Kunsthaus Bregenz

KUB 2018 Program

English

Source: Instagram @kunsthausbregenz Thanks to: mathiasjohansen- cellist, anasbarros, visitaustria, drcuerda, gerlinde- kusstatscher, roemervii, juldama

A Foreword by Director Thomas D. Trummer

The 2018 program is the third one I have been responsible for as Director of Kunsthaus Bregenz. During my first year the KUB program went under the motto of political pertinency. The second concerned itself with current thinking around so-called »specu­­- lative realism.« It addressed contemporary approaches to the object-orientated, motivating artists and intellectuals to ask new questions of nature. 2018 will be addressing current discussions focusing on the distribution and circulation of commodities and values, in which visual imagery is the driving force and vehicle, made to seduce, but also a conveyor and trigger, both evidential and deceptive.

5 Tacita Dean Cúmulo, 2016 Detail from the exhibition view of Tacita Dean, Museo Tamayo, Mexico City Chalk on blackboard 244 x 732 cm Photo: Agustin Garza Courtesy of Tacita Dean, Frith Street Gallery, London, and Marian Goodman Gallery, New York | Paris | The British artist Simon Fujiwara’s idea of recreating the Anne Frank London House in Amsterdam at 1:1 scale at Kunsthaus Bregenz is daring and absurd. And yet it typifies the program at Kunsthaus Bregenz, whose ceaseless staging of outstanding projects has enabled it to develope a unique profile within the international art scene. The most distinctive exhibitions at KUB have been those which utilized all four floors as the platform for singular artistic statements. This was especially the case in 2017, the so-called super art year, when exhibitions such as those by Adrián Villar Rojas and Peter Zumthor were remarkable un­- dertakings which were able to achieve broad public and media acclaim. The current practice, under my directorship, of dedicating the entire institution exclusively to one artist will be continued in 2018. The year’s program revolves around questions of legitimacy. It is precisely in a building known for its aura and authenticity that the credibility of visual imagery becomes an issue. The 2018 program attempts a contemporary update regarding the manipulation and accelerated trafficking of images. Film, digital media, and reprodu­- cibility are being foregrounded. It is moving, fluid, and uncontrolled visual imagery that characterizes our everyday lives. Images, espe­- cially in the era of their distribution via social media, possess the power of delivering one-sided, deceptive, and misleading informa­- tion. Technological sophistication plays a significant role in their falsification, copying, manipulation, and instrumentalization. And yet it would be wrong to speak of »fake views« — art does not de­- ceive without revealing its deception. Rather than the fake, it offers fiction, instead of seduction the deepening of consciousness. The Kunsthaus does not remain oblivious to such developments. It will only be able to preserve and further confirm its internationally acclaimed role if it consciously engages with the signs of the times and encourages artists to take the initiative and actively address issues facing the present. Preview 2018

06 07 KUB 2018 Program KUB 2018.01 Simon Fujiwara Hope House 27 | 01 — 08 | 04 | 2018

KUB 2018.02 Mika Rottenberg 21 | 04 — 01 | 07 | 2018

KUB 2018.03 David Claerbout 14 | 07 — 07 | 10 | 2018 David Claerbout The Quiet Shore, 2011 One-channel video projection, b&w, approx. 32 min., KUB 2018.04 Video still Courtesy of David Tacita Dean Claerbout, Sean Kelly Gallery, New York, and Galerie Esther 20 | 10 | 2018 — 06 | 01 | 2019 Exhibitions 2018 Schipper, Berlin

8 9 KUB 2018 Program Mika Rottenberg NoNoseKnows, 2015 One-channel video, approx. 22 min., Video still Courtesy of Mika Rottenberg and Andrea Rosen Gallery, New York

10 11 KUB 2018 Program KUB 2018.01

Anne Frank House model Simon Fujiwara construction kit, cardboard Hope House © Anne Frank Museum, Amsterdam 27 | 01 — 08 | 04 | 2018

What is real? It seems not only products are being sold that pro­mise an emotional, authentic involvement, but also experiences them- selves. The French philosopher Tristan Garcia speaks of an »intense life« which may be enhanced even in relation to leisure and recrea- tion. Absolute commercialization eschews nothing, not even histori- cal taboos. For the first KUB exhibition in 2018, Simon Fujiwara, who has already been responsible for choreographing Kunsthaus Bre- genz’s Billboards during 2017, is now approaching an awkward sub- ject for marketing, the history of the Anne Frank House in Amsterdam. The building, which is largely a reconstruction containing only a few remains of the original family artifacts, is a magnet for visitors. Fujiwara is responding to the restoration of the spaces by reproduc- ing the building to 1:1 scale at Kunsthaus Bregenz. His source is the kit model available at the Anne Frank House museum shop. From the replica, from the set of copies, a large-scale copy will result, which will be made partially accessible to visitors. This is a continuation of Kunsthaus Bregenz’s distinctive interventions, this time addressing inevitable issues of authenticity, originality, value, history, and replicability. Simon Fujiwara: »The project isn’t a parody of capital- ism, it shows capitalism.«

12 13 KUB 2018 Program Simon Fujiwara, 2017 Photo: Miro Kuzmanovic © Simon Fujiwara and Kunsthaus Bregenz

Simon Fujiwara, born in London in 1982, spent his childhood moving between Japan, Europe, and Africa. He studied at Cambridge Univer- sity and Städelschule in Frankfurt/Main. Working often in collaboration with others in the telling of supposedly personal stories, Fujiwara’s work explores the concept of the contemporary individual — self-determined, self-narrativised, unique — and presents a highly contingent notion of the self that can only be defined through the participation of others. Fujiwara has had solo exhibitions at Power Plant Contemporary Art Gallery, Toronto (2011), Tate St Ives (2012), Tokyo Opera City Gallery (2015), Kunsthalle Düsseldorf (2016), Irish Museum of Modern Art, Dublin (2016), and Dvir Gallery, Tel Aviv (2017), amongst others. His work has been presented in various group exhibitions, including Storylines, Guggenheim New York (2015), and Un Nouveau Festival, Centre Pompidou, Paris (2014). He was represented at the 53th Venice Biennale (2009), São Paulo Biennial (2010), Shanghai Biennial (2012), Sharjah Biennial (2013), and Berlin Biennale (2016).

