Isa Rosenberger

Isa Rosenberger
MANDA

Exhibition duration: 1 June 2023 – 7 Jan 2024
Bauhaus Dessau Foundation
https://www.bauhaus-dessau.de/en/exhibitions/manda-isa-rosenberger.html

The dancer and ballet master Manda von Kreibig collaborated with Oskar Schlemmer from 1928 to 1929, but little is known about her life and work. She forms the starting point for the research conducted by Isa Rosenberger, the Bauhaus Dessau’s artist-in-residence 2022. As in her other work, Rosenberger examines historiography, with its abbreviations, omissions, and revisions.
For her new work, she went in search of traces in museum archives and publications. She frequently visited the Bauhaus Dessau Foundation’s museum storage, which now becomes the focus of attention. After all, storage and archives represent what is considered worth preserving and collecting and, at the same time, what is not collected, what is missing. But the museum storage is also a place of potential activation, which may bring the forgotten and neglected back into the light, to the public’s attention.
In association with the dancer Celia Millan, Rosenberger invokes the experimental mood of the historic Bauhaus in the storage of the Bauhaus Dessau Foundation, turning it into a stage to explore – through film and dance – (forgotten) Bauhaus histories and the neglected stories of the women of the Bauhaus. In the process, Rosenberger asks general questions about the memories of museums and their responsibilities in the process of writing history.

Curated by Barbara Steiner

OSTEN FESTIVAL

01/07/2022–17/07/2022

Bitterfeld Wolfen
https://osten-festival.de/

NEW ACQUISITIONS 2010–2022

Exhibition Duration: 14/04/2022 – 19/06/2022

Museum of Modern and Contemporary Art Koroška (KGLU), Slovenj Gradec
https://www.glu-sg.si/en/exhibition/zbirka-kglu-nove-pridobitve/?from=front

The collection is based on a strategy related to our programme guidelines, which follow these basic directions: the first one is to collect works of art that engage with socially critical topics in current times. This is a continuation of the basic collection orientation that was shaped in the context of international exhibitions in the past century. The second direction is to collect works by artists from the region of Carinthia, as well as to continue to enrich the Homage to Tisnikar section. The collection also includes some works that do not belong to any of these directions, but have nevertheless become a part of it in specific circumstances.The selected works at the exhibition were included in the collection in the past 12 years, either as purchases or as donations. Their main content emphases and the dialogues between the works express both the Museum’s international orientation and its regional character.

Artists: Nika Autor, Boris Beja, Franc Berhtold, Fran Berneker, Saša Bezjak, Bogdan Borčić, Ida Brišnik Remec, Vesna Bukovec, Daniel Buren, Milan Butina, Matej Čepin, Sandi Červek, Lana Čmajčanin, Hermann Falke, Katja Felle, Fokus grupa, Jan Forsberg, Metod Frlic, Jårg Geismar, Gustav Gnamuš, Franjo Golob, Josip Gorinšek, Andrej Grošelj, Herman Gvardjančič, Mahmoud Hammad, David Herzog Leitinger, Barbara Jakše Jeršič, Gustav Januš, Anja Jerčič Jakob, Stane Jeršič, Heike Jobst, Ted Kramolc, Lojze Logar, Stanislav Makuc, Štefan Marflak, Robert Marin, Jure Markota, Valentin Oman, Janko Orač, Karel Pečko, Anastazija Pirnat, Herman Pivk, Boštjan Plesničar, Tadej Pogačar, Pino Poggi, Luka Popič, Uroš Potočnik, Peter Rauch – Skupnost, Tjaša Rener, Isa Rosenberger, Viktor Senkov, Darko Slavec, Lucija Stramec, Natalija Šeruga Golob, Maja Šivec, Škart, Seka Tavčar, Wolfgang Temmel, Jože Tisnikar, Tadej Vaukman, Aljaž Velički, Vladimir Veličković, Karl Vouk, Franc Vozelj, Sašo Vrabič, Moritz Walser, Joco Žnidaršič

Curator: Katarina Hergold Germ

BAUHAUS RESIDENZ 2022

07/02/2022–24/02/2022 and 01/08/2022–30/09/2022
Haus Schlemmer

https://www.bauhaus-dessau.de/bauhaus-residenz-2021/isa-rosenberger.html

SYMPOSION: VIENNA IN HOLLYWOOD
The Influence and Impact of Austrians on the Hollywood Film Industry, 1920s–2020s

Fri, Dec 10, 2021 & Sat, Dec 11, 2021

Academy Museum, USC Libraries & Max Kade Institute,
Los Angeles
https://www.academymuseum.org/en/public-programs/vienna-in-hollywood

The Hollywood film industry was largely built by Jewish immigrants from Eastern and Central Europe in the early 20th century. Among an earlier wave of émigrés to Hollywood were talents such as Austrian-born actor-director Erich von Stroheim and composer Max Steiner who sought better opportunities in the American film industry.

A larger wave of predominantly Jewish émigrés arrived in the 1930s and 1940s as a consequence of the Nazis’ rise in Germany and the Anschluss in Austria. Austrian émigré directors such as Billy Wilder, Fritz Lang, Fred Zinnemann, and Otto Preminger, actors Hedy Lamarr, Peter Lorre, and Paul Henreid, producers like Eric Pleskow and Sam Spiegel, screenwriters Vicki Baum, Gina Kaus, and Salka Viertel, as well as composers such as Erich Wolfgang Korngold and Ernest Gold had a lasting impact in Hollywood. And so did other, often lesser known, émigrés who worked as writers, composers, actors, producers, cinematographers, talent agents, costume designers, and production designers. The cultural impact of these legacies is often absorbed into German film history or forgotten when we celebrate Austrian filmmakers like Michael Haneke and actors like Arnold Schwarzenegger and Christoph Waltz.

The symposium Vienna in Hollywood focuses on the impact of Austrian film professionals and their legacy from the classic Hollywood era to contemporary filmmaking.

POOR & RICH

Exhibition Duration: 05/11/2021 – 28/08/2022

DOM Museum Wien
https://dommuseum.at/armreich_information

Economic and social inequality has lasting effects on happiness, education and health. The exhibition follows this profound problem from the Middle Ages to the present. The exhibits range from drawings, prints, paintings, and photographs to multimedia installations, and illustrate the indissoluble interdependency of poverty and wealth.

Artists: Lamia Maria Abillama, Iris Andraschek, Andrea Appiani, Joseph Beuys, Pieter Bruegel d. Ä., Alice Creischer, Friedl Dicker-Brandeis, Hermann Drawe, Albrecht Dürer, Peter Fendi, Thomas Feuerstein, Luca Giordano, Malek Gnaoui, Jim Goldberg, Nan Goldin, Lauren Greenfield, Georg Grosz, David Hammons, John Heartfield, Thomas Hirschhorn, Johann Baptist Höchle, Siggi Hofer, Johanna Kandl, Käthe Kollwitz, Hubert Lobnig, Meister S. H., Fernando Moleres, Michelangelo Pistoletto, Sigmar Polke, Lisl Ponger, Projeto Morrinho, Thomas Rentmeister, Oliver Ressler, Rembrandt van Rijn, Isa Rosenberger/Martina Berisha/Margaret Carter/Martha Vollnhofer, Andreas Siekmann, Anna Skladmann, Klaus Staeck, Thomas Struth in cooperation with homeless people, Rosemarie Trockel, Il Vecchietta, Ferdinand Georg Waldmüller, Albrecht Wild, Krzysztof Wodiczko, Paolo Woods as well as historical artists whose names have not survived.

Curator: Johanna Schwanberg

SUGAR. INDUSTRIAL HERITAGE AND COLONIALISM

Exhibition duration: 09/10/2021–29/01/2022

< rotor > Zentrum für zeitgenössische Kunst, Graz
https://rotor.mur.at/

The history of sugar begins with cane sugar. Sugar cane has been cultivated for thousands of years. The sweetener appeared in Europe at the time of the Crusades. Around 200 years ago, sugar beet grown in Europe became a serious competitor to imported sugar cane. From then on, the European sugar industry, as well as sugar consumption, experienced a tremendous boom. Today, internationally operating sugar companies dominate the market, and numerous local sugar factories have been closed down.
With their works, the artists in the exhibition SUGAR reflect on the chequered history of sugar production, which comes along with various forms of colonialism.

