31 Nadcházející události

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The exhibition shows how these guidelines relate to twelve specific objects. This opens up a discursive space for visitors that reveals diverse and surprising facets to the question of the “colonial object” and its future. Simple answers are not to be expected, but all the more impulses for reflection and debate.

The Brazilian rainforest is a contested cultural landscape, today more than ever. In 1998, the German photographer Andrea Altemüller travelled to Brazil, where she met people who transform raw materials from the rain forest in huge variety of ways and turned this into the two photo series Earth from my river and Deforestation of the rainforest.  The exhibition Metamorphosis. Brazil 1998 is the first time these series of photos are shown side by side.

Thirty faces, lit by the beauty of spiritual communication, of prayer, of meditation. Intimate photographic portraits of people of different faiths, each of them in the process of connecting their innermost self with something else, maybe outside of themselves but still a fundamental part of the core of their humanity.  

Warhol bis Richter presents artworks created from the second half of the 20th century to the present. Around 80 works by artists including Anselm Kiefer, Gerhard Richter, Gottfried Helnwein, Andy Warhol, Alex Katz, and Maria Lassnig represent the broad diversity of post-1945 artistic stances.

To commemorate Thonet’s 200th anniversary, the MAK is presenting a major exhibition on modern furniture, in which the signature bentwood furniture of the world famous company is placed in the context of contemporary technological, typological, aesthetic, and historical developments. Thonet’s bentwood chairs are compared with chairs made of tubular steel and plastic as well as with classic office chairs and avant-garde furniture experiments.

Andreas Fogarasi’s art focuses on points of contact between visual culture—fine art, design, architecture—and social reality. What do society, politics, or history “look like”? Where and how do the basic parameters of our communities become apparent in the thoroughly human-made settings of our everyday lives? The city with its manifold surfaces is a central object of Fogarasi’s observations. Scrutinizing its ever-changing fabric, he analyses the emergence and visible expression of political, economic, cultural, and sociological deep structures.

At first something disappears. The exhibition starts in the staircase to the Kabinett with a colour application that will be overlooked. The dark grey mountings of the handrails – now there are two for security purposes – disappear in the colour of the wall. They seem to hang in the air. Almost as if I could throw them towards you.

In the Secession, the San Francisco-based artist presents a selection of 25 sculptures and drawings from recent years. For the past six decades or so, Ron Nagle has been pursuing parallel careers as a sculptor and musician. His small-format ceramic sculptures are simultaneously miniature landscapes, abstract compositions, thoughts turned into form, and visual jokes – Nagle’s humor and his penchant for puns and wordplay find expression not only in his song texts, but also in the titles of his sculptures. Thus the artist turns phrases such as “finishing touch” into titles such as “Finishing Touchéz” – although Nagle always emphasizes that his titles bear no relationship, in terms of content, to his objects, and should not be regarded as keys to the understanding of his works.  

Shit Moms is the title both of Tala Madani’s exhibition at Secession, her first solo show in Austria, and a new body of work. She deals here with concepts of domestic life and, more specifically, the idea(l)s and (corpo)realities of motherhood. While the title refers to the colloquial term for women who in some way fail their job or role as a mother, it also literally designates her approach to the theme: smeared, somewhat shapeless female bodies appear as mother figures made of excrement.

The Albertina houses one of Europe’s most important compilations of Modernist art in the form of the Batliner Collection. Its permanent display starts off with such artists of Impressionism and Post-Impressionism as Degas, Cézanne, Toulouse-Lautrec, and Gauguin. Further highlights include examples of German Expressionism, with the groups of Brücke and Der Blaue Reiter, and the art of New Objectivity, with works by Wacker, Sedlacek, and Hofer. An in-depth focus on Austrian art comprises works by Kokoschka and paintings by Egger-Lienz. The great diversity of the Russian avant-garde is represented by paintings by Goncharova, Malevich, and Chagall. The presentation is topped off by numerous chefs-d’oeuvre by Picasso, ranging from his early Cubist pictures and works from his mature period of the 1940s to superb prints that have not yet been exhibited and paintings from his experimental late period.

In 1969, the furniture exhibition Sitzen 69 [Seating 69] took place in the Austrian Museum of Applied Arts (today’s MAK) in which a comprehensive selection of dignified “joiner’s chairs” from Scandinavia, Italy, Germany, and Austria was presented. However, the many colorful and trendy seats that today seem so characteristic of this epoch, were missing: The exhibition had made a last heroic attempt to reply to an increasingly pronounced consumer and throwaway society with traditional of high-quality, artisanal furniture.

10 Galerie

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