Count me Out


Eröffnung: OPENING
APRIL 24. 2018 | 7 – 9 PM
24. APRIL 2018 | 19 – 21UHR
Ausstellung: Exhibition: APRIL 21 – MAY 25, 2018
Getreidemarkt 14, 1010 Vienna


Rudolf Polanszky, Ohne Titel, 2016



Gezeigt werden Werke von Hanne Darboven, Rudolf Polanszky und Andreas Straub. Alle drei Künstler haben früh begonnen, Zahlen und Mathematik in ihr künstlerisches Werk einfließen zu lassen. Rechnerische und numerische Prozesse prägen ihr Schaffen und bilden die Basis ihrer Arbeiten. Sie dienen zur Visualisierung und Kontextualisierung komplexer Zusammenhänge, aber auch zur Abstraktion und Konkretisierung gegebener Realitäten, je nach Lage der Dinge. Die Faszination an den logischen, naturwissenschaftlichen Grundlagen von Zahlensystemen und Mathematik steht dabei ebenso im Vordergrund wie die Wirkungsmacht, die solche Zahlensysteme durch ihre Undurchschaubarkeit und mythische Deutung entfalten können.

Daten, Statistiken, Preise, Prozente – Zahlen beherrschen unser Leben, unseren Alltag, aber auch unsere Vorstellung von Zeit und Raum. In einem Zeitalter, in dem Software-Systeme sich selbst optimieren und gerade aktuell die Frage nach der Regulierung der Datensicherung gestellt wird, scheinen digitale Algorithmen unser Leben fest im Griff haben.

In der Kunst beruht die Auseinandersetzung mit der Mathematik auf einer langen Tradition. Von der Zentralperspektive in der Renaissance führte die Entwicklung bis hin zu den geometrischen Strukturen des Kubismus oder der stark zurückgenommenen Formensprache der Minimal Art bis heute ins Zeitalter der Digitalisierung.



Hanne Darboven, Gustav Stresemann postum, 1998

Die Ausstellung „Rechnen Sie nicht mit mir“ zeigt verschiedene Möglichkeiten auf, sich dem rigiden System der Mathematik auf intuitive Art und Weise anzunähern. Während Rudolf Polanszky in seinen Skulpturen Primzahlen in dreidimensionaler Form umsetzt und so die gängige, lineare Vorstellung des Zahlensystems hinterfragt, widmen sich Andreas Straub und Hanne Darboven in ihren Werken auf akribische Weise dem Thema der Zeit. Straub übersetzt in seinem jüngsten Zyklus, dem Decimal Digit System, Datumsangaben in Zeichnungen, Gemälde oder dreidimensionale Objekte, während Hanne Darboven diese durch die Bildung von Quersummen in Form komplexer und wandfüllender Arbeiten in ein erfahrbares Zahlensystem umwandelt.


Andreas Straub, IAS2511, 2013 (Detail)


The exhibition comprises works by Hanne Darboven, Rudolf Polanszky and Andreas Straub, three artists who have been incorporating numbers and mathematics into their work since the beginning of their respective careers. Computational and numerical processes shape their works and form the basis of their artistic approaches. They variously serve to visualise and contextualise complex relationships or to formulate abstract and concrete renditions of given realities. Their works betray a fascination with the logical and scientific foundations of numerical systems and mathematics as well as with the power that numerical systems can develop by way of their impenetrable nature and mythical interpretation.

Data, statistics, prices, percentages – numbers dominate our life and our everyday, but also our conception of ​​time and space. In an age where software systems are improving themselves and data protection becomes a pressing issue, digital algorithms seem to have a firm grip on our lives.

In the realm of art, the interest in mathematics is based on a long tradition that leads from the central perspective in the Renaissance to the geometric structures of Cubism, the formal reduction of Minimal Art and the ubiquity of digitisation in the present era.

The exhibition “Count me Out” shows artists who intuitively harness the rigid system of mathematics for their own purposes. While Rudolf Polanszky materialises prime numbers in three-dimensional sculptures and thus questions the conventional linear concept of numeral systems, Andreas Straub and Hanne Darboven are focussing on the concept of time. In his latest cycle, Decimal Digit System, Straub translates dates into drawings, paintings or three-dimensional objects, while Darboven lets viewers experience time by creating a numeral system based on cross totals in the form of complex and expansive wall works.

