Press Release Humanity in Photographs
Press Release
Humanity in Photographs Recent Acquisitions of the Federal Photography Collection April 6―June 16, 2019 Rupertinum [1] & [2]
The curiosity with which humans observe each other is insatiable. The Press Museum der Moderne Salzburg brings this presumably universal Mönchsberg 32 characteristic into focus in an exhibition that showcases treasures 5020 Salzburg from the Federal Photography Collection. Austria
T +43 662 842220-601 Salzburg, April 5, 2019. The gaze at the other—and at ourselves—has F +43 662 842220-700 always been a fixture of photography. The medium’s pioneers already [email protected] explored its potential for portraiture; today, in the digital era, portrait shots www.museumdermoderne.at are incessantly being posted on all channels and circulate in the social networks. Many of these images speak to history on several levels: photographs of individuals and types reflect social conventions, while poses and staging prompt conjectures concerning the identities and individuality of the sitters and the intentions of the photographers. Numerous works of fine art photography that address these concerns can be found in the Federal Photography Collection, which has been steadily enlarged since 1981 and is housed at the Museum der Moderne Salzburg. Its outstanding quality is the fruit of an acquisitions program that, rather than emphasizing the criteria of defined genres, takes its cue from what working artists select for submission. This approach has made the collection a singular storehouse of historical memory preserving a record of the social tendencies and phenomena that struck the contributing artists as significant at different times. “The new accessions of the past several years show that photographers increasingly use the camera to reflect on selfhood and the engagement with the other. We see this as a vital development and an excellent occasion to mount an exhibition surveying a fascinating and variegated genre: the depiction of human being,” says Christiane Kuhlmann, curator of photography and media art. “The first public presentation to shed light on the Federal Photography Collection’s evolution, the show underscores the crucial significance of its holdings for our programming,” notes Thorsten Sadowsky, director of the Museum der Moderne Salzburg.
Divided into five chapters (Individuality/Likeness, Seeing/Looking, Gender/Performance, Childhood/Adolescence, and Documentation/Reportage), the exhibition presents recent photographs together with early specimens from the Federal Photography Collection and newcomers in dialogue with established artists. It also brings the public debut of the very first work acquired for the collection, a picture by the photographer Ernst Zündel. Thanks to a permanent reorganization of the floorplan of the galleries at the Rupertinum, the building now boasts six exhibition rooms, in which Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection showcases works by altogether twenty- seven artists.
Museum der Moderne – Rupertinum Betriebsgesellschaft mbH FN 2386452 1/2 Press Release Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection Firmenbuchgericht Salzburg
Press With Works by Wolfgang Bender (1960 Dornbirn, AT―Vienna, AT), Renate Bertlmann (1943 Vienna―Vienna, AT), Lillian Birnbaum (1955 New York, T +43 662 842220-601 F +43 662 842220-700 NY, US―Paris, FR), Trude Fleischmann (1895 Vienna, AT―1990 Brewster, NY, US), Nilbar Güreş (1977 Istanbul, TR―Vienna, AT), Ernst Haas (1921 [email protected] Vienna, AT―1986, New York, NY, US), Nikola Hansalik (1975 Vienna, AT), www.museumdermoderne.at
Ana Hoffner (1980 Paraćin, RS―Vienna, AT), Sabine Jelinek (1969 Vienna―Vienna, Linz, AT), Ruth Kaaserer (1972 Kitzbühel, AT―Vienna, Linz, AT), Paul Kranzler (1979 Linz―Linz, AT; Leipzig, DE), Friedl Kubelka (1946 London, UK―Vienna, AT), Ulrike Lienbacher (1963 Oberndorf, AT―Salzburg, AT), Michael Mauracher (1954 Klagenfurt, AT―Salzburg, AT), Martina Mina and Sabine Schwaighofer (1976 Vienna, AT; 1969 Salzburg, AT―Vienna, AT), Inge Morath (1923 Graz, AT―2002 New York, NY, US), Michaela Moscouw (1961 Vienna, AT), Georg Petermichl (1980 Linz, AT―Vienna, AT) Margot Pilz (1936 Haarlem, NL―Vienna, AT), Christoph Scharff (1958 Vienna, AT), Nina Rike Springer (1976 Klagenfurt, AT―Vienna, AT), Lothar Rübelt (1901 Vienna, AT―1990 Reifnitz, AT), Hans Schabus (1970 Watschig, AT―Vienna, AT), Sira-Zoé Schmid (1985 Vienna―Vienna, Salzburg, AT), Margherita Spiluttini (1947 Schwarzach im Pongau, AT―Vienna, AT), Nikolaus Walter (1945 Rankweil, AT―Feldkirch, AT), Rudolf Zündel (1939 Bezau, AT―2018 Schwarzach, AT)
Curators: Christiane Kuhlmann with Andrea Lehner-Hagwood
Press contact Martin Moser T +43 662 842220-601 M +43 664 8549 983 [email protected]
Visitor information Museum der Moderne Salzburg Rupertinum Wiener-Philharmoniker-Gasse 9 5020 Salzburg, Austria T +43 662 842220 [email protected] www.museumdermoderne.at
Opening Hours Tue―Sun 10 a.m.―6 p.m. Wed 10 a.m.―8 p.m. During the festival season also Mon 10 a.m.―6 p.m. Admission fees Rupertinum: Regular € 6 Reduced € 4 Families € 8 Groups € 5
2/2 Press Release Humanity in Photographs. Recen Acquisitions of the Federal Photography Collection
Press Images
Humanity in Photographs Recent Acquisitions of the Federal Photography Collection April 6―June 16, 2019 Rupertinum [1] & [2]
The use of visual material is permitted exclusively in connection with Press coverage of the exhibition and with reference to the cited picture captions and copyrights. No work may be cut nor altered in any way. Mönchsberg 32 Download: http://www.museumdermoderne.at/de/presse 5020 Salzburg Austria
Username: press T +43 662 842220-601 Password: 456789 F +43 662 842220-700
[email protected] www.museumdermoderne.at
Sabine Jelinek Gelbblutig, 2005 (Yellow Bloody) From the series Transfiguration Chromogenic print Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2015 © Sabine Jelinek / Bildrecht, Vienna, 2019
Renate Bertlmann Untitled, 1969/2014 From the series Verwandlungen (Transfigurations) Slide projection
Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2015 © Renate Bertlmann / Bildrecht, Vienna, 2019
Museum der Moderne – Rupertinum Betriebsgesellschaft mbH FN 2386452 1/5 Press Images Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection Firmenbuchgericht Salzburg
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T +43 662 842220-601 F +43 662 842220-700 Ana Hoffner Untitled, 2016 [email protected] From the series Disavowals or cancelledwww.museumdermoderne.at confessions Pigment print on baryta paper Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2018 © Ana Hoffner
Michaela Moscouw Untitled, 2000 From the series Makulatur 2 Chromogenic print
Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2005 © Michaela Moscouw
Lothar Rübelt Hutmodell der Firma Krickl, Wien, around 1930 (Hat model of the company Krickl) From the series Österreich zwischen den Kriegen (Austria between the Wars)
Gelatin silver print on baryta paper Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 1987 © Lothar Rübelt / Bildrecht, Vienna, 2019
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T +43 662 842220-601 F +43 662 842220-700 Nilbar Güres Non sex belt, 2014 [email protected] Chromogenic print www.museumdermoderne.at Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2016 © Nilbar Güres
