1 Alfred Hrdlicka 7 Honet 13 Julie Hayward 19 Peter Kogler 25 Aldo Giannotti 31 Esther Stocker Mahnmal gegen Krieg Totem Modern 2013 abtauchen/auftauchen 2009 U-Bahn-Station Karlsplatz 2011 Buildings on Buildings #2 2017 TONSPUR_passage 2006 und Faschismus 1988 14 concrete columns of the subway The Austrian artist Julie Hayward (*1968) The Austrian artist Peter Kogler’s (*1959) The project Buildings on Buildings by the The SOUNDTRACK_passage is one of The Vienna City Council commissioned line U2 along the Vorgartenstraße form has designed the short passage from solution for the intermediate level of Italian artist Aldo Giannotti (*1977) com- five passages in the MuseumsQuartier the Austrian sculptor Alfred Hrdlicka the stage for this street art project. here to there and vice versa as a zone of the subway station Karlsplatz is aimed prises three interventions in the Vienna Wien dedicated to a certain theme. It (1928–2009) to conceive a Monument The minimalist figures of the French switching from one to the other. People at virtually extending its real spatial cityscape. Highest Building in the World is located between courtyards 7 and 8. against War and Fascism. Controversial- artist Honet (*1972) visually refer to the coming from the city go underground in structure. A network of computer-gene- has the house participate in a worldwide The vault design was developed by the ly discussed at the time, the ensemble superheroes of the 1970s, linking them the direction of the Donaukanal (Danube rated tube forms seems to dissolve the competition of the highest construc- South Tyrolean artist Esther Stocker shows suffering, pain, and humiliation up to a modern totemism. Canal). Guided by the bright blue of the boundaries of architecture and, with its tions and, as such, refers ironically to a (*1974). quartier 21 presents sitespeci- as consequences of fascism, war, and passage, the way leads them toward the dynamically intertwined shapes, alludes global superstructure delusion. fic sound works by international artists anti-Semitism. 1020 Vienna, columns between Trabrenn­ water – and back into the light again. to the level’s transfer function at the there on a temporary basis. straße and Stella-Klein-Löw-Weg same time. 1060 Vienna, Gumpendorfer Straße 40–44, 1010 Vienna, Albertinaplatz g U2 Krieau 1030 Vienna, pedestrian underpass Bruno-Marek-Hof 1070 Vienna, Museumsplatz 1 g U1, U2, U4 Karlsplatz; Angelo-Soliman-Weg , connects Löwen­ 1040 Vienna, subway station Karlsplatz, 1150 Vienna, Grangasse 6 g U2, U3 Volkstheater/exit Burggasse; trams 1, 2, D Oper gasse and Treppelweg (Danube Canal) U1/U2 intermediate level g Bus 57A Stiegengasse U2 Museumsquartier g trams 1, O Radetzkyplatz g U1, U2, U4 Karlsplatz © Walter Schaub-Walzer/PID, 2009 © Iris Ranzinger, 2013 © Stephan Wyckoff, 2009 © Iris Ranzinger, 2012 © Aldo Giannotti, 2017 © Kay-Uwe Rossenburg, 2006

2 Ken Lum 8 Helmut & Johanna Kandl 14 Donald Judd 20 Henry Moore 26 Ronald Kodritsch 32 Lois Weinberger Pi 2006 Denkmal für eine Nobelpreis­ Stage Set 1991 Hill Arches 1973 Reason to Believe 2009 I-Weed, YOU-Weed 2013 trägerin 2006 The permanent media installation Pi in Stage Set by the American artist Donald The British sculptor Henry Moore (1898– Reason to Believe by the Austrian artist The installation designed for the eleva- the western underground pedestrian After collecting stories and anecdotes in Judd (1928-1994) is the expression 1986) donated his work Hill ­Arches to Ronald Kodritsch (*1970) is a life-size tor shaft of the Street Art Passageway passageway on Karlsplatz was created the Volkertplatz neighborhood for years, of an uncompromising vision situated the City of Vienna on the occasion of figure of a man with glasses and a plain ­Vienna forges an artistic link to the by the Canadian artist Ken Lum (*1956). the Austrian artist duo Johanna (*1954) between art and architecture. Six panels the redesign of Karlsplatz in 1975 in grey suit carrying an attaché case, tags and graffiti that mark the streets In the middle of the passageway we find and Helmut (*1953) Kandl condensed made from differently colored strips of 1978. The sculpture was installed in which was mounted on the edge of bordering Vienna’s seventh district. the transcendent number pi (π) with 478 this material to the fictitious biogra- fabric are mounted at differing heights. the reflecting water basin in front of the roof ledge of a corner building. The ­Weinberger‘s (*1947) work takes up decimal places, with the most recently phy of a woman who will be awarded They rhythmize the open space and St. Charles’s Church. Its softly flowing economic crisis is viewed from a new both their writtenness and their prolife- calculated figures being shown on the the Nobel Prize for Economics in 2045. visualize serializations and processes lines describe two rhythmically moving perspective from above. Where does rating, intoxicating aspects, and mirrors display. The Monument to a Female Nobel Prize that are characteristic of Judd’s work. bodies, whose gaps are as important as one step further get me? them into the MuseumsQuartier. Winner is dedicated to her. their material forms. 1010 Vienna, subway station Karlsplatz, 1030 Vienna, Stadtpark (between 1060 Vienna, rooftop Getreidemarkt 17/ 1070 Vienna, elevator shaft of the Street western passageway, exit Secession 1020 Vienna, Volkertplatz bridge and path toward Heumarkt) 1040 Vienna, Karlsplatz corner Mariahilfer Straße Art Passageway in the MQ, Museumsplatz 1 g U1, U2, U4 Karlsplatz g tram 2 Taborstraße/Heinestraße; g U4 Stadtpark g U1, U2, U4 Karlsplatz g U2 Museumsquartier g U2, U3 Volkstheater/exit Burggasse; bus 80A Volkertplatz U2 Museumsquartier © Jörg Auzinger, 2006 © Andrea Huemer, 2009 © Nora Höglinger/KÖR GmbH, 2015 © Eva Amann/KÖR GmbH, 2012 © Norbert Pruscha © Barbara Horvath/KÖR GmbH, 2014

