Vorarlberger Kulturhäuser-Betriebsgesellschaft

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Vorarlberger Kulturhäuser-Betriebsgesellschaft [Vorarlberg Cultural Institutions Operating Company] (KUGES): vorarlberg museum and Kunsthaus Bregenz to reopen at the beginning of June Bregenz, April 30, 2020 – The vorarlberg museum is reopening on June 4 and Kunsthaus Bregenz on June 5. This was decided in today's meeting between the KUGES supervisory board and Landesstatthalterin (Vorarlberg state governor) Barbara Schöbi-Fink. Both institutions have been closed since March 14, in measures to contain the coronavirus. From the first week of June, the vorarlberg museum and KUB will be open to visitors again – initially from Thursdays to Sundays from 10 am to 6 pm, and in compliance with all the prescribed hygiene and safety measures, as confirmed by KUGES managing director Werner Döring. “We are delighted and see it now as our task, after weeks of cultural abstinence, to again provide the public with two first-class opportunities of visiting exhibitions at the vorarlberg museum and Kunsthaus Bregenz,” declared Vorarlberg state governor Barbara Schöbi-Fink. The two institutions will be announcing the specific subject matter of their respective presentation in the coming days. All employees at Vorarlberger Kulturhäuser-Betriebsgesellschaft are working reduced hours for the months of April to June. During this period, the three directors of the cultural institutions, Andreas Rudigier (vorarlberg museum), Thomas D. Trummer (Kunsthaus Bregenz), and Stephanie Gräve (Vorarlberger Landestheater), as well as managing director Werner Döring are voluntarily waiving 20% of their net remuneration. This contribution is being generously increased by KUGES and is to be used for self-employed artists and social purposes. vorarlberg museum Kornmarktplatz 1 I 6900 Bregenz I Austria www.vorarlbergmuseum.at Press Contact: Manfred Welte | +43 664 88 369 245 [email protected] Kunsthaus Bregenz KUB Karl-Tizian-Platz I 6900 Bregenz I Austria www.kunsthaus-bregenz.at Press Contact: Martina Feurstein | +43 664 9111 433 [email protected] Opening times, for the vorarlberg museum from June 4 and Kunsthaus Bregenz from June 5 Thursday to Sunday, 10 am to 6 pm .

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EINLADUNG INVITATION Attractions Onoffer Outside Kubonkarl-Tizian-Platz
EINLADUNG INVITATION Invitation GEZÄHMT UNGEZÄHMT We would like to cordially invite you and your friends to attend the official ceremony in the neighboring Vorarlberger Landestheater, on the occasion of the 20th anni ver sary of Kunsthaus Bregenz, on Saturday, July 15, 2017, at 7 pm. Throughout the weekend of July 15 to 16, 2017, free admission to KUB and free short guided tours will enable you to experience Adrián Villar Rojas’ ex- hibition “The Theater of Disappearance.” Guests will also have the opportunity of enjoying the catering, prize competition, music, dance, and other spectacular attractions on offer outside KUB on Karl-Tizian-Platz. Adrián Villar Rojas’ exhibition will transport visitors to spaces full of experiences that could hardly be any more impressive. Rather than merely looking at art, you will find yourself being immersed in it. A monumental Piero della Francesca painting covers the ground floor. Stone slabs from Morocco have been laid and plants from the Far East arranged on the floors above it. A fire flickers in front of gigantic paintings, the two floors darkened in a cavernous bunker-like atmosphere. On the third floor the legs of Michelangelo’s “David” rise in a hall of reflecting light. The exhibition is worthy of an anniversary. Kunsthaus Bregenz, which is 20 years old in the summer, is able to look back upon a story of success. The list of artists who have exhibited at KUB reads like a “Who’s 2007 BREGENZ, KUNSTHAUS KOONS, JEFF © Who” of contemporary art. Many of the exhibitions, indeed the majority, have undoubtedly become part of recent art history.
