16.—30. November 2015

MO—FR 11:00 am—8:00 pm; SA+SU 12:00 am—6:00 pm

16. 11. 2015, 5:00 pm

Mit Blick auf den schnellen Wandel unserer Zeit, auf Internet und Neue Medien versammelt die Ausstellung Werke von acht Vertretern der jüngeren US-amerikanischen Künstlergeneration. Als Digital Natives mit Bezug zum Post-Pop und Postminimalismus aufgewachsen, zeigen sie ihre Vorstellungen von Installation, Fotografie und Videokunst. Sie alle wenden – in unterschiedlicher künstlerischer Form – digitale Technologien an der Schwelle zur neuen Medienkunst an.

Petra Cortright (* 1986)
Luis Gispert (* 1972)
Alex Ito (* 1991)
Ken Okiishi (* 1978)
Timur Si-Qin (* 1984)
Carter Mull (* 1977)
Ryan Trecartin (* 1981)
Kaari Upson (* 1972)

Curated by Cornelis van Almsick

Organisation by Irene Gludowacz

Franz-Josefs-Kai 3, 1010 Vienna

KubaParis – Zeitschrift für junge Kunst
Ö1 Kultur
artnet news




Please make sure to always use the photocredits!


LIFTING THE CURTAIN. Central European Architectural Networks 

im Rahmen des 50-Jahr-Jubiläums der Österreichischen Gesellschaft für Architektur (ÖGFA)
9. April–5. May 2015
8. 4. 2015, 7 pm

The Exhibition Lifting the Curtain was shown in 2014 as a collateral event of the Venice Architecture Biennale. It was initiated by architecture network TRACE and organized by the Polish Modern Art Foundation (PMAF) as a joint initiative of six institutions based in Poland, Hungary, Czech Republic, Croatia and Austria. Vienna is the travelling exhibition's first stop after Venice, and the exhibition run coincides with ÖGFA’s fiftieth anniversary.

Lifting the Curtain investigates the role of Central European architecture over the past century by searching for alternative perspectives to expanding and revising existing narratives – from the beginning of the 20th century to the adaptations in the post-war period, and its reflection in the post-socialist condition of the region. Lively architectural culture and intense transnational collaborations in this part of Europe are still largely absent from both the “Western” and local architectural discourses. Although the transformative stories of modernity are often results of crossing national borders, disciplinary confines or institutional boundaries, they do not fit easily in the current narratives of universal modernism, its national variants and peripheries.

In the exhibition, the stories from across the borders of Austria, Hungary, Poland, former Czechoslovakia (nowadays Czech Republic and Slovakia), Slovenia, Croatia, Serbia, Bosnia and Herzegovina, Montenegro and Macedonia (which succeeded former Yugoslavia) are investigated, making clear that the ideas, forms and relationships originating in Central Europe have been widely transferred and can serve as a key to understanding modernization in different parts of the world. The show not only focuses on the key transitions and projects that formed modernity in Central Europe, but also reviews peripheral cases showing the local reception and development of global modernity.

It is not an exhibition about individual architects and masterpieces but about the ways in which architectural cultures of Central Europe evolved in time. Tracing an international network of people, ideas, institutions, technical solutions, legislation and encounters allows to fill in the gaps of current historiographies and to better understand the phenomenon of modernity and modernization. The exhibition shows 35 significant cases filed in six groups – Experiments, Collectives, Transfers, Encounters, Research and Publics; these suggest clues to explaining how Central European architectural culture arose as a consequence of events or knowledge exchanges that have eluded both traditional historiography and the acknowledged role played by individuals or offices.

As much as rediscovering one’s own history, the project attempts to revive and foster currently existing networks and active architectural knowledge production centers in Central Europe. Lifting the Curtain – of the Cold War, of national borders and that of disciplinary divisions – is on the way.

The project Lifting the Curtain. Central European Architectural Networks was initiated by TRACE – Central European Architectural Research Think-tank, organized by Polish Modern Art Foundation (PMAF), and curated by Sarmen Beglarian (Polish Modern Art Foundation, Warsaw), Piotr Bujas (TRACE), Igor Kovačević (CCEA, Prague), Iris Meder (ÖGFA, Vienna), Maroje Mrduljaš (Platforma 9,81, Zagreb/Split) and Samu Szemerey (KÉK, Budapest).

Exhibition Design: Małgorzata Kuciewicz, Monika Konrad, Simone de Iacobis
Graphic Design: Jakub Jezierski
Organization Vienna: Iris Meder, Gabriele Ruff

Along with the exhibition, müry salzmann Verlag Salzburg publishes a catalogue in German with abstracts in English.
Editors: Iris Meder, Gabriele Ruff, Suzanne Kříženecký, Azra Charbonnier with the curating organisations.
Graphic Design: Jakub Jezierski.

