The Albertina houses one of the world’s largest and most precious graphic collections. Presently it contains almost 70,000 drawings and more than one million graphic prints from all of the significant art eras from the late Gothic period to the contemporary. The range of outstanding works spans from Leonardo, Michelangelo and Raphael, to Albrecht Dürer, Rembrandt and Rubens, and further to Lorrain, Delacroix, Manet and Cézanne. The Albertina is distinguished for its collections from the 20th century, including the works of Schiele, Klimt and Kokoschka, as well as Warhol, Rauschenberg and Baselitz. The photographic collection contains examples of scientific photography, studio photography, early colour photography and pictorial works. The architecture collection consists of almost 25,000 drafts, sketches and models. The core pieces are the architectural models by Otto Wagner, Le Corbusier, Mies van der Rohe and Alvar Aalto.
1010 Vienna, Albertinaplatz 1
Opening hours: daily 10 am–6 pm, Wednesday 10 am–9 pm
Special Exhibition: Contemporary Art. Andy Warhol to Anselm Kiefer
July 11, 2016 – March 19, 2017
The focus of Contemporary Art lies on art from the second half of the 20th century, featuring both the stars and the broad diversity of art after 1945. In this year’s presentation of contemporary output at the Albertina, works by Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz and Maria Lassnig, and others take centre-stage.
Furthermore, a generous donation by Gottfried Helnwein has made it possible to show seven high-quality paintings by the famous Austrian artist at the exhibition.
Around 80 masterpieces serve to illustrate the multifaceted nature of postmodernism, ranging from Hyperrealism to abstraction and from colour aesthetics to political themes, while also providing a clear impression of the complex parallel trends of the past few decades.
Karel Appel | Georg Baselitz | Lucio Fontana | Sam Francis | Gottfried Helnwein | Hans Hofmann | Jörg Immendorff | Alex Katz | Anselm Kiefer | Yves Klein | Maria Lassnig | Roy Lichtenstein | Morris Louis | Markus Prachensky | Arnulf Rainer | Gerhard Richter | Hubert Scheibl | Sean Scully | Victor Vasarely | Andy Warhol | Tom Wesselmann
Special Exhibition: Poussin to David. French drawings at the Albertina
January 25 – April 25, 2017
Whether poetic love stories or mythological epics, whether atmospheric portrait studies or picturesque ruins – today, the masterpieces of French Baroque art are more enthralling than ever.
70 major works selected from the Albertina’s rich holdings of drawings sweep visitors into the dreamy and multi-layered cosmos of French art from the Baroque and Rococo periods: the works on display include Nicolas Poussin’s breath-taking free landscape studies as well as Claude Lorrain’s light-drenched depictions of nature, and playful masterpieces by François Boucher and Jean-Honoré Fragonard likewise assume their rightful places here, as do the lovely scenes of Jean-Baptiste Greuze. The crowning conclusion of this showing, which reflects two centuries of French art, is provided by the imposing creations of Jacques Louis David.
Special Exhibition: Egon Schiele
February 22 – June 18, 2017
The masterpieces of Egon Schiele: works both passionate and ruthlessly blunt, and at once highly subjective and allegorical.
To kick off the commemoration of the 100th anniversary of Schiele’s death, the Albertina is devoting a broadly conceived exhibition to this seminal artist. The selection for this showing introduces visitors to an oeuvre centred on the great theme of human beings’ existential loneliness. Works from the Albertina’s extensive collection provide this exhibition’s conceptual starting point and are complemented by various important loan works from Austrian and foreign collections and museums. The showing thus presents a unique perspective on Schiele’s artistic development, which was so abruptly terminated upon his untimely death at the tender age of 28.
Special Exhibition: Markus Prachensky. A tribute
January 18 – March 19, 2017
“Very early on, the idea came to me that red was the colour of my life,” said Markus Prachensky (1932–2011).
The Austrian artist’s radiant, dynamic, and contrast-rich red brushstrokes virtually dance through his oeuvre. The individual works, at turns wild in their gestures and serene in their composition, are at once energetic and meditative.
Markus Prachensky, whose strong anchoring in Austria’s art scene dates back to the 1950s, is among today’s best-regarded Austrian artists internationally. And with its tribute on what would have been his 85th birthday, the Albertina brings together prominent works from its own collection with hitherto unknown works from Prachensky’s extensive artistic estate. This exhibition also presents Prachensky’s generous gift to the Albertina of four important paintings – key works in his oeuvre – as well as a number of outstanding drawings.