This exhibition is part of:
EASTERN SUGAR
an international, interdisciplinary visual arts project with a particular focus on artistic research. Using the case of the sugar industry in Central Europe, the project reflects recent aspects of European history.

Participating artists:
Luz Blanco • Alessandra dos Santos • Samuel Ferretto • Fokus Grupa • Ferenc Gróf • Elisabeth Gschiel • Kyo Kim • Zdena Kolečková • Pia Lanzinger • Ilona Németh • Resa Pernthaller • Anna Ponchon • Isa Rosenberger • Sandro Sulaberidze

 Curators: Margarethe Makovec & Anton Lederer

100 Jahre SALZBURGER FESTSPIELE

THE DREAM OF A FAIRYTALE TEMPLE
Artistic Interventions by Werner Feiersinger, Maria Flöckner/ Hermann Schnöll/Norbert Mayr, Isa Rosenberger and Esther Stocker Regarding Festival Theatres Never Built

Numerous plans for a festival theatre in Salzburg were mooted over the last 130 years and went unrealized. For the centenary of the Salzburg Festival, it is possible to see and experience four of these unbuilt architectural projects: on the Mönchsberg, in the park of Schloss Hellbrunn, on the Kapuzinerberg and in the Mirabell Gardens. The projects document how the festival theatres would have made their mark on the city or its surrounding countryside.

The artistic interventions will be accessible in public spaces from July 2020 to summer 2021.

Concept: Norbert Mayr I Commissioned by the Salzburg Festival

Isa Rosenberger - Portal frame for the Mirabell Gardens
Intervention for the Festival Theatre Project in the Mirabell Gardens, 1950/51 (Architect Clemens Holzmeister, Ankara)

The three-part portal frame of gold-painted steel (19.5 x 7.5m)* is situated in the axis of Holzmeister's festival theatre project and abstracts the outlines of the planned three backstage portals. The architect wanted to present the stage and auditorium as a unity and overcome the boundary between nature and architecture. Max Reinhardt's founding idea of the festival, "the city as a stage", would thus have been realised. Rosenberger´s intervention refers to the unity of stage and auditorium, overcoming of the boundary between nature and architecture: The view of the Mirabell Gardens and the fortress is "framed," the city itself becomes an (open-air) stage. The visitors themselves thus become actors in the "world theatre" and new points of view and perspectives can be experienced.
Holzmeister´s festival theatre project was to extend over a total length of around 110 metres from Auerspergstraße to Rosenhügel. However, the Rosenhügel would have had to be demolished for the monumental building. Rosenberger thus also demonstrates the monumentality of Holzmeister's festival theatre project.

The portal frame is complemented by a radio play, which is available on the Festival's homepage – a fictitious encounter between the ghost of Joseph Gregor, the author of Clemens Holzmeister. The architectural work I: Works for the theater (Vienna 1953), as well as an art historian and an architectural historian. In the course of the play, a dialogue develops about different points of view and perspectives on the past, present and future of the Salzburg Festival and the "the city as a stage“.

https://www.salzburgerfestspiele.at/feentempel

Isa Rosenberger
… DAS WEITE LAND, WOHER SIE KOMMT I … THE VAST LAND FROM WHICH SHE COMES

Camera Austria, Graz
https://camera-austria.at/

Ausstellungsdauer I Duration
2. Juni – 30. August, 2020 I June 2 – August 30, 2020

Buchpräsentation und Ausstellungsführung I Book presentation and exhibition tour
7. Juli, 18h I July 7, 6 pm

Kuratiert von I Curated by Reinhard Braun

Isa Rosenberger richtet in ihrer künstlerischen Praxis immer wieder den Blick auf vergessene (oder verdrängte) Geschichte(n), um für diese einen Kontext in der Gegenwart zu eröffnen und damit auch alternative Lesarten von Geschichte zu ermöglichen. Im Jahr 1934 war im Volksheim Ottakring (heute Volkshochschule Ottakring) in Wien ein Tanzspiel von Gertrud Kraus mit dem Titel »Die Stadt wartet« zu sehen, das auf Maxim Gorkis Märchen »Musik der Großstadt« basierte. Kraus’ Choreografie reflektierte sowohl den Weg eines Jugendlichen in die große Stadt als auch seine Ängste und seine Faszination gegenüber dem Leben in der Metropole. Gertrud Kraus selbst tanzte den Jugendlichen. Es existiert – nach jetzigem Stand – allerdings kein einziges Foto dieser Aufführung. Isa Rosenbergers Projekt versteht sich als Versuch einer Annäherung an diese Leerstelle und historische Lücke. Rosenberger kooperiert mit der Künstlerin und Tänzerin Loulou Omer, deren Mutter Zipora Lerman eine Schülerin von Gertrud Kraus in Tel Aviv war. Die Ausstellung orientiert sich an der Idee der »Bühne« als performativer Raum, der auch als Brennpunkt des Politischen und des Sozialen verstanden werden kann. In einer Art »Aufführung« werden die verschiedenen Komponenten des Projekts bei Camera Austria räumlich in Szene gesetzt: Fotografien, Videos, Archivmaterialien, Workshop-Ergebnisse, Skizzen und Performances.
Başak Şenova

Zur Ausstellung erscheint eine gleichnamige Publikation in der Edition Camera Austria mit einem Text von Nora Sternfeld (ger./eng.).
Edition Camera Austria, Graz 2020.
32 Seiten, 13 × 21 cm, zahlreiche Farbabbildungen.
ISBN 978-3-902911-56-8

/
In her artistic practice, Isa Rosenberger turns her gaze again and again toward forgotten (or repressed) histories in order to open up a context for them in the present, and thus also to facilitate alternative readings of history. In the year 1934, at the Volksheim Ottakring in Vienna (today Adult Education Center Ottakring), a dance play by Gertrud Kraus was on show, entitled “Die Stadt wartet” (The City Waits) and based on Maxim Gorki’s fairy tale “Musik der Großstadt” (Music of the Big City). Kraus’s choreography reflected the path of a boy in the big city, as well as his fears and his fascination with life in the metropolis. Gertrud Kraus herself danced the role of this young man. However, as things presently stand, no photograph of this performance exists. Isa Rosenberger’s project is conceived as an attempt to approximate this void and historical gap. Rosenberger collaborates with the artist and dancer Loulou Omer, whose mother Zipora Lerman was a student of Gertrud Kraus in Tel Aviv. The exhibition is oriented to the idea of the “stage” as a performative space that may also be seen as a political and social trouble spot. In a “rendition” of sorts, the various components of the project at Camera Austria are staged with a spatial focus: photographs, videos, archival materials, workshop results, sketches, and performances.
Başak Şenova

On the occasion of the exhibition, an eponymous book will be published in Edition Camera Austria, comprising a text by Nora Sternfeld (ger./eng.).
Edition Camera Austria, Graz 2020.
32 pages, 13 × 21 cm, numerous color illustrations.
ISBN 978-3-902911-56-8

Book Launch as part of Vienna Art Week

GEGENÖFFENTLICHKEIT ORGANISIEREN
KRITISCHES MANAGEMENT IM KURATIEREN

 
Do, 21. November 2019, 18h
Volkskundemuseum Wien, Laudongasse 15-19, 1080 Wien

Welcome address: Barbara Putz-Plecko (Vice Rector of the University of Applied Arts Vienna) and Matthias Beitl (Director of the Austrian Museum of Folk Life and Folk Art)
A conversation with Ivet Ćurlin (WHW, Director of Kunsthalle Wien), Nora Sternfeld (documenta Professor at Kunsthochschule Kassel and /ecm-director team, Vienna) and Lorena Vicini (researcher, Sao Paulo and documenta Studien Kassel)
Isa Rosenberger (artist, Vienna) on the art installation
Moderation: Beatrice Jaschke (/ecm-director team, Vienna)


Book Launch:
Gegenöffentlichkeit organisieren.
Kritisches Management im Kuratieren
Eds. Matthias Beitl, Beatrice Jaschke, Nora Sternfeld
Edition Angewandte, de Gruyter, Berlin/Boston 2019

Over the past 20 years, economic criteria and considerations have gained increasing significance in the exhibition world, affecting organizational forms, production conditions, and decision-making processes. Today more than ever, economic concerns determine how institutions act, what they collect and show, how they present themselves, and how we imagine them. In reaction to this, a critical discourse developed in the 1990s that analysed power relationships and logics of value determination. In the meantime, widespread interest has arisen in the practical question of how the criticism of economic dominance of public institutions could have concrete, practical consequences within those institutions: How could museums and exhibiting organizations be organized differently? And how do we want to work?
The publication Gegenöffentlichkeit organisieren. Kritisches Management im Kuratieren gathers contributions anchored in both theory and practice, which reflect on organizational structures and working conditions, formulate other suggestions, and refuse to settle for a state of affairs where critical thought is combined with uncritical action.

