11 Voices of / Contemporary Art and Culture Issue

Content Renate Bertlmann p.2 AES+F p.3 Cäcilia Brown p.4 Lori Hersberger p.5 Fiete Stolte p.6 Austrian Pavilion p.9 Nasan Tur p.11 Marjatta Tapiola p.12 Asger Dybvad Larsen p.13 Editions p .14 Claus Busch Risvig p.16 Photo: Christoph Liebentritt In the Studio Renate Bertlmann, The pioneer of Austrian performance art takes an ironically provocative approach in her work when she ex- plores such themes as sexuality and gender roles. The artist, who is at home with many media, lures with her charming aesthetics before the second glance reveals the “sting of feminism”. • read more on page 2 Online Stories Photo: © Niels Fabaek Museum of Modern Art, Aalborg Kunsten Ernesto Neto Rio de Janeiro Photo: © Alexander Yakovlev Photo: © Christoph Liebentritt »We are forcing »I am interested

constant participation.« in a subject and its sculptural Danner Photo © Michael AES+F are one of the most successful and well-known translation.« Emeka Ogboh Russian art groups. The group is probably best known Cäcilia Brown employs a documentary approach to for their overwhelming multi-screen video installa- her artistic practice; allow her to explore tions of enigmatic narrative character. Behind crisp dimensions, surfaces, and even her relationship to more stories and sharp images lies a survey of the values and con- herself and to space in a variety of ways enabling her in our Online Journal on flicts of modern global culture. • read more on page 3 to formulate associations. • read more on page 4 collectorsagenda.com COVERSTORY In the Studio Renate Bertlmann, Vienna COVERSTORY In the Studio AES+F, Moscow

is in itself provocative. For me it’s a “must”, for Your video installations claim extremely wide others it’s often a shock, because of its direct- screens that can span up to 20 meters or ness. I’m glad that people are not bored on see- so. What is the dramaturgic idea behind this? ing my works. The aesthetic of my work is S: It is extremely important to us to put the seductive, but it’s also a trap, when you get close, viewer into a state of full immersion. To there’s the sting – I like that. overwhelm the viewer with more than they can process is a conscious decision that evokes such a state. Plus, it is part of our artistic »The aesthetics of my language. work leads into a trap.« F: We want to avoid the comfort that exists in film, where we eat popcorn and look at a screen. In your performance pieces in particular, you Instead, we are forcing constant participation receive immediate audience feedback, do and movement, which results in a more con- you recall any specific situations or reactions? scious experience. Since I have always involved the audience, A: The “inconvenience” of viewing the storyline there may have been situations that may have inevitably touches the viewer in an awkward been considered “embarrassing” – especially way and may also evoke a sense of “guilty plea- for those who were coerced into participating, sure”. as in the Sling Shot Action, I did at Franklin S: It can be compared to real life, where you Furnace in New York. I danced with sex dolls are never in a position to take in and process and picked people out of the audience and every piece of information around yourself. more or less forced them to dance with the sex That fuels the desire to watch our video works dolls too, and many of them didn’t feel very again and again because, each time, you may comfortable. A very funny thing happened discover something new. during the performance of The Pregnant Bride Photo: © Alexander Yakovlev Photos: © Christoph Liebentritt in the Wheelchair, in Vienna. I gave birth in the In your video narratives one encounters a lot Renate, looking at your extensive oeuvre, the flows into my work and is then transformed performance: I got out of the wheelchair, dis- What is behind your group’s name AES+F? of fabulous creatures in mythical settings that great variety of media is striking: Perfor- in a new form, but the how and when and why carded the baby leaving it to the audience, so E: We started working together in 1987. At the are often charged with religious symbolism. mance, photography, graphics, installation… I leave to chance. to speak. Then a young man from the audience time, it was just Tatiana (Arzamasova), Evgeny Can you explain what we actually see? Is there a particular medium in which you came forward and placed a small milk carton (Svyatsky) and myself (Lev Evzovich). Later, E: Recently we spoke with (the French art his- like to express yourself, and if so, why? You studied painting at the Academy of Fine next to the baby I had left lying on the floor. we came up with AES as an abbreviation of our torian) Jean-Hubert Martin in our studio: He I constantly alternate between many media: Arts in Vienna and immediately thereafter surnames, when we realized that people had said that, for him, all art is religious by nature. drawing, photography, and also painting, al- taught painting techniques in the master class This year, you will be the first woman to pre- a lot of trouble spelling our names correctly. This idea, which seems obvious, is not preva- though I’m not someone who typically wields a for restoration and technology until 1982, sent a solo exhibition at the Austrian Pavilion After Vladimir (Fridkes) joined the group in lent in the contemporary art world. That’s why brush loaded with oil paint, I prefer to work while at the same time already starting with in Venice. What was your first reaction when 1995, we became AES+F. this religious subtext that you mention is trans- with mixed media. What I really love is to work your performances. How was it for you, as you heard about it? S: There was never a definitive moment when formed into an overt message by the viewer, three-dimensionally, making objects or object a woman, at the academy, to be active in what Surprise, I didn't expect it. But then I was very we decided that from tomorrow on we would into her or his own ideas of the sacred or religious 2 installations. Photography is very important to was then a very male-dominated field? happy about it, because I had already come be working together. It happened organically. or maybe even into something anti-religious. 