Permanent Exhibition: Monet to Picasso. The Batliner Collection
From October 21, 2011
Under the title ‘Monet to Picasso’, the Albertina exhibits its vast holdings of paintings from the period of Modernism, which are primarily made up of works from the Batliner Collection. The epochs covered by this reinstallation of the museum’s permanent collection range from Impressionism and Fauvism to German Expressionism, the Bauhaus, and the Russian avant-garde; the presentation concludes with works by Picasso.
The Kunstforum is a top address for art lovers, especially for classical modern painting of the post-war years. Every year, 300,000 people visit the temporary exhibitions held in this private institution, shows that are unique across the globe. Leading museums present their works here as well as private collectors. Whether van Gogh or Miró, Kandinsky or Chagall, Warhol or Lichtenstein, the great names of art are united here. Since 2000, there have also been exhibitions devoted to contemporary artists.
1010 Vienna, Freyung 8
Opening hours: daily 10 am–7 pm, Friday 10 am–9 pm
Special Exhibition: Georgia O’Keeffe
December 7 – March 26, 2017
Georgia O’Keeffe (1887–1986) was a founder of American Modernism and a pioneer as an artist. The opportunities to see O’Keeffe in Europe are rare: her paintings are distributed around the leading US collections, where they have gained an iconic status. This retrospective now provides for the first time in Austria a view of O’Keeffe’s oeuvre, which encompasses seven decades. Among the exhibits is also Jimson Weed/White Flower No. 1 (1932), the most expensive picture by a woman artist ever auctioned.O’Keeffe debuted in 1916 in an artistic circle dominated by men surrounding her later husband, the photographer Alfred Stieglitz. The exhibition starts off with her lesser known early work, with its close affinity to Wassily Kandinsky’s ‘spiritual’ abstraction. O’Keeffe’s monumental flower pictures of the 1920s, which under the influence of the writings of Sigmund Freud evoked strongly sexualising interpretations, are among her most popular subjects.
Formal specifics like the sharp focus, the cutting-edge delineation and the close-up are a visual demonstration of O’Keeffe’s innovative transposition of photographic strategies into painting. The show underlines this artistic dialogue with a selection of photographs by Alfred Stieglitz, Ansel Adams and Paul Strand. O’Keeffe’s almost abstract late landscapes inspired by the bleak, endless desert of New Mexico embody the creation of ‘The Great American Thing’, a specific American art, and anticipate the art trends of Abstract Expressionism and Minimalism. The exhibition accentuates O’Keeffe’s singular position, assumed through her bridge-building between European Modernism and American post-war abstraction, also through her constant mediation between a relationship with nature and abstraction, between organic and geometric, feeling and de-personalisation.
The exhibition was organised by Tate Modern in cooperation with the Bank Austria Kunstforum and the Art Gallery of Ontario, Toronto.
The Belvedere is one of the world’s most important museums with collections spanning from the Middle Ages to the present day. The museum is housed in the Belvedere Palace, which Prince Eugene of Savoy had built as a summer residence. The collections of the 19th and 20th centuries are housed in the Upper Belvedere with works by Biedermeier artists (Ferdinand Georg Waldmüller, Jakob Alt etc.), French Impressionists (Claude Monet, Auguste Renoir etc.) and masterpieces by Gustav Klimt, Egon Schiele, and Oskar Kokoschka. In the Lower Belvedere the Museum of Medieval Art and the Baroque Museum are located. The two buildings are linked by a unique Baroque garden. The entire ensemble ranks among the world’s most beautiful and best preserved historic palaces and parks. From the north side of the Upper Belvedere one can appreciate the renowned and stunning view of Vienna.
1030 Vienna, Prinz Eugen-Str. 27
Opening hours: daily 10 am–6 pm, Wednesday 10 am–9 pm
Special Exhibition: Tina Blau. Masterpieces in Focus
December 16, 2016 – April 9, 2017
One hundred years after her death, the Belvedere is paying tribute to the painter Tina Blau in an exhibition from the series ‘Masterpieces in Focus’. The show features major works from every stage in Tina Blau’s career as well as previously unknown paintings that came to light during the research for the new catalogue raisonné of the artist’s work.
