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  • ↳ Exhibitions

to display, to support, to care at University Gallery of the Angewandte Heiligenkreuzerhof

Artists: Jason Dodge, Philipp Gehmacher, Friedrich Kiesler, Simon Lässig, Joanna Piotrowska, Johannes Porsch, Nicole Wermers

Exhibition title: to display, to support, to care

Curated by: Vanessa Joan Müller

Venue: University Gallery of the Angewandte Heiligenkreuzerhof, Vienna, Austria

Date: February 15 – April 6, 2024

Photography: ©kunst-dokumentation.com/images courtesy of the artists and University Gallery of the Angewandte Heiligenkreuzerhof, Vienna

Note: Exhibition handout is available here

to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
Frederick Kiesler, Studies for display structures (a.o. Peggy Guggenheim‘s Art of This Century), 1942-47, courtesy: Austrian Frederick and Lillian Kiesler Private Foundation, Vienna
Frederick Kiesler, Studies for display structures (a.o. Peggy Guggenheim‘s Art of This Century), 1942-47, courtesy: Austrian Frederick and Lillian Kiesler Private Foundation, Vienna
Joanna Piotrowska, installation view, 2024, courtesy of the artist and Phillida Reed Gallery London
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
Joanna Piotrowska, Untitled, 2017, 120×95 cm, silver gelatin hand print, courtesy of the artist and Phillida Reid, London
Joanna Piotrowska, Untitled, 2017, 120×95 cm, silver gelatin hand print, courtesy of the artist and Phillida Reid, London
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
Johannes Porsch, NOT AN ORIGINAL / Works for Demonstration Purposes, installation view, 2023/2024
Johannes 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 Tape
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
Johannes 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 paper
Johannes 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, 2023/2024
Jason Dodge, 2024
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
Johannes Porsch, NOT AN ORIGINAL / Works for Demonstration Purposes, Letter of Agreement, 2023/2024, 395 text pages, 1c / red laser print on paper
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
Nicole Wermers, dishwashing sculpture #5 (detail), 2013, 160×60×70 cm, courtesy the artist and Herald St, London
Nicole Wermers, dishwashing sculpture #5 (detail), 2013, 160×60×70 cm, courtesy the artist and Herald St, London
Nicole Wermers, dishwashing sculpture #5 (detail), 2013, 160×60×70 cm, courtesy the artist and Herald St, London
Nicole Wermers, dishwashing sculpture #5 (detail), 2013, 160×60×70 cm, courtesy the artist and Herald St, London
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
Philipp Gehmacher, untitled (detail), 2019/2024, 75×130 cm
Philipp Gehmacher, untitled (detail), 2019/2024, 75×130 cm
Philipp Gehmacher, untitled (detail), 2019/2024, 75×130 cm
Philipp Gehmacher, untitled (detail), 2019/2024, 75×130 cm
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
Jason Dodge, 2024
Jason Dodge, 2024
Jason Dodge, 2024
to display, to support, to care, 2024, exhibition view, University Gallery of the Angewandte Heiligenkreuzerhof, Vienna
Simon 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
Simon 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
Simon 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
Simon 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

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