Margot Pilz TROTZ-DEM, 1983 (Nevertheless) From the series Weiße Zelle (White Cell) Gelatin silver print mounted on cardboard (Leporello) Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 1986 © Margot Pilz / Bildrecht, Vienna, 2019
Nina Rike Springer Bildbauer anarchisch, 2016 (Picture Sculptor anarchic) From the series Bildbauer (Picture Sculptor) Pigment print Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2017 © Nina Rike Springer / Bildrecht, Vienna, 2019
Ulrike Lienbacher From the series 10 + 10 Fotografien (10 + 10 Photographs) Gelatin silver print on baryta paper Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2005 © Ulrike Lienbacher / Bildrecht, Vienna, 2019
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T +43 662 842220-601 F +43 662 842220-700 Wolfgang Bender Untitled, 2011―2018 [email protected] www.museumdermoderne.at From the series Make me feel home again Chromogenic print
Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2018 © Wolfgang Bender / Bildrecht, Vienna, 2019
Lillian Birnbaum The Lake, 2005/2010 Chromogenic print Federal Photography Collection at the
Museum der Moderne Salzburg, Purchase 2010 © Lillian Birnbaum / Bildrecht, Vienna, 2019
Paul Kranzler Teenager in refugee transition quarter Pfeiffergasse, Vienna XV, photographed for the biennial contribution by Caramel Architects, Architecture Biennale Venice 2016, 2016/2017 From the series Orte für Menschen / Places for People Pigment print on baryta paper Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2017 © Paul Kranzler / Bildrecht, Vienna, 2019
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Martina Mina, Sabine Schwaighofer T +43 662 842220-601 F +43 662 842220-700 Untitled, 2016 From the series "as" double-portrait [email protected] www.museumdermoderne.at Chromogenic print
Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2016 © Martina Mina
Nikolaus Walter Untitled, 1972―1973 From the series Toronto Cowboy Gelatin silver print on baryta paper Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 1985 © Nikolaus Walter / Bildrecht, Vienna, 2019
Rudolf Zündel Untitled, 1977 From the series Als Tschusch unter Türken (As a Tschusch amongst Turks) Gelatin silver print on baryta paper Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 1982 © Rudolf Zündel
Georg Petermichl After Brassai: Groupe Joyeux au Café Savoy, 2010 (After Brassai: Happy Group at Café Savoy) Chromogenic print
Federal Photography Collection at the Museum der Moderne Salzburg, Purchase 2012 © Georg Petermichl / Bildrecht, Vienna, 2019
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Exhibition Views
Humanity in Photographs Recent Acquisitions of the Federal Photography Collection April 6―June 16, 2019 Rupertinum [1] & [2] Press
All: Humanity in Photographs. Recent Acquisitions of the Federal Photography Mönchsberg 32 Collection, exhibition view, Museum der Moderne Salzburg, 2019 © Museum 5020 Salzburg Austria der Moderne Salzburg, Photo: Rainer Iglar Download: www.museumdermoderne.at/en/press/detail/humanity-in- T +43 662 842220-601 F +43 662 842220-700 photographs/ [email protected] www.museumdermoderne.at Username: press Password: 456789
Margherita Spiluttini From the sereis Die Firma, 1980 (The Company) 106 gelatin silver prints on baryta paper
Federal Photography Collection at the Museum der Moderne Salzburg Purchase 2016 © Margherita Spiluttini
Michael Mauracher Porträt eines Mannes, 1982 until today (Portrait of a Man) 17 gelatin silver prints on baryta paper Federal Photography Collection
at the Museum der Moderne Salzburg Purchase 1990, 1996, 2017 © Michael Mauracher / Bildrecht, Vienna, 2019
Museum der Moderne – Rupertinum Betriebsgesellschaft mbH FN 2386452 1/5 Exhibition Views Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection Firmenbuchgericht Salzburg
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T +43 662 842220-601 Humanity in Photographs. F +43 662 842220-700 Recent Acquisitions of the [email protected] Federal Photography Collection www.museumdermoderne.at Exhibition view, Museum der Moderne Salzburg, 2019 © Museum der Moderne Salzburg, Photo: Rainer Iglar
Ulrike Lienbacher From the series 10 + 10 Fotografien, 2000 (10 + 10 Photographs) 20 gelatin silver prints on baryta paper
Federal Photography Collection at the Museum der Moderne Salzburg Purchase 2005 © Ulrike Lienbacher / Bildrecht, Vienna, 2019
Nilbar Güreş Overhead, 2010 From the series TrabZONE Non sex belt, 2014 2 chromogenic prints
Federal Photography Collection at the Museum der Moderne Salzburg Purchase 2014, 2016 © Nilbar Güreş
2/5 Exhibition Views Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection
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Wolfgang Bender T +43 662 842220-601 Untitled, 2011―2018 F +43 662 842220-700
From the series Make me feel [email protected] home again www.museumdermoderne.at 6 chromogenic prints Federal Photography Collection at the Museum der Moderne Salzburg Purchase 2018 © Wolfgang Bender / Bildrecht, Vienna, 2019
Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection Exhibition view, Museum der Moderne Salzburg, 2019 © Museum der Moderne Salzburg, Photo: Rainer Iglar
Ernst Haas Untitled, 1945―1948 From the series Homecoming Prisoners, Vienna 6 gelatin silver prints on baryta paper Federal Photography Collection at the Museum der Moderne Salzburg Purchase 1985 © Ernst Haas
3/5 Exhibition Views Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection
Press Paul Kranzler T +43 662 842220-601 11 works from the series Orte F +43 662 842220-700 für Menschen / Places for People, 2016/2017 [email protected] www.museumdermoderne.at Pigment prints Federal Photography Collection at the Museum der Moderne Salzburg Purchase 2017 © Paul Kranzler / Bildrecht, Vienna, 2019
Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection Exhibition view, Museum der Moderne Salzburg, 2019 © Museum der Moderne Salzburg, Photo: Rainer Iglar
Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection Exhibition view, Museum der Moderne Salzburg, 2019 © Museum der Moderne Salzburg, Photo: Rainer Iglar
4/5 Exhibition Views Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection
Press Nikolaus Walter Untitled, 1972―1973 T +43 662 842220-601 F +43 662 842220-700 From the series Toronto Cowboy [email protected] 18 gelatin silver prints on baryta www.museumdermoderne.at paper
Federal Photography Collection at the Museum der Moderne Salzburg Purchase 1985 © Nikolaus Walter / Bildrecht, Vienna, 2019
Christoph Scharff Untitled, 1984 From the series Eines Tages – Eines Nachts (One Day―One Night) 7 gelatin silver prints on baryta
paper Federal Photography Collection at the Museum der Moderne Salzburg Purchase 1986 © Christoph Scharff
5/5 Exhibition Views Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection
Humanity in Photographs Recent Acquisitions of the Federal Photography Collection April 6―June 16, 2019 Rupertinum [1] & [2]
Works in the exhibition
Works are listed alphabetically and in chronological order. Author titles are set in italics. Dimensions are given as height by width. All works are from the Austrian Federal Photography Collection at the Museum der Moderne Salzburg.
