory eroticism’, and through the following areas: the vest simulated caresses. The switching between extreme experiences was intended 1 A pulsating room with revolving bed, pro- to train the users in dealing with the media, jections and sound programs. Scents that making them aware that ultimately the media correspond to the changing audiovisual were not about specific content (violence, program are mixed with the incoming air. sex), but that one must learn to deal with the 2 A pneumatically adjustable chamber. medium itself. Eight inflatable balloons change the size of the room. 117 3 The room in a suitcase or the mobile room. Coop Himmelb(l)au A helmet-shaped suitcase can be inflated White Suit, 1969 into a climate-controlled cover with a bed. pencil, colouring pencil, cardboard collection D.A.M., Frankfurt During their stay in the Villa Rosa, the residents or users wear a white suit, the Coop Himmelb(l)au White Suit. White Suit / Herzstadt, 1969 pencil, paper collection Coop Himmelb(l)au 120 118 Coop Himmelb(l)au White Suit, 1969 model Villa Rosa, 1968 photography: Hagen Ernstbrunner plastic, cardboard collection Coop Himmelb(l)au 119 Coop Himmelb(l)au 121 Urban Fiction, 1967 Coop Himmelb(l)au ballpoint, tracing paper Villa Rosa, 1967 collection Coop Himmelb(l)au pencil, paper collection FRAC Centre, Orléans Coop Himmelb(l)au Urban Fiction, 1967 122 ballpoint, tracing paper Villa Rosa, 1968 collection Coop Himmelb(l)au photography: Coop Himmelb(l)au

Coop Himmelb(l)au 123 Urban Fiction, 1967 Coop Himmelb(l)au ballpoint, tracing paper Erholungs Raum für’s Wochenende, 1967 collection Coop Himmelb(l)au ink, pencil, colouring pencil, tracing paper collection FRAC Centre, Orléans

134 Haus-Rucker-Co Explosion Pneumakosm, - Leisuretime 1967 cardboard collage, pencil, collection D.A.M., Frankfurt 135 Haus-Rucker-Co Pneumacosm PC-Tryptichon 1-3, 1967 – 1971 print gelatine, tracing pencil, print, paper, collection Linz Lentos, 129 Haus-Rucker-Co Zukunft, 1969 Vanille ink, collage, paper collection Laurids & Manfred Ortner, archive Haus-Rucker-Co 130 Haus-Rucker-Co I, Expanding 1970 Mind Program paper collage, collection Laurids & Manfred Ortner, archive Haus-Rucker-Co 131 Haus-Rucker-Co 1967 Ballon für Zwei, plastic steel, collection Günter Zamp Kelp 132 Haus-Rucker-Co 1967 Ballon für Zwei, digital video 0.46 min. duration: courtesy Günter Kelp Zamp 133 Haus-Rucker-Co 1970 (model), Ballon für Zwei metal acrylate, cardboard, collection Laurids & Manfred Ortner, Haus-Rucker-Co archive

are furniture-objects are

Mind Expanders citly mentions a man and a woman – mentions a man and a woman citly was also meant make its use redundant. its redundant. use also meant make was 127 Haus-Rucker-Co Mind Expander II, 1969 electronics acrylate, metal, plastic, collection Laurids & Manfred Ortner, Haus-Rucker-Co archive 128 Haus-Rucker-Co (selection), I ExpandingMind Program ca. 1970 ink, pencil, colouring pencil, collage, paper paper, tracing collection Laurids & Manfred Ortner, Haus-Rucker-Co archive 124 Haus-Rucker-Co 1967 Raum, im Wohnraum paint, plastic collection Linz Lentos, 125 Haus-Rucker-Co Gelbes Herz, 1967 – 1968 digital video 4.46duration: min. courtesy Günter Kelp Zamp 126 Haus-Rucker-Co Gelbes Herz, 1967 – 1968 ink, collage, paper courtesy Günter Kelp Zamp The whichin two people – the description ex pli to precise According can sit comfortably. instructions, placed helmet-shaped a is hood the heads The of the shade couple. over is withpatterns covered in foil of transparent iridescent colours. With music psychedelic lights controlled electronically playing, centre to a shared eyes theguide couple’s While by piece. the inspired experience is the drug hallucinogenic still the LSD, of use the experience legal the in early 1960s, -

