Open Studio Days 2022

Christa Joo Hyun D'Angelo is an American artist based in Berlin. Her work has addressed themes such as racism in Germany, HIV for Women of Color, transracial adoption, racial fetishization and recently intimate partner violence in interracial relationships - interrogating racialized violence and patriarchal desire. Through video, neon, sculpture and installation her work reflects on how marginalization and economic precarity affect the desire to belong. By posing critical questions on how racial and gendered hierarchies sustain discrimination and thus social segregation, her work seeks to dismantle social polarization by challenging structural oppression upheld by Eurocentric ideologies.

In cooperation with the Artist in Residence Programme of the hotel Superbude Prater, we are happy to offer the artist Christa Joo Hyun D'Angelo a stay in Vienna during the Vienna Art Week. The largest suite in the entire Superbude, with a direct view of the Prater, is reserved as a studio and living space for artists - and can be visited for the first time as part of our Open Studio Days!

Nives Widauer, born 1965 in Basel, Switzerland, lives in Vienna. Over the last twenty-five years Nives Widauer’s Cosmos grew in somehow concentric circles up to her resent work, where she plays with the interface between analogue and digital. In the last couple of years Widauer expanded her medias to painting and sculpture. Her works have recently been shown amongst other places at Kunsthaus Zurich, Museum Belvedere Vienna, Kunsthistorisches Museum Vienna, Austrian Cultural Forum New York, Kunstmuseum Basel.

I live in different brain chambers and move freely in them. I invent orders and systems to then question them again and bypass and dissolve them. Whenever an order freezes, the idea flashes around the corner. Openness and osmotic work are the basis of my work.

I am Peruvian Artist based in Vienna, born and raised in Lima. I belong to a Peruvian artisan silversmith family. I have been interested in closing a gap and in reconnecting with indigenous, Andean and Amazonian cosmovisions and thoughts that have partly been suppressed and discriminated. At the core of my performative practice lies a critique of the human-centered modes of relating to Nature. My Artwork aims at offering other ways to think and feel with Nature, intending to offer a vision of different worldviews. This way, my artwork approaches understandings of different communities as well as to open up the idea of a pluriverse.

Since October 2002, international artists who do not normally reside in Austria have the opportunity to live and work at Q21 as Artists-in-Residence. By now, nine live/work studios are available in the MQ complex, which will be open to the public in a guided tour during the Open Studio Days on Saturday, 19th November 2022. Registration required, please find details in our programme!

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*1978, freelance artist in Vienna, studied photography I refer to the female body, its surrounding and the materiality of the image carrier. Selected architectures are starting points from which, following a staging, a narrative of familiarity and uncanniness develops, which is about the representation of injury, dissolution, ephemerality and loneliness. Photographs are exposed analogically on surfaces that are related to what is depicted, such as concrete, sandpaper, cardboard and the wall: a photo is exposed directly onto it, the space is the image carrier. Unevenness in the wall or bubbles in the concrete contribute to the character of the picture.

The investigation of female manifestations, the representation of fragility and the disappearance vs. presence and surface as well as their fragmentation and multi-layeredness have to do with this year's motto. I perforate, cut, pour; the rough, raw materials and approaches that are used add to the totality of fragile beings whose appearance is fleeting and ephemeral, the presence manifest through these perforations, stripes and concrete surfaces. The works elude the gaze, depending on the angle and lighting conditions. It requires interaction to become visible, which can be read as a refusal and questioning of existing orders.

With my artistic work I want to give an expression of my understanding of the world that surrounds me. The work of art is more complex than mundane communication media. I am using painting, drawing, photography, text, sculpture, found objects, everything can be used, on its own or in connection with each other. Mostly some certain uneasiness with circumstances around me motivates me to work on a specific theme.

