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Program 2021 Kunsthaus Bregenz Reopened on June 5 with a Special Exhibition

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Program 2021 Kunsthaus Bregenz Reopened on June 5 with a Special Exhibition Kunsthaus Bregenz Program 2021 English Insights into the Moment A Foreword by Director Thomas D. Trummer In fall 2020 Elisabeth Bronfen, the Zurich-based cultural studies academic, was a guest at Kunsthaus Bregenz. The occasion was her recently published book Angesteckt (Infected) — a cultural and historical foray through film and literary history. Bronfen sheds light on depictions of the pandemic, demonstrating how viruses, vampires, and epidemics have pervaded cultural history. In doing so, she turns to Hans Blumenberg, who in his well-known book Work on Myth (1985) asked why people tell each other stories. The answer Blumenberg himself provided was: “Stories are told for a reason. In the most harmless but not insignificant case: to pass time. But otherwise and more seriously: to eliminate fear.” The exhibition Bunny Rogers that opened in January 2020 was one such story. It was the representation of individual death, a spatial requiem on four floors. A lawn had been laid for it, glow worms were iridescent, and water dripped in a shower room clad with thousands of tiles. The lockdown forced the exhibition to close in the middle of March 2020. The lawn withered, the shower heads remained dry, death found entry — into all the news. 03 KUB Program 2021 Kunsthaus Bregenz reopened on June 5 with a special exhibition. Unprecedented Times put works on display that had been created during the quarantine. It was an unusual project directly depicting a precarious moment. The project comprised a number of prominent artists, including Helen Cammock, William Kentridge, Annette Mes- sager, and Marianna Simnett. This initiative by KUB — acting quickly and spontaneously — was rewarded. Not only were visitors enthusi- astic about the exhibition, but the media response was extraordi- nary, with The New York Times dedicating a comprehensive article to it. But even more important than the international success was the local response. Visitors demonstrated themselves to be more receptive and attentive, the experience of the crisis making any en- counter with the voices of art all the more valuable and precious. Exhibitions in Bregenz are distinctive and unique. Not just because of KUB’s singular spaces, the addressing of current issues is no less important. Such questions not only include the pandemic and issues of coexistence, but also political responsibility, as well as debates around gender, together with issues concerning environmental awareness and dangers to the climate. All such considerations have but one objective: to consolidate Kunsthaus Bregenz as a place of the present — an art institution providing insights into the moment. 2021 Kunsthaus Bregenz is looking forward to 2021. The exhibition by Jakob Lena Knebl and Ashley Hans Scheirl will probably be opening in December 2020. The artists’ approach is playful, shrill, and lascivious. Their media include painting, photography, sculpture, and design, which are interwoven in scenery-like installations. Visitors to KUB will be able to experience an ice sea, a replica of the famous painting by Caspar David Friedrich, a walk-in witches’ sabbath, stagings of the self, floor paintings, advertising pillars, cyborg personas, and much more. As has so often been the case, the building is being transformed into stages that can be entered, creating unique spatial experiences. In the basement at KUB, and to complement the main exhibition, we are presenting, for the first time in Austria, the work of the pho- tographer Marcel Bascoulard. 04 KUB Program 2021 The first solo exhibition byPamela Rosenkranz in Austria will follow in spring 2021. Rosenkranz represented Switzerland at the 2015 Venice Biennial. The artist addresses the biological and chemical foundations of objects and commodities. She works with scents, earth and light, bacteria and parasites. Such existences below the human threshold of perception have been the subject of intellectual discourses in recent years. The virus too is an invisible presence. Rosenkranz formulates her artistic research as indelible but tranquil zones. These are spatially extensive, yet intimate experiences that are ideally suited to Kunsthaus Bregenz. A new acquisition by Lois Weinberger is being presented as an addendum to the main exhibition in the basement at KUB, which likewise confronts nature, chemistry, and the environment. The 2021 summer exhibition is dedicated to Anri Sala. Originally planned for 2020, the exhibition was postponed for a year. It will be taking place to coincide with the Bregenz Festival. In collaboration with the festival, Kunsthaus Bregenz will also be bringing the opera Wind to the stage in 2021 in a world premiere. Sala