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Program 2013 02|02|2013- 12|01|2014
KUB 2012 | Press release Program 2013 02|02|2013- 12|01|2014 Press conference Thursday, November 29, 2012, 12 noon Page 1 | 28 Kunsthaus Bregenz Balance 2012 »Seriousness and popularity undergo a remarkable symbiosis in the KUB exhibition program. Architecture and art strike up a dialog that is extremely fruitful for both sides.« Yilmaz Dziewior Not least as a result of its outstanding architecture de- signed by Peter Zumthor and the spectacular interplay of art and exhibition space, the Kunsthaus Bregenz is among the major international institutions of contemporary art. Again and again, the building’s distinctive architectural aura has inspired artists to new works created specifically for the museum. As well as the interdisciplinary and cross- generational nature of its programs, the activities of the KUB are characterized by an increasing openness to African, Asian, and Latin American artists. Additionally, the KUB Arena and its innovative curatorial approaches lend the museum program and its major exhi- bitions an altogether unique slant. The KUB Collection Showcase, where architectural models by Peter Zumthor on permanent loan to the KUB have been on view since summer 2012, is no less important for the Kunsthaus Bregenz, its image of itself, and its reception. The elements of contemporary art production are handled in their complexity at a range of levels, combined with a broad-based education program consisting of guided tours, workshops, film screenings, and visits to architectural practices in the Vorarlberg region. The broad spectrum of activities of the Kunsthaus Bregenz is rounded off by its excellently researched publications and editions that accompany the exhibitions and are produced in close collaboration with the artists.
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Kunsthaus Bregenz Program 2021
er eng hw fsc ol W Exhibitions 2021 ud a tr er : G to o h p , 0 7 9 1 . x o r p Kunsthaus Bregenz is a unique place, Peter p Kunsthaus Bregenz a , T R Zumthor designed extremely striking spaces. O P X E E The gray concrete walls, the soft light from I L Program 2021 A Free the ceiling, and the spacious levels are all V admission very distinctive. The encounter with art is every first more intimate and intense here than in other Friday exhibition spaces. Such encounters necessarily raise fundamental questions, concerning individual perceptions, the nature of the art, and the individual’s sense of themselves. Exhibitions in Bregenz are unique. Not just because of KUB’s singular spaces, the addressing of current issues is no less important. Such questions not only include the pandemic and issues of coexistence, but also political respon sibility, as well as debates around gender, together with issues concerning environmental awareness and dangers to the climate. KUB Collection Showcase All such considerations have but one objective: König-Lebschik Collection to consolidate Kunsthaus Bregenz as a place 26 | 06 — 29 | 08 | 2021 of the present – an art institution providing insights into the moment. Thomas König, born in Vorarlberg, and his deceased wife Erika Lebschik collected original prints by international artists for more than forty years. Their collection embraces the entire range We are looking forward to the program of of printmaking. One point of its focus is on both international KUB exhibitions in 2021! and Austrian contemporary art and its pioneers, including such renowned names as Pierre Alechinsky, Iris Andraschek, Max Bill, Eduardo Chillida, VALIE EXPORT, Bruno Gironcoli, Maria Lassnig, Thomas D.
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Douglas Gordon Solo Exhibition
DOUGLAS GORDON Born in Glasgow (Scotland) in 1966, Douglas Gordon lives and works between Berlin (Germany), Glasgow (Scotland) and Paris (France). Né à Glasgow (en Écosse) en 1966, Douglas Gordon vit et travaille entre Berlin (Allemagne), Glasgow (Écosse) et Paris (France). SOLO EXHIBITION 2018 Douglas Gordon - Artist Rooms - Berwick Visual Arts, The Granary Gallery, Berwick-upon-Tweed, UK Douglas Gordon, Instituto Moreira Salles, Sao Paulo, Brazil I will, if you will..., Galeria Marilia Razuk, São Paulo, Brazil k.364, Kunstsammlung NRW / K20, Duesseldorf Zidane – A 21st Century Portrait, Dunedin Public Art Gallery, New Zealand 2017 24 Hour Psycho, Peter B. Lewis Center for the Arts, Princeton University back and forth and forth and back, Gagosian, New York, West 21st St. Black Burns, Scottish National Portrait Gallery, Edinburgh (exh cat)* Douglas