Wolfgang Bender 1960 Dornbirn, AT—Vienna, AT
Untitled, 2011–2018 From the series Make me feel home again Chromogenic prints 6 each 23.62 x 15.74 in. (60 x 40 cm) DLF 2247_1-6 Purchase 2018
Renate Bertlmann 1943 Vienna—Vienna, AT
Untitled, 1969/2014 From the series Verwandlungen Slide projection 52 gelatin silver prints transfered to 35mm diapositives (black and white) DLF 2120_1-52 Purchase 2015
Lillian Birnbaum 1955 New York, US—Paris, FR
Leocadie & Ping Pong, 2005/2010 From the series Transition Chromogenic print 19.68 x 19.68 in. (50 x 50 cm) DLF 1927_1-3_1 Purchase 2010
Mönchsberg 32 5020 Salzburg Austria
T +43 662 842220-101 F +43 662 842220-700
[email protected] 1/10 List of Works Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection www.museumdermoderne.at
Diane & Ball, 2005/2010 From the series Transition Chromogenic print 19.68 x 19.68 in. (50 x 50 cm) DLF 1927_1-3_2 Purchase 2010
The Lake, 2005/2010 From the series Transition Chromogenic print 15.74 x 23.62 in. (40 x 60 cm) DLF 1927_1-3_3 Purchase 2010
Trude Fleischmann 1895 Vienna, AT—1990, Brewster, US
Karl Kraus, 1930/1988 Gelatin silver print on bromide paper 7.87 x 6.50 in. (20 x 16,5 cm) DLF 447_1-10_7 Purchase 2002
Hilde Wagener, 1930/1988 Gelatin silver print on bromide paper 7.87 x 6.50 in. (20 x 16,5 cm) DLF 447_1-10_9 Purchase 2002
Grete Wiesenthal, 1930/1988 Gelatin silver print on bromide paper 7.87 x 6.50 in. (20 x 16,5 cm) DLF 447_1-10_10 Purchase 2002
Nilbar Güreş 1977 Istanbul, TR—Vienna, AT
Non sex belt, 2014 Chromogenic print 39.37 x 19.68 in. (100 x 150 cm) DLF 2185 Purchase 2016
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Overhead, 2010 From the series TrabZONE Chromogenic print 58.58 x 39.33 in. (148,8 x 99,9 cm) DLF 2079 Purchase 2014
Ernst Haas 1921 Vienna, AT—1986, New York, US
Untitled, 1945–1948 From the series Homecoming Prisoners, Vienna Gelatin silver prints on baryta paper 6 each 18.90 x 14.96 in. (48 x 38 cm) DLF 221_1-10_1,3,4,5,6,7 Purchase 1985
Nikola Hansalik 1975 Vienna, AT—Vienna, AT
From the series Augen, 2003 Chromogenic prints 8.07 x 10.62 in. (20,5 x 27 cm) 8.07 x 10.82 in. (20,5 x 27,5 cm) 8.07 x 8.93 in. (20,5 x 22,7 cm) 8.07 x 8.26 in. (20,5 x 21 cm) 6.18 x 11.41 in. (15,7 x 29 cm) DLF 1726_1-5 Purchase 2007
Ana Hoffner 1980 Paracin, RS—Vienna, AT
Untitled, 2016 From the series Disavowals or cancelled confessions Pigment prints 12 each 11.81 x 8.66 in. (30 x 22 cm) DLF 2238_1-12 Purchase 2018
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Sabine Jelinek 1969 Vienna—Vienna, Linz, AT
Gelbblutig, 2005 From the series Transfiguration Chromogenic prints 2 each 10.62 x 7.87 in. (27 x 20 cm) DLF 2162_1-2_1,2 Purchase 2015
Ruth Kaaserer 1972 Kitzbühel, AT— Vienna, Linz, AT lila strähne, 2016 Two-channel-slide projection (color, sound) 7:50 Min. DLF 2189 Purchase 2016
Paul Kranzler 1979 Linz, AT—Linz, AT, Leipzig, DE
Pfeiffergasse, Vienna XV, 2016/2017 From the series Orte für Menschen / Places for People Pigment prints Each 35.43 x 23.62 in. (90 x 60 cm) DLF 2221_1-25_1,3,5,7 Purchase 2017
Kempelengasse, Vienna X, 2016/2017 From the series Orte für Menschen / Places for People Pigment prints Each 35.43 x 23.62 in. (90 x 60 cm) DLF 2221_1-25_11,20,21 Purchase 2017
Erdbergstraße, Vienna III, 2016/2017 From the series Orte für Menschen / Places for People Pigment prints Each 35.43 x 23.62 in. (90 x 60 cm) DLF 2221_1-25_13,16,17,18 Purchase 2017
4/10 List of Works Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection
Friedl Kubelka (vom Gröller) 1946 London, GB—Vienna, AT
In Rom, 2017 Film, Super-8mm (black-and-white, no sound), transferred to 16 mm Film 3:00 Min. DLF 2230 Purchase 2017
Venzone Peter Kubelka - Friedl Kubelka, 1975 Gelatin silver prints on baryta paper 2 each 25.40 x 19.48 in (63,6 x 49,5 cm) DLF 1369_1-2 Purchase 1989
Ulrike Lienbacher 1963 Oberndorf AT—Salzburg, AT
From the series 10 + 10 Fotografien, 2000 Gelatin silver prints on baryta paper 20 each 13.38 x 11.22 in. (34 x 28,5 cm) DLF 1602_1-20 Purchase 2005
Michael Mauracher 1954 Klagenfurt, AT—Salzburg, AT
Porträt eines Mannes / Portrait of a Man, 1982 until today Gelatin silver prints on baryta paper 8 each 18.11 x 18.11 in. (46 x 46 cm) 3 each 17.91 x 17.91 in. (45,5 x 45,5 cm) 6 each 18.03 x 18.03 in. (45,8 x 45,8 cm) DLF 2225_1-8, DLF 1063_1-3, DLF 624_1-6 Purchase 1990, 1996, 2017
Martina Mina, Sabine Schwaighofer 1976 Vienna—Vienna, AT 1969 Salzburg, AT—Vienna, AT
Untitled, 2016 From the series "as" double-portrait Chromogenic prints 5 each 23.62 x 17.71 in. (60 x 45 cm) DLF 2197_1-5 Purchase 2016
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Inge Morath 1923 Graz, AT—2002 New York, US
H. C. u. Rosa Artmann, 1991 From the series An artist´s view - Salzburg Gelatin silver print on baryta paper 11.81 x 15.74 in. (30 x 40 cm) DLF 697_1-12_8 Purchase 1992
Untitled, 1961/1996 From the series Saul Steinberg Masks Gelatin silver prints on baryta paper 13 x 9.05 in. (33 x 23 cm) 2 each 19.68 x 23.62 (50 x 60 cm) GF 1127_1-5_2,4,5
Michaela Moscouw 1961 Vienna—Vienna, AT
Untitled, 2000 From the series Makulatur 2 Chromogenic prints 6 each 17.80 x 11.92 in. (45,2 x 30,3 cm) DLF 1616_1-218_201,202,203,204,205,206 Purchase 2005
Georg Petermichl 1980 Linz, AT—Vienna, AT
After Brassai: Groupe Joyeux au Café Savoy, 2010 Chromogenic print 29.33 x 23.62 in. (74 x 60 cm) DLF 1993_1-3_1 Purchase 2012
Margot Pilz 1936 Haarlem, NL—Vienna, AT
TROTZ-DEM, 1983 From the series Weiße Zelle Gelatin silver prints mounted on cardboard 7 each 15.90 x 19.88 in. (40,4 x 50,5 cm) DLF 259_1-7 Purchase 1986
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Lothar Rübelt 1901 Vienna, AT—1990 Reifnitz, AT
Zuschauer beim Schemenlauf in Imst in Tirol, 1933 From the serie Österreich zwischen den Kriegen Gelatin silver print on baryta paper 9.44 x 7.08 in. (24 x 18 cm) DLF 396_1-20_11 Purchase 1987
Fuchsjagd in Schloßhof, Niederösterreich, 1931 From the serie Österreich zwischen den Kriegen Gelatin silver print on baryta paper 9.44 x 7.08 in. (24 x 18 cm) DLF 396_1-20_10 Purchase 1987
Hutmodell der Firma Krickl, Wien, ca. 1925 From the serie Österreich zwischen den Kriegen Gelatin silver print on baryta paper 9.44 x 7.08 in. (24 x 18 cm) DLF 396_1-20_7 Purchase 1987
Lisl Goldarbeiter, Miss Universum 1929, 1929 From the serie Österreich zwischen den Kriegen Gelatin silver print on baryta paper 7.08 x 9.44 in. (18 x 24 cm) DLF 396_1-20_8 Purchase 1987
Hans Schabus 1970 Watschig, AT—Vienna, AT
Untitled, 1999/2000 From the series Besucher 1999 Chromogenic prints 18 each 10.94 x 7.20 in. (27,8 x 18,3 cm) DLF 1410_1-18 Purchase 2000
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Sira-Zoé Schmid 1985 Vienna—Vienna, AT
# 4, 2012/2013 From the series Untitled Portrait Series (Group Women) Inkjet print 36.61 x 24.21 in. (93 x 61,5 cm) DLF 2151_1 Purchase 2015
# 14, 2012/2013 From the series Untitled Portrait Series (Group Men) 36.61 x 24.21 in. (93 x 61,5 cm) DLF 2151_1-2_2 Purchase 2015
Christoph Scharff 1958 Vienna—Vienna, AT