Galerie Crone | Getreidemarkt 14 | 1010 Wien | Austria
Copyright © 2018 Galerie Crone



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YH_femmes au bord de la crise de nerf


Thursday 26. April 2018 | 6:30 – 9 pm
VERNISSAGE JEUDI 26 AVRIL 2018 à partir de 18H30
Exhibition: 27. April – 17. May 2018
Exposition du 27 avril au 17 mai 2018
28, Place des Vosges 75003 PARIS





27. April – 17. May 2018

The exhibition title is evidently a play on words of the Pedro Almodóvar’s film “Mujeres al borde de un attaque de nervios” which, in French, reads “femmes au bord de la crise de nerf”. A film which, according to critics, stands out by its s umptuousdimension and whose subject, with its razorsharp treatment, manages to be both irritating and enticing thanks to a mix of sophisticated and pedestrianassociations. That Hayat finds inspiration from such a charismatic film maker is not meaningless as the themes developed in both are equally powerful. I can’t help but interpret Hayat’s work differently even though we are bathed in that sameambiance of the woman’s condition, whose battles, struggles and challenges are expressed in a hyper tensive and nervous rhythm, tragic and practically underground. Elegance and clarity dominate the exhibition and lead us to a genuine reflexion on womenhood.
Throughout his work, Yves Hayat open or liberates a message by using, paradoxically, both given adver Throughout his work, Yves Hayat open or liberates a message by using, paradoxically, both given advertising codes and his artistic talent, to highlight the current and much needed and inevitable debate of womanhood
in our society.
He forces us to cast our eyes on powerful pieces that provoke us and whose subjects often raise deeply rooted and essential problems that are too often distorted, badly analysed of wrongly appropriated. We can be tempted to find his work contrived but in reality, it is only the expression of the artist’s hypersensitivity.
His relationship with the image, the demiurge game, as well as the technique he uses impose the question of the status of women. This is done without pretence but we feel a hint of criticism regarding the way we look at these issues today. What I mean here is that it almost seems to be good form to denouncethe domination of women, that they feel as genuine violence. But this leaves the door ajar for the intolerable. Women are left
with little choice but to use violence in order to lay claim to beinghuman in their own right. Yves Hayat expresses this with force throughouthis work and particularly so in the series titled “je t’aime”.
In « Concerto facciale », the woman, in codified nuptial regalia, is hurt, marked. Whilst we feel she is resisting, she withdraws intoherself and shuts herself to the environment she is subjected to. We think of The Testament of Mary by Colm Tóibín, where a woman, the Virgin Mary, opposes the image that her son’s former companions is creating about her. Like Mary, the woman in « Concerto facciale» is no dupe and through the artist, she is able to tell the truth.




These women claim their right to be and fight a war to denounce the lack of consideration, the other’s lack of love, the “idées noires” (dark thoughts) that make Coco Chanel cry.
The Kelly bags series demonstrates that despite all the luxury that they may wear or surround themselves with, it changes nothing to the tragedy of their condition
nor to the war they wage. For them real peace is not possible. He turns these militants, not always feminist, women into icons, tired, constrained by the conditioning imposed on them: always resigned to the human predisposition to auto destruct.
I am drawn to these “Fleurs blessées” (flower-women), hurt and restrained by barbed wire, because of the epic proportion of their struggle. Like Ulysses who lost part of his humanity during his long voyage, Women in resistance have no choice but to let go of some of their femininity in order to face a life of struggle. Yet the power of women is contained in their very essence and in the wars they wage. In order to win and to exist when faced with the phallic domination, they must contain, and not give in to, their anger. Even when their “Je t’aime” are wounded and chained in barbed wire. Let Athena inspire the audacity needed to stand up to an absurd world and not fall into despair, as well as motivate the audacity to exist as a lover, completely and tragically.
In “la revue des deux mondes » the contrast shocks at first. These mannequin-women, luxury display windows, are shown next to the other women who are surrounded by violence and misery. It is obvious that they are victims, even when live amongst the glitz and the glamour. They are the same prisoners of an artificial universe where their femininity is demeaned and moulds itself to the ideal
that men desire. Yves Hayat’s message is clear: the ostentation of fashion or luxury
must not anesthetise our thoughts. All the women’s images presented here are a clear message that our world needs to be reinvented. With his unique aestheticism and the using the power of the image, Yves Hayat shows us how we really are.
The pieces he puts before us, these images of chaos, make me melancholy because they force me to reflect on what want to give the Other in lieu of womanhood.
François Birembaux 2018


