Kunsthaus Bregenz KUB 2016 Program 2016

Kunsthaus Bregenz
KUB 2016
Program 2016
30 | 01 | 2016 — 15 | 01 | 2017
English
Mission Statement 2016
Cover
© Kunsthaus
Bregenz
Kunsthaus Bregenz,
façade corridor
Foto: Hélène Binet
© Kunsthaus
Bregenz
02 03
KUB 2016
Program
The program at Kunsthaus Bregenz is founded on issues linked to
this particular place. Monographic statements are being planned
that address both the building itself and the structures of the
past and present. Art’s sensory means can lead to a reconsideration
of unquestioned judgments, prescribed moral standards, and
individual self-identity. In 2016 four artists will be engaging with
currently pressing issues: the movement of refugees, the frictions
between cultures and religions, the hegemony of digitally controlled
capital, and the fault lines of suppressed history.
If art is merely delivered, hung, and returned, it remains disconnected. Rather it should emerge from the specifics of the locality,
being inspired by existent structures, and relating to local circumstances. It is a matter of precision and individual statements, of
being specifically adapted, of inspiration and grand gestures.
This is what KUB stands for. In 2016 exhibitions throughout the
entire institution will be cast from one mold. The four monographic
exhibitions will be accompanied by a program entailing new concepts:
the KUB Billboards on Seestraße which will in future be dedicated to
a younger generation of artists, who have grown up in an increasingly digitalized and globalized world, likewise KUB Projects will use
external spaces to make art also visible as a social practice.
Heimo Zobernig
Untitled, 2015
Coated particle
board, steel frame
on casters
292 x 202 x 80 cm
Foto: Archiv HZ
I am proud to be able to assume leadership of the future of Kunsthaus
Bregenz and its employees. Kunsthaus Bregenz represents an
extraordinary success story. Since opening in 1997 its worldwide
profile has been well secured. Above all its interior spaces provoke a
productive disruption to habitual sensibilities. It is as if eyes, ears,
and pores have been opened up. It is not surprising that the architect Peter Zumthor relates closely to music. He has also created the
best possible conditions for the visual arts. The paintings by the
US American Joan Mitchell, whose works were on display in the 2015
summer exhibition Joan Mitchell: Retrospective, could hardly have
unfolded in any other space with such majesty. The manner in which
the paint has been applied with such verve and painterly vitality
becomes all the more vivid against the background of the refined
concrete walls. Restlessness and tranquility, curiosity and humility
confront each other. The audience enthusiastically absorbed the
exhibition’s visual energy.
We are currently preparing the last exhibition of the year.
Heimo Zobernig, who was invited by Yilmaz Dziewior to represent
Austria at this year’s Venice Biennale, will be recreating the installation he constructed for the Austrian Pavilion in Venice in the spaces
of the Kunsthaus. This will entail the partial removal of the
famous glass ceiling. Outside the space and against the façade of
the Vorarlberger Landestheater facing Karl-Tizian-Platz, Zobernig
is having a large-scale black wall erected. This sober structure is
a reference to his own laconic art as well as to the building itself — a monumental cast shadow comprising plywood coated in tar. As a
harbinger, Zobernig’s invitation card and exhibition poster features
an image of white display walling, a neutral matter-of-fact tabula
rasa. Heimo Zobernig’s lapidary placeholders are examples of an art
which has the ability to disrupt practiced patterns of thought. However, art can only encourage vanguard thinking and contemplation,
if it eschews distractions, superficial charm, and blind confirmations
of the status quo. In succeeding it becomes capable of transforming
both prevailing beliefs and the existing context.
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KUB 2016
Program
Exhibitions 2016
Susan Philipsz
30 | 01 — 03 | 04 | 2016
Theaster Gates
23 | 04 — 26 | 06 | 2016
Wael Shawky
16 | 07 — 23 | 10 | 2016
Lawrence Weiner
12 | 11 | 2016 — 15 | 01 | 2017
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KUB 2016
Program
Kunsthaus Bregenz
Photo: Matthias
Weissengruber
© Kunsthaus
Bregenz
Peter Zumthor has written that his design for the KUB building was
inspired by the weather conditions particular to its location on Lake
Constance — its light, mist, and fog. A climatic atmosphere and a
perception of light became architecture. The building is a response
to and a visualization of the location. The Scottish artist, and winner
of the Turner Prize, Susan Philipsz is addressing the musical heritage
of German speaking emigrants, indirectly referencing Zumthor’s
fog metaphor. Hanns Eisler wrote the music for the film Night and
Fog by Alain Resnais from 1955. The film narrates deportations
during the Holocaust. Audio tracks of this music will be heard in
the Kunsthaus. The building becomes a physical resonance of loss,
crime, and history. In addition KUB will be cooperating with the
Jewish Museum of Hohenems. A work by Philipsz en plein air at the
Jewish cemetery will confront the history of the region.
The US American artist Theaster Gates is a shooting star in the
world of contemporary art. Gates is well known as the initiator of
the annual meeting of Afro-American artists in Chicago. He is considering a variant of his Black Artists Retreat for Bregenz, possibly
in relation to refugees now living in the vicinity. Theaster Gates’
visual work comprises large-scale sculpture, distinctive for its
roughly finished carpentry, coated in bitumen or clad in roof shingles.
Before working as an artist Gates was a Chicago Transit Authority
employee. This experience of engaging with social and urban issues
is one that also distinguishes his artistic practice. For the Dorchester
Project Gates acquired vacant derelict buildings, which he refurbished
and transformed into cultural institutions and for which he has since
become renowned far beyond his hometown.
Wael Shawky follows in summer during the period of the
Bregenz Festival. The Egyptian artist, based in Alexandria, became
instantly renowned after presenting his film Cabaret Crusades at the
Istanbul Biennial 2011. A book by the Franco-Lebanese author Amin
Maalouf, narrating the medieval crusades from an Arabic perspective,
served as his point of departure. The theatrical and elaborate costumes
involved in this summer show immediately evoke associations with
the Bregenz Festival. Some of the dialogue in these films is in Arabic.
The differences between East and West, the common but simultaneously disputed history of their holy sites, and links to Acre in Israel,
one of Bregenz’ twin towns, all comprise extremely current references.
The forth solo exhibition during the fall of 2016 is dedicated
to Lawrence Weiner, one of Conceptual Art’s most senior protagonists. Weiner is a cult figure in the world of contemporary art.
His subject matter is language and text which may take a spatial or
sculptural form. The work addresses reading and decoding, interpretations and associations, and not least questions concerning the
nature of the work of art itself. For KUB he is planning a comprehensive display of his work, which will also include an exterior one
on KUB’s striking glass façade.
