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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 […]

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.

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).

How can the digital revolution of our times be used for human beings as best as possible and how can we cope with predictable misdevelopments? Human by Machine presents various design projects by students and alumni of the University of Applied Arts Vienna, which were created in exchange with students, and teachers of the Academy of Fine Arts and Design, Bratislava.

Dorit Margreiter’s artistic interest is in the connections between visual systems and spatial structures and the consequences for our everyday lives and societies. The focus is on modern and contemporary architecture and forms of media representation. For her solo show at mumok Dorit Margreiter will transform the complete exhibition gallery into an artistic installation including the display and exhibition architecture, films, mobiles, and photographs.

Of all the art movements of the 1950s and 1960s, op art has hitherto received the least attention. Often it is denigrated as being too spectacular and superficial. This is a misconception—this art sharpens our awareness of the ambiguity of appearances and illustrates the impossibility of grasping “reality.” Under the title Vertigo, mumok presents a deceptive game of the senses, presenting a wide spectrum ranging from panel paintings, reliefs, and objects to installations and experiential spaces, to film and computer-generated art.

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