Untitled, 1984 From the series Eines Tages − Eines Nachts Gelatin silver prints on baryta paper 28 each11.00 x 13.97 in. (28 x 35,5 cm) DLF 251_1-11 Purchase 1986
Margherita Spiluttini 1947 Schwarzach im Pongau, AT—Vienna, AT
From the series Die Firma, 1980 Gelatin silver prints on baryta paper 106 each 5.90 x 3.93 in. (15 x 10 cm) DLF 2203_1-106 Purchase 2016
Nina Rike Springer 1976 Klagenfurt, AT—Vienna, AT
Bildbauer anarchisch, 2016 From the series Bildbauer Pigment print 19.68 x 19.68 in. (50 x 50 cm) DLF 2233_1-5_1 Purchase 2017
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Bildbauer geschmeidig, 2016 From the series Bildbauer Pigment print 19.68 x 19.68 in. (50 x 50 cm) DLF 2233_1-5_2 Purchase 2017
Bildbauer idealistisch, 2016 From the series Bildbauer Pigment print 19.68 x 19.68 in. (50 x 50 cm) DLF 2233_1-5_3 Purchase 2017
Bildbauer kultiviert, 2016 From the series Bildbauer Pigment print 19.68 x 19.68 in. (50 x 50 cm) DLF 2233_1-5_4 Purchase 2017
Bildbauer motiviert, 2016 From the series Bildbauer Pigment print 19.68 x 19.68 in. (50 x 50 cm) DLF 2233_1-5_5 Purchase 2017
Nikolaus Walter 1945 Rankweil, AT—Feldkirch, AT
Untitled, 1972–1973 From the series Toronto Cowboy Gelatin silver prints on baryta paper 50 each 9.44 x 7.08 in. (24 x 18 cm) DLF 207_1-104 Purchase 1985
Rudolf Zündel 1939 Bezau, AT— Schwarzach, AT
Untitled, 1977 From the series Als Tschusch unter Türken Gelatin silver prints on baryta paper 31 each 14.96 x 11.41 in. (38 x 29 cm) DLF 24_2-32 Purchase 1982
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Books in the exhibition
R. Bertlmann. Mischtechniken. Wien, 1973.
Discorso, Renate Bertlmann. Erotik und Askese. Wien, 1984.
Lillian Birnbaum. Transition. Ostfildern, 2008.
Trude Fleischmann. Fotografien 1918−1938. Wien, 1988.
Nilbar Güres, Overhead. Wien, 2018.
Ernst Haas. Nachkrieg Photos 1945−1949. Graz, 1972.
Ernst Haas. Eine Welt in Trümmern - A World in Ruins. Weitra, 2005.
Ruth Kaaserer, in: Camera Austria International. 67/1999. Ed. 67. Graz, 1999.
Friedl Kubelka-Bondy. Drei Jahresportraits, 1972/73,1977/78, 1982/83; Tagesportrait Peter Kubelka 1974; Das tausendteilige Portrait 1980. Linz, 1984.
Ulrike Lienbacher. 10 + 10 Fotografien. Wien, 2000.
Michael Mauracher. Portrait of a Man. Photographs 1981−1996. Cardiff, 1996.
Michaela Moscouw. Salzburg, 1993.
Inge Morath. Saul Steinbergs Masken und andere Fotobilder. 1984.
Margot Pilz. The White Cell Photographs, 1983−1985. Wien, 1985.
Nina Rike Springer. Fotografie. Wien, 2008.
Nina Rike Springer. I believe I can fly. Freiburg im Breisgau, 2018.
Lothar Rübelt. Österreich zwischen den Kriegen. Zeitdokumente eines Photopioniers der 20er und 30er Jahre. Wien, 1979.
Hans Schabus [‘vizite] 1999. Paris, 2000.
Margherita Spiluttini. Archiv der Räume / Archive of Spaces. Salzburg, 2015.
Nikolaus Walter. Toronto Cowboy. Köln, 1977.
Nikolaus Walter. Fotografien 1967−2004. Ostfildern, 2006.
LändleBild. Ein Vierteljahrhundert im Zeitraffer. Fotografie - Rudolf Zündel. Bregenz, 1989.
10/10 List of Works Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection
Humanity in Photographs Recent Acquisitions of the Federal Photography Collection April 6―June 16, 2019 Rupertinum [1] & [2]
Introtext
The portrait, a key theme for the pioneers of photography, is more popular than ever in the digital age. When we look at others and ourselves, post and share these images across social networks, we are showing an essential human characteristic: our curiosity to observe one another. These images convey our own history on several levels. Shedding light on social conventions, the composed photographs prompt us to conjecture not only about the identity and individuality of those depicted but also the intentions of the photographers.
The Austrian Federal Photography Collection was established in 1981 and its focus is on contemporary photography dating from 1945 to the present. It is being added to continually and can now boast over 11,000 individual works by 500 artists. Annual acquisition meetings are held to select from submissions from the artists themselves. New and innovative strategies are introduced to the collection as are works that complete existing groups. In tandem with the Photography Collection of the Museum der Moderne Salzburg, the Federal Collection has grown over the years into a national memory bank of images and media unrivalled in Austria. The collecting strategy is not geared toward particular themes or genres, but follows an up- to-the-minute approach with new acquisitions reflecting the current interests of photography in Austria.
Portrayals of people are a prime focus of these new acquisitions and this exhibition takes the opportunity to present examples of this fascinating and varied genre from the Federal Collection’s holdings. New works encounter photographs acquired in the collection’s early days, newcomers rub shoulders with established artists: Choreographed, performative works by Nilbar Güreş and Nina Rike Springer enter into a dialogue with the art of Margot Pilz and Ulrike Lienbacher. The documentary photography by Paul Kranzler is juxtaposed with series by Ernst Haas and Rudolf Zündel. Both anonymous and defined portraits pose questions about the content and narrative style revealed in photographic portrayals of people. On the second floor, the acquisition of Friedl vom Gröller’s 16-mm film IN ROME (2014) represented an opportunity to present double portraits in photographs.
Mönchsberg 32 5020 Salzburg Austria
T +43 662 842220-101 F +43 662 842220-700
[email protected] 1/1 Introtext Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection www.museumdermoderne.at
Humanity in Photographs Recent Acquisitions of the Federal Photography Collection April 6―June 16, 2019 Rupertinum [1] & [2]
Walltext
Nikolaus Walter: The life of Arthur Wigley
I was riding in the Bay Street bus one afternoon in October. An elderly man who was sitting in front of me turned and asked me, pointing at my camera: “Are you a photographer, a professional?” He told me that he had four cameras at home. “Would you be interested in buying one?” […]
It was snowing lightly when we got on the street car at Queen Street. He asked me about newspapers and magazines and told me that a newspaper had once done a story on him when he had fallen down a scaffold. “Shouldn’t I have been paid for that? My picture was in there, too. It’s a miracle that I’m still alive. […]“
We walked about a block, and he told me about ‘Cabbagetown’ and about the shop that had closed after it had been robbed three times in a week. “There would be a story for you.” We took a path leading between small front gardens to a two-story house. […] He took the stairs in big steps, and called out halfway: “Diane, Diane, I have a surprise for you. A visitor! This is my young wife, Diane. She is from Halifax.”