14 15 KUB 2018 Program KUB 2018.02 Mika Rottenberg 21 | 04 — 01 | 07 | 2018

The artist Mika Rottenberg, who was born in Argentina and grew up in Israel, is concerned with cycles of production and the manner in which commodities are transported. Her work is neither disinter- ested critique nor precise political documentation, rather under- takes an analysis of the present in a distorted, caricaturial exaggera- tion. In confining claustrophobic spaces, frequently fabricated from Mika Rottenberg Cosmic generator, cardboard and found objects, the core of Rottenberg’s installations 2017 is usually a video showing specific production processes, such as the One-channel video, extracting of pearls from mussel shells. Rottenberg highlights the approx. 22 min., Videostill premises of labor, whilst simultaneously forcing the viewer into the Courtesy of Mika role of a voyeur who is coerced into narrow corridors in order to Rottenberg and Andrea Rosen view the processes of work. In her small spaces, objects tower in sur­- Gallery, New York real scenographies, revealing the absurd accumulations and sense- lessness of some global enterprises. The majority of the protagonists in her films are women who, according to Rottenberg, »loan« the artist their body parts. In the film Dough (2006), there are four women, two of them, the corpulent Raqui and the slender Kat, fashion lumps of dough in a factory-like environment. For her highly acclaimed work Cosmic Generator for Skulptur Projekte 2017 in Münster, Rottenberg again worked with provisional architecture. She employed a disused Asian store as a readymade set-up. In the video filmed in a small border town between the USA and Mexico, she depicts the lives of Asian immigrants who main- tain — literally between frontiers –a continual production process. Capitalism does not acknowledge borders. Many of her installations are comical or incorporate erotic ele­ments. For her exhibition at Kunsthaus Bregenz, she is planning, among other things, to set up the multi-layered processes of cheese production.

16 17 KUB 2018 Program Mika Rottenberg was born in Buenos Aires in 1976. She lives and works in New York. Mika Rottenberg’s film installations explore the seduction, magic, and desperation of our hyper-capitalistic, globally connected reality. The artist weaves documentary elements with fiction to Mika Rottenberg Ponytails, 2014 create complex allegories for the living conditions experienced Hair, wood, within our global systems. acrylic adhesive, Several solo shows have been dedicated to the artist’s work in nylon fibers, acrylic paint recent years: Magasin III, Stockholm (2013), Israel Museum, Jerusa- Courtesy of Mika lem (2014), Palais de Tokyo, Paris (2016). She will be presenting a new Rottenberg, Andrea Rosen solo exhibition at the Bass Museum, Miami (Dec 2017–April 2018). Gallery, New York, Rottenberg’s work was also showcased at the Whitney Biennial 2008. and Galerie Lau- She collaborated in 2011 with artist Jon Kessler on Seven, a cycle of rent Godin, Paris performances and installations created for Performa 11 in New York Mika Rottenberg City. In 2015, her work NoNoseKnows was featured in the Venice Photo: Jessica Chou Biennale as part of All the World’s Futures. Rottenberg’s most recent © Mika Rottenberg film Cosmic Generator was part of Skulptur Projekte 2017 in Münster.

18 19 KUB 2018 Program David Claerbout Oil workers (from the Shell company of Nigeria) retur- ning home caught in torrential rain, 2015 one-channel video projection, HD animation, silent, looped, Video still Courtesy of David Claerbout, Sean Kelly Gallery, New York, and Galerie Esther Schipper, Berlin

achieves these effects employing sequences of slides or by computer generated methods that enable imagery to become as frozen as stills. The result is increased attention on the part of the viewers, who surrender to decelerated time and adapt to it. Its auric presence and sensitive lighting make Kunsthaus Bregenz an ideal site for such a form of perception. For Die reine Notwendigkeit / The Pure Necessity (2016) Claer- bout subjects the 1967 movie of the children’s book classic The Jungle Book to a reworking. The animals are not presented anthropomorph- ically, but to revert them to behaviors appropriate to their species. Olympia (The real time disintegration into ruins of the Berlin Olympic stadium over the course of a thousand years) (2016), is a digital recon- struction of the Olympic Stadium in Berlin. David Claerbout scanned KUB 2018.03 each stone of the famous Nazi building to create a deceptively real 3D version. Its representation in real time has been calculated to David Claerbout last for a thousand years. Stones erode and plants sprout. Even the current weather conditions are simulated by data from a webcam — if 14 | 07 — 07 | 10 | 2018 the sky over Berlin is cloudless, it is likewise so in the film. »With any technological device, the first thing that is lost is the sensation of synchronicity. (…) The way the camera moves autonomously, without any operator, indicated that it’s a completely synthetic situation,« as The Belgian artist David Claerbout works in photography, film, David Claerbout stated in an interview with Elise Lammer, quoted video, sound, digital media, and drawing. He is known for his se- from Spike Art Quarterly, no. 53, 4/2017. Claerbout not only calculates quences of imagery that have been slowed to the extreme, images and renders the future but also the present. Olympia is a meditation which are actually moving become almost motionless. Claerbout on time and perception, Impressionism in the digital era.

20 21 KUB 2018 Program David Claerbout Olympia, 2017 Two-channel real-time projec- tion, Video still David Claerbout, born 1969 in Kortrijk, Belgium, studied painting in Photo: Tom Bisi Antwerp; he lives and works in Antwerp and Berlin. He became Courtesy of David Claerbout, Sean increasingly interested in time as a result of his investigations into Kelly Gallery, New the nature of photography and film. Fusing together the past, pres- York, and Galerie Esther Schipper, ent and future into stunning moments of temporal elasticity, his Berlin works present profound and moving philosophical contemplations on our perception of time and reality, memory and experience, truth and fiction. He has been the subject of numerous solo exhibitions inter­ nationally, including: Van Abbemuseum, Eindhoven (2005), Centre Pompidou, Paris (2007), Kunstmuseum St. Gallen (2008), De Pont, Tilburg (2009 and 2016), WIELS, Brussels (2011), SFMOMA, San Fran- cisco (2011), Tel Aviv Museum of Art (2012), Wiener Secession (2012), Kunsthalle Mainz (2013), Nederlands Fotomuseum, Rotterdam (2014),

David Claerbout, Marabouparken, Sundbyberg (2015), KINDL — Centre for Contempo- 2017 rary Art, Berlin (2016), Städel Museum, Frankfurt/Main (2016), MNAC, Photo: Koos Breukel Barcelona (2017), as well as Schaulager, Münchenstein/Basel (2017). © David Claerbout His work is represented in major public collections worldwide.