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. Mind ExpanderMind II . Ultimately, this this . Ultimately, , helmets. Then they make helmets. make Then they are considered by Haus-Rucker- by considered are clothing range is also part also is range the clothing of Yellow Heart and Yellow and Drizzler from 1967 to 1971. The program aims to to aims The program 1971. to 1967 from Electric Skin Electric Mind ExpandersMind

MIND EXPANDERS The Ballon für Zwei Pneumakosmos of the in urban concept resulted project. The the prototypes Expander Mind I Co as a mind-expanding program. The idea is that is The the idea program. a mind-expanding as Co ultimately will form a new of the minds basis expanded a city proposes a and Haus-Rucker-Co urban order. bodies society individual formedby entirely that are structures the in (inflatable) minds expanded and them. by designed Haus-Rucker-Co works on the works Mind ExpandingHaus-Rucker-Co Program expand human consciousness and man-made and consciousness human environ expand starts This different on levels. withments the Flyhead Viewatomizer 68 – Haus-Rucker-Co, Gelbes Herz, 1967 courtesy Günter Kelp Zamp

MIND EXPANDERS KLIMA-ZONES KLIMA-ZONES In 1972 the Club of Rome publishes the report The Limits to Growth, making it clear that the earth’s natural resources are finite. The 1973 oil crisis makes the gravity of this situation even more apparent. In 1975, OPEC, the Vienna-based organization of oil-producing countries, was the target of one of the first major terrorist attacks in Austria. The oil crisis and environmental issues have led to an international reconsideration of the technological fascinations of the avant-gardes of the 1960s. The Haus-Rucker-Co collective, in particular, reflects in sometimes very large installations on the consequences of environmental pollution.

Haus-Rucker-Co, Protected Village, 1970 courtesy Haus-Rucker-Co archive EPILOGUE KLIMA-ZONES 136 143 This exhibition ends around 1973, when the Limits to Haus-Rucker-Co Haus-Rucker-Co Growth report by the Club of Rome and the oil crisis Changer / Wandler, 1972 Oase Nr. 6, 1972 lithograph, collage, paper silkscreen print, paper made it clear that in the future solutions would not be collection mumok - museum moderner kunst collection Lentos, Linz found, at least not exclusively, in technology. After stiftung ludwig, Vienna 1973 the protagonists of this exhibition continued to 144 make important contributions to art, architecture and 137 Haus-Rucker-Co Haus-Rucker-Co Joe’s Bar on the West Side, 1972 design. Hans Hollein became one of the founders of Cover, 1971 ink, collage, paper postmodernism and won the Pritzker Prize – the most digital video collection Lentos, Linz important international architectural award – in 1985. duration: 1.28 min. Coop Himmelb(l)au became one of the pioneers of courtesy Günter Zamp Kelp 145 Klaus Pinter (Haus-Rucker-Co) deconstructivism, building major cultural projects all 138 Rooftop Oasis Structures, 1971 – 1973 over the world and created the headquarters of the Haus-Rucker-Co ink, offset print, collage European Central Bank in Frankfurt. Haus-Rucker-Co Cover, Überleben in verschmutzter collection FRAC Centre, Orléans ceased to exist in 1992, but its members were extre Umwelt, 1971 silkscreen print, paper 146 mely successful individually. Laurids and Manfred collection Lentos, Linz Haus-Rucker-Co, Laurids-Zamp-Pinter, Ortner created several large cultural buildings and Düsseldorf, 1971 complexes across Europe. Günther Domenig was 139 Rhine Infusion, 1970 very active as an architect in Austria and demon Haus-Rucker-Co, Laurids/Zamp, plastic, water, glass, steel, wood Düsseldorf courtesy Günter Zamp Kelp strated with his Steinhaus am Ossiacher See that he Piece of Nature, 1973 remained an experimental designer until the end of plastic, glass his life. The artists Hermann Nitsch, Otto Mühl, Walter courtesy Günter Zamp Kelp Pichler and VALIE EXPORT are, each in their own 147 140 Haus-Rucker-Co way, internationally among the most important of their Haus-Rucker-Co, Zamp Kelp, Klima 2 Atemzone (reconstructie), 1971 generation. Others such as Raimund Abraham and New York/Berlin 1971/2014 (2014) Günther Feuerstein became internationally respected Seasons Hotel, Timesquare NY, 1971 plastic, steel wire, wood teachers. All of them continued to develop their ideas, (2014) courtesy Günter Zamp Kelp silkscreen print, paper all of them have remained radical. courtesy Günter Zamp Kelp There is much we can still learn from the Austrian avant- 141 garde. Their ideas are relevant again today in light of Haus-Rucker-Co, Zamp/Pinter, NewYork/Berlin 1971/2014 the philosophies of posthumanism and the anthropo Rooftop Garden, Broadway on cene. But perhaps the most important lesson is the Broomstreet NY, 1971 awareness that art, architecture and design must be silkscreen print, paper allowed to explore all aspects of life. It’s in the radical courtesy Günter Zamp Kelp nature of grief and anger that, despite criticism, an enormous power to innovate can be found.