Gordon - Selected works from the 1990‘s, André Viana Gallery, New York Gente di Palermo, Prisons of the Palazzo Ducale, Venice I had nowhere to go, Gagosian Gallery, London Jesus is not enough, untilthen, Paris Portrait of Janus (divided states), Art Sonje Center, Seoul, South Korea 2016 Douglas Gordon: Searching for Genius. Peninsula Art Gallery, Plymouth Douglas Gordon: Play Dead; Real Time, Dunedin Public Art Gallery, New Zealand Douglas Gordon, Gagosian Gallery, Geneva Douglas Gordon: I had nowhere to go, Galerie Eva Presenhuber, Zurich Douglas Gordon @ Paris Photo Prisme, Grand Palais, Paris Functional Family, Sala della Cavallerizza in Palazzo Sant Elia, Palermo k.364, National Holocaust
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The Scripted Life Candice Breitz Kunsthaus Bregenz 6.2
THE SCRIPTED LIFE CANDICE BREITZ KUNSTHAUS BREGENZ 6.2.–11.4.2010 Factum, 2010 Him + Her, 1968 – 2008 New York, New York, 2009 New York, New York, 2009 Working Class Hero (A Portrait of John Lennon), 2006 Working Class Hero (A Portrait of John Lennon), 2006 WERKVERZEICHNIS VIDEOINSTALLATIONEN THE 1999–2010 SCRIPTED CATALOGUE RAISONNÉ VIDEO INSTALLATIONS LIFE 1999–2010 KUNSTHAUS BREGENZ CANDICE BREITZ Yilmaz Dziewior INHALT The Scripted Life CONTENTS 18 The Scripted Life 20 Okwui Enwezor Vergötterung des Unechten: Porträtdarstellung und Massenbewusstsein in Candice Breitz’ Videoporträts 23 Idolatry of the False: Portraiture and Mass Consciousness in Candice Breitz’s Video Portraits 33 Beatrice von Bismarck Performing the Role and Always Becoming 43 Performing the Role and Always Becoming 51 Colin Richards Candice Breitz: Rezitation 59 Candice Breitz: Recitation 71 Werkverzeichnis Videoinstallationen 1999–2010 Catalogue Raisonné: Video Installations 1999–2010 Texte von / Texts by Edgar Schmitz 82 Werkverzeichnis Fotografische Werke 1996–2010 Catalogue Raisonné: Photographic Works 1996–2010 194 Biografie Biography 219 Bibliografie Bibliography 223 Credits 227 Mit der anlässlich zur Ausstellung von Candice Breitz erscheinenden In der speziell für die Ausstellung im Kunsthaus Bregenz entstandenen Video- THE Publikation beginnt das Kunsthaus Bregenz eine neue Schriftenreihe, installation New York, New York kulminieren beide Aspekte, angeborene und SCRIPTED die sowohl die jeweilige Präsentation im KUB ausführlich dokumen- angeeignete, gespielte und gelebte Identität, zu einem Hybrid, das nicht nur die tiert, als auch in Form eines Werkverzeichnisses das Œuvre einer Künst- performativen Qualitäten im Werk von Candice Breitz, sondern auch dessen kon- LIFE lerin beziehungsweise eines Künstlers vorstellt oder sich auf einzelne zeptuelle Stringenz anschaulich ins Bild setzt.
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Damien Hirst
Damien Hirst Damien Hirst The Physical Impossibility of Death in the Mind of Someone Living, 1991 Glass, steel, silicon, formaldehyde and shark 2170 x 5420 x 1800 mm Photograph: Prudence Cuming Associates © Damien Hirst. All rights reserved, DACS 2010 1 Artist Rooms Damien Hirst is the most prominent artist to have emerged from the British art scene in the 1990s. His role as an artist and curator has proved fundamental in the development of the group that became internationally known as ‘the YBAs’ (Young British Artists). Hirst’s work asks viewers to question the main dilemmas of human existence: birth, illness, death and religion. The ARTIST ROOMS collection (jointly owned and managed by Tate and National Galleries of Scotland) comprises five important works spanning Hirst’s career including photography, painting, sculpture and installation. The early photograph taken in a morgue, With Dead Head is included, displaying an early preoccupation with death. Away from the Flock - one of his ‘Natural History’ works featuring dead animals floating in vitrines - is also on show, featuring a sheep floating in formaldehyde. The lamb looks alive but is dead, and references the religious theme of the lamb of God. Religion is explored further in the large triptych work, Trinity - Pharmacology, Physiology, Pathology, in which medical products become a replacement for faith. Hirst is also recognised for his mirrored pharmacy cabinets lined with shelves full of drug bottles, pills, sea shells or cigarette butts, and his paintings, both which he produces in series. Included in this collection is the early Controlled Substances Key Painting (Spot 4a), a canvas where a grid of dots of different colours is accompanied by letters in alphabetical order that seem to dissect and reorganise the very matter of painting into cells.
