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Tadao Ando’s Sculptural Requiem: The Table of Pirosmani – A Memorial to Unfulfilled Longing

I live on Domgasse in Vienna, directly across from the house where Wolfgang Amadeus Mozart was based when he composed the opera Le nozze di

A Glimpse into the Kunsthistorisches Museum Vienna: Archduke Leopold Wilhelm of Habsburg and the Upcoming Rembrandt Exhibition

The Kunsthistorisches Museum is home to an extraordinary collection of art, much of which can be traced back to the passionate collecting endeavors of Archduke

Caravaggio Authentication

As an art historian, art advisor, and certified art appraiser, I’ve had the incredible opportunity to examine numerous paintings by Caravaggio (1571-1610) and other old

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bernhard.boehler

Art Historian, Curator, Art Advisor, Cultural Heritage Expert - Fmr. Museum Director 📍Vienna, Austria

Woven Modernism: Between Migration, Memory, and Ma

Woven Modernism: Between Migration, Memory, and Material

Visiting the new Anni Albers (1899, Berlin – 1994, Orange, Connecticut) exhibition at the Belvedere Museum Vienna felt less like walking through an exhibition and more like entering a system of thought – one that is built not with paint, but with threads.

Coming from the Bauhaus, Albers approached textile with a clarity and discipline that feels strikingly contemporary. Yet her life was marked by displacement: forced to emigrate with Josef Albers, she rebuilt her practice in the US while continuously looking outward – especially towards the textile traditions of Latin America.

What stayed with me most is how her work holds multiple worlds at once. It is geometric, but never cold. Systematic, yet deeply human. You can sense the influence of pre-Columbian weaving, but also her insistence on abstraction as a universal language.

Themes of migration, cultural exchange, and identity run quietly through the works – but so do questions about authorship, material, and the role of women in modern art.

It’s a reminder that textiles are never just textiles. They are carriers of time, knowledge, and movement.

Video @annatilniak

Gustave Courbet at the Leopold Museum, Vienna, is

Gustave Courbet at the Leopold Museum, Vienna, is one of those exhibitions that stays with you. It’s the first extensive monographic Courbet exhibition in Austria, bringing together around 130 works and archival materials, including major paintings such as The Origin of the World (1866), on view in Vienna through 21 June 2026.

Courbet’s painting still has the power to provoke, but what makes The Origin of the World so compelling is not scandal for scandal’s sake. Commissioned by the diplomat Khalil Bey for his private collection, the work is radical in its closeness, directness, and refusal to idealize the body. It confronts the viewer with reality, not allegory.

I had the chance to speak with ORF about this painting and its allegedly provocative nature. For me, the question is less why it still shocks, and more why honesty in art so often does. Courbet wasn’t interested in prettifying the world — he wanted to paint it with an intensity that feels startlingly modern even today.

The landscapes of the Jura Mountains left a lasting mark on Courbet’s imagination: springs emerging from rock, deep grottos, steep cliffs, and dark, secretive openings. In regional myths, these grottos — also known as dames — were linked to fairies, nuns, and supernatural female beings dwelling within the earth. In Courbet’s work, such motifs can therefore be read not only as landscapes, but as symbols of concealment, mystery, and female generative force. From this perspective, the connection to The Origin of the World becomes especially resonant, as the image of the spring or source echoes the female body itself.

Seen in this context, The Origin of the World appears not as an isolated provocation, but as part of Courbet’s larger vision: nature, body, matter, light, and truth — painted without disguise.

Brigitte Kowanz: Illuminating Language and Space a

Brigitte Kowanz: Illuminating Language and Space at the Albertina

Last night, I had the privilege of attending the opening of the new special exhibition “Light is what we see”, dedicated to Brigitte Kowanz (1957–2022)—an Austrian artist whose work fundamentally reshaped the role of light in contemporary art.

