Starship @ Miss Read 2022

Berlin Art Book Festival 2022
April 29 – May 1, 2022
at Haus der Kulturen der Welt, Berlin

MISS READ: The Berlin Art Book Festival 2022 will be taking place from 29 April to 1 May at Haus der Kulturen der Welt, Berlin. It will host 310 exhibitors and international guests to discuss and celebrate the art of making books. Throughout the weekend, a wide selection of publishers, art periodicals, artists and authors will be featured. The annual Conceptual Poetics Day will be held on Saturday to explore the imaginary border between visual art and literature. Admission to the fair and to the program is FREE.

With this year’s focus on publishing practices from the Souths, especially Africa and the African diaspora, MISS READ aims to broaden the spectrum of what publishing represents in different cultures. The program will host among others the makers of magazines Afrikadaa, Mosaïques and Clijec from Cameroon, Chimurenga from South Africa, publishers and magazines of the diaspora such as Éditions Mabiki from Belgium and O Menelick 2 Ato from Brazil, as well as afrobrasilian artist Renata Felinto, Pascale Obolo, founder of the African Art Book Fair, Mario Pissarra, director of the Africa South Art Initiative, and many more.

This years’ focus features a collection of publishers, authors and artists from Africa and the African Diaspora like Bakwa Books (Yaoundé), Jalada (Nairobi), Huza Press (Kigali), Tendai Rinos Mwanaka (Chitungwiza), Renata Felinto (Crato, Brazil), Pascale Obolo (Paris) and Parfait Tabapsi (Yaoundé) among others and introduces the audience into their publishing practice with lectures and talks during the three days program.

featuring: The Current Thing

Der Radwechsel

Martin Ebner, D’izi
Video, silent, 1 min. 17 sec, loop
Heiligenkreuzerhof, Wien 2022

Der Radwechsel

Jenna Bliss, Noémie Degen/Simon Jaton, Martin Ebner, Georgia Gardner Gray, Julia Haller, Emanuele Marcuccio, Matthias Noggler, Sveta Mordovskaya, Allen Ruppersberg, Michael E. Smith, Lukas Posch, Joanna Woś, Steffen Zillig

curated by Lukas Posch
31.03.- 30.04.
Wed.-Sat. 2-6pm
Universitätsgalerie der Angewandten im Heiligenkreuzerhof
Schönlaterngasse 5, Sala Terrena, 1010 Wien

30.03.22, 6-9 pm

”Nothing happens, again and again.
Nothing happens. And every time it does, it’s announced with a press release.“

In times of increasing technical, economical and social acceleration, a diffuse sense of cultural and political stagnation emerges. Many of us share an impression of a present which is not only increasingly inexplicable, but in which an intervention provoking substantial social change seems inconceivable. From a nervous but idle present, it seems difficult to project a euphoric vision of the future. Maybe the future can only be unknown and a key to social change lies in coincidence and devotion.
The exhibition brings together works that reflect on these circumstances, but also show possible ways out of powerlessness and offer glimpses into the unknown.

Die Bedeutung selbst von einer symbolischen Geste

Die Bedeutung selbst von einer symbolischen Geste

Ein Gesprächsabend im Rahmen der Ausstellung DISPOSSESSION
17.12.2021, 18:00, Künstlerhaus, Factory

Ganz herzlich laden wir Sie zum Diskursabend im Rahmen der Ausstellung DISPOSSESSION ein.

Bea Schlingelhoff (Künstlerin),
Gloria Hasnay (Kuratorin am Münchner Kunstverein),
Tanja Prušnik (Präsidentin der Künstlerhaus Vereinigung)
Tim Voss (Initiator der Ausstellung DISPOSSESSION) und
Ariane Müller (Kuratorin der Ausstellung DISPOSSESSION)

Moderation: Martin Fritz

Die Veranstaltung findet vor Ort statt, sowie übers Streaming statt.

Die Künstlerin Bea Schlingelhoff hat für ihre Ausstellung im Kunstverein München den Entwurf einer offiziellen Entschuldigung des Vereins für sein Vorgehen während der Zeit des Nationalsozialismus ausgearbeitet. Dieser wurde vom Kunstverein in seinen Gremien diskutiert und von der Kuratorin sowie der Direktorin des Kunstvereins im Rahmen der Ausstellung unterzeichnet. Damit wurde in München eine Diskussion über die Verantwortlichkeiten von Kunstinstitutionen ausgelöst, die über den Verein hinausging. Die Resonanz war sehr groß, da eine Diskussion aufgerufen wurde, die die Korrektur des bestimmenden Kunstkanons betrifft. Eine Diskussion, die zur Zeit in vielen Institutionen geführt wird.