Authors: Matthias Beitl, Dieter Bogner, Martin Fritz, Valeria Graziano, Henna Harri, Stefano Harney, Beatrice Jaschke, Laurence Rassel, Barbara Steiner, Nora Sternfeld, Wolfgang Tobisch, Lorena Vicini. With an artistic contribution by Isa Rosenberger.

Exhibition Laboratory
Helsinki/FI
https://www.exhibitionlaboratory.fi

Exhibition duration: 25/10/2019–17/11/2019

(…) The exhibition at Exhibition Laboratory, once again, will be focusing on the communicating paths of artistic research and knowledge. The integration of research material, documentation and the art works are critical to the performative values of the overall design and is supported by the exhibition format. The exhibition design is intended to give an insight into the working methodologies of the artists and their different media. Hence, the design suggests diverse and overlapping experiments and perceptions to be experienced by generating a flow and connection amongst the works. In this respect, a model of the previous exhibition at Konstfack, CrossSections_perspectives will be presented at Exhibition Laboratory. Then, after the completion of the exhibition, the same model as the travelling exhibition will be transported to Gallery Augusta at HIAP in Suomenlinna.

Participating artists include Heba Y. Amin, Nisrine Boukhari, Benji Boyadgian, Yane Calovski, Ramesch Daha, Ricarda Denzer, Nikolaus Gansterer, Inma Herrera, Barbara Holub, Otto Karvonen, Ebru Kurbak, Bronwyn Lace, Marcus Neustetter, Behzad Khosravi Noori, Egle Oddo, Isa Rosenberger, Lina Selander, Tamsin Snow and Timo Tuhkanen.

Curated by Basak Senova.

CROSS_SECTIONS
Konstfack University of Arts, Crafts and Design, Stockholm

Opening reception: 2 October 2019, at 6-8 p.m.
Exhibition duration: 02/10/2019–15/10/2019
https://www.konstfack.se/en/News/Calendar/2019/CrossSections-Exhibition-in-Stockholm/

As a result of an on-going collaboration since 2017, Konstfack University of Arts, Crafts and Design will host an extensive exhibition of CrossSections with 19 participating artists. CrossSections will be the first international exhibition taking place at Konstfack.

Developed and curated by Basak Senova, CrossSections is designed as an interdisciplinary platform for explorations into artistic research and education through dialogue and production. The project employs an open format to reflect upon “process” with the intent to articulate critical reactions to the political, economic, and social disturbances facing us today. Over the course of three years (2017–2019), the artists, together with other scholars and cultural workers, have organized various meetings, workshops, exhibitions, performances and book launches in Vienna, Helsinki and Stockholm.

Participating artists include Heba Y. Amin, Nisrine Boukhari, Benji Boyadgian, Yane Calovski, Ramesch Daha, Ricarda Denzer, Nikolaus Gansterer, Inma Herrera, Barbara Holub, Otto Karvonen, Ebru Kurbak, Bronwyn Lace, Marcus Neustetter, Behzad Khosravi Noori, Egle Oddo, Isa Rosenberger, Lina Selander, Tamsin Snow and Timo Tuhkanen.

CrossSections aims at discussing and sharing diverse realities, conditions and strategies in different geographies. (...)
The exhibition at Konstfack will center on communicating paths of artistic research and knowledge. The exhibition design is intended to give an insight into the working methodologies of the artists and their different media. The integration of research material, documentation and the art works are critical to the performative values of the design and is supported by the exhibition format. Hence, the exhibition design allows for diverse and overlapping experiments and perceptions to be experienced by generating a flow and connection amongst the works.

A model of the CrossSections exhibition at Konstfack will be presented at Exhibition Laboratory at the University of the Arts Helsinki (Uniarts Helsinki) as well as Gallery Augusta at HIAP in Suomenlinna during October 2019.

KUNSTANKÄUFE DES LANDES SALZBURG 2017-2019

6. 9. - 25. 10. 2019

Galerie im Traklhaus, Salzburg
https://www.salzburg.gv.at/themen/kultur/foerdersparten/bildendekunst/traklhaus/aktuelle-ausstellung

Arbeiten von Thomas Baumann, Alexandra Baumgartner, Franz Bergmüller, Johanna Binder, Friederike Bothe, Jutta Brunsteiner, Fiona Crestani, Daniel Domig, Christian Ecker, David Eisl, Benjamin Feldgrill, Gertrud Fischbacher, David Fisslthaler, Georg Frauenschuh, Csaba Fürjesi, Jari Genser, Erich Gruber, Elisabeth Grübl, Reinhard Gupfinger, Bertram Hasenauer, Katrin Huber, Marion Kalter, Isabella Kohlhuber, Stefan Kreiger, Sigrid Kurz, Kai Kuss, Ulrike Lienbacher, Bernhard Lochmann, Dominik Louda, Maria Morschitzky, Sina Moser, Daniela Paulus, Otto Reitsperger, Bernhard Resch, Anja Ronacher, Isa Rosenberger, Markus Scherer, Wilhelm Scherübl, Sira-Zoé Schmid, Elisabeth Schmirl, Christian Konrad Schröder, Annelies Senfter, Gebhard Sengmüller, Ekaterina Sevrouk, Rudolf Strobl, Anton Thuswaldner, Gerold Tusch, Kay Walkowiak, Wang Jixin, Stefan Wirnsperger

Isa Rosenberger
... THE VAST LAND FROM WHICH SHE COMES.

Exhibition duration: 03/07/2019–19/07/2019

Kunsthalle Exnergasse, Vienna
https://www.wuk.at/en/kunsthalle-exnergasse/kunsthalle-exnergasse-archive/2019/07/the-vast-land-from-which-she-comes/

 
In 1934 the theatre stage of the Volksheim Ottakring in Vienna presented Gertrud Kraus’s* dance play “Die Stadt wartet” (The City Waits),** which was based on Maxim Gorky’s fairy tale “Musik der Großstadt”(The Music of the Big City). Her choreography reflected the way of a youth into the city and both the fear and the fascination of discovering and living in a big city as a young boy—Gertrud Kraus herself danced the role of the boy. “Interested in socio-political conditions and increasingly under pressure because of her Jewish heritage, she was one of the few exponents of expressive dance to develop art forms and choreographies that demonstrated political engagement. “ (Andrea Amort) 

However, as a historical lapse, there is no visual document capturing the performance of the dance play “The City waits” at Volksheim Ottakring . The project is an attempt to reflect on this lapse. Rosenberger collaborates with the artist and dancer Loulou Omer, whose mother Zipora Lerman was a student of Gertrud Kraus in Tel Aviv. (…)

Curated by Basak Senova
In the framework of the CrossSections project

Isa Rosenberger
NOVÝ MOST 2008/2019

Eröffnung Sonntag, 7. Juli 2019, 16.00 Uhr
museumORTH
2304 Orth an der Donau, Schloßplatz 1
http://museum.schloss-orth.at/2019/06/15/novy-most-von-isa-rosenberger-2/

Ausstellungsdauer: 8. Juli bis 1. November 2019

Es sprechen
Elisabeth Wagnes, Vizebürgermeisterin Marktgemeinde Orth an der Donau
Patricia Grzonka, Kunsthistorikerin und Kunstkritikerin
Angela Baumgartner, Abgeordnete zum Nationalrat in Vertretung von Landeshauptfrau Johanna Mikl-Leitner

"Nach langen Überlegungen, Planungen und Diskussionen beginnt der Bau der zweiten Brücke", verkündete in den 1970ern ein Sprecher des damaligen slowakischen Fernsehens. Unüberhörbar der Stolz auf die Brücke, die zwischen 1967 und 1972 als futuristisches Wahrzeichen der Stadt Bratislava errichtet wurde; kein Wort davon, dass das Vorhaben wegen der teilweisen Zerstörung der barocken Altstadt umstritten war. Isa Rosenbergers Video Installation Nový Most verknüpft Archivmaterial aus der Entstehungszeit der Brücke mit den persönlichen Betrachtungen von Frauen dreier Generationen - Großmutter, Tochter, Enkelin. Die Brücke als ideologisch aufgeladenes architektonisches Monument dient ihr dabei als Ausgangspunkt ihrer Untersuchung über das Verhältnis zwischen dem postsozialistischen Osten und dem kapitalistischen Westen - die Geschichte der Brücke wird zum Gradmesser einer sich verändernden Gesellschaft.
(Astrid Wege)

In Kooperation mit NÖ-Kulturabteilung, Kunst im öffentlichen Raum | www.publicart.at

Ausstellungsreihe
Alltagskultur und Gegenwartskunst im museumORTH
kuratiert von Hilde Fuchs

Samstag, 27. Juli 2019, 14.00 bis 18.00 Uhr
Workshop mit Isa Rosenberger
30 Jahre Fall des eisernen Vorhangs - persönliche Perspektiven
Der Workshop möchte den Blick von Orth auf die Grenze beleuchten, also die "umgekehrte" Sicht zum Thema machen. Bitte eigene Fotos oder Erinnerungsmaterialien mitbringen.

