Sabine Folie Livres

Since the 1960s Dorothy Iannone has been making oversized figurative paintings populated with a psychedelic, utopian mix of characters, objects and ornamental themes. Her work, much of it created for, with or about her one-time lover Dieter Roth, developed in the context of the experimental 60s, and years later, her unbowed expressiveness and vitality continue to inspire a new generation, including the curators of the 2006 Whitney Biennial. In this monograph Kunsthalle Wien contrasts her work with that of Lee Lozano, whose work will be shown along with Iannone's at the museum this season. Iannone and Lozano are very different, but Iannone's broad-minded messages of love and Lozano's caustic, hard-core eruptions both use uncompromising styles that combine graphics and comics-like gesture with texts. Both artists also began their careers far ahead of their time and appear today to have been precursors of many contemporary trends.

What is it that separates the search for gold in Miami Beach or Manhattan from the desire to erect idols like the golden calf? As Matthew Weinstein's transcultural, high-tech, easy-going haven for urban neurotics nothing. They are all just Universal Pictures .

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.

This exhibition catalogue presents the continuous cross-references between media works (photos, videos, reproductions), wall paintings, Ernst Caramelle's (b. 1952) 'Gesso Pieces', drawings, watercolours, the 'light works,' and prints.Looking at these cross-references allows us to understand the artist's complex and rich concepts and images. Abstraction and symbolic figuration, including expressive floral formlessness, permanently interact in Caramelle's work.A Résumé addresses the themes of artistic productivity, the role of the artist, his involvement in the market and the museum, and negotiations between institutions and artists. This involves pictorial wit, slapstick, diagrammatic forms, pataphysical strategies, comic-like elements, and linguistic quasi-aphorisms with nonsensical undertones.Published on the occasion of the exhibition, Ernst Caramelle: A Résumé at Museum Moderner Kunst Stiftung Luwig Wein/mumok, Vienna (30 November 2018 - 28 April 2019).

Anna Fliri, Christa Blümlinger, Diana Bulzan, Madeleine Freund, Sabine Folie

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.

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.