The events that change our history usually seem to happen all of a sudden, no opinion research, no poll, has announced them. In 2020 a new virus surprised us and in 2022 a war in Europe. Unpleasant events show us that we never perceive everything, often think a wrong path is right, or at least viable, and want to carry on as usual. The diffuse unease that moves me to devote myself to a cause comes from my social entanglement in the real world. And that is why art, if it is fed by an awake sensibility for our living together, can perhaps contribute to changing paradigms.

When a sociology of the body encounters spaces, locations and borders, in Lukasser's work a network of technomorphic approaches is involved. The laws of cool (A. Liu) within media reality emerge in their bodily forms. White icons of a man- machine-adaptation show warps that collapse into pixels of deep surfaces (M. Faßler). The materiality of their bodies allows the influence of digitally networked tele presences to be read via interfaces to the individuals’ postures associated with it. Work is carried out on a sculptural ‘anthropology of the medial’ _2010 degree_Akademie der bildenden Künste Wien, since then working with Galerie Krinzinger

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Studied at Slade School of Fine Art London as well as at the Academy of Fine Arts Vienna. 2022: awarded with state grand for fine art. My artistic practice centres around drawing, more precisely, 3B pencil on paper. The simplicity of the means is what I am interested in, being the most direct and immediate way of giving shape to thoughts, and, at the same time, allowing me to create and construct complex gestures with it. In small and large-scale formats as well as installations, I pursue a drawing’s ability to slip into different roles, all being unfamiliar to the technique. I am interested in the ambiguity of shapes and their respective overlappings and boundaries.

My most recent works are meant to fill the middle part of the staircase from top to bottom in my studio building. Rather than extending in a horizontal space – as we expect exhibitions to do, an extra long drawing/an assembly of various paper webs (attached to each other) cover the space and invite visitors to look at an artwork while moving vertically in space, i.e. going up and down the stairs and thus circling around the work, which has no front or back. This new perspective is a door to a new way of looking at my work. Similar to a portal to somewhere new.

Born in.1982 in Aichi, Japan and lives and works in Vienna. He was selected for “Future Greats 2014” by ArtReview , and nominated for “Follow Fluxus – After Fluxus” in 2014/2016. His practice takes the form of social interventions realised through performances that deal with historical issues or economic systems. His works all bear self-explanatory, absurd actions under slogan-like titles, and are executed primarily on the street and in public spaces, documented by video. His works are included in international collections such as the KADIST Foundation, Otazu Foundation, Wroclaw Contemporary Museum, Mori Art Museum and others.

In this Open Studio, I will be showing work based on my consistent research on capitalist society. In addition to the Open Studio, the exhibition programme at das weisse haus will include 'Organising a Demonstration to Read Out in the Streets(working title)', a demonstration sound-performance using texts from various commercial advertisements on the street and written on passers-by's T-shirts.

Born 1966 in Klagenfurt, studied Architecture at the Technical University Vienna as well as Painting at the Academy of Fine Arts Vienna and The Cooper Union School of Art, New York. The work is characterized by broad heterogeneity, constant experimentation and exploration of the world around us. A recurring theme is chaos and order and the search for their underlying principles. Formally the most characteristic feature may be elements systematically repeated in series. The spectrum ranges from painting or video to small-scale kinetic objects as well as large-scale architecturally associated interventions and sculptural projects in public space.

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The visual artist and political activist concentrates on the individual in his socio-political and artistic examination. His realistic oil paintings focus on portraits of the people who surround and influence the artist in his everyday life. The motifs reveal clear references to historical works of art. At the same time, the choice of the people depicted and their surroundings bring the European portrait tradition into the present. He studied painting at the University of Applied Arts in Vienna and received the honorary award of the Federal Ministry of Science and Research in 2014 for his diploma thesis.

The socio-critical moment of art production goes beyond the production of a work of art. It is the task of artists to think about the context in which art is presented and its content is communicated. For the challenging process of emancipating art from market interests, networking and organising in collectives of artists is an inevitable necessity. What do such cooperations look like and in which areas do they operate? What is the socio-political task of artists and what are the conditions for fulfilling it?