Diane greeted me and went to put the kettle on the hot plate. “Take off your coat and make yourself at home. Did you eat? You are staying for supper, aren’t you?” […] Diane’s family moved to Toronto from Halifax in 1948. She was 4. While we drank tea, she told me how she had met Arthur―‘Archie’ she called him―at a dance. “After dancing with him, I knew I never would want to date anyone else. And I let him take me home, and that was it.”
They lived together in a single room for nearly six months before they got married at the Fred Victor Mission in November 1971. When I met them they were living in a one-bedroom apartment off Shutter Street. It was in poor condition―“Not fit to live in”―as Arthur put it. They hope to find a better one. In the meanwhile Diane often changes the furniture around to make it look more liveable. […]
Diane is on welfare. She is not allowed to work, due to her bad health. The doctor told her to take a holiday to go away for a few weeks, to Florida or some place. […] Arthur goes out on jobs whenever possible. His old age pension cheque hardly makes ends meet. Mönchsberg 32 After that first visit in October 1972, I went to see Arthur and Diane regularly. 5020 Salzburg Austria I started to photograph in November 1972 and continued to do so until April 1973. During this time, Arthur Wigley told me about his life. T +43 662 842220-101 F +43 662 842220-700
[email protected] 1/1 Walltext Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection www.museumdermoderne.at
Humanity in Photographs Recent Acquisitions of the Federal Photography Collection April 6―June 16, 2019 Rupertinum [1] & [2]
Worktexts
Rupertinum [1] Room 1
Margherita Spiluttini 1947 Schwarzach im Pongau, AT—Vienna, AT
From the series Die Firma, 1980 Gelatin silver prints on baryta paper Purchase 2016
Spiluttini has been working as an independent photographer since 1981. She is most well known for her architecture photography. From 1995 to 1999 and from 2008 to 2011 she was on the board of the Vienna Secession; she was visiting professor at the University for Art and Design Linz and a lecturer at the University of Applied Arts Vienna. In 2006 she was awarded the Austrian Cross of Honor for Science and Art and in 2016 the State Prize for Fine-Art Photography.
Die Firma was created in October 1980, when the artist designed a new- year’s card for the Spiluttini construction company. The starting-point was the principle that it was people—the employees as much as the executives— who defined the company. The artist decided to place all 106 people beside each other with equal status. The portraits of her father and her brother, as those in charge of the company, are ordered alphabetically along with everybody else who worked there.
Mönchsberg 32 5020 Salzburg Austria
T +43 662 842220-101 F +43 662 842220-700
[email protected] 1/16 Worktexts Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection www.museumdermoderne.at
Michael Mauracher 1954 Klagenfurt, AT—Salzburg, AT
Porträt eines Mannes / Portrait of a Man, 2000–2017 Gelatin silver prints on baryta paper Purchase 1990, 1996, 2017
Mauracher began studying art history and communication science at the University of Salzburg in 1974. He completed his training in fine-art photography at the Salzburg College from 1975 to 1976 and co-founded Galerie Fotohof in Salzburg in 1981. From 1984 to 1994 he was a lecturer in fine-art photography at Salzburg College where he also organized the international workshop program. Mauracher has been a lecturer in fine-art photography and new media at the Mozarteum University since 1995 and senior lecturer since 2011. In parallel he teaches as an honorary professor at the Academy of Fine Arts in Leipzig.
In 1981 Mauracher started working on an ongoing series of portraits of a man, deliberately leaving his identity obscure. Since then he has created sixty individual portraits. The artist is addressing the question of the expressive possibilities both in front of and behind the camera, the “durability” of a photographic image of a human being: What does an image tell us about a person? What can viewers read from it?
Trude Fleischmann 1895 Vienna, AT—1990, Brewster, US
Karl Kraus, 1930/1988 Hilde Wagener, 1930/1988 Grete Wiesenthal, 1930/1988 Gelatin silver prints on bromide paper Purchase 2002
Fleischmann attended Vienna’s college of graphic arts, the Graphische Lehr- und Versuchsanstalt, from 1913 to 1916. Following an apprenticeship in the fashion and portrait studio of Madame d’Ora (1881–1963), Fleischmann completed her training with the photographer Hermann Schieberth (1876– 1948). In 1920 she opened her own studio close to Vienna city hall. In 1938 she was forced to emigrate, first to Paris, followed by London, and then to New York.
Fleischmann became famous for her portraits of contemporaries like Karl Kraus, Adolf Loos, and Alban Berg, and also for her images of stars from the theater and the intelligentsia of Viennese society. Her sensual, erotic nude photographs of the dancer Claire Bauroff caused a scandal. These photographic studies of the movements of nude dancers represent an intensive search for a new body image. Fleischmann’s studio was a center of Viennese cultural life until 1938, when she was forced to flee Nazi persecution because she was Jewish. She managed to start a new life in the United States and built up a second career as a photographer.
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Renate Bertlmann 1943 Vienna—Vienna, AT
From the series Verwandlungen, 1969/2014 Slide projection, 52 gelatin silver prints transferred to 35 mm diapositives (black and white) Purchase 2015
Bertlmann studied painting at the Vienna Academy of Fine Arts. From 1970 to 1982 she taught there and was actively involved in the feminist groups IntAkt and IMAG. Her diverse work includes graphic art, paintings, objects, installations, photographs, videos, and performances. In 2007 she was awarded the City of Vienna prize for visual art. At this year’s 58th Biennale di Venezia, Bertlmann is the first woman artist to be represented by a solo exhibition in the Austrian Pavilion.
Her photo series Verwandlungen is one of the artist’s first stagings of the self in which she addresses her own identity and gender-specific roles. She photographed herself as various female figures, slipping into different roles— from flower girl to diva to vamp―using her own body as her artistic material. Her gestures and poses reveal both subtly rebellious and humorous traits that accompany her demand for self-determination and liberation in the art of the feminist avant-garde. These stagings of the self anticipate her later performances in public space.
Hans Schabus 1970 Watschig, AT—Vienna, AT
From the series Besucher 1999, 1999/2000 Chromogenic prints Purchase 2000
Schabus studied under Bruno Gironcoli at the Academy of Fine Arts in Vienna. He became internationally acclaimed for his design of the Austrian Pavilion at the 51st Biennale di Venezia in 2005. In 1993 he was awarded the Great Austrian State Prize for Fine Art. Schabus has been teaching the class of sculpture and space at the University of Applied Arts Vienna since 2014.
For his photo project Besucher 1999, Schabus photographed visitors to his Vienna studio over the course of a year. The camera was adjusted and fixed at his own height. The images thus capture a section of the figure, revealing the different heights of his visitors in photos that are labeled with their name and the date. The method recalls a “go-see” when models briefly introduce themselves to an agency or a photographer as a way of getting onto their books with the hope of being hired for a shooting. Schabus’s visitors are not models but artists, curators, family, friends, and acquaintances. The series thus presents a picture of both his personal and his professional environment. By fixing the position of the camera, the artist also introduces
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size ratios—is somebody smaller or taller than Schabus?—body traits that are generally not the focus when looking at an image.
Room 2
Ana Hoffner 1980 Paracin, RS—Vienna, AT
From the series Disavowals or cancelled confessions, 2016 Pigment prints Purchase 2018
Hoffner researches and teaches in the fields of performance theory, queer studies, and (post-)colonial studies. She has been awarded many prizes and honors including the prize from the Friends of the Fine Arts at the Academy of Fine Arts Vienna (2015), the Austrian Federal Chancellery’s state scholarship for fine arts (2014), and the City of Vienna art prize (2012).
Ana Hoffner probes moments of conflict in history and politics in her art, exploring queer aspects and their pictorial representation. Her performances, video, and photo installations seek to introduce temporality, relationships, and spaces between established perspectives, iconic memories, and highly performative events.