Kowanz was not only a pioneer in the use of light as a sculptural and conceptual medium; she was also a deeply philosophical thinker whose practice explored the intersections of language, code, and perception. Her installations—often composed of neon, mirrors, and architectural interventions—invite viewers to reflect on the structures of communication and the politics of visibility. In the context of Austrian and international art, Kowanz stands as a singular figure who bridged Minimalism, Conceptual Art, and media theory with remarkable clarity and poetic force.

The exhibition at the Albertina Museum, titled Light is what we see, offers a rare opportunity to engage with the full scope of her work—from early explorations to her most iconic spatial interventions. It’s a deeply moving homage to an artist whose legacy continues to illuminate the field.

My sincere thanks to Angela Stief, Director of Albertina Modern and curator of this exhibition, for the generous invitation and the gracious reception in the Habsburg State Rooms following the opening speeches. The evening was not only a celebration of Kowanz’s art, but also a moment of reflection on the enduring relevance of her ideas.

Video by @annatilniak

Egon Schiele: A Journey Through His Final Years T

Egon Schiele: A Journey Through His Final Years

The Leopold Museum in Vienna has unveiled its latest special exhibition, “Changing Times: Egon Schiele’s Last Years (1914–1918),” a tribute to one of Austria’s most iconic artists. This exhibition, curated by Jane Kallir and Kerstin Jesse, offers a glimpse into Schiele’s transformative final years, a period marked by profound personal and artistic evolution.

Schiele’s journey from 1914 to 1918 was one of dramatic change. Known for his early works featuring angular, emaciated figures and intense self-portraits, Schiele’s style softened during these years. His lines became more fluid, his subjects gained physical fullness, and his themes expanded beyond introspection to explore external realities. This shift was influenced by significant life events, including his marriage to Edith Harms in 1915 and the upheaval of World War I. The exhibition showcases how these experiences shaped his art, with fewer self-portraits and a focus on themes like love, relationships, and allegories of human existence.

Among the highlights are Schiele’s poignant depictions of couples, such as “Embrace (Lovers II)” from 1917, and his exploration of metaphors like blindness in works such as “Levitation (The Blind II)” from 1915. In his last paintings, particularly the portrait of Albert Paris Gütersloh, an evolving expressionistic style becomes vividly apparent. These pieces reflect a maturity and depth that hint at the artist’s potential for further evolution had his life not been tragically cut short by the Spanish flu on October 31, 1918, at the age of 28.

Therefore, the exhibition also invites visitors to hypothetically imagine the artistic paths Schiele might have taken in the following years, solidifying his status as an exceptional talent of world renown. I had the chance to attend the opening of the exhibition and explore the final chapter of Egon Schiele’s extraordinary story wearing my new glasses by MYKITA, handmade in Berlin.

Video @annatilniak

A Night of Art and Elegance: Jenny Saville’s “

A Night of Art and Elegance: Jenny Saville’s “Gaze” at the Albertina

Vienna’s art spring has begun with the grand opening of Jenny Saville’s special exhibition, Gaze, at the Albertina Museum. This marks the first major retrospective in Austria for the celebrated British painter, renowned for her monumental explorations of the human form. The evening was a perfect blend of artistic brilliance and regal sophistication, set against the backdrop of the historic Habsburg State Rooms.

The exhibition, curated by Angela Stief, Director of Albertina Modern, showcases 26 of Saville’s works, including four pieces never before seen by the public. Known for her bold and evocative depictions of the human body, Saville’s art bridges the gap between classical techniques and contemporary themes. Her works, inspired by masters like Leonardo da Vinci and Egon Schiele, challenge conventional beauty standards and invite viewers to confront the raw, unfiltered essence of humanity.

As a guest at the opening and the exclusive gala dinner, I had the privilege of experiencing this landmark event firsthand. Angela Stief’s passion for contemporary art was evident in every detail of the evening, from the thoughtful curation to the engaging conversations. Adding to the significance of the night was the warm welcome from Ralph Gleis, the newly appointed Director General of the Albertina, whose vision promises an exciting future for the museum.

