„The 1960ies: a fantastic modern“ in the MUSA Vienna reveals the spirit of a decade marked by radical upheaval, along the way the entire who’s who of Austrian art is displayed.

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Not only in politics, also in the domain of the arts the 1960ies were a decade of worldwide upheaval, the radical changes can also be retraced in the Austrian art scene of that period. At the beginning of the decade, art became in many cases more political and provocative in its statements, drawing on subjects in between the realities of the mundane and the artistic. The convergence of high culture and popular culture has its beginnings in these movements, followed by a fundamental challenge to the previous notion of art. more »

Aivazovsky is regarded as the master of seascapes. In his lifetime he dedicated himself to this motif as a metaphor for life, of desire as well as the struggle between nature and culture.

For the first time, the Bank Austria Kunstforum shows a retrospective of the artist outside of Russia and the Ukraine. There are fifty representative paintings on display, among them main works from the Aivazovsky Museum in Feodosia and the Russian Museum in Saint Petersburg that have never been shown abroad.

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As legend has it, he died in his studio with a brush in his hand, 111 years ago. In his exceptionally long life he actually left only this one painting unfinished, out of the estimated 6000 he painted. In his lifetime his works were already marvelled at, admired, venerated – and purchased. more »

An exhibition by Kucsko with generative Sound installation by Karlheinz ESSL in Bank Austria Kunstforum - tresor.

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Audiointerview with Karlheinz Essl in German

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Audiointerview with Kucsko in German

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The vault of the Bank Austria Kunstforum is a room full of references and allusions, with its own history and charisma, a chamber of wonders, whose architecture, with its safe deposits boxes inseparably built-in as a part of the concrete, its impenetrable reinforced concrete walls, their double protective layers and its access control corridor, makes it “ready made”, just waiting to be filled as a vessel for ideas. Does that make it “art”?

Jürgenssen explores the scope of female identity constructions and the gender roles within her sociocultural environment of the 1970ies. By means of drawings and photography she develops surreal and subversive counter-concepts and demonstrates that humor and poetry can very well go along with feminist strategies.

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In cooperation with Verbund Collection, the Bank Austria Kunstforum has the first posthumous retrospective of Birgit Jürgenssen on display, with 250 works of art of different media. In drawings, watercolors, Polaroids, photograms, objects, performances and videos, Jürgenssen explores the scope of female identity constructions and the gender roles in her immediate sociocultural environment. more »

Wien Energie Fernwärme adds selected works by Erwin Wurm to its collection.
Erwin Wurm is one of the most important contemporary Austrian artists; his works have been exhibited in eminent international art fairs.

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The “one minute sculptures” he has been producing since the late 1990ies belong to his most famous works. These “sculptures” exist for a minute and are performed either by the spectators or the artist himself, involving elements and actions that are often comical: Balancing objects on their heads or having pens stuck between the toes, in postures impossible to maintain for a longer time. The classical properties of a sculpture are thus presented in a new, grotesque and parodic manner. These ephemeral episodes are documented by video and photography. more »

As a former location of princely representation the province gallery, founded with the collections Czernin and Schönborn-Buchheim, illustrates an essential part of Salzburg’s history. CastYourArt talked to Dr. Roswitha Juffinger who has been head of the Residenzgalerie Salzburg for 25 years, about her ambitious plans.
This podcast was realised with the kind support of UNIQUA ArtCercles.

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The reopening of the Lange Galerie in September 2009 marked the beginning of the implementation of an ambitious museum concept, planned to be finished by 2013: To reconstitute a connection of the premises of the dome square within the interior of the adjacent buildings as well, and to create accessibility between the residence, the dome, the Lange Galerie, the Wallistrakt until the Franziskanerkirche – all with the purpose to reconstruct the unity of secular and ecclesiastic building, interiors and collections dissolved after the first world war, and to reconstitute the connection between the histories of building and of political domination: more »

CastYourArt presents

Opening: Wednesday, 24 November 2010 | 6.00 - 10.00 pm
Exhibition: 25 Nov 2010 - 08 Jan 2011 | Mo-Fr 12.00 - 18.00 Uhr
Location: Gumpendorfer Straße 55, 1060 Wien/Vienna

Whenever the artist Clemens Hollerer leaves his house, his camera is always with him. He uses it as his sketchbook. By now he disposes of his own archive of photographs serving as sources for his works. Frequently he takes pictures of construction sites. Construction sites are places of transformation and photos are snapshots, freezing a moment in time when everything around stays in movement.
In his works Clemens Hollerer transfers the captured moments into new spaces and locations. In doing so he is not copying but rather reinterpreting and recreating within new surroundings. References to spaces, structures, surfaces, colors, to the simplicity of objects, as well as to construction and disassembly as expression of change distinguish his works. Predominantly, he uses wood as material because it is human, has life of its own; it is not perfect and at the same time strong and fragile. Because his works are often designed for the specific location where they are shown, in the majority of cases they are disassembled at the end of the exhibition. Assembly and disassembly are part of the construction site and part of his art. Only few works remain, often they are photos recording the works of art, in a moment of time. (wh/ca)

Platz da! Consensus or conflict? The exhibition in the Architekturzentrum Wien has a definite answer: both

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The production of space is a central aspect of capitalist economy. The urbanist development has reached great importance within the dynamics of capital accumulation. Be it the privatization of areas, the new forms of mobile communication, the changes in urban space, or the disappearance of the café as agora of political life and debates, the confrontation of ideas in public space is getting increasingly scarce. In order to decode the new usages of public space, the exhibition “Platz da!” delivers an analysis of the relation public-private that is constitutive for the form and sense of public spaces in contemporary cities. more »

“The First Hit of PHANTOMAK: The Ear Problem. No Problem.”
Masquerade, demasquerade, illusion, delusion, covering, decovering, position, superposition, appearance, constellation. CastYourArt presents the first series of works of the PHANTOMAK project by TOMAK (painting, collage, grafic) and Alek Kawka (photography). Exhibition: September 14 until October 8, 2010 | Mo-Fr | 12p.m. – 5p.m. Opening: September 13 6p.m.

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PHANTOMAK:
For CastYourArt, TOMAK creates the sculpture series PHANTOMAK. 10 individual busts (PHANTOMAK, Hard Licker, Night Rider, …), TOMAK’s head, scanned in 3D, cut out by a milling robot of the Vienna University of Technology at the Institute of Art and Design, and processed by the artist. Objects at the limits of the possible. more »

Irene Andessner resuscitates the Tableau vivant with “Art Protectors” in the Kunsthistorisches Museum Vienna. The exhibition ‘The Gold Age. Dutch Group Portraits from the Amsterdams Historic Museum’ can be seen till 21.11.2010 in Kunsthistorisches Museum in Vienna.
This podcast was realised with the kind support of UNIQUA ArtCercles.

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Art Protectors is a two-piece tableau vivant Irene Andessner staged in the Kunsthistorisches Museum after the model of Dutch regent’s portraits. Two paintings of Jan de Brays of 1667 are the initial source. They show the administrative council of the leper-, pestilence and insane asylum, the directors and patrons administering and supporting it. In her contemporary reinterpretation of the subject, Andessner replaces the staff of both paintings by patrons of the arts: collectors, gallerists, a museum director, a curator. more »