Born in Vienna in 1845 as the daughter of a Jewish doctor, Tina Blau became one of the most successful landscapists in her day. She started taking private tuition at the age of fifteen and went on her first study trip to Transylvania at sixteen. After studying in Vienna and Munich, from 1870 she made a vital contribution to developing a style of Austrian landscape painting known as ‘Stimmungsimpressionismus’ (literally mood or atmospheric impressionism). Periods in Hungary, Holland, Italy, Germany, France, and Switzerland not only provided insights into the latest developments in European painting but also an abundance of subject matter for her to hone her skills. An image of a remarkably modern painter emerges, a woman who co-founded and taught at Vienna’s art school for women and girls and, as a courageous and independent personality, exerted a tremendous influence on the next generation of young female artists.
Special Exhibition: The Klewan Collection. Portrait(s) of Modernism
February 17 – June 11, 2017
Helmut Klewan is a passionate art expert and gallerist who has worked in Vienna and Munich. Over the past four decades he has amassed an impressive collection of important works ranging from international classical modernism to key examples of post-war art.
Now 193 works by over fifty artists from this collection are being showcased in the Orangery at the Lower Belvedere. The main focus is on portraits by very different artists, for example Francis Bacon and the nearly unknown Armand Francois Henrion. By extension, the show also represents a portrait of modernism in all its variety.
Yet the Klewan collection is not only distinguished by its diversity but also by its highly individual character. It even includes some unusual works that are categorised as kitsch. Another distinctive feature is the collection of key works of post-1945 Austrian art. Helmut Klewan (b. 1943) was in close contact with major Austrian artists including Arnulf Rainer, Maria Lassnig, and Friedensreich Hundertwasser. As a gallerist he made an important contribution to promoting Austrian art abroad.
The exhibition features works by Christian Ludwig Attersee, Francis Bacon, Giorgio de Chirico, Jean Dubuffet, Salvador Dalí, Alberto Giacometti, Maria Lassnig, Pablo Picasso, Arnulf Rainer, Hans Staudacher, Fritz Wotruba, and many other artists.
The Kunsthalle Wien has established itself as one of the liveliest facilities for international contemporary art in Vienna at two locations in the centre of the city (Karlsplatz and the MuseumsQuartier). Programme highlights range from photography, video, film and installations to new media. Large, subject-specific exhibitions present developments and correlations from Modernism to the present-day art world. Other programme elements are dedicated to retrospectives of important contemporary artists and significant contributions to Austrian art after 1945. In 2002, the Italian arts magazine ARTE ranked the Kunsthalle Wien among the six best modern art institutions in Europe (together with Tate Modern, London, the Kiasma, Helsinki, the Centre Pompidou, Paris and the Bilbao Guggenheim).
1070 Vienna, Museumsplatz 1
Opening hours: daily 11 am–7 pm, Thursday 11 am–9 pm
Special Exhibition: Marcel Odenbach. Proof of Nothing
February 5 – April 30, 2017
Marcel Odenbach one of the most important contemporary video artists, has overwritten his first solo exhibition at Kunsthalle Wien with the title of a poem by Ingeborg Bachmann. Beweis zu nichts (Proof of Nothing) deals with the persistence of the victim-perpetrator structure within post-war German society.Beweis zu nichts (Proof of Nothing) is also the title Odenbach has given to his new film, focusing on the memorial Bertolt Brecht, together with sculptor Fritz Cremer, designed for the former concentration camp Buchenwald. His film works observe international crises and the reconciliation of populations following armed conflicts or genocide, illustrating the fact that dealing with the past is not only a European difficulty.
Be it the video installation In stillen Teichen lauern Krokodile/In Still Waters Crocodiles Lurk, which deals with the 1994 genocide in Rwanda, or Im Kreise drehen/Turning in Circles, another film concerning a memorial (in this case at the site of the former concentration camp Majdanek), Odenbach repeatedly considers social justice. In approaching the problem of dealing with the past, Odenbach’s works reflect on the resonance of Nazism in the present. The artist observes various cultures and political constellations, allowing them to influence his work. Reflections on the familiar and the foreign, on his own biography and the biographies of others, are vital motifs in his work that put forth arguments in such a way that are as aesthetic as they are political.
Marcel Odenbach, born 1953 in Cologne, lives and works in Cologne and Berlin.