The exhibition is housed in the Albertina’s historic Pfeilerhalle, a space that amplifies the intensity and scale of Saville’s work. From her expressive portraits to her dynamic large-scale nudes, each piece invites introspection and dialogue, making Gaze a must-see for art enthusiasts and casual visitors alike.

Available for viewing through June 29, 2025, Gaze is a powerful display of the creativity and resilience of the human form. The exhibition grants viewers a glimpse into the intersection where classical art meets contemporary vision, in one of Vienna’s most prestigious venues.

Photo/video @annatilniak

“Arcimboldo – Bassano – Bruegel: Nature’s

“Arcimboldo – Bassano – Bruegel: Nature’s Time“ at the Kunsthistorisches Museum

The Kunsthistorisches Museum in Vienna has unveiled a captivating new exhibition, “Arcimboldo – Bassano – Bruegel: Nature’s Time“. It explores humanity’s connection with nature and the passage of time through the eyes of Renaissance masters like Arcimboldo, Bruegel, and the Bassano family.

The exhibition features over 140 works, including Giuseppe Arcimboldo’s iconic seasonal portraits such as Summer and Winter, which ingeniously use fruits, vegetables, and other natural elements to personify the seasons. Equally compelling are Leandro Bassano’s series of paintings depicting the months, each a window into the Renaissance’s rich tapestry of daily life, landscapes, and activities. These works, alongside others, reflect the Renaissance’s fascination with the cosmos and natural cycles. This includes depictions of the seasons, months, and the rhythm of nature, which were often intertwined with astrological beliefs during that era. The exhibition also showcases scientific artifacts—globes, manuscripts, and instruments—that highlight the period’s quest to understand the world and its cycles.

Thanks to loans from institutions such as The Metropolitan Museum of Art in New York, the Uffizi Gallery in Florence, and the Rijksmuseum in Amsterdam, visitors can immerse themselves in a comprehensive and multifaceted exploration of the 16th century’s artistic and intellectual brilliance.

Attending the grand opening was an unforgettable experience. The curators have done a masterful job presenting not only the artistic splendor but also the cultural and philosophical questions of the Renaissance: How did people understand time’s passage? How did they reflect nature’s rhythms in their art? These questions remain deeply resonant today, reminding us of our enduring bond with the natural world.

The Kunsthistorisches Museum has masterfully crafted an exhibition that bridges centuries, offering an enlightening and inspiring journey into the Renaissance.

Photo/video @annatilniak

Exploring the Unseen Connections: Wong and Van Gog

Exploring the Unseen Connections: Wong and Van Gogh at the Albertina

The Albertina’s latest exhibition, “Painting as a Last Resort,“ offers a profound comparison between the lives and works of the Dutch expressionist Vincent van Gogh and the late Canadian-Chinese artist Matthew Wong. This unique showcase reveals significant parallels between these two extraordinary artists, despite the vast temporal and cultural gaps between them.

“I see myself in him. The impossibility of being part of this world,“ wrote Wong in 2018, a year before his death, about Van Gogh. The Albertina’s exhibition delves into this remarkable, cross-epoch soul connection, manifesting in surprising parallels in both artists‘ lives and works.

The exhibition places Wong, relatively unknown in Europe compared to his fame in Asia and North America, at the forefront. “The works are bursting with life and energy,“ highlighted Ralph Gleis, emphasizing the powerful colors of the large formats.

The exhibition curated by Angela Stief is shown in a modified form compared to earlier presentations at the Van Gogh Museum in Amsterdam and the Kunsthaus Zurich.

Like Van Gogh (1853–1890), Wong also struggled with severe psychological issues. And just like the Dutchman, Wong saw art as a refuge, a place of solace and sanctuary.