142 Haus-Rucker-Co Tankstelle, 1972 silkscreen print, paper collection Lentos, Linz BIOGRAPHIES Raimund Abraham, (1933, Lienz, Tyrol), and Klaus Pinter (1940). Between 1970 Pädagogische Akademie der Diözese Günther Feuerstein (Vienna, 1925), is graduated from the Technische Universität and 1971 Haus-Rucker-Co, together with Graz-Seckau (1964-69) and the Olympic an architect and theoretician. He studied Graz in 1958 and founded a design office Manfred Ortner (1943), opened design swimming pool in Munich (1970 – 72). With at the Technische Universität in Vienna. in Vienna with Friedrich St. Florian in 1959. studios in Düsseldorf and New York, which projects such as Stadt Ragnitz (1963 – 1969), From 1958 to 1962 he worked for the In 1964 he emigrated to the United States both became independent the following Trigon (1967), Medium Total (1969 – 1970) architect Karl Schwanzer, among other and taught at the Rhode Island School of year (Haus-Rucker-Co and Haus-Rucker- and Floraskin (1971), they established their things on the Austrian pavilion at the Expo Design. He settled in New York in 1971 and Inc.). After the break-up of Haus-Rucker- reputation as radical thinkers on architecture. 1958 in Brussels, the present Museum 21er became a professor at the Irwin S. Chanin Inc. in 1977, Klaus Pinter continued as an That did not mean that they did not build a Haus in Vienna. In 1961 he became assis- School of Architecture at Cooper Union. independent artist. In 1987, independent lot. In 1979, they built the surrealist Zentrals- tant to Karl Schwanzer at the TU Vienna. He has also taught at numerous other schools studios were founded by Laurids Ortner parkasse Favoriten in Vienna. They participa Feuerstein organised the Klubseminar der of architecture, including the Pratt Institute, and Manfred Ortner in Vienna and by ted in many important exhibitions (Günther Architekturstudenten, which led to collabo- the universities of Yale, Harvard and UCLA, Günter Zamp Kelp in Düsseldorf. In 1992 Feuerstein’s Urban Fiction, Vienna, 1967) rations with the experimental groups Coop Cranbrook, the Southern California Institute Haus-Rucker-Co was dissolved. Günter and retrospectives (Visionen der Moderne, Himmelb(l)au, Haus-Rucker-Co and Zünd- of Architecture, the Technical Universities Zamp Kelp continued under his own name Deutsches Architekturmuseum, Frankfurt, Up. Upon inviting artists such as Walter of Graz and Vienna, the Akademie für and designed, among other things, the 1986). After Eilfried Huth left the office, Pichler and Otto Mühl, he was dismissed Angewandte Kunst and the Akademie Neanderthal Museum close to Düsseldorf Günther Domenig realised numerous projects from his position at the university in 1970, der bildenden Künste in Vienna, and the together with Arno Brandlhuber. The Ortner from 1986 onwards, including several build- after which he founded his own ‘study, Architectural Association. He has completed brothers realised as O&O Baukunst, with ings for TU Graz and the T-Mobile head- project and research workshop’. Feuerstein buildings in Berlin, New York (The Austrian offices in Vienna and Berlin, a series of quarters in Vienna (2002 – 2004). Domenig was a member of the editorial board of Bau, Cultural Institute) and Vienna, among other large cultural complexes, including the worked on his own house, the Steinhaus on founded the magazine Transparent, made places. He participated in various exhibitions MuseumsQuartier in Vienna (2001), which Lake Ossiach, from 1982 to 2008. It is now television broadcasts about architecture and around the world and in 1985 he received the houses a large number of cultural institutions. a museum. published many articles and several books. Lion of Stone at the 3rd Venice Architecture He was a professor at the Kunstuniversität Biennale. Abraham died in a traffic accident Hans Hollein (Vienna, 1934) studied VALIE EXPORT was born in Linz, Austria Linz from 1973 to 1996 and, in his advan in Los Angeles in 2010. architecture at the Akademie für Bildende in 1940. After attending the Kunstuniversität ced age, still teaches at the Universität Künste in Vienna from 1953 to 1956, at the Linz between 1956-59, she enrolled at the Innsbruck, where he was awarded an Coop Himmelb(l)au was founded in Illinois Institute of Technology from 1958 to Design Department of the Höhere Technische honorary doctorate in 2020. Vienna in 1968 by Wolf D. Prix (1942), 1959 and at the College of Environmental Bundeslehr- und Versuchsanstalt in Vienna. Helmut Swiczinsky (1944) and Michael Design of the University of California in After graduating in design, she went into the Angela Hareiter (1944) is a graduate Holzer (1943). Michael Holzer left the group Berkeley from 1959 to 1960. In addition to film industry and worked as a script super of the Technische Universität in Vienna, in 1971. Currently the office is led by Wolf his work as an architect and artist, Hollein visor, film editor and extra. In 1967 she where she studied between 1964 and 1968. Prix and three partners, Karolin Schmidbaur, was also active as