Franz
Hauer

Selfmademan and
contemporary art
collector

until 16. 02. 2020

Franz Hauer was quite possibly the most spectacular self-made man amongst European art collectors. A postman’s son from Weißenkirchen and manservant at Krems’ hotel “Zur Rose”, Hauer‘s rise as an “art enthusiast of the most original kind” (Carl Moll) occurred with just one restaurant, namely the “Griechenbeisl”. It was to become a first-rate European hotspot around 1900, with famous guests ranging from Karl May to Mark Twain. With no family history in the field to speak of, Hauer became a passionate fan of contemporary art. He was the most important collector of Albin Egger-Lienz, but also owned many pieces by Egon Schiele and Oskar Kokoschka. In 1914 he died at the age of only 48. His legendary collection was largely sold and is now owned by many important museums and private collections across Europe and the United States. The exhibition in Krems succeeds in showcasing a cross-section of his legendary collection, which once comprised more than 1,000 pieces.

Credits:

  • Georgianna Sayles Aldrich Fund and Museum Works of Art Fund, Museum of Art, Rhode Island School of Design, Providence © Museum of Art, Rhode Island School of Design / Fondation Oskar Kokoschka / Bildrecht, Vienna, 2019, Foto / photo: Erik Gould
  • Landesmuseum für Kärnten © Landesmuseum für Kärnten
  • Landessammlungen NÖ © Landessammlungen NÖ
  • 02 | Egon Schiele, Wally, 1912

  • 01 | Albin Egger-Lienz, Totentanz, 3. Fassung, 1914

  • 03 | Oskar Kokoschka, Portrait Franz Hauer, ca. 1914

Renate
Bertlmann

Here Lies My Tenderness

until 29. 09. 2019

Comprising a wealth of perspectives, art genres as well as themes and content, Renate Bertlmann’s work has formed the cornerstone of our cultural lives for more than 50 years. It goes without saying, that her work has consequently been exposed to extensive criticism. The artist considers her position to be that of the lover. “Amo ergo sum” (I love, therefore I am) is the origin and outline of her artistic work. She considers love to be a holistic sensory experience and her topics range from gender roles to religion and the rituals that frame man‘s death. In her work, she often takes on various roles and undergoes transformations. Whilst it is her first solo exhibit in a museum, it also runs parallel to a solo exhibition at the Biennale di Venezia. Renate Bertlmann has personally curated the project and showcases recent exhibits as well as her creative work dating back to the 1970‘s.

Credits:

  • © Kunstmeile Krems Foto: Claudia Rohrauer
  • Landessammlungen Niederösterreich © Landessammlungen NÖ
  • © Renate Bertlmann / Bildrecht, Wien, 2019
  • 01 | Renate Bertlmann, Perlenbraut, 1976/1983/2019

  • 02 | Renate Bertlmann, Renée ou René: Onanie , Serie, 1977

  • 03 | Renate Bertlmann, El –Ella, 1986

  • "Amo ergo sum"
    ( I love,
    therefore I am)
    is the origin and outline
    of her artistic work

"I am everything
at once"

Self-Representation as the Search for and the Finding of the Self

until 16. 08. 2020

The question of our identity cannot be underestimated in its importance. Always relevant, the topic remains forever exciting. The urge for self-portrayal is central in our culture and the possibilities for it have never been as plentiful as they are today. Groundbreaking insights of the modern age are a precondition of the contemporary view of one’s own person, and no one managed to do this more consistently than Egon Schiele. His statement “I am everything at once” is an entirely new basis for self-expression. Peering behind the human facade becomes the central message and effectively captures the modern and contemporary art. If we are not what we appear to be, then what are we? Art leads the way in the exploration of identity. Artists’ findings on the path to self-discovery are stronger, more meaningful and more lasting than those made by doctors, psychologists and philosophers who have walked the same path. This is exemplified by the exhibition in six chapters.

Credits:

  • Ernst Ploil © Ernst Ploil, Viennan
  • Landessammlungen Niederösterreich © Sammlung Österreichische Nationalbank / Bildrecht, Vienna, 2019
  • Landessammlungen NÖ, photo: Irene Andessner / Bildrecht, Vienna, 2019
  • 01 | Egon Schiele, Selbstporträt mit Pfauenweste, 1911

  • 02 | Erwin Wurm, Ich und Über-ich, 2008

  • The question of
    our identity
    cannot be underestimated
    Selbstsicht
    in its importance.

  • 03 | Irene Andessner, I.M. Dietrich, 2001

Spaces
of desire

Touched nature and occupied landscapes

until 19. 04. 2020

Since the 19th century, Lower Austria’s cultural landscape has offered inspiration and peace to those seeking relaxation. Amongst these seekers were many artists, including Egon Schiele. Extending from the Wachau region to Trieste, a varied trail of exhibitions arose out of this feeling of longing. The exhibits create a dialogue between pieces belonging to the Atmospheric Impressionism movement, classical modernism and contemporary works. The exhibition raises the question to what extent the understanding of cultural space remains to be influenced by romantic ideas, and which strategies humans use to mold nature into “our” own landscape. It also addresses the critical viewpoint of nature that has been occupied and made user-friendly; a nature that seems idyllic but reveals itself as a human construct when examined more closely. At it‘s core, the exhibition comprises art depicting Lower Austrian dreams of longing. The pieces are considered to be examples of anywhere and the work raises the fundamental question as to the relationship between humankind and nature.

Abbildungen:

  • © Iris Andraschek und Hubert Lobnig / Bildrecht, Wien, 2018
  • © Ekaterina Sevrouk
  • 01 | Ekatarina Sevrouk, Blick auf Weissenkirchen, aus der Serie „Fremd bin ich eingezogen“, 2018

  • 02 | Iris Andraschek und Hubert Lobnig, Wohin verschwinden die Grenzen (Installation in Winter), 2009

  • the Relationship
    between
    humankind
    and nature

Heinz
Cibulka

am I already an image?

until 29. 09. 2019

Based on the model of the poetic potential of the “normal” and “coincidental”, Heinz Cibulka uses his pictorial poems to look for the power that resides in that which is “not special”. He finds this again and again in his immediate surroundings: the rural culture of Lower Austria—his adopted home for almost five decades. He creates a wide range of “picture poems” from the mid-1970s, before concentrating on digital image collages from the mid-1990s. The artist traces people and their lives, culture and tradition, rural vocations and religious rites. His personal quest for answers is also a reflection on life itself, on becoming and passing away, on love and sexuality, birth and death. “Geschichtes Gedicht” (“Story’s poem”) is central to the exhibition. Featuring texts by Hanno Millesi, the digital image collage from the year 2000 provides a visual insight into the Austrian cultural and intellectual history of the first half of the 20th century. It is shown in a new manner and also features an augmented reality extension by the media artist and— now—co-creator of the piece, Bobby Rajesh Malhotra.

Credits:

  • Bildrecht, Vienna, 2019
  • Landessammlungen NÖ © Bildrecht, Vienna, 2019
  • private collection © Bildrecht, Vienna, 2019
  • 01 | Heinz Cibulka, aus der Serie "Rax", 2018/2019

  • 02 | Heinz Cibulka, aus der Serie Nachbarsgarten, 1995/2019

  • 03 | Heinz Cibulka, aus der Serie Krems, 1995/2019

  • His
    personal quest
    for answers
    is also
    a reflection
    on life itself

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