22 23 KUB 2018 Program Tacita Dean FILM, 2011 Exhibition view Tate Modern, London Photo: Marcus Leith and Andrew Dunkley Courtesy of Tacita Dean, Frith Street Gallery, London, and Marian Goodman Gal- lery, New York | Paris | London

KUB 2018.04 Tacita Dean 20 | 10 | 2018 — 06 | 01 | 2019

The work of the renowned British artist Tacita Dean has already been seen at Kunsthaus Bregenz in 2003/2004. In the group exhibition Remind... with Eija-Liisa Ahtila, Anri Sala, and Jane and Louise Wilson, she produced a presentation for the first floor. Dean, who is regarded as one of today’s most outstanding artists, addresses the fundamen- tals of film and is known, above all, for her distinctive 16 mm film works. Her films of brutalist architecture from the South of England, and of the former East German Palast der Republik in Berlin before it was pulled down, are amongst the most significant works in con­- temporary art. Dean’s films are as poetic as they are melancholic. Her graphic work interrelates the medium of film, photogra- phy, drawing, and books. Her works on blackboards appear like excerpts from a film storyboard. Her photogravures of fictional landscapes display a richness of forms and diversity of line. Small- scale notation is embedded within large-scale imagery; they are miniscule and personal, her handwriting almost indecipherable. And yet it becomes clear that every scene, every vista, each image is permeated by a directing, scripting, and planning hand. Kunsthaus Bregenz plans to exhibit a comprehensive exhibition that displays the full breadth and expression of her work.

24 25 KUB 2018 Program Tacita Dean JG, 2013 35 mm, color and b&w anamorphic film, approx. 26 min., Video still Courtesy of Tacita Dean, Frith Street Gallery, London, and Marian Goodman Gallery, New York | Paris | London Tacita Dean was born in 1965 in Canterbury, UK. She studied at Falmouth School of Art and the Slade School of Fine Art before mov- ing to live and work in Berlin in 2000. In 2014/15, she was invited as artist in residence at the Getty Research Institute in Los Angeles where she continues to live at this current time. Her solo exhibitions include Tate Britain, London, and MACBA, Barcelona (2001), Schaulager, Münchenstein/Basel (2006), Solomon R. Guggenheim Museum, New York (2007), Fondazione Nicola Trus- sardi, Milan (2009), MUMOK, Vienna (2011), New Museum, New York (2012), Instituto Moreira Salles, Rio de Janeiro (2013), Fundación Botín, Santander (2013), and Museo Tamayo, Mexico City (2016). Dean was nominated for the Turner Prize in 1998, and was awarded the Hugo Boss Prize in 2006 and the Kurt Schwitters Prize for Visual Art in 2009. In 2011, she made FILM as part of the Unilever Series of com- missions in Tate Modern’s Turbine Hall, which marked the beginning of her campaign to protect the medium of photochemical film (www. savefilm.org). Other recent group exhibitions include dOCUMENTA Tacita Dean Photo: Jim Rakete (13), Kassel (2012), 55th Venice Biennale (2013), as well as the Biennale © Tacita Dean of Sydney (2014).

26 27 KUB 2018 Program KUB 2018 Projects

KUB Projects provides a forum for an extended involvement with current developments in contemporary art and society. Employing experimental formats and working methods, discussions, and inter- ventions, KUB Projects will be entering into a direct dialogue with the town, its history and people.

Talks on Music and the Arts Bregenz is not just home to Kunsthaus Bregenz but also to the Bre- genz Festival and a public enthusiastic about music. Music and visual art frequently interrelate in such a town — for example, during the Lawrence Abu Hamdan | born 1985 in Amman, Jordan celebrations for KUB’s 20th anniversary, when the sound artist Tarek Tarek Atoui | born 1980 in Beirut, Lebanon Atoui thrilled the audience with his haunting performance. Christian Marclay | born 1955 in San Rafael, USA A series of public talks and presentations of works, spread Marinella Senatore | born 1977 in Cava de’ Tirreni, Italy throughout 2018, will deal with the role of music, notation, and lis- Samson Young | born 1979 in Hong Kong tening in the practice of visual artists. Voice, media, and listening habits are being addressed by the following artists, for whom audio Specific dates and details concerning the Talks on Music and and sound are ongoing concerns in their artistic practices. the Arts will be published in due course.

28 29 KUB 2018 Program Tarek Atoui, 2017 Photo: Miro Kuzmanovic © Kunsthaus Bregenz Lili Reynaud Dewar TEETH GUMS MACHINES FU- TURE SOCIETY, 2017 Photograph, digital print, 61.7 x 46.3 cm Courtesy of Lili Reynaud-Dewar and Galerie Emanuel Layr, Vienna | Rome

KUB 2018 Billboards

The billboards along Bregenz’s Seestrasse, the town’s busiest road, are a fixture of Kunsthaus Bregenz’s program. During 2018, they will be completely in female hands — four young artists have been invited to each show a series of seven images in public space. The year will begin with Flaka Haliti, born in Pristina, Kosovo, and a graduate of the renowned Städelschule in Frankfurt | Main. In the era of digital imagery, Haliti’s work revolves around such romantic ciphers as clouds, moons, and love letters. Two other artists, Lili Reynaud Dewar and Alicia Frankovich, will be presenting emotional states in interior spaces and performances. Maeve Brennan, born in London in 1990, is seeking the origins of caring and nurturing in geology and archeol- ogy as well as the value of objects. The Billboards, in juxtaposition to the large-scale solo exhibitions at Kunsthaus Bregenz, ensure that alternative perceptions, new types of imagery, and current issues are also addressed and made accessible to a wide public.

Maeve Brennan | born 1990 in London Alicia Frankovich | born 1980 in Tauranga, New Zealand Flaka Haliti | born 1982 in Pristina, Kosovo Lili Reynaud Dewar | born 1975 in La Rochelle, France

Specific dates and details concerning the KUB Billboards 2018 will be published in due course.

30 31 KUB 2018 Program Children visi- ting the exhibi- tion Adrián Villar Rojas — The Theater of Disappearance, Kunsthaus Bregenz, 2017 Photo: Miro Kuzmanovic © Kunsthaus Review of the Year 2017 Bregenz

32 33 KUB 2018 Program KUB 2017 Review

2017 was the year Kunsthaus Bregenz celebrated its 20th anniversary, a highly successful one, and not only in regard to the celebrations during the anniversary weekend in the summer. Most importantly, our visitors were able to enjoy three extremely different exhibitions. The year began with Rachel Rose, the youngest artist who has ever been invited to stage a solo exhibition at Kunsthaus Bregenz. She was born in New York in 1986 and is considered a shooting star on the contemporary US American art scene. Approximately 8,000 visitors attended her exhibition, which has been especially designed for the spaces at Kunsthaus Bregenz. Adrián Villar Rojas’ exhibition The Theater of Disappearance has already secured its place in the illustrious history of Kunsthaus Bregenz. Rarely have so many materials been used and such massive resources employed. Adrián Villar Rojas created a visual experience in four impressive acts, visitors were not entering an exhibition space containing individual works of art but more a Gesamtkunstwerk. The attendance figures are also evidence of the great appeal of this year’s KUB summer exhibition, almost 38,000 people marveled at The Theater of Disappearance. On July 15 and 16, Kunsthaus Bregenz celebrated a glamorous 20th KUB anni- versary, 2017 anniversary weekend on the occasion of its 20th anniversary. At- Photo: Miro tracted by bright sunshine and free admittance more than 7,200 Kuzmanovic © Kunsthaus guests visited KUB, 850 of them taking advantage of the free short Bregenz guided tours.

