Marina Pinsky examines the ways in which images can be read as material, spatial, and ideological models of the world. Her work July 15th, 2015 presented in the exhibition Genossin Sonne, can be interpreted as an embodiment of time.
Huda Takriti presents a work at Brunnenpassage as part of the exhibition Genossin Sonne. The new commission highlights the importance of women who fight against oppressive regimes in their struggle for freedom for themselves and society.
In the exhibition JAZZ., Oscar Murillo’s large-scale black canvases are suspended from the ceiling to create an almost labyrinthine structure, they carefully shape the space, allowing for intimate encounters with his abstract paintings.
Rene Matić’s contributions to the exhibition JAZZ. take Vienna’s reaction and “outrage” to Josephine Baker’s appearance in the city in 1928 as a starting point.
Claudia Lomoschitz combines video, archival images, performance, and text to explore queer-feminist and collective practices. For the exhibition Darker, Lighter, Puffy, Flat, she developed the video work LACTANS, which deals with art-historical representations of breastfeeding.
In the exhibition Darker, Lighter, Puffy, Flat, Dorottya Vékony presents a collage of bodies and addresses socially undesirable and deliberately ignored aspects such as infertility, miscarriages, and abortion.
Curator Andrea Popelka guides through the exhibition Denise Ferreira da Silva & Arjuna Neuman. Ancestral Clouds Ancestral Claims. It is centered around a film dealing with the European colonial relation to the Earth in the history of neoliberalism.
Curator Laura Amann guides you through the exhibition Darker, Lighter, Puffy, Flat. The group show questions why we are still so obsessed, offended, and scandalized by the view of naked breasts and deals with different depictions of breasts in art history, but also with related current topics.
Sign language interpreter Eva Böhm and art educator Martin Walkner guide through the exhibition Darker, Lighter, Puffy, Flat.
Mariya Vasilyeva questions identity patterns and gendered power dynamics in her digital collages, video installations and performances. She often uses her own body as a site of digital manipulation, e.g. in her video installation ALTAR 2.0 shown at the exhibition Darker, Lighter, Puffy, Flat.
Toni Schmale‘s sculptures made of steel, concrete or rubber are often reminiscent of training or fitness equipment – as are the two works in the exhibition Darker, Lighter, Puffy, Flat. However, they are non-functional and can be understood as a critique of the existing power structures in bodybuilding and ideas of the perfect body.
In her works, Marianne Vlaschits blurs the boundaries between the human and the cosmic, raising urgent questions about our relationship with the environment and our role in overcoming the ecological crises of our time. In the exhibition Darker, Lighter, Puffy, Flat she shows a painting of an imaginary, distant world.
Artist Maja Smrekar challenges established notions of social structures, domesticity, anthropocentrism, family and motherhood while speculating about possibilities for cohabitation between humans and nonhumans. For our exhibition Darker, Lighter, Puffy, Flat she created a site-specific installation
Mira Gakjina is the director of the Museum of Contemporary Art (MoCA) Skopje, which was founded through a great act of international solidarity. In 1963, Skopje was massively destroyed by an earthquake, many artists donated works and the Skopje Solidarity Collection grew quickly.
For the exhibition No Feeling Is Final. The Skopje Solidarity Collection, Elfie Semotan captured the unique character of Skopje in a photographic series. Her pictures portray Skopje’s cultural diversity – from the Ottoman Old Bazaar to the modernist reconstruction of the city after the 1963 earthquake or, as part of the Skopje 2014 project, the crude attempt to rebuild Skopje as the classicist city it never was.
The artists Denise Ferreira da Silva and Arjuna Neuman talk about their exhibition and eponymous film Ancestral Clouds Ancestral Claims. Their work traverses and interconnects different times and places to reveal the planetary scope and historical depth of pressing geopolitical issues.
Eva Böhm and Martin Walkner guide through the exhibition No Feeling Is Final. The Skopje Solidarity Collection.
Siniša Ilić proposes a recontextualization of the city of Skopje in his spatial installation titled Filigran. His work connects eight abstract sculptural objects from MoCA Skopje’s collection with his own drawings, collages, and moving images, placing them on platforms of varying heights.
Lama El Khatib and Sam Nimmrichter talk to the artists Denise Ferreira da Silva & Arjuna Neuman about their exhibition Ancestral Clouds Ancestral Claims. Defying universalist norms of thought established by the European Enlightenment, Neuman and da Silva counter the linearity of history and the separation of space to interrogate the presence of colonialism now, here, with us.
Gülsün Karamustafa exhibits her painting Window and the sculptural installation The Monument and the Child. Together with a small selection of works from the MoCA Skopje, which all came from a private donation, they are presented in an imaginary family room. Watch the video to learn more about her selection.
In their spatial installation All Things Flowing, Yane Calovski and Hristina Ivanoska introduce a new way of looking at the history of MoCA Skopje. For their work, they studied the architectural designs for the construction of the museum. They developed a motorized sculptural installation and a large-scale typographic mural in dialogue with works from the MoCA Skopje collection by two Macedonian artists: the painter Dushan Perchinkov and the sculptor Aneta Svetieva.
Alexandru Cosarca is a tireless protagonist in the Viennese performance scene who, among other things, initiated the collective format WERISTdICHTER? in 2017. As a host, he brings together artists to negotiate queerness, gender roles, exclusions, and longings in a joyful, yet all the while political way.
His merchandising booth in the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022 brings community-building into the exhibition space and is a tribute to the 106 contributing artists.
In the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022, Gleb Amankulov shows a series of temporary assemblies referring to the precarious conditions of art production. In an critically engagement with the respective exhibition site, he makes objects from found, bought and furnished elements, which after their temporary display return to the market or to their respective owners to reclaim their lives as domestic objects.
For the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022, Julius Pristauz developed the exhibition design together with the architect Muamer Osmanovic. He shows the sculpture bad light (piercing), which was part of his diploma exhibition, the photograph a stage without the performer (01) and the performance between floors with Cæcilie Heldt Rønnow. Pristauz uses a variety of media and formats, repeatedly exploring the construction of identities, as well as tensions between private and public spheres.
Laure Prouvost talks about the homage to grannies and her multimedia installation. Together with Sam Belinfante (light and sound designer of the exhibition), she developed a performance involving soprano Patricia Auchterlonie. Her collaborative practice is also evident in the video, for which she invited both of them to participate.
Eva Böhm and Martin Walkner guide through the exhibition Laure Prouvost. Ohmmm age Oma je ohomma mama.
Tijana Lazović‘s films in the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022 are a touching testimony to a deceased friend. Sans Soleil portrays the persistence of memory as a flow through a personal image archive, mixed with found material from the internet. Soleil is its abstract counterpart, showing damaged film footage.
Ramiro Wong’s installation in the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022 inhabits a performative space that evokes one of his earliest childhood memories of internal armed conflict in Peru from 1989. He studied at the University of Applied Arts in the transart class with Nita Tandon.
Juliana Lindenhofer talks about her sculptures in the exhibition, which are made of synthetic materials and industrial waxes. Starting from an initial idea, she draws a sketch and then removes herself to give space for chemical reactions.
The artist duo Denise Ferreira da Silva and Arjuna Neuman’s exhibition is centred around the coproduction and presentation of a new work: Ancestral Clouds Ancestral Claims. Parts of the film were shot in the Atacama Desert, the place with the clearest and driest air on the planet and home to the world’s largest radio telescope, which observes the skies. Against this backdrop, the film probes an alternative experience of the world that, rather than primarily seeing, overlooking, and enlightening, is guided by other senses and practices.