Wong (1984–2019) was a self-taught artist who delved deeply into both Western and Eastern art history and contemporary artists—from Gustav Klimt to Paul Klee, from Shitao to Peter Doig. Recently, he focused particularly on van Gogh. Stylistically, there are unmistakable overlaps. The landscapes, sparsely populated with figurative elements, play a significant role in both artists‘ works. The motifs of the sun, moon, and stars recur frequently. Beyond their marginalization within society, further biographical aspects highlight their commonalities.

Both artists had relatively short painting careers. Both died in their thirties and achieved posthumous fame. “Essentially, life is hell, except for the moments before the canvas,“ Wong once said. The power he was able to draw from these moments can be somewhat sensed at the Albertina until June 19th, 2025.

Photos/video by Anna Tilniak

A Journey Through Time: My Visit to Jarosinski & V

A Journey Through Time: My Visit to Jarosinski & Vaugoin

Stepping into the world of Jarosinski & Vaugoin, the oldest still existing manufacturer of silver goods in Vienna, felt like stepping back in time. Established in 1847, this company has been supplying royals and other well-known families around the world for generations. I had the opportunity to visit not only their salesroom but also their workshop, and the experience was nothing short of magical.

Upon arrival, I was greeted by Verena Vaugoin, whose son, Jean-Paul, runs the manufactory in its sixth generation. Verena gave me a special tour, and as we walked through the elegant salesroom, I admired the finest cutlery and other rare silver items designed for the luxury table. Some of their best-known pieces include exquisite flatware, intricate candlesticks and serving trays, each crafted with the utmost precision and care.

One of the most fascinating parts of the tour was witnessing a copy of the famous Saliera in the making. The original Saliera, a golden decorated salt cellar created by Benvenuto Cellini in the mid-16th century, resides at the Kunsthistorisches Museum and allegorically portrays Land and Sea. A copy of this masterpiece was presented to Queen Elizabeth II, underscoring the esteemed reputation of Jarosinski & Vaugoin.

Continuing the tour, I saw a copy of the 18th-century Donnerbrunnen, a fountain located in the Neuer Markt in Vienna. A copy of this fountain was received by Soviet Foreign Minister Molotov in connection with the negotiations on the Austrian State Treaty ten years after the end of WWII. The level of detail and craftsmanship in these replicas was truly astounding.

The highlight of my visit was exploring their workshop, where I could see young silversmiths at work. It was fascinating to observe them using essentially the same technical instruments and machines as their predecessors a hundred years ago.

My visit to Jarosinski & Vaugoin was a memorable journey through history, craftsmanship, and artistry. If you ever find yourself in Vienna, I highly recommend a visit to this iconic institution to witness the beauty of silver craftsmanship firsthand.

Photos @annatilniak

Jim Dine at Ninety: A Retrospective Celebration at

Jim Dine at Ninety: A Retrospective Celebration at Vienna’s Albertina Museum

The Albertina Museum in Vienna recently unveiled a captivating exhibition celebrating the work of American artist Jim Dine, who is soon to turn ninety. He has been associated with many art movements including Neo-Dada (use of collage and found objects), Abstract Expressionism (the gestural nature of his painting), and Pop Art (affixing everyday objects including tools, rope, articles of clothing to his canvases), yet he has avoided such classifications. This exhibition, which showcases a representative selection of Dine’s generous donation to the museum, offers a comprehensive overview of his multifaceted oeuvre.

Jim Dine is a significant figure in contemporary art, known for his innovative approach and emotional depth. His work spans across various mediums, including painting, sculpture, and printmaking, and is characterized by recurring motifs that reflect his personal experiences and emotions. Among his most iconic motifs are the heart, Pinocchio, a crow, a bathrobe, a hammer, and a saw. These symbols have accompanied him throughout his entire career, serving as extensions of his life’s journey and inviting viewers into a dialogue with his introspective world.