Anna Lerchbaumer is a sound and video artist who explores the relationship between humans, nature and technology. The sculptural aspect plays an important role in her work. She works with found objects and discarded technologies that are brought to life in the process of making them. She combines obsolescence, raw materials and things spatially and acoustically to create humorous and critical connections. She moves in the field of tension between fine art, research and sound art. A book on the Toxic Temple project (together with Kilian Jörg) has just been published.

Can our time of disasters be re-examined through a cult of pollution? Rubbish dumps are the new temples. In my work things that some call waste, rubbish or litter, crap, debris or discards gain new life in colorful assemblages. In my studio together with Anja Nowak I still try to find order in the chaos, that’s a real challenge. As a mother of two sons, I try to find a balance between my work as an artist and childcare.

My work explores geopolitical and cultural frictions, clashes, ruins, monuments and symbols of power that have a precise relationship with the present and collective memory. Each of my projects aims to trigger a dialogue or reflection between myself, and the viewer, and the world around us. I am interested in contemporary and late 20th century history, particularly in themes that deal with the expansion and decadence of Western culture in the world. For about 10 years I have been conducting research on collective identity symbols with direct references to public monuments but also elements of everyday use such as banknotes, stamps, etc...

During the open studio I would like to present a series of works developed in Cuba during a month-long trip in February 2022. The main work titled "Buscando el Comandante" consists in an action performed in Havana and documented through video and accompanied by a reworking of objects. In the action performed, I reversed the status of tourists and cubans, specifically by exchanging money on the black market and therefore symbolically recount the exceptional economic crisis currently underway in Cuba (caused by the Covid-19 pandemic), the monetary inflation and the deterioration of the cuban identity in the capital.

Lena Rosa Händle was born in Berlin (1978), since 2018, she has been studio artist at studio das weisse haus in Vienna. Ranging across photography, installations, collages and sculptures, her practice negotiates a vast openness in conjunction with an intense focus on people and their social realities, their visibilities and cultural codes. Lena Rosa Händle’s works critically reflect on ecological, political and historical issues and foreground, utopian potentials for more livable futures. She is distinguished with several residencies, scholarships, fundings and purchases and her work was shown in Berlin, Leipzig, Dresden, Barcelona, Wien, Salzburg, Graz and Istanbul.

In the current time of ecological crisis, pandemic and destruction, the starting point of my new work is the idea of a radical rethinking. Robin Wall Kimmerer writes in her book "Braided Sweetgrass" about respect, exchange and positive reciprocity in individual relationships between human and non-human actors and between plants. She shows that nature is wise and that we can enter into a positive feedback relationship with the environment. Based on these thoughts, I exaggerate, amplify and change real existing organic forms and develop images and sculptures of reciprocity, exchange and interconnectedness.

Arnold Reinthaler, *1971, Austria, studied sculpture (with Bruno Gironcoli) at the Academy of Fine Arts Vienna and wrote his PhD in cultural theory with Thomas Macho (on the circulation of ›nomadic‹ as a notion in the art context). Reinthaler’s work addresses systems for measuring time while focusing on the subjective activities of long-lasting work processes that he translates primarily into stone, paper and the media of light. He models the notion of 'temporality' by engraving fleeting letters onto an almost anachronistic medium like granite, or by continually testing models of 'timing' with techniques of self-recapitulation. Arnold Reinthaler lives and works in Vienna.

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Hana Usui (*1974, Tokyo) studied art history at Waseda University and calligraphy in Tokyo. Since 2014 she has been using her artistic vocabulary mainly to address injustices in the environmental, political and social fields. Exhibitions (selected): Fukushima - 10 Years later, Berlin Art Week & Vienna Art Week (2021), Japan Unlimited, frei_raum Q21 / MuseumsQuartier Vienna (2019), Show Me Your Wound, Dom Museum Wien (2018–19); The Esprit of Gestures, The National Museum in Berlin (2010); Japanese Contemporary Art on Paper, Kupferstich-Kabinett, Dresden State Art Collections (2009), Works on Paper, Manggha Museum of Japanese Art and Technology, Cracow (solo, 2009).