KUB 2016.01
Susan Philipsz
30 | 01 — 0 3 | 04 | 2016
Susan Philipsz
War Damaged
Musical Instruments
(Pair), 2015
Two-channel
audio installation
Installation view
Theseustempel,
Kunsthistorisches
Museum, Vienna
Photo: Thomas
Ritter
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KUB 2016
Program
Susan Philipsz is one of today’s leading artists. Her work revolves
around explorations of the human voice and a melancholic
existentialism. Her acoustic work is an interplay between spaces
and sensibilities. The majority of her works draw on the specifics
of particular places. She became well-known through a capella
renditions of songs; her work Filter (1998) for example quoted such
artists as Nirvana, Marianne Faithfull, Velvet Underground, and
Radiohead. The work was replayed through loudspeakers located
at a bus stop and in a supermarket. For the 1999 Manifesta in
Ljubljana she sang the Internationale in a passageway. In 2000 she
addressed James Joyce’s short story The Dead. For the Glasgow
International Festival she developed Lowlands, after a ballad from
the 16th century. The love song — initially sung in three versions,
to be replayed in the dark spaces under Glasgow’s bridges — was
later recreated at Tate Modern in London, where it won her the
prestigious Turner Prize (2010).
The subject matter of memory, grief, and trauma has been
increasingly confronted recently, such as in the work for the rotunda
in the Guggenheim Museum in New York, and at the site of the train
station in Kassel for dOCUMENTA (13). In a recent series of work
she has been employing instruments damaged by war. The voices
have now become instrumental, their staging a sculptural but nonetheless scarred presence.
Susan Philipsz was born in 1965 in Glasgow. She completed a BA in
Fine Art at Duncan of Jordanstone College of Art, Dundee (1989-93)
and an MA in Fine Art at the University of Ulster, Belfast (1993-94).
In 2000 she was awarded a residency in the P.S.1 studio program, and
in 2001 she participated in the Kunst-Werke e.V. artists’ residency
program in Berlin, the city she has lived in since. In 2010 she won the
Turner Prize, and in 2014 she was awarded an OBE.
Her recent solo exhibitions include War Damaged Musical Instruments, Duveen Galleries, Tate Britain, London (2015/2016); Follow Me,
various locations in Genoa, Museo de Arte Contemporana Villa Croce,
Genoa (2015); War Damaged Musical Instruments (Pair), Theseustempel, Kunsthistorisches Museum, Vienna (2015); The Distant Sound,
various venues, Denmark, Sweden, Norway (2014); Part File Score,
Hamburger Bahnhof, Berlin (2014); It Means Nothing To Me, Mizuma
Gallery, Beijing, (2012); Seven Tears, Ludwig Forum für internationale
Kunst, Aachen (2011); You Are Not Alone, Haus des Rundfunks, Berlin
(2011); We Shall Be All, MCA Chicago (2011).
Jewish Cemetery
Hohenems
Photo: Rudolf
Sagmeister
© Kunsthaus
Bregenz
Susan Philipsz,
2015
Photo: Rudolf
Sagmeister
© Kunsthaus
Bregenz
»I see the voice as a means to infiltrate spaces, like a ghost in the
machine, and return experience to a human scale. I also see the voice as
a means to address people both individually and as a collective.
Experiencing a lone, disembodied voice in a public setting can produce
a strange experience among an unsuspecting audience, like feeling
alone in a crowd.«
Susan Philipsz
Kunsthaus Bregenz has become renowned for commissioning works.
Susan Philipsz will be continuing this tradition, whilst also forging
links to Vorarlberg’s own musical landscape.
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KUB 2016
Program
Her many group exhibitions include the 14th Istanbul Biennial,
Istanbul (2015); Soundscapes, The National Gallery, London (2015);
Parasophia: Kyoto International Festival of Contemporary Culture,
Kyoto (2015); Manifesta 10, St. Petersburg (2014); Soundings, A
Contemporary Score, MoMA — T he Museum of Modern Art, New York,
(2013); dOCUMENTA (13), Kassel (2012); Haunted, Solomon R. Guggenheim Museum, New York (2010); Turner Prize, Tate Britain, London
(2010); the 29th Biennale de São Paulo, São Paulo (2010).
Public collections include Tate Britain, London; Solomon R.
Guggenheim Museum, New York; Walker Arts Center, Minneapolis;
MCA Chicago; Museum Ludwig, Cologne; Museo Reina Sofía, Madrid;
Moderna Museet, Stockholm; Palazzo Reale, Milan.
KUB 2016.02
Theaster Gates
23 | 04 — 2 6 | 06 | 2016
The exhibition
has been made
possible with
the generous
support of
Phileas - A Fund for
Contemporary Art.
Theaster Gates
Roofing Sample:
Weitzman
Roofing, 2014
Metal, wood,
and roof shingles
152.4 x 154.9 x 80 cm
© Theaster Gates.
Photo © White Cube
(Prudence Cuming
Associates Ltd)
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KUB 2016
Program
Theaster Gates is an American artist, performer, and activist. His
practice encompasses sculpture, installations, performances,
and urban interventions that aim to bridge the gap between art
and life. In his projects he is committed to instigating cultural
communities that act as catalysts for a social engagement which
may lead to political and spatial changes.
His work results in temporary walls, platforms, and usable
buildings. Wood and coatings of black tar dominate, roof and wall
coverings remain roughly finished. The objects not only speak
for themselves, but also address social realities. Gates’ interest
centers on the potential of the poetic and ritualistic, and not least
their socio-political energy. Gates, not only trained as a sculptor but
also originally as an urban planner, was an employee at Chicago
Transit Authority, a company operating the second largest public
transport network in the United States, in Chicago and 40 surrounding suburbs. His work, imbued with social responsibility, addresses
issues of communal transport, urban planning, and social history.
Gates’ best-known initiative is The Dorchester Project, a sustainable
ongoing real estate development project. At the end of 2006 Gates
acquired an unoccupied building on Chicago’s South Side and worked
together with a team of architects and developers on a renovation
of the building that included the use of a variety of found materials.
The building and subsequently several more in its vicinity have
become a hub for cultural activity. Today it not only houses a book
and record library but has also become a venue for dinners (choreographed occasions entitled »Plate Convergences«), concerts, and
performances. Gates describes this project as »real-estate art« and
understands it as part of a »circular ecological system,« since the
renovations of the buildings are financed entirely by the sale of
sculptures and artworks that were created from materials salvaged
from their interiors.