Bildschirmfoto 2018-04-14 um 10.16.59.jpg


Originally from Egypt, Yves Hayat first developed his aesthetic sensibilities living in a country enriched with history and cultural diversity. Art was his first love. In 1956, after the Egyptian Revolution, Hayat left for France. For five years, he studied Art
at the Ecole Nationale des Arts Décoratifs of Nice. In 1973, Hayat chooses to go into advertising and marketing, which led him to open his own agency. The creative trade
captivated Hayat. His experience in the field also enabled him to discover and learn to use new forms of technology, and master his techniques. In the 1990s, equipped with those skills, he decided to return to art, rediscovering the old masters, photographing people, the streets, society products, museum paintings and recuperating magazine and web images, which are carefully classified. Hayat is a perfect example of his time: an open mind on society, its streets, its media, its internet. While running his successful advertising business, he starts to show his artwork in galleries. Soon, his art practice took precedence over his profession, which he ended in 2002.

Although Yves Hayat does not consider himself a painter, photographer, or designer, he is widely known as a “plasticien,” an untranslatable French term that refers to an artist who puts the meaning of his work to the fore and uses all the various media and techniques to express it.
Yves Hayat explains: “I admit that I’m more interested in manipulating reality than in recording it. My artwork, between photography, installation, and “Figuration Narrative,” proposes visions where theatricalization is a part of the project. I am a total visual consumer: I film, download, scan, retouch…. as the director of a new reality. Using superimpositions, shifts, and misappropriations, I confront past and present, beauty and horror, luxury and violence, indifference and fanaticism. Through a questioning about the art/politics/media relations,
I try to conceive a critical artwork where the attraction for the culture of media, cinema and advertising shows through. Using modern techniques, my work proposes a report of what our history and our society have thought, generated, transformed, destroyed… while always keeping in mind that when the work of art creates unrest, it evacuates the common place”.
The originality of Yves Hayat’s works lies in the amalgam of artistic perception with images from a communication and information-based society. The titles he gives to his works (Business must go on, Parfum de Révolte, The Icons are Tired, Ma Maculée Conception…) from utterly highjacked advertising slogans, have the effect of giving a meaning to the pollution of our everyday lives. They reveal our identity and display our
own brand. Not a celebration of barbarity, but rather the fascination created by human ambivalence




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23 MAY 2018 | 14.30–16.50 pm
23 May 2018 | 14.30–15pm
23 May 2018 | 18.30–19pm
curator Tamar Hemmes
Exhibition: 24 MAY – 23 SEPTEMBER 2018
Albert Dock
Liverpool Waterfront, Liverpool L3 4BB



Egon Schiele, Standing male figure (self-portrait) 1914. Photograph © National Gallery in Prague 2017


24 MAY – 23 SEPTEMBER 2018

Life in Motion: Egon Schiele/ Francesca Woodman sheds new light on the intensity and passion shared and conveyed by these two artists, whose approaches have resulted in deeply personal and powerful works of art.

‘I show you what you do not see – the body’s inner force.’ Francesca Woodman
10 years on from our acclaimed exhibition of Gustav Klimt, Tate Liverpool showcases the works of his radical protégé, Egon Schiele, alongside the sublime photography of Francesca Woodman.

Both artists are known for their intimate and unapologetic portraits, which look beneath the surface to capture their subjects’ emotions. Schiele’s (1890–1918) drawings are strikingly raw and direct. He had a distinctive style using quick marks and sharp lines to portray the energy of his models. ‘I show you what you do not see – the body’s inner force’, said Woodman (1958–1981), who used long exposures to create blurred images that captured extended moments in time. Her photographs can be surreal, humorous and at times painfully honest.