THE GOOD LIFE FOR ALL

Program at the Belvedere 21
Saturday, 6 April 2019 | 11 am to 6 pm

https://www.belvedere.at/en/good-life-all

In 2019, the Joint Ventures event series explores questions of good life and (co-) existence. What does community solidarity look like? How will we remain empowered to act even in troubled times? This program presents artistic projects and strategies around the topic of side income. (...)

 Following the presentation of the Sonnwendgarten collaborative project, journalist, translator, and university lecturer Alexander Behr will talk about the current popular subject of discussion – the good life for all – from a socio-economic perspective. After a group lunch break, the artists Christine Hohenbüchler and Irene Hohenbüchler, Iris Andrascheck and Hubert Lobnig, and Isa Rosenberger will present their projects and works, which are informed by a participatory artistic practice and developed in exchange with local communities and neighborhoods. Musician and author Christiane Rösinger from Berlin will conclude by reading from her books Das schöne Leben (2008) and Zukunft machen wir später - Meine Deutschstunden mit Geflüchteten (2017). The Viennese musician Veronika Adamski (of the group Just Friends and Lovers) will accompany her on piano.

THE 1990s
Setting 3 – Mobile Art in a Mobile Market

Exhibition duration: 25/4/2018– 20/1/2019

MUSA / Wien Museum
http://www.musa.at/

It was a time of upheaval in Europe: the Iron Curtain had fallen, and the Cold War was over. As globalisation gained momentum, Vienna moved closer to the limelight of international events. The situation was perfectly illustrated by art itself, and Vienna became the focal point of a European cultural scene that was opening up to the East. Diversity in all artistic media was the defining characteristic of the decade.
On a breadth unprecedented, the exhibition entitled ‘The 1990s’ on show at the Wien Museum MUSA offers a panoramic view of Vienna’s art scene at the time, across three consecutive acts featuring a total of 255 works by 245 artists. Through a rich mix of artistic media that includes painting, sculpture, photography, performance art and video art, it examines issues relating to politics, Vergangenheitsaufarbeitung [i.e. the political and societal process of coming to terms with the past], the environment, xenophobia, gender as well as kitsch and irony. 

MUSA’s series of decade-based exhibitions represents a cross-section through one of Austria’s largest collections of contemporary art; and with the 1990s, that series now covers no less than half a century.

Participating artists: Christiane Adrian­, art: phalanx, Christl Bolterauer, Gilbert Bretterbauer, Rosa Brueckl/Gregor Schmoll, Max Bühlmann, Ernst Caramelle, Bernhard Cella, Magda Csutak, Josef Dabernig, Inge Dick, Evelyne Egerer, Manfred Erjautz, Bernd Fasching, Herbert Flois, Magdalena Frey, Peter Friedl, Hilde Fuchs, Jakob Gasteiger, Franz Graf, Elisabeth Grübl, Manfred Grübl, Maria Hahnenkamp, Lotte Hendrich­ Hassmann, Christoph Hinterhuber, Kurt Hofstetter, Barbara Höller, Sabina Hörtner, Edgar Honetschläger, Dieter Huber, Ulrike Johannsen, Birgit Jürgenssen, Angelika Kaufmann, Udo Klapf, Karl­Heinz Klopf, Peter Kogler, Hans Kupelwieser, Sigrid Kurz, Brigitte Lang, Sonja Lixl, Claudia Märzendorfer, Felix Malnig, Katarina Matiasek, Helga Philipp, Walter Pichler, Tobias Pils, Willy Puchner, Helmut Rainer, Wolfgang Reichmann, Lois Renner, Gerwald Rockenschaub, Isa Rosenberger, Constanze Ruhm, Peter Sandbichler, Hans Schabus, Manfred Schluderbacher, Ruth Schnell, Werner Schrödl, Günther Selichar, Station Rose, Christian Stock, Esther Stocker, Andrea van der Straeten, Karl­Heinz Ströhle, Jutta Strohmaier, Gerold Tagwerker, Rini Tandon, Josef Trattner, Herwig Turk, Franz Vana, Matta Wagnest, Josef Wais, Walter Weer, Peter Weibel, Hans Weigand, Franz West, Gerlinde Wurth, Klaus Dieter Zimmer, Otto Zitko, Heimo Zobernig, Leo Zogmayer.

Curators | Brigitte Borchhardt-Birbaumer, Berthold Ecker

DOMerstagabend

WAS KUNST ÜBERHAUPT SEI
UND WAS NOCH ALLES KUNST SEI

Donnerstag, 4. Oktober 2018, 18.00 Uhr

Dom Museum Wien
http://www.dommuseum.at/de/besuch/?kid=130&a=d

Filmscreening und Gespräch mit Isa Rosenberger und Johanna Schwanberg zum Filmporträt über Otto Mauer anlässlich seines 45. Todestages. 

Dem Gründer der legendären „Galerie St. Stephan“ und Förderer so einflussreicher KünstlerInnen wie Arnulf Rainer und Maria Lassnig widmet Isa Rosenberger eine Videoarbeit, deren Leitmotiv diese – durchaus auch widersprüchliche – Vielfalt an Betätigungsfeldern ist. Die als Zweikanalvideo realisierte Arbeit zeigt Sequenzen von Interviews mit Zeitzeugen, Fotos, Plakate und vor allem Werke der zum Dom Museum Wien gehörenden Sammlung Otto Mauer, die abwechselnd nebeneinander aufscheinen. Das Zusammenspiel von Worten, Materialien und Bildrhythmus lässt die „Drehpunktfigur“ Otto Mauer greifbar werden.  

Rosenberger beschäftigt sich in ihren filmischen und installativen Arbeiten vornehmlich mit Erinnerung. Den subjektiven Blicken einzelner Personen werden zusätzliche Medien gegenübergestellt. Das daraus entstehende Geflecht verschiedenster Blickwinkel und Geschichten lässt eine andere Sicht auf die Dinge zu und schafft neue Erzählungen, die durch ihre Vielschichtigkeit ein lebendiges Bild ergeben.

"CROSSSECTIONS_INTERVALS" CrossSections_Intervals is the last and conclusive exhibition of a trilogy which started with CrossSections_Potentials and continued with CrossSections_Intensities at Kunsthalle Exnergasse Vienna. In this exhibition, the cumulative interdisciplinary input and data as the result of the process of the project is being transformed and translated to different kinds of narration and documentation as a set of intervals. They will serve as sources and potentials for other future implementations and articulations of the project. CrossSections is designed as an interdisciplinary platform for explorations into artistic research, dialogue, and production. The project employs an open format and curatorial model to reflect upon “process” with the intent to share and articulate diverse critical reactions and collective strategies in the context of art. Artists: Heba Y. Amin, Nisrine Boukrari, Benji Boyadgian, Yane Calovski, Ramesch Daha, Ricarda Denzer, Nikolaus Gansterer, Inma Herrera, Barbara Holub, Otto Karvonen, Ebru Kurbak, Bronwyn Lace, Marcus Neustetter, Behzad K. Noori, Egle Oddo, Isa Rosenberger, Lina Selander, Tamsin Snow, Timo Tuhkanen. Curated by Basak Senova.