His works are extremely apt for KUB in their large-scale
spatial presence. They are confrontational statements and bulky
monuments, embodying a socio-critical attitude targeting
the structure of society. An independent body of work is being
developed for KUB.
Theaster Gates
Classroom, 2013
Wood, plastic,
and metal
Dimensions
variable
© Theaster Gates.
Photo © White Cube
(Edouard Fraipont)
Theaster Gates was born in 1973 in Chicago, where he lives and works.
He has exhibited widely, including group shows such as Saltwater,
14th Istanbul Biennial (2015), the Whitney Biennial, New York (2010),
dOCUMENTA (13), Kassel (2012), The Spirit of Utopia at the Whitechapel,
London (2013), and Studio Museum’s When Stars Collide in New York
(2014). In 2015 he was a participant in the Venice Biennale. Major solo
exhibitions include To Speculate Darkly: Theaster Gates and Dave,
the Slave Potter at Milwaukee Art Museum (2010), Theaster Gates:
The Listening Room at Seattle Art Museum (2011/2012), and Theaster
Gates: 13th Ballad at MCA Chicago (2013), as well as The Black
Monastic residency at Museu Serralves, Porto (2014).
In 2013, Gates was awarded the inaugural Vera List Center Prize for
Art and Politics, and in 2015 he won the Artes Mundi 6 Prize. Gates is
also the founder of the non-profit Rebuild Foundation. Since 2011
he has been the Director of Arts and Public Life at the University of
Chicago and has been awarded an honorary doctorate by the San
Francisco Art Institute.
Theaster Gates,
2014
Photo: Sara Pooley
Courtesy of
Theaster Gates
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KUB 2016
Program
Theaster Gates
Herbert Read
and All Things
Freed., 2014
Mixed Media
210 x 76 x 76 cm
© Theaster Gates.
Photo © White Cube
(Markus Haugg)
KUB 2016.03
Wael Shawky
16 | 07 — 2 3 | 10 | 2016
Wael Shawky
Cabaret Crusades:
The Secrets of
Karbala, 2014
Marionette #125
Glass, fabric,
enamel, thread
42 x 20 x 18 cm
unicum
Courtesy of Wael
Shawky and SfeirSemler Galerie,
Hamburg|Beirut
16
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KUB 2016
Program
Born in Alexandria, the artist became known almost overnight a
few years ago. He was working on a trilogy of films called Cabaret
Crusades, which he presented for the first time at the Istanbul
Biennial 2011. Their subject matter is the medieval crusades of the
11th and 12th centuries, their sets represent the sites of oriental
battlefields. In contrast to conventional films, Wael Shawky
narrates the crusades from an Arab point of view, remaining faithful
to the book The Crusades Through Arab Eyes by the Franco-Lebanese
author Amin Maalouf, published in 1983. The work focuses on
an analysis of written history, drawing on a variety of historical
sources for inspiration in order to re-present and translate the
history of the crusades from a fresh perspective. The films Cabaret
Crusade: The Horror Show File (2010) and Cabaret Crusades: The Path
to Cairo (2012, musical) were exhibited along with accompanying
installations of drawings and objects at dOCUMENTA (13) in the
summer of 2012.
Shawky uses marionettes as actors and a self-built stage as a
set. Some of the elaborately attired wooden figures originate from
the 18th century, whilst others are newly fabricated ceramic ones.
Recently, as could be witnessed at Art Basel 2015, they have also
been cast from glass and presented in illuminated display cases like
mute ancestors and eerie ghosts.
Wael Shawky uses a variety of media such as film, drawing,
photography, and performance, to investigate and analyze the
real and imaginary histories and narratives of the Arab world.
His multi-layered reconstructions and retellings force viewers to
engage in questions of truth, myth, and stereotypes. The artist
sees himself as a translator of instances of civilizational transition
into material form.
The work is about history, about manipulation and ideology,
but also about a critique of the media and their representational
norms. These plays obtain an explosive power from the religious
conflicts of the present day. Cairo, Aleppo, and Damascus were
then as now the sites of hostile and bloody clashes. The waves of
refugees have made these conflicts directly perceptible in Europe,
a development that had not been foreseeable a few months ago
when the exhibition was being arranged.
Wael Shawky, born in Alexandria in 1971, studied Fine Art at the
University of Alexandria before receiving his M.F.A. from the
University of Pennsylvania in 2000.
His work has been included in major international exhibitions
such as Saltwater, 14th Istanbul Biennial (2015), Re:emerge: Towards a
New Cultural Cartography, Sharjah Biennial 11 (2013), Here, Elsewhere,
La Friche Belle de Mai, Marseille (2013), dOCUMENTA (13) (2012),
9th Gwangju Biennial, South Korea (2012), 12th International Istanbul
Biennial (2011), SITE Santa Fe Biennial (2008), 9th International
Istanbul Biennial (2005), Urban Realities: Focus Istanbul, MartinGropius-Bau, Berlin (2005), and the 50th Venice Biennial (2003).
He has had solo exhibitions most recently at MoMA PS1, New York
(2015), Mathaf — Arab Museum of Modern Art, Doha (2015),
K20 — Kunstsammlung NRW, Düsseldorf (2014), Serpentine Gallery,
London (2013), KW — Institute of Contemporary Art, Berlin (2012),
Nottingham Contemporary (2011); Walker Art Gallery, Liverpool
(2011), The Delfina Foundation, London (2011), Sfeir-Semler Gallery,
Beirut (2010/2011), Cittadellarte-Fondazione Pistoletto, Biella, Italy
(2010), as well as Townhouse Gallery of Contemporary Art, Cairo
(2005, 2003).
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KUB 2016
Shawky has received many awards for his work, including the Mario
Merz Prize (2015, together with Cyrill Schürch), the Sharjah Biennial
Award 2013 for an exceptional contribution, the »Award for the Filmic
Oeuvre« created by Luis Vuitton and Kino der Kunst (2013), the
Abraaj Capital Art Prize, joint winner (2012); Kunstpreis der Schering
Stiftung (2011), as well as the Grand Prize, 25th Alexandria Biennale,
Alexandria (2009). In 2011 he was an artist in residence at The Center
for Possible Studies, Serpentine Gallery, London.
Wael Shawky lives and works in Alexandria, Egypt, and is the
founder of MASS Alexandria, a studio program for young artists.