Egon Schiele, Self Portrait in Crouching Position 1913. Photo: Moderna Museet / Stockholm


Lost Art: Egon Schiele
Discover the fascinating story of an artwork that disappeared
Egon Schiele’s Self-Seer 1910 was the first in a series of three double self-portraits, and although missing for over seventy years and known only through a poor black and white photograph, the lost canvas remains much discussed by those interested in the work of the famous Austrian artist.

Schiele’s early career was defined by his relationship with Gustav Klimt, the most famous painter associated with the Austrian Secession movement. In 1907 Schiele contacted Klimt, who proceeded to introduce the talented teenager to artists and collectors in Vienna. In early 1910, Schiele, then only twenty, moved away from the decorative style of his mentor and began to emphasise the grotesque in his self-portraits, showing his face distorted, his skin discoloured and his body brutally truncated. Viewing sexuality with a rare directness that, to some, bordered on the pathological, Schiele also found himself in trouble with the authorities on a number of occasions for his sexually explicit drawings and paintings.

In Self-Seer, completed in December 1910, a strangely de-sexed, naked Schiele is shown kneeling and partly enveloped in a dark garment. Behind him, mimicking his rigid hand gesture, is a youthful twin figure. It was one of a series of three double self-portraits. For art historian Alessandra Comini the series became ‘in part a battle before the mirror, between the artist as creator of and vessel for his own image’.

Schiele died in 1918, aged just twenty-eight, a victim of a Spanish flu epidemic that claimed more than twenty million lives across Europe. Nonetheless, his fame continued to grow after his death and in the 1920s Fritz Grünbaum, a successful cabaret artist who built up a significant collection of modern art, acquired Self-Seer.

In March 1938 Austria was annexed to the German Reich. The new National Socialist authorities immediately began the process of excluding Austria’s Jewish community, and other opponents of their regime, from society. Attempting to flee to Czechoslovakia by train, Fritz Grünbaum and his wife Lily were arrested and returned to Vienna. Grünbaum was deported to the Dachau concentration camp in May 1938, while in Vienna Lily was left to ‘authorise’ the governmental confiscation of the couple’s property. A property assessment for Lily Grünbaum dated 20 July 1938 provides the last record of Self-Seer. Following the confiscation of her apartment in October 1938 Lily Grünbaum was registered at four different addresses between 1938 and 1942. She was finally arrested in 5 October 1942 and deported to the Maly Trostinc extermination camp nearMinsk, where she was murdered on 9 October. Her husband had already died.

The story of Self-Seer does not end there. After Lily Grünbaum’s deportation, her collection would have become the property of the German Reich. In theory, the collection should have been confiscated and sold off through a sub-section of the Gestapo responsible for selling off Jewish-owned luxury goods. But the Grünbaum collection does not figure in any of the related records. In 1956, however, around forty Schiele works from the Grünbaum collection appeared on the market via a dealership in Switzerland. According to the dealership’s owner, he had acquired the work from the sister of Lily Grünbaum, who survived the war. The sale included works by Schiele that had appeared alongside Self-Seer in Lily Grünbaum’s 1938 property assessment, and the hope remains that the missing work may yet resurface one day.



Egon Schiele, Squatting Girl 1917 © Staatliche Graphische Sammlung München


Five things to know: Francesca Woodman
Meet the acclaimed photographer who created surreal, humorous and at times painfully honest images


Francesca Woodman Untitled 1975–80
Tate / National Galleries of Scotland© Courtesy of George and Betty Woodman

Francesca Woodman was born on 3 April 1958 in Denver, Colorado. Her father, George, was a painter and photographer, her mother, Betty, was a sculptor and her brother, Charles, is an electronic artist. Woodman started taking photographs when she was 13 years old. She moved to New York in 1979 with the dream of pursuing a career in fashion photography.