The exhibition also marks a poignant moment for the Albertina Museum, as it is the last opening under the long-term tenure of General Director Klaus Albrecht Schröder, who has played a significant role in shaping the museum’s direction and vision over the past twenty-five years. I had the honor and privilege of being invited to the exclusive gala dinner following the exhibition opening, which took place in the lavish ambience of the Habsburg State Rooms.

I had the pleasure of attending this remarkable event thanks to the invitation extended to me by Angela Stief, the Director of Albertina Modern. It was a memorable evening, and I even had the opportunity to shake hands with both the artist and the General Director. The atmosphere was filled with admiration and respect for Jim Dine’s enduring legacy and the impact of his work on contemporary art.

Rudolf Wacker: Magic and Abysses of Reality The L

Rudolf Wacker: Magic and Abysses of Reality

The Leopold Museum in Vienna has recently opened the exhibition “Rudolf Wacker. Magic and Abysses of Reality”. Rudolf Wacker (1893-1939) is considered the most important representative of New Objectivity in Austria, and his works offer a characteristic insight into the reality he perceived, defined by his precise and simultaneously magical depiction of the world around him.

Rudolf Wacker, born in Bregenz in 1893, spent his youth in Vorarlberg. He studied at the Hochschule für Bildende Kunst in Weimar and returned to Bregenz after World War I—after five years of war captivity in Siberia—living in phases also in Berlin and Vienna.

The personal connection to Rudolf Wacker is especially significant to me, as I was born in the same city, Bregenz. Wacker’s mother was from Mellau, a neighboring village to Bizau in the Bregenzerwald valley, where I grew up. One day, a cousin of my mother visited and brought us a historical photograph of the three-year-old Rudolf Wacker, saying that she’s related to Wacker’s mother. This photo is now in my possession. In my youth, when I used to draw and paint, I was particularly fascinated by Rudolf Wacker’s work and once created a homage to this great artist from Vorarlberg. In a still life with a green wooden figure and two autumn leaves, I closely followed his example, both in content and style. Wacker often depicted sculptures in his still lifes that had already suffered from the ravages of time, children’s drawings, or withered plants. The green-painted wooden sculpture, which I had carved myself as a six-year-old, found its place in this work.

This new exhibition at the Leopold Museum offers a valuable opportunity to study Wacker’s artistic development from Expressionism to New Objectivity. Featuring some 200 exhibits and numerous archival documents, it affords a comprehensive panorama of Wacker’s oeuvre, illustrating his artistic quality and technical mastery in an impressive manner.

Video by @annatilniak

Digital artist and Sculptor Julia Beliaeva at Rodl

Digital artist and Sculptor Julia Beliaeva at Rodler Gschwenter Gallery

Ukrainian artist Julia Beliaeva is currently exhibiting her thought-provoking sculptures at Rodler Gschwenter Gallery in Vienna. Her works are displayed alongside the realistic paintings of Austrian artist Julia Faber, creating a compelling dialogue between the two artists.

Beliaeva, a graduate of the Kyiv State Institute of Decorative and Applied Art and Design, has gained international recognition for her sculptures and installations. A significant milestone in her career is her involvement with König Galerie in Berlin.

Her art explores the intersection of tradition and technology, using 3D scanning, modeling, and printing to reimagine traditional media. Her sculptures, often crafted from porcelain, delve into themes of heritage and lost traditions, blending fragility and resilience.

The exhibition at Rodler Gschwenter Gallery offers a unique opportunity to see Beliaeva’s sculptures in Vienna and explore the fusion of heritage and modernity in her work.

Photos and video by @annatilniak

Adrian Ghenie - Shadow Paintings: A Tribute to Ego

Adrian Ghenie - Shadow Paintings: A Tribute to Egon Schiele

The Albertina Museum in Vienna is now showcasing a groundbreaking exhibition, “Adrian Ghenie - Shadow Paintings,” that pays tribute to Egon Schiele, a leading figure in expressionism. This revolutionary exhibition, conceptualized by Ciprian Adrian Barsan, brings to life Schiele’s lost works—previously known only from black-and-white photographs—through the hauntingly vivid artistry of Adrian Ghenie.