ISA ROSENBERGER
… FULL OF SPIRITS SO FREE

Charim Events
Schleifmühlgasse 1a
A-1040 Wien
http://www.charimgalerie.at

 „The coffeehouse gives you a space to dream“, heißt es in einer Liedzeile des Coffeehouse Songs, welcher für die „Queen oft the coffee house“, Gina Kaus (1893 Wien – 1985 Los Angeles, USA) erdichtet und gesungen wird. Isa Rosenberger initiierte diesen Song, den Tini Trampler und Stephan Sperlich in Anspielung an das „Wienerlied“ der 20er-Jahre realisierten. Er ertönt nun im „Cafe Vienne“, das sie in den Räumen von Charim Events für Gina Kaus gestaltet hat und spielt damit an das Wiener Cafe Herrenhof an, welches in der Zwischenkriegszeit, mit der Bestsellerautorin im Mittelpunkt, ein Zentrum der Literaturavantgarde war. Diese emanzipierte Freidenkerin wird so erneut ins kulturelle Gedächtnis eingeschrieben; als österreichisch-jüdisch-amerikanische Schriftstellerin und Drehbuchautorin in Hollywood.

In ihrer Ausstellung erweitert Isa Rosenberger den Kreis einer Hommage und erarbeitet eine Erzählweise unter Verwendung von Video, recherchiertem Material, Inszenierung, Musik und Kollagen. Dabei reflektiert sie auch die Tatsache, dass Erinnerungen in wachsendem Maße durch Medien formatiert und vermittelt werden. Deshalb haben jene auch immer fiktionale Anteile, durch die, der sekundären Traumarbeit ähnlich, erst geschlossene Narrationen erzeugt werden. Der konkrete und fiktionale Erinnerungsraum der Ausstellung ist deshalb bewusst der Gegenwart verpflichtet.Isa Rosenbergers künstlerische Erinnerungsarbeit ist rekonstruierend und geht multiperspektivisch von der Gegenwart aus um Konstellationen zu erfassen. Sie hält ihr so entstandenes Werk möglichst fei von Erklärungen und Behauptungen und macht, durch die medienpoetischen Präsentationsformen die sie wählt, Geschichte ästhetisch erfahrbar. In diesem Sinne ereignet sich Kunst und das Ensemble der Werke vermag Besucher*innen zu aktivieren. Die Ausstellung ist, so gesehen, einem realzeitlichem Bühnengeschehen ähnlich, versehen mit dem Anspruch, dass Erinnerungsräume auch Erfahrungsräume sein sollen in denen wir unsere eigenen Rollen finden und bedenken können. Genau in der Weise, wie Lebensgeschichten ihre Differenzierungen und Bedeutungen als identitätsstiftende Sinnquellen aus den Bezügen zu vielgestaltigen Lebensmomenten gewinnen.

 Kurt Kladler

Ein Video, ein Song, Collagen und ein Kaffeehaustisch mit zwei Thonetstühlen im „Cafe Vienne“, Schleifmühlgasse 1a, 1040 Wien, laden dazu ein, geöffnet an allen Samstagen bis zum 28. Juli 2018, von 11 – 15 und nach telefonischer Vereinbarung.

Falter Kritik von Nicole Scheyerer
http://www.charimgalerie.at/events/Isa_Rosenberger/rosenberger_falter.pdf

ZONES OF CONTACTS - ARCHITECTURE OF GRAZ AND ZAGREB

Exhibition duration: 05/06/2018 – 14/08/2018

Museum of Contemporary Art Zagreb
http://www.msu.hr/#/en/21608/

The exhibition "Zones of Contacts - Architecture of Graz and Zagreb" is the collaborative project of Kunsthaus Graz and MSU aiming to show the relation between specific architecture that shaped Graz and Zagreb. The exhibition shows models, 3D models, video installations, photographs and sketches of architects and contemporary artists in order to create a fertile area suitable for analyzing architectural influences, but also to create a platform for critical thinking of architecture and urbanism. The core of the exhibition are works that reflect utopian and expressionist architecture, social housing and the impact of new technologies on urban planning.

List of artists: B+G Ingenieure Bollinger und Grohmann, Dieter Bogner, Boris Bućan, Peter Cook, Marcos Cruz, Tošo Dabac, Colin Fournier, Konrad Frey, Darko Fritz, René Furer, Bojan Gagić, Volker Giencke, Bernhard Hafner, Jessica Hausner, Anja Jonkhans, Niels Jonkhans, Vera Lutter, Andrija Mutnjaković, Mathis Osterhage, Vjenceslav Richter, realities:united, studio for art and architecture, Isa Rosenberger, Gernot Stangl, Goran Trbuljak, Arthur Zalewski.

Curator: Leila Topić

GENERALI FOUNDATION: 30 YEARS
In Dialog with 1918 1938 1968

Duration: 28/04/2018 - 07/10/2018

Museum der Moderne Salzburg
www.museumdermoderne.at
 

The Generali Foundation was established in 1988. On occasion of its thirtieth anniversary, the ninth exhibition of art from the collections undertakes a dialogical engagement with three historical turning points we commemorate in 2018. How do works of art reflect on the events of 1918, 1938, and 1968? The exhibition is organized around thematic foci of the collection of the Generali Foundation, which has long sought to nurture the work of artists who articulate critical perspectives on society and address historical and contemporary political issues.
After the end of World War I, November 1918 brings the proclamation of the Republic of Austria. In 1938, the country is annexed by Hitler’s Germany in the so-called Anschluss. Thirty years later, the protesters of 1968 take to the streets; among their demands are an end to the Vietnam War, equal rights for women, and sexual freedom. Radical social changes ensue in Austria as elsewhere, and the art of the time reflects this transformation. The exhibition presents works from the holdings of the Generali Foundation that respond to these events together with newly acquired art and rediscovered treasures from the museum’s other collections.

With
Max Beckmann, Renate Bertlmann, Günter Brus, Otto Dix, VALIE EXPORT, VALIE EXPORT / Peter Weibel, Harun Farocki, Marcus Geiger, Bruno Gironcoli, Dan Graham, Renée Green, Hans Haacke, Anselm Kiefer, Klub Zwei, Július Koller, Käthe Kollwitz, Jaroslaw Kozlowski, David Lamelas, Dorit Magreiter / Mathias Poledna / Florian Pumhösl / Hans Küng, Walter Pichler, Florian Pumhösl, Isa Rosenberger, Martha Rosler, Carolee Schneemann, Allan Sekula, Martin Walde, Franz West, Heimo Zobernig

Curators: Sabine Breitwieser, Director, Museum der Moderne Salzburg, and Antonia Lotz, Generali Foundation Collection Curator

IN DIE STADT / INTO TOWN

Duration: 20/02/2018 - 20/05/2018

Museum Moderner Kunst Kärnten, Klagenfurt 
http://www.mmkk.at

The exhibition entitled In die Stadt (Into Town), a fictional portrait of a town, explores the question of what circumstances and situations are responsible for the ambience. The exhibition is divided into several subject areas, unrelated to the conventional urban orders and categorisations. It is more a matter of associative terms such as rhythm, density, friction, surface, interstices or relation, which allow a different form of narration about urbanity and urban ambience. Urban space is not the sum of built area, but a social space, continuously developing and self-productive, dependent on changing and often divergent political, economic, social and cultural interests, and often also determined by unexpected and peripheral events.

KünstlerInnen: Ruth Anderwald + Leonhard Grond, Alfredo Barsuglia, BartolomeyBittmann, Hubert Blanz,  Sabine Bitter/Helmut Weber, Catrin Bolt, Gisela Erlacher, Lionel Favre, Andreas Fogarasi,  Marlene Hausegger, Heidrun Holzfeind, Sonia Leimer, Ernst Logar, Nika Oblak/Primož Novak,  Stefan Olah/Sebastian Hackenschmidt, Manuela Mark, Gerhard Maurer, Julian Palacz,  Isa Rosenberger, Evelin Stermitz, Jochen Traar, Julian Turner, Kay Walkowiak, Malte Wandel,  Lois Weinberger, Nicole Weniger, Anna Witt, WochenKlausur

 Kuratiert von Christine Wetzlinger-Grundnig, Christine Haupt-Stummer, Andreas Krištof

CROSS_SECTIONS: POTENTIALS

Exhibition duration: 10/1/2018–20/01/2018

Kunsthalle Exnergasse, Vienna
www.wuk.at

The CrossSections project focuses on artistic research, dialogue, and production and follows an open format to reflect upon process. Over the course of two years  (2017–2018), with the participation of 19 artists, diverse scholars and cultural workers, a range of various meetings, workshops, exhibitions, performances, and talks will be held in three cities: Vienna, Helsinki, and Stockholm.  The project is continuously being shaped and developed through the accumulation of artistic input and discussions over time. CrossSections: Potentials is the first of three exhibitions that will be shown at Kunsthalle Exnergasse in 2018.