3 Olaf Nicolai 9 Michaela Melián 15 Gerold Tagwerker 21 Michael Sailstorfer 27 Franz West 33 VALIE EXPORT Denkmal für die Verfolgten Herminengasse 2017 mirror.grid_passage 2012 Hauptweg und Nebenwege 2017 Gerngross-Säule 2000/2007 Kubus EXPORT – Der Trans­parente der NS-Militärjustiz 2014 Raum 2001 A research study for this project estab­ Together with the architect Anna Titled Primary Route and Byways, the The Austrian artist Franz West (1947– During the Second World War, Nazi military lished that, between 1938 and ’45, ­Wickenhauser, the Austrian artist Gerold three sculptures by the German artist 2012) dedicated this column to the Cube EXPORT – The Transparent Room is justice handed out more than 30,000 death 800 Jewish men and women who lived Tagwerker (*1965) designed a horizontal Michael Sailstorfer (*1979) positioned architect, exhibition organizer, and a glass volume designed by the Austrian sentences most of which were passed in Herminengasse were eventually grid band of grey ceramic tiles for the above the subway ventilation shafts journalist Heidulf Gerngross (*1939). media artist VALIE EXPORT (*1940) and against deserters. The Memorial to the deported by the Nazis. The German artist walls of the pedestrian underpass, which reflect the importance of the square as The Gerngross Column is intended as a installed under an arch of the elevated

Victims of Nazi Military Justice by the Ger- Michaela Melián (*1956) traces the fates is ornamentally rhythmized by mirror tiles a traffic hub. Based on drawings that metaphor of an exhibition organizer’s track of the city’s former metropolitan

man artist Olaf Nicolai (*1962) stages the of these individuals by drawing lines interrupting the band both vertically and show the local traffic situation and Herculean task. An egg with the mirror railway. It was conceived as an open Vienna situation of the individual and demons- that lead from the residential houses in horizontally. Vienna’s rail network, the sculptures image of Gerngross’s name caps the space for communication, creativity,

trates respect for all those who position Herminengasse to the various concent- evoke maps, paths, or routes. garbage can tower. and contemplation and serves as a

themselves against the current system. ration camps. 1030 Vienna, pedestrian underpass venue for presentations by artists. Public Art Art Public Adolf-Blamauer-Gasse/Ghegastraße 1040 Vienna, Südtiroler Platz 1060 Vienna, Rahlgasse 5 (traffic circle) 1010 Vienna, Ballhausplatz 1020 Vienna, subway station Schottenring, g tram 18 Heinrich-Drimmel-Platz g U1 Südtiroler Platz – Hauptbahnhof; g U2 Museumsquartier 1080 Vienna, Lerchenfelder Gürtel, g U2, U3 Volkstheater; trams 1, 2, D exit Herminengasse (U2 train platform) trams 18, O Hauptbahnhof Gürtelbogen 48 Dr.-Karl-Renner-Ring g U2, U4, trams 1, 31 Schottenring g U6, tram 2 Josefstädter Straße

© Iris Ranzinger, 2014 © Iris Ranzinger, 2017 © Iris Ranzinger, 2012 © Michael Strasser, 2017 © Ulrike Wagendorfer, 2009 © Nora Höglinger/KÖR GmbH, 2015