Suitable premises for a permanent exhibition of Friedensreich Hundertwasser’s paintings were found in the building of the former furniture factory of the Thonet Brothers built in 1892. The size of the building made it possible not only to establish a Hundertwasser museum, but also to include rooms for alternating exhibitions of international stature in the planning. In 1991 Kunst Haus Wien was officially opened. On the first two upper floors a cross-section of Hundertwasser’s œuvre is on display, including paintings, graphics, tapestries, and architectural models. The third and fourth floors are dedicated to international exhibitions.
1030 Vienna, Untere Weißgerberstr. 13
Opening hours: daily 10 am–6 pm
Special Exhibition: Peter Dressler. Vienna Gold
November 16, 2016 – March 5, 2017
With the first retrospective in Vienna, Kunst Haus Wien is paying tribute to the work of Peter Dressler, an oeuvre in which the city of Vienna itself plays a central role. As a photographer and filmmaker, academy teacher, collector and critical participant in the art scene, Dressler (1942–2013) influenced Austrian photography since the 1970s like few other figures. His artistic interest in the photography medium always went hand in hand with a fascination with the history of the medium.Dressler found the material for his early documentary series and visual narratives in Vienna, where, as he observed, “substance, quality, quite simply the magic of everyday life still exists in large measure”. Later, his ‘seventies’ realism’, as he called it, was replaced by tableaux and image series and a poetic, filmic approach.
The particular charm of Zwischenspiel, a major artist’s book he published in 1989, lies in the manifold references and allusions that connect the individual pictures.
Toward the end of the 1980s, his photographic idiom changes again: the artist emerges as the actor and main character in his work, appearing in melancholic, even grotesque narratives that have him preparing ‘Rather Rare Recipes’ or playing solo tennis in the empty Semper Depot building. With vibrant wit, he inserts himself into found and invented scenarios to bring them to life, teasing out art-historical as well as social implications and highlighting the peculiarities of human behaviour. His work is often sublimely funny, but his humour is always energised by a sober awareness of the tragicomic sides of human existence and the subtle possibilities of the photographic medium.
Museum of Art History
The magnificent architecture of this building, designed by Semper and Hasenauer in the style of the Italian Renaissance, and ceremoniously opened in 1891, creates a fitting setting for the artistic treasures assembled by the Habsburgs, who were for centuries the most enthusiastic patrons and collectors. The collections of the Kunsthistorisches Museum are amongst the most important and spectacular in the world. The 16th century Kunst- und Wunderkammer (art and treasure chambers) together with the baroque collections form the nucleus of the museum’s outstanding compilations, in which the taste and artistic preferences of the Imperial family are still discernible today, thus conveying a sense of the Imperial glory of the art-loving Habsburg dynasty. The museum’s collections range from Ancient Egyptian, Greek and Roman antiquities to the Collections of Medieval Art to the splendid Renaissance and Baroque Collections. The world famous Picture Gallery contains main works by P. Bruegel the Elder, Dürer, Rubens, Vermeer, Rembrandt, Titian, Raphael, Tintoretto, Veronese, Caravaggio, Velázquez et al.
1010 Vienna, Maria Theresien-Platz
Opening hours: Tuesday–Sunday 10 am–6 pm, Thursday 10 am–9 pm, (Coin Cabinet closes at 6 pm)
Special Exhibition: The Emperor’s Gold
May 24, 2016 – March 5, 2017
As part of the 125th anniversary celebrations of the Kunsthistorisches Museum the Coin Collection is showing a special exhibition featuring selected gold coins from the Imperial Numophylaciums, the Emperor’s coin collection. Renowned for its size and the quality and rarity of its holdings, the world-famous collection in Vienna owes its fame to generations of Austrian rulers and their love of collecting.
From gold coins in everyday circulation to veritable gold giants (singular commemorative issues commissioned by the Emperor for representational purposes) to so-called ‘splendid’ medals (Prunkmedaillen) made exclusively as gifts for the Emperor, the exhibition showcases the collection’s exceptional range of historical gold coinages and looks at ‘The Emperor’s Gold’ in all its glittering facets.
After five decades of compiling, the Leopold Collection finally found its home in 2001 within the building complex of the MuseumsQuartier, where it quickly became the most frequented of the various museums. The essence of the collection is made up by Austrian art of the first half of the 20th century with principal works by Egon Schiele, Gustav Klimt, Richard Gerstl, Koloman Moser, and Oskar Kokoschka. The art historical context is represented by the élite of the Austrian art world of the 19th and 20th century. In the spacious, light pervaded exhibition halls visitors will find paintings and drawings, as well as original artefacts and furniture by Adolf Loos, Otto Wagner, Josef Hoffmann, and other artists of the Wiener Werkstätte.
