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A Portrait of the Artist As Diplomat The Vienna Review &$ >ibY&$%& Cb8]gd`Um Cbh\YHckb by Dardis McNamee Italian (“but I don’t count that”), and now what !ree strapping guards in trim blue uniforms she describes as “presentable” Georgian. So "ve stood chatting outside the gate to Haus Wittgen- languages, and then some. stein at Parkgasse 18 in the 3rd District. It was a H.E. Gabriela von Habsburg exhibits at the Wittgenstein “But not nearly as many as my father!” She balmy evening in late April, but happily still well Haus, a strong voice for an International ARTconnection shook her head in a gesture of obvious respect. ahead of the appointed hour, and the magic word Otto Habsburg had had complete mastery, spoken Vernissage brought a friendly smile and a wave and written, of German, Hungarian, Croatian, even before the invitation was unfolded. On up English, Spanish, French and Latin, and wrote the steps past the entry, lofty and shimmering his books in Hungarian and French as well as white, is a pristine vision of line and form that A Portrait of the German. !is versatility made him a particularly philosopher Ludwig Wittgenstein, with architect e$ective debater during his two decades of serv- Paul Engelmann, had designed and built for his ice (1979-1999) as a member of the European sister Margarethe Stonborough-Wittgenstein and Parliament, a role found late in life, for which he completed in 1928. Artist as Diplomat was ideally suited. Raised to lead a many-peopled Haus Wittgenstein is a work of pure Bauhaus, empire, he had adapted and found in the EU a form following function, all ornament stripped republican embodiment of the Habsburg vision. away. Wittgenstein had been fascinated with the Asked at his 95th birthday in Vienna in 2007 project: “Ludwig drew every window, every door, what he thought of the now 27-member union, every fastener, every radiator, with the exact- he had replied, with a smile, that “this is what we ness of a precision instrument,” his eldest sister had in mind all along.” By which he meant the Hermine remembered in her memoirs. Hardly a Habsburgs. Here was a man who didn’t think in comfortable place, and it is hard to imagine the quarterly "nancial statements, or annual reports, rooms ever feeling cosy. or even "ve-year plans. He thought in centuries. But it is a wonderful space for presenting art – On hearing the story, Gabriela Habsburg which happily was the occasion for this evening’s laughed again. It was typical of him, apparently. visit: an exhibition of the sculptures and lithogra- “My family were involved in politics for phy of H.E. Gabriela von Habsburg, along with many hundreds of years,” she had said in a re- several paintings from the Pangaea Collection for cent interview with the Financial Times, “I grew World Peace. Described as an evening of “Art Di- up in a family where we never spoke about plomacy” by the IDEA Society, sponsors of the anything at mealtimes except politics.” It was a annual International ARTconnection, president preoccupation that Otto Habsburg clearly had Stefan Stoev intended it as a kind of “cultural dia- passed on to his children. “And of course, that is log between the Danube and the Black Sea.” re%ected in my sculpture.” For this, Gabriela Habsburg was an ide- Just then, a couple approached – a large man al choice: !e fourth child of the late Otto with thick dark hair and a woman in vivid col- Habsburg – once crown prince and committed ours – and with a nod of apology, the ambas- Pan-European – she became a Georgian citizen sador turned to greet them: “¡Hola! ¿Cómo están after moving to Tbilisi in 2001 to teach at the ustedes? ¡Es un placer verlos otra vez!” It was Span- Academy of Fine Arts. !en in 2009, she was ish, which I can only follow in the dimmest out- asked by President Mikheil Saakashvili to serve line. But Habsburg fell easily into the soft melo- as the country’s ambassador to Germany, the dies of the language, completely at home. (“!e country where she grew up. languages do help,” she con"ded later. “When So where, exactly, is home? Habsburg you share a language with people, they accept you.”) I left them to their conversation, to take a closer look at the art. !reading my way through the crowd, I headed for a group of lithographs that had caught my attention on the way in, geometric arcs, cir- cles and wedges of colour, elements suspended in a "eld of washed grey, immediately reminiscent of Joan Miró, although these were much lighter, airier. Alexander Calder was closer. But it was the sculptures that commanded attention. !ese were scattered, in