4 Plattform Geschichtspolitik 10 Speto 16 PRINZpod 22 Ulrike Lienbacher 28 Iris Andraschek 34 Hofstetter Kurt About KÖR Publisher’s Notes Weinheber ausgehoben 2019 3 Brothers 2014 Aspang Railway Station Memorial IDYLLE 2002 Tell these people who I am 2011/2012 N.I.C. – nature is cool 2009 2017 Kunst im öffentlichen Raum (KÖR) Publisher: The concrete foundation of the monu- The work by the Brazilian artist Speto The façade of the municipal housing The Austrian artist Iris Andraschek’s N.I.C. – nature is cool is a sculpture GmbH (Public Art Vienna) is com- Kunst im öffentlichen Raum GmbH ment to the Nazi poet Josef Weinheber, (*1971) pays homage to the Villas Bôas In 1939 and 1941/42, a total of 47,035 estate shows a wall picture by the (*1963) work comprises three “­carpets” by the Austrian artist Hofstetter Kurt Hörnesgasse 2/1, A-1030 Vienna mitted to breathing new life into erected in 1975, was uncovered on the brothers and the narrative cultures Austrian Jews, men and women, were painter Rudolf Böttiger which unfolds milled into different sidewalks of Vien- (*1959). Three spheres with a diame- www.koer.or.at the city of Vienna’s public space initiative of the Plattform Geschichtspo- of Brazil’s indigenous population. The deported from Aspang Railway Station to a family idyll of the Nazi era. In 1945, na’s seventh district. The patterns of ter of 111 cm each are positioned one with permanent and temporary art the carpets carry information on three Managing Director: Martina Taig litik consisting of students and teachers former colonizers Leonardo, Orlando and Nazi-established ghettos, extermination only the swastika adorning the work on top of the other; offset from the projects. Its endeavors are aimed Editor: Theresa Weiß from the Academy of Fine Arts. The Cláudio Villas Bôas became dedicated camps, and killing sites. The memorial by was removed. The Austrian artist Ulrike female personalities (Gisela von Camesina general axis, the middle sphere laterally at strengthening the identity of the Graphic design: SCHIENERL D/AD redesign refers to the structural fortifi- advocates of indigenous rights and the Austrian artist duo PRINZpod (*1942, Lienbacher (*1963) has mounted a pane de San Vittore, Olly Schwarz, and Vally touches the one above and below it. city and of individual neighborhoods Proofreading and translation cations that were added in response to environments from the 1960s onwards. *1955) consists of two converging of glass with the word IDYLLE (IDYLL) in Wieselthier). This arrange­ment conveys a feeling of in terms of contemporaneity and at into English: Wolfgang Astelbauer previous interventions. concrete rails as a reference to the rail mirror image in front of the painting. hovering lightness. Holzhausen Druck GmbH 1070 Vienna, Lerchenfelder Straße 131 reviving public space as an agora – Printed by 1020 Vienna, columns between Trabrenn- tracks of the station, which was demo­ a place of sociopolitical and cultural 7th edition: 3,000 copies 1010 Wien, Schillerpark, Elisabethstraße/ straße and Stella-Klein-Löw-Weg 1050 Vienna, Brandmayergasse 27 1070 Vienna, Augustinplatz 1080 Vienna, corner Lange Gasse/ lished in 1977. 1070 Vienna, Stiftgasse 2 discussion. KÖR does not under- January 2020 | all information subject corner Robert-Stolz-Platz g U2 Krieau g tram 6 Margaretengürtel/Arbeiter­gasse; Laudongasse to change g U6, trams 5, 46 Thaliastraße stand art in public space as décor, g U1, U2, U4 Karlsplatz; 1030 Vienna, Leon-Zelman-Park bus 59A Reinprechtsdorfer Straße/ g tram 5 Laudongasse Arbeitergasse but as an offer for the confrontation trams 1, 2, D Oper g tram 71 Kleistgasse © Bildrecht GmbH, 2020: Iris Andraschek, Foto: Lisa Rastl © Akademie der bildenden Künste Wien, © Iris Ranzinger, 2014 © Michael Strasser, 2017 © Rainer Iglar © Mischa Erben, 2011 © Markus Hanakam, 2010 with aesthetical contents and radi- Richard Deacon, VALIE EXPORT, Franz Graf, 2019 cal solutions and a symbolic marking Julie Hayward, Hofstetter Kurt, Christine 29 Heinz Gappmayr 35 Lois & Franziska Weinberger of hitherto culturally abstemious & Irene Hohenbüchler, Alfred Hrdlicka, 5 Rachel Whiteread 11 Ingeborg Strobl 17 Ernst Caramelle 23 W. M. Pühringer Raumtexte 2006 Dachgarten Wienbibliothek 2005 territories. Donald Judd, Ronald Kodritsch, Brigitte Mahnmal für die österreichischen ein Garten (zum Beispiel) 2008 Ohne Titel 2013 Hic et nunc 2004 Kowanz, Ulrike Lienbacher, Maria Theresia jüdischen Opfer der Shoah 2000 The title of this large-format work on The Austrian artist Ernst Caramelle’s Hic et nunc (Here and Now) is a large From 1961 on, the Austrian artist Heinz The Austrian artist Lois Weinberger Litschauer, Hubert Lobnig, Michaela KÖR manages art projects, commis- (*1947) designed an installation with Melián, Henry Moore, Olaf Nicolai, The Memorial to the Austrian Jewish enamel plates by the Austrian artist (*1952) “fresco-like” wall painting sculpture by the Austrian artist W. M. Gappmayr (1925–2010) devoted himself sions artists, organizes competi- PRINZGAU/podgorschek, W. M. Pühringer, Victims of the Shoah on Judenplatz Ingeborg Strobl (*1949), a garden (for Untitled responds to the architectural Pühringer (*1945). The work is an to language at the interface between the plants for the roof of the underground tions for projects in public space, Michael Sailstorfer, Françoise Schein, reminds us of the 65,000 Jews murder­ed example), refers to previous names for situation of the main passageway. ­eleven-meter-high metal object that realm of concepts and that of fine art. depot of the Vienna City Library, which, allots subsidies to artists or partner Ingeborg Strobl, Manfred Wakolbinger, under the Nazi regime. The façades of Novaragasse (Garden Lane from 1797 to Asymmetric color fields as well as mirror breaks through the public space of For Spatial Texts he chose the word ECHO though inspired by natural processes, organizations, and engages in Rachel Whiteread, Heimo Zobernig. the reinforced concrete cube conceived 1812 and Gardeners’ Lane until 1862). bands along the opposite wall create Vienna‘s fifth district. for the façade of Vienna’s Central Library, strikes us as abstract. The ramifying activities related to these tasks by the British artist Rachel Whiteread The models used for the plant images new symmetries and offer different “The sculpture resembles the materiali- the word ZEIT (TIME) for the entrance lines of Roof Garden of the Vienna Cover: Yves Netzhammer, (symposia, publications, education- (*1963) present themselves as walls of are woodcuts from the nineteenth cen- points of view. zed ray of a remote galaxy” (quote by hall to the subway, and six astronomical Library recall larval galleries of the bark Gesichtsüberwachungsschnecken, 2017 al programs, etc.). names referring to stars for the foyer. beetle Ips typographicus. Photo: Iris Ranzinger, 2017 library shelves turned outward. tury, which evoke the Novara Expedition W. M. Pühringer). (1857–1859). 