18.-24. November 2013



Review: The festival celebrating Vienna’s vibrant Art Scene boasted a high standard, broad artistic spectrum, and a great rush of visitors

For the period of a week, this year’s VIENNA ART WEEK titled “Projecting Worlds” attracted local and international art lovers alike: it was organized by the 28 member institutions of Art Cluster Vienna in collaboration with the city’s leading galleries, as well as private and public art initiatives, including the programs of 25 Special Projects and 19 artist-run spaces.

From 18 to 24 November 2013, as many as 35,000 enthusiasts visited a total of 179 individual events. On Saturday, the second Open Studio Day proved a real crowd-puller, with 84 artists opening their studios to the public and giving visitors an insight into their work.


Under the motto “Curators’ Picks”, this year’s VIENNA ART WEEK has for the first time invited international curators to participate in guided tours of selected galleries, artist-run spaces and studios, to get acquainted with Vienna’s varied art scene, and become ambassadors of its art trends.

Once again, the VIENNA ART WEEK’s special guided tours with artists, museum directors and curators proved extremely popular with the visitors, as did the festival’s wide range of performances. The expert audience took particular interest in a great number of panel discussions. Another crowd-puller was Saturday’s Open Studio Day, now in its second year of existence, with around 100 artists opening their studios to VIENNA ART WEEK’s visitors.
Pics of VIENNA ART WEEK 2013!


“Vienna has yet again demonstrated its great appeal as a dynamic art city with a vibrant art scene,” says Martin Böhm, President of Art Cluster Vienna, giving a positive summary of this year’s festival.

Robert Punkenhofer, Artistic Director of VIENNA ART WEEK, is equally satisfied with the art festival’s ninth edition: “I’m really glad we managed to get Vienna’s entire art scene on board. Thanks to our program partners’ commitment and good spirit, we have created an art festival whose diversity is absolutely unique, even by the standards of major international events. As for the Open Studio Day, it has become a fixed item in our program that satisfies the people’s desire to have their finger on the pulse of contemporary art. I’m dying to present the tenth festival’s program!”

The date of VIENNA ART WEEK’s tenth edition in 2014 will be announced in spring on our website and on Facebook.
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Image: Open Studio Day
SAT, November 23rd 2013
Photo: VIENNA ART WEEK | Florian Rainer

Foto: VIENNA ART WEEK | Florian Rainer  - http://www.viennaartweek.at


Open Studio Day (23.11.2013)

Open Studio Day quartier21/Musuemsquartier Wien feat. Dutch Artists and Zachari Logan (23.11.2013)

Secession Opening: Sarah Lucas + Gelatin / Tobias Pils / Guido van der Werve (22.11.2013)

TBA21: opening »Amar Kanwar: The Sovereign Forest« (22.11.2013)

Panel Discussions Dorotheum (Friday, 22.11.2013)

Panel Discussions Dorotheum (Thursday, 21.11.2013)

Panel “Curator´s Vision” & Opening “Ich bin eine andere Welt” (University of Fine Arts)

Opening Wolfgang Lehrner “VIE CEE” (BAWAG PSK Contemporary)

Opening “The Collection #4” and “21er Raum: Vittorio Brodmann” (21er Haus / Belvedere)

Guided Tour Kunstkammer (Kunsthistorisches Museum)

Press conference (Dorotheum)

University of Applied Arts: opening “Art & Science – Crucial Experiments” (Museumsquartier)

Opening reception VIENNA ART WEEK 2013 (Dorotheum)

Opening Party (Dorotheum)


Curators’ Picks

In its ninth year of existence, VIENNA ART WEEK lays its focus on the new program “Curators’ Picks”, whereby curators of international renown to come to Vienna to exchange views with artists and the art-loving public. Join in and have a say!

Seize the opportunity to meet curators of international renown and join the “Curators’ Visions” panel discussion at the Academy of Fine Arts Vienna on Thursday, 21 November.
On Saturday, 23 November, you’re more than welcome to join the Vienna Art Week’s artistic director Robert Punkenhofer at the Bundesateliers Wattgasse for a discussion titled “Projecting Worlds – Artists and Curators Connected” on strategies of improving the international network and current role models of artists and curators.