a curator, exhibition de- decided on the name VALIE EXPORT as an Her presence at the Trigon 1969 exhibition Harald Krieger and Markus Prosnigg. Wolf signer and professor. He held guest profes- artistic concept and logo. She was co- in Graz alongside Superstudio, Hans Hollein, Prix has taught at the Southern California sorships at UCLA and Ohio State University, founder, in 1967, of the Austrian Filmmakers’ Günther Domenig and Eilfried Huth, her Institute of Architecture, the AA School of among others, and was Professor at the Cooperative in Vienna, and took part in participation in the first summer session at Architecture in London, UCLA, Columbia Kunstakademie Düsseldorf from 1967 to many important international exhibitions, the AA School in London in 1970, and the University in New York, and was professor, 1972 and at the Universität für Angewandte among them the Documenta 6 (1977) and joint founding of Missing Link in 1970 all dean and vice-rector at the Universität Kunst in Vienna from 1976 to 2002. Among the Biennale di Venezia for the Austrian underwrote her inclusion within the radical für Angewandte Kunst in Vienna. Coop other things, he realised the Museum am Pavilion (1978 and 1980). VALIE EXPORT movement. As a freelance architect and Himmelb(l)au has branches in Los Angeles, Abteiberg in Mönchengladbach (1982) and taught at numerous international institutions, designer since 1974, she has worked with Hong Kong, Beijing and Baku, among the Museum für Moderne Kunst in Frankfurt including the University of Wisconsin and the Karl Schwanzer, Haus-Rucker-Co and then others. Coop Himmelb(l)au has realised am Main (1991). Hans Hollein was award- Universität der Künste Berlin. From 1995/96 Ortner&Ortner on diverse constructions numerous buildings, including the Groninger ed numerous prizes, including the Pritzker until 2005 she was professor for Multimedia- (offices, exhibition pavilions, and so on). Museum (1994), the Akron Art Museum Architecture Prize. He died in 2014 at the Performance at the Kunsthochschule für Between 1999 and 2005 she created in Ohio (2001-2006), the Musée des age of 80 in Vienna. Medien Köln. In 1995 the artist was award- interior design projects and furniture. Confluences in Lyon (2014), the European ed the Generali Foundation’s prize for Since 1975 she has been particularly noted Central Bank in Frankfurt, the BMW Museum Günther Domenig (1934 – 2012), and sculptural works and in 2000 she became for her artistic direction of many theatre and in Munich (2007) and various large cultural Eilfried Huth (1930), both studied at the the recipient of the Oskar Kokoschka prize. film projects in Austria, Germany, France complexes in China and Korea. Technische Universität Graz. Between 1963 VALIE EXPORT lives in Vienna. Since 2020, and Italy, which earned her an Emmy Award and 1973, they worked together on a series her archive has been housed in the specially nomination in 1978. Her experimental pro- Haus-Rucker-Co was founded in 1967 in of projects that were among the most radical created VALIE EXPORT Center in Linz. jects from the 1960s were exhibited at the Vienna by the architects and artists Laurids in Austria at the time and received numerous Centre Pompidou in 2001, in the exhibition Ortner (1941), Günter Zamp Kelp (1941) awards. Among others, they realised the Les Années Pop. BIOGRAPHIES Timo Huber (1944) studied architecture most important representatives of Viennese Alfons Schilling (1934 – 2013) was born at the Technische Universität in Vienna. Aktionism. His oeuvre can be considered a in Basel, Switzerland. From 1956 to 1959, He participated in actions and films of the Gesamtkunstwerk; Nitsch expresses himself he studied at the Universität für Angewandte Vienna Aktionisten, especially with Otto in numerous disciplines, from painting and Kunst in Vienna. There he worked closely with Mühl. He is co-founder of the groups Zünd- theatre to music. Everything he does comes the Viennese Aktionisten (especially Günter Up (1969 – 1972) and Salz der Erde (1970 together in the Orgien Mysterien Theater. Brus). In 1962, Schilling moved to New York, – 1972), which are also represented in this In his theoretical work, Nitsch argues that his where he lived until 1986. Although his work exhibition. Since 1988 he has had his own actions and images should first provoke dis- in the 1960s was primarily an exploration architecture studio in Vienna. He lives and gust and revulsion in the spectators, and then of optical phenomena through installations, works as an artist and architect in Vienna. a catharsis. Nitsch wants the spectator to photography and painting, he also made a As an artist, he is particularly known for his reflect on the fact that symbols such as blood number of films between 1965 and 1977. collages. and death are often suppressed in everyday From 1990 he was a visiting professor at the life, but at the same time they play a central Universität für Angewandte Kunst in Vienna. Otto Mühl (1925 – 2013) was one of the role in the Christian religion, for example in most important