1040 Vienna, subway station Karlsplatz, 1010 Vienna, Judenplatz main passageway 1050 Vienna, Margaretenstraße/Grohgasse 1070 Vienna, Central Library – 1082 Vienna, City Hall, Hof Nr. 6 (visible from Guided Tours g U3 Herrengasse 1020 Vienna, Novaragasse 8 g U1, U2, U4 Karlsplatz g U4 Pilgramgasse; buses 12A, 59A Gürtel, Urban-Loritz-Platz 2 a the elevator), Mon–Fri 9 am to 6:30 pm g U2 Rathaus KÖR also offers individually arranged g U2 Taborstraße Bacherplatz g U6 Burggasse – Stadthalle; trams 9, 18, 49 Urban-Loritz-Platz tours of art projects in public space © Eva Amann/KÖR GmbH, 2012 © Christian Wachter, 2008 © Iris Ranzinger, 2013 © Markus Hanakam, 2010 © Manfred Seidl, 2006 © Jörg Auzinger, 2005 in Vienna. To enable us to respond to your personal wishes and ideas, 6 Pedro Cabrita Reis 12 Josef Bernhardt 18 Franz Graf 24 Heimo Zobernig 30 Françoise Schein 36 please send us an e-mail: Fritz Wotruba two drawings in the sky, Warten auf Vögel IV 2009/2017 SUED 2012 ohne Titel 2010 Wiener Bankett der Menschenrechte 1962 [email protected]. Große stehende Figur two paintings underneath 2013 und ihre HüterInnen 2018 By now, the series of works Waiting The Austrian artist Franz Graf (*1954) has Ivy is a motif associated with both na- Fritz Wotruba’s (1907–1975) Large Marking the façades of the subway for Birds by the Austrian artist Josef selected a variety of pictorial motifs from ture and walls. The Austrian artist Heimo The installation presents the thirty Standing­ Figure is a representative work stations Donaumarina and Donaustadt­ ­Bernhardt (*1960) comprises twelve his art archives for his four-part installa- Zobernig’s (*1958) ornamental design articles of the Human Rights as a meal from the Austrian artist’s late period, in brücke with paint, light, and form, the parts and consists of nesting ­boxes for tion in the passageway, which comprises for the walls of the intermediate level in on plates. The Belgian artist Françoise which he aimed at a figurative represen- Portuguese artist Pedro Cabrita Reis birds of different sizes, numbers, and 65 glass panels, and assembled them the form of a mosaic aims at producing Schein (*1953), with the Inscrire asso- tation of man in abstract terms. After (*1956) has established a visual connec- configurations installed in the urban to complex compositions. The subjects an impression of depth by layers of ciation, invites us to reflect on various Wotruba had returned from his exile in tion between the architecture of the two realm. The boxes satisfy the demands follow star charts and connecting lines color. untitled translates a photographic levels of human rights, which, like food, Switzerland in 1945, he had increasingly subway buildings on the south and on of hole-nesting birds; how­ever, whether which reflect relationships between model into glass mosaic stones, the must be mentally absorbed from the pla- broken up the figurative in favor of geo- the north bank of the Danube River. they will actually build their nests there words and thoughts of passengers. former’s pixels corresponding to the te. The Danube river on the plate refers metric abstraction. remains uncertain. latter’s size. to the flow of people, goods and ideas. 1020 Vienna, subway station Donaumarina 1040 Vienna, passageway Vienna Central 1082 Vienna, Friedrich-Schmidt-Platz 6 1220 Vienna, subway station Donaustadt- 1030 Vienna, corner Erdbergstraße/ Station/U1 Südtiroler Platz – Central Station 1050 Vienna, tram station Laurenzgasse 1070 Vienna, Platz der Menschenrechte g U2 Rathaus brücke Kundmanngasse 30 g S-Bahn, U1 Südtiroler Platz – Hauptbahnhof g trams 1, 62 Laurenzgasse g U2 Museumsquartier; bus 57A Museums- g U2 Donaumarina and U2 Donaustadtbrücke g U3 Rochusmarkt quartier © Lisa Rastl, 2013 © Barbara Horvath/KÖR GmbH, 2017 © Iris Ranzinger, 2012 © Marianne Greber, 2010 © Iris Ranzinger, 2018 © Markus Hanakam, 2010 37 Maria Theresia Litschauer 43 Peter Sandbichler 49 Brigitte Kowanz 55 Richard Deacon 56 Peter Fattinger 57 Stephan Huber 58 Christian Jankowski [ transkription ] 2010 12 Töne 2019 einhundertundvierundzwanzig­ a Zeitweise 1993 PARKLIFE 2010 Aspern Affairs 2013 Die große Geste 2014 1998 Relating to Alfred Crepaz’s sculpture The relief-like wall installation by the For his monumental sculpture From Realized in the context of a course at Aspern made world history on two occa- The German artist Christian Jankowski’s (1939), the Austrian artist Maria Theresia Austrian artist Peter Sandbichler (*1964) The Austrian artist Brigitte Kowanz Time to Time the Welsh sculptor Richard Vienna’s University of Technology by 24 sions: in 1809 Napoleon suffered his first (*1968) project for the subway station Litschauer’s (*1950) installation wants to be perceived as one pas- (*1957) has uncompromisingly relied on Deacon (*1949) combined organic prin- students under the supervision of Peter defeat on the battlefield in Aspern, in Donauspital deals with general ques- [ transcription ] is aimed at a contextu- ses through the passage. Alternating expressions, numbers, and light for her ciples of composition with mechanical Fattinger (*1972), the building provides 1912 the then largest and most modern tions of art commissioning. The Great alization of National Socialist art. It not concave and convex ceramic modules works since the early 1980s. Written out engineering techniques. The weight of a stage, a platform, a room for activities, airport of Europe was inaugurated there. Gesture consists of 18 text and sign only critically thematizes the ideological in twelve colours create constantly in full, the house number 124 a has been steel seems to be completely suspen- and presents itself as a multifunctional The German artist Stephan Huber (*1952) images that are placed throughout the background of this statue by means of changing optical effects and lead to a cut into a steel sheet wall. The project ded through the sculpture’s curved sculpture for local childcare in the midst has visualized the two events in maps station. Its impact derives from both sign, concrete band, and text panel, physical experience. also comprises a dynamic orientation form. The work’s layout resembles the of the housing estate’s massive apart- and drawn the “life lines” of the perso- its conceptual precision and its highly but also highlights a partly visible Hitler system for the various stairs and the form of Vienna’s UNO City and grants a ment blocks. nalities mentioned in the maps on the phantasmatic content. quotation from 1933. 1100 Vienna, Underpass Gertrude-Fröh- day care center. view of Leopoldsberg. station windows. lich-Sandner-Straße 1220 Vienna, playground, 1220 Vienna, subway station Donauspital 1090 Vienna, Thury-Hof, Marktgasse 3–7 g U1 Hauptbahnhof; trams 1, 18, O Haupt- 1160 Vienna, Hasnerstraße 124 a 1220 Vienna, Donauinsel, at Reichsbrücke Rennbahnweg 29 1220 Vienna, subway station Aspern Nord g U2 Donauspital g trams 5, 33, 37 Nußdorfer Straße/ bahnhof; busses 13A, 69A Hauptbahnhof g U3, trams 46, 2 Ottakring 400 metres upstream g U1 Rennbahnweg; bus 27A g U2 Aspern Nord Alserbachstraße g U1 Donauinsel Theodor-Kramer-Straße © Stephan Wyckoff, 2010 © Iris Ranzinger, 2015 © Brigitte Kowanz © Stadt Wien – MA 7, 2014 © Peter Fattinger, 2010 © Iris Ranzinger, 2013 © Iris Ranzinger, 2014

