Wednesday, 10 August 2016 21:46

»Love Story«

Anne & Wolfgang Titze Collection


Marina Abramovic, David Altmejd, Carl Andre, Matthew Barney, Georg Baselitz, Valérie Belin, Larry Bell, Matthew Brannon, James Lee Byars, John Chamberlain, Nigel Cooke, Richard Deacon, Thomas Demand, Nathalie Djurberg & Hans Berg, Olafur Eliasson, Dan Flavin, Lucio Fontana,  Barnaby Furnas, Adrian Ghenie, Antony Gormley, Rodney Graham, Kevin Francis Gray, Andreas Gursky, Wade Guyton, Guyton/Walker, Eberhard Havekost, Thomas Helbig, Gregor Hildebrandt, Shirazeh Houshiary, Nathan Hylden, Kathleen Jacobs, Donald Judd, Anish Kapoor, Jacob Kassay, Anselm Kiefer, Yayoi Kusama, Claude Lévêque, Sherrie Levine, Sol LeWitt, Robert Longo, Sarah Lucas, Robert Mangold, Piero Manzoni, Christian Marclay, Agnes Martin, John McCracken, Adam McEwen, Julie Mehretu, Mario Merz, Matthew Monahan, Robert Morris, Gabriel Orozco, Damián Ortega, Giulio Paolini, Adam Pendleton, Joyce Pensato, Grayson Perry, Paola Pivi, Jaume Plensa, Seth Price, Rashid Rana, Gerhard Richter, Charles Ross, Sterling Ruby, Robert Ryman, Fred Sandback, Wilhelm Sasnal, Thomas Scheibitz, Sean Scully, Dirk Skreber, Tony Smith, Peter Stauss, Frank Stella, Rudolf Stingel, Wolfgang Tillmans, Günther Uecker, Bernar Venet, Kelley Walker, Jeff Wall, Rebecca Warren, Lawrence Weiner, Rachel Whiteread, Christopher Williams, Christopher Wool, Erwin Wurm, Lisa Yuskavage, Toby Ziegler, Thomas Zipp, Heimo Zobernig; curated by Severin Dünser and Luisa Ziaja


Belvedere Winterpalais and 21er Haus, Vienna

June 15 — October 5, 2014


As hinted at in the title, the exhibition revolves around a passion: the passion connecting the French-Austrian collecting couple Anne and Wolfgang Titze and fine arts.  This special relationship began rather cautiously regarding certain forms of expression and materials, such as the formal coolness of Minimal and Concept Art of the 1960s. Through an intense involvement – also with the more easily accessible Arte Povera – a common passion grew out of initial reservations and flowered into an outstanding art collection. Some 20 years later, Minimal and Conceptual Art as well as Arte Povera are still at the heart of the collection that meanwhile has been purposefully extended to include the most current developments. This is the first public appearance of a selection of ca. 130 works of around 90 artists, in a charming interplay between the baroque interior of the Winterpalais and the modern pavilion architecture of the 21er Haus.
At the center of the exhibition at the 21er Haus, works by the pioneers of reduction of the 1950s, Minimal and Conceptual Art of the 1960s converge. Recent trends in painting, sculpture and photography revolve around this junction and re-adopt issues of body, space, gesture and image. A steel sculpture by Bernar Venet, located between Upper Belvedere and castle pond, confronts historical architecture and contemporary form – a leitmotif that is continued in the Winterpalais. There, the site-specific presentation brings conceptual and figurative painterly approaches, such as post-war German art, works of Arte Povera, modern and post-modern sculpture in a variety of materials as well as current imagery in dialogue with the former residence of Prince Eugene of Savoy.
Between the white museum wall and gilded stucco the exhibits unfold an interaction of appealing contrasts, which here and there opens up new perspectives both on the spaces as well as on the works staged in them.