Program
Wael Shawky
Courtesy of Wael
Shawky and SfeirSemler Galerie,
Hamburg|Beirut
Wael Shawky
Cabaret Crusades:
The Path to Cairo,
2012
HD video, 59 minutes, color, sound
(film still)
Courtesy of Wael
Shawky and SfeirSemler Galerie,
Hamburg|Beirut
Wael Shawky
Cabaret Crusades:
The Horror
Show File, 2010
HD video, 31:49
minutes, color,
sound (film still)
Courtesy of Wael
Shawky and SfeirSemler Galerie,
Hamburg|Beirut
KUB 2016.04
Lawrence Weiner
12 | 11 | 2016 — 1 5 | 01 | 2017
Lawrence Weiner
1992, Exhibition: Euromast, Witte
de With Center for
Contemporary Art,
Rotterdam, 1993 Photo: Courtesy
of Moved Pictures
Archive, NYC © Lawrence Weiner|
Bildrecht, Wien, 2015
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KUB 2016
Program
Lawrence Weiner is one of the world’s most renowned artists. He is
one of the outstanding figures from the first generation of American
Conceptual Art. This form of art, evolving during the 1960s, questioned existing definitions of what a work of art is, as well as the
necessity of it taking material form. In 1968, Weiner authored a
manifesto that, for him, still remains valid today. It established three
theses: The first formulated the option of the artist producing the
work (»The artist may construct the piece«); the second concerned
its making (»The piece may be fabricated«); and the third states that
the work does not necessarily have to be carried out (»The piece
need not be built«).
Each of the three options are of equal value and consistent
with the artist’s intentions. Decisions regarding execution are at the
discretion of the recipient at the time of receipt (»Each being equal
and consistent with the intent of the artist, the decision as to condition
rests with the receiver upon the occasion of the receivership.«) The
statement stipulates that the work may consist only of a conceptual
structure. Yet despite these radical theses Weiner still sees himself
as a sculptor, even if his artistic material is almost exclusively
language. Whilst performances and films are present in his output,
it is above all the text works, developed in drawings and applied
large-scale to walls, that remain most characteristic. Weiner frequently
authors them in the language of the country they are to be seen in,
and concurrently in English, his own native language. In doing so he
focuses on translation as a continuing process of reading and
decoding, the basis for any sensory perception. Typography, surface,
and siting play an equally significant role as the means of presentation
does. Some works take the form of audio recordings, whilst others
that of printed matter, graffiti, tattoos, poetry, and posters.
It is not only Weiner’s artistic rank that is alluring to Kunsthaus
Bregenz but also his profoundly spatial thinking. Relations to place
and an involvement with space and local circumstances characterize
both Weiner’s oeuvre and KUB not only as an exhibition venue but
also architecturally. The artist has already formulated some initial
ideas for KUB. Weiner’s intention, referencing the stacking of four
almost identical floors as four exhibition spaces, is to highlight the
verticality of the space and building, and he is currently envisaging
an »artistic geyser.« An idea whose development promises a
stimulating dialogue.
Lawrence Weiner,
2014
Courtesy of
Moved Pictures
Archive, NYC
© Lawrence Weiner|
Bildrecht, Wien, 2015
Lawrence Weiner
2003, Exhibition:
Time As Matter,
Museu D’Art Contemporani De Barcelona, 2009
Collection Museu
D’Art Contemporani
De Barcelona
Photo: Courtesy of
Moved Pictures
Archive, NYC
© Lawrence Weiner|
Bildrecht, Wien, 2015
Lawrence Weiner
1998, Exhibition:
SpilleRom, Kunstfestivalen I Lofoten,
Norway, 1999
Collection Bury
Metro City Council,
United Kingdom
Photo: Madeline
Maus, Courtesy of
Moved Pictures
Archive, NYC
© Lawrence Weiner|
Bildrecht, Wien, 2015
Lawrence Weiner was born February 10, 1942 in the Bronx, New York
City. After graduating highschool, he spent the late Fifties and
early Sixties travelling throughout North America (USA, Mexico, and
Canada). The first presentation of his work took place at Mill Valley,
California, in 1960.
Lawrence Weiner has had solo exhibitions at the Stedelijk Museum
in Amsterdam (2013), Museu d’Art Contemporani in Barcelona (2013),
Haus der Kunst in Munich (2007), Museo Tamayo Arte Contemporáneo
in Mexico City (2004), Kunstmuseum Wolfsburg (2000), Walker Art
Center, Minneapolis (1994), and the Hirshhorn Museum and Sculpture
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KUB 2016
Garden, Washington, D.C. (1990). He was a participant in documenta 5,
6, 7, and 13 (1972, 1977, 1982, 2012) in Kassel and the 36th, 41st, 50th,
and 55th Venice Biennale (1972, 1984, 2003, 2013). He is the recipient
of numerous awards, including a Guggenheim Fellowship (1994), the
Wolfgang-Hahn-Preis from the Gesellschaft für Moderne Kunst am
Museum Ludwig in Cologne (1995), the Roswitha Haftmann-Preis
from the eponymous Zürich-based foundation (2015), and a honorary
doctorate from the City University of New York (2013).
Lawrence Weiner divides his time between his studio in New York
City and his boat in Amsterdam.
Program
KUB Projects 2016
Kunsthaus Bregenz
Photo: Matthias
Weissengruber
© Kunsthaus
Bregenz
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KUB 2016
Program
KUB Projects constitute a forum for the expanded involvement
with the current developments in both contemporary art and
society. Based on experimental formats and practices, discussions,
and interventions in public space, KUB Projects enter into a direct
dialogue with the town, its history and people. They attempt to take
up narrative threads, inscribing themselves into them, in order to be
able to react to current socio-political affairs. To this end the spaces
of the former postal building form the local point of departure. Over
the course of the year they will be activated in various ways: as a
meeting place and a forum for debate, as a kind of base camp for
interventions in the city, as open showroom or a site for rehearsal,
research, and artistic production.
In a time marked by continual realignment, restructuring, and
reorganization, the KUB Projects are to create a space which enables
the institution to react spontaneously to current developments — in
the field of art and beyond.
For the summer of 2016 KUB Projects are extending an invitation to their summer program on Karl-Tizian-Platz. The schedule
consists of a curated film program, performances, talks, and
interventions, opening up the place as a stage for film and events.
In the fall of the same year KUB Projects are presenting an
international symposium. As its point of origin the conference
takes the observation that for a number of years culture-historical
phenomena have been interpreted increasingly from the point of
view of economic theory. In close cooperation with the art historian
and cultural scientist Wolfgang Ullrich the symposium will scrutinize the main features of the current upswing in economic theory.
Further items on the agenda of KUB Projects as well as details
of the summer program and the symposium will be announced
separately in due course. KUB Projects are curated collaboratively
by Thomas D. Trummer and Eva Birkenstock.