38 Inés Lombardi 44 Lukas Maria Kaufmann, OT 2018 50 Manfred Wakolbinger Ohne Titel (Projekt „Garten Energie, die aus dem Inneren As a reminder of the November pogrom in mit Brunnen“) 2009 kommt 1998 1010 1080 1938, to which almost one hundred syna­ U1 This work by the Austrian artist Inés gogues and prayer houses fell victim, The three-part work Energy from Inside 1 Alfred Hrdlicka, Mahnmal 33 VALIE EXPORT, Kubus EXPORT – Lombardi (*1958) relates to the district’s the Austrian artist Lukas M. Kaufmann by the Austrian artist Manfred Wakolbinger gegen Krieg und Faschismus Der Transparente Raum U2 local history and topographical context. (*1993) created a luminous sign in 15 (*1952) comprises sculptures enclosed 2 Ken Lum, Pi 34 Hofstetter Kurt, U3 Untitled (Project “Garden with a Well“) is districts. The interwoven Star of David in cubic glass bodies. A productive N.I.C. – nature is cool comprised of an apparently overgrown only reveals itself when approached; tension arises between the simple 3 Olaf Nicolai, Denkmal für die Verfolgten der NS-Militärjustiz 35 Lois & Franziska Weinberger, piece of garden in which a well object QR codes on the steles provide virtual geometry of the shell and the dynamic, U4 e R ß au C a te Dachgarten Wienbibliothek r n o aße made of bronze and fragments of a reconstructions of the synagogues. room-spanning wave-like forms inside. uer Str t we 4 Plattform Geschichtspolitik, b lda S g e po n eo r U6 z L e fence are to be found. All locations: koer.or.at/en/projects/ot. Weinheber ausgehoben 36 Fritz Wotruba, lg asse a erg m s e n 1160 Vienna, Paltaufgasse s s i a e re r s G P Große stehende Skulptur a E g e a i a g U3, trams 46, 2 Ottakring g A p r t n 1090 Vienna, Zimmermannplatz 1110 Vienna, Simmeringer Tempel, 5 Rachel Whiteread, Mahnmal ß r g e e i y l W l a z a d i r i l t g fö a g U6, tram 43 Alser Straße Braunhubergasse 7 e s a ld u Ra für die österreichischen F s s ut S t se t e 56 enw an p ra r eg e dg u ß s g U3 Simmering; trams 11, 71 Braunhuber- a e s jüdischen Opfer der Shoah ss a St e e r 1090 e aß a nger Straß e e i H g e Grinz l ß r l r gasse; bus 69A a Donaufelder S tra e A r e ße