With the support of FRANZ JOSEFS KAI 3, AIL (Angewandte Innovation Lab) of Universität für angewandte Kunst, Bundeskanzleramt Österreich / Kunstsektion. Österreichisches Bundesministerium für Europa, Integration und Äußeres and Kulturabteilung der Stadt Wien, Wissenschafts- und Forschungsförderung.


Einladung pdf

Franz-Josefs-Kai 3, 1010 Wien

8. 4. 2015, 19 Uhr

9. April bis 5. Mai 2015

Mo–Fr 11–20 Uhr, Sa 11–18 Uhr

Fr., 10. 4. 2015, 16 Uhr

Podiumsdiskussion Architekturnetzwerke in Mitteleuropa
Do., 23. 3. 2015, 18.00 Uhr
In Zusammenarbeit mit dem Institut für Architektur der Universität für angewandte Kunst und dem Angewandte Innovation Lab geht die ÖGFA der Frage nach, welchen Stellenwert Architekturnetzwerke in Mitteleuropa im Verlauf des 20. Jahrhunderts hatten, gegenwärtig haben und in Zukunft haben werden.
Einführung: Matthias Boeckl
Moderation: Iris Meder
Podium: Marie-Therese Harnoncourt, Friedrich Kurrent, Kristina Schinegger, Jan Tabor



January 17—February 15, 2015

MO–FR 11:00 am—08:00 pm

Friday, January 16, 7:00 pm

WE 07:00—09:00 pm and SA 05:00—07:00 pm
or after appointment


Saturday, February 15, 5:00 pm

Andreas Duscha
In Cooperation with Fink & Kotzian Weinbau
feat. der schweizer
ELSEWHERE-finissage pdf

more dates to be announced!


daily lazy
derstandard pdf
artmagazine pdf
wienerzeitung pdf
falter pdf

I have been here before, but when or how I cannot tell *

Any attempt to describe the “insularity” of the island often results in the totality of a clichéd cultural image. Once freed from this physical localization however, the island then serves as a state of projection: its very isolation causes uncertainty about reality, manifesting in the temporary confusion between desire and realness. As an imagined isle, it appears archaic, anarchic and becomes the assertion of one's own autarky in an increasingly monopolizing world. At the same time, the island as a timeless utopia operates as a site for the criticism of civilization and holds the potential for renewal alongside of the risk of withdrawal or even the collapse of humanity. Defined by this polarity, the island by its very nature must refer to an other, a “mainland”, be it real or imagined: what is insular then becomes a paradigm of openness, pluralism and the relational idea of an elsewhere.

The group exhibition ELSEWHERE. Observations on Islands includes work by international artists spanning multiple generations. The exhibition is an exposé of studies on insularity and the varied manifestations conceived of the cultural island imago. As an initial, subjective observation, it proposes a heterogeneous, but complexly interwoven synopsis of possible islands.

Julieta Aranda (MEX)
Tacita Dean (UK)
Edith Dekyndt (BE)
Andreas Duscha (DE)
Ane Mette Hol (NO) 

Rodney Graham (CAN)
Sven Johne (DE)
Adrien Missika (FR)
Thomas Mulcaire (ZA)

Christodoulos Panayiotou (CY)
Björn Segschneider (DE)
Christoph Weber (AT) 

Seth Weiner (USA)

Curated by Marlies Wirth

Concept: Marlies Wirth and Andreas Duscha

The poster (ed. 75) was created by the artist Andreas Duscha on the occasion of the exhibition. The printing technique – cyanotype and screen print – makes every work a unique item and thus reflects on the theme of the show through form and content. 

Graphic Design: Jürgen Bauer

* I have been here before,

But when or how I cannot tell:

I know the grass beyond the door,

The sweet keen smell,

The sighing sound,
the lights around the 

from: Dante Gabriel Rossetti

as quoted by Jorge Luis Borges in the prologue of The Invention of Morel (1940) by Adolfo Bioy Casares

Special Thanks to


FRANZ JOSEFS KAI 3 www.franzjosefskai3.com

Foto Leutner www.fotoleutner.at

Viennaprint www.viennaprint.at

AIL – Angewandte Innovation Laboratory www.ailab.at

BAWAG P.S.K. Contemporary www.bawagpsk.com

Kunsttrans www.kunsttrans.com

Weingut Bründlmayer www.bruendlmayer.com

Wittmann www.wittmann.at

Mexican Embassy in Austria http://embamex.sre.gob.mx/austria

and to all Lenders

Friedrich Christian Flick Collection, Berlin

Private Collections, Berlin 

Private Collection, Brussels