3 me, I record with the camera everything I do, At the time, there were very, very few women to appreciate Felicitas Thun-Hohenstein as a AES+F, Mare Mediterraneum #1, 2018 In the Feast of Trimalchio, another work of ours, installations or objects, in order with another at the Academy. I was shocked because I had curator at three exhibitions in the past. And You have become quite successful with ex- we reference biblical scenes such as the cru- medium to make another level transparent to not expected it to be so patriarchal. The profes- of course it's a great pleasure and a challenge hibitions around the world and participations was confirmed when reality caught up with the cifixion as a juxtaposition to contemporary con- me. sors were all men, like Sergius Pauser, my to be able to design the pavilion alone, it's not at the Venice Biennale and the Manifesta artwork. cepts of narcissistic enjoyment, or consumption, professor – a good but very traditional painter. easy to play it, but I will conquer it. among others. Can you talk about some mile- E: And the second success was at the Venice which takes the role of a quasi-religion. So, I How would you describe your artistic work of And the fantastic realists, who were en vogue • read the full story on bit.ly/_RenateBertlmann stones along your way of reaching interna- Biennale ten years later, in 2007, when we rep- would say we are probably more concerned working in general? at the time, two of them also had professorships tional acclaim? resented Russia in the Russian Pavilion with with contemporary quasi-religions, or secular There is an inner voice, an inner “urge”, an at the Academy. There wasn't a single profes- E: The decisive moment was the Islamic Project Last Riot, which introduced the aesthetic of a religions. obsession, a “must”, something that is given to sor or role model available to provide us with in 1996, which received a lot of public attention new work cycle. In retrospect, it was one of S: This allegorical aspect is present in our other you. So I don't prescribe anything for myself, orientation. That was a huge, huge frustration. and created controversy in the media. the first projects that defined post-internet art works as well … I actually feel like a tool. Everything I absorb A: The project was intended to be quite provo- and all the issues related to it. A: … but without didactics. We do not really In 1978 you defined your artistic maxim Amo cative and politically incorrect in regard to manipulate the viewer. To speak frankly, there ergo sum. Can you tell us more about it? Islam and reflected the Western Islamophobia. are things in the world that confuse us or make It is not that simple. It had emerged within me, We created digitally manipulated images of »We are concerned with us doubt, pose questions for which there are then, all of a sudden it was there. When I ana- famous landmarks and tourist destinations, contemporary no answers. We take this and show it to the lyze it, it is certainly a condensed form of all making them look as if they were taken over viewer, and also to ourselves. The interpreta- concepts, and utopian ideals, I hold. I would by a radical form of Islamic culture. quasi-religions, or secular tion of the scenes is always subject to the wish – and this is especially important for artis- E: It caused a lot of controversy around the religions.« previous knowledge and personal experiences tic people – that body, soul, and spirit form world, but with the events of 9/11, somehow we of the viewer. a unity, because only then can one be really were hailed as “prophets”. This doesn’t happen After Mare Mediterraneum, a project of yours • read the full story on bit.ly/_AESF creative and strong. I dare to be aware of often, but sometimes it does. on the occasion of Manifesta last year, we are things, I dare to think and act revolutionarily, S: It was kind of pure artistic intuition, which now able to see your interpretation of Turan- in the best sense of the term. And this includes dot, which inaugurated at the Theatro Massimo mature sexuality, because only then can you in Palermo and will shortly be showing in equate it with Eros as the creative force par ex- Renate Bertlmann Bologna. AES+F cellence. If we become sexually atrophied and is represented by E: We have reinterpreted the famous opera by work with following galleries a.o. deformed, we are prone to start wars. In this Richard Saltoun, London Giacomo Puccini in collaboration with the Galerie Nikolaus Ruzicska, Salzburg sense, the title of my VERBUND catalog is Amo Galerie Steinek, Vienna Italian director Fabio Cherstich. Our version Triumph Gallery, Moscow ergo sum, a subversive political program. takes place in the Beijing of 2070, the capital of Anna Schwartz Gallery, Melbourne UPCOMING SHOW a Global Empire. We created a utopian city of Galeria Senda, Barcelona Your work revolves strongly, as you have Austrian Pavillon bionic , where the cruel princess mentioned, around sexuality, men-women Biennale Arte 2019 in Venice Turandot reigns. CURRENT SHOWS AND EVENTS: relationships but also other gender roles. A: We introduce the idea of techno-feminism Turandot Hier ruht meine Zärtlichkeit What role does provocation play in this? with a totalitarian touch. Teatro Comunale di Bologna Provocation isn’t important to me at all. I Niederösterreichische Landesgalerie Krems E: The project deals with some of the topics that 28 MAY – 7 JUN, 2019 simp-ly want to express what moves me, what 26 MAY – 29 SE P 2019 are central to our work: concepts of the future, hurts me, what drives me, this is what I want feminism, post-feminism, and fake news.