37 Maria Theresia Litschauer, d t f r S r

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i t r r s lo 6 Pedro Cabrita Reis, 38 Inés Lombardi, Ohne Titel G n F 39 Julia Schulz 45 Iris Andraschek & Hubert 51 Leo Zogmayer e H g O i i l e b r i s e s e S e two drawings in the sky, (Projekt „Garten mit Brunnen“) e s r c ß Schlüssel gegen das Vergessen 2008 Lobnig / Atelier Auböck + Kárász JETZT 1999 s h a H e i a s s r g e t t a h A b e S two paintings underneath e g Rut gas t l e t 2011 r h se n Turner­tempel Erinnerungsort s u t c r e k e 39 Julia Schulz, Schlüssel gegen s e e s r e Keys Against Oblivion by the Austrian ar- The text sculpture in concrete was h M a ß A t S n g c a D t l r ra r n P r r b ß a ö i l A t u 7 Honet, Totem Modern das Vergessen t d A s e o ß r k a i e e e 2 tist Julia Schulz (*1979) was realized as Andraschek (*1963) & Lobnig (*1962) conceived by the Austrian Leo Zogmayer z e 2 t n b i m e le b s n 2 r r n r a i s u s n K a e t t e ro F O – au r s t a - n a u ß te k ß A Do n ü d nb g A D a commemorative symbol for the Verein and Atelier Auböck + Kárász chose a (*1949) and realized together with or achstraße u ra u db S 8 Helmut & Johanna Kandl, f e t u o er a t a S g t n d t n -S o s A ra a r b a t Servitengasse 1938. The glass display web of black concrete beams as the the landscape architects Ivancsics & ße t o e b u r m Denkmal für eine Nobelpreis-­ t ft e H a a E 1100 G D i ß u ß rz e o t ra D h e h H C B t a n f e nn rst -S s r n n e r ei case in the ground accommodates site’s central element which symbolizes Langenbach. The artist chose the word h i t e r zo ee d of l r om d r - g nn ii jö trägerin 40 Maria Hahnenkamp, er l l r s - hh ch S r e e t d e K W e l tr o rt lb S n l e ar aa W raß a t ü a e s ß l- bb nst 462 keys with the name tags of Jewish the burst roof truss of the Turner Temple “jetzt” (“now”) for the area in front of the ß h G d r k a St o ade e s A a r r o e u

B Ornament-Vorhang S a tt Q r S t ß t e tr t i S e uu ß

p n r 53 U 9 Michaela Melián, a e ra r AA ee ra residents who lived in this neighborhood which was destroyed in the night from school building. The work is a negative i ß g t 57 i e - g ß g S e  n – e n e i R n ß i m n r  a 3 l e J t 3 Herminengasse a a N r a e 41 Michael Kienzer, ä e t until 1938. ninth to tenth Nov. 1938. The mosaics of imprint of the word: it does not show its r f g e 22 t b l e o ß u

t g f D s a a a AA s a s ö n a r r E r l G u e d t n oo e s W o d a r e e m D w n g dd Lines and Double l e s 55 a e Memorial Site Turner Temple feature fruit letters, but the spaces in between. n n e n u u g I t t üü t i r e r ß 10 Speto, 3 Brothers a S z e r t s A a W g s SS a a h a a s 1090 Vienna, corner Servitengasse/ ä s L r t r T ß s b s u s n t A t h e ä r l and plants mentioned in the torah. e r e e a r s s s in m n L a E t p 42 Yves Netzhammer, Gesichts- g u h t r d Grünentorgasse er S y d ä ß z e l s n a 1160 Vienna, Thaliastraße 125 tra n e e h 11 Ingeborg Strobl, ß G e t e r e e d r s d r n f a t z s s 37 e ß r t o überwachungsschnecken N D g t a u g U4 Roßauer Lände; tram D Schlickgasse R s g U3, trams 46, 2 Ottakring e -K ra