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Kunsthaus Bregenz KUB 2018.04 Tacita Dean 20
Kunsthaus Bregenz KUB 2018.04 Tacita Dean 20 | 10 | 2018 — 06 | 01 | 2019 KUB Billboards Maeve Brennan 08 | 11 | 2018 — 20 | 01 | 2019 Tacita Dean FILM, 2011 35-mm-Film, Farbe und sw, Hochformat, anamorphotisch, handkolorierte Sequenzen, ohne Ton, Loop, 11 Min. Ausstellungs an- sicht Tate Modern, London Foto: Marcus Leith und Andrew Dunkley Courtesy of the artist, Marian Goodman Gallery, New York | Paris, und Frith Street Gallery, London Als Künstler oder Künstlerin, ob du nun mit Farbe, Kreide oder Film oder was auch immer arbeitest, weißt du, dass das Medium selbst dir mitunter etwas voll kommen Unerwartetes schenkt, und etwas weit Besseres, als du beabsichtigtest. Tacita Dean, The Observer, 11. März 2018 02 03 KUB 2018.04 Tacita Dean KUB 2018.04 zeigen ihren beharrlichen Einsatz gegen die Entmaterialisierung der Tacita Dean Bilder und die Beliebigkeit ihres sorglosen Vertriebs. Als 2011 das letzte Studio für die Ausarbeitung von 16-mm-Filmen in London 20 | 10 | 2018 — 06 | 01 | 2019 schließt, startet Tacita Dean mit der Veröffentlichung eines Artikels in der Zeitung The Guardian eine Bewegung, um das Medium des photochemischen Films zu bewahren. Geschichte, Erinnerung und Einfühlung, Naturgewalten und The Montafon Letter, 2017 Menschenspuren sind die Themen im Werk Tacita Deans, eine der Mit weißer Kreide auf schwarzem Untergrund malt Dean eine Berg- wichtigsten Künstlerinnen der Gegenwart. Neben ihren frühen landschaft, erhaben und eindrucksvoll wie die Geschichte, die ihr Arbeiten mit Kreide auf Schiefer erstellt sie Serien aus Fundstücken: den Titel gibt. Ein Lawinenabgang im 17. Jahrhundert erschüttert das Vier- und mehrblättrige Kleeblätter, runde Steine und Postkarten Montafon, ein Bergtal im Süden Vorarlbergs.
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Vorarlberg in Winter What’S Hot and What’S Ahead in 2017/18 Experience Vorarlberg Real Time #Visitvorarlberg
Vorarlberg – 100 Shades of White What’s the plan for today? Hitting the slopes? A snowshoe ramble followed by a toboggan ride or mounting to a lodge on foot, with a promise of dazzling views and savoury regional delicacies? A trendy après-ski concert or museum visit? Winter in Vorarlberg in Austria’s very west is as colourful as it gets. A natural scenery of impressing beauty that Thanks to short distances and regional ski night at torchlight, are organised regularly. A string of quaint villages all ooze charm. touches the senses, blending majestic pass networks, you can easily discover Cross-country trails are almost everywhere. At many places, the blend of traditional peaks and gently undulating hills. There is several ski areas. And there is a surfeit of toboggan runs, and contemporary (timber) architecture is a vast choice of excellent ski terrain, man- some even with night-time facilities. eye-catching. aged by highly professional lift companies. If you want to learn skiing, perfect your No wonder, since the art of skiing was dis- technique, or venture on a ski tour, check Vorarlberg ticks all the boxes when it comes Many hotels and holiday apartments also covered here on the Arlberg and further out the next ski school which offers just the to convenience and quality. Your day is manage a skilful mix of trad and mod. developed ever since. An abundance of service you need. The little ones can pract - abuzz with activity. Music gigs are hosted There, you can lodge in sophisticated natural snow and ample artificial snow- ice their first turns in playfully designed at the ski lodges and in some hotels to end surroundings, enjoy heart-felt hospitality, making facilities provide top-notch conditi- surroundings on “magic carpets”, accomp - the day of skiing in style.