Eel Series, Roma, May 1977 - August 1978 1977-8 by Francesca Woodman 1958-1981
Francesca Woodman, ‘Eel Series, Roma, May 1977 – August 1978’ 1977–8
Francesca Woodman
Eel Series, Roma, May 1977 – August 1978 1977–8
Tate / National Galleries of Scotland© Courtesy of George and Betty Woodman


Woodman attended the Rhode Island School of Design in 1975. She idolised fashion photographers, such as Guy Bourdin and Deborah Turbeville. This influence is noticeable in the way Woodman sensitively used clothing throughout her works.

While studying in Rome during 1977–78, Woodman regularly visited the Maldoror bookshop, which specialised in books on surrealism. There she learnt about the pioneers of this movement, including Man Ray and Meret Oppenheim. Woodman applied some of the characteristics associated with surrealism to her own work. She created dreamlike environments with interesting and unusual objects, such as shells and eels, and combined familiar things in unfamiliar contexts to evoke uncanny feelings. She transformed extremely limited and unpromising environments into spaces of fantasy and experimentation.


Francesca Woodman Providence, Rhode Island, 1976 1976
Tate / National Galleries of Scotland
© Courtesy of George and Betty Woodman


During her career, Woodman produced over 800 black and white photographs. She featured as the subject in many of them, sometimes partially clothed, naked, disguised, hidden or a blur. She used ordinary objects and materials, such as mirrors and pegs, to transform her body parts into distorted and surreal versions. She experimented with glass panels, pressing them against her body to squeeze, reshape and flatten her flesh to make her physical features appear grotesque and exaggerated. When questioned about why she was the subject of her own photographs, Woodman replied ‘It’s a matter of convenience, I’m always available’.

Woodman used long shutter speed and double exposure when photographing so that she could actively feature in her own work. This also meant that she could capture different stages of movement, in a way that could trace the pattern of time. As a result, her image is blurred, which suggests motion and urgency.

Am I in the picture? Am I getting in or out of it? I could be a ghost, an animal or a dead body, not just this girl standing on the corner …?
Francesca Woodman



Francesca Woodman Untitled 1975–80
Tate / National Galleries of Scotland©Courtesy of George and Betty Woodman



Although she died very young, there is no denying that Woodman was one of the most innovative and promising artists of her generation. She pushed the boundaries of experimental photography and played with the potential of shutter speed and exposure. Cindy Sherman (known for her conceptual portraits), Tracey Emin (known for her autobiographical artwork) and writer and conceptual artist Sophie Calle (whose photography examines human identity and intimacy) all nod to Woodman as a huge influence on their own work.

She had few boundaries and made art out of nothing: empty rooms with peeling wallpaper and just her figure. No elaborate stage set-up or lights … Her process struck me more the way a painter works, making do with what’s right in front of her, rather than photographers like myself who need time to plan out what they’re going to do.
Cindy Sherman

The close encounter between these two exceptional artists offers an intense viewing experience and a new perspective on their personal and powerful works.

This project is co-financed by the European Regional Development Fund through
the Interreg Atlantic Area Programme with additional support from Tate Liverpool Members
24 May – 23 September 2018

Albert Dock
Liverpool Waterf, rontLiverpool L3 4BB




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La Biennale di Venezia 2018
16th International Architecture Exhibition
preview: 24th and 25th May 2018
curated by: Yvonne Farrell und Shelley McNamara.
Exhibition: 26.05. – 25.11.2018
Arsenale and Giardini



12 Collateral Events are scheduled for the 16th International Architecture Exhibition titled FREESPACE, curated by Yvonne Farrell and Shelley McNamara and organized by La Biennale di Venezia chaired by Paolo Baratta (preview on May 24th and 25th 2018), open to the public from May 26th to November 25th 2018.

The Collateral Events, which are admitted by the curator and promoted by non-profit national and international bodies and institutions, take place in several locations; they offer a wide range of contributions and participations that enrich the diversity of voices that characterizes La Biennale di Venezia.