to express and to do so uncompromisingly, this Interview: Barbara Wünsch Demonova Interview: Valeriia AES+F, Last Riot 2, The Carousel, 2007

collectorsagenda.com collectorsagenda.com COVERSTORY In the Studio Cäcilia Brown, Vienna In the Studio Lori Hersberger, Wädenswil/

Lori, looking around here one thing in parti- lous. A work that is unable to endure these cular attracts one’s attention: Your works contradictions or attempts to question them radiate. There are reflecting and shiny sur- quickly loses its meaning for me. Time is the faces, fluorescent colors on canvases – a greatest condition of life and the artist ultimate- variety of very different surfaces. ly tries to overcome it. My creed is: The artist Surfaces are fascinating because they can be must be exploited by art: and the artist must in both banal and profound. In or behind them turn exploit art. there always hides the other, perhaps it may be something quite profound. For me the surface represents everything or nothing, it can be both »For me, the surface the truth and deception. Surfaces can attract, can be both satisfy, and at the same time repel. In the visual arts where the visual dominates the surface the truth and deception.« represents the most immediate ambassador for the access to the viewer’s senses and im- The media that you use have very different pressions. demands. How do you deal with that? What demands? Theoretically I could do any- You confront your viewers often quite bru- thing. I have made art too long in order to tally with your work and with themselves, for simply try something else and expect that some- example in the case of your mirror works. thing is going to happen. My oeuvre is mature; Absolutely, my large works have a claustropho- I reflect very carefully on what I can add. The bic effect. The mirror confronts the viewer question of timelessness is really important to initially with the question: Am I a unique piece me. Ultimately it’s important to develop one’s or is there a copy that resembles me? And if own language regardless of the medium. so, are there endless copies of myself? The use • read the full story on bit.ly/_LoriHersberger Photo: © Michael Kimmel Photo: © Michael Photo: © Christoph Liebentritt of mirrors enabled me to address the question Cäcilia, can you describe how you deal with additionally developed and intensely advertised Cäcilia Brown, Zahnfee, 2017 Dealing with different forms of expression of the uniqueness of the forms, which may also sculptural questions and their social and and sold as luxury and speculative objects. from the series Leicht Mädchen, Courtesy Gabriele Senn Galerie Swiss artist Lori Hersberger reflects the relation- be grotesque. Each viewer can recognize in my political components? Or the demolition of old buildings in order to ships between reality and illusion, space and mirrors that they are part of the artwork, even There is an interest in a subject and its sculp- erect new buildings which gives rise to further system itself is unchanged – if, for example, an architecture as well as the dialectic of chance and if only fleetingly. tural translation. Sculptures can be described questions: At whose expense are these build- interview for the position of an art professor- intention in his art. His works move between with characteristics that allow references to ings constructed? For whom are they built? ship continues to be held in such a way where- destruction and stability and push colorfulness With the mirrors you move away from the the theme itself or its peculiarities. If buildings Isn't the market for luxury apartments already in applicants are thought to be convincing and atmosphere to luminous extremes. Hers- classical concept of the image carrier. What in Vienna stand half demolished for months, saturated? Cities are continuously expanding based upon their presentation as the loudest, berger has always worked with various art is decisive? they inspire a sculptural interest in me, for and space is becoming increasingly scarce. But the most casual, or the most self-publicizing – techniques never losing sight of the connection Including the real space, the architecture is destruction is an interesting action in itself, are these luxury penthouses really providing this may be considered to perpetuate Chauvinism. to his oeuvre as a whole. very decisive. To be more precise, the impact of in this state of semi-destruction, the buildings the needed space? And how do these buildings the mirror is an attempt to destroy the idea of are partially rendered into their individual influence the social interaction in a district? How important is your studio to you? finality, of veracity. In painting I was searching 4 materials and components. There are things Do you have a special relationship to the for a more radical surface, a substitute for the 5 that lean against and support each other, »The state of rooms or are they purely functional? white canvas, for a picture carrier that has compress or smash against each other, or form I love having a studio. I like the way from home even less characteristics. Lori Hersberger piles – these are moments that I introduce to my studio and back. On the way many prob- semi-destruction, when is represented a. o. by into my sculptural repertoire, and I can’t avoid lems are solved that I don’t see standing in front What has art to trigger to enable it to Galerie Clemens Gunzer, Zurich/Kitzbühel thinking about why so much is torn down things lean against of the . I love the neighborhood of my function? Galerie Nicola von Senger, Zurich yet at the same time, still stands. A current metal dealer and I also like the various surroun- It has to show the contrast and contradictions and support each other, Galeria Casado Santapau, example are penthouse apartments, which are ding, their different atmospheres, I become of the superfluous. I am always electrified compress or smash Spencer Brownstone Gallery, New York