“Curators’ Visions” panel discussion
“Projecting Worlds – Artists and Curators Connected”


Open Studio Day

On the SECOND OPEN STUDIO DAY on Saturday, 23 November, more than 80 artists will open their studios to the public. Experience art as it evolves. Experience the exceptional atmosphere in the artist’s studio, home to a world of creative processes. Open Studio Day is a great opportunity to join curators on a Guided Tour of selected studios and get a close glimpse of the artists’ cosmos as they engage in a conversation with the curators of this year’s Open Studio Day, Severin Dünser, Janina Falkner, Alexandra Grausam and Bettina Spörr.

Artists and curators in conversation
from 1:00 p.m.
Open talk with curator Severin Dünser
Open talk with curator Janina Falkner
Open talk with curator Alexandra Grausam
Open talk with curator Bettina Spörr

Selected studio visits with Gerald Straub, applied cultural theorist, artist and curator
1:00 p.m., Studio Nina Höchtl, Maysedergasse 2/4, 1010 Vienna

“Projecting Worlds – Artists and Curators Connected. A Call for International Structures for the Art Scene”
5:00 p.m.–6:30 p.m., BMUKK-Ateliers, Wattgasse 56–60, 1160 Vienna
In English

Please click here for more information about OPEN STUDIO DAY: participating studios and artists´ statements


Guided Tours


Join curators of international renown on their tour of Vienna’s galleries; discover art projects in the city’s public space; visit artist studios to find out more about new art spaces. Let the VIENNA ART WEEK’s many Guided Tours take you directly to the city’s vibrant gallery clusters and emerging art quarters off the beaten track, such as the former Ankerbrot bread factory or the BMUKK Prater Studios.

  • Guided tours on OPEN STUDIO DAY
  • Guided tours on MEET ART DAY at the Brotfabrik
  • Studio visits to Artist-in-residence programs in Vienna
  • Selected studio visits with Gerald Straub
  • Studio Visits to selected architecture studios
  • Guided Gallery Tour: Ursula Maria Probst
  • Guided Gallery Tour: Margarethe Makovec and Eva Meran
  • Guided Gallery Tour: Elga Reiter-Trojan
  • Guided Gallery Tour: Elsy Lahner
  • Guided Gallery Tour: Dirck Möllmann
  • Guided Gallery Tour: Günther Oberhollenzer
  • Guided Gallery Tour: Elisabeth Priedl
  • Guided Gallery Tour: Maria Christine Holter
  • Guided Gallery Tour: Dr. Helmut Schützeneder
  • “Projecting Walls” – Guided tours of art in Vienna’s public space. Tour 1
  • “Projecting Walls” – Guided tours of art in Vienna’s public space. Tour 2
  • departure fashion tour
  • Dorotheum_cFlorianRainer

    Art in Dialogue


    VIENNA ART WEEK’s numerous sponsors give an insight into the interplay between art and other disciplines. Explore the affinity between art and science at the DOROTHEUM’s WWTF panel discussion; find out more about the Austrian Foreign Ministry’s international network and activities; and share your view of the importance of money at the Deloitte’s panel discussion on art collecting and patronage. You might also want to join the Zürcher Kantonalbank’s exhibition opening on Tuesday or “departure’s” Fashion Tour into the world of couture on Saturday.

    (c) Klaus Pichler

    The Studio as the Center of Artistic Life

    Die Förderateliers des Bundes und die BMUKK-Praterateliers

    Text by Ursula Maria Probst

    Artists working at the Förderateliers des Bundes and BMUKK Praterateliers put out the welcome mat for VIENNA ART WEEK’s Open Studio Day, offering a behind-the-scenes glimpse usually reserved for insiders.