To break rules, you have to know them well. So I studied Japanese calligraphy intensively in my youth, only to rebel against the strict hierarchical and patriarchal calligraphy world and completely break away from lettering! That was a process that was as exciting as it was painful. But the themes from Japan that I have been dealing with for years, such as the atomic bombing, the death penalty, the nuclear disaster in Fukushima and various forms of discrimination, also have something to do with this year's motto of the Vienna Art Week. A fight on an intellectual and artistic level against the distortion or the covering of facts and repression is more relevant than ever before!

Monica C. LoCascio’s work arrives as artifacts of her material and theoretical research with a focus on heritage craft practices, epigenetics, fermentation, and hierarchies of knowledge and power. She is interested in how phenomena can be extrapolated geometrically, and in how somatic practice can facilitate personal and collective transformation. She received her BA with honors in New Media & Visual Arts from Emerson (Boston, 2006), and her MA with honors in Art & Science from Universität für Angewandte Kunst Wien (2021). Her work has been shown and published internationally and she serves on the inaugural board of the Medicine & Media Arts Initiative at UCLA.

With craft (see its definitions/epistemology) techniques inherited from maternal ancestors, I celebrate matriarchal practices. With microbes, I mother messy smelly materials. With sensitivity, I rescue fiber from dead crafters and industrial materials from decrepit structures. With research, I examine inherited/ance systems and barriers to embodied knowledge excluded from institutional discourse. With autotheoretical practice, I challenge the hierarchy of knowledge systems.

Xenia Lesniewski (*1985) is an ultra-contemporary, multidisciplinary artist. She has studied painting and experimental Animation with Judith Eisler at the University of applied Arts Vienna and Visual Communication at Hessen State University of Art and Design Offenbach. Her work includes videos, paintings, installations, collaborative projects, performative situations and curatorial practice. Her oeuvre moves at the interface of art and life as well as within the examination of current social developments and public space. A process-oriented, interdisciplinary approach as well as contemporary discourse are of Lesniewski’s main interest.

For me, this year's motto is very closely connected with my approach and implemented projects. The expanded concept of art, the blurring of genres and the attempt to be politically, socially and artistically active play a significant role in my artistic practice. The interface between art and life aka. utopia and everyday life as well as the idea of art as a potentially progressive force with real reciprocities on society shape my work. I am interested in the interconnectedness of economy, power and democracy under neoliberal auspices as well as the art world and cross-societal dialogue.

My name is Marlene Leonie Posch, student at the University of Applied Arts in the Transmedial Art class and about to graduate. Since 2021 I have been working in the studio in Millergasse together with Felix Dennhardt, Lukas Gschwandtner, Raphael Haider, Sebastian Köck, David Meran, Luka Jana Berchtold, Sarah Steiner and Clemens Tschurtschenthaler. I work mainly in the field of sculpture and installation. In my sculptures I am in search of physical moments and memories and am interested in the real and the hypothetical as well as in the language of objects and the interweaving of different materials.

David Meran studied at the University of Applied Arts and at Geidai - Tokyo University of the Arts and graduated in 2019. Since March 2022 he has his studio at “Millergasse“, which he shares with Luka Jana Berchtold, Felix Dennhardt, Lukas Gschwandtner, Raphael Haider, Sebastian Köck, Marlene Posch, Sarah Steiner and Clemens Tschurtschenthaler. His multidisciplinary practice, encompassing diverse artistic media such as sculpture, video, photography and installation, reflects the neoliberal, capitalist optimisation pressure of the last decades. The works are understood as a scenario of digitality, consumption, self-optimisation and nature.