KUB Billboards 2016
Feminist Land
Art Retreat
Karl Marx Allee,
Berlin, July 22,
2014, 2014
© Feminist
Land Art Retreat
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KUB 2016
Program
Starting in 2016 KUB Billboards will constitute a new, independent
line of programming to enhance the visibility of a younger generation of artists, positioning them right at the center of Bregenz’
public eye. KUB Billboards will concentrate in particular on those
artists who have been growing up in the midst of recent epochal
turning points: starting from the demise of state socialism, and the
increasingly globalized world that followed from it, and that, throughout the 1990s, was more and more superimposed by a digitalized
capitalization of all spheres of live. In the networked era in which
now we live, the internet, the logic of algorithmic processing, social
media, and surveillance manifest a precondition for our everyday
existence. The perception of our “reality” has drastically changed,
and with it the modes of conceptualizing it. Throughout the year
four artists will produce site-specific interventions concurrently to
the in-house exhibitions. For the first two slots in 2016, Viennabased artist Anna-Sophie Berger and the Canadian Feminist Land Art
Retreat are invited to transform the billboards into screens, paintings,
spaces, sculptures, and other interfaces. KUB Billboards are curated
by Eva Birkenstock.
Review 2015
28 29
KUB 2016
Program
Kunsthaus Bregenz
Overview 2015
Exhibition view
Rosemarie
Trockel, Kunsthaus
Bregenz, 3rd floor
Photo: Markus
Gmeiner
© Kunsthaus
Bregenz
Opening reception
Joan Mitchell:
Retrospective,
Kunsthaus
Bregenz,
ground floor
Photo: © Christian
Hinz and Kunsthaus
Bregenz
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KUB 2016
Program
In addition to the remarkable exhibitions, 2015 also saw a change of
Directors at KUB. Yilmaz Dziewior, Director of Kunsthaus Bregenz
since 2009, moved to Museum Ludwig in Cologne in February.
Nevertheless, the 2015 exhibition program still bears his signature.
Since May this year, Thomas D. Trummer has been the new Director
of Kunsthaus Bregenz. A selection committee comprising prestigious
experts considered a shortlist from 80 applications. At the final
hearing, the jury unanimously chose Thomas D. Trummer.
The outstanding exhibition spaces designed by Swiss architect
Peter Zumthor result in architecture and art entering into a mutually
fruitful dialogue at Kunsthaus Bregenz. The building’s distinctive
aura galvanizes most of the invited artists into creating new works
that respond to the architecture or form a symbiotic relationship to it.
Likewise Heimo Zobernig, who is currently preparing the
next and final exhibition of this year, is deeply involved in the KUB
building. The artist, who was responsible for this year’s Austrian
contribution to the Venice Biennale, will be producing a striking
finale to a very successful year of exhibitions. One of this year’s
highlights was the summer exhibition Joan Mitchell: Retrospective.
Her Life and Paintings, which has attracted a large audience:
about 20,000 visitors will have seen the American’s large-format
works by the end of the exhibition on October 25, after which the
exhibition will be travelling to Museum Ludwig in Cologne.
Berlinde De Bruyckere — The Embalmer recorded around 8,500
visitors earlier in the year. In a successful cooperation with
Kunstraum Dornbirn, the exhibition was conceived as a show
of two-parts for two very different venues, extending and
supplementing each other, whilst focusing on differing specific
aspects of Berlinde De Bruyckere’s work.
At the beginning of the year Rosemarie Trockel created an
extensive exhibition titled Märzôschnee ûnd Wiebôrweh sand
am Môargô niana më especially for Kunsthaus Bregenz. Around
9,000 visitors saw the first solo exhibition in Austria for more
than 20 years by the Cologne based artist.
32 33
KUB 2016
Program
Guided tour with
KUB employees,
Rosemarie Trockel
Photo: Markus
Gmeiner
© Kunsthaus
Bregenz
The KUB Arena also received a great deal of attention from both the
media and visitors. The year began with the Swiss architects Trix
and Robert Haussmann, whose mirror intervention in dialogue with
the building’s architecture opened unforeseen spaces on the
ground floor. In the spring the New York graphic design duo Dexter
Sinister presented At 1:1 Scale.*, a speaking asterisk that guided
visitors through past KUB Arena projects. For KAMP KAYA feat.
KAYA (Kerstin Brätsch, Debo Eilers, Kaya Serene) & Guests the KAYA
project initiated interactions with Bregenz’ summer activities — in
the context of performances, film screenings, boat trips, hiking
excursions, and cable car rides. The KUB Arena program concluded
with Yes & No by the internationally renowned painter Amy Sillman.
Even if exclusively addressing painting, the exhibition presented
everything but painting, revealing the background to the origins of
absent works.
The KUB Collection Showcase also plays a significant role in
Kunsthaus Bregenz’s concept of itself and its public reception.
In 2015 the exhibition New Acquisitions from Ai Weiwei to Zobernig,
showing highlights from the KUB Collection of contemporary art,
was followed by Per Kirkeby. Bricks: Sculpture and Architecture,
which has received considerable attention. The exhibition remains
on display until October 25.
In combination with a broad-based education program that
includes, in addition to guided tours, workshops for all ages and
film screenings, the content of contemporary art production is
addressed on the widest range of levels possible. 500 events have
taken place so far during 2015.
Scholarly publications and editions, produced for the exhibitions in close collaboration with the artists, complete the range
of Kunsthaus Bregenz’ work. The worldwide distribution of its
publications strengthens the institution’s international profile.
With an estimated total attendance figure of 50,000 visitors in 2015,
KUB has continued the positive figures of the previous year, concluding this year in an extremely satisfactory financial manner. The
Federal State of Vorarlberg contributed 2.55 million Euros in 2015,
whilst the institution’s own revenues will amount to around 1 million
Euros, representing nearly 30 percent of the total budget.
Press Coverage 2015
The Communications office plays a significant role in the reception
of KUB’s exhibitions. The exhibitions during 2015 received wide
and positive coverage in both the regional and international media.
The year opened with Rosemarie Trockel’s Märzôschnee ûnd
Wiebôrweh sand am Môargô niana më. All the local media such as
Blättle, die NEUE, and Wann&Wo, reported on the exhibition. Christa
Dietrich from Vorarlberger Nachrichten described the exhibition
as a »milestone« in the history of the Kunsthaus. Carina Jielg, in her
TV report for ORF, enthused: »The Kunsthaus is staging a sensation.«
Such German daily papers as Allgäuer Zeitung, Goslarsche Zeitung,
Mittelbayerische Zeitung, Offenburger Tagblatt, Reutlinger GeneralAnzeiger, Südkurier, Stuttgarter Nachrichten, and Westfälische
Rundschau all carried reports. The Frankfurter Allgemeine Zeitung
of January 29, 2015 dedicated a whole page to Trockel’s exhibition,
headlined »The Uncompromising Artist — R osemarie Trockel Is
Playing with Us: On Her Sublime Exhibition in Bregenz.«
Numerous articles also appeared in the Swiss media, for
example in Sarganserländer, St.Galler Tagblatt, NZZ, and Südostschweiz, as well as in such art magazines as Kunstbulletin, monopol,
and artline.