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Hans Schabus Das Rendezvousproblem November 20, 2004 Thru January 16, 2005
KUB 04.05 Press release Hans Schabus Hans Schabus Das Rendezvousproblem November 20, 2004 thru January 16, 2005 Press conference: Thursday, November 18, 2004, 11.30 a.m. Karl-Tizian-Platz Postfach 371 Opening: A-6901 Bregenz Friday, November 19, 2004, 8.00 p.m. Telefon (+43-55 74) 4 85 94-0 Fax (+43-55 74) 4 85 94-8 E-Mail [email protected] When at Frankfurt’s Manifesta IV the artist Hans Schabus (born in 1970 in Web Watschig, Austria) showed a video of himself on his boat “forlorn” on a www.kunsthaus-bregenz.at strange journey through Vienna's sewer system, it became clear that here a new and complex artistic work was unfolding. In another major work, “Astronaut” (2003), the artist also created an interdisciplinary maze using filmic work, spatial installations, architectural fragments, and linguistic references. The entrances to the exhibition spaces were blocked. Instead, the unsuspecting visitor was sent along a path through labyrinthine basement corridors. Coming from below through the historical building, one emerged in the 1:1 scale model of the artist’s bare studio, which had been erected as a complex sculptural construct in the middle of the exhibition. Destructing, investigating, erecting anew: the work of Hans Schabus always addresses the theme of the role of the artist in space and, vicariously, the role of the viewer as travelers inward into the realms of their conscious and subconscious. It relates to such artistic traditions as the approaches of Bruce Nauman and Gordon Matta-Clark but also, in a wider context, to the literary work of Otto von Guericke, who in 1672 in his study “New Magdeburg Ex- periments About the Vacuum” wrote about “place and time,” the “vacuum,” and “space.” Carrying on the tradition of the Kunsthaus Bregenz and its exhibitions of the work of Daniel Buren, Olafur Eliasson, or Pierre Huyghe, among others, Hans Schabus transforms the entire building into a complex and convoluted archi- tectonic and mental path of discovery in search of the self.
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Program 2021 Kunsthaus Bregenz Reopened on June 5 with a Special Exhibition
Kunsthaus Bregenz Program 2021 English Insights into the Moment A Foreword by Director Thomas D. Trummer In fall 2020 Elisabeth Bronfen, the Zurich-based cultural studies academic, was a guest at Kunsthaus Bregenz. The occasion was her recently published book Angesteckt (Infected) — a cultural and historical foray through film and literary history. Bronfen sheds light on depictions of the pandemic, demonstrating how viruses, vampires, and epidemics have pervaded cultural history. In doing so, she turns to Hans Blumenberg, who in his well-known book Work on Myth (1985) asked why people tell each other stories. The answer Blumenberg himself provided was: “Stories are told for a reason. In the most harmless but not insignificant case: to pass time. But otherwise and more seriously: to eliminate fear.” The exhibition Bunny Rogers that opened in January 2020 was one such story. It was the representation of individual death, a spatial requiem on four floors. A lawn had been laid for it, glow worms were iridescent, and water dripped in a shower room clad with thousands of tiles. The lockdown forced the exhibition to close in the middle of March 2020. The lawn withered, the shower heads remained dry, death found entry — into all the news. 03 KUB Program 2021 Kunsthaus Bregenz reopened on June 5 with a special exhibition. Unprecedented Times put works on display that had been created during the quarantine. It was an unusual project directly depicting a precarious moment. The project comprised a number of prominent artists, including Helen Cammock, William Kentridge, Annette Mes- sager, and Marianna Simnett. This initiative by KUB — acting quickly and spontaneously — was rewarded.
