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An exhibition of the Kunsthalle Wien in context of the VIENNA BIENNALE FOR CHANGE 2019 In any society, one fundamental field in which gender is expressed is technology. Technical skills and domains of expertise appear to be divided between the sexes, shaping masculinities and femininities. In the contemporary West, which pioneered industrialization, allowing it to dominate the worldwide production of material and intellectual goods, of commodities, services, and desires, technology is firmly coded as male. Men are viewed as having a natural affinity with technology, whereas women supposedly fear or dislike it. Men actively engage with machines, making and using them. Women, too, may rely on machines but are effectively regarded as passive beneficiaries of the inventive flame. The modernist association of technology with masculinity translates into gender-specific everyday experiences, historical narratives, employment practices, education, the design of new technologies and the distribution of power across a global society that sees technology as the driving force of progress. The exhibition analyses the material worlds we are creating through technology and technology’s role in shaping local and global configurations of power, forms of identity, and ways of living. It draws on radical feminist and techno-feminist theories from the 1970s until now that criticised […]

Everyday objects, language, recording systems, and cultural displacements play key roles in Nora Schultz’s art, as do the observation and critical activation of the exhibition space and the artist herself as the work’s producer. Recently, she has employed various cameras (GoPro, video drone, etc.) as automated “co-producers” whose contributions to the creative process she cannot fully control and which have their own internal dynamics and probe the artist/author’s changing position vis-à-vis its operation. In performative interactions, she often develops large installations that involve and take possession of the venue’s structure and sometimes project beyond its confines.

Caring and forms of communal life have been a consistent theme in the oeuvre of Rosalind Nashashibi, who examines them in light of the specific political, social, and historical conditions that shape them. The private meets the political; in interweaving the two, the artist sometimes emphasizes political concerns, as in the film Electrical Gaza, which earned her a nomination for the prestigious Turner Prize in 2017; private aspects are the focus in other works, like the widely acclaimed film Vivian’s Garden(2017), which was commissioned for documenta 14 (2017): a portrait of the lives and relationship of the artists Elisabeth Wild and Vivian Suter, a mother and daughter who live largely in seclusion in the Guatemalan rainforest.

The exhibition presents three of the circa twenty extant works by Jan van Eyck, offering a glimpse of the art produced during the reign of Duke Philipp the Good, when the Burgundian Low Countries witnessed a unique flowering of courtly and urban civilisation.

In his exhibition, Nikita Kadan (born 1982 in Kiev) explores current social and political developments in Ukraine and their foundations in Soviet communism. In his installations, objects, and pictures he shows the extent to which the emancipatory side of the communist avant-garde has been repressed today, in the context of both military conflict with Russia and neoliberal profiteering. He illustrates this with reference to the present state’s approach to monuments from the communist period, which have been left to decay or been destroyed. Kadan advocates a more complex view of the past and its utopias, particularly looking at the biographies of two key figures in the Ukrainian-Soviet avant-garde: Vasyl Yermilov (1894–1968) and Ivan Kavaleridze (1887–1978). While Yermilov is seen as a major protagonist in Ukrainian constructivism and the co-founder of an artists’ workshop comparable to the German Bauhaus, Kavaleridze was an innovator in film and the creator of monuments with both propaganda content and avant-garde form.

Since the mid-1990s Monica Bonvicini has been exploring political, social, and institutional situations and their impact on society, as well as on the conditions of artistic production. Her work is direct, merciless, political, and not without a dry sense of humor. In the process, she focuses on the relationship between architecture, gender roles, control mechanisms, and devices of power. Bonvicini has a multimedia approach, using drawing, sculpture, installation, video, and photography. For the Belvedere 21—originally the Austrian pavilion at the World’s Fair in Brussels in 1958—she has developed a site-specific and space-consuming installation that reacts radically to Karl Schwanzer’s architecture. As such, it reflects male-dominated power structures, which are expressed just as much in the constructed space as in art history, politics and language.

Stinking Dawn is a walk-in stage design that functions as a changing film setting. Monumental modular architecture sets the location for a film by Gelatin and Liam Gillick that will be shot in situ. Directed by Gillick and based on his script, Gelatin will play the leading roles in this experimental film that explores the limits of human tolerance in the face of oppression, political crises and excessive self-deception.

An exhibition of the Kunsthalle Wien in context of the VIENNA BIENNALE FOR CHANGE 2019 In any society, one fundamental field in which gender is expressed is technology. Technical skills and domains of expertise appear to be divided between the sexes, shaping masculinities and femininities.

An artistic exploration by Jeremias Altmann and Andreas Tanzer.

Sean Scully is known above all for his highly expressive abstract paintings of colorful stripes or rectangles. But it is an entirely new side of this artist that comes to light in a work series being given its first-ever presentation by the Albertina Museum. The series Eleuthera from the years 2015-2017 revolves around a very private subject: these 23 large-format oil paintings show Scully’s eight-year-old son Oisín playing at the beach on the island of Eleuthera in the Bahamas. This exhibition shows all of these oil paintings by Scully as well as smaller pastels, drawings, and photographic works.

With her installation entitled A Blazing World, created especially for KUNST HAUS WIEN, Claudia Märzendorfer opens up multiple perspectives on the polluting of the world’s oceans with plastic waste. With a central sculpture and her texts France and Plastiglomerate. Equal to a photograph, Modernity’s reservoir, the artist draws attention to the complexity of the situation.

In the exhibition UNCANNY VALUES: Artificial Intelligence & You, the MAK is exploring one of the most important subjects of the coming decades, one that has significant consequences for all areas of our lives: artificial intelligence (AI).

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