Published in Ausstellungsdetails
Monday, 20 June 2016 15:07

»Flirting with Strangers«


Herbert Albrecht, Franz Amann, Martin Arnold, Richard Artschwager, Jo Baer, Franz Barwig the Elder, Georg Baselitz, Herbert Bayer, Herbert Boeckl, Norbertine Bresslern-Roth, Cäcilia Brown, Gerard Byrne, John Chamberlain, Lovis Corinth, Josef Dabernig, Svenja Deininger, Thomas Demand, Verena Dengler, Carola Dertnig, Gerald Domenig, Heinrich Dunst, Angus Fairhurst, Gelitin, Bruno Gironcoli, Carl Goebel the Younger, Roland Goeschl, Dan Graham, Robert Gruber, Julia Haller, Swetlana Heger & Plamen Dejanoff, Alois Heidel, Damien Hirst, Benjamin Hirte, Christine & Irene Hohenbüchler, Kathi Hofer, Lisa Holzer, Judith Hopf, Bernhard Hosa, Kurt Hüpfner, Christian Hutzinger, Lukáš Jasanský & Martin Polák, Anna Jermolaewa, Ernst Juch, Birgit Jürgenssen, Tillman Kaiser, Luisa Kasalicky, Michael Kienzer, Erika Giovanna Klien, Jakob Lena Knebl, Kiki Kogelnik, Nathalie Koger, Peter Kogler, Oskar Kokoschka, Cornelius Kolig, Elke Krystufek, Hans Kupelwieser, František Kupka, Maria Lassnig, Sonia Leimer, Anita Leisz, Sherrie Levine, Thomas Locher, Sarah Lucas, Marko Lulić, Christian Mayer, Dorit Margreiter, Christoph Meier, Carl von Merode, Alois Mosbacher, Matt Mullican, Edvard Munch, Flora Neuwirth, Oswald Oberhuber, Nick Oberthaler, Walter Obholzer, Giulio Paolini, Elisabeth Penker, Rudolf Polanszky, Lisl Ponger, Antonín Procházka, Florian Pumhösl, Bernd Ribbeck, Gerwald Rockenschaub, Anton Romako, Anja Ronacher, Wally Salner, Christian Schwarzwald, Johannes Schweiger, Martina Steckholzer, Edward Steichen, Rudolf Stingel, Gerold Tagwerker, Rosemarie Trockel, Esin Turan, Salvatore Viviano, Johannes Vogl, Maja Vukoje, Rebecca Warren, Christoph Weber, Letizia Werth, Franz West, Sue Williams, Robert Wilson, Erwin Wurm, Otto Zitko, Heimo Zobernig; curated by Severin Dünser and Luisa Ziaja


21er Haus, Vienna

September 9, 2015 — January 31, 2016



Why not, for once, look at a collection as a fabric of relationships among things and their encounters? And as an opportunity that, as Baudrillard put it, might establish an ‘everyday prose of objects, […] a triumphant unconscious discourse’? Picking up on this idea, Flirting with Strangers, the autumn exhibition on the ground floor of the 21er Haus, stages an exciting, playful, and sometimes also unexpected encounter of works from the collection. Is it necessary to have many things in common to “strike up a conversation”, or is it rather individual peculiarities that will ignite a spark?
Works of art are objects to which a particularly high degree of individuality is ascribed: none exactly resembles the other, and they are characterised by their uniqueness. This is why they are usually also considered worth collecting. Once chosen, they become one among many, which is one of the paradoxes inherent to collecting of comparing what is incomparable. Museum collections are generally associated with the systematisation of objects according to scientific categories and art historical classification criteria that are apt to establish connections, make sense, and, as powerful entities of interpretation, produce authoritative knowledge. And exhibitions are, after all, organisations and arrangements of knowledge, which, however, also have the potential to conceive alternative interpretations and that enable actualisation.
Flirting with Strangers presents works by more than one hundred artists in a show that seeks to rethink the format of a collection exhibition: it deliberately unfolds along achronological lines and independent of the history of styles while occasionally emphasising seemingly negligible aspects or similarities that might be far fetched – with the intention to sharpen our focus on detail and the individual piece and at the same time to propose possible unexpected relationships among things.

Published in Ausstellungsdetails