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For the KUNST HAUS WIEN, Austrian artist Rainer Prohaska has compiled an array of proposals for making Vienna’s Danube Canal directly accessible from the Museum’s inner courtyard. The Museum, like Vienna’s third municipal district as a whole, is separated from the water’s edge at the right end of the Danube Canal by the Weissgerberlände, a busy three-lane thoroughfare. His surveying of the local layout has resulted in the exhibition project entitled Ponte Est (bridge to the East) in the Museum’s inner courtyard. Here Rainer Prohaska has conceived a pedestrian bridge across the ‘Lände’ to the water’s edge. This tangible, walk-on architectural construct in the Museum’s inner courtyard is typical of the works of Rainer Prohaska in its structure and its resulting ‘repetitive’ assemblage. The elements function as viewing platforms that open up new vistas onto the nearby waterway and the façade of the KUNST HAUS WIEN. Rainer Prohaska’s artistic output is defined by a process-based approach situated between architecture and performance. He plans, builds, adapts, incorporates the unanticipated, remodels, communicates, cooks, builds on, builds up, and interacts. He is interested is how social structures and social contexts manifest themselves in architecture and space. And conversely, in how architectural structures, mobility […]

For the MAK’s 150th anniversary, designer Michael Embacher has given the Permanent Collection Carpets a new spatial concept that integrates an artistic intervention by Turkish artist Füsun Onur. This new presentation features the carpets of the MAK Collection as components of an intercultural dialog, as elements of exchange both within Asia and between Asia and Europe. Collection objects from the Ottoman and Safavid Empires are joined here by a selection of European pieces, and other objects from the arts-and-crafts sphere interrelate with the carpets from their respective regions of origin, serving to place them in a multilayered formal context and to underline their historical authenticity.

In February 2014 the MAK Permanent Collection Asia was opened with a design concept jointly developed with the Japanese artist Tadashi Kawamata. From the outset it was envisaged that Kawamata’s modular constructed room composition from 2014 would be redesigned after roughly two years. In line with a revised spatial concept by Kawamata, the position of the vitrine modules has been altered, and numerous objects from the MAK Asia Collection have been exchanged. Kawamata has “liberated” the artworks from their vitrines and opened up entirely new perspectives on the exhibits. The vitrines he designed, which reach all the way to the ceiling and are made of unpolished wood, have been rearranged to create a new experience of the space. Embedded in this new reinstallation, the curatorial view of the art and cultures of East Asia as well as the influence of Asian art on Europe also changed from 10 May 2016. The Asia Collection of the MAK is one of the important collections in Europe of art and applied arts from the Asian region. It has been compiled from public and private collections during a history lasting 150 years and offers a wide-ranging view of the art history of Asia.

Design / Arts and Crafts 1890-1938 MAK PERMANENT COLLECTION VIENNA 1900 Vibrant and manifold: VIENNA 1900 in a new light   The fascinatingly complex cultural epoch denoted by the term “Vienna 1900” has long been the stuff of legend. And the equally multifaceted and momentous output of this period’s artisans and designers is now the focus of a newly completed section of the MAK Permanent Collection.   At this presentation’s thematic core is the multifarious struggle to arrive at an Austrian, modern, bourgeois, and democratic style. Today, this chapter of design and arts and crafts history—subsumed under the terms of Secessionism and Jugendstil—serves like no other to underpin Austrian identity. But around 1900, the search for a suitable style reflected an identity crisis of the bourgeois class. The entirely contradictory results of this search were tied together by a central characteristic of the modern era: a pioneering desire for expressive individuality.   The MAK now invites visitors to engage in a multilayered examination of the “Vienna 1900” phenomenon that covers three rooms. This section of the Permanent Collection, which had gone unchanged since 1993, is the first to have been reconceived. The new presentation’s content was developed by Christian Witt-Dörring together with […]

Fall 2018 will see the first solo presentation of the Bolivian-American artist Donna Huanca, staged in the Lower Belvedere. Using sculpture, painting, sound, video, and live performance, she forges interplay between multisensory art, the Baroque architecture, and participants. 