1070 Vienna, Museumsplatz 1
Opening hours: Wednesday–Monday 10 am–6 pm, Thursday 10 am–9 pm
Permanent Exhibition: Egon Schiele. Self-abandonment and self-assertion
The Leopold Museum is home to the largest and most eminent Schiele collection in the world. It comprises 42 paintings and 187 works on paper by Egon Schiele (1890–1918).
The new presentation of the collection illustrates Schiele’s artistic progression through a chronological hanging of the Leopold Museum’s works. The exhibition starts with the young Schiele and traces his development from being influenced by Gustav Klimt to his radically expressive phase, which was particularly esteemed by Rudolf Leopold, closing with the works from his ‘late oeuvre’ created shortly before Schiele’s untimely death.
Schiele’s paintings are juxtaposed with biographical information, quotes and pictures. This new presentation makes the artist’s world accessible to visitors in a transparent and coherent manner.
Permanent Exhibition: Vienna 1900. Art from the Leopold Collection
The Leopold Museum is presenting a totally reconfigured exhibition of Viennese art at the turn of the century, titled Vienna 1900.
The Jugendstil, Vienna’s Art Nouveau movement, endeavoured to encompass all areas of life within a so-called ‘Gesamtkunstwerk’ (‘total work of art’). Its main exponents Gustav Klimt, Koloman Moser and Josef Hoffmann are synonymous with the art of the Vienna Secession around 1900. This new presentation of the Leopold Museum’s holdings – complemented by several significant works on loan – features the works from the Vienna Secession together with paintings and prints from Expressionism to the end of the First World War (Egon Schiele, Oskar Kokoschka, Anton Kolig, Herbert Boeckl and many others) as well as several fascinating examples of Wiener Werkstätte design. Furniture, silver, glass and jewellery are presented together with paintings and graphics, showing what could be termed the most exciting era in the history of Viennese art as a unique aesthetic experience.
Austrian Museum of Applied Arts / Contemporary Art
In a way that is virtually unparalleled by any other institution, the MAK stands for the fruitful combination of the past with the future, something which can be clearly sensed and experienced when visiting its extensive collection, large exhibition halls, themed special exhibitions and discourse-centred programme of events. Bringing together applied arts, design, architecture, and contemporary art is one of the museum’s core competencies, in light of which it becomes apparent which contribution the interplay of these areas is capable of making to overall cultural development.
The MAK is one of the most important museums of its kind worldwide. Founded as the ‘Imperial Royal Austrian Museum of Art and Industry’ in 1863, today’s museum – with its unique collection of applied arts and as a first-class address for contemporary art – can boast an incomparable identity. Originally established as an exemplary source collection, today’s MAK Collection continues to stand for an extraordinary union of applied art, design, contemporary art and architecture.
1010 Vienna, Stubenring 5
Opening hours: Wednesday–Sunday 10 am–6 pm, Tuesday 10 am–10 pm (free admission from 6 pm)
Special Exhibition: handiCRAFT. Traditional Skills in the Digital Age
December 14, 2016 – April 9, 2017
The MAK exhibition handiCRAFT: Traditional Skills in the Digital Age reflects on the significance and status of handicraft as an integral component of material culture and cultural identity. In six sections, this comprehensive MAK exhibition encompasses handicraft from historical times to current European perspectives, examines how handicraft can help preserve natural resources, explores new developments on the interface to digital technologies, and presents masterpieces from a range of craft disciplines.
Currently the terms ‘handicraft’ and ‘handmade’ are used in an inflationary manner in advertising and lifestyle media. The Maker Movement and DIY culture are enormously successful, creating a worldwide hype. Globally operating luxury labels explicitly foreground handicraft as a mark of quality and distinction, in contrast to the reality of locally operating craftspeople struggling for recognition and a fair wage.
In the introductory exhibition section, ‘Past and Present’, a wide range of exhibits – from Hephaestus, the god of blacksmiths, to personal objects owned by the Hapsburgs, to the Chanel outfits of the 2014/15 Métiers d’Art Collection – discursively illustrate the social status of handicraft over the centuries.