Participating artists: Heba Y. Amin, Yane Calovski, Ramesch Daha, Ricarda Denzer, Nikolaus Gansterer, Barbara Holub, Otto Karvonen, Bronwyn Lace, Marcus Neustetter, Isa Rosenberger, Lina Selander, Tamsin Snow.

Curated by Basak Senova, in partnership with: Kunsthalle Exnergasse,Vienna; iaspis; Konstfack - University of Arts and The Nordic Art Association, Stockholm; Nya Småland, Sweden; HIAP -  and University of the Arts Helsinki and Press to Exit, Skopje.

Stopover: Screening Isa Rosenberger
Nový Most, 2008 Video, 17 mins

October 10 2017 17:00h
frei_raum Q21 exhibition space
www.erstestiftung.org

As part of the exhibition "Stopover - Ways of Temporary Exchange“ Isa Rosenberger’s video "Nový most“ will be shown in the exhibition (frei_raum Q21 exhibition space, MuseumsQuartier in Vienna), followed by an artist talk.
Over the years, Isa Rosenberger has developed a particular interest in history and its mechanisms of construction, the workings of remembrance and memory, as well as social, political, and economic processes of transformation. The film "Nový most" combines archival material and personal reflections from three generations of women centring on the new bridge that was built in Bratislava between 1967 and 1972; it was a controversial structure, which involved the demolition of historical buildings in the area.
Before the screening, Rosenberger will talk about her interest in the topic and the background to the making of the film.

Dom Museum Wien
http://www.dommuseum.at/

Isa Rosenberger:
Monsignore Otto Mauer  
What is art in essence and what all can art be?

2 Channel-Video, 30 min, © 2017
Comissioned by Dom Museum Wien
Permanently installed

A film about Monsignore Otto Mauer

Art Cologne 1967: After a group of exponents of the avant-garde — artists, critics, and gallery owners — had gone on a pub crawl in the evening after the opening of the first international fair for contemporary art, one of them invited the night owls to come to Cologne Cathedral where he said the early morning Mass.
What sounds like a concept for an artistic performance is actually one of the frequently told anecdotes that made Monsignor Otto Mauer such a famous figure of the postwar art world. As cathedral preacher, chaplain, priest, head of a gallery, and art critic, Mauer embodied the connection between art and the Church. He decisively informed the years during and after World War II with his powerful sermons and endeavors to propagate advanced art.

Isa Rosenberger’s video work dedicated to the founder of the legendary “Galerie St. Stephan” and patron of such influential artists as Arnulf Rainer and Maria Lassnig unfolds this wide range of anything but consonant activities as its leitmotif. The two-channel video shows sequences of interviews with contemporary witnesses, photographs, posters, and, above all, works of the Otto Mauer Collection in the possession of the Dom Museum Wien, presenting them alternately next to each other. The interplay between words, materials, and pictorial rhythm ensures the “pivotal figure’s” tangibleness.

Rosenberger, who was awarded the Otto Mauer Prize in 2008, is primarily concerned with the issue of memory in her film works and installations. The individuals’ subjective views are confronted with additional media. The resultant web of varied perspectives and stories allows a different view of things and brings forth new narratives whose complexity makes for a lively impression.

THE PRESENT ORDER – PART 3
Exhibition duration: 07/10/2017–14/01/2018

gfzk Galerie für zeitgenössische Kunst Leipzig
https://gfzk.de

The Present Order introduces the collection of the Museum of Contemporary Art. The title is borrowed from an artwork by Ian Hamilton Finlay, which the artist donated to the museum when the collection was founded. The varying inscriptions on the three stone blocks point towards essential issues involved in the presentation of the collection: Present The Order, the elucidation of an order, underlines the fact that systems of order always arise from the ideas of a certain era. Order The Present, the causation of the present, raises the question of the point in time at which art develops. How does it regard and influence its present? Finally The Present Order, the acceptance of an order, issues an invitation to confront the various interpretations that are condensed into a work of art from a contemporary point of view. During the course of one year, the exhibition presents various possibilities of ordering museum inventories, encouraging an active approach towards the collection.

with
Stephan Balkenhol, Horst Bartnig, Willi Baumeister, Ákos Birkás, Hans Brosch, Walter Dahn, Plamen Dejanov & Swetlana Heger, Jiří Georg Dokoupil, Hartwig Ebersbach, Till Exit, Dieter Finke, Ian Hamilton Finlay, Sylvie Fleury, Thomas Florschuetz, Dieter Froelich, Rupprecht Geiger, Martin Gerwers, Gotthard Graubner, Martyn Greenhalgh, HAP Grieshaber, Flaka Haliti, Eberhard Havekost, Anton Henning, Franz Jyrch, Johanna Kandl, Martin Kippenberger, Jens Klein, Maria Lassnig, Via Lewandowsky, Rosa Loy, Florian Merkel, Anna Meyer, Sarah Morris, Muntean / Rosenblum, Jorge Pardo, Sigmar Polke, Neo Rauch, Gerwald Rockenschaub, Ugo Rondinone, Isa Rosenberger, Christoph Schäfer, Erasmus Schröter, Tilo Schulz, Thomas Stimm, Gabriele Stötzer Strawalde, Sarah Sze, Rosemarie Trockel, Corinne Wasmuht, Haegue Yang, Jun Yang, Peter Zimmermann, Moira Zoitl

curated by
Vera Lauf and Franciska Zólyom

UP INTO THE UNKNOWN

Duration: 23/09/2017–25/03/2018

Kunsthaus Graz
www.museum-joanneum.at
 

The exhibition Up into the Unknown traces the creation of the Kunsthaus Graz, exploring thereby the relationship between visionary ideas and their realisation. A preset time frame, technical limitations, tight budgets, functional demands, and also elements of chance all changed the conception. Nevertheless, the building still speaks of utopian-visionary moments, which even today can enable the imagination to take flight.
As commissioned works, contemporary artists tackle issues of change: what has become of certain ideas and the attitudes connected with them?
How have social demands shifted? What has remained?

With works by Peter Cook, Colin Fournier, Niels Jonkhans, Archigram, Isa Rosenberger, Mischa Kuball, Arthur Zalewski.
Curated by Barbara Steiner.

SPECULAR WINDOWS
REFLECTIONS ON THE SELF AND THE WIDER WORLD

Exhibition duration: 22/06/2017–14/01/2018

Belvedere 21, Vienna
https://www.belvedere.at/bel_en/exhibition/specular_windows

Windows are openings that frame the exterior from within, while viewed from the outside, they reflect ourselves. This exhibition follows such inner and outer views and how they interact.
Specular Windows brings together around sixty contemporary works and a selection of historical pieces from the Belvedere collection, all of which revolve around experiences of self and world. The artworks deal with utopias and crises, the horror of the everyday, phenomena of the spiritual, the politicization of the body, as well as sociophysics and psychonautics, surreal worlds and individual mythologies. Drawing from the notion of art as a window to the world, this exhibition takes a look at the tension between the individual and society and reflects its effects on the body and mind.

With works by Marc Adrian, Martin Arnold, Vittorio Brodmann, Georg Chaimowicz, Adriana Czernin, Josef Dabernig, Gunter Damisch, VALIE EXPORT, Judith Fegerl, Michael Franz / Nadim Vardag, Padhi Frieberger, Bernhard Frue, Walter Gamerith, Bruno Gironcoli, Samara Golden, Judith Hopf, Alfred Hrdlicka, Iman Issa, Martha Jungwirth, Jesper Just, Tillman Kaiser, Johanna Kandl, Joseph Kosuth, Susanne Kriemann, Friedl Kubelka / Peter Weibel, Luiza Margan, Till Megerle, Henri Michaux, Muntean Rosenblum, Walter Pichler, Tobias Pils, Arnulf Rainer, Ugo Rondinone, Isa Rosenberger, Gerhard Rühm, Markus Schinwald, Toni Schmale, Anne Schneider, Richard Teschner, Simon Wachsmuth, Rudolf Wacker, Anna Witt

Curated by Severin Dünser and Luisa Ziaja.