    Even today, seemingly antiquated notions of space as an incubator for the imagination, creative haven, oasis, creative hotbed, cultic site, life-as-artwork, and genius’s playground are alive and well when the discussion turns to the artist’s studio. The studio is an inseparable reflection of the artist’s personality, inextricably tied to his or her life and work. It is the place where an artist’s attitude is made visible; where adjustments are made, productive formal and thought processes are brought in dialogue with conceptual methods, where art and knowledge find their spatial manifestation and where analysis, observation and discourse mesh and intertwine. An artist’s studio doubles as the site of production and presentation.
    (c) Klaus Pichler
    Access to a separate studio – the ability to store artworks there and leave work situations in mid-process – is what gives artists the time and space to build relationships between pieces and develop their effects. But studio rents continue to climb and affordable, temporary-use situations are often only a short-term solution. Limited financial resources frequently leave artists with little room for maneuver, and when living and working spaces overlap, as is often the case for many artists, the shortage of space influences the artist’s choice of methods and format. Under the circumstances, one can only imagine how fortunate the artists at the Förderateliers des Bundes on Westbahnstrasse and Wattgasse feel to have these rooms at their disposal, having successfully passed the submission and selection process in late 2012, early 2013. Like the BMUKK Praterateliers in Prater Park, the light-flooded spaces over the rooftops of Vienna offer the best conditions for artistic production.
    (c) Klaus Pichler
    Communication with artists in neighboring studios creates a social space and is a welcome relief from the myth – but also the reality – of solitary artistic existence. The Austrian government provides nine Förderateliers des Bundes (federally-funded studios for visual art and photography) on Westbahnstrasse, 1070 Vienna – each between 36 and 54 square meters in size – and eleven 44 to 65 square-meter studios on Wattgasse, 1170 Vienna, for artists to use free of charge for a period of six years; the artists pay only the cost of energy and electricity. Established Austrian artists have been working in Vienna’s 2nd-district Praterateliers for several decades now. After 2001, when these fell under the auspices of the Bundesimmobiliengesellschaft (BIG, Austrian Federal Property Association), the sixteen 45- to 435-square-meter-large Praterateliers were integrated back into the Federal Ministry for Education, Arts and Culture’s realm of responsibilities. They are under monument protection, located in the city’s two surviving (or reconstructed) pavilions from the 1873 Vienna World’s Fair, situated on a 25,000 square-meter field in the middle of Prater Park. The north pavilion was badly damaged in the Second World War and reconstructed to its present form after 1945, while the south pavilion remained largely intact as a three-wing, walk-in construction with high windows. In 2011, these recently-renovated empty or vacant studios were also awarded to another generation of artists for a period of seven years. Chosen artists, who work in a variety of media, were also selected through an open submission procedure, and though the Praterateliers are not free (unlike the federally-funded Förderateliers in Wattgasse and Westbahnstrasse) rents are affordably low.
    (c) Klaus Pichler
    Part of VIENNA ART WEEK 2013, Open Studio Day offers visitors a behind-the-scenes glimpse usually reserved for “insiders” such as other artists, gallerists, collectors or curators. For the artists, Open Studio Day is a welcome occasion to show their work on their own turf – without the stress that sometimes comes with shows in galleries or art institutions – and to use the studio situation as a platform. The definition of an artist’s studio as a place with (and through) which artistic work develops is more than a programmatic statement; it is reflected in research and experiments with aesthetic phenomena, and in investigations of sociopolitical structures and issues. The studio serves as a showroom in which an artwork develops its effect, but is also a chance to enhance the artist’s own professional profile – in recognizing the key components through which one’s own work becomes art. Open Studio Day sheds light on the origin and course of the artistic act, brings viewers closer to the creative process, reveals the concentration and introspection that permeate an artwork, and makes these palpable. As opposed to the attending phenomena of a product-oriented aesthetic, the way in which an artist presents his or her own studio also implies a staging of their own occupation and role. A studio presentation can, with its promise of authenticity, convey a directness less commonly found in other dealings with art.

    Studio visitors are given access to moments of sensory experience, can take part in situation-based exchanges with the artist, the work and the space, spontaneous snapshots or artist-led presentations tailored specifically to the studio visit. Featured work includes drawing, photography, painting, sculpture, installation or sound art. When representing artistic production to the outside, the studio becomes an image, showroom for models, or a platform for discussion.

    Studios are infused with a creative atmosphere that emerges from accumulated materials, but also the mutual impact of craft-based and discursive practices. This is particularly true of the Praterateliers, where we find both approaches at work and intermingling in today’s sculpture and other media, and can see how closely a direct perception of the object is related to the presentation of concepts and ideas. The studio presents itself to the public as a show- and exhibition space, but also permits a poignant analysis of contemporary production aesthetics.