Under the title ‘Perspectives’ the second exhibition section presents European initiatives and institutions active in the fields of apprenticeship and marketing, to include the Crafts Council and the Compagnons du Devoir.
The section ‘Materials and Tools’ presents a wide range of material samples and 99 work tools, mostly originating from the 16th and 17th centuries. A walk-through installation offers visitors the haptic experience of handling different samples of natural materials.
In a ‘Live Workshop’, the fourth exhibition section, a total of 20 craftspeople demonstrate their skills to the public daily.
The fifth exhibition section, ‘Quality and Excellence’, juxtaposes historical objects from the MAK collection with contemporary handicraft products from 18 European countries. Exhibits include furniture, wallpapers, tiles, carpets, clothing, hats, gloves, glasses, cutlery, and tableware made by 50 craftspeople.
The final exhibition section is devoted to the key factor of ‘Sustainability’. To raise consumer awareness of product biographies, six handcrafted products made in Vienna are presented together with comprehensive information on the materials used and the manufacturing process. This section is complemented by a research lab set up by the Vienna University of Economics and Business and a video interview with the sociologist Richard Sennett, whose book The Craftsman provided significant inspiration for the exhibition.
Museum of Modern Art
The Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK) is one of the most renowned museums for modern and contemporary art worldwide. Together with the Leopold Museum and the Kunsthalle Wien, the MUMOK building, a bold cube covered with grey basalt, is one of the main attractions of Vienna’s MuseumsQuartier, located in the baroque setting of Fischer von Erlach’s former Imperial stables. In addition to classical modernity, the collection is mainly comprised of significant works of Pop Art and Photorealism (Austrian Ludwig Foundation), Fluxus and Nouveau Réalisme (Hahn Collection), as well as Viennese Actionism. This body of works allows visitors to gain unique insights into recent history, its avant-garde tendencies, and its focus on reality and action. Other progressive movements, represented by major works of Conceptual Art, Minimal Art, Land Art, and Arte Povera, can also be viewed, and gain new topicality and poignancy in the context of installation and object art as well as more recent examples of media art and discourse.
1070 Vienna, Museumsplatz 1
Opening hours: Monday 2 pm–7 pm, Tuesday–Sunday 10 am–7 pm, Thursday 10 am–9 pm
Special Exhibition: Július Koller. One Man Anti Show
November 25, 2016 – April 17, 2017
Július Koller (1939–2007) is one of the most important Eastern European artists working since the 1960s, whose art had and has considerable international significance. This is the most comprehensive exhibition of the Slovak artist’s work to date, documenting his independent contribution to the neo-avantgarde and based on painstaking research into his art and archives.
Koller’s work developed in critical distance to the communist authorities and their official art, and it also questioned traditions in modernism and the conventions of the Western art business. Since the mid-1960s he designed Antihappenings and Antipictures, creating a playfully ironic oeuvre that combined a Dadaist spirit with radical-skeptical stance. Koller painted object-images in white latex and pictures of question marks that became the universal symbol of his critical view of everyday life and reality.
Koller saw tennis and table tennis as participatory art forms and here too he combined sport with political statement by demanding that the rules of the game and fair play be adhered to – as the basis of all social action. After the Prague Spring was put down, Koller began his U.F.O.naut series that challenged reality with ‘cultural situations’ and utopias of a new, cosmohumanistic culture and future.
Special Exhibition: Construction_Reflection
September 10, 2015 – April 24, 2016
In an exhibition entitled Construction_Reflection the collectors Gertraud and Dieter Bogner present a selection of works from their own collection that they donated to mumok in 2007 and that has since been continually expanded. With more than a hundred paintings, sculptures, and objects, and three hundred drawings, gouaches, prints, autographs, artists’ books, and archive materials, this is the largest single donation to the museum to date.
The Bogners bucked trends by focusing on the ‘contents’ of art as a key category in constructivist, geometrical-abstract, and conceptual art. In this exhibition, the interplays between forms and contents, or the politics of form as content, are presented in a number of different interrelated thematic sections. The key motifs are theoretical relations between painting and colour, the reflection of history and society, and relations between architecture, sculpture, and abstraction in the tradition of a critical modernism.