Romanian-born, Berlin-based artist Adrian Ghenie has seized the opportunity to reimagine Schiele’s lost works, creating pieces specifically for this exhibition. His search for traces of Schiele’s originals has culminated in an impressive collection that captures the essence and intensity of Schiele’s vision.

Reflecting on his connection to Schiele, Ghenie shares: “Schiele was of course part of my intellectual archive, not in terms of style, but in terms of attitude. Together with Schiele, I share an interest in the deformation and stretching of the human form and playful experimentation with it. Deformation was a solution for representation, but also an expression of the freedom that came with modernism. Once you leave the traditional constraints of anatomy behind, the way you deform can become a portrait of character or the inner psyche on a deeper level. This play with the human form marked the beginning of something new.”

Around one quarter of Schiele’s paintings remain missing to this day or are known to have been lost or destroyed, most prior to the Second World War. These lost works, touching on profound themes like death, sexuality, self-reflection, identity search, distortion, melancholy, and faith, exist now only as shadowy photographs.

The project “Shadow Paintings” takes viewers on a metaphysical journey through dissolution and eventual reincarnation. These works symbolize the dark night of the soul where individuals confront their inner shadows.

The exhibition, generously supported by the Infinitart Foundation, offers visitors a chance to experience this remarkable fusion of past and present.

Video by @annatilniak

Grand Opening of the Rembrandt - Hoogstraten Speci

Grand Opening of the Rembrandt - Hoogstraten Special Exhibition at Vienna’s Kunsthistorisches Museum

Vienna’s Kunsthistorisches Museum recently celebrated the grand opening of its highly anticipated special exhibition, “Rembrandt - Hoogstraten: Colour and Illusion,” which runs from October 8, 2024, to January 12, 2025. This illustrious event was attended by numerous prominent figures from the museum and cultural scene, highlighting the exhibition’s significance.

The exhibition was formally opened by Austrian Federal President Alexander Van der Bellen, who emphasized the importance of showcasing such masterpieces to the public. The event featured a remarkable presentation of Rembrandt’s works, many of which are being displayed in Austria for the first time. Rembrandt Harmenszoon van Rijn, simply known by his first name Rembrandt, is considered the most important and well-known Dutch artist of the Baroque period. He left an indelible mark on art history through his innovative techniques and profound use of light and shadow. His work comes at a time of political, economic, and artistic boom in the United Provinces of the Netherlands (Dutch Republic) known as the Dutch Golden Age.

The exhibition illustrates the artistic relationship between master Rembrandt Harmenszoon van Rijn (1606-1669) and his pupil Samuel van Hoogstraten (1627-1678). During his two-year stay in Vienna from 1651 to 1653, Hoogstraten worked for Emperor Ferdinand III, further enriching his artistic journey and influence.

Visitors to the exhibition can expect to be captivated by the beauty and depth of Rembrandt and Hoogstraten’s works, which explore themes of illusionistic deception and virtual reality. The show offers a thought-provoking journey through the artistic innovations of these two Dutch painters.

Video by @annatilniak

Celebrating Erwin Wurm: A 70th-Birthday Retrospect

Celebrating Erwin Wurm: A 70th-Birthday Retrospective at Albertina Modern — Glimpses of the Opening

Erwin Wurm is one of today’s most successful and best-known international contemporary artists. On the occasion of his 70th birthday, Albertina Modern presents the first comprehensive retrospective of his multifaceted work including sculptures, drawings and instructions, videos and photographs to contemplate the paradoxes and absurdities of our world.

Find more information about the exhibition in the following post.