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Sc serb e hu Al e ß l lgas a n 43 Peter Sandbichler, 12 Töne a se L e r d h h i l i e a e n g U6, bus 57A Gumpendorfer Straße L u 52 e c L e V B ss t s o h ä 8 ß a r e t S a r g t r m © Johannes Stern, 2008 © Heike Langenbach ü s n r g e H e e a © Iris Ranzinger, 2012 1030 a t A e G s a k n d s s n ß k rn e r a r a s le t N s o A e e e d l ß g e l s l t 39 a h e a g e a n s l e r g c p 12 Josef Bernhardt, e r n a i s s 1110 s H t i t n s t e s 58 e i i r s a s r e a m Z t u s ß 11 a e r e p O L n a h u a p n t ra ß ß t i S r s n L g s ä r t b e a an t t a s t g t Warten auf Vögel IV t r e r ob g e 44 Lukas Maria Kaufmann, OT a r e n t ar r t d ß s ß e r s o en a a e a W e st a s e k h r ß e r 9 Ausstellungsstraße aße s a ü c G W g s a e s i M ar tt T F D D l W z e h s r 40 Maria Hahnenkamp 52 Maria Anwander e l a e e G o 46 Aldo Giannotti, e lm 38L r o M ß- ine a a ß En ns e n ß a zer 13 Julie Hayward, traß t g n r o sd e a t orf r n a g z r s er S Ornament-Vorhang 2008/2012 & Ruben Aubrecht - t r n t Buildings on Buildings #3 2017 ü lser o n u r. A Stra i J s e ße s r t ße s r abtauchen/auftauchen Stra G i n o t a a g ger n e o r e in r t s r kr r t P Memorial Persecution, Resistance 1150 a e a b 7 u w O e a o n 34 f a l A Originally, the Austrian artist Maria s h ß T a fe G c s n The project Buildings on Buildings by the Th l e a W m a S - uk M 54 u 2015 14 Donald Judd, Stage Set lias 33a K na 13 and Struggle for Freedom t o a 45 Iris Andraschek & Hubert 48 raße 5 a D e 10 a n i i r K h Hahnenkamp (*1959) had realized the Italian artist Aldo Giannotti (*1977) com- r 36 ß a r i i 51 e 35 g n s e e e b Lobnig / Atelier Auböck + H a r i r m installation Ornamental Curtain in Kabel- The memorial is dedicated to people 15 Gerold Tagwerker, B prises three interventions in the Vienna b ü 49 dion W h Sta ga e e 50 sse ß i le Kárász, Turnertempel r a e n

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individual display windows. ous backgrounds. S e 20 e H i ra 17 Ernst Caramelle, Ohne Titel a il ß a d ß e a u a e s e r u z e st t s 47 s p ß n s S o 1150 Vienna, Grangasse 6 g s u P t a e H a i a s ü a h r g r W ß t a l g i t e l e n r r t u a f n n s h ß e 18 Franz Graf, SUED e h G z 1060 Vienna, Gumpendorfer Straße 40–44 t 1100 Vienna, Kurpark Oberlaa 1170 Vienna, Park der Freiheit, forecourt of i c a ß s n n 46 e e e ü r - e R E e s ß t z h e a l M s 1160 R ß r u u a t E a o ra n S g e R r f g t g tram 67 Oberlaa – Therme Wien 1160 Vienna, Yppenplatz 4 the municipal railway station Hernals J rs e e d ah t s n

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48 Henning Bohl, Kadath Fatal d i 45 e a o r m r t a r A a r U-Bahn-Station Karlsplatz ß e G a a v a r a © Sonja Huber/KÖR GmbH, 2012 © Aldo Giannotti, 2017 M e ß © Iris Ranzinger, 2015 g M ß s 16 o A r i g l e 23 t s a e ß g g e a e s h i s e b a F n a s c n e a e 49 Brigitte Kowanz, S e il s s g ze s t lg n n 20 Henry Moore, Hill Arches w e i e e r i a W a n ke ß Lin u i s a ß q E Hadi s r 15 41 53 einhundertundvierundzwanzig a kgasse e t e e Michael Kienzer 47 Nam June Paik Isabella Kresse e e s l c ß E ß s s e e ra ga t rt a ra r t r 21 J d 21 Michael Sailstorfer, Hauptweg S te p Gü ß t b er ei u r ra s e Lines and Double 2017 FÜR JOHANNA 2011 n b a 18e t ß r A Tele-Archäologie 1994 n M Ar n s S a gst A4 50 Manfred Wakolbinger, Energie, ru 24H d 43 a i tf ra r. A –- a ie g m i ß t u O S und Nebenwege b r e L e t sst t - n r W So h m s ob e e n r ba ö g 22 n G ah i e h t die aus dem Inneren kommt ch a n e n D The Austrian artist Michael Kienzer In memory of Johanna Dohnal (1939– S d w r on e The sculpture Tele-Archeology by the r ie in u a u e e e L k n W n g q a n ß t e e a e N e d b e l h (*1962) created a work in two parts for 2010) the Austrian artist Isabella Kresse a g r Korean composer and artist Nam June r ß ie n L a e H d a t andg i F 51 Leo Zogmayer, JETZT de utgasse s r a f s a rhofst g s 1050 r raße s u a e r g ü t t e r p n e the subway station Troststraße. Lines (*1976) had 23 trees planted in public e r H Paik (1932–2006) is a figure shaped like n s t a t s i .

