to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, ViennaFrederick Kiesler, Studies for display structures (a.o. Peggy Guggenheim‘s Art of This Century), 1942-47, courtesy: Austrian Frederick and Lillian Kiesler Private Foundation, ViennaFrederick Kiesler, Studies for display structures (a.o. Peggy Guggenheim‘s Art of This Century), 1942-47, courtesy: Austrian Frederick and Lillian Kiesler Private Foundation, ViennaJoanna Piotrowska, installation view, 2024, courtesy of the artist and Phillida Reed Gallery Londonto display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, ViennaJoanna Piotrowska, Untitled, 2017, 120×95 cm, silver gelatin hand print, courtesy of the artist and Phillida Reid, LondonJoanna Piotrowska, Untitled, 2017, 120×95 cm, silver gelatin hand print, courtesy of the artist and Phillida Reid, Londonto display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, ViennaJohannes Porsch, NOT AN ORIGINAL / Works for Demonstration Purposes, installation view, 2023/2024Johannes Porsch, NOT AN ORIGINAL / Works for Demonstration Purposes, 1*, 2023/2024, each 4,5×5,5×200 cm, 3 easels, natural spruce, sticky tape LIDL Security Tapeto display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, ViennaJohannes Porsch, NOT AN ORIGINAL / Works for Demonstration Purposes, Letter of Agreement, Factography, 2023/2024, 21×29,7 cm, 4-sided folded sheet, 1c / red laser print on paperJohannes Porsch, NOT AN ORIGINAL / Works for Demonstration Purposes, Etc., etc., after: Ris-Paquot, Dictionnaire encyclopédique des marques & monogrammes, chiffres, lettres initiales, signes figuratives, etc., etc. contenant 12 156 marques, Paris 1893, 2023/2024Jason Dodge, 2024to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, ViennaJohannes Porsch, NOT AN ORIGINAL / Works for Demonstration Purposes, Letter of Agreement, 2023/2024, 395 text pages, 1c / red laser print on paperto display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, ViennaNicole Wermers, dishwashing sculpture #5 (detail), 2013, 160×60×70 cm, courtesy the artist and Herald St, LondonNicole Wermers, dishwashing sculpture #5 (detail), 2013, 160×60×70 cm, courtesy the artist and Herald St, LondonNicole Wermers, dishwashing sculpture #5 (detail), 2013, 160×60×70 cm, courtesy the artist and Herald St, LondonNicole Wermers, dishwashing sculpture #5 (detail), 2013, 160×60×70 cm, courtesy the artist and Herald St, Londonto display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, ViennaPhilipp Gehmacher, untitled (detail), 2019/2024, 75×130 cmPhilipp Gehmacher, untitled (detail), 2019/2024, 75×130 cmPhilipp Gehmacher, untitled (detail), 2019/2024, 75×130 cmPhilipp Gehmacher, untitled (detail), 2019/2024, 75×130 cmto display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Viennato display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, ViennaJason Dodge, 2024Jason Dodge, 2024Jason Dodge, 2024to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, ViennaSimon Lässig, 2:23 minutes from: Anyaság, 1974, As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt, and alter their thoughts, views, and fee- lings. And if the rest of the film speaks about how we mimic and repeat–about how we are conditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A reality comes into being that is closed off and something I’ve seen before repeats itself., 2022, courtesy of the artist, Felix Gaudlitz, Vienna, and LC Queisser, TbilisiSimon Lässig, 2:23 minutes from: Anyaság, 1974, As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt, and alter their thoughts, views, and fee- lings. And if the rest of the film speaks about how we mimic and repeat–about how we are conditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A reality comes into being that is closed off and something I’ve seen before repeats itself., 2022, courtesy of the artist, Felix Gaudlitz, Vienna, and LC Queisser, TbilisiSimon Lässig, 2:23 minutes from: Anyaság, 1974, As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt, and alter their thoughts, views, and fee- lings. And if the rest of the film speaks about how we mimic and repeat–about how we are conditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A reality comes into being that is closed off and something I’ve seen before repeats itself., 2022, courtesy of the artist, Felix Gaudlitz, Vienna, and LC Queisser, TbilisiSimon Lässig, 2:23 minutes from: Anyaság, 1974, As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt, and alter their thoughts, views, and fee- lings. And if the rest of the film speaks about how we mimic and repeat–about how we are conditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A reality comes into being that is closed off and something I’ve seen before repeats itself., 2022, courtesy of the artist, Felix Gaudlitz, Vienna, and LC Queisser, Tbilisi