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Douglas Gordon Solo Exhibitions
DOUGLAS GORDON Born in 1966 in Glasgow, Scotland, Douglas Gordon lives and works in Berlin, Glasgow and Paris. SOLO EXHIBITIONS 2020 DCA, Dundee, Scotland Giacometti Foundation, Paris Dvir Gallery, Brussels 2019 the anatomy of my desire, Galerie kamel mennour, Paris, France In My Shadow, Aros Museum, Aarhus, Denmark Feature Film, TATE Modern South Tank, London 2018 Douglas Gordon - Artist Rooms - Berwick Visual Arts, The Granary Gallery, Berwick-upon-Tweed, UK Douglas Gordon, Instituto Moreira Salles, Sao Paulo, Brazil I will, if you will..., Galeria Marilia Razuk, Sao Paulo, Brazil k.364, Kunstsammlung NRW / K20, Dusseldorf Zidane – A 21st Century Portrait, Dunedin Public Art Gallery, New Zealand 2017 24 Hour Psycho, Peter B. Lewis Center for the Arts, Princeton University back and forth and forth and back, Gagosian, New York Black Burns, Scottish National Portrait Gallery, Edinburgh (exh cat)* Douglas Gordon - Selected works from the 1990‘s, André Viana Gallery, New York Gente di Palermo, Prisons of the Palazzo Ducale, Venice I had nowhere to go, Gagosian Gallery, London Jesus is not enough, untilthen, Paris Portrait of Janus (divided states), Art Sonje Center, Seoul, South Korea 2016 Douglas Gordon: Searching for Genius. Peninsula Art Gallery, Plymouth Douglas Gordon: Play Dead; Real Time, Dunedin Public Art Gallery, New Zealand Douglas Gordon, Gagosian Gallery, Geneva Douglas Gordon: I had nowhere to go, Galerie Eva Presenhuber, Zurich Douglas Gordon @ Paris Photo Prisme, Grand Palais, Paris Functional Family, Sala della Cavallerizza
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KUB 08.02 Carsten Höller Carrousel
Kunsthaus Bregenz KKUBUB 008.8.0022 CCarstenarsten HöllerHöller CCarrouselarrousel 12 | 04 | – 01 | 06 | 2008 00 00 Carrousel Der international bekannte deutsche Künstler Carsten Höller (geb. 1961 in Brüssel/Belgien, lebt und arbeitet in Stockholm, Schweden) ist seit Anfang der 1990er-Jahre künstlerisch tätig. Zuvor promovierte er in Agrarwissenschaft und spezialisierte sich auf dem Gebiet der Kommunikationsstrategien von Insekten. Mit seinen Werken schafft Höller Situationen, die gewohnte Formen der Wahrnehmung in Frage stellen, dem Besucher erlau- ben, mit sich selbst zu experimentieren, und oft zur Beteiligung des Publikums einladen. Das Zusammenwirken von Kunst und »Selbstexperiment« mit Konzentration auf das Phänomen der menschlichen Sinneswahrnehmung und die damit einhergehende Konstruktion des eigenen Selbst macht den besonderen Charakter seiner Werke aus, wobei es Carsten Höller nie um Ergebnisse, sondern vielmehr um die Möglichkeit der persönlichen Erfahrung geht. Ein Beispiel ist »Das Phänomen Phi« (1994), welches das Phänomen der Sinnestäuschung erlebbar macht und die Experi- mente des Psychologen Max Wertheimer zur Wahrnehmung einer nicht existenten Bewegung, einer sogenannten »Scheinbewe- gung«, aufgreift. Wogegen die »Umkehrbrille« (1994/2001) eine Reminiszenz an den Psychologen George Stratton und dessen erste Sehexperimente mit Umkehrbrillen ist. So gab es 2007 in Manchester im Rahmen der Oper »Il Tempo del Postino« für Höllers Werk Freiwillige, die sich bereit erklärten, acht Tage lang eine alles auf den Kopf stellende Brille zu tragen, so wie Stratton dies 1896 in einem Selbstversuch durchgeführt hatte, um herauszufin- d e n, o b s i c h d a s G e h ir n a n d a s u m g e ke h r te S e h e n a n p a s s e n k a n n.
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