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Koloman Moser’s oeuvre continues to exert a lasting fascination. As a universal artist Moser masters the disciplines of painting, graphic art, arts and crafts, and interior design as well as fashion and scenography. To an impressive extent Moser embodies the Gesamtkunstwerk or total work of art as advocated by the Vienna Secession. He is considered one of the most important pioneers of Viennese Modernism, one of the most influential artists of Viennese Art Nouveau, and is—alongside Gustav Klimt and Josef Hoffmann—one of the leading artists of Vienna’s artistic renewal. To commemorate the centennial of his death, the MAK is honoring Koloman Moser (1868–1918) with one of the most comprehensive solo shows to date on his great and visionary work. The exhibition delves deep into the oeuvre of this exceptional artist and demonstrates just how instrumental Moser was in influencing the search for a new, modern design vocabulary in fin-de-siècle Vienna.  This is the first time that many of the 500 or so exhibits, largely taken from the MAK Collection, have been made accessible to the public. Structured chronologically and divided into five chapters, the MAK exhibition recalls every step of Moser’s unusual career: from painter to all-round designer and finally […]

mumok is presenting the first comprehensive retrospective of the work of the Austrian artist Ernst Caramelle. The exhibition includes all the phases of his work from 1974 to the present and attractively combines the artist’s various media and conceptual approaches. This exhibition does not focus entirely on chronology, but rather on the connections between works in different media (photos, videos, and reproductions of media images), mural painting, the so-called Gesso Pieces and Sun Pieces, drawings, watercolors, and prints. Caramelle’s work combines both abstraction and emblematic figuration—up to the point of floral formlessness. Formats vary from miniatures to large-scale wall paintings. Thematically, these works in many different media explore perception, the nature of space, media representation, artistic productivity, and the role of the artist and his embroilment in the market and with the museum. Ernst Caramelle will paint two new murals for mumok, with both thematic and formal links to the works in the exhibition.

Today, hardly anyone knows who they were, even though they made a part of art history: artists such as Elena Luksch-Makowsky, Helene Funke, and Erika Giovanna Klien contributed significantly to Viennese Modernism and artistic trends that manifested after the First World War. To commemorate these artists, their art, and their emancipatory achievements, a long overdue retrospective has now been staged in the Lower Belvedere.

Nicolas Jasmin’s artistic approach can be understood as pictorial archaeology. Jasmin has developed a method that combines painting with laser technology. A laser beam works its way through layers of paint that have been applied to hessian and exposes them to the primer, thereby revealing traces of the formation process. Jasmin also practises pictorial archaeology in terms of his subjects: he finds them in art history, in pop and everyday culture – in short: in our collective pictorial memory – and recontextualises them. Wide-ranging series of works thus arise in which Jasmin repeatedly explores simple gestures and forms. In the process, he is guided by both prescribed rules and happenstance, always questing after the unconscious and enigmatic aspects of his pictures.

“[…] I think it may be time for at least one painting to be hanging at the St.-G. [Staatsgalerie].” Egon Schiele to his friend and patron Arthur Roessler, 21 June 1916 His wish would be fulfilled as there are now a total of twenty works by Egon Schiele in the Belvedere’s collection, including two permanent loans. 2018 is the centenary of his death. Marking this occasion, an in-depth exhibition considers all of the artist’s works that are – or were – in the Belvedere’s collection. It traces the genesis of a collection and also presents new findings about Schiele’s works. Highlights include Eduard Kosmack, Portrait of Wally Neuzil, Facade of a House, Death and Maiden, Embrace, and Four Trees. Curator Kerstin Jesse answers questions about the works’ acquisition and motifs, shedding light, for example, on the people portrayed in the images. The show is enriched by many loans, especially preliminary studies and sketches related to the works at the Belvedere. Preparations for the exhibition included scientific analyses resulting in new findings about the artist’s painting technique and working methods and these will also be presented for the first time. In addition, it features a selection of papers and documents from the archives, some which have never […]

With a selection of works from our collection, this exhibition presents different lines of development in painting from the 1950s to the 1970s. It includes works by Josef Albers, Helen Frankenthaler, Roland Goeschl, Ellsworth Kelly, Richard Kriesche, Karel Malich, Agnes Martin, Kenneth Noland, Ad Reinhardt, Helga Philipp, and Zdeněk Sýkora. The 1950s saw a radical shift and break with tradition in the fundamentals of painting in favor of new media-based forms of art. Key impulses came from minimal art and conceptual art. Their sober principles are reflected in abstract and geometrical painting with its formally reduced compositions and its rejection of narrative and illusionist representation. At the same time, painting explored its own relationship to space and to perception. In Eastern Europe from the 1960s there was increased reception of constructivist modernism, as a counter to socialist realism and in the course of post-Stalinist liberalization. Analytical trends are seen in contemporary painting in Austria as a sign of its international intentions. Curated by Rainer Fuchs

The Kunsthalle Wien Prize 2018 goes to two artists who hail from a cultural sphere that has been riven by a sharp political divide since the end of the Chinese Civil war in 1949: from the People’s Republic of China and the island nation of Taiwan (officially known as the “Republic of China”). The two honorees agreed on the title Keep me close to you for their diverse explorations of current as well as historic forms of the transmission of immaterial goods across both countries’ respective political and ideological boundaries.   Repro: Hui Ye, Quick Code Service, Videostill, 2017/18, Courtesy the artist

In a sketch for a film, Michelangelo Antonioni notes: “The Antarctic glaciers are moving in our direction at a rate of three millimeters per year. Calculate when they’ll reach us. Anticipate, in a film, what will happen.” Metaphorically speaking, to feel cold means to feel deeply alienated. Alienation was already a dominant concern for sociologists around 1900: the alienation of man from society through individualization, alienation from nature through urbanization, alienation from work through mechanization. For philosophers like Theodor W. Adorno, alienation thus turns into a key concept in terms of the role art plays in and for society: Without alienation there is no art, and ultimately it is only art that prevents total alienation. Repro: Installation view: Antarctica. An Exhibition on Alienation, Kunsthalle Wien 2018, Photo: Jorit Aust

The Estonian artist Kris Lemsalu creates complex sculptures, installations, and performances that fuse the animal kingdom with humankind, nature with the artificial, beauty with repulsion, lightness with gravity, life with death. She revives traditional techniques and methods to combine animal bodies and porcelain objects with found (natural) materials such as furs, leather, seashells, wool, or paper in theatrical installations that whisk us off into a world of the fantastic imagination. Repro: Kris Lemsalu, Keys Open Doors, exhibition view Secession 2018, photo: Maximilian Anelli-Monti, Courtesy of the artist and Temnikova & Kasela Gallery

Philipp Timischl’s expansive multimedia installations combine personal notes from the buzz of everyday life with found and self-produced materials to build narrative structures. Balancing between documentation and fiction, between the private and public spheres, they play with intimacy and self- reference. Major themes in his art include the lasting influence of our roots, exclusion, and queerness in relation to social classes as well as the power dynamics between art, artist, and audience. Repro: Philipp Timischl, Artworks For All Age Groups, exhibition view Secession 2018, photo: Maximilian Anelli-Monti, Courtesy of the artist and Galerie Emanuel Layr

In more than sixty years, Ed Ruscha has built an oeuvre encompassing conceptual photographs, paintings, drawings, artist’s books, prints, and films that chronicle the development of the American West and of Los Angeles in particular in a singular artistic idiom.   Repro nahoře: Pohled do výstavy, Ed Ruscha, OUR FLAG (reverse), 2018, exhibition view Secession 2018, photo: Sophie Thun, Courtesy of the artist and Gagosian

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