Die Ausstellung DISPOSSESSION im Künstlerhaus entstand aus einer ähnlichen Fragestellung. Die Geste des Münchner Kunstvereins stellt deshalb auch das Künstlerhaus vor die Frage:
Welche Verantwortlichkeiten gibt es aus der Geschichte für eine Kunstinstitution?
Und welche Rolle spielen die Künstler*innen?

DISPOSSESSION beschäftigt sich mit der Geschichte des Künstlerhauses vor, während und nach der nationalsozialistischen Herrschaft in Wien und wie die Kategorisierung der Menschen dazu diente, Personen zu entwerten und auszuschließen. Fünf zeitgenössische Positionen beschäftigen sich mit den Themen Ausgrenzung und Enteignung. Sie untersucht den Raum der institutionellen Entscheidungen über Inklusion oder Ausschluss von Künstler*innen, dessen Konzeption bis heute unser Bild darüber bestimmt, wie Kunst präsentiert wird.

DISPOSSESSION @ Künstlerhaus Wien


Gesellschaft bildender Künstlerinnen und Künstler Österreichs
Karlsplatz 5, 1010 Wien

23.09.2021 – 16.01.2022

Curated by Ariane Müller

Linda Bilda, Stephan Janitzky, Anita Leisz, Sophie Lillie & Arye Wachsmuth, Henrik Olesen

With works of:
Richard Apflauer, Theodor Bruckner, Jehudo Epstein, Otto Herschel, Sofie Korner, Gerda Matejka-Felden, Teresa Feodorowna Ries, Anni Schulz, Friedrich Schön, Heinrich Sussmann, Willy Verkauf/ André Verlon und aus der Sammlung Marco Birnholz

Exhibition design: Ariane Müller and Jasmin Trabichler

Exhibition catalogue (PDF, German, 2,7 MB):

Wiener Künstlerhaus: Gedenkkultur neu denken
by Sophie Lillie and Arye Wachsmuth
Der Standard online, Jan 23, 2022

Two years ago, the artist Ariane Müller was invited by Tim Voss, who was then the artistic director of the Künstlerhaus, to conceive an exhibition dealing with the history of the Artists’ Association in the time before, during, and after National Socialist rule in Vienna.

The title Dispossession describes her approach to this topic and therewith also the methodology of the exhibition: Although “dispossession” is usually translated as “Enteignung” in German, this word does not fully capture the meaning of the English term. Possession, and even more importantly, the idea of being possessed, is missing in it. National Socialism, like any right-wing movement, was obsessed with categorising people. It defined attributions such as “Jewish”, “homosexual”, or “asocial” down to the last degrading detail. What was not “normal” was dismissed as “degenerate”. It reduced women to their reproductive function and was obsessed with the concept of race and the ideology of characteristics attached to it.

The people described in this way share the fact that they themselves were not given a say in the definition that devalued them. The actual purpose of this categorising description was to take something away from the people described by it. The exhibition argues against the notion of possessing qualities that result from external ascriptions.

The artists Linda Bilda, Stephan Janitzky, Anita Leisz, Henrik Olesen, Arye Wachsmuth, and the historian Sophie Lillie were invited to take part in this exhibition because they have been working for years on the complex issue of identity attribution, the aim of which is to fix, devalue, and thus dispossess individuals. The works were not created with a history of the Künstlerhaus in mind. Instead, they show very different ways of approaching it altogether. In doing so, they indicate that there are other logics than those conveyed by the surviving documents from this time, since these are also always part of what they describe.

The second part asks what kind of representation the Künstlerhaus provided for its members, and how much the reactionary socio-political orientation of this artists’ association has influenced our image of art. All one really has to do is walk through Vienna with open eyes. There is hardly an official administrative building, church, or state opera curtain in which a member of the Künstlerhaus was not involved. The Künstlerhaus had the power to exclude artists from this canon from commissions, orders, professorships, support, recognition, backing, practical help, and income – and did. Richard Apflauer, Theodor Bruckner, Jehudo Epstein, Hilda Goldwag, Sofie Korner, Gerda Matejka-Felden, Teresa Feodorowna Ries, and the collector Marco Birnholz were involved with the Künstlerhaus, but were either consistently excluded from membership or whose already-granted membership was later revoked.

This desolidarisation extended far into the post-war period and thus also had an impact on the presence of these artists in today’s public collections. Only very few works by these artists have survived. Dispossession now shows excerpts of some of these works in an exhibition presented by the very institution that abandoned the people who created them and was wholly unconcerned about their fate during their lifetime.

Stephan Janitzky

Linda Bilda

Henrik Olesen

Sophie Lillie, Arye Wachsmuth

Theodor Bruckner

Teresa Feodorowna Ries, Gerda Matejka-Felden, Richard Apflauer