representatives of Aktionism. the crucifixion and the immaculate concep- Zünd-Up and Salz der Erde. Zünd-Up was At the end of the Second World War he was tion. He uses real animal carcasses and real founded in 1969 in Vienna by Timo Huber part of the Ardennes Offensive as a mem- blood in a theatrical setting to provoke first (1944), Walter Michael Pühringer (1945), ber of the German Wehrmacht. He studied disgust and repugnance and later catharsis. Bertram Mayer (1943), Hermann Simböck at the Viennese Akademie der Bildenden Nitsch’s work is exhibited all over the world, (1945 – 1997) and Marcella Ertl, then Künste, among others, while already work- in the Netherlands for example at the Van students at the Technische Hochschule in ing as an art therapist. Mühl made paintings, Abbemuseum, and was represented at the Vienna as a result of their project The Great installations, performances and films. A lot of Documenta 5 in Kassel in 1972. Vienna Auto Expander. While the members his work was provocative and controversial. of Zünd-Up continued to work together Not infrequently, the police intervened at his Walter Pichler (Deutschnofen in South under this name until 1972, Huber, Mayer actions and legal cases followed. A number Tyrol, 1936) grew up in Tyrol from 1940 and Simböck, together with Wolfgang of them led to prison sentences for the partic- onwards and lived in Vienna and St. Martin Brunbauer (1944), Johann Jascha (1942), ipants. Art was not a goal in itself for Mühl in Burgenland. He graduated from the and Günter Matschiner (1943) founded From 1970 onwards, Mühl made a name Universität für Angewandte Kunst in Vienna the group Salz der Erde in 1970. Huber for himself by setting up a commune inspired in 1955. In 1959 he studied sculpture in Paris and Pühringer are still working together. by Wilhem Reich, in which nuclear families and between 1963 and 1964 he stayed in Timo Huber is also represented in this exhi- were abolished. In its heyday, the commune New York and Mexico. In 1966 he taught at bition as an independent artist with collages. had up to 600 members but many people the Rhode Island School of Design in New The work of Zünd-Up and Salz der Erde left due to Mühl’s authoritarian behaviour. York. Pichler was an architect, (graphic) is profoundly influenced by the Viennese In 1991 Otto Mühl was sentenced to seven designer and sculptor. As a graphic designer Aktionisten and some of its members worked years in prison for child abuse and violation he worked for the publishing house Residenz briefly with Otto Mühl. Their work consists of the Narcotics Act. He was released in Verlag. Pichler’s relationship with design and of performances, installations and films, 1997 and founded a smaller commune in architecture always remained ambivalent. including productions for the Austrian state Portugal. After his release, he published his With the urban designs that he exhibited broadcaster ORF. The collectives formulate memoirs from the prison years. Since 1998, in 1963 together with Hans Hollein at the a radical social criticism and, by extension, the Viennese Museum für Angewandte Kunst Galerie nächst St. Stephan in Vienna and a critique of the architectural profession. has devoted two major solo exhibitions to with the Prototypes series from 1967 and Work by Zünd-Up, Salz der Erde and their Mühl’s work. On the occasion of Mühl’s 1968, it is never clear whether they are con- individual members can be found in impor 85th birthday in 2010, the Leopold Museum crete proposals or theoretical commentaries. tant international art and architecture in Vienna put together a retrospective of his His Prototypes were exhibited at Documenta museum collections. later work. At the opening of this exhibition, 6, among other places. In 1972, Pichler Mühl apologised for the first time for his bought an old farmhouse in St. Martin in sexual assaults in an open letter to his Burgenland, which he expanded over the victims. years into a complex of numerous buildings and landscape interventions, in which he Hermann Nitsch (Vienna, 1938) trained permanently installed most of his sculptures. as a painter at the Vienna Graphische The complex has an archaic and ritual char- Lehr- und Versuchanstalt, where he became acter. Pichler died on 16 July 2012. interested in religious art. He is one of the COLOPHON RADICAL AUSTRIA MAK – Museum für angewandte Kunst, EVERYTHING IS ARCHITECTURE Vienna mumok - museum moderner kunst stiftung Curator and texts ludwig, Vienna Bart Lootsma Tiroler Landesmuseen, Innsbruck Assistant curators Wien Museum, Vienna Alexa Baumgartner, Maya Christodoulaki Project management Una Abraham Fredric Baas Hans Hollein private archive Research assistant Timo Huber Marthe Oosting Hermann Nitsch Exhibition & graphic design Peter Noever DeVrijerVanDongen Laurids & Manfred Ortner Technical support Klaus Pinter Charles Popelier, Etiënne Timmermans, Estate Walter Pichler & Gallery Elisabeth Mischa Doorenweerd, Balt van Rijn, Frans & Klaus Thoman de Visser, Michiel Sonnevijle, Wolf D. Prix Roger Walschots Günter Zamp Kelp