    Artists at the Förderateliers des Bundes in Wattgasse: David Pinter, Florian Schmeiser, Moni K. Huber, Bernhard Hosa, Paul Wagner, Nick Oberthaler, Letizia Werth, Michael Kargl, Sabine Schwaighofer, Eva Würdinger, Barbara Sturm

    Artists at the Förderateliers des Bundes in Westbahnstrasse: Svenja Deininger, Lazar Lyutakov, Liddy Scheffknecht, Markus Krottendorfer, Roberta Lima, Anja Manfredi, Miriam Bajtala, Irena Eden/ Stijn Lernout, Eva Chytilek

    Artists at the BMUKK Praterateliers: Ulrike Truger, Joannis Avramidis, Roland Goeschl, Werner Würtinger, Walter Kölbl, Hans Kupelwieser, Oswald Oberhuber, Ingeborg G. Pluhar, Oswald Stimm, Hans Hollein, Ruth Schnell, Judith Fegerl, Christian Mayer, Hans Scheirl, Roland Kollnitz, Claudia Märzendorfer

    Ursula Maria Probst lives and works in Vienna as an art historian, university lector, art critic, curator and artist. She studied art history at the University of Vienna and did scholarly and artistic work on and with Louise Bourgeois in New York. She is co-initiator of the performance collective Female Obsession.

    Studio Visits
    Saturday, 23 November 2013

    Curator Elsy Lahner gives a tour of the Praterateliers
    11:00 a.m. / Meeting point: Meiereistrasse, vis-à-vis Ernst-Happel-Stadion, 1020 Vienna

    Curator Ursula Maria Probst gives a tour of the studios in Westbahnstrasse
    3:00 p.m. / Meeting point: Westbahnstrasse 27, 1070 Vienna

    Curator Ursula Maria Probst gives a tour of the studios in Wattgasse
    5:00 p.m. / Meeting point: Wattgasse 56–60, 1170 Vienna

    Open Studio Day final party
    Saturday, 23 November 2013
    7:00 p.m.
    Förderateliers des Bundes, Wattgasse 56–60, 1170 Vienna

    (c) Klaus Pichler

    The Tireless Pioneer

    A portrait of gallerist Ernst Hilger

    Text by Eva Komarek

    Stay true to the represented artists, but always keep it interesting, seek for constant self-renewal … In his 40 years as a gallerist, Ernst Hilger’s passion for art, unbelievable curiosity and irrepressible fighting spirit have proved the impossible possible. His success is a case in point.

    Vienna gallerist Ernst Hilger never planned on a career as an art dealer, despite his enthusiasm for art. But as a business student, when he and some friends started publishing affordable, studentmade graphic art, his success charted a course into the future. It was also through a friend that he had one of his first encounters with art, meeting for weekly card games at the Infeld family home. The stringed-instrument music producer was one of the biggest art collectors in Austria. “And there we would sit with artists like Walter Navratil, Franz Ringel, Edi Angeli and many others,” says Hilger, recalling his early days. Later, the group would go out afterwards: to the Atrium with the first “Nachtgalerie” (night gallery), to Jazzland, which had just opened, or to Café Dobner, where Joe Berger wrote his manic texts and the “King of Hungary” boozed with “Hauptplatz Kurti”.

    “Walter Navratil was also at the Dobner, explaining art to Heinzi Kammerer while standing on a barstool. Even back then, Arnulf Rainer had a kind of spreadsheet you could use to calculate the future value appreciation of his works,” Hilger says with a smile. In the early 1970s, he founded Galerie Spectrum, which emerged from the Studenten-Edition, showing artists from Otto Dix to Enrico Baj in a program unlike anything Vienna had seen before. “The attitude was one of pure lust for art and unbelievable curiosity,” says Hilger. He would later open two more galleries in Vienna and Salzburg, and in 1976 open the location in Dorotheergasse 2. Even early on, Hilger was represented at the most important art fairs in the world – he started at Art Basel in 1976, at FIAC Paris in 1980, at Art Cologne in 1977, along with many other, newer art fairs.

    A jaunt abroad
    In the boom years of the 1980s, Hilger expanded internationally. He was invited to Frankfurt on the initiative of art-loving Jesuit Father Mennekes, where he opened Hilger Frankfurt in a gallery building that also housed Sotheby’s and Neuendorf. He describes this time as being “very fruitful.” The branch was closed in 1992, when the recession hit.