Construction_Reflection presents a dynamic and sensual and also analytically precise collection of installations, paintings, videos, photos, texts, and publications by Robert Adrian X, Hartmut Böhm, Heinz Gappmayr, Dan Graham, Thomas Kaminsky, Richard Paul Lohse, Dorit Margreiter, Dóra Maurer, François Morellet, museum in progress, Jorrit Tornquist, Peter Weibel, Heimo Zobernig, and many other artists.
OstLicht Gallery, Vienna’s new centre for contemporary photography, was opened on the premises of a former bread factory, Vienna’s latest, dynamically evolving cultural centre, in June 2012. The loft offers approximately 500 m² of exhibition space for group and solo exhibitions of contemporary photo art, featuring both national and international positions.
The publicly accessible library of Galerie OstLicht comprises a collection of more than 20,000 books and magazines on the art and technology of photography as well as a selection of photography magazines. Featuring also a bookshop and a bar, OstLicht intends to function as a meeting place and centre for everyone with an interest in photography.
Architect Gregor Eichinger designed the rooms of OstLicht, taking the historical industrial architecture into consideration.
1100 Vienna, Absberggasse 27
Opening hours: Wednesday–Saturday 1 pm–6 pm
The Association of Visual Artists Vienna Secession was founded in 1897 and presented its first exhibition in 1898, the same year the new Secession building was completed according to the designs of Joseph M. Olbrich. Today, the Secession is the world’s oldest independent gallery devoted entirely to exhibitions of contemporary art. One of the basic objectives of the Association is the presentation of current developments in Austrian and international art, as well as to cultivate openness for experimentation.
The Vienna Secession was adapted and renovated several times in the course of its hundred year history. The entrance hall was already being altered in 1901. In 1908, part of the ornamentation and the slogan ‘Der Zeit ihre Kunst. Der Kunst ihre Freiheit (For every time its art. For art its freedom)’ were removed. The building was damaged by bombings during World War II and set on fire by the retreating German army. During the reconstruction in 1963 the original décor was renewed and a second floor inserted in the entrance hall.
A total of about 20 exhibitions take place in the Vienna Secession (in the Main Hall, Gallery, Graphic Cabinet and Ver Sacrum Room) each year. All of the exhibitions are accompanied by a publication and often by parallel events, lectures, symposia, art discussions, etc. The world famous Beethoven Frieze by Gustav Klimt is permanently on show.
1010 Vienna, Friedrichstraße 12
Opening hours: Tuesday–Sunday 10 am–6 pm
Special Exhibition: Svenja Deininger. Echo of a mirror fragment
February 2 – March 26, 2017
With Svenja Deininger the Secession is presenting an artist who represents a younger generation of Austrian painters in its main exhibition space. Deininger, who was born in Vienna in 1974 first studied in Münster under conceptual artist Timm Ulrichs and later painting under Albert Oehlen in Düsseldorf. Her idiosyncratic pictorial composition on the one hand and, on the other, the specific way in which the painting is designed layer by layer is characteristic of her works, which balance between abstraction and a figuration that is – at least – hinted at. This method of working corresponds to her interest in suggesting spaciality on the flat canvas or asserting a certain materiality that is permanently poised between becoming concrete and remaining indefinite. Deininger regards painting as a process: she does not consider her pictures, on which she often works over long periods of time, to be self-contained entities. It is, rather, that the process of creating an image serves to stimulate reflection and acts as a mental continuation of a form or composition – the imagining of the future picture and how is located in a spatial context are thus essential elements of the artistic process. As if working on a text the artist elaborates and polishes the syntax of her art. She considers her works to be parts of a system that require their interrelations to be analysed whenever they encounter one another. She alternates large and small format pictures and by means of combining and positioning them in a space she creates a tension, which, together with her range of shapes, results in a ‘Deiningerian idiom’.
Special Exhibition: Angelika Loderer
February 2 – March 26, 2017
One might classify Angelika Loderer’s work as media reflexive sculptures in as far as the artist allows the characteristics of the material she uses and the work processes themselves to feed into the design process as fundamental parameters. Her sculptures are frequently made of cast metal or consist of secondary material from the area of metal casting – wax, for example, or special mould sand which, because of its high level of form stability, is particularly well-suited for casting. It is essential for the production of the mould but it leaves no traces on the finished product and so is invisible. Loderer elevates this auxiliary aid to her medium and builds fragile, temporary sculptures which, due to their character as mould sand, make allusions to metal while simultaneously setting up an exciting and paradoxical dialogue between the enduring nature of the one and the ephemerality of the other.