PHANTASTISCHER KAPITALISMUS

 Eröffnung: 28. April 2017, 19 Uhr
29. April – 1. Juli 2017

GPLcontemporary, Wien
www.gplcontemporary.com

Mit: Halil Altindere (TR), Sabine Bitter & Helmut Weber (AT), Cinéma Copains (DE), Alice Creischer (DE), Etcétera (AR), Laura Horelli (FI), Sven Johne (DE), Helmut & Johanna Kandl (AT), Pia Lanzinger /DE), Karina Nimmerfall (AT), Ralo Mayer (AT), Andreas Siekmann (DE), Oliver Ressler (AT), Isa Rosenberger (AT), Christoph Schäfer (DE), Kamen Stoyanov (BG), Moira Zoitl (AT)
 

Grau, mein Freund ist alle Theorie, und nur das business ist grün. Ich bin leider zu spät zu dieser Einsicht gekommen.
(Karl Marx, Brief an Friedrich Engels, 20.8.1862)

Ausgehend von Schnittpunkten in ihren eigenen künstlerischen Arbeiten konzipieren Sabine Bitter & Helmut Weber, Helmut & Johanna Kandl, Oliver Ressler und Isa Rosenberger gemeinsam eine Ausstellung in der Galerie GPLcontemporary.
Die Ausstellung „Last Gasp Of Things As They Are“ von Oliver Ressler Mitte 2016 war der Beginn der Neuausrichtung von GPLcontemporary.
Die Galerie GPLcontemporary (Georg Peithner Lichtenfels) wurde 1961 vom Vater des jetzigen Galeristen gegründet und zeigte u.a. Arnulf Rainer, Adolf Frohner und Arik Brauer. Eine neue Programmschiene der Galerie legt den Fokus auf Kunst, die gesellschaftspolitische Themen und Fragestellungen behandelt. Medial liegt der Schwerpunkt bei Video und Fotografie, ohne andere Medien auszuschließen. Ein wichtiger Aspekt dieser Zusammenarbeit ist es auch, die Galerie als Möglichkeitsraum und Plattform für Austausch und kollektive Entscheidungsprozesse zu denken.
Die Frage, was Kunst ist, wird immer häufiger nur in Dollarzeichen beantwortet. Das Geld hat sich eine Definitionsmacht über die Kunst geschaffen. (...) Kritik ist ein Teil dessen, was Kunst in einer Gesellschaft bedeutet. (...) Aber etwas zu tun ist besser, als es so zu lassen, wie es ist. (Georg Seeßlen: DIE ZEIT, 4. September 2014)
Der Titel „Phantastischer Kapitalismus“ zitiert die Bezeichnung „Phantastischer Realismus“, eine Kunstrichtung der Wiener 1960er Jahre (der Künstler Arik Brauer war einer ihrer Vertreter), impliziert aber auch das Irrationale, Unkalkulierbare und Quasireligiöse der Wirtschafts(theorien), wo das Primat der Wirtschaft über jeden Bereich des Lebens an den Absolutheitsanspruch von Religionen erinnert. Die Ausstellung „Phantastischer Kapitalismus“ versammelt Arbeiten von KünstlerInnen, die sich mit Begriffen wie Akkumulation von Kapital/ Geld und Stadt auseinandersetzen.

BOOKS ON THE MOV(I)E. Ein Filmabend
15 Jahre SCHLEBRÜGGE.EDITOR

Samstag, 22. April 2017, 18 Uhr, Breitenseer Lichtspiele
Moderation: Bert Rebhandl
Breitenseer Lichtspiele | Breitenseer Straße 21 | 1140 Wien | U3-Station Hütteldorfer Straße
 

2002–2017: SCHLEBRÜGGE.EDITOR nimmt das kleine Jubiläum zum Anlass für eine Filmnacht der KünstlerInnen und AutorInnen des Verlags. Wir laden herzlich ein, bei dieser Präsentation der Bücher und Filme dabei zu sein und mit dem Verlag, seinen AutorInnen und FreundInnen im ältesten Kino von Wien zu feiern. Die Film- und Büchernacht ist nicht retrospektiv, sondern ein Ereignis, das die zwei Medien kondensieren, Bücher in Bewegung bringen, Filme in neue Kontexte verschieben soll. Die Gäste aber pendeln zwischen Vorführsaal und Büchertürmen, Kinobar und Vorstadthimmel.

 Mit Filmbeiträgen von: Thomas Baumann, Dieter Buchhart, Carola Dertnig, Judith Fischer, Agnes Fuchs, Manfred Grübl, Maria Hahnenkamp, Oliver Hangl, Marlene Hausegger, Edgar Honetschläger, Michael Huey, Anna Jermolaewa, Franz Kapfer, Barbara Kapusta, Herwig Kempinger, Renate Kordon, kozek hörlonski, Sigrid Kurz, Sonia Leimer, Edgar Lissel, Stephan Lugbauer, Marko Lulić, Lotte Lyon / Daniel Wisser, Brigitte Mahlknecht, Roland Maurmair, Christian Kosmas Mayer, Albert Mayr, Rudi Molacek, Lilo Nein, Gerald Nestler, Michelangelo Pistoletto, Katrin Plavčak / Johanna Kirsch, Wendelin Pressl, Bernhard Riff, Isa Rosenberger, Constanze Ruhm / Christine Lang, Hans Schabus, Ashley Hans Scheirl, Eva Schlegel, Claudia Schumann, Ekaterina Shapiro-Obermair, Beatrix Sunkovsky, Andrea van der Straeten, Franz West, Richard Hoeck / Heimo Zobernig, Fabio Zolly / Dariusz Kowalski, u.a.

FROM A PLACE OF DARKNESS
Video- and film program curated by Gülsen Bal & Walter Seidl

Dec. 21, 7 pm
Venue: Raum D / Q21 / MuseumsQuarter Vienna
www.mqw.at

Artists: Friedl vom Gröller, Renata Poljak, Kamen Stoyanov, Jorge Galindo & Santiago Sierra, Isa Rosenberger, Servet Koçyiğit, Ferhat Özgür

The film and video screening project From a Place of Darkness deals with recent phenomena in history that affect personal stories, which are sometimes deprived of any notion of progress and conjure up our innermost fears dating back to ancient times and pushing us to where we reluctantly, with a critical eye, face the fact that “an unexamined life is not worth living”, as Socrates says – in an exploration of a rather difficult question of “waking life” where things that cannot be taken for real almost pass by like shadows.
The general backlash against social progress coupled with increasingly right-wing politics as well as the fear of the consequences of neoliberal and globalist politics has led to different forms of crisis, which make the individual feel helpless and unable to actively engage in social processes. On various levels, the videos presented suggest different viewpoints on public, private, social and political issues, which force us to rethink historical notions of progress and the inhibitions imposed upon the individual, who is often prevented from acting freely and without dependence on the permission of an/other.

55 YEARS - LOOKING FORWARD
eine Gruppenausstellung anlässlich des 55-jährigen Bestehens der Galerie

Eröffnung am 17. November 2016, 19 Uhr
zur Eröffnung spricht Dr. Walter Seidl
Dauer der Ausstellung: 18. November 2016 bis 10. Januar 2017
Im Rahmen der Vienna Art Week

Mit: Sabine Bitter & Helmut Weber, Jason Bunton, Rouven Dürr, Michael Endlicher, Christian Frosch, Die 4 Grazien, Harald Gfader, Tatjana Hardikov, Tobias Hermeling, Johanna & Helmut Kandl, Bodo Korsig, Martina Menegon, Jürgen Paas, Niki Passath, Oliver Ressler, Isa Rosenberger, Dirk Salz, Sommerer & Mignonneau, Christian Stock, Gerold Tusch, Jan Maarten Voskuil, Anna Werzowa

GPLcontemporary
Sonnenfelsgasse 6
1010 Wien
http://www.gplcontemporary.com

ARCHIVES AND POWER II
The international project PERFORMING THE MUSEUM

Exhibition opening: Friday, October 28th, 2016 at 8pm
Duration: 28.10–13.11.2016

 Museum of Contemporary Art Vojvodina, gallery N, Novi Sad
www.msuv.org

Artists: NIKA AUTOR, LÚA CODERCH, FOKUS GRUPA, DALIBOR MARTINIS, ISA ROSENBERGER, ŠKART, ZORAN TODOROVIĆ
Curators: SANJA KOJIĆ MLADENOV, GORDANA NIKOLIĆ

The international project Performing the Museum, in the 2016 edition at the Museum of Contemporary Art of Vojvodina (MSUV) presents the group exhibition and the symposium Archives and Power. The exhibition Archives and Power presents the artworks that deal with exploring the museums’ collections and reinterpreting certain public and private archives and their discursive deposits, as well as the artistic interventions within the context of analysing the relationship between the institution and its symbolic power in the creation of history. 

