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The ALBERTINA Museum is devoting a comprehensive solo presentation to the works of photographer Manfred Willmann (*1952). In his series, Willmann captures scenes from his personal surroundings in Graz and southern Styria, scenes that break with clichés of idyllic rural life. His pictures reveal a very direct and subjective view characterized by his consistent use of the flash and focus on details. Willmann is also one of the first Austrian photographers who used color as a means of artistic expression. The ALBERTINA Museum is showing six large series from Manfred Willmann’s oeuvre, including the influential work groups Schwarz und Gold and Das Land.

ALBERTINA Contemporary Art presents art pieces from the second half of the 20th century until today. About 70 works, among others by Anselm Kiefer, Gerhard Richter, Gottfried Helnwein, Andy Warhol, Alex Katz and Robert Longo present the diversity of artistic positions after 1945. Key works of international movements illustrate the multifaceted artistic production, ranging from hyperrealism to abstraction, from color aesthetic to political themes, and illustrate the complex parallel movements of the past decades. New acquisitions from Michela Ghisetti and Xenia Hausner will be shown for the first time.

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 Monet, 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.

This presentation, as the second part of the celebratory exhibition to mark the Principality of Liechtenstein’s Tricentennial, is devoted to the Viennese watercolor from the Biedermeier era to realism. Nearly 100 of the most beautiful watercolors point to the vast knowledge underlying the princely collecting passion while providing a commensurately authoritative overview of the watercolor artistry of Rudolf von Alt and his time.

The ALBERTINA Museum is presenting a comprehensive selection of the most outstanding works from the Princely Collections under the title From Rubens to Makart. The museum is also devoting a simultaneous exhibition to the Viennese watercolor, an important and central category of works within the Princely Collections, in an exhibition entitled Rudolf von Alt and his Time. Well over 100 of the most important paintings and sculptures from the exquisite collection of this family, rich in tradition like few others in Europe, span an impressive range from the Early Renaissance in Italy to the Baroque period, from Viennese Biedermeier to the historicism of the Makart era. Iconic works such as Antico’s Bust of Marcus Aurelius, which was acquired for the Princely Collections just recently, the life-size bronze sculptures of Adrian de Vries, and Peter Paul Rubens’s famous Venus in Front of the Mirror are the focus of an exhibition that amounts to a veritable promenade through five centuries of art history.

Talk of living out in the countryside inevitably conjures up all sorts of images before our mind’s eye. Descriptions range from the romanticism of farming life to the dreariness of life in the provinces, shaped as much by personal experiences as by anecdotes and depictions consumed via the media – the image of village life and the reality of it at times worlds apart. In a photographic and artistic analysis of what life in the countryside is like today, the exhibition Über Leben am Land at the KUNST HAUS WIEN focuses on Europe and the US.

This exhibition springs from The House of Dust, a seminal yet under-recognized late 1960s work by Fluxus artist Alison Knowles. Originally called The Play House, this intermedia piece serves as an entry point into contemporary investigation of the relationships between architecture, technology, and performance. In a text titled Shelter or Playground, R.M. Schindler described his house as a “playground” that “grows with its inhabitants” and where “life will regain its fluidity.” Today, the house open its doors to contemporary artists who have been invited to produce site-specific works, responding to both architectures by Schindler and Knowles and translating them into multiple performative forms.

An exhibition by the MAK, Vienna in dialogue with the collector Uli Sigg and in cooperation with the Kunstmuseum Bern and the Zentrum Paul Klee With CHINESE WHISPERS: Recent Art from the Sigg Collection a comprehensive exhibition on Chinese contemporary art is coming to Vienna. Uli Sigg has been following the development of contemporary art in China since the late 1970s. In the mid-1990s, he started putting together the world’s most significant and representative collection of Chinese art. A business journalist, entrepreneur, and Swiss ambassador to China, North Korea, and Mongolia (1995–1998), he had the chance to take a look behind the scenes of the social and economic developments dedicated to both tradition and the future, as China’s vision of a new Silk Road shows. Cultural and sociopolitical values form the frame of reference of the MAK exhibition. The museum creates a discursive platform by contrasting works from the Sigg Collection with objects from the MAK Collection. This interplay highlights China’s contemporary art production as well as its aesthetic or iconographic references. The historical object becomes a vision machine for the contemporary.

Ornament as Promise was the premise of the Pattern and Decoration movement in the United States (1975–1985). In this exhibition, mumok presents the rich collection of works from this movement of Peter and Irene Ludwig, in the largest presentation of Pattern and Decoration in German-speaking Europe since the 1980s. With oriental-style mosaics, monumental textile collages, paintings, installations, and performances, in the 1970s committed feminist artists like Miriam Schapiro, Joyce Kozloff, Valerie Jaudon, and Robert Kushner aimed to bring color, formal diversity, and emotion back into art. Decoration played a key role, with its connotations of the techniques of artisanship. Various ornamental traditions, from the Islamic world to North American Indians to Art Deco, were incorporated in their works, opening up a view beyond geographical and historical boundaries. A proximity to folk art was sought as a deliberate counter to the “purism” of the art of the 1960s.

What are young artists who live and work in Vienna interested in? What subjects are in the air, what strategies do they use? The exhibition On the New. Young Scenes in Vienna is conceived as a stroll through local art communities: it brings together 18 individual artistic approaches as well as 12 independent exhibition spaces. In this show, specifically produced works are juxtaposed with specially arranged exhibitions within the exhibition; artistic and curatorial formats combine to create a dynamic entity that will change over the course of the show.

The Belvedere 21 is devoting a large solo show to Christian Ludwig Attersee (* 1940) with a focus on his early work. Featuring as yet little-known works, the show reveals how Attersee actively shaped and participated in the revolution in artistic production from the 1960s.

IN-SIGHT has set its focus on the 1809 figural group sculpture entitled Mars and Venus with Cupid, by Upper Austrian sculptor Leopold Kiesling. The exhibition reveals the work’s political topicality against the backdrop of the marriage of Napoleon I and the daughter of Emperor Francis II (I), Marie Louise.

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