Biennale Architettura 2018

“Freespace describes a generosity of spirit and a sense of humanity at the core of architecture’s agenda, focusing on the quality of space itself.
Freespace focuses on architecture’s ability to provide free and additional spatial gifts to those who use it and on its ability to address the unspoken wishes of strangers.
Freespace celebrates architecture’s capacity to find additional and unexpected generosity in each project – even within the most private, defensive, exclusive or commercially restricted conditions.
Freespace provides the opportunity to emphasise nature’s free gifts of light – sunlight and moonlight, air, gravity, materials – natural and man-made resources.
Freespace encourages reviewing ways of thinking, new ways of seeing the world, of inventing solutions where architecture provides for the well being and dignity of each citizen of this fragile planet.
Freespace can be a space for opportunity, a democratic space, un-programmed and free for uses not yet conceived. There is an exchange between people and buildings that happens, even if not intended or designed, so buildings themselves find ways of sharing and engaging with people over time, long after the architect has left the scene.
Architecture has an active as well as a passive life.
Freespace encompasses freedom to imagine, the free space of time and memory, binding past, present and future together, building on inherited cultural layers, weaving the archaic with the contemporary.”





Biennale Architettura 2018
Donnerstag, 24. Mai 2018 | 13 Uhr
Eröffnung Österreichischer Pavillon
Do, 24.05.2018 | 15 Uhr
Am Podium:
Gernot Blümel, Bundesminister für EU, Kunst, Kultur und Medien
Verena Konrad, Kuratorin und Kommissarin des Osterreich-Beitrages
für die Architektur-Biennale 2018
Kathrin Aste, Frank Ludin, LAAC
Dieter Henke, Marta Schreieck, Henke Schreieck
Stefan Sagmeister, Jessica Walsh, Sagmeister & Walsh
Sa, 26.05.2018 – So, 25.11.2018
Giardini, Sestiere Castello, 30122 Venezia, Italien

Eröffnung des Österreich-Pavillons auf der
Architektur-Biennale 2018 in Venedig
Der Österreich-Beitrag Thoughts Form Matter ist ein Plädoyer für die Kraft von Architektur als intellektuelle Auseinandersetzung mit der Welt und für die Freiheit, Räume auch abseits funktionalistischer und ökonomischer Zwänge zu denken. LAAC, Henke Schreieck und Sagmeister & Walsh schaffen eine konzeptuell und materiell vielschichtige Rauminstallation, in der Innen und Außen, Vertikal und Horizontal, der historische Pavillon und zeitgenössische Architektur- und Designsprachen aufeinander treffen.
Thoughts Form Matter lässt räumliche Metaphern entstehen. Begriffe wie „Abweichung“, „Atmosphäre“ und „Schönheit“ materialisieren sich in einer dreiteiligen, ineinander greifenden Rauminstallation. Die drei Teams deuten das Generalthema der Architektur-Biennale „Freespace“ sowohl als räumliches als auch ideelles Konstrukt, als komplex dynamisches System, als wandlungsfähige Sphäre, geprägt durch Koexistenz.




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Teddy Kollek


Jüdisches Museum Wien
Moses Mendelssohn Stiftung
Ehrung von Teddy Kollek
und seinen Kindern Osnat und Amos in Wien
Namensgebung des Teddy Kollek Hauses,
Dienstag, 10. APRIL 2018 | 10.30 Uhr
Verleihung der Moses Mendelssohn Medaille und eine Ausstellung
Prof. Dr. Julius H. Schoeps, Stiftung
Teddy Kollek Haus
Feierliche Namensgebung des Teddy Kollek Hauses
10. April 2018 | 12.30 Uhr
Gertrude-Fröhlich-Sandner-Straße 15, 1100 Wien
Teddy Kollek
Der Wiener Bürgermeister von Jerusalem
Eröffnung: 10. April 2018 | 19 Uhr
Dr. Danielle Spera, Direktorin des Jüdischen Museums Wien
Dr. Michael Häupl, Bürgermeister der Stadt Wien
I.E. Talya Lador-Fresher, Botschafterin des Staates Israel
Ausstellung: 11. April – 25. November 2018
Dorotheergasse 11, 1010 Wien



Mit der Doppel-Veranstaltung wird sowohl der Ehrenbürger der Stadt Wien gedacht als auch das Engagement seiner Kinder Osnat und Amos Kollek für interkulturelle Toleranz und Verständigung ausgezeichnet.