Disavowals or Cancelled Confessions is a restaging of the photographic and performative archive of the Surrealist artist Aziza Mehran Ahmad, about whom very little is known. Hoffner’s new works explore Ahmad’s own enduring interest in “bacha posh,” Afghan girls who are raised as boys. The staged portraits are themselves a reinterpretation of the Surrealist works of Claude Cahun (1894–1954), an artist Ahmad admired.
Nikola Hansalik 1975 Vienna, AT—Vienna, AT
From the series Augen, 2003 Chromogenic prints Purchase 2007
Hansalik studied at the Vienna Academy of Fine Arts from 2000 to 2005 and attended Friedl Kubelka’s School for Artistic Photography until 2002. In parallel she completed the course program at the International Center of Photography in New York.
The series Augen is a collection of printed photographs of different models’ eyes, which the artist found in magazines and photographed. Reflected in these eyes are the vague silhouettes of the original photographer. The extreme enlargements produce a bizarre triangle between the viewer, the model, and the small black figure, also looking out from the image. In a very
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subtle way, Hansalik addresses the merging of subject and object in the medium of fashion and advertising photography.
Sabine Jelinek 1969 Vienna—Vienna, Linz, AT
Gelbblutig, 2005 From the series Transfiguration Chromogenic prints Purchase 2015
Jelinek studied painting, graphic art, and photography at the Vienna Academy of Fine Arts from 1993 to 1999. Since 2008 she has been a lecturer in the department of fine arts and cultural sciences at the University of Art and Design Linz. In 1999 she was awarded the prize from the Friends of the Fine Arts at the Academy of Fine Arts Vienna and in 2008 the state scholarship for fine-art photography.
Sabine Jelinek’s work is underpinned by a specific sociocritical interest. She engages intensively with her immediate surroundings and works in diverse media such as photography, video, and installation. In expanded self- portraits she reflects personal experiences of life and places, special occurrences and perceptions. Many of her series are studies conducted over a long period of time comprising recurring motifs and pictorial situations. These include photographs taken from studios in different cities and self- portraits, as in the series Transfiguration. In this the artist appears as a wounded personality, capturing herself with nosebleeds. The titles of the images refer to the color of the clothes she was wearing at that moment (Gelbblutig, Rosablutig) or where the photograph was taken (Romblutig, Wienblutig).
Michaela Moscouw 1961 Vienna—Vienna, AT
From the series Makulatur 2, 2000 Chromogenic prints Purchase 2005
Moscouw attended the Vienna college of graphic arts, the Graphische Lehr- und Versuchsanstalt, and has been an independent photographer since 1982. In 1983 she was one of the founders of the Fotogalerie Vienna and worked there until 1993. Through this she started exhibiting her own work. In 1987 her art featured in an exhibition of Photography in Austria at Museum Folkwang, Essen, together with the work of Peter Dressler, Paul Albert Leitner, Herwig Kempinger, Christian Wachter, Manfred Willmann, and Ursula Wüst. Exhibitions in Salzburg, Grenoble, New York, and other cities followed.
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Staging the self is a thematic thread that runs through Moscouw’s extensive oeuvre. In her early works, oscillating between provocation and voyeurism, she explored different female types using a performative approach. Her works became increasingly abstract. She experimented with photograms of bodies and spaces and used these as a starting-point for new transfor- mations. The artist is consistently developing and continuing her own unique photographic cosmos. The Federal Collection owns a group of some 1,200 photographs by Moscouw.
Lothar Rübelt 1901 Vienna, AT—1990 Reifnitz, AT
Zuschauer beim Schemenlauf in Imst in Tirol, 1933 Fuchsjagd in Schloßhof, Niederösterreich, 1931 Hutmodell der Firma Krickl, Wien, um 1930 Lisl Goldarbeiter, Miss Universum 1929, 1929 From the series Österreich zwischen den Kriegen Gelatin silver prints on baryta paper Purchase 1987
Rübelt started studying mechanical and electrical engineering at Vienna’s technical college in 1919 but abandoned his studies in 1926 to concentrate on photography and photojournalism, which was emerging in the illustrated press at this time.
Rübelt is considered one of the leading sport photographers of his day and a chronicler of the First Austrian Republic. He was the only Austrian photographer to take pictures of the Berlin Olympic Games in 1936. Rübelt welcomed the annexation of Austria to Nazi Germany in 1938 and subsequently became a war and propaganda photographer for the German armed forces. He continued his career as a sport and press photographer after 1945.
In 1979 he published his documentary photographs of people, events, and landscapes, taken in Austria between 1920 and 1938, in the book Österreich zwischen den Kriegen.
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Room 3
Ulrike Lienbacher 1963 Oberndorf AT—Salzburg, AT
From the series 10 + 10 Fotografien, 2000 Gelatin silver prints on baryta paper Purchase 2005
Lienbacher studied sculpture and art education at the Salzburg Mozarteum from 1981 to 1987 and is professor of fine art and design at this university today. In 2009 she was awarded the Irma von Troll-Borostyáni Prize; in 2002 she won the City of Vienna sponsorship prize for fine art and in 2000 the Great Art Prize of the province of Salzburg. She was a member of the board of the Salzburg Kunstverein from 1994 to 2007 and has been a member of the Vienna Secession since 2003.
Lienbacher explores her subjects using diverse artistic media. The body— mostly the female body—is a central motif in her drawings, sculptures, photographs, and videos. Gestures and poses reflect socially defined demands related to discipline, achievement, order, cleanliness, fitness, and sexuality. A thread that runs through all of these meticulous works is a sense of fragility—both in terms of material and content. Lienbacher’s works reveal both compulsion and a whimsical lightness, triggering both confusion and fascination in the viewer.
Sira-Zoé Schmid 1985 Vienna—Vienna, AT
# 4, 2012/2013 From the series Untitled Portrait Series (Group Women) # 14, 2012/2013 From the series Untitled Portrait Series (Group Men) Inkjet prints Purchase 2015
Schmid studied theater, film, and media studies at the University of Vienna and fine art and photography at the Academy of Fine Arts.
Schmid works with different artistic media and explores societal norms, ideas, and their rules. She is not concerned with a single image, a definite person but seeks to expose and deconstruct conventional patterns.
In Untitled Portrait Series the artist was inspired by portraits of soldiers. She is interested in how, in this uniformed world of the military, the everyday and personal can still be recognized in spite of the sameness of it all. Her staged portraits weigh up the balance between personal attitudes and uniformity as criteria.
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Margot Pilz 1936 Haarlem, NL—Vienna, AT
TROTZ-DEM, 1983 From the series Weiße Zelle Gelatin silver prints mounted on cardboard Purchase 1986
Pilz studied photography at the college of graphic arts, the Graphische Bundeslehr- und Versuchsanstalt, in Vienna. In 1976 she qualified as a master photographer and ran her own advertising studio from 1971 to 1978. In 1978 she joined IntAkt, an international association of female artists based in Vienna, in order to campaign for the rights of women artists. She was a lecturer at the TU Vienna from 1990 to 1992, and from 1993 to 1994 in Graz. In 1991 she was a visiting professor at the Panteion University Athens.
Pilz works in the fields of photography, media art, and performance and adopts a sociocritical and conceptual approach. Her series 4th Dimension (1978−1982) reflects—in both form and content—an aim to highlight gender differences, to question the traditionally ascribed roles as mother, housewife, and wife as well as her position as a woman artist in a male-dominated art world. In The White Cell Project (1983−1985) Pilz worked with an adjustable space, its size in proportion to her body measurements, a space in which she performs while at the same time documenting the sequences in photographs. She continues the cinematic qualities of these works in their presentation as an accordion-fold album.