Berlinde De Bruyckere, whose exhibition The Embalmer
followed, was equally well received in the media, such as
Vorarlberger Nachrichten, Neue, Kultur, Weekend Magazin, Der
Standard, and also in magazines such as The Gap, Bolero, Art,
and artline.
In Germany, Switzerland, and Liechtenstein there were
positive reports on The Embalmer in Tages-Anzeiger, Schwäbische
Zeitung, Westallgäuer, Neue Züricher Zeitung, Thurgauer Zeitung,
St. Galler Tagblatt, and Liechtensteiner Volksblatt, for example. In
the Badische Zeitung from April 24 Hans-Dieter Fronz wrote:
“The large-scale installation is an incredible visual experience,
which is virtually inexhaustible in all its details.”
One of the highlights of this year was the summer exhibition
Joan Mitchell: Retrospective. Her Life and Paintings. In addition
to Vorarlberg based newspapers there was also coverage of the
exhibition in Salzburger Nachrichten, and Tiroler Tageszeitung.
Reports in German media included ones by Augsburger Allgemeine,
Schwäbische Zeitung, Südwest Presse, Frankfurter Rundschau,
and Welt am Sonntag. Sigmund Kopitzki from Südkurier wrote on
July 31 about Mitchell: »A second look at these wild impasto
compositions reveals more.«
34 35
KUB 2016
Program
The exhibition was also reviewed in Switzerland and Liechtenstein — examples were Südostschweiz, Bieler Tagesblatt, taz, NZZ, and
Liechtensteiner Vaterland. The number of articles in specialist
journals was striking, these included Architectural Digest, ARTNEWS,
artdaily, ARTFORUM, and Monopol. Blau. Ein Kunstmagazin stated:
»Joan Mitchell’s life was simply a battle field, the canvas was merely
the site where everything converged.«
The exhibition was frequently mentioned on the radio and
television, including Zeit im Bild, Bild, SRW 2, B5 aktuell, as well as
Ö1 Mittagsjournal.
In addition to the main exhibitions, there was also wide coverage of KUB Arena. Concerning the first exhibition in KUB Arena’s 2015
program by Trix and Robert Haussmann, Reflexion und Transparenz,
Hochpaterre for example wrote: »This is how the icons of Swiss
postmodernism turn habits of perception upside down. An absolute must!« The following exhibition At 1:1 Scale.* also received
consistently positive coverage: »Self referential, thoughtful, and
challenging (...).«
The KUB Arena Summer Program KAMP KAYA feat. KAYA
(Kerstin Brätsch, Debo Eilers & Kaya Serene) & Guests was extremely
well received by the media, it received public attention in Wann&Wo,
Vorarlberger Nachrichten, and Vorarlberg heute, amongst others.
International online media such as KubaParis, and e-flux also
reported on the project.
Heimo Zobernig
Installation view
Austrian Pavilion,
Giardini della
Biennale,
La Biennale di
Venezia 2015
Photo: Archiv HZ
KUB 2015
La Biennale di Venezia 2015 —
A Review
Yilmaz Dziewior,
Heimo Zobernig,
and Josef
Ostermayer
Opening reception,
La Biennale die
Venezia 2015
Photo: © Christian
Hinz und Kunsthaus
Bregenz
36 37
Yilmaz Dziewior — D irector of Kunsthaus Bregenz from 2009 to the
end of January 2015 — was appointed as commissioner of the
Austrian Pavilion for the 56th Venice Biennale in 2015. He selected
Heimo Zobernig from Kärnten to stage it — a n artist, who has been
highly influential not only within his native art scene, but also as an
equally successful protagonist in international discourses on art and
the wider world of exhibitions. For the final show in 2015 Zobernig
is to continue the considerations he began for the Hoffmann Pavilion
in Venice, transferring them to KUB’s architecture.
The Vorarlberger Kulturhäuser Betriebsgesellschaft mbH
enabled KUB’s staff to attend the opening celebrations of the Venice
Biennale from May 7 to 9. Seventeen members of KUB’s staff had
the opportunity, together with Dr. Werner Döring, Managing Director
of KUGES, to become acquainted with Zobernig’s work in Venice.
KUB 2016
Program
Dance performance
Romeu »My Deer«
Photo: Rudolf
Sagmeister
© Kunsthaus
Bregenz
K UB 2015
Education, Collaborations,
Events
Harpist playing at
guided tour and
discussion between
Martina Mätzler
(Juppen workshop
in Riefensberg) and
Kirsten Helfrich
Photo: Miro
Kuzmanovic
© Kunsthaus
Bregenz
At Kunsthaus Bregenz the Education Department fulfills a fundamental task at the interface between the work, the audience, and
society. The KUB Education team develops customized educational
formats for a diverse audience and covering all age groups. For
example, audio guides provide immediate access to works on
display, using statements by the artists themselves, as well as
background information on exhibition concepts and their installation.
Particular highlights, specifically developed for each exhibition,
include presentations by the exhibiting artists, guided tours by
the director or the curators, as well as dance, literary, and music
events which are frequently developed in collaboration with other
institutions. More than 500 events have taken place to date in 2015,
including such diverse formats as the thematic guided tour Textiles
& The Tracht, which included an excursion to the Juppen workshop
in Riefensberg during the exhibition by Rosemarie Trockel, the
dance performance Romeu »My Deer« in close collaboration with
Berlinde De Bruyckere, and the Morton Feldman concert in
collaboration with the Bregenz Festival on the upper floor of the
Joan Mitchell exhibition.