    The late 1990s saw the enterprising gallerist going international again, this time in Paris. Around the same time, he opened the artLab for and with Siemens, was one of the pioneers of the Internet with his website and co-initiated an art site for the Austrian galleries, together with Werner Rodlauer. His clients included companies that he had consulted on various art projects, e.g. Mastercard, Bank Austria and Austrian Airlines.

    Though he has remained faithful to Vienna since then, Ernst Hilger has lost none of his pioneering spirit. In 2001, he expanded his gallery on Dorotheergasse 5 to include Galerie Hilger Contemporary, which was entirely dedicated to work by emerging artists. “I think it’s important we remain loyal to older artists the gallery represents, while constantly renewing ourselves at the same time. We have to stay interesting to the audience and ourselves,” says the gallerist.

    BROT (BREAD) for the art scene
    Besides showing promising young artists – he currently counts 13 that have gone as far as the Venice Biennale – Hilger is always looking for new places to show art. Such was the impulse that brought him to open up a new Kunsthalle in 2009, in the middle of the global financial crisis. He invested 600,000 euros into the loft-like exhibition spaces of the former Ankerbrot bread factory in Vienna’s Favoriten district, which he aptly dubbed the “BROTKunsthalle” (Brot being the German word for “bread”). Hilger is convinced that “if an opportunity arises, you have to take advantage of it and not think, ‘Is the market good or bad?’ If what you do is exceptional and individual, then it doesn’t matter what the times are.” The idea came to him while looking for a studio for one of his artists. “I went into this old, industrial bakehouse and saw the hall of my dreams, a hall with eight-meters-high walls and an arch in a 140-year-old, brown brick building,” he says. “It has history and an aura.” It was at BROT, as he lovingly calls it, that Hilger began curating themed exhibitions. His success proves him right. Even the first exhibition, “The Promise of Loss: A Contemporary Index of Iran” broke all records. The show gained international media attention. “We had 3,000 visitors in those two months, and we didn’t even have the heater installed. That’s a great number even for places downtown,” the gallerist recalls. He was the first, and since then several other art institutions have settled at the Brotfabrik, including Lichterlohs, photography expert Peter Coeln with OstLicht and Anzenberger Gallery. The location has meanwhile achieved cult status.
    On to new horizons
    But Hilger is not one to sit back and rest on his laurels. Never really content with the success of his contemporary gallery, he had to come up with a new concept. “When it turned out that I could buy 400 square meters right next to the BROT, it was like a sign,” Hilger grins. The place is big, the light is great, and so the dealer decided to close his Contemporary location on Dorotheergasse and break into the new age with Galerie Hilger Next. “The Dorotheergasse was never a place for young art. What people want there is something established, like what I was showing at Galerie Ernst Hilger on the first floor, which I continue to operate,” Hilger remarks, justifying his decision. Favoriten would also attract new people who would take their time looking at the art. According to Hilger, the days of popping into a downtown gallery on a Saturday stroll and buying art are over. So he decided to jump into the new. “It’s incredibly energizing. I want to be more than just an art dealer – I want to work with young artists. Galerie Hilger Next is a chance to present and install on a large scale,” he says. That is also why he changed its name to Next, sending a signal even with the gallery name. “These days, every gallery is called Contemporary,” says Hilger. The time had come for the gallery to redefine itself. “We used to be a welcome exhibitor at all the major fairs. For a long time, I was even on board of Art Basel. But ever since the crisis, we’ve been beaten below our value.” This is something he wants to change, but it will only happen with a great program and an exhibition space where he can show art like never before. “I want our art to be desirable to the biggest players again,” says the gallerist with a fighting spirit, and is currently in the process of completely reinventing himself.

    Eva Komarek inherited the love of art from her artist father. Professionally, she has devoted herself to business coverage for Dow Jones, the “Wall Street Journal”, Reuters and the “WirtschaftsBlatt”. She started the art market column in “WirtschaftsBlatt”, and has served as its editor since 1996.

    Friday, 22 November 2013 from 12:00 noon
    Brotfabrik, Absberggasse 27, 1100 Vienna
    As part of VIENNA ART WEEK, the art institutions located at the Brotfabrik open their doors on Meet Art Day, giving visitors an opportunity to attend artist talks, lectures, and studio tours to get a vivid impression of the artistic atmosphere in the halls of the former bread factory.



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