34 35 KUB 2018 Program Since September 16, Kunsthaus Bregenz has been honoring the build- ing’s architect with an outstanding exhibition. In the anniversary year, Peter Zumthor has installed Dear to Me across the four floors of his striking building, inviting curators to stage each space in differ- ing ways using his sources of inspiration as a point of departure. The 2017 KUB Year in Figures Such forms of art as literature and music are particularly important to him. For this reason Kunsthaus Bregenz has become a venue for more than 160 events, running until January 7. A program booklet Total number of visitors available at Kunsthaus Bregenz serves as a guide to the extensive range of readings, concerts, talks, and lectures. 70,000 2017 (approx. | estimated) For the KUB Billboards this year, the advertising spaces along Seestraße reverted to their original purpose: spectacular photos of 37,661 2016 KUB façade projects displayed the 20-year success story of Kunsthaus Bregenz as well as announcing the anniversary in the summer. Since 48,509 2015 April, the KUB Billboards have been curated by the British-Japanese artist Simon Fujiwara. In a continuation of his project Joanne from 2016, Fujiwara employed his former art teacher as the »face« of a media campaign for Kunsthaus Bregenz. The KUB Billboards by visitors Simon Fujiwara remain on view along Seestraße in Bregenz until January 7, 2018. The artist will subsequently install the first exhibi- 7,997 Rachel Rose tion at Kunsthaus Bregenz in 2018. Together with a wide-ranging educational program which in 37,363 Adrián Villar Rojas — The Theater of Disappearance * addition to guided tours also includes workshops for all age groups and film screenings, contemporary art production will be examined 25,000 Peter Zumthor — Dear to Me (approx. | estimated) on as many different levels as possible. In 2017, a record number of 800 different educational activities was achieved, of which 362 were * incl. 7,222 visitors to the anniversary weekend on July 15 and 16 guided tours for adults, 277 activities for children and adolescents and about 170 were other types of events. Scholarly publications and limited editions designed in close collaboration with the artists to accompany the exhibitions completed Vermittlungsaktivitäten the range of Kunsthaus Bregenz’ activities. Worldwide distribution reinforces the institution’s international profile. Since autumn 2017, 362 guided tours for adults an online store that is already well used, now further supports the sale of various KUB products worldwide. 277 activities for children and adolescents (workshops, guided tours, etc.) With total visitor numbers estimated to reach 70,000 in 2017 KUB will have been able to double the previous year’s already posi- more than 170 other events during the year tive figures. Also from an economic point of view 2017 has been one of the most successful years in KUB’s history. The Federal State of Vorarlberg’s contribution for 2017 amounted to 2.56 million Euros, the institutions own revenues reached 0.75 million Euros, a sum corresponding to more than 22 percent of the total budget. Funds € 2,564,000 The Federal State’s contribution 2017 (= 77,37 %) from the central government for the purchase of art in 2017 € 750,000 The institution’s own revenues 2017 approx. (= 22,63 %) amounted to 36,500 Euros. 27,40 fulltime equivalent staff

36 37 KUB 2018 Program Peter Zumthor in discussion with Karin Salm, SRF, 2017 Photo: Laura Heinzle © Kunsthaus Bregenz

KUB 2017 Press Coverage

The KUB exhibitions during 2017 received particularly wide and positive coverage, both regional and international, from news agencies, print and online media as well as radio and TV stations. The national and local media APA – Austria Presse Agentur, ORF, NEUE Vorarlberger Tageszeitung, Vorarlberger Nachrichten, WANN & WO, Blättle and Kultur regularly filed reports. The year began with the American artist Rachel Rose, the youngest artist ever to be given a solo exhibi- tion at KUB. Ingrid Grohe from the Allgäuer Zeitung judged it to be »highly complex and highly aesthetic. Numerous radio and TV reports were broadcast by Ö1, ORF, and 3Sat. Big international magazines such as Mousse Magazine and Bolero also reported on the exhibition. Monopol described Kunsthaus Bregenz as the »perfect resonating chamber for Rachel Rose’s sensory visual journeys.« And Christa Dietrich, Vorarlberger Nachrichten, stated: »It’s great when art chal- lenges us explicitly to question our own sensibilities.« Adrián Villar Rojas, the Argentinian shooting star, achieved immense media response to the staging of his Theater of Disappear- ance. Lisa Kammann from NEUE Vorarlberger Tageszeitung praised: »an intense work.« »Villar Rojas has constructed a wunderkammer,« wrote Jutta Berger from the newspaper Der Standard. The exhibition was »prepared to take risks and courageous in statement,« according to Joanna Kamm from the renowned Spike Art Quarterly, »something that contemporary art needs.« But the exhibition was also polarizing: »His works break boundaries,« wrote Leonie Hof in the Swiss maga- zine Bolero. Critically but appreciatively Nicole Scheyerer asserted in the Falter: »The apocalyptic mood of this art strikes a current nerve.« Larger TV stations such as ORF, and the Bayerischer Rundfunk also reported. On 3Sat Markus Greussing suggested it was »optically seductive, concealing deeper meaning.«

38 39 KUB 2018 Program Source: Instagram @kunsthausbregenz Gottfried Bechtold Peter Zumthor Adrián Villar Rojas Rachel Rose Simon Fujiwara KUB Team

The newspaper Vorarlberger Nachrichten published a widely seen supplement to accompany the anniversary weekend, designed by the Danish artist Jakob Kolding. On the occasion of the two anni- versaries — Kunsthaus Bregenz’s 20th and WANN & WO’s 40th — an art competition was held by WANN & WO, with ongoing contributions over several weeks, which met with much interest from its young readership. The anniversary year concluded with Dear to Me, an extremely personal exhibition by KUB architect Peter Zumthor. Regular reports and program announcements were published in Vorarlberger Nach- richten, Blättle, and also NEUE Vorarlberger Tageszeitung. »Colorful and adventurous,« wrote the Bündner Tagblatt. Swiss, local, and international media have all been very enthusiastic during the, as yet, short run of the Zumthor exhibition. NZZ published a comprehensive report, at the time of the opening, a full-page article has also ap- peared in Süddeutsche Zeitung. In its fall issue the German magazine DEAR dedicated a cover story over several pages to the architect and the exhibition: »Visitors are captivated, they don’t want to leave the Kunsthaus.« Christa Dietrich, in Vorarlberger Nachrichten, discov- ered the reason: »His being down-to-earth in combination with an absolute eye for quality is also the recipe for success of his exhibition at KUB.«