38 39
KUB 2016
Guided tour with
Director Thomas
D. Trummer during
Joan Mitchell:
Retrospective. Her
Life and Paintings
Photo: Miro
Kuzmanovic
© Kunsthaus
Bregenz
Program
Rosemarie Trockel
Märzôschnee ûnd
Wiebôrweh sand am
Môargô niana më Edited by Yilmaz
Dziewior
With essays by
Johanna Burton,
Yilmaz Dziewior,
Sam Pulitzer,
and Beate Söntgen
Graphic design:
Lars Heller,
HELLER & C, Cologne
German|English,
216 pages,
25 x 31 cm,
Hardcover
Date of publication:
July 2015
42.— EUR
Berlinde
De Bruyckere
The Embalmer
Published by
Kunsthaus Bregenz
and Kunstraum
Dornbirn
With contributions
by J. M. Coetzee,
Berlinde
De Bruyckere,
Benjamin Delmotte,
Caroline Lamarche,
Thomas Häusle,
Herta Pümpel, and
Rudolf Sagmeister
Graphic design:
Bernd Altenried,
Stefan Gassner,
Lindau
German|English,
232 pages,
21,3 x 28,5 cm,
Hardcover
Date of publication:
June 2015
42.— EUR
KUB 2015
Publications
Kunsthaus Bregenz publishes catalogues in close collaboration with
the exhibiting artists as well as renowned graphic designers. The
graphic design of the catalogues accompanying the exhibitions
translates both the respective artist’s subject matter and their
visual language in such a manner that each catalogue is not merely a
means of providing documentation but also becomes an element of
the work as well as an extension of the exhibition.
The catalogues published in 2015 to accompany the exhibitions
by Rosemarie Trockel and Berlinde De Bruyckere were designed in
collaboration with the artists. The comprehensive volume
accompanying the retrospective show of the American painter
Joan Mitchell goes beyond just a consideration of the work;
40 41
KUB 2016
Program
Joan Mitchell
Retrospective.
Her Life
and Paintings
Edited by
Yilmaz Dziewior
With texts by Yilmaz
Dziewior and
Ken Okiishi, a conversation between
Isabelle Graw and
Jutta Koether, an
interview by Yves
Michaud, and an
illustrated timeline
compiled by Laura
Morris
Graphic design:
Martha Stutteregger,
Vienna
German|English,
184 pages,
28.2 x 28.7 cm,
Hardcover
Date of publication:
October 2015,
54.— EUR
Heimo Zobernig
Edited by
Thomas D. Trummer,
Kunsthaus Bregenz
With texts by
Penelope Curtis,
Yilmaz Dziewior,
Thomas D. Trummer,
and Heimo Zobernig
Graphic design:
Dorothea Brunialti,
Vienna
German|English
approx. 208 pages,
21 x 29, 7 cm,
Hardcover
Date of publication:
December 2015
42,— EUR
including numerous documents and sketchbooks from the archive of
the Joan Mitchell Foundation, some published for the first time, it
enables new perspectives on her life and work. The book is being
published together with Museum Ludwig, Cologne, and in close
collaboration with Joan Mitchell Foundation, New York. A catalogue
on Heimo Zobernig, the artist representing Austria at the Venice
Biennale (2015), is also to be published.
The KUB Arena series of publications will be continued by
a further volume.
In 2016 the series of catalogues will be continued for the
exhibitions by the artists Susan Philipsz, Theaster Gates, Wael
Shawky, and Lawrence Weiner. A new series of publications will be
compiling the projects for KUB Billboards, additionally books
of essays and a publication on cultural memory are being planned.
The publications, which are in principal bilingual (English/
German), are not only conceived for sale in KUB itself but also for
worldwide distribution.
Rosemarie Trockel
Sunset, 2015
Print on aluminum,
framed under
plexiglass
80 x 80 cm, limited
edition of 18 + 3 A.P.,
signed and numbered;
4,800 EUR
sold out
Berlinde
De Bruyckere
Zonder Titel,
2001—2002, 2015
Pigment print,
limited edition of
80 prints + 10 A.P.,
signed and numbered; 1,500 EUR
KUB 2015
Editions
Heimo Zobernig
untitled (hand),
2015, bronze,
limited edition
of 25 copies +
5 A.P., signed
and numbered;
6,500 EUR
42 43
KUB 2016
Program
Exclusive special editions for Kunsthaus Bregenz are a result of
close collaboration with artists and their production processes. In
2015 editions were published to accompany the exhibitions by
Rosemarie Trockel, Berlinde De Bruyckere, and Heimo Zobernig.
Developed from the context of the exhibition and together with the
artist, KUB editions are published in limited editions, providing a
unique opportunity to collectors of contemporary art. In 2016
editions will be published to accompany the exhibitions by Susan
Philipsz, Theaster Gates, Wael Shawky, and Lawrence Weiner.
KUB Technical Team
How Are KUB’s Exhibitions Produced?
Installing the
exhibition
Joan Mitchell:
Retrospective.
Her Life and
Paintings
Photo: Rudolf
Sagmeister
© Kunsthaus
Bregenz
The point of departure for all projects are the artists’ ideas, which
are further developed and defined in collaboration with the
curators. Markus Tembl’s technical team has the task of accurately
carrying out these visions. Making »impossible« projects possible
within a strict budget frequently requires unconventional solutions.
Each installation and de-installation is carried out under extreme
time pressure in order that KUB only remains closed for the shortest
period possible. To achieve this, the small team of permanent
employees is supplemented by a trusted team of freelancers, as well
as being repeatedly supported by personnel from other institutions,
such as when Berlinde De Bruyckere brought ten additional
staff with her who were experienced in dealing with her work. To
construct her large-scale installation Kreupelhout / Cripplewood
on the second floor, four doors had to be removed, because the
freight elevator was not big enough to transport the crates and their
44 45
KUB 2016
Program
fragile contents. For the exhibition of works by Joan Mitchell, exhibits and loans from around the world were put on display, entailing a
total insurance amount of approximately 160 million Euros.
The technical team is not only responsible for the technical
aspects of exhibitions but also those of the entire institution,
including the administration building. The building’s facilities are
continually changed and improved. Works, some of which are of
considerable weight, are hung directly from the concrete walls. For
example a large-format light box by Jeff Wall weighed 600 kilograms
— each of the holes drilled for it subsequently necessitated elaborate
repairs. This requires the technical team to carry out high quality
»cosmetic« repairs to the concrete. Since the opening of Kunsthaus
Bregenz approximately 22,000 holes have been refilled almost
invisibly. The distinct terrazzo floor on all four levels stills looks like
new after 18 years. This has been achieved by cleaning the 470
square meters of exhibition space on each floor daily.
Kunsthaus Bregenz continually enables the visions of artists
to become reality, rewriting the limits of what is both feasible
and conceivable — a ll this is only possible thanks to a trusting collaboration between the technicians, artists, and curators, as well as
the entire team.
KUB Collection Showcase 2015
New Acquisitions
from Ai Weiwei to Zobernig
22 | 02 | 2014 — 08 | 02 | 2015
For the first time in the 17-year history of the institution, Kunsthaus
Bregenz has presented a small but exceptional selection from its
collection of contemporary art.