Angelika Loderer, born in 1984 in Feldbach, Styria, lives and works in Vienna.
The first large photo and camera gallery in Vienna was founded in 2001 through the private initiative of camera collectors and lovers of photography. WestLicht, as a centre of photography in Vienna, aims to show the relationship between photographic apparatus and the art of photography. The renowned architects Eichinger oder Knechtl furnished the fine and retiringly design for the loft which was a glass factory in the fifties. Before the modification it was used as a photo-studio. Specially designed cabinets and lighting system were created to emphasise minimalist space and give a focus to the importance of the exhibits, which comprise a permanent collection of 800 historic and technically important exhibits on loan from institutions and private collectors. The gallery shows exhibitions from the 19th century to the present time covering historical, national and international developments in the photographic medium. The photo museum is home to approximately 40,000 objects of various photographic techniques, ranging from plate photographs and glass transparencies to a wide variety of printing processes. It encompasses historic and classic photography as well as works of contemporary art with special focuses on daguerreotypes, early paper prints, historic travel photography, nude photography, editorial photography, photojournalism, Cuban photography and Viennese Actionism.
1070 Vienna, Westbahnstraße 40
Opening hours: Tuesday, Wednesday, Friday 2 pm–7 pm, Thursday 2 pm–9 pm, Saturday+Sunday 11 am–7 pm
Special Exhibition: Alfons Schilling. Beyond photography
February 14 – May 14, 2017
Moving and setting in motion – the rebellious experimental spirit that drove Alfons Schilling (1934–2013) from the Academy of Applied Arts in Vienna, where with Günter Brus he had paved the way for Actionism, to Paris and New York in 1962, was also evident during the artist’s long career in his photographic works. They push the medium well beyond its traditional boundaries and provide the missing link between Eadweard Muybridge’s 19th century movement studies and current notions of cyberspace.
Schilling’s investigation of lenticular photography added a dynamic dimension to seeing and merged several images into a single picture. Holograms and stereophotography turn pictures into a virtual space. Those who travel the three-dimensional world today with head-mounted displays are merely following a path that Schilling embarked on in the 1970s. The exhibition focuses for the first time on the visionary’s expanded photography, presenting it alongside selected vision machines, paintings and film experiments. The central thrust of his pioneering work is a critique of perception and the liberation of the act of seeing itself: “It’s not what’s on the picture – it’s what is behind it.”
The Museum of Contemporary Art
The 21er Haus was built in 1958 by the Austrian architect Karl Schwanzer (1918–1975) as a pavilion or temporary showroom for the Universal Exhibition in Brussels. In January 1958, the daily newspaper Die Presse described the exhibition hall originally designed for the Expo as “a virtually ideal foundation for a Museum of Modern Art”. Karl Schwanzer adapted the steel skeleton construction to the museum’s purposes: the ground floor was glazed, the courtyard was covered with a roof, all façades were substantially modified, and the whole structure was reinstalled in the Schweizer Garten. The new museum was opened on September 20, 1962. The building served as an exhibition hall for the Museum of Modern Art until its collection was moved to the Museum of Modern Art – Ludwig Foundation in Vienna’s new MuseumsQuartier in late 2001.
The 21er Haus was finally incorporated into the Belvedere in the early summer of 2002. It is to be understood as a place of artistic production, reception, and reflection. The focus is on Austrian art of the twentieth and twenty-first centuries and its embedding in an international context.
1030 Vienna, Arsenalstraße 1
Opening hours: Friday–Sunday 11 am–6 pm, Wednesday+Thursday 11 am–9 pm
Special Exhibition: Franz West. Artistclub
December 14, 2016 – April 23, 2017
The 21er Haus presents central works by the Austrian artist Franz West (1947–2012) in an exhibition entitled Franz West – ARTISTCLUB. The works on view were made by 36 different artists in collaboration with Franz West. The so-called ARTISTCLUB began as a participatory project started by West in 1999. Even though it did not achieve its desired form while the artist was alive, here it can be experienced as a curatorial idea in the sense of an interactive exhibition.
Viewer participation and the collaboration with other artists play a central role in West’s artistic practice. He continually challenged the relationship between the artist, the artistic work, and the recipient. The exhibition aims to reflect West’s concepts of art as a participatory act, the inclusion of various artistic positions via the process of collaboration, and the associated idea of authorship.