BERGEN ASSEMBLY 2016

September 1–October 1, 2016
Opening weekend: September 1–4

http://bergenassembly.no

PUTTING REHEARSALS TO THE TEST

Duration: 09/01/2016 –26/11/2016
September 1, 2016: Opening at 5:30 p.m.

VOX, centre de l’image contemporaine, Montreal
www.centrevox.ca

VOX, centre de l’image contemporaine, the Leonard & Bina Ellen Art Gallery and SBC Gallery of Contemporary Art will host a major event entitled Putting Rehearsals to the Test, accompanied by a film program presented at the Cinémathèque québécoise and at VOX. The three curators of the exhibition, Sabeth Buchmann, Ilse Lafer, and Constanze Ruhm, bring together over fifty international artists who address a set of positions and strategies in contemporary art that consider rehearsal as both subject and practice. While the subject of “rehearsal” is popular in film and theater, as well as in the fine arts, it has been scarcely considered in historical and contemporary art discourses. It is with this in mind that the exhibition Putting Rehearsals to the Test investigates the role and function of the notion of “rehearsal,” understood as a methodology, a modus operandi, a medium, a site of representation and reflection for artistic production processes.

Curators: Sabeth Buchmann, Ilse Lafer and Constanze Ruhm

Artists and film-makers taking part in the event: Marwa Arsanios, Judith Barry, Martin Beck, Rainer Bellenbaum, Cana Bilir-Meier / Liesa Kovacs / Lisa Kaeppler in collaboration with Nora Jacobs, Merlin Carpenter, Keren Cytter, Carola Dertnig, Discoteca Flaming Star, Loretta Fahrenholz, Harun Farocki, Heike-Karin Foell, Marie Claire Forté and Alanna Kraaijveld in dialogue with Sophie Bélair Clément, Hanako Geierhos, Jean-Luc Godard, Ana Hoffner, Oliver Husain, Richard Ibghy & Marilou Lemmens, On Kawara, Jutta Koether, Eva Könnemann, Krüger & Pardeller, Achim Lengerer, Rashid Masharawi, Jasmina Metwaly and Philip Rizk, Eva Meyer and Eran Schaerf, minimal club, Regina (Maria) Möller, Yoko Ono, Silke Otto-Knapp, Falke Pisano, Mathias Poledna, Marlies Pöschl, Isa Rosenberger, Constanze Ruhm, Susanne Sachsse, Klaus Scherübel, Eske Schlüters, Maya Schweizer, Wendelien van Oldenborgh, Clemens von Wedemeyer, Tanja Widmann, Katarina Zdjelar, Heimo Zobernig

ANTI:MODERN
Salzburg in the Heart of Europe between Tradition and Renewal

Opening of the exhibition: Saturday, July 23, 2016, 11am
Duration: 7/23/2016 – 11/6/2016

Museum der Moderne Salzburg
www.museumdermoderne.at
 

Is Salzburg indeed anti-modern, as has often been claimed? The—perhaps provocative—question is the point of departure for this comprehensive exhibition, which assembles work by an international cast of artists to draw a differentiated picture of modernity. The show examines numerous events and phenomena in western Austria, gathering evidence of liberal-minded attitudes and an embrace of modern life and art and tracing how such openness was subsequently buried beneath the political propaganda of the 1930s. Surveying a wide range of thematic fields and multiple genres, it lays out the manifestations and conditions of production of modern life-worlds and the consequences of intellectual and practical opposition to modern life.
When we imagine the city as a platform for modernity and progress, we think of international metropolitan centers like New York, Berlin, Paris, and Vienna. With the inauguration of the Empress Elisabeth Railway in the nineteenth century, Salzburg was increasingly connected to the network of Europe’s major cities. The growing town attracted conventions of international scientists and scholars such as the first International Psychoanalytical Congress in 1908 and was home to private scientific laboratories like the one established by the Exner family. The Salzburg Festival is widely regarded as a crucial source of fresh impulses for the arts, both in Austria and abroad. Among the less well-known and surprising examples of cultural initiative in 1920s Salzburg are the International Society for Contemporary Music and the Elizabeth and Isadora Duncan School. The work of artists’ groups and local women activists demonstrate the growing presence of progressive thinking and democratic processes.
But the exhibition does not draw a veil over conservative and traditionalist tendencies and efforts to enlist the arts for political purposes in the 1930s. Obliteration and expulsion as well as forms of aesthetic and political exile are important themes, raising the question of how the way was paved for the return of modernity after 1945. Interspersed between the chapters showcasing historic art and materials are selected works by international artists including Alice Creischer/Andreas Siekmann, Renée Green, Hans Haacke, Oliver Ressler, Gerhard Richter, Isa Rosenberger, and Franz West that consider various thematic aspects from a contemporary angle.

 Exhibition Concept and Chief Curator: Sabine Breitwieser
Curator: Beatrice von Bormann
Curatorial Assistants: Barbara Herzog and Marijana Schneider

Sunday, July 24, 2016, 11am: Artist´s talk with Alice Creischer/Andreas Siekmann and Isa Rosenberger

PERFORMING THE MUSEUM
1/6/2016 at 5 PM, Gorgona Hall
Museum of Contemporary Art, Zagreb
www.msu.hr

Programme: lecture by Barbara Steiner and Anna Lena von Helldorff and film presentation by Isa Rosenberger

In 2015 Barbara Steiner and Anna Lena von Helldorff were invited by Andrea Hribernik, – director of the Koroška galerija likovnih umetnosti in Slovenj Gradec (Slovenia) – to curate the museum´s collection. Their exhibition “Collection reversed: transfer, transformation and ruptures” placed emphasis on the international exhibitions Koroška galerija held in 1966/67, 1975, 1979, and 1985, which formed the basis of the museum´s collection. Steiner and Von Helldorff will present their approach, which set exhibition – catalogue – collection in relation to one another and placed artworks next to archival material/reproductions in order to be able to read transfers, transformations and ruptures that have occurred over the course of time – as the title of the show suggests.

Isa Rosenberger will present her film Peace, Humanity and Friendship among Nations, (2012/15), which addresses the utopian position of the museum in general, and of the Koroška galerija likovnih umetnosti in Slovenj Gradec in particular.

PERSECUTED, ROBBED, EXPELLED
Artistic Works on Repression in Vienna and Graz in the Nazi Era

Opening of the exhibition: Friday, March 11, 2016, 9pm
Duration: 12.3.–28.5.2016

< rotor > center for contemporary art
rotor.mur.at

Participating artists: Catrin Bolt, Nayari Castillo / Jacqueline Goldberg, Fedo Ertl, Petra Gerschner / Michael Backmund, Jochen Gerz, Emil Gruber, Peter Gerwin Hoffmann, Kate Howlett-Jones / Daphna Weinstein, Helmut & Johanna Kandl, Martin Krenn, Axl Leskoschek, Lisl Ponger / Tim Sharp, Oliver Ressler, Isa Rosenberger, Peter Weibel

Curated by Birgit Lurz, Wolfgang Schlag, Margarethe Makovec, Anton Lederer

 The works of artists who deal with the systematic persecution, expulsion, and even killing of people in the Nazi era, will be presented in the second exhibition at < rotor > that takes the Hotel Metropole, the former Gestapo headquarters, as its point of departure. The massive-scale plundering directed and carried out by the National Socialists, above all of the property of the Jewish population, will be another central thematic field. Along with artworks that were created in the frame of the Wiener Festwochen 2015, contributions by artists will be presented who have dealt with this subject with special reference to the inglorious local history of Graz.

Saturday, May 7, 2016, 16:00 _ Artist´s talk with Isa Rosenberger
in the frame of Galerientage - Current Art in Graz