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Adaptation of the new xhibitE exhibition spaces

During the renovation of the academy building at Schillerplatz, the xhibit facilities will be accommodated in the gallery spaces in Eschenbachgasse 11 at the corner of Getreidemarkt, 1010 Vienna.

After their refurbishment, the new xhibitE spaces will serve as the exhibition facility of the Academy of Fine Arts Vienna for contemporary art from winter term 2018|19. In addition to the presentation of the students’ final works, projects nominated by the exhibition advisory board will be realized there.

Final Works IBK // Open Days

Opening: Thu., 24.01.2019, 4 pm
25.01.2019–27.01.2019 (Opening hours are the same as for Open Days)
29.01.2019–23.02.2019 (Final works in the xhibitE stay until 23.02.2019)

DARK ENERGY. organizing things in a feminist way, working collectively

posters_WomansArtLibrary_2015_c_WillCenci.jpg Posters from the Women’s Art Library in the exhibition Empowered Printwork, 310 NXRd, Goldsmiths, University of London (part of Radical New Cross, 2015), photo: Will Cenci 

Opening: Thu., 14.03.2019, 7 pm
Duration: 15.03.2019–11.05.2019

Curators: Véronique Boilard, Andrea Haas, Nina Hoechtl, Julia Wieger

Like the universe, the realm of cultural production consists mostly of dark energy and matter.[1] These invisible masses and movements form from, among other things, spontaneous amateurish, autonomous, activist, self-organized, collective practices that play an important part for feminist cultural work. This is also a matter of the unpaid or underpaid work of those who deliberately shun visibility or have no choice but to remain invisible. It is the invisible dark energy that keeps the cultural scene operating.

The exhibition explores feminist forms of organization and knowledge production in the cultural sector. It gives center stage to the visual, material, and performative characteristics of feminist collective or collaborative practices and asks how these forms of organization and production are influenced by their general economic set-up and what begins to sway politically in this context. Which knowledge can be practiced, produced, and disseminated when, where, and how?

These issues are dealt with from feminist, queer, and decolonial perspectives in the works and approaches related to each other in the presentation: site-specific works on the new xhibitE space of the Academy of Fine Arts Vienna in Eschenbachgasse, archival researches and works of art on the Kiila (Finnish for “wedge”) Association of Artists and Writers in Helsinki, the Women’s Art Library in London, the feminist art space La Centrale in Montréal, and the Austrian Association of Women Artists in Vienna, a long-term project on the subject of work at and with the Casco Art Institute in Utrecht, and two projected interventions into the structures of the Academy of Fine Arts Vienna.

[1]  Gregory Sholette, Dark Matter. Art and Politics in the Age of Enterprise Culture (London: Pluto Press, 2011).

Final Works 18|19

Opening: Thu., 20.06.2019, 6 pm
Duration: 21.06.2019–28.06.2019


1 © Mariel Rodríguez, Klaus Leidorfer. 

Opening: Thu., 11.07.2019, 7 pm
Duration: 12.07.2019–14.09.2019

Artists: Cana Bilir-Meier, Juliana Borinski, Stephanie Misa, Opavivará!, Erika Ordosgoitti, Gaya Topow

Curating: Gudrun Ingenthron

What do I see? As this question could be shortly answered, with examples of possible descriptions made by the viewer, it could also become the starting point for a reflection about production of knowledge and all the structures embedded into it. Starting with this apparently simple question, the exhibition Field Within proposes to explore those viewpoints where what is called knowledge is produced. Anthropology and Ethnography consider the position of the observer as internal to the practice of these disciplines. In these cases, the role of the observer is defined from the beginning, and has a space in the issue researched. On the other side, when an artist is referring to practices coming from these fields, the task becomes double: while the position of the observer is part of the research, the position of the artist to these disciplines has to be defined. Without promoting deceitful visions and by encouraging decentralized perspectives, Field Within focuses on the myriad of viewpoints present in works dealing with interdisciplinarity, contextuality, and self-reflexivity. By inviting artists working with concepts and tools directly coming from the above-mentioned disciplines, the aim is to take them out of the comfort zone provided by the label of « scientificity ».. As matter of result, the exhibition will act as a platform for un-orthodoxe theoretical and scientific ventures, and will propose reflections by different artists in various formats, such as video, installation, performance, photography and culinary research.

Special School for Sculpture (working title)

2 Bianca Phos, Opazität, 2016 

Opening: Thu., 17.10.2019, 7 pm
Duration: 18.10.2019–14.12.2019

Curators and contributions to the exhibition: Simone Bader, Jannik Franzen, Berivan Güngör, Marwa Abou Hatab, Katharina Hölzl, Pille-Riin Jaik, Ma Jia, Jakob Krameritsch, Emanuel Mauthe, Florian Mayer, Jelena Micić, Christian Mühlbauer, Bianca Phos, Markus Sigl, and Heimo Zobernig

Idyll and seclusion were the main attractions that the first press reports on the newly built sculpture studios of the Academy of Fine Arts in Vienna’s Prater gave special emphasis in 1913. From their very first hour, the studios seemed to ensure a counterworld to the metropolitan and cosmopolitan city’s quickfire bustle, a paradise on the fringes of busyness.

The attachment of a special status has run through the history of the Academy’s “Special School for Sculpture” like a red thread to this day. Subjecting this special status to a scholarly and artistic revision provides the starting point from which the exhibition unfolds. It is explored, among other aspects, as a subversive strategy of opacity, an interinstitutional relationship, and—insofar as it references the idyll as naivety—a social-romantic ideology that does not stand up to close scrutiny.

Numerous examples illustrate how intensely their male (and from 1921 also their female) protagonists used, reclaimed, and sometimes extended their social, political and artistic radii of operation and became interwoven with the current events of their day. Sculptors defended art as a male bastion to the very end, for example; they followed the memorandum of 1938 that credited sculpture with a great potential for National Socialist propaganda. Both teachers and students participated in the visual production aimed at maintaining colonial hierarchies and Eurocentric binarities, as they did in the context of joint projects with the adjoining Wurstelprater amusement park, for example.