likewise engages with the phenomena of music. Pieces of music become protagonists in his films, the exhibition is a visual-acoustic experience within space, an experience that is as immersive as it is technically elaborate. Otobong Nkanga addresses the complex and shifting relationship between humans, land, and corresponding structures of repair. She traces the vestiges of trade in raw materials and how goods and people circulate the world in different ways and on different premises. By weaving together various mediums such as installation, tapestry, and storytelling, Nkanga’s work spans the temporality and subter- ranean effects of regimes acting on living beings. Especially in a time of climate urgencies and crises, such an exhibition is of great importance. 05 KUB Program 2021 Jakob Lena Knebl Contemporary Witchcraft, 2017 Photo: Georg Petermichl © Jakob Lena Knebl, Bildrecht, Vienna, 2020 Pamela Rosenkranz Infection, 2017 Installation view, Slight Agitation 2/4, Fondazione Prada, Milan Photo: Delfino Sisto Legnani and Marco Cappelletti Courtesy of the artist and Fondazione Prada, Milan © Pamela Rosenkranz Anri Sala AS YOU GO, 2019 13-channel HD video and 22-channel discrete sound installa- tion, color, 39:24 min. Installation view Castello di Rivoli, 2019 Photo: Antonio Maniscalco Courtesy of the artist © Anri Sala Otobong Nkanga Wetin You Go Do?, 2015 Installation view 13th Biennial, Lyon Photo: Blaise Adilon Courtesy of the artist © Otobong Nkanga KUB 2021.01 Jakob Lena Knebl & Ashley Hans Scheirl Seasonal Greetings 12 | 12 | 2020 — 14 | 03 | 2021 KUB 2021.02 Pamela Rosenkranz 27 | 03 — 04 | 07 | 2021 KUB 2021.03 Anri Sala 17 | 07 — 10 | 10 | 2021 KUB 2021.04 Otobong Nkanga 23 | 10 | 2021 — 09 | 01 | 2022 KUB Basement Marcel Bascoulard 16 | 01 — 14 | 03 | 2021 KUB Basement Lois Weinberger 17 | 04 — 04 | 07 | 2021 Ashley Hans Scheirl Neoliberal Surrealist (Neoliberale_r Surrealist_in), 2019 Photo: Matthias Bildstein Courtesy of the artist and Galerie CRONE, Berlin / Vienna © Ashley Hans Scheirl KUB 2021.01 Jakob Lena Knebl & Ashley Hans Scheirl 12 | 12 | 2020 — 14 | 03 | 2021 Extended The artist duo Jakob Lena Knebl and Ashley Hans Scheirl are a couple Opening: both privately and artistically, feminist and queer. At Kunsthaus Friday, December 11, 2020, Bregenz, the artists based in Vienna are staging two floors together 3 — 8 pm and one each on their own. At a photographic session at Kunsthaus Bregenz, they presented themselves in differing poses, sometimes colorful and frivolous, sometimes distinguished and thoughtful, and then again lascivious and provocative — never without style or without humor, in a manner comparable to the British artist duo Gilbert & George. The camera is a co-protagonist, the changing of roles and genres is more than an attitude, it is the work itself. Serious reflection, scenes, and the obscene collide unchecked. Ashley Hans Scheirl exhibits spatially extensive stages. Paintings on the floor are carried out employing violent gesture, drawings on the wall and text resembling slogans. Scheirl’s work includes golden penises and dolls dangling from the wall, red catwalks and curtains, sophisticated bachelor machines, sensuality, surreal elements, sus- penders and suspenseful shame, allusions to Klimt, and the glamor of the 1970s. The transgender artist Scheirl began his career making avant-garde films, Dandy Dust from 1998 since obtaining cult-status. Scheirl who later became known for performance, has been teaching contextual painting at the Academy of Fine Arts in Vienna since 2006. She is currently addressing issues of the limits of genre, con- ventional morally strict attitudes, and the assignment of gender, in expansive paintings. Jakob Lena Knebl’s art is no less garish and shrill. She is interested in design, and in particular the design of furniture and the extrava- gances of fashion. She portrays herself in staged photographs, the selfie becoming a farcical métier, the doll a paradigm, and desire her subject matter. Knebl uproots artistic identity employing mimicry and pose. She paints herself as a Chippendale sofa or becomes a full-body Mondrian. She is also active as a curator, re-presenting museum collections, for example those of mumok in Vienna and Kunsthaus Zürich, and reinterpreting the works in a surprising manner by adding accessories or items of clothing. She names such appropria- tions “co-agency.” 13 KUB Program 2021 Jakob Lena Knebl Ruth Anne, 2020 Photo: kunst-dokumentation, Courtesy of the artist © Jakob Lena Knebl, Bildrecht, Vienna, 2020 Ashley Hans Scheirl Selbstporträt mit Pinsel, 2018 Courtesy of the artist and Kunsthaus Bregenz © Ashley Hans Scheirl Scheirl and Knebl in Kunsthaus Bregenz, 2020 Photo: Miro Kuzmanovic Ashley Hans Scheirl (born in 1956 in Salzburg) lives and works in Jakob Lena Knebl (born in 1970 in Baden near Vienna as Martina Vienna, where
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