For me, "Challenging Orders" focuses on the question of principles of order and power. We are currently seeing global processes of upheaval. Politically, economically, ecologically and socially. As a counterpart to a solidary, rational collectivism, egocentric ways of seeing and acting are developing, which revolve around the concepts of "mindfulness" and "wholeness". Nevertheless, the human being lives in the social network as a subject that is subordinated to the dispositive (organizing principle of a society). My artistic work explores the fragility, the tautness, the balance or even the dissonance, the contradiction of these networks of states.

honey & bunny (Sonja Stummerer and Martin Hablesreiter) is an inter- and transdisciplinary atelier in Vienna. It focuses on the very banal and daily stuff. The two EXarchitects do research and writing, they exhibit and perform. They deal with objects and actions like food, eating and cleaning.

Gleaming discs, light reflections and pulsating circles in endless color variations. Robert Schaberl's concentric abstractions, which he executes in different color gradations between matt and glossy, are created by superimposing up to 70 layers of paint on a horizontally rotating image carrier. His rarely completely monochrome central forms, which consist of paintings, photographs and works on paper, expand the spectrum of an art of perception, which also unfolds its magic when deviating from a focal point: the colour-changing images change their appearance depending on the perspective.

Graduate of the Max Reinhardt Seminar, I have been working for 3 years on the border between film/performance/installation/radio play. Theatrically/documentarily working through socially relevant issues is at the center of my artistic work. I work closely with archival material as well as with authors and institutions such as Amnesty International or the Documentation Center of Austrian Resistance. My last performance dealt with the thought and organizational structures of the internationally networked right-wing scene and its key work, the Turner Diaries. My next project deals with the Austrian arms industry, especially the company Glock.

Let's challenge the existing borders to talk about topics that are not allowed to be talked about in our society. Let's question social narratives and let us name what nobody wants to see or name. Let's look below the surface into the abyss that is opening up more and more due to the ever more frequent giants. Let us challenge the common order to really see what is happening around us.

Felix Dennhardt (*1995) studied digital art at the University of Applied Arts Vienna and Fine Arts at Chelsea College of Arts, London. His works can be seen in exhibitions and theater. In his site-specific installations, he works with different mediums trying to evoke a sensitivity for sound and space. In 2019 he was an artist in residence for Robert Wilsons Byrd Hoffmann Foundation at Watermill Center, NY. In 2021 he founded the artist in residence program auf! auf! residency at the Lehártheater Bad Ischl. Since April 2021 he works in the studio together with Luka Berchtold, Lukas Gschwandtner, Raphael Haider, Sebastian Koeck, David Meran, Marlene Posch and Clemens Tschurtschenthaler.

„Käthe Schönle offers simultaneous spaces of perception. The body is omnipresent in her work, not only as a form, but also as a concept, pacing the boundaries, inside and out.“ (Paula Watzl) In painting and drawing Käthe Schönle deals with the tension and ambivalence of human interaction. She questions individual and societal structures, action systems and orders with a feminist focus. Schönle studied Fine Arts and Visual Communication, Kunsthochschule Kassel / individual and group exhibitions nationally and internationally, grants and scholarships, including the Art Prize of the City of Kassel / lives and works in Vienna

By inventing the term „body politics“, the feminist movement from the 1970s on aimed at transforming the understanding of the political by calling the attention to the bodily aspects of power and politics. Roberta Sassatellis definition of the term "covers the two sides of power-body relations: the power to control bodies, on the one hand, and resistance and protest against such power, on the other.“ 1 Recent news show again that the female* „body is a battleground“ (to quote Barbara Kruger) and we are in a situation where we have to forcefully question orders and structures again and further on for all women today and tomorrow. (1 . Imke Schmincke, Body Politics 7 (2019), 11, P. 15–40)

As a queer artist to an immigrant family, Kinga Jakabffy deals with questions of sexual ownership and identity empowerment in general. She often portrays caring interpersonal relationships and a sense of loving collectiveness - which is one of the most important support systems in the LGBTQ+ community - may it be through dance, hugs or kisses. The subjects find a moment of warmth and freedom to be their true selves in the midst of inequality, abuse, harassment and even murder due to gender and sexual orientation.