40 41 KUB 2018 Program > 2,500 Subscriptions in Instagram subscription numbers have quadrupled compared to 2016 2,628 posts using #kunsthausbregenz hashtag

> 6,463 Likes on Facebook

> 120,000 Views on YouTube doubled since 2016

Photo: Miro Kuzmanovic © Kunsthaus Bregenz KUB 2017

Online Media Instagram as last year follow the Institution’s exhibitions and activi- ties. Using the newly established hashtag #kunsthausbregenz, more than 2,600 posts have already been published. Video trailers have been produced for each exhibition, intro- The 2017 results for KUB online media were positive. We have re- ducing visitors to artists and their work. In a mini video series for the corded a steady growth in all areas and lively participation on the 20th anniversary, KUB staff also stepped into the limelight. Many of part of subscribers to all our social media channels. Using Facebook the videos have been clicked several thousand times on YouTube and and Instagram, Kunsthaus Bregenz is in daily contact with visitors, Facebook. The overall figures have doubled for YouTube to over answering questions and linking with cultural institutions all over 120,000 views. In addition, Kunsthaus Bregenz provides footage for the world. Up-to-date information on exhibitions and events are download to TV stations and online media. made available in real time on all the relevant platforms. A look The new Kunsthaus Bregenz website has been online since May be­-hind the scenes as well as insights into daily affairs within the 2017, using a new design and improved mobile viewing. The online cultural sphere complement Kunsthaus Bregenz’s online presence. store, which was established in September, not only makes the insti- The growing number and range of subscribers are confirmation tution’s publications and limited editions for individual exhibitions of a successful use of social networks. Posts on Facebook regularly available, but also the purchase of admission tickets. During the first reached over a thousand people. Four times as many subscribers to four weeks over 100 orders were processed online.

42 43 KUB 2018 Program Source: Instagram @kunsthausbregenz photos: Miro Kuzmanovic

KUB 2017 20 Years Of Kunsthaus Bregenz

The various activities celebrating the 20th anniversary of Kunsthaus Bregenz had already begun in the first half of the year: in collabora- tion with Vorarlberger Nachrichten, members of the public were able to win a meeting with people who have significantly shaped the history of the institution. The winners of the competition could for example go hiking with former KUB Director Yilmaz Dziewior, work with Gottfried Bechtold in concrete, or go sailing with Hans Schabus. With regard to Gottfried Bechtold, Kunsthaus Bregenz was able to purchase a concrete Porsche 911 from the sculptural ensemble Elf Elf, thanks to funds from the central government, which had already been on display on the square in front of Kunsthaus Bregenz in 2006. For the anniversary it was positioned in front of KUB, as was the 15 meter long sculpture APROPOS, donated by Heimo Zobernig in collaboration with the town of Bregenz’s culture department. In addition, the art project SCULPTURE.IN.DA.HOOD. spanning several towns, by the artist duo Gabriele Fulterer and Christine Scherrer, was made possible by financial support from the regional capital of Bregenz.

44 45 KUB 2018 Program Source: Instagram @kunsthausbregenz photos: Miro Kuzmanovic

A widely seen supplement designed by the Danish artist Jakob Kold- ing was published by Vorarlberger Nachrichten for the anniversary weekend. On July 15 and 16, a glamorous celebration of Kunsthaus Bregenz’s anniversary took place: 7,222 visitors were counted, 850 of whom took part in free guided tours by KUB staff. Meanwhile the art education department looked after nearly 350 children. 500 balloons were released into a radiantly blue festive sky. Following the anniver- sary, around 400 postcards which had been deposited in the anniver- sary postbox in KUB, were sent on their journeys around the whole world. After the official ceremony on Saturday evening, sound artist Tarek Atoui enthralled visitors from the outside stage. In addition, Tanzwerk Vertikal developed a choreographic spectacle for the KUB façade. On Sunday, curator Rudolf Sagmeister presented his book KUB Artistsʼ Portraits, consisting of photographic portrait of artists span- ning a 20-year history of exhibitions. The weekend was successfully concluded with a concert by the Vienna Symphony.

46 47 KUB 2018 Program KUB 2017 Outreach & Events

For Kunsthaus Bregenz the education department fulfills an essen- tial task at the interface between the work, audience, and society at large. The KUB education team develops educational activities, departing from the concepts of the exhibiting artists and tailored to the diversity of visitors and all age groups. Visitors were invited, for example, to learn about the exhibi- tion by Adrián Villar Rojas in discussion with invited guests: a tour by the blind musician George Nussbaumer opened up new perspectives for participants. In collaboration with inatura in Dornbirn, children were able to look for fossils during a workshop in nearby Wirtatobel. Several special moments occurred during KUB’s 20th anniver- sary: Karl Tizian Platz became a meeting place for all art aficionados during the two-day anniversary weekend. In addition to hourly short guided tours, there was also music by Candy Ken and Tarek Atoui as well as a spectacular dance on the KUB façade. In collaboration with WIGEM, school classes from Vorarlberg designed colorful models of Ensemble KUB, which could be admired in local Bregenz shop windows. Vorarl- Pagon Interventions berger Nachrichten raffled private events with artists and former in the exhibi- directors. The lucky winners could, for example, talk to Yilmaz Dziewior tion Peter whilst hiking with him, or work with Gottfried Bechtold to create their Zumthor — Dear to Me, 2017 own piece of art in concrete. Photo: Rudolf In addition, a variety of cross-institutional collaborations Sagmeister contributed to the cultural landscape: working jointly with Caritas, a © Kunsthaus Bregenz workshop took place over several days for unaccompanied refugee minors. The resulting pieces of art were subsequently exhibited at Guided tour and discussion Haus Said. As part of Aktion Demenz, the vorarlberg museum and with the blind Kunsthaus Bregenz invited people suffering from dementia and their musician relatives to engage with the exhibitions accompanied by a trained George Nuss- baumer, 2017 art educator. Photo: Rudolf More than 160 additional events will be taking place during the Sagmeister © Kunsthaus ongoing exhibition Peter Zumthor — Dear to Me. Music, literature, and Bregenz talks will conclude KUB’s wide-ranging program.