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r l r r 1 r d a s i 22 Ulrike Lienbacher, IDYLLE a a

a e n e e L e ass W N hints at Kienzer’s delicate straight cuts parks of all 23 municipal districts of g n ß lg i ß

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s ra u Q G n k g u t e ß 1170 d s e e ü u s r s in the wall panels along the escala- Vienna. The birch trees FOR JOHANNA are c e ru a e s t e r e n s b r from the Vienna Brick Museum. Videos l a s ß s a r 23 W. M. Pühringer, Hic et nunc u n e tr a a ß len g a e a e u G f stra ß g ß l e g R e ß e e f H ß e f u a s h 52 Maria Anwander & Ruben r e a d t l ß G u a tors. The central sculptural element to remind us of Austria’s first Minister s s c e n d ra r e a about Vienna’s subway, its Museum of e st t n i f e s a r h t a elbe H e g a r rgst . ic r S raße g r E d g p n a n e 24 Heimo Zobernig, ohne Titel t u p a r d Aubrecht, Memorial s s K l Double may be related to a third, newly for Women’s Issues and to inscribe her H a s Technology, and the city’s historical s e n D e R s e t av a s n idgas e D a s se as Persecution, Resistance raße e W e sg constructed, not accessible shaft activities and endeavors into the col- m e nst i s e development are screened on monitors. ß e in r s l els m o a l Ed T T a 44 r m G A os g W t e and Struggle for Freedom ien str o J n in the base­ment directly next to the lective memory. All locations: koer.or.at/ r e a s g e rbe ße r r s D 1060 e g e d st e A r a s l l n a b s e b a 1150 Vienna, subway station Schwegler- ß g e ­double-deck elevator there. en/projects/fuer-johanna n e s a t r h zb n u b g erger e r c l s 25 Aldo Giannotti, F e i A l t s u 41 i e r b a r a r straße/exit Märzstraße e s

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1200 S e e ba e e h n hn n n (train platform direction Oberlaa) g U6 Jägerstraße ; tram 31 Wexstraße/ Gr s n z enz t n i u 26 Ronald Kodritsch, a r 53 Isabella Kresse, FÜR JOHANNA c Z f ke a ad a g U1 Troststraße Klosterneuburger Straße rst ß G h ra e S Reason to Believe ße c r © Iris Ranzinger, 2017 © Iris Ranzinger, 2011 42 h ts © Peter Gugerell, 2011 e s e m t e Kai r n ß ser a f e s e m -Ebersd ß n er H a s a ß orfer S e l b e r 27 Franz West, Gerngross-Säule a e g traße A 1220 r E tra t n e -G d hs r S l r e c e lic rli s lw e 48 54 Pedro Cabrita Reis d ß h t a ß 42 Yves Netzhammer, Henning Bohl, 54 Pedro Cabrita Reis, o r te r t a e e it a l a h r r B ß e r c g t g e t S r a ss s two drawings in the sky, - s e s Kadath Fatal 2016 two drawings in the sky, il h u Gesichtsüberwachungsschnecken n 1070 e c h b i c th e i n t e r

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A23 - Autto a n e obah g ä s n e n ings entitled Kadath Fatal, the German Marking the façades of the new subway Tell these people who I am 55 Richard Deacon, Zeitweise F r The work Face Surveillance Snails by the e s H g A ß a e

tra a e Südosttttangen up rg S g ntte L r- l W ts a t ß artist Henning Bohl (*1975) developed stations Donaustadtbrücke and Donau- ne y iie t ss t e n a r r m n Swiss artist Yves Netzhammer (*1970) a k a a e g r s 29 Heinz Gappmayr, Raumtexte s a ß 56 Peter Fattinger, PARKLIFE um t s e a a n e marina with paint, light, and form, the -B i S St a four large-scale murals for the subway n e g reflects the history of physiognomics n K r rng r o ass r D - n e t r e r B n t as s a c A e Portuguese artist Pedro Cabrita Reis 30 Françoise Schein, s f h embankment wall along Paltaufgasse 57 Stephan Huber, Aspern Affairs d es and anthropometry, linking it with cur- P tr r e e aß o i e g 40 r ß r T a Ko - in Vienna’s sixteenth district, whose (*1956) establishes a visual connection Wiener Bankett der Menschen- f r lb O S rent issues of surveillance and control. e t e be t S ga rl r s a r 58 Christian Jankowski, - se ae s r a S Str rough-faced, square-dressed stones between the architecture of the two rechte und ihre HüterInnen s aße ß The artist’s sixty-three stylized portraits t u e Die große Geste r a a tr are reminiscent of imperial architectural subway buildings on the north and on the ß -S on the walls of the station playfully pay d 31 Esther Stocker, e r a gestures like the rusticated façade of south bank of the Danube River. arlberg h tribute to the diversity of these people C ergass e c TONSPUR_passage i in this multicultural neighborhood. Palazzo Medici in Florence. R 1220 Vienna, subway station Donau­ 32 Lois Weinberger, stadtbrücke 1100 Vienna, subway station Altes Landgut 1160 Vienna, subway embankment wall I-Weed, YOU-Weed g U1 Altes Landgut along Paltaufgasse 1020 Vienna, subway station Donaumarina g U3, buses 45A, 46A, 46B, 48A Ottakring g U2 Donaustadtbrücke and U2 Donaumarina © Iris Ranzinger, 2017 © Michael Strasser, 2016 © Lisa Rastl, 2013