Nina Rike Springer 1976 Klagenfurt, AT—Vienna, AT
From the series Bildbauer, 2016 Pigment prints Purchase 2017
Springer studied photography at the University of Applied Arts Vienna from 2001 to 2007 and trained for one year at the Bauhaus University in Weimar. Springer has received a number of prizes and awards including the outstanding artist award for fine-art photography (2013), the culture prize from the province of Carinthia (2012), the state scholarship for fine art (2011), and the Bank Austria Art Prize Carinthia (2010).
In her precisely composed, collage-like photographs, she usually appears in front of the camera herself. But, unlike many women artists of the twentieth and twenty-first centuries, Springer is not concerned with staging the self through the medium of photography. Instead, she uses her body as a canvas or a medium to express feelings and states of mind. A lucid composition, reflecting the formal language of the Bauhaus and Constructivism, and also the bright colors, humor, and dynamism of Pop, comic, and body art, are typical characteristics of Springer’s works.
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Nilbar Güreş 1977 Istanbul, TR—Vienna, AT
Non sex belt, 2014 Overhead, 2010 Chromogenic prints Purchase 2016 Purchase 2014
Güreş trained at the Faculty of Fine Arts at Marmara University in Istanbul from 1998 to 2000, followed by studying painting and graphic art at the Vienna Academy of Fine Arts until 2002. In 2013 she won the Professor Hilde Goldschmidt Award and in 2015 the BC21 Art Award from the Belvedere. Her works have recently featured in solo exhibitions at Lentos Kunstmuseum Linz (2018) and at the Israeli Center for Digital Art in Holon (2016). She lives in Vienna and Istanbul.
In her performances, objects, photographs, and videos, the artist works closely with people from her environment and examines their lives, as in the series TrabZone. For these works she visited women from her own extended family in a very conservative rural region of Turkey. In Overhead the housewife is shown literally holding up the family home’s contents at the same time as disappearing beneath its burden. Non-Sex-Belt was created as part of her contribution to the São Paulo Biennale in 2014. In this work Güreş focused on people from Brazil’s queer scene who represent both genders, a quality that was once recognized in South America’s indigenous cultures.
Room 4
Lillian Birnbaum 1955 New York, US—Paris, FR
Leocadie & Ping Pong, 2005/2010 Diane & Ball, 2005/2010 The Lake, 2005/2010 From the series Transition Chromogenic prints Purchase 2010
Birnbaum started her career in the field of photojournalism. She made an international name for herself as a portrait photographer. Her book Vier Frauen (1992), featuring staged portraits of four German actresses, gained wide acclaim. In the book Peter Handke. Portrait des Dichters in seiner Abwesenheit (2011) she portrays the author through the objects from his world, although he himself is absent from the images.
Birnbaum took the diary-style photographs that make up the series Transition over a period of five years. They show a group of young girls by a lake near New York, in parks and gardens in Paris, or in southern
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landscapes. In these subtly observed works, Birnbaum explores both the phenomenon of childhood and the first signs of an as-yet-undefined femininity. The world of adult-hood can be seen in its emerging stages, tried on for size in the girls’ self-consciously worn clothing and poses.
Wolfgang Bender 1960 Dornbirn, AT—Vienna, AT
From the series Make me feel home again, 2011–2018 Chromogenic prints Purchase 2018
From 1981 to 1985, Bender studied at the Mozarteum University in Salzburg and under Ernst Caramelle at the College of Applied Arts in Vienna. He worked in both photography and installation and has completed many residencies abroad, particularly in Milan and in Lithuania. He recently created a presentation for the spaces of the Austrian Cultural Forum in Rome.
Bender presents questions regarding the relation between real spaces and imaginary realms. The six-part work Make me feel home again is an example of this merging of inner and outer worlds. As if in a time lapse, the teenager is tentatively moving through a landscape of abundant green and seems locked in his own imaginary world. He is carrying a pistol and it is not clear whether this is real or a replica. But he points this at the photographer and, by extension, the viewer. The camera moves closer toward him and then retreats, evoking the sense of fleeing. The final image shows a raised hunting hide, a house that could hardly represent a home, but instead—as the title suggests—a place of yearning.
Ruth Kaaserer 1972 Kitzbühel, AT—Vienna, Linz, AT lila strähne, 2016 Two-channel-slide projection (color, sound) 7:50 Min. Purchase 2016
Kaaserer studied sculpture at the Vienna Academy of Fine Arts from 1992 to 1997. She has been working intensively with the medium of film since 2000. For her artistic work she was awarded the state scholarship for fine art in 2002, as well as scholarships abroad to London, Chicago, New York, Paris, and Beijing.
Over a period of two years, the filmmaker accompanied the siblings Emma and Florin with her camera and an audio recorder. Florin, a child with special needs, brings together contradictory traits: a need to communicate while at the same time a need to withdraw into his own world. The work shows a distinctive, seemingly untouched children’s world in the immediate
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surroundings of the garden suburb where they both live. Sound has been added to the slide show: original sounds from the surroundings and narratives as Florin explains his ideas and Emma talks to her dog.
Room 5
Rudolf Zündel 1939 Bezau, AT—Schwarzach, AT
From the series Als Tschusch unter Türken, 1977 Gelatin silver prints on baryta paper Purchase 1982
Zündel began working as an artist in 1963. Self-taught, he became particularly interested in photography, making this his profession. As the head photographer of the Vorarlberger Nachrichten, Zündel documented the countryside and the people of the region. In 1998 he was awarded the honorary title of professor.
Zündel’s work Als Tschusch unter Türken tells the story of the journey from Istanbul to Vienna made by the first generation of foreign workers. Zündel took a photograph every one-and-a-half hours and thus documented the difficult trip and the strains and stress people endured in order to find work in Austria. He described himself as a Tschusch, a colloquial, derogatory name for Austrians with Slavic roots. This series was the first work acquired for the Federal Photography Collection in 1981.
Ernst Haas 1921 Vienna, AT—1986, New York, US
From the series Homecoming Prisoners, Vienna, 1945−1948 Gelatin silver prints on baryta paper Purchase 1985
Haas attended Vienna’s college of graphic arts, the Graphische Lehr- und Versuchsanstalt, and started working as an independent photo journalist in 1945. According to the story, Haas had been assigned to take fashion photographs in front of Vienna’s destroyed buildings when he was caught up in the crowds rushing to the station, filled with hope due to the imminent arrival of the first train with Austrian soldiers returning from Russian captivity. There were women looking for their husbands and fiancés, mothers hoping to find their sons, sisters in search of their brothers. None of the people waiting had any idea about who would emerge from the train. Haas took his camera and started taking photographs—“as if in a frenzy,” he said later. This series made him famous. At the invitation of Robert Capa, Haas became a member of the famous agency Magnum Photos in 1950 and its president in 1960. At almost the same time he started experimenting with color photography. In 1962 the first solo exhibition of his color photographs was held at the Museum of Modern Art New York. He published many
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books. In 1986, Haas was awarded the Hasselblad Award.
Although many Austrian photographers took pictures on the theme of homecoming prisoners, these images by Ernst Haas, first published in the illustrated Heute in early August 1949, are particularly enshrined in the collective memory of the Austrian people. The Federal Collection owns a group of some sixty works from this series.
Paul Kranzler 1979 Linz, AT—Linz, AT, Leipzig, DE
Kempelengasse, Vienna X; Pfeiffergasse, Vienna XV; Erdbergstraße, Vienna III, 2016/2017 From the series Orte für Menschen / Places for People Pigment prints Purchase 2017
Kranzler studied at the University of Art and Design Linz from 2001 to 2006, and from 2011 to 2013 at the Academy of Fine Arts Leipzig. In 2004 he was studio assistant to the London-based photographer Nick Waplington. In 2013 Kranzler was awarded the outstanding artist award for fine-art photography from the Austrian Federal Chancellery.