48 49 KUB 2018 Program Opernatelier To the Lighthouse, 2017 Photo: Anja Köhler Courtesy of Bregenz Festival

FAQ Bregenzer- wald festival 2017, day 1 Photo: Jana Sabo, Friendship

KUB 2017 Project Partners

Kunsthaus Bregenz’s collaborations with other institutions and cultural organizations provide a valuable opportunity for network- ing and discourse. Jointly working with new partners during 2017, such as the fledgling FAQ Bregenzerwald festival, Franz-Michael- Felder-Verein, Philosophicum Lech, Sparkasse 3-Länder-Marathon, Vorarlberger Landesbibliothek, and Werkraum Bregenzerwald, proved highly successful. The Bregenz Festival has been a long-term KUB partner. In 2017 the Opernatelier organized various Einblicke events at Kunsthaus Bregenz, providing insights into the creation of an opera, including concerts, talks, and readings. The Einblicke series culminated in the premiere of the opera To the Lighthouse at the Bregenz Festival 2017. The Danish artist Jakob Kolding created the stage design for the pro­ duction. The Opernatelier will continue in 2018 with new protagonists. In 2017, Kunsthaus Bregenz collaborated with Philosophicum Lech for the first time, under the title Philosophieren im KUB, for a dis­- cussion between cultural theorist Wolfgang Ullrich and KUB director Thomas D. Trummer. 2018 will again feature a philosophical tour through Kunsthaus Bregenz. Joint work with Bregenz’s cultural authorities was revitalized by interventions in public space by Heimo Zobernig, as well as Gabriele Fulterer and Christine Scherrer, amongst others. For the 20th anniversary of KUB, this year’s partners included Vorarlberg Tourismus, Bregenz Tourismus & Stadtmarketing, Bodensee-Vorarl- berg Tourismus, and the Federal State Capital Bregenz, in addition to numerous sponsors.

50 51 KUB 2018 Program Rudolf Sagmeister Wael Shawky German | English | Rachel Rose German | English Maria Eichhorn KUB Artists’ Portraits Cabaret Crusades — Arabic Edited by Kunsthaus Hardcover, Catalogues Raisonnés Published by Kunsthaus Drawings Hardcover, 27 x 18 cm, Bregenz, Thomas 21 x 26.5 cm, 1986–2015 Bregenz, edited by Edited by Kunsthaus 7 pages D. Trummer 184 pages Edited by Kunsthaus Rudolf Sagmeister Bregenz, Thomas Softcover, 18 x 12 cm, Essays by Claudia La September 2017 Bregenz, Yilmaz Contributions by Rudolf D. Trummer 60 pages Rocco, Chus Martínez, € 42 Dziewior Sagmeister, Thomas D. Pop-up book with April 2017 Laura McLean-Ferris, Essay by Alexander Trummer, and Yilmaz 7 drawings by € 52 Thomas D. Trummer, Alberro and Nora M. Dziewior Wael Shawky and Jorge Otero Alter as well as a con- Graphic design by Ste- Booklet with essays Pailos versation between fan Gassner by Omar Berrada and Graphic design by Maria Eichhorn and English / German Thomas D. Trummer Sara De Bondt Yilmaz Dziewior Hardcover, 24 x 30 cm, Graphic design by Graphic design by 248 pages Dagmar Reiche Yvonne Quirmbach € 28 German / English Hardcover, 18 x 23 cm, 562 pages May 2017 € 54

KUB 2017 Publications

Kunsthaus Bregenz publishes catalogues in close collaboration with the artists as well as renowned graphic designers. The graphic of his work into the medium of the book. For the 20th KUB anniver- design of the catalogues accompanying the exhibitions reflects both sary, a unique photographic book of Kunsthaus Bregenz’s 20-year the subject matter and visual language of the respective artists, exhibition history was launched in the summer, featuring artists so that each catalogue not only provides documentation but also before, during, and after work, as photographed by KUB curator becomes part of the work and an extension of the exhibition. Rudolf Sagmeister. A comprehensive catalogue raisonné by Maria A publication was produced for Rachel Rose’s exhibition docu- Eichhorn and the exhibition catalogue for Theaster Gates were menting her work at Kunsthaus Bregenz in numerous installation also brought to conclusion. photographs and scholarly contributions. Further catalogues in- In 2018, catalogues will be published for exhibitions by Simon cluded a pop up book based on Wael Shawky’s delicately poetic Fujiwara, Mika Rottenberg, David Claerbout, and Tacita Dean. drawings as well as an artist’s book catalogue designed in close Conceived in principle to be bilingual, the publications are not collaboration with Lawrence Weiner, one of American Conceptual only available for purchase at KUB itself but have also been devised Art’s leading senior figures, translating the typographical power for worldwide distribution.

52 53 KUB 2018 Program Peter Zumthor Hélène Binet Hélène Binet Entwurfszeichnung Kunsthaus Bregenz, Kunsthaus Bregenz, Lichteinfall Kunsthaus Fassade, 1997/2017 Foyer, 1997/2017 Bregenz I ,1997/2017 Hand-produced gelatin Hand-produced gelatin Pigment-ink art print silver print, 60 × 50 cm silver print, 60 × 50 cm on Hahnemühle paper, Limited edition of Limited edition of 70 × 60 cm 3 copies + 2 A.P., 3 copies + 2 A.P., Limited edition of 100 signed and numbered signed and numbered copies + 20 A.P., signed Price € 4,000 Price € 4,000 and numbered incl. 10% VAT, plus incl. 10% VAT, plus Price € 470 postage, packaging, postage, packaging, incl. 10% VAT, plus and custom duties and custom duties postage, packaging, and custom duties

Peter Zumthor Price € 470 Entwurfszeichnung incl. 10% VAT, plus Lichteinfall Kunsthaus postage, packaging, Bregenz II,1997/2017 and custom duties Pigment-ink art print on Hahnemühle paper, 70 × 60 cm Limited edition of 100 copies + 20 A.P., signed and numbered

