The exhibition at Kunsthalle Wien focuses on the work of two women who resisted all attempts at appropriation - even by feminist theory. Both artists, each using her own means, developed an aesthetic of vehement self-exposure, which occasionally offended their contemporaries.
Anna Fliri, Christa Blümlinger, Diana Bulzan, Madeleine Freund, Sabine Folie
Gemäldegalerie der Akademie der bildenden Künste Wien
The catalogue is published on occasion of the exhibition 'The Purloined Masterpiece. Images as Time Machines' at the Paintings Gallery of the Academy of Fine Arts Vienna.The exhibition contrasts the common practice of the permanent collection with a transhistorical model that allows the Academy's historical art collections - Gemäldegalerie, Kupferstichkabinett, and Glyptothek - to enter into conversation with contemporary works.Drawing on the richness of the collections, the exhibition picks out a selection of the many possible pictorial programs, typologies, and allegorical formulas that the collections provide to loosely interweave with other works from other periods.In-depth essays on the themes of the ship/the sea, the trompe l'oeil, visual cognition from 1500 to 1700, the frame, and subject constitutions in the context of social and technological changes over the centuries and their reflection in the pictorial image are interwoven with impressive exhibition views.English and German text.Published on occasion of the exhibition 'The Purloined Masterpiece. Images as Time Machines', 8 Apr 2022 -29 Jan 2023, Paintings Gallery of the Academy of Fine Arts Vienna.
Fakt und Fiktion im Historienbild
Dieser umfassende Reader reflektiert in unterschiedlichsten Sichtweisen das Wesen der Konzeptkunst, ihre heutige Stellung und ihr Sammeln und Ausstellen. Zwölf Kuratoren und Theoretiker beschäftigen sich in dem Band mit Vergangenheit, Gegenwart und Zukunft von Konzeptkunst und Institutionenkritik, die sich einerseits in einem „Moment der Historisierung“ befindet, aber anderseits gleichzeitig auch vom institutionellen Mainstream aufgesogen wird.
Wäre ich von Stoff, ich würde mich färben. Were I Made of Matter, I Would Color
This book is published on occasion of Ulrike Grossarth's eponymous retrospective at the Generali Foundation in Vienna. Both the book and the exhibition trace the evolution of Gossarth's practice, with a particular emphasis on her training as a dancer in the 1970s, to draw connections between the early years with her sculptural settings and actions and her most recent work, which engages with history more generally. In her contributing essay, Ulrike Gossarth states that the title—Were I Made of Matter, I Would Color—is a counter-model to the fundamental Descartian formula “I think therefore I am,” a position which exists between consciousness and disembodiment, in a state of incompleteness. Rainer Borgemeister discusses the artist's actions from 1978 to 1987, which were preceded by her critical engagement with modern dance. Further contributions from Mieke Bal, Michael Glasmeier, and Elliot R. Wolfson discuss Grossarth's practice in relation to history, the body, and polymorphism. Copublished with the Generali Foundation, Vienna Contributors Mieke Bal, Rainer Borgemeister, Sabine Folie, Michael Glasmeier, Ulrike Grossarth, Dietrich Karner, Elliot R. Wolfson