Kranzler’s works follow the tradition of social documentary photography. For his contribution to the 15th Venice Architecture Biennale in 2016, the previous year Kranzler had photographed the work of three teams of architects over a period of several months. These teams had designed and constructed accommodation in existing buildings for people who had arrived in the country with the great wave of refugees and were currently having to wait for their asylum claims to be processed. The series Places for People follows the process of creating and realizing this temporary accommodation and portrays the people who lived there and their life situations. Piles of Kranzler’s photographs were placed in the Austrian Pavilion in 2016 and people were invited to help themselves—an incredible 50,000 photos were taken home by visitors to the exhibition.
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Rupertinum [2] Room 1
Inge Morath 1923 Graz, AT—2002 New York, AT
H. C. u. Rosa Artmann, 1991 From the series An artist´s view - Salzburg Gelatin silver print on baryta paper Purchase 1992
From the series Saul Steinberg Masks, 1961/1996 Gelatin silver prints on baryta paper
Morath studied Romance studies and linguistics in Berlin before working as a journalist, first in Salzburg and then in Vienna. In 1949 she was invited to Paris by Robert Capa and Ernst Haas, whose photographs she had used for her articles, and started working as an editor for the agency Magnum Photos. She was so fascinated by photography that, while in London in 1951, she trained as a photographer and joined Magnum Photos in 1953. Beside her own work, she assisted Henri Cartier-Bresson and in 1955 was invited to become a full member of Magnum. At the end of the 1950s, Morath started living mainly in the USA where, in addition to her photo essays, she also worked as a still photographer on Hollywood motion-picture sets. She married the playwright Arthur Miller in 1962.
In the course of her almost fifty-year career, her work as a photojournalist took her all over the world. Her inspiration came from the people she met. Morath’s travel stories reflect a deep curiosity about the culture of the countries and the population’s living conditions. Her portraits demonstrate an empathetic interest in her models, who came from the worlds of art and culture and included some famous personalities.
Between 1959 and 1962, Morath worked with the American cartoonist and illustrator Saul Steinberg (1914−1999) on the Mask Series. In 1962 Steinberg published these tragicomical character studies together with his drawings in a book titled Masquerade.
Friedl Kubelka (vom Gröller) 1946 London, GB—Vienna, AT
Venzone Peter Kubelka - Friedl Kubelka, 1975 Gelatin silver prints on baryta paper Purchase 1989
Kubelka trained at the Vienna college of graphic arts, the Graphische Lehr- und Versuchsanstalt, from 1965 to 1969 and ran her own photo studio in the city between 1971 and 1977. Otto Breicha published her first works in his literature magazine Protokolle in 1973. In 1979 her work was represented at the Camera Austria group show in Graz. Kubelka founded her School for
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Artistic Photography in Vienna in 1990. Her interest in people prompted her to train as a psychoanalyst and she qualified in 1997. In 2005 she was honored with the Austrian State Prize for Photography.
In 1972 Kubelka started on her Jahresporträt, a long-term project in which she photographed herself on a daily basis over the course of a year. Modifying the concept and the timeframe, she expanded this structured approach to the self-portrait and female self-staging to cover her family and also her colleagues. Kubelka also worked on filmic portrayals showing people in a state of maximum motionlessness, thus bringing the flow of images to a virtual standstill, barely allowing a narrative to evolve. This sharpens the focus on the interaction between the artist behind the camera and the person in front of it.
The film IN ROME is a site-specific portrayal of her husband Georg Gröller, whose name she takes today. Gröller is also the name she uses as a filmmaker. As a photographer, she continues to work under the name Kubelka, as during the time when her double portrait with her then-husband Peter Kubelka was created in the crypt of the Venzone Cathedral in Italy.
Martina Mina, Sabine Schwaighofer 1976 Vienna—Vienna, AT; 1969 Salzburg, AT—Vienna, AT
From the series "as" double-portrait, 2016 Chromogenic prints Purchase 2016
Martina Mina
Mina studied at the Vienna Academy of Fine Arts from 2005 to 2012 and for a further year at Friedl Kubelka’s School for Artistic Photography. In 2007 she also studied at the Weißensee Academy of Art in Berlin. She has been working at one of the federal scholarship studios in Wattgasse, Vienna, since 2013.
Mina’s photographs explore fashion in the post-feminist age, placing a focus on exploring queer body constructions. Staging and reinterpreting existing photographs of historical figures form a basis for her projects.
Sabine Schwaighofer
Schwaighofer began studying at Friedl Kubelka’s School for Artistic Photography in 1995 and from 2000 she trained in the new department of photography at the Vienna Academy of Fine Arts.
In her photographic series Schwaighofer questions the complex relationships between body, gender, and identity. She has taken hundreds of photographs since the 1990s that focus on the artist herself as their main subject. In some series she draws on a broad range of performative techniques of self- staging, transformation, and personifying particular “types.” To achieve this
14/16 Worktexts Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection
she uses makeup, cloths, hairstyles, wigs, props, and, last but not least, poses. Throughout these individual series, references to various photographic genres can be found: from studio photography to amateur photography, photo booths to photo diaries. Schwaighofer thus develops a complex image of the queer female search for identity.
Room 2
Nikolaus Walter 1945 Rankweil, AT—Feldkirch, AT
From the series Toronto Cowboy, 1972–1973 Gelatin silver prints on baryta paper Purchase 1985
Walter attended the Vienna college of graphic arts, the Graphische Bundeslehr- und Versuchsanstalt, from 1964 to 1967. In 1968 he was employed at Wallace Heaton, a postcard publisher in London, before working for magazines such as Publishers Weekly in New York. From 1971 to 1972 he traveled through New Zealand and Canada. His works were shown at the 1974 exhibition Creative Photography from Austria at the Kulturhaus der Stadt Graz. Otto Breicha curated this show presenting the work of young contemporary photographers like Friedl Bondy (Kubelka), Manfred Willmann, and Branko Lenart in juxtaposition with well-known artists such as Herbert Bayer, Ernst Haas, and Franz Hubmann.
For almost fifty years, Walter has been documenting his encounters with people who live on the margins of society and has built up a special connection with them. Arthur Wigley and his wife Diane in Toronto are examples of his remarkable protagonists. Walter published their portrait series in his 1977 photo book Toronto Cowboy, a work for which he was awarded the Kodak Photo Book Award.
15/16 Worktexts Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection
Christoph Scharff 1958 Vienna—Vienna, AT
From the series Eines Tages - Eines Nachts, 1984 Gelatin silver prints on baryta paper Purchase 1986
Scharff engaged intensively with photography between 1975 and 1993, before he decided to change his career and abandoned photography. Up until that point, there had been many solo exhibitions of his work in Graz, Vienna, and New York.
The series Eines Tages—Eines Nachts shows the photographer’s encounters at various social functions: openings, parties, events in private and public spaces. The images demonstrate a certain spontaneity and position the artist as part of a Vienna scene in the 1980s.
Georg Petermichl 1980 Linz, AT—Vienna, AT
After Brassai: Groupe Joyeux au Café Savoy, 2010 Chromogenic print Purchase 2012
Petermichl studied communication science at the University of Vienna and photography at the city’s Academy of Fine Arts. In 2006 his work was awarded a prize in the Picture BC! photo competition.
Petermichl’s multilayered work explores existing pictorial worlds and their representation, for example in advertising and in exhibitions. Georg Petermichl uses the modus operandi of photography—perspective, time, and composition—as a way of examining complex social reality. The outcome is often not a photograph but an object, an installation, a text, or a book. Petermichl’s work reveals repetition and continuous re-configuration—of light situations, geometric components, analogies, mirrored ideas, and reflected elements. The group portrait in the exhibition reenacts the well-known photo Groupe Joyeux au Bal Musette (1932) by the French-Hungarian artist Brassaï (1899−1984).
16/16 Worktexts Humanity in Photographs. Recent Acquisitions of the Federal Photography Collection