KUB 2017 Editions

Exclusive special editions for Kunsthaus Bregenz are a result of close Rachel Rose Jakob Kolding Adrián Villar Rojas collaboration with artists and their production processes. In 2017, Ten Pieces, 2017 Untitled (Virginia), 2017 The Theater of Disap- Art print with pigment Wood, b&w print, pearance, 2017 limited editions were published for all three exhibitions — Rachel ink on Hahnemühle fabric, 90 x 56 cm Brown Merzouga Rose, Adrián Villar Rojas, and Peter Zumthor. In addition, the Danish FineArt William Turner Limited edition of marble, (age of the 200 g/m², 80 x 60 cm 25 copies + 7 A.P., marble block 360 M artist Jakob Kolding created a limited edition for Kunsthaus Bregenz Limited edition of signed and numbered, years), 80 x 80 x 7 cm, to coincide with his stage design for the opera To the Lighthouse by 25 + 10 A.P., signed € 3,900 approx. 60 kg Zesse Seglias. Developed from within the context of the exhibition and numbered, incl. 10% VAT, plus Limited edition of € 1.400 postage, packaging, 20 + 5 A.P., signed and developed together with the artist, the works are published in incl. 10% VAT, plus and custom duties and numbered limited editions, making them particularly attractive to collectors postage, packaging, € 9.500 of contemporary art. and customs duties incl. 10% VAT, plus postage, packaging, In 2018, limited editions will be published for the exhibitions by and custom duties Simon Fujiwara, Mika Rottenberg, David Claerbout, and Tacita Dean.

54 55 KUB 2018 Program walls fabricated from MDF panels. The installation of a 12 meter long open gas fire — an absolute first in the world of exhibitions — required prolonged trials, 80 meters of new gas lines as well as ongoing safety checks and air measurements. KUB 2017 A highlight was the anniversary weekend with more than 7,200 visitors. In addition to the extensive construction and technical Behind the Scenes support required for the celebrations, the technical team, in collabo- ration with event technician Martin Beck, planned and installed abseiling devices on the roof of the building for the Tanzwerk Verti- kal dancers. Tons of marble, an open fire, and more than 160 events during one Peter Zumthor subsequently transformed the ticket counter exhibition — 2017 took a top spot, as a year of extremes, in KUB’s area into a fully functional bar for his exhibition Dear to Me, and KUB eventful exhibition history. The institution’s technical team around became the center for over 160 events, from readings via discussions Markus Tembl and Markus Unterkircher undertook preparations to concerts — a new challenge for all those working on the events. for three exhibitions and the elaborate anniversary weekend. Each 2017 will consequently be remembered not only as a year of individual project demanded maximum effort, use of materials, extremes, but also as a year of successful interpersonal relationships sensitivity, and technical knowhow. with Vorarlberg businesses, the artists, and their assistants. It is thanks The close collaboration between numerous Vorarlberg crafts- to the dedication of the entire staff and their great enthusiasm in people, members of KUB staff, and the exhibiting artists’ teams working together for KUB, that this stress test for the institution and typified 2017. For Adrián Villar Rojas’ exhibition The Theater of its employees was managed so successfully. Images from Disappearance, 1,100 square meters of marble slabs were laid in Concurrently to the exhibitions, the building’s glass façade was behind the Scenes collaboration with stonemason Bertram Lenz. The ground floor, thoroughly cleaned and important conversions concerning the insti- Photos: Udo Mittelberger, including the ticket counter, was emptied completely, whilst a ton of tution’s use of energy were carried out during the first half of the Rudolf Sagmeister, Polyurethane varnish was poured to create new flooring on the third year. It is not least due to a constructive collaboration with the Fed- Barbara Straub © Kunsthaus floor. Working with carpenter Hubert Steinhauser, all the building’s eral State of Vorarlberg’s department of public works that Kunsthaus Bregenz spaces were furnished with deceptively authentic artificial concrete Bregenz is again looking almost as good as new after twenty years.

56 57 KUB 2018 Program 58 59 KUB 2018 Program Simon Fujiwara Campaign, 2017 Photo: Markus Tretter Courtesy of Simon Fujiwara KUB 2017 Billboards

Campaign, his unusual commission for KUB Billboards, questions the At the beginning of the year, the KUB Billboards along Seestraße rever­- traditional relationship between artist and institution. In reimagin- ted to their original purpose, spectacular photographs of KUB façade ing the museum’s public image, Fujuwara cast himself in the role of projects displayed Kunsthaus Bregenz’s 20-year success story as PR consultant. Expanding on his 2016 project Joanne, he employed well as announcing the anniversary in the summer. Since April, the his former art teacher as the »face« of the Kunsthaus Bregenz media KUB Billboards have been curated by the British-Japanese artist campaign. The KUB Billboards Campaign by Simon Fujiwara will Simon Fujiwara. The artist’s work can be seen as an examination of remain on view until January 7, 2018 along Seestraße in Bregenz. the increasing cultural obsession with self-presentation and indi­ The artist will subsequently install the first exhibition in Kunsthaus viduality that new technologies offered to his generation. Bregenz in 2018.

60 61 KUB 2018 Program In 2017, the number of members increased by 10% compared to the previous year. The excellent atmosphere during KUB’s 20th anniver- 20th anni- sary celebrations was also conducive in obtaining new Friends, which versary of today total 1,100 members. This positive development has been Friends of KUB, 2016 mainly due to the institution’s exhibition program, the society’s Photo: Miro program, and not least the highly amenable collaborative relation- Kuzmanovic ship between Director Thomas D. Trummer, the entire staff at KUB, © Kunsthaus Bregenz and the society’s board. Special guided tours by the Director over the last two years have led to an almost doubling of visitor numbers. The resulting scarcity of headsets — to date 100 units — prompted the society to make a donation for the purchase of 60 additional ones. The new Meet and Greet the Artist event has also been well received, attracting great interest. KUB Friends have been able to come face to face with a variety of artists and their work. The 2017 travel program was both varied and very popular, ranging from day trips to St. Gallen, Chur/Davos, and the Rohnerhaus in Lauterach to several longer trips: Belgrade in May, the Skulptur Projekte in Münster and documenta 14 in Kassel in early October, as well as Milan in November. Knowledgeable insights to the excursions by Director Thomas D. Trummer and KUB’s educational department have made the trips particularly valuable. KUB 2017 A particular focus this year was the establishment of the Young Friends group within the Society of Friends of KUB. Young society The Society of Friends of members introduce new ideas, network with other art loving people in the region, increasing their interest in the society, and undertake Kunsthaus Bregenz joint excursions such as the visits to the Gallery Weekend in Berlin in the spring of 2017. In July, Marie Christine Molitor became the first Young Friends member to be elected to the society’s board. Another concern was networking with other friends societies. The Society of Friends of Kunsthaus Bregenz, founded in 1996, has We have already received visits from the Association of the Friends set itself the goal of supporting Kunsthaus Bregenz financially of the Fine Arts at Kunstmuseum St. Gallen and the Society of Friends and assisting in the optimum implementation of its program. The of Werkraum Bregenzerwald. The Friends of the Kunstmuseum Friends of KUB regard themselves as the Kunsthaus’ ambassadors Liech­tenstein Foundation will also be accepting our invitation in in both regional and international cultural life, and are convinced December 2017. In addition, we also enjoy a lively exchange with our of the outstanding value of this cultural institution for the region. immediate neighbors, the Friends of Vorarlberger Landestheater.