aware that Vienna is in fact a big city after all … Interview: Lisa Thalmeier when art is both great and ridiculous. I believe Laleh June Galerie, Basel I also like the studio itself, I loved the previous artworks upon which have been placed very against each other, in- Sunset 164, 2006, Exhibition view of Lori Hersberger - Insideout, ones too, but to have a place that is both a 2006, Galerie Mehdi Chouakri Berlin, Photo: © Hans-Georg Gaul big demands have already arrived at the ridicu- spires a sculptural interest home and a working space in which everything in me.« can be standing expands my own space of movement, mentally and physically. Ultimately, Does the role of women as artists concern you it’s about the mood of the place, if it’s good and in today's art world? you like going to the studio, it can be any space. : I think it's impossible for a woman – regardless • read the full story on bit.ly/_CaeciliaBrown of the field – not to deal with this topic. I am lucky to have been born in a generation where Exhibitions 2019 young women are encouraged. This certainly Cäcilia Brown leads to difficult conflicts that become visible is represented by Paul Leitner –Hegemark Fragment: Die Lehnende, 2018 Gabriele Senn Galerie, Vienna from the series Es gibt Ecken, aus denen kommt man nicht mehr for example with the quota system. I think the Karin Pliem heraus, Courtesy Gabriele Senn Galerie quota doesn’t distract from the fact that the Interview: Alexandra-Maria Toth Christian Bazant Bastian Muhr 7. 6. — 8. 9. 2019 Lukas Janitsch SEAN Jill Paz , 2017, © Sean Scully, 2017, unttld contemporary Schleifmühlgasse 5, 1040 Vienna, Austria

Eleuthera SCULLY T: +43 676 7650 866, [email protected] ELEUTHERA www.unttld-contemporary.com

collectorsagenda.com collectorsagenda.com In the Studio Fiete Stolte, Berlin

in nature and also of being apart and outside of there used to be a cemetery right here, every- everything. Important factors to me were thing is in the middle of nature. You can stare temporal parameters, some of which can be com- at the sky or at the lake. Many works are cre- prehended astronomically like a day or a year. ated in exactly this way – sometimes through A week however, has been determined arbitra- reflections of the sky in a teacup or in the eyes. rily, this was different in the past and may be We are not free of art openings, we both studied different in the future. Such determinations at the art academy. But I must always be able are children of their time. Since the invention/ to free myself from all this information and contrivance of artificial light, we are no longer find my own way. And here the place functions restricted to working during the day and sleep- like a filter and brings one back to a certain ing at night. Many conventional norms and originality of observation. classifications are arbitrary constructs. F: One recognizes where the works were cre- ated. They carry this place within them. They Julia, you and Fiete speak as WE, develop also carry the idea of simultaneity within them. ideas together, exchange ideas. How is your cooperation really? You, Julia, are clearly more than “just” the wife. How would you describe your cooperation? »As an artist, one exists J: It's very complex. I support Fiete in the pro- always a bit outside of gress of his artistic development, in the de- velopment of his ideas and his work, and I also conventional rules.« become a part of it. We work together at eye level. But it's deliberately not Julia Stolte on the Presence and absence are a big topic in your work, but Fiete Stolte, we never wanted to work. At the 57th Venice Biennale you showed change anything about that. The works have a the work Printing my Steps in the Arsenale: a Photos: © Jasmine Deporta lot to do with him as a person. Meanwhile I footprint. Conceptual artist Fiete Stolte studied sculpture am also developing my own ideas for Fiete. He F: It is a footprint, chased and chiseled in copper at the Kunsthochschule Berlin Weißensee with also develops ideas and we introduce them worked into the sheet of metal. The work plays Karin Sander and graduated in 2007. We talk to each other. It's thinking into his work. Mean- strongly with absence and with negative forms, with him and his partner Julia Stolte about the while I am able to think ideas in such a way very simple. There are two imprints in the conceptual approach of their work, about let- that it seems to him as if they were his own. ground as if someone had walked in the sand. ting go, and their special form of collaboration. There's a congruence in thinking which has It looks very ephemeral and, at the same time emerged during our five years of working to- it is of high quality and possessing durability, a Fiete, with the conceptual work Measure 8 gether. quality owed to the material. For me, copper Days a Week, which stems from your student stands for touch and has great conductivity. In days, you became famous. One day didn't addition, copper is also used in etching. The have 24, but 21 hours and one week became work is therefore comparable to a three-dimen- not seven, but eight days. You even designed sional printing plate and as with such plates 6 your own clock to make this alternative cal- the footprints are intended for the purpose of culation of time real. What was the starting duplication. They represent walking, one placed point of the work? in front/ahead of the other, thereby symboli- F: The work Measure 8 Days a Week is only one zing progress – in both temporal directions, neon script from a series of neons and has forward and backwards. been part of my 8-day week. It is an attempt to • read the full story on bit.ly/_FieteStolte shift existing parameters without material means, i.e., actually with nothing, a means to create something new. Specifically, I divided Fiete Stolte the week into shorter days with 21 hours. This is represented by is both a sculptural and performative approach. albertz benda, I divided the day, rearranged and then lived within it. This resulted in new works in which UPCOMING SHOWS I have transferred the latently existing otherness. RealitätsCheck Your studio is located in a large park, at a Kunstraum Potsdam c/o Waschhaus Had you previously felt the need to go against cemetery, and looks almost like an island 30 AUG – 6 OCT, 2019 conventional social rules and our conventio- in the middle of Berlin. What role does your nal division of time? studio play for you and your work? So wie wir sind 1.0 F: My need first arose from dealing with time. J: I like to use the term “Twilight Zone” to des- Stiftung Neues Museum I didn't consciously seek to question such things. cribe the place. We are in the middle of the Weserburg, As an artist, one exists always a bit outside city and are yet somehow outsourced, somehow UNTIL 5 JAN, 2020 of conventional rules. Early in my studies the in-between. There's a prison nearby, an air-