Teddy Kollek Haus
Feierliche Namensgebung des Teddy Kollek Hauses
10. April 2018 | 12.30 Uhr
Gertrude-Fröhlich-Sandner-Straße 15, 1100 Wien

Feierliche Namensgebung des Teddy Kollek Hauses mit Enthüllung des Teddy Kollek Porträts, das von seiner Tochter Osnat Kollek für diesen Anlass gefertigt wurde

Das Teddy Kollek Haus ist eine Unterkunft für Wien-Gäste, die länger in der Stadt bleiben – das “SMARTments business Wien Hauptbahnhof”. Die Moses Mendelssohn Stiftung vergibt für alle Häuser der SMARTments Serie des Projektentwicklers GBI AG (dort übernachten Langzeit-Reisende und Studenten) die Namen jüdischer Persönlichkeiten mit Bezug zur jeweiligen Stadt.

10. April 2018 | 19 Uhr
Verleihung der Moses Mendelssohn Medaille an Amos und Osnat Kollek im Rahmen der Eröffnung der Ausstellung “Teddy Kollek. Der Wiener Bürgermeister von Jerusalem”
Jüdisches Museum Wien,
Dorotheergasse 11, 1010 Wien

Die Verleihung der Moses Mendelssohn Medaille an Amos und Osnat Kollek, die Kinder von Teddy Kollek und seiner Frau Tamar, wird vorgenommen durch
Prof. Dr. Julius H. Schoeps, Vorstand der Moses Mendelssohn Stiftung.

Anwesend sein werden zudem:
Dr. Danielle Spera, Direktorin des Jüdischen Museums Wien
Dr. Michael Häupl, Bürgermeister der Stadt Wien
I.E. Talya Lador-Fresher, Botschafterin des Staates Israel

Die Moses Mendelsssohn Medaille 2018 erhalten Amos Kollek
(Regisseur und Schriftsteller) und Osnat Kollek (Künstlerin) für ihr großes Engagement für Toleranz und Verständigung innerhalb der multikulturellen und multireligiösen Bevölkerung Jerusalems. Damit haben sie ein Erbe, das sie von ihren Eltern übernommen haben, eindrucksvoll weitergeführt.

Die Moses Mendelssohn-Medaille wird jährlich von der Moses Mendelssohn Stiftung in Kooperation mit dem Potsdamer Moses Mendelssohn Zentrum und der Halberstädter Moses Mendelssohn Akademie verliehen. Vergeben wird die Auszeichnung seit 1993 an Persönlichkeiten, die sich für die Pflege der deutsch-jüdischen Beziehungen, Toleranz und Völkerverständigung und gegen Fremdenfeindlichkeit einsetzen. Preisträger in der Vergangenheit waren u.a. Ignatz Bubis (1994), Kurt Biedenkopf (1998), Arno Lustiger (1999), Hans Keilson (2007), Daniel Barenboim (2009), Berthold Beitz (2010), Friede Springer (2012), Avi Primor (2013), Hubert Burda (2015), Ulla Unseld-Berkéwicz (2016) und zuletzt im vergangenen Jahr Heinz Mack (2017).

Jüdisches Museum Wien
Moses Mendelssohn Stiftung
„Teddy Kollek.
Der Wiener Bürgermeister von Jerusalem“
Presse: Dienstag, 10. April 2018 | 10:30 Uhr
kuratoren Marcus G. Patka und Elke-Vera Kotowski
Ausstellung: 11. April – 25. November 2018
Dorotheergasse 11, 1010 Wien

Das Jüdische Museum Wien, ein Museum der Wien Holding, zeigt
von 11. April bis 25. November 2018 im Extrazimmer des Museums Dorotheergasse die neue Ausstellung „Teddy Kollek. Der Wiener Bürgermeister von Jerusalem“. Kaum eine andere Persönlichkeit hat Jerusalem im 20. Jahrhundert so geprägt wie er. Der aus Wien stammende Teddy Kollek (1911–2007) war von 1965 bis 1993 Bürgermeister von Jerusalem. Nach dem Sechs-Tage-Krieg 1967 und der Wiedervereinigung führte er die vernachlässigte Stadt zu neuem Glanz und entwickelte sie zu einer modernen