Celebrating Erwin Wurm: A 70th-Birthday Retrospect

Celebrating Erwin Wurm: A 70th-Birthday Retrospective at Albertina Modern

Erwin Wurm, born in 1954 in Bruck/Mur, Austria, is one of the most outstanding international contemporary artists of our time. To mark his 70th birthday, Albertina Modern in Vienna is hosting a comprehensive retrospective of his diverse body of work, running until March 9, 2025. This exhibition features a wide array of Wurm’s creations, including sculptures, drawings, videos, and photographs, all of which invite viewers to explore the paradoxes and absurdities of modern life.

Wurm’s artistic approach challenges traditional boundaries between artistic media. He redefines the concepts of statics and movement within art, encouraging us to question our perceptions of reality. His works often present scenarios that defy gravity or depict melting houses, prompting us to consider how bodies and spaces behave when the absurd is given room to exist.

One of the highlights of the exhibition are Wurm’s “One Minute Sculptures,” which allow participants to become part of the artwork, even if just for a moment. This interactive element underscores Wurm’s focus on the sculptural in relation to social contexts. For instance, a pickle might be declared a self-portrait, while the “Fat Car” symbolizes societal greed and excess. The “Narrow House” reflects the constraints of bourgeois norms and social conventions.

Erwin Wurm’s retrospective at Albertina Modern is a thought-provoking journey through the mind of an artist who continually pushes the borders of contemporary art. The exhibition brings together major works from all stages of Erwin Wurm’s art career. From his early wood and dust sculptures to his most recent works, some of which are being shown for the first time in this stimulating exhibition.

Notes:

The cover photo showing Erwin Wurm and me at the opening reception in the Habsburg State Rooms was taken by artist @elenamildner (please note the surrealistic-looking arm that happens to connect us).

I’d like to thank the Director of Albertina Modern @angela_stief for the invitation to this event.

Celebrate African Art and Culture at the “Afriqu

Celebrate African Art and Culture at the “Afriques” Festival in Vienna

From August 1 to 31, 2024, Vienna’s Aux Gazelles hosts the “Afriques” festival, celebrating contemporary African art and culture. Organized by Christine Ruckendorfer and supported by the AG18 Gallery, it comprises of a vibrant mix of art exhibitions, African cuisine, film screenings, music performances, and workshops. Highlights include diverse African dishes, live concerts, DJ sets, and engaging workshops. The festival offers a unique opportunity to immerse yourself in the rich and diverse world of contemporary African creativity.

The exhibitions include the following visual artists: Louise Deininger, Thomas Vava, Daniela Frimpong-Mansoh, Alphonse Ndagijiamana, Khulekani Cele, Boris Anje, Noumimbimbou Nijele Leuna, Meriem Yin, Baba Diedhiou, Moustapha Baïdi Oumarou, Damilola Moses Opedun, Taiye Erewele, Famakan Magasa, Wasiu Eshinlokun, Selassie, Johnson Ocheja.

Video by @annatilniak

A Glimpse into the Kunsthistorisches Museum Vienna

A Glimpse into the Kunsthistorisches Museum Vienna: Archduke Leopold Wilhelm of Habsburg and the Upcoming Rembrandt Exhibition

The Kunsthistorisches Museum is home to an extraordinary collection of art, much of which can be traced back to the passionate collecting endeavors of Archduke Leopold Wilhelm of Habsburg. One of the museum’s highlights is the painting “Archduke Leopold Wilhelm in his Gallery at Brussels” by David Teniers the Younger, created around 1651.

Archduke Leopold Wilhelm (1614–1662) was a pivotal figure in the art world of the 17th century. As the youngest son of Emperor Ferdinand II, he was initially destined for a religious life but found his true calling in the arts. During his tenure as the Governor of the Spanish Netherlands from 1647 to 1656, he amassed an impressive collection of around 1,400 paintings, including masterpieces by Pieter Bruegel the Elder.

His collection laid the foundation for what would become the Picture Gallery of the Kunsthistorisches Museum. The painting by David Teniers the Younger captures the Archduke in his gallery in Brussels, surrounded by his prized artworks. It not only showcases the Archduke’s collection but also reflects the grandeur and cultural richness of his time.