Encore! For the fourth time, and for six consecutive evenings, the Blickle Kino will feature young film-makers and award-winning directors from Spain and Mexico – and admission is free. The cultural departments of the embassies from both countries have selected hidden cinematic gems from the Spanish-speaking realm that stand apart from more world-renowned film productions.

In the fall of 2018, Werner Feiersinger will stage a sculptural intervention at the lower level of the Belvedere 21. The Austrian sculptor is proficient at combining knowledge of design and architectural history with minimalist form language. The proximity of his sculptures with everyday objects and their metaphorical quality subvert their purported origins. 

The concept of freedom is constantly changing. This exhibition charts its psychological, cultural, religious, political and legal evolution against the backdrop of historical developments, to arrive at a contemporary understanding of what freedom means. Works by more than fifty artists shed light on this complex issue from various angles.

Are the banal objects of our consumerist world to be equated with the opulently arrayed fruits, blooms and other vanitas motifs familiar to us from the painterly still lifes of Old Masters? What is it that underpins our 400-year fascination with the genre? And why are contemporary artists rediscovering the still life for themselves in the medium of photography at this very precise moment in time? What do still lifes have to say to us today about our habits and our very own existence? With a selection of international and Austrian artists ranging from Jan Groover to Christopher Williams, Leo Kandl and Harun Farocki, the large theme-based photo graphy exhibition highlights the historical development strands that have led to today’s radical re-examination of the genre as a new field of experimentation for artistic expression. Above all, the exhibition featuresa younger generation of artists who are reflecting our very own ‘present’ in their photographs. They do so by precisely perceiving and meticulously examining the world of objects that surrounds us, with all its peculiarities, beauty, and ugliness. While some have chosen aggressively to combine highend consumer products with garbage and trash, others focus on things utterly over looked: worlds of objects […]

The exhibition Photo/Politics/Austria takes you on a photographic journey through Austrian history from 1918 to the present. This project is undertaken in cooperation with Photoinstitut Bonartes and shows around 100 works from the mumok photographs collection, and additional loans from national and international institutions. Photo/Politics/Austria is an attempt to visualize Austrian history of the last 100 years using selected photos or photo series that show special events or situations. These include a postcard series of the fire at the Palace of Justice (1927), Friedl Dicker‘s socially critical collages (1931), Ernst Haas‘s Heimkehrer(1947), and Seiichi Furuya’s State Border (1981/83), images that are just as much part of a panorama of a turbulent history as Kiki Kogelnik’s Vienna Street Pictures (1967) or a screenshot of Hans Krankl in Cordoba (1978). Film theorist Siegfried Kracauer compared the reality of the camera with reality as constructed through historical knowledge. Both media show the present as just one part of the whole. This exhibition Photo/Politics/Austria, designed by the artist Markus Schinwald, uses press photographs, interventions, newspaper cuttings, posters, and film stills as “head pictures” (Michael Diers), that complement and sharpen the “headlines” of the past.

At the Belvedere 21, the American artist Polly Apfelbaum reveals the relationship between six of her latest space-consuming installations for the first time. Her holistic composition comprising carpets handwoven in Mexico enters into a dialogue with the open, sunlit architecture of the building.

The exhibition 55 Dates invites visitors to explore 55 works selected from the mumok collection of around 10,000, in “blind dates” with art. These works do not present a classical perspective on art history but rather a diverse coexistence of ways of thinking, themes, and artistic media. The selection ranges from Paul Klee, Giacomo Balla, and Pablo Picasso to Andy Warhol, uniting very different approaches in one show, with Anna Artaker, Cosima von Bonin, Günter Brus, Friedl Dicker, VALIE EXPORT, Marta Hoepffner, Ed Paschke, and many more. This exhibition presents a mix of the known and the lesser known, with artists whose names and works have entered art history and others still to be discovered. The unconventional exhibition design by Austrian artist Hans Schabus will facilitate interpretations that go beyond the normal expectations of an overview of art of the twentieth and twenty-first centuries.

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