With "Challenging Orders" the VIENNA ART WEEK focuses on a highly relevant topic that has repeatedly caused upheavals and furor in art. A focus that Kinga Jakabffy shares when she refers to gender relations, questions of sexuality and identity formation in our patriarchal society. Unfortunately, even in 2022, it is still characterized by imbalances, gender biases and restrictions on personal freedom and authenticity. Facing these challenges, making people feel positive, but on closer inspection also making them aware of the downsides, is evident in Jakabffy's work.

My works encompass diverse media, including site-specific installations and ephemeral interventions in public space as well as performances, photography, video, artist books, and posters. The miscellaneous works are related by the recurrent intermingling of truth and fiction, which is an invitation to a critical examination of granted constructions of reality. Examining social patterns of perception, I challenge hegemonic values of everyday objects, images, norms, and ideologies.

In the performance lecture "ohne Rückgabe und ohne Garantie" (without return and without guarantee) Lisa Großkopf reads out various private sales offers of artworks, all of which depict Burgenland locations. By juxtaposing the clichéd depictions of Austria's youngest province with the utilitarian classified ad text, she transfers the romantic motifs into the concrete economies of the market. The advertisements open up a parallel world to the usual academically confirmed art theories and art business discourses and thus comment ironically on the search for a generally comprehensible concept of art.

As a research artist, my work includes spatial/video/object installations, text/ sound works, art in public space and since 2001 experimental performance projects, in which the aim is to visualize the aesthetic potential of body dynamics. Many of my performances and projects are based on an elaborate concept including comprehensive research and preparatory work.

Salzburg: GRAU-GRÜN! - on the subject of dress codes in Salzburg in the 1930s and the refusal by women to comply with the law. Documentary video of a performance, dress objects. Based on research on the law for a Salzburg Landesanzug in 1935, the project traces a transformation process from historical forms of traditional dress in Salzburg to the "Trachtenerneuerung" of the modern and urban embodied identity politics of the 1930s. The Landesanzug for men was required by law for state officials until 1975. The Landesanzug for women was never formally established.

Jelena Micić (*1986, Knjaževac) graduated from the Academy of Fine Arts Vienna (2020) at the Textual sculpture class (Heimo Zobernig). MA in Philosophy (2012) and Graduated philologist of Scandinavian languages (2010) University of Belgrade. Awarded Dimitrije Bašičević Mangelos Award/YVAA NY (2021), Würdigungspreis der Akademie der bildenden Künste Wien for Excellent Artistic Theses (2020), Ö1 Talentestipendium Bildende Kunst (2018) and kültür gemma! Fellowship (2018). Micić is interested in socio-political aspects of color (systems). Founder of the informal group UMETNIK*. Lives and works in Vienna as a freelance artist and artistic director of the WIENWOCHE festival for art and activism.

Christiane Peschek's works live between emotional alienation, self-sacralization and fluid identity research in an expanded virtual space. In images and multisensory installations, she creates dialogues marked by virtual exhaustion, intimacy and self-idealization. Observations of the physical body between on- and offline identities are a consistent theme in her projects in a post-internet reality at the intersection of technology and cosmology. Her work can be found in numerous collections and is continuously exhibited internationally such as most recently at Museum Marta Herford and NRW Forum Düsseldorf.

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Hyeji Nam (1993, Seoul, lives and works in Vienna) is an interdisciplinary artist working with the themes of literature, sexuality, social taboos, and cultural politics. Her works focus on female masculinity and how our body is involved in a political field. Working as a painter, sound composer, and performer, her recent projects are focused on inventing new presentation contexts and movement languages by combining digital media and real flesh, questioning the relationship between our mind and digitalized bodies.

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I have been working as a freelance artist in Vienna for many years. My painting is based on a superimposed layering of images and its subsequent processing, this working technique I have developed and expanded over many years. In my work, I deal specifically with the subject of painting and its possibilities of further development within this topic. In which I partly quote the history of modernity in my work, disillusioning its illusionism and playfully breaking with its tradition by referring to the history of conceptual and neo-avant-garde paradigms.