This October, the Kunsthistorisches Museum will host a special exhibition dedicated to the legendary Dutch painter Rembrandt van Rijn. Titled “Rembrandt – Hoogstraten: Color and Illusion”, the exhibition will run from October 8, 2024, to January 12, 2025. For the first time, visitors will have the opportunity to explore a wealth of international loans by Rembrandt, presented alongside works by his gifted pupil, Samuel van Hoogstraten. This exhibition promises to be a cultural highlight, offering a unique perspective on Rembrandt’s powerful art and his influence on Hoogstraten. The interplay between their works will be showcased through around 60 paintings and drawings, emphasizing their shared fascination with illusionistic techniques and vibrant color.

I’m proud to announce that I have completed the

I’m proud to announce that I have completed the “Breathing, Voice, and Speech Training” course with the Austrian doyen of elocution, director, actor, and speaker Werner Wawruschka with outstanding success! Werner is a fabulous teacher and great human being.

And here’s a little glimpse of what I learned: My interpretation of Heinrich von Kleist’s „Anecdote from the Last Prussian War“ (1810). An amazing experience and a milestone on my journey!

This excerpt is the beginning of the anecdote, about a lone Prussian cavalryman, a straggler from a routed army, who fortifies himself with drink and sets off after three armed Frenchmen with no thought for his own safety.

Martin Tardy: Artist of the Continuous Line Martin

Martin Tardy: Artist of the Continuous Line
Martin Tardy, born in 1992, is an Austrian-French artist whose distinctive figurative style is characterized by continuous lines. His training in fashion and visual art has provided him with a solid foundation in working with various materials such as metal, wood, and ceramics, which he continues to explore in his artistic practice. Tardy’s rapid sketching technique has evolved into a unique artistic expression, evident not only in his painting and drawing but also extending to materials like glass, stone, bronze, aluminum, and even digital media. In his works, he challenges the possibilities of a single line by executing it in a continuous motion until completion. A remarkable technique of his involves drawing asynchronously with both hands, resulting in works composed of two intersecting lines that form a unified whole.

“LINE – the path of moving mind”: An Exhibition in an Abandoned Garage
For his latest exhibition, “LINE – the path of moving mind,” Martin Tardy is using a vast hall in Wiedner Hauptstraße 52 in Vienna. The abandoned garage in the 4th district serves as an experimental field for him to display larger works that exceed his arm span. At the opening on June 6th, 2024, he presented an impressive performance, creating an asynchronous piece on a 4 by 8 meter canvas in portrait format by gradually lifting the canvas. Additionally, he is showcasing abstract works for the first time under the title Sequences, which include small bronze pieces about 10 cm high, as well as prototypes up to 70 cm high. Tardy’s goal is to realize these works in large format as well. The exhibition offers insight into Tardy’s creative techniques and his ongoing exploration of the human anatomy and its fusion with the surrounding environment.

Video by @annatilniak

Welcome Back to mumok: Vienna’s Home for Modern

Welcome Back to mumok: Vienna’s Home for Modern Art

Vienna’s mumok museum is open again after renovation. They’ve fixed it up and are starting with a new exhibition entitled “Avant-Garde and Liberation. Contemporary Art and Decolonial Modernism.” It presents works by artists from different parts of the world expressing their ideas about freedom and making changes.

In particular it is a thought-provoking exhibition which showcases how contemporary artists draw inspiration from the liberation-oriented avant-gardes of India, Africa, and the “Black Atlantic.” It reflects on the motivations behind today’s artists revisiting these powerful movements and reinterpreting their messages of emancipation to address the current socio-political landscape. It asks why artists find inspiration in old concepts of fighting for freedom and how they use that in their art now.

This special exhibition is on display from June 7 to September 22, 2024.

Video by @annatilniak

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