e$ect, across the black %oor, each given a setting in white chalk stencilled precisely around and below it. !e show stopper was a tri- angle of polished stainless steel poles, standing on one edge, transitioning into an X at the top, with a perforated steel pennant curling around it like a twist of candy, its “shadow” captured in chalk on the ebony %ooring. And at some distance, a much smaller sculpture of the same elements lay over by the wall, as if broken o$ and tossed aside. !is was art that described a world in pieces, an art of robust, solid elements that %oat past each other or do not meet, leaving shadows that are easily brushed aside. It is disjointed and decep- tively insubstantial, but in a material that pleas for permanence. laughed. “It’s actually quite simple,” she said, Above: !e sculpture Habsburg and I met again later out on the leaning on the grand piano at the far end of the Ushba, by Gabriela terrace, as darkness was falling. !e main work exhibition space, to create some privacy. “I am a von Habsburg, exhib- of the evening done, we shared some very pleas- European, and with complete conviction!” She ited at the Wittgen- ant Georgian wine and talked of sculptors she laughs easily and seems at ease with the many stein Haus (below), de- admired: Calder, whom she had never met, and ironies of her complicated life. signed by philosopher George Rickey, whom she had. And with Rick- “You see, I was born in Luxembourg, and Ludwig Wittgenstein. ey, she shared a fascination with the challenge grew up in Munich; I had an Austrian passport !e building now of large public works, involving a complex mar- but wasn’t allowed to enter the country until I houses the Bulgarian riage of art, politics and engineering. was grown up. If my schoolmates took a class trip Cultural Institute. “!at’s the fun of it,” she insisted, which to Salzburg, I had to stay behind.” Long exiled by Far left: IDEA Society makes sense for someone for whom diplomacy politics from the country her family had de"ned president Stefan Stoev was the family sport. !is was the closest we ever for over six centuries, she was 24 when the ban with H.E. Gabriela came to a discussion of her work. I had asked was lifted by an act of the Austrian Parliament von Habsburg Photos: about the sculpture with its part tossed aside. in 1980. Today, Habsburg speaks German, Eng- (above & left) Pia Vortisch “Let’s come back to that later,” she had said. lish, French and Spanish %uently, as well as some (below) Lisa !omson But we never did. Z DOROTHEUM nobility. “You really have to be careful that the personal impulse all play into the mystique sur- auction house deposited payment of $32 million Continued from page 17 quality you o$er, "ts the prices.” For example, rounding the value of an object. “Volkswagen (€25.4 million) to the General Restitution Fund he discloses, “we auctioned a pair of Emperor Beetles were made in the millions,” he observes, for Victims of National Socialism. million) sale of Edvard Munch’s 1895 iconic Franz Josef’s underwear for €7,000.” “yet today it is a sought after classic.” At auc- With no possibility to test-drive, buying a painting !e Scream, on 2 May. !at 12-minute What makes a car or motorcycle a desirable tion, value is expressed and rede"ned before an car at auction is a risk beyond the investment. dog"ght resulted in the most expensive work classic depends on a number of factors. Age, rar- array of bidders who are representative of open It’s the proverbial pig in a poke sale, Humer ever sold at auction. Overshadowed somewhat ity, historical signi"cance, popular interest, and market parameters. says – “die Katze im Sack kaufen”. !e attrac- too by Christies and Bonhams, auction high- tion, he contends, is the chance to acquire a lights from the Dorotheum are still no slouch: Creating classic cars design icon for a price below in%ated those at Frans Francken II (1581-1642), Man between And in fact, the concept of classic cars at all vintage dealers. Virtue and Vice, price €7.02 million; Giovanni is a recent one. “After the war, our records show In practice, there are three ways to bid, says Francesco Barbieri (1591-1666), il Guercino, the Dorotheum auctioned two Bugattis from the Humer, who also acts in the role of auctioneer: €1.04 million; Friedrich von Amerling, Girl 1930s, that were categorically o$ered as everyday You can stand in the room and raise your hand, with Straw Hat, €1.5 million; Piero Manzoni, used cars.” !e idea of classic automobiles came telephone your bid, or bid in absentia by for- Achrome (1958/59), €1.11 million.
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