With thanks to Staff and students of the department of Participating artists and designers: architectural theory at the University of Innsbruck Raimund Abraham Günther Domenig & Eilfried Huth Partner Coop Himmelb(l)au: Wolf D. Prix, Helmut Swiczinsky, Michael Holzer VALIE EXPORT Günther Feuerstein Haus-Rucker-Co: Laurids & Manfred Ortner, Günter Zamp Kelp, Klaus Pinter This exhibition was made possible by the Angela Hareiter financial support of: Hans Hollein Helene Hollein Timo Huber Otto Mühl Hermann Nitsch Walter Pichler Salz der Erde: Wolfgang Brunbauer, Timo Huber, Günther Matschiner, Johann Jascha Alfons Schilling Zünd-Up: Timo Huber, Walter Michael Pühringer, Bertram Mayer, Hermann Simböck, Marcella Ertl

Lenders Centre National d’Art et de Culture Georges Pompidou, Parijs Deutsche Architektur Museum, Frankfurt Design Museum Den Bosch has tried to find the FRAC Centre, Orléans copyright holders of the photo and film material Generali Foundation / Museum der in this exhibition. If you believe you are the rightful Moderne Salzburg claimant of the material used, we ask you to Lentos Museum, Linz contact us via [email protected]. RADICAL AUSTRIA