Skip to content. Skip to navigation.
]a[ xposit
Opening | 28.05.2015, 1.00 p.m. - 4.00 p.m.
Venue | Akademie der bildenden Künste Wien, Hauptgebäude, Schillerplatz 3, 1010 Wien, Rektorat, M5 and Vizerektorat für Kunst | Forschung, M21, office of the Rector, room M5 and office of the Vice-Rector for Art | Research, room M21

Each semester, works by three alumni recommended by professors at the Academy are exhibited in the offices of the Rectorate.

  Anna Kohlweis, "Atonia View", diploma installation (detail), 2014  

This semester, works by the artists Ana Hoffner (PhD in Practic-Program), Anna Kohlweis (Contextual Painting under Hans Scheirl) and Almut Schilling (Conservation and Restoration under Gerda Kaltenbruner) are on display.

Opening
March 20, 2015, 1.00 p.m.-3.00 p.m.
Meeting point: Office of the Rector, room M5
Words of welcome: Eva Blimlinger
Introduction to the work of Almut Schilling: Gerda Kaltenbruner (Conservation and Restoration of Modern and Contemporary Art)

Office of the Vice-Rector for Teaching | Promotion of Early Stage Artists/Researchers, room M5
Words of welcome: Karin Riegler
Introduction to the work of Anna Kohlweis: Judith Huemer (Expanded Pictorial Space-Action/Sculpture/Installation)

Office of the Vice-Rector for Art | Research, room M21
Words of welcome: Andrea B. Braidt
Introduction to the work of Ana Hoffner: Renate Lorenz (Art and Research)
To be followed by refreshments

Opening hours (M5 & M21)
Fri., March 20 2015, 1.00 p.m.-3.00 p.m. (opening)
Thurs., May 28 2015, 1.00 p.m.-4.00 p.m
Wedn., June 17, 2015, 1.00 p.m.-4.00 p.m
and by appointment. For visits outside of opening hours, please contact g.holitz@akbild.ac.at.

Ana Hoffner

Ana Hoffner lives and works in Vienna. She completed the PhD-in-Practice program at the Academy of Fine Arts Vienna in 2014 and teaches at the Institute for Education in the Arts at the Academy.
www.anahoffner.com

The artistic research project "Queerness of Memory" consists of a number of photographic, performative, and cinematic investigations. It presents possibilities for intervening in hegemonic narratives about traumatic historical events through unusual, strange, and intangible memories." The Queer Family Album" presents familial ties between the Second World War, the Cold War, and the Bosnian War and calls into question the linearity of heteronormative, generation-linked family relationships. "Future Anterior - Illustrations of War" shifts stagings of violence from the fashion world into the field of war reporting and thereby calls attention to the ambivalences of a collective visual memory.

Ana Hoffner, "Transferred Memories - Embodied Documents", still from the video installation, 14:35 min., 2014

Anna Kohlweis

Anna Kohlweis was born in 1984 in Klagenfurt. She works in the fields of music, video, illustration, painting, and cartoons. She studied fine arts (contextual painting) with Hans Scheirl and received her diploma in 2014.
www.annakohlweis.com

Kohlweis, who works for the most part autobiographically, likes to open up her private world to the outside, orienting herself on her own notes in travel diaries and blog postings. She is constantly in search of both sense and nonsense, tips for living as an adult, and a way to steer one's course between information overload, destructive sleep cycles, and constantly available distraction. Being interested in techniques for communicating information such as flow charts, pie charts, and maps, she uses them to connect chains of associations and seemingly unrelated narrative strands of her history and her stories to a network by means of what appears to be a well-thought-out system.

Almut Schilling

Almut Schilling was born in 1985 in Thüringen. She studied conservation and restoration (modern and contemporary art) with Gerda Kaltenbruner at the Academy of Fine Arts Vienna, receiving her diploma in 2013. She has a studio for the preservation of electronic, digital, and contemporary art:
www.abitpreservation.net

"Altern in Echtzeit" (Aging in Real Time) visualizes an ordered media mix of a wide variety of playback and projection media and data carriers (which are containing the information), starting from a digital source. It questions the recipients' individual viewing habits, haptic perception, and media awareness. This is contextualized as part of the problem of the adequate documentation, i.e. conservation, of electronic works of art. The title of the work makes reference to the intrinsic obsolescence of these technologies and the subconcept of using the duration of the exhibition to detect changes over an extended period of time.

© BildunterschriftAlmut Schilling, "Altern in Echtzeit", 02/2015. Copyright: abitpreservation.net

Permalink