Born in Zofingen/CH. Lives and works in Vienna, graduated from Angewandte, ibid. Intervention, object, video & photography. Rafael´s work originates in the constellation of the everyday. Instable and transitory situations highlight the potential of failing, a certain uncertainty that is tied to our perception as well as our moral concepts. Through the process of modification, disguise and assimilation, his artistic investigation follows the relations between the people and their worlds, our surrounding structures. Specifically, how objectives are repeated and turn into routine, routines which are eventually facilitated by the use of objects and those objects become extensions of the body.

To challenge orders, we need to understand what orders are, where they come from and where to find them. There are visible and generally more direct orders, as well as hidden, unwritten ones. I am specifically interested in those orders we follow or obey internally. Are we born into such orders, by means of culture? Are we taught this way, or do we follow them to blend in, to survive?

Bernhard Frue's works are often based on biographical moments and everyday observations, which he translates into model-like situations with the help of various transformation processes. This process of transfer fragments the original references to the source material in such a way that they are no longer present as a superstructure, but create a relationship of tension between idea and image, between index and symbol. The aspect of the graphic repeatedly plays a central role in Bernhard Frue's artistic practice as a starting point and system of reference.

*1972 in Lübeck, D Graphic design degree University of Applied Sciences and Arts, Hildesheim, D Dun Laoghaire College of Art and Design, Dublin, IRL since 1997 studio and center of life in Vienna, A Using drawing as a formal basis, Olaf Osten prefers to rework man-made information systems and structures, asking how autonomous or free we can actually be. His works are owned, among others, by the International Peace Institute, the Wien Museum, the Complexity Science Hub Vienna and the Vienna Chamber of Labour, among others. He is regularly active on an interdisciplinary level - project partners include, for example, the Impulstanz Festival, the Wiener Festwochen or the mumok.

An order is constructive if it is collectively reflected and constantly updated. If this is not the case from my point of view, I feel obliged to help create this state through my contribution.

Michael Strasser (*1977 in Innsbruck) attended the School of Artistic Photography Vienna and studied at the University of Applied Arts Vienna. Places and their history are often the starting point for his research-based works, which find their implementation in a variety of media and oscillate between photography, video, installation, sculpture and performance. Solo exhibitions include "One Universe" at the Biennale Innsbruck International in 2022, "You can have it" at Kunsthalle Exnergasse in 2019 and "Freedom" at the Tiroler Landesmuseum Ferdinandeum in 2015. Numerous grants and awards, including Bundesateliers Westbahnstraße 2021-2028 and the Special Recognition Award 2022.

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Julia Haugeneder (*1987 in Vienna) studied at the Academy of Fine Arts in Vienna and in London at Central Saint Martins, UAL graphics and printmaking techniques. Besides that, she has a degree in art history as well as philosophy, theatre, film and media studies, that she received at the University of Vienna and the Erasmus University Rotterdam. Her works have most recently been shown at Museum Liaunig (2022), Landesgalerie Krems (2022), Museum der Moderne Salzburg (2022), Post Headquarter Vienna (2021), new now art space Frankfurt (2021), 5020 Salzburg (2021), Kunstverein Baden (duo, 2021), Galerie Elisabeth & Klaus Thoman Innsbruck (solo, 2021), Galerie Sophia (solo, 2020).

The focus of my artistic work lies in the examination of the themes of identity, migration, memory culture and nation-building. Often my works are linked to socio-political issues. My main forms of expression in recent years include photography, sculpture, performance and video. Research is used as the basis for my artistic activities. Through background information, personal contact and / or archive material result in links that enter into my work. Saturday, 19th November 2022, 4 p.m., Talk & Book Presentation Georgia Holz in conversation with Christina Werner about her new artist book "Thank you. I prefer Lions" Location: Studio Christina Werner