62 63 KUB 2018 Program Art Bodensee Kulturamt der Landeshauptstadt Bregenz Bodenseeerlebniskarte Montforter Zwischentöne Bodensee-Schiffsbetriebe Land Vorarlberg Bodensee-Vorarlberg Tourismus ÖBB Rail Tours Bregenzer Festspiele Ö1 Club Bregenz Tourismus & Stadtmarketing Pfänderbahn FAQ Bregenzerwald Philosophicum Lech Hugo Boss poolbar-Festival Feldkirch Hunger auf Kunst & Kultur Sparkasse 3-Länder-Marathon Inatura Verkehrsverbund Vorarlberg Jüdisches Museum Hohenems Vorarlberger Landesbibliothek Kongress Kultur Bregenz Vorarlberg Lines Bodenseeschifffahrt Kulturachse: Kunstmuseum St. Gallen, Vorarlberg Museum Kunstmuseum Liechtenstein, Vorarlberg Tourismus Bündner Kunstmuseum Werkraum Bregenzerwald

Symposium: Vorarlberg Hospitality, 2017 Photo: Didi Mathis KUB 2017 © Kunsthaus Bregenz Collaborating Partners

The commitment of numerous collaborating partners contributes An essential prerequisite for KUB’s successful work has been the to the success of Kunsthaus Bregenz, supporting exhibitions and Federal State of Vorarlberg’s long-standing cultural policy of projects with an international profile. supporting the institution, and the financial security this provides. Partners with long-standing associations to the institution are The Vorarlberger Kulturhäuser Betriebsgesellschaft mbH as Art Bodensee, Bodensee-Vorarlberg Tourismus, Bregenzer Festspiele, central service supplier plays a crucial role. Bregenz Tourismus & Stadtmarketing, Hugo Boss, Ö1 Club, poolbar- An important partner since the founding of the institution has Festival Feldkirch, Verkehrsverbund Vorarlberg, Vorarlberg Lines been the Society of Friends of Kunsthaus Bregenz. The society Bodenseeschifffahrt, Vorarlberg Tourismus, as well as the Kultur- supports KUB in implementing its concept and particularly the edu- achse museum network: Kunstmuseum St. Gallen, Kunstmuseum cational program. Liechtenstein, Vaduz, and Bündner Kunstmuseum, Chur.

64 65 KUB 2018 Program Principle sponsor of Kunsthaus Bregenz

KUB 2017

Sponsors and Supporters with kind support from

Without the generous financial support and the related cultural commitment of the many sponsors and partners from the business world, Kunsthaus Bregenz’s exhibition work would not be possible in its current form. Our sponsors and supporters value collaborating with our dedicated and professional staff. The experience of outstanding international contemporary art broadens horizons and promotes openness and a spirit of innovation. Hypo Vorarlberg and Vorarlberger Kraftwerke AG are long- standing sponsors, who always make a special contribution to the financing of major survey exhibitions. The company Zumtobel too has been continually supporting Kunsthaus Bregenz for many years KUB Program 2017 and is an indispensable partner, particularly in the implementation of exhibitions and projects in which light is used. The support for Adrián Villar Rojas’ exhibition The Theater of Disappearance by kurimanzutto and the Marian Goodman Gallery as well as the support for the exhibition Peter Zumthor — Dear to Me by the Swiss cultural foundation Pro Helvetia, Ars Rhenia, and the UNIQA deserve particular mention in 2017.

We would like to thank all our partners for their loyalty!

66 67 KUB 2018 Program Source: Instagram @kunsthausbregenz Thanks to: mathias- johansencellist, anasbarros, visitau- stria, drcuerda, ger- lindekusstatscher, roemervii, juldama

Kunsthaus Bregenz Karl-Tizian-Platz | 6900 Bregenz | Austria Phone +43-5574-485 94-0 | Fax +43-5574-485 94-408 [email protected] | www.kunsthaus-bregenz.at | #kunsthausbregenz

Hours Tuesday to Sunday 10 am — 6 pm | Thursday 10 am — 8 pm Summer Opening Hours 2018: July 15 — August 31, 2018 Monday to Sunday 10 am — 8 p.m. Ticket Office ext. -433

Admission Adults € 9.– | Reductions € 7.– | Free admission for children and adolescents up to 18 years of age | Combi-Ticket KUB and vorarlberg museum € 15.– | Reductions € 12.– Kulturhäuser Card € 99.–

Information and booking for guided tours Mareile Halbritter | DW -417 | [email protected] Barbara Straub | DW -415 | [email protected]

Head Office Margot Dörler-Fritsche | ext. -409 [email protected]

Director Thomas D. Trummer Chief Executive Werner Döring Curator Rudolf Sagmeister Marketing | Cooperation Birgit Albers, ext. -413, [email protected] Development | Sponsorship Lisa Hann, ext. -437, [email protected] Press | Online Media Martina Feurstein, DW -410, [email protected] • Laura Heinzle Art Education Mareile Halbritter, DW -417, [email protected] • Barbara Straub, DW -415, [email protected] Publications | Artistsʼ Editions Katrin Wiethege, DW -411, [email protected] • Samantha-Josephine Kiesel Sales Editions Caroline Schneider-Dürr, ext. -444, [email protected] Director’s Office Beatrice Nussbichler, ext. -418, [email protected] Technical Staff Markus Tembl, Markus Unterkircher, Lukas Piskernik, Stefan Vonier, Helmut Voppichler KUB Collection Ute Denkenberger Copyright © 2017 by Kunsthaus Bregenz Concept Kunsthaus Bregenz Text Thomas D. Trummer, Birgit Albers, Martina Feurstein, Mareile Halbritter, Lisa Hann, Laura Heinzle, Barbara Straub Editing Martina Feurstein, Laura Heinzle Copy Editing Samantha- Josephine Kiesel, Katharina Kümmerle, Katrin Wiethege Translation Artlanguage Image Rights © lie with the photographers, artists and successors Basic Graphic Design Clemens Theobert Schedler, Büro für konkrete Gestaltung Graphic Design Bernd Altenried, Stefan Gassner Paper Munken Pure Rough 120g Pre-press Production Boris Bonev, PrePress & PrintService Print Thurnher Druckerei GmbH

68 69 KUB 2018 Program