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.
This volume takes its cue from the ethnological concept of animism, a term for religions that view objects as having souls of their own. Animism emerged as an anthropological category in the nineteenth century, often occurring as a folk belief underlying more established religions, particularly in Africa and Southeast Asia. The term has proved also influential in psychoanalysis, where it denotes mental states in which no division is made between inner and outer realities. This volume brings together artworks, documents and artifacts to create an essayistic appraisal of works by such artists and filmmakers as Didier Demorcy, Walt Disney, Jimmie Durham, Eric Duvivier, Henri Michaux, Thomas Alva Edison, Candida Hofer, Luis Jacob, Ken Jacobs, Yayoi Kusama, Len Lye, Chris Marker, Alain Resnais, Daria Martin, Ana Mendieta, Hans Richter and others.