studio became a place of participation, of being port, we're close to the lake, surrounded by trees, Sylvia Metz, Julia Rosenbaum Interview: Dr.

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collectorsagenda.com Book Release Renate Bertlmann at Verlag für moderne Kunst Austrian Pavilion Felicitas Thun-Hohenstein

Toward an Aesthetic of Risk covering the pavilion’s entire courtyard, display analyses and prosthetic body extensions, which Excerpt of the introduction a synesthetic artistic commentary that allows exhausts sexual subjectivity. As early as the by Felicitas Thun-Hohenstein us to sensuously experience the dichotomy of 1970s, she thus opened up perspectives of a our existence. This subversive treatment puts queer and posthumanist space for action. This Renate Bertlmann’s complex oeuvre the principle of her artistic approach in a nutshell. makes her a role model for a young generation bespeaks an artistic commitment that is of artists. The best prerequisite for building both aesthetically and conceptually Causing upheaval at the highest level, bridges. intricately connected to an aesthetics Bertlmann appropriates the arsenal of so- of risk. Always keeping a keen eye on the cial symbols, breaks it open and reasses- The artist has produced a new piece of work transformative potential of difference as a ses them feministically. In this process, specific to the pavilion. What can you tell counterweight to power, the artist oscillates contradictions stand side by side in accord, us about her work which will be shown in the performative, sculptural, graphic, photogra- are made to oscillate, and are perceived pavilion and how it interacts with the site? phic, filmic, and textual aspects between the as an expression of human diversity and For the exhibition in the Austrian Pavilion, past and the present, between disposses- plurality. From the nimble foundation of the Renate Bertlmann has developed a new two- sion and covetousness, between the everyday artist’s two central figures, the lover and the part installation with Discordo Ergo Sum and the unusual, between art and life. insurgent, emerges a transitional space where (“I contradict, therefore I am”). With this re- incongruities convene, separate things change wording of the philosophical principle “Cogito Renate Bertlmann not only distinguishes herself sides, and hierarchies and dichotomies are set Ergo Sum” (“I think, therefore I am”), the through her extraordinary formal and concep- in motion. Created in an interplay of conceptu- artist tries to cancel out the predominance of tual precision: The agitative programmatic al, aesthetic, and material intensities, this space logocentrism and describe herself in her re- character of her work, under the artistic offers a basic tension that, on the one hand, sistant self-image. On the basis of the artist’s motto “Amo Ergo Sum,” and her obsessive critically presents itself as personal and socio- subversive programmatic approach, Amo exploration of body images directly ad- political phenomena of global developments Ergo Sum (“I love, therefore I am”), the impres- dress the sociopolitics of popular culture. and, on the other, points to the transformative sive written work in front of the pavilion, with Already at the beginning of her artistic career, potential of art in aesthetical and sociopoliti- which Bertlmann signs the pavilion in her Renate Bertlmann knew to question institutional cal contexts. Photos: Sophie Thun Photo: © Irina Gavrich own ironic gesture, and the installation of the Felicitas Thun-Hohenstein, conditions and concepts of art both critically curator of the Austrian Pavilion in 2019 Knife Roses, which occupies the entire inner and enthusiastically by using the individuality of The present book is more than an exhibition courtyard of the pavilion, displays a synaesthetic materials as a jumping-off point for her ana- catalogue; it is an extension of the exhibitions Felicitas, which personal motivation or let artistic commentary that makes the existen- lytical feminist reflections and laying bare the in book form, as the texts by Hélène Cixous, you take on the role as the commissioner tial ambivalence of human experience a sensual mechanisms of the art system. All the more Catherine Wood, Beatriz Colomina, and Lina to this year’s contribution of Austria to the experience in form and content. In this con- Renate Bertlmann formidable, then, that she manages to sensu- Streeruwitz offer in-depth discussions, analy- Venice Biennale? text, a basic tension becomes vividly perceptible, Discordo Ergo Sum ously, impressively negotiate these questions ses, and discursivizations of Renate Bertlmann’s Curating the Austrian contribution to the which on the one hand shows itself as an in- Curated by Felicitas Thun-Hohenstein in a synthetic enactment using performative and works. Readers are invited to continue Venice Biennale is a unique challenge and hon- dividual and socio-political phenomenon of traditional forms of expressions. their excursion through Renate Bertlmann’s or that I accepted with pleasure. Renate global developments in crisis and on the other 58th International Art Exhibition thought and practice in the so-called Bertlmann is the first artist in the history of shows the transformational potential of art LA BIENNALE DI VENEZIA For her exhibition at the Austrian pavilion, sourcebook, which gives insight into the Austrian Biennale contributions to present in perceptual aesthetic and socio-political con- Austrian Pavilion 2019 Renate Bertlmann developed an installation en- artist’s virtually inexhaustible archive. a solo exhibition in the pavilion. For years, many texts. The installation does not touch the 8 titled Discordo Ergo Sum (“I dissent, therefore Notes, sketches, and other finds from countless curators and artists in Austria have pointed architecture itself. Above, behind and below is 9 This year the recognized artist Renate I am”). By rephrasing the philosophical diaries and sketchbooks, analytical material out the anachronism that, since the establish- the pavilion as an outer shell like a ruin. All Bertlmann, a pioneer and role model principle cogito ergo sum (“I think, there- such as charts, association cards, sketches of ment of the Austrian pavilion, no invitation the more so, its dubious history and that of the of early feminist performance art, will fore I am”), the artist attempted to dis- unproduced projects, wishful booths in fic- to a female artist for a solo presentation has Giardini are manifested in a new light. take over the Austrian pavilion at the mantle logocentrism’s supremacy of logo- titious exhibitions, texts by authors that have been given and have emphatically promoted Biennale Arte 2019 in Venice. centrism and to describe herself in her been instrumental to Renate Bertlmann and a shift in thinking. Therefore I am now glad insurgent self-image. On the basis of her sub- her artistic work, her own texts about art, her that it has come so far and that I can now Not only did you set a mark with appointing The works of the artists will be shown versive artistic axiom Amo Ergo Sum (“I love, poems, manifestoes, and musical scores get create this setting. But I am also aware of the a feminist artist to make use of the Pavilion. at the pavilion curated by Felicitas therefore I am”) the striking work in front of the to the heart and brain of Bertlmann’s fifty-year associated responsibility and hope that with You also chose an unconventional path by Thun-Hohenstein, curator, art historian pavilion, and the installation of knife-roses cosmos. our contribution we will create a basis that will expanding the discourse beyond the timing and professor at the Academy of stimulate a rethinking of the pavilion. aspect and physical space of the Austrian Fine Arts, who amongst others is active Pavilion. in the research of feminist theory and How did the choice fall on Renate Bertlmann? With the Biennale Lectures we created a lecture art practice. To start with I am an enormous fan of Renate series in the run-up to the Biennale which Bertlmann’s artistic work. We have entertained took place in Vienna and which we curated to- Renate Bertlmann By selecting Renate Bertlmann, curator Austrian Pavilion, Biennale Arte 2019 a very productive collaboration for many years. gether with Andreas Spiegl. They were an Felicitas Thun-Hohenstein opted for Installationsansicht Discordo Ergo Sum As a curator, I am interested in a new perspec- attempt to push the boundaries of the tempo- an artist whose work does not only hold tive, a perspective that remains in motion, also rary format of the Biennale exhibition. The a significant position in the female in the sense of an art that moves across media. Biennale generates a large public and thus makes performance history in Austria but who Renate Bertlmann’s work is exemplary in it possible to open up and test spaces for dis- also is highly esteemed in the inter- Renate Bertlmann Discordo Ergo Sum this respect - with its range and its performa- course. In cooperation with the Academy of national feminist avant-garde. Biennale Arte / Austrian Pavilion 2019 tive approach, which permanently aims at Fine Arts Vienna and artistic interventions by transformation, at reclassification, emptying Jakob Lena Knebl, we have launched the Lec- The Vienna-born artist received the Editor: Felicitas Thun-Hohenstein and filling of social symbols, signs, language and tures as a format in which topics anchored in Grand Austrian State Prize in 2017. Preface: Gernot Blümel attributions with new contents. In this sense, the pavilion were discussed. From this per- By presenting Renate Bertlmann, the Texts: Renate Bertlmann, Hélène Cixous, these works articulate human-existential ques- spective, it was as obvious as it was necessary Austrian pavilion will be dedicated Beatriz Colomina, Peter Gorsen, tions as well as the refusal to allow attributions. to complement the political significance of to a female solo exhibition for the first Lina Streeruwitz, Felicitas Thun-Hohenstein, It is not only about the male and female gender, the Austrian Biennale’s contribution and cri- time in its decades-long history. Maria Vogel, Catherine Wood but about something existential that includes tically reflect and illuminate the socio-politi- Design: Christine Zmölnig, sensomatic spirit, soul and body as well as our environment cal context of the exhibition in Venice and its Details: German/English, and our planet with all its conditions. This underlying conditions. The results of this in- Paperback, 12 x 18 cm, 600 pages, range of topics - from climate protection to exis- creasingly condensing process of exchange and approx. 400 ills. in color tential issues - was anchored in her work at cooperation in artistic, curatorial and cultural- Publisher: Verlag für moderne Kunst a very early stage already. From today’s point political respects are available online. The Venice of view, however, what gives Bertlmann a installation by Renate Bertlmann will also be EURO 15.- special status is perhaps the fact that from the on view at the Upper Belvedere in Vienna at the ISBN 978-3-903269-59-0 very beginning she has been researching a beginning of 2021.

vfmk.org Interview: Florian Langhammer pleasurably undecided terrain with her body biennalearte.at

collectorsagenda.com collectorsagenda.com In the Studio Nasan Tur, Berlin

ated in such diverse cities as Ljubljana, Vienna, Istanbul, Belgrade, and Thessaloniki, are a sort of city portrait, but they are also explicitly related to the zeitgeist of the moment I made them.

