xhibit of the Academy of Fine Arts Vienna
Opening: Thur, October 1, 2015, 7:00 p.m.
Exhibition dates: October 2 – November 8, 2015
Museum Night: Sat, October 3, 2015
Curator: Siegfried Zaworka
Artists: Franz Bergmüller, Marcin Dudek, Judith Fegerl, Erich Gruber, Doris Theres Hofer, Stefan Klampfer, Kris Lemsalu, Philips Angel van Middelburg, Nicole Miltner, Domenico Mühle, FanMarkus Proschek, Almut Rink, Hans Schabus, Nicole Six & Paul Petritsch, Siegfried Zaworka
The historical term “trompe l’oeil” is frequently understood as an absolute deception of the eye (to the most possible degree) – as if the indicator of its success were a complete spiriting away of the art context. This despite the fact that its appeal lies in the very knowledge of how to fathom the potential of representation, in the cross-border use of media, or in the exchange and interaction of pictorial realities and levels of meaning. Revers de Trompe highlights these time-resistant ideas of formation which are still exercising their influence within the current production of art in a transformed manner. The works assembled for this presentation share structural affinities to these concepts: cross-spatial, self-reflective, and interactive, they reveal their special features in relation to the viewer.
Nicole Six & Paul Petritsch, for example, measure a studio in their Raumbuch (Room Book), using A4 as both their unit of measurement and as the format of a book which depicts the photographed room on a scale of 1 to 1 on 2,478 pages: the book, which is also explored in regard to its boundaries as a medium, unfolds this room. In cooperation with the Picture Gallery of the Academy of Fine Arts Vienna, a still life by Philips Angel van Middelburg from the seventeenth century, the heyday of trompe l’oeil, is incorporated into the presentation of contemporary positions.
Opening and performance program: Thur, November 19, 2015, 7:00 p.m. (as part of the Vienna Art Week)
Exhibition dates: November 20, 2015 – January 10, 2016
Finissage: January 9, 2016, Performance Bash
Curators: Moritz Gottschalk, Christian Hetlinger, Roberta Lima, Matteo Patti, Ruby Sircar
Artists: Christoph Ablinger, Annemarie Arzberger, Florian Aschka, Wilhelm Binder, Amoako Boafo, Hotel Butterfly, Crazy Bitch in a Cave, Alexandru Cosarca, Roy Fredrick Culbertson III, Zoe DeWitt, Veronika Dirnhofer, Albrecht Dürer, Andy Dvorak, Veronika Eberhart, Julia Fuchs, Fanni Futterknecht, Hendrick Goltzius, Moritz Gottschalk, Cornelisz van Haarlem, Lena Rosa Haendle, La Hagendorfer, Eva Hettmer, Leon Höllhumer, Wooyung Jun, Luisa Kasalicky, Terese Kasalicky, Jakob Lena Knebl, Denise Kottlett, Maria Legat, Elke Liberda, Roberta Lima, Ahooo Maher, Ziba Malousy, Andreas Messinger, Stephanie Misa, Rini Swarnaly Mitra, Parastu, Soso Phist, Madame Pipistrelle, Pete Prison IV, Heti Hnah Prack, Christoph Rodler, Michal Rutz, Andrea Salzmann, Hans Scheirl, Siamak Shojae, Ruby Sircar, Alexandra Tatar, Patrick Weber, Charles Wilda, Julia Zastava uvm.
In cooperation with the Paintings Gallery and the Graphic Collection of the Academy of Fine Arts Vienna
The exhibition and performance project With Eyes Aghast: Transmannerist Reactions focuses on contemporary queer mannerisms in a critically playful way. The curatorial team’s invitation is aimed at an imaginatively grotesque distortion of the xhibit space and other parts of the Schillerplatz: surprising decorative fine art and architecture forms meet with burlesque and drag formats. Historical mannerism, which marks a rupture in every expression, finds a contemporary mirror in this transdisciplinary project, which pursues what Gustav René Hocke described as “the alchemy of language” in his work Die Welt als Labyrinth (1957, The World as a Labyrinth). Epigrammatically, as it were, the artists’ works counter socioeconomic constraints visible in emerging autocratic forms of power with a queer and decolonizing thrust.
The title of the project refers to the mannerist garden Sacro Bosco in Bomarzo where a sphinx welcomes the visitors entering the site with the following words: “Whoever does not wander through this place with raised brows and lips pressed tightly together would not even admire the Seven Wonders of the World.” The world of wonders that manifests itself in an overall mannerist concept challenges its vis-à-vis to creatively and actively intervene in the circumstances given and engage in their highest form, artistic expression and understanding.
The garden as a site of the manifestation of – and the debate on – artificiality, the disintegration of existing systems, and the reassessment of given hierarchies will be defined and discussed in a contemporary vein: (trans)mannerism may be understood as absolute empowerment on the basis of breaking away from the prevailing conditions and the creation of a physique of one’s own. Flamboyant: being a cyborg and rooted in creole is what the manifesto amounts to.
Thesis exhibition 15–16
as part of the open days 2016
Exhibition dates: January 21–24, 2016
Uncanny Materials. On the Foundation of Art Education.
A curatorial and educational exhibition and research project (working title)
Opening: Thur, March 10, 2016, 7:00 p.m.
Exhibition dates: March 11 – May 16, 2016
Curators: Elke Krasny, Barbara Mahlknecht
In 1941, at the Academy of Fine Arts, the “Master Class for Education in the Arts” was established. Today’s Institute for Education in the Arts emerged from this foundation. 2016 will see its seventy-fifth anniversary. The establishment of the “Master Class for Education in the Arts” in the era of National Socialism has remained largely unexplored to this day. This was the starting point for the curatorial and educational exhibition and research project Uncanny Materials. On the Foundation of Art Education.
What about the role of art education in National Socialist educational policy? How was the “Master Class for Education in the Arts” related to the National Socialist understanding of art? Who were the protagonists behind the development of art education in the era of National Socialism and in the years after World War II? In which way was art education ideologically oriented?
These issues will be dealt with by the curatorial team, Elke Krasny and Barbara Mahlknecht, together with archivists, activists, historians, artists, art educators, theorists, as well as students and teachers from the Institute for Education in the Arts. The exhibition combines archival material from the University Archives of the Academy of Fine Arts Vienna with results from research-oriented teaching and contemporary artistic examinations of the history of art education.
Being committed to the “archival turn,” the exhibition considers archives not as a motionless field of sources but as actors, as producers of knowledge. The presentation is based on the concept of the open archive: workshops, seminars, performances, discussions, and lectures negotiate the history of art education from a perspective of the politics of memory.
Thesis exhibition 15–16
Exhibition: from mid-June to end of June 2016
As of August 20, 2015