The Street. Where the world is made.* In my last works I have dealt with body presence in public space and identity politics. To symbols and signs of protest - gestures of the street, spread by photography and through media, I have dedicated two works, extracting them in different ways, re-enacting them, elaborating ambiguous gestures and creating new contexts. Video screening "The street in rhythm" (2021/2022) + installation "The street as a display (video, collage, photography and speech/text), ongoing. * the title of the Open Studio Day docks with the exhibition of the same name at MAXXI Rome 2019

Martina Menegon (IT, 1988) is an artist, curator and educator working predominantly with Interactive and Extended Reality Art. In her works, Martina creates intimate and complex assemblages of physical and virtual elements that explore the contemporary self and its phygital corporeality. She experiments with the uncanny and the grotesque, the self and the body and the dialogue between physical and virtual realities, to create disorienting experiences that become perceivable despite their virtual nature. Martina’s work has been exhibited internationally online and offline and some of her works are permanently collected and exhibited.

Nadine Lemke studied fine arts at the Academy of Fine Arts Vienna. In her works, textile fragments become architectural extensions and partial breakthroughs. In this way, orders of space are dissolved and viewpoints are set in motion.

Like strange signs, objects stretch across the walls. Something that is in progress and could continue to expand in its communication with the space. Independent small bodies begin to dissolve what is inscribed in the space.

My work addresses the female body (singing or protesting at its best) as an orgigin of plasticity, I focus on the agencement of this body within hyperobjective frames, which touches upon the symbolic order as well as upon the real of this body. I engage in this concern sculpture, painting, video and performance.

The order that exists does not cease to be wrong, so a new one is needed. Why is the old one so resistant to all attempts to overthrow or improve it? If art remembers its function of sketching, and at the same time acting as a preparation for, reality, which indeed has always had a very strong effect on the conditions, we can get started right away. There is another way. Long live the Pipilotta-State.

Michèle Pagel studied at the Academy of Fine Arts in the specialist class for object sculpture and graduated in 2012 with Prof. Julian Göthe. Together with Leon Höllhumer she works in the green, secluded studio in the Simmeringer Haide. The intersection of the two artists lies in the ceramic material, which they explore and use in a variety of ways.

Ting-Jung Chen (*Taiwan) uses sound installations, sculptures, and interventions as language. Her art praxis which relates to historiography and cultural and political semiotics, focuses on collective memories, appropriation, and processes of empowerment. By reproducing artifacts of the culture industry, representation of ideology, and their relationship to human beings, the artist explores transformations of identity and draws the overlapping culture mingling into a spatial atlas. In 2022 Chen presents her solo show in Taipei Fine Arts Museum. She is the recipient of the MAK-Schindlers-Scholarship 2019, and the Kunsthalle Wien Prize 2018.

"Orders" probably create a state of harmony - at least under an absolute power. My works discuss the tension of the complex counter-positions of a structure in the system of power. With my art practice I want to deconstruct the biased interpretations, appropriations and the representations of an identity solidified by the counter-positions. I transmit a noise, a sound that does not fit homophony, that can connect many different soundscapes and tell alternative narratives- challenging harmony, challenging orders.

UPDATE 19.11.: unfortunately the studio remains closed due to illness Since the beginning of his career in Belgrade, Dejan Kaludjerović has been exploring the link between consumerism and childhood, analysing identity formation and the stability of forms of representation. Most of his paintings, drawings, objects, videos and installations involve recycling, copying and repetition. All this with the aim of creating patterns that simulate mechanical reproduction as well as criticising the homogeneity embedded in popular culture.

Ich finde Regeln to... toll... Weil... weil Regeln... einen Wilden davon abhalten, entweder bei Rot zu gehen, oder... oder bei Grün nicht zu gehen... und, und das war’s. Es ist nicht erlaubt, bei Rot zu gehen, es ist erlaubt, bei Grün zu gehen, und es ist nicht erlaubt, zum Beispiel in manchen Ländern, zu schnell zu fahren mit dem Auto *excerpt from the libretto of the opera performance "Conversations: I don't know that word... yet" by Dejan Kaludjerovic