Do you consider yourself a “political artist”? Of course, I'm political. I am a political person, not just a political artist. I think politically, my commitment is political. Perhaps not in poli- tical parties, but in relation to being a critical voice within the political confusion in which we find ourselves, and also to taking a stand through my artistic work. That doesn't mean that as an artist you have to say which party or agenda is right or wrong. It always depends on how you position yourself as a human being. I am always interested in an anthropological and sociological approach. “How do we live? How do we reflect?” This happens from a point of view that is clearly critical. And this cri- tique means nothing other than being politi- cal. We live in , there is no war here. We live here like maggots in bacon, even if you have little money, you live relatively well Photos: © Franziska Rieder and don't have to fear for your life, here unlike In his artistic practice, Nasan Tur addresses the chanted from the church tower across the city in many other parts of the world, I don’t imme- tension between self-responsible action and several times a day. The whole action got a bit diately get locked up if I do a critical artwork; inactivity. He examines existing power struc- out of control. here I act from a very privileged position, and I tures and questions them. The boundaries am aware of that. of communication, as well as the tentative, or What happened? • read the full story on bit.ly/_NasanTur fragile nature of perception, are both driving My chanting attracted people to the place, people forces behind his practice, and many of the with whom until that time I had no experience: situations that he creates. Satanists, fundamentalist Christians, street- provocateurs! There were verbal and physical Nasan Tur Nasan, many of your works are performanc- attacks, police operations and political pres- is represented by es on the street or performances to which sure from the mayor to stop the action, but there Blain Southern, London/Berlin/New York you invite others. What interests you about were also many positive, loving, and interested Deweer Gallery, Otegem, Belgium the public space? reactions. I was completely overwhelmed, but Dirimart, Istanbul 11

and most compelling emerging artists. My early works are performances in the public the whole thing affected me. After the project I

Timeless portraits of the world’s leading portraits of the world’s Timeless space that do not require an audience. I did decided to become an artist. It was a very clear CURRENT SHOW them without people recognizing it was a per- decision, without a Plan B. In retrospect this de- Back and Forth formance. For example, I did somersaults in cision was very important, it gave me focus Schwartzsche Villa, Berlin different cities around the world, or lay down and left no room for compromise. UNTIL 10 JUN, 2019 Secundino Hernandez, Madrid in a puddle. I’ve always been interested in the activism in people. I grew up very apolitical © Thierry Bal© Thierry and behaved like it. This certainly has some- »I’ve always thing to do with my socialization as the child been interested in the collectorsagenda.com of an immigrant worker; my parents always activism in people.« had the feeling that they were merely guests, so ÜBERLEBEN they preferred to keep their heads down in 23.03.–25.08.19 order not to attract attention. That changed for In your work City says ..., since 2008, you AM LAND me only as an adult through art. During my collect words found in cities, spray over the studies at HfG in Offenbach there was an im- images creating a new image. Why are you OIVA portant project for me with the title Larve interested in collecting these words and writ- (larva). Offenbach has Germany’s largest pro- ing them on top of each other? portion of immigrants, with dozens of mosques It is an action and, at the same time, a reaction TOIKKA existing inconspicuously in garages and back- to the actions of others that have preceded it. yards, while in the city center, the church stood The population of a city uses the façades of a city, in almost a state of approaching abandonment. i.e. its face, as a platform for their ideas and Primavera I asked myself: “What is a religious community thoughts. Everything that moves a society can about?” That led to a singing performance, be found on these façades. I therefore see my April 26–June 2, 2019 based on the muezzin’s call to prayer, which I work as a kind of readymade, because I don't change the content of the lettering. A person consciously decides to perform an illegal act in the public space, probably at night, secretly, looking to the right and to the left to make sure0 nobody is approaching, they begin to spray- paint a façade – which is a very explicit act. In my performance it is also an emotional act, be- cause I take on this role and bring exactly this Braunholz 2017 © Peter Villasandino/Spanien III (Detail), TOPOPHILIA one example of graffiti back to the wall. In a performative act I have sprayed all the façades I’ve collected in the three to four weeks as I walked through a city onto one and the same Untere Weißgerberstraße 13 | 1030 Wien | Täglich 10:00-18:00 www.kunsthauswien.com

Interview: Dr. Sylvia Metz Interview: Dr. wall. For me these works, which had been cre-

collectorsagenda.com collectorsagenda.com KHW_Inserat_1/8_CollectorsAgenda_60x100.indd 1 12.03.19 11:45 In the Studio Marjatta Tapiola, Sysmä, In the Studio Asger Dybvad Larsen, Aarhus,

terms of the process, where the artwork fit in terms of art history, and more formalistic con- cerns such as composition, scale, colour etce- tera. Whether a work succeeds or not comes down to these choices, and in my own artistic practice, the artwork’s relation to its own process is crucial.