Per Kirkeby
Bricks: Sculpture and Architecture
27 | 02 — 25 | 10 | 2015
In 1997 a Per Kirkeby solo exhibition took place at Kunsthaus
Bregenz, when the catalogue raisonné of the brick sculptures and
architecture was also published. On this occasion a gift of more
than 300 original drawings was received. The exhibition displayed
conceptual drawings, sketchbooks, books, and photographs.
Austrian Art from the Collection of
Kunsthaus Bregenz
26 | 11 | 2015 – 10 | 01 | 2016
Per Kirkeby
Bricks: Sculpture
and Architecture
Exhibition view
KUB Collection
Showcase
Photo: Markus
Tretter
© Kunsthaus
Bregenz
46 47
KUB 2016
Program
For the new exhibition at the KUB Collection Showcase, Heimo
Zobernig has been invited to select works from the KUB collection.
The exhibition jointly curated by Heimo Zobernig, Thomas D.
Trummer, and Rudolf Sagmeister focuses on painting and sculpture.
The display includes works by Erwin Bohatsch, Herbert Brandl,
Elke Krystufek, Maria Lassnig, Ruth Schnell, Franz West, and Heimo
Zobernig, amongst others.
KUB 2015
Friends and Partners
Gesellschaft der
Freunde des KUB
Summer party
Photo: © Christian
Hinz and Kunsthaus
Bregenz
48 49
KUB 2016
Program
The long-term commitment of the Federal State of Vorarlberg,
under whose auspices KUB operates, has been a fundamental
prerequisite for KUB’s successful work. The Vorarlberger Kulturhäuser Betriebsgesellschaft mbH as central service provider has
played a decisive role.
The Association of the Friends of KUB has been a significant
partner since the founding of the institution. The association
supports KUB in realizing its concept and in particular the implementation of its educational program.
During 2015 too, Vorarlberger Kraftwerke AG, the principle
sponsor of Kunsthaus Bregenz, has made a significant contribution
to the financing of the large-scale shows of work. Hypo Landesbank
Vorarlberg has also been a long-term KUB sponsor. In addition the
Zumtobel company has been a crucial partner, continually supporting Kunsthaus Bregenz for many years, particularly in implementing
exhibitions and projects involving light. UNIQA is an additional
long-term sponsor, who in 2015 provided substantial support for the
internationally significant Joan Mitchell exhibition. Further indispensable partners and sponsors of this show were the Joan Mitchell
Foundation, New York, as well as Cheim & Read Gallery, New York.
In 2016 the support for Theaster Gates’ solo exhibition by
Phileas - A Fund for Contemporary Art, Vienna, deserves particular
mention. Additionally in 2016 there will be a collaboration with the
Jüdisches Museum Hohenems for the exhibition by Susan Philipsz.
Art Bodensee, Bodensee-Vorarlberg, Bregenzer Festspiele,
inatura, Ö1 Club, Pfänderbahn, Stadtmarketing Bregenz, Verkehrsverbund Vorarlberg, Vorarlberg Lines Bodenseeschifffahrt,
Vorarlberg Tourismus, as well as the museums involved in the
regional cultural axis (Kunstmuseum St. Gallen, Kunstmuseum
Liechtenstein, Vaduz, and Bündner Kunstmuseum, Chur) have all
been long-term collaborators with the institution.
Principal sponsor of
Kunsthaus Bregenz
With the kind
support of
With the generous
support of
Gesellschaft der Freunde
des Kunsthaus Bregenz
With the kind
support of
With the kind
support of
Kunsthaus Bregenz
Photo: Matthias
Weissengruber
© Kunsthaus
Bregenz
50 51
KUB 2016
Program
Kunsthaus Bregenz
Kunsthaus Bregenz
Karl-Tizian-Platz | 6900 Bregenz | Österreich
Phone +43-5574-485 94-0 | Fax +43-5574-485 94-408
kub@kunsthaus-bregenz.at | www.kunsthaus-bregenz.at
Opening Times
Tuesday to Sunday 10 am — 6 pm | Thursday 10 am — 8 pm
Summer Opening Times: Monday — S unday 10 am — 8 pm
Summer Opening Times 2016: 01.07. — 3 1.08.2016
Admission Prices
Adults 9.– EUR | concessions 7.– EUR | free admission for children and
adolescents | Combined ticket KUB and KUB Collection Showcase
11.– EUR | concessions 9.– EUR | Combined ticket KUB, KUB Collection
Showcase, and vorarlberg museum 15.– EUR | concessions 12.– EUR |
Cultural Institutions’ Card 99.– EUR
Information and Registration for Guided Tours
Lidiya Anastasova | ext. -415 | l.anastasova@kunsthaus-bregenz.at
Secretarial Office
Margot Dörler-Fritsche | ext. -409
m.doerler-fritsche@kunsthaus-bregenz.at
Director Thomas D. Trummer General Director Werner Döring Curator Rudolf Sagmeister
Curator KUB Billboards|KUB Projects Eva Birkenstock Marketing | Sponsoring Birgit Albers,
ext. -413, b.albers@kunsthaus-bregenz.at Press| Online Media Martina Feurstein, ext. -410,
m.feurstein@kunsthaus-bregenz.at Education Kirsten Helfrich, ext. -417, k.helfrich@
kunsthaus-bregenz.at · Assistant Lidiya Anastasova Publications| Artist Editions Katrin
Wiethege, ext. -416, k.wiethege@kunsthaus-bregenz.at · Assistant Claudia Voit Edition Sales
Caroline Schneider-Dürr, ext. -444, c.schneider@kunsthaus-bregenz.at Assistant to the Director
Beatrice Nussbichler, ext. -418, b.nussbichler@kunsthaus-bregenz.at Technical Team Markus
Tembl, Markus Unterkircher, Stefan Vonier, Helmut Voppichler Concept by Kunsthaus Bregenz
Text Thomas D. Trummer, Birgit Albers, Eva Birkenstock, Martina Feurstein, Kirsten Helfrich,
Rudolf Sagmeister, Katrin Wiethege Editing Martina Feurstein Proof Reading Artlanguage,
Claudia Voit, Katrin Wiethege, Christiane Wagner Translation Artlanguage, Volker Ellerbeck
Image © the photographers, artists, or their estates Basic Concept Graphic Design Clemens
Theobert Schedler, Büro für konkrete Gestaltung Graphic Design Production Bernd Altenried,
Stefan Gassner Paper Munken Polar 120 g, FSC prepress and image production Boris Bonev,
PrePress & PrintService Print Thurnher Druckerei GmbH
KUB Program 2016