»It is the new ideas that drive me, and to see them unfold.«

What is driving you and what makes you come to the studio again and again? I work in the studio almost every day. I am pri- vileged that I am offered many opportunities to take my art in so many new directions. I agree to many events and offers and I have to cre- ate a lot of art accordingly, but above all, it is the new ideas in my head that drive me – to unfold them and see how they look in real life. Photos: © Luna Lund Jensen Photos: © Paavo Lehtonen It might be compared to a ‘fix’ – I get super Visiting Marjatta Tapiola, one of the main pro- because it takes time to focus and to get rid of Is there something other than art that can With roots in the quiet, peripheral landscape and art provided me with a place where my happy, when I create an artwork that I can be tagonists of Finnish Neo-Expressionism all the distractions. And it helps when my excite you? of Denmark and parents working as psycholo- thoughts could play freely. proud of and that I feel succeeds. takes you back in time. From her studio in a financial situation is stable and I don’t find my- There are only two things I actually get excited gists, Danish artist Asger Dybvad Larsen has • read the full story on bit.ly/_AsgerDybvadLarsen 400-year-old threshing house, far removed self in troubles unexpectedly. In order to focus about: work and life. Right now, I am extremely found himself absorbed in a space of reflection Can you talk about the interplay between from the outside world, Marjatta creates her I have to deny myself everything nice, no parties! eager to make new paintings. Lately I was glad from an early age. A space of looking inward your artistic practice and the roots of art his- This story has been published as part of a monumental paintings that recount life’s It is extremely painful. Six months before an reading in the newspaper that Sigrid Schauman and reflecting on the process of coming into be- tory? collaboration between Collectors Agenda and cruelty and carnal indulgences and, more re- exhibition I live in absolute solitude. [a 20th century Finnish-Swedish artist] had ing, which has also become a defining element There are several ways to look at this – first, with Artland, a free app which allows its users to cently, increasingly take their inspiration from her first exhibition at age 86. I’m fucking young! in his art. my work as a starting point, and then a move- connect with collectors and galleries worldwide. biblical themes. You not only work in quite an ancient setting, I just started to get a grip on what I’m doing. ment back in art history, or with my interest for artlandapp.com a threshing house dating from the 17th cen- And I have this funny feeling that at age 67 I can Asger, you grew up in a small town on the west art history as a starting point, with a move- »I’m fucking young! tury, you also paint with tempera, an ancient finally give myself the permission to paint coast of Denmark. How do you think your ment forward to my work. There is an interplay 12 mixture of paint that dates back to antiquity. anything. upbringing has influenced your choice to be- where past and present are woven into each 13 I just started to get a grip I’m a conservative painter. No one can bring • read the full story on bit.ly/_MarjattaTapiola come an artist? other, literally and metaphorically. To me, art is plastic or acrylics into this studio. I trust the old I believe that there has always been some sort about combining things that I find exciting, Asger Dybvad Larsen on what I’m doing.« masters, and mix my paint the same way as of creativity present in my life. Both of my with a respect for what predates my practice, is represented by Caravaggio and Rembrandt mixed theirs. I mix parents are psychologists but they also have a and which has helped me develop the way Galerie Rolando Anselmi, Berlin/Rome Marjatta, you are well known for your mytho- oil, egg, resin and water to bind the pigments. Marjatta Tapiola creative side. I guess art has always been an that I am currently working. Inspiration, to me, Geukens & De Vil, Antwerp Gether Contemporary, logical creatures. Why did you include them I would recommend the tempera painting tech- is represented by Rasmus Kyllönen important part of our family. My mother once moves on several levels – on one level, you into your repertoire? nique to younger artists to save them the frus- Galerie Forsblom, /Stockholm decided on a rule; we had to visit at least one have the artists that I actively reference, such Some artworks arise for insane reasons or from tration of the technical limitations of synthetic museum and one church every day, when we as Frank Stella, Agnes Martin and Ad Rein- specific situations like the one I had around colors which cannot produce the same shimmer, Interview: were on vacation. This meant that my sib- hardt; on another level, you have the artists who 2005, when a colleague told me that I wasn’t able a specific impression, certain hues and depth of lings and I were introduced to art from an early I have a visual familiarity with, such as Piero to paint from anything else but a model, which color as can be achieved with the old technique. age, and I have clear memories from museum Manzoni, Conrad Marca-Relli, Alberto Burri, really bothered me. Somehow I was inspired by Be part of… visits throughout my childhood. Eva Hesse, Steven Parrino, Samuel Levi Jones the Minotaur and Centaur from Greek mytho- There’s a fair amount of blood splatter, and Sterling Ruby, and on a third level you logy and felt tremendous joy painting them, death and brutality in your more recent art. A City Full of Can you recall how the desire to create art for have the artists whose practice and work me- because they made me realize that I was indeed How did you end up using biblical themes? yourself matured on you? thods I have the deepest respect for, such able to paint whatever I wanted. During the past two summers I traveled to Italy. Design! One of the earliest memories I have, of me as Alexander Tovborg, Magnus Andersen, Ida Thanks to my new love I was introduced to being creative, is of my brother and I, when we Ekblad, and Mads Westrup, who, in contrast What conditions are you creating for your- the art in , Rome, Venice, and Naples. I would draw together. I remember us watching to me, have a far more traditional approach to self when you are painting? was deeply touched by the great masters who Terminator, and we used that movie as inspira- painting, which fascinates me and inspires Often I waste time until I get into working, knew what they were doing! Looking at Caravag- tion for our drawings. It was my brother’s idea me on a different level. gio’s Conversion on the Way to Damascus in Bis zum and I looked up to him, so whatever he wanted Rome impacted me so deeply that I painted my to do, was always undoubtedly cool. In addi- Often, your works refer back to the medium own version of it. This painting marks a new 11. Juni Projekte tion, I grew up in Fjaltring – a city where there itself or the process of creating the work. beginning for me. I’m very drawn to religious is not a lot going on – so I found entertainment Can you elaborate on the level of self-referen- motifs. I can’t tell what I have on my mind einreichen. and relaxation in drawing, when I got home tiality in your works? for the future, but the great old masters have from school. I have always enjoyed being alone, I often compare people and paintings. I appre- definitely inspired me. ciate people who are self-reflective – people who can look into themselves and dare question Do you follow your intuition when you work? their own existence and in some way, I create I follow the flow. When I am onto a good work art that reflects on its own process, on its place I instinctively pick up the right brush, choose the in art history, or its relation to a previous set right color, the right everything. I have learned of works. As mentioned earlier, I grew up with that when I have made a mistake I can get my- parents who are psychologists, and it has al- self back on track. But when I am making yet ways been easy for me to talk about life on an another mistake, then it’s time to take a break. existential level, which manifested itself in I really need to have the best stamina, both my practice in some way. To me, a great paint-

Judith ja Holofernes II, 2019 physically and mentally. ing is made up of X amount of different factors

Photo: © Jussi Tiainen Interview: Anne-Lill Brok that the artists have to take a stand on, both in

collectorsagenda.com collectorsagenda.com 14 990 Euro(incl.13% 990 Edition of10 +2AP cm(9.4x14.224 x36 inches) light grey-paintedlimewoodbox frame Archival PigmentPrint in for theseriesGolden Derived fromanexcursiontoRiga Fire Boy, 2018 • Euro(incl.13% 550 Series of 16uniqueworks ca. 12.5x10 cm (4.9x3.9 inches) Oil paintpressedthroughcanvas Reset, 2018 • Tobias Zielony Dukic Dejan more onbit.ly/_TobiasZielonyEdition more onbit.ly/_DejanDukicEdition

VAT) VAT) • Euro (incl.13% 950 lilac, rust,strawberryred,teal light turquoise,lightyellow,colors: lightsalmon, Series of7uniquepieces,withcertificate 41 x219cm(16.1 x8.33.5inches) Laquered aluminumwithpedestal What laysbare inme,2017 • 1.700 Euro(incl.13% Edition of5+2AP 29 x23cm(11.49inches) in white-paintedlimewoodbox frame Archival PigmentPrint From theseriesYoung Gods Fred’s Sword, 2015 Madeleine Boschan Stefanie Moshammer more onbit.ly/_MadeleineBoschanEdition more onbit.ly/_StefanieMoshammerEdition collectorsagenda.com VAT) VAT) VAT) VAT) 1.000 Euro(incl.13% 10 uniquepieces+3AP ca. 7cm(2.75 inches) indiameter with hoopforwall-mounting Cast patinatedbrass 2018 Snowball (Edition), • Euro inblack limewoodbox850 frame 700 Eurounframed (incl. VAT 13%) Edition of10 uniquepieces x32cm(15.4ca. 39 x12.6 inches) by manualsilkscreenprocess rough canvasfabric Paper cut-outs,printedon 2018 Untitled (Cut-up31), • Asger Dybvad Larsen Dybvad Asger Loderer Angelika more onbit.ly/_AnsgarDybvadLarsenEdition more onbit.ly/_AngelikaLodererEdition VAT) Editions ently stripedT-Shirt each day. Hismeticulously featuring theartistforyears,wearingadiffer feed,which has been continuum ofhisInstagram during April2018 aspartofaperformative performancethattookplace its rootsinadigital Dahlgren’s Stripestakes editionNoStars,But 52nd Venice BiennalediVenezia. Dahlgren madeuseoftheNordicPavillonat tutional andmuseumshowsinternationally, Besides beingrepresentedinnumerousinsti- Art, Pop Art,andtheOpArtmovement. 20th centurysuch asConstructivism,Minimal mances thatrefertotheartisticstylesof andperfor ate dynamicinteractiveinstallations of contemporarylife,which heemploystocre everyday objectsandoftenoverlookeddetails by minimalisttradition,hefindsabstractionin contemporaryartists.Attracted most important Jacob Dahlgren*1970 isamongSweden’s ButStripes,2018No Stars, Editions Jacob Dahlgren Vie Biennale 29.5. Schöne neueWerte. Unsere DigitaleWelt gestalten

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- Az Angewandte Wien Wirtschaftsagentur MAK Kunsthalle Wien Partner Slovak DesignCenter Associate Partner 2019 For above 2.000inthemeantime. archived collectionofT-Shirts hasgrownto used intheAmericanflag.Each T-Shirt can White intheirstripepattern,thecolorsalso chance alltheseshirtsusedBlue,Redand Agenda fromhisamplearchive. Asifby 14 T-shirts, thatwereselectedbyCollectors W No Stars, But StripesDahlgrenwore No Stars,But Wien Architekturzentrum angewandte Kunst Museum für collectorsagenda.com AIT Forschungspartner angewandte KunstWien Universität für viennabiennale.org Digital Content Partner Digital Content Partner Content Digital SPON KEY SPACE ANDEXPERIENCE Hauptsponsor derAusstellung

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15 No Stars, But Stripes (Day #4), 2018 – Thursday 12-04-2018 Collector Story Claus Busch Risvig, Silkeborg, Denmark

have you grown a big collection in a short to the fact that I can read into it exactly what I time, you have also grown an impressive want. I feel that I will never be ‘done’ with it. Instagram profile of 25.000 followers. I started out as a greenhorn, who persistently tried learning how to navigate the art scene, »I cannot imagine not and a way of doing that for me was creating an being guided by art. It has Instagram profile exclusively focused on art. I had no strategy or goal of growing a large fol- gotten under my skin!« lower base. To me, it was a question of finding my own voice as a collector, and my Instagram Is there a practical and affordable way to lay profile became a sort of visual diary, where the foundation to one’s own collection? I could save and share the works that awoke If you are about to buy your very first artwork, emotions in me. Artworks and artists that I I would consider buying prints, which can be believe the rest of the world should acquaint a great way to get started collecting. They are itself with. The fact that I now have a platform inexpensive compared to unique pieces of art where I can express myself visually adds an and it is possible to get works from well-known extra dimension to my collection. artists that way. Finally, follow your gut feeling. You can get a lot of advice from people who Your collection revolves mainly around art- have been in the business for many years, but ists from your own generation. ultimately, you are the one who is going to live Through our generational relationship, we with it. Most importantly, look inside and ask share many of the same frames of reference yourself: why does this work speak to me? and can more easily identify in the themes • read the full story on bit.ly/_ClausBuschRisvig that they work with in their art. They are our This story has been published as part of a contemporaries. In addition to that, we have collaboration between Collectors Agenda and Photos: © Luna Lund Jensen an opportunity to meet them, not that that is Artland. artlandapp.com Claus Busch Risvig didn’t grow up with art, the most important thing to us, but the per- and yet, the Danish collector ended up devoting sonal contact gives the artworks an additional his life to it. Be it on social media or in real life, dimension. he shares his contemporary art collection with people from around the world, determined to Do you pursue a particular genre? initiate dialogue around art and show the rest Not really. Moreover, our collection represents of the world that collecting art is not just for a bandwidth of genres. However, we do have the few. primarily abstract and conceptual artworks in our collection, which I’m particularly drawn Claus, you are among the youngest, most towards. The experience of seeing an abstract recognizable Danish art collectors. Not only work leaves a lasting impression on me due

Publisher: Collectors Agenda – C Agenda KG, Franz-Josefs-Kai 3/16, 1010 Vienna Read our stories in full length, Editor in Chief: Florian Langhammer Art Direction & Design: Agnes Wartner, kepler-studio.de and discover exclusive art Translation and Copy Editing: Uta Hoffmann editions on All text and images are the property of Collectors Agenda or its content suppliers and protected by international copyright law. Reproduction in whole or part without written permission is strictly prohibited. All prices are correct at the time of going to press, but subject to change. No liability for completeness, editorial and technical mistakes, collectorsagenda.com omissions or correctness of the contents. Printed by Holzhausen Druck GmbH, Wolkersdorf, Austria Paper: Arcoprint 1 E.W. 80 g/m2 Stay up to date with what we Kindly supported by Federal Chancellery of Austria and do and become a subscriber Fedrigoni Austria to our newsletter. Interview: Anne-Lill Brok

SINCE 1707

Contemporary Week 4 – 7 June MODERN AND CONTEMPORARY ART www.dorotheum.com

Andy Warhol (1928–1987), Judy Garland and Liza Minnelli, 1978, synthetic polymer and silkscreen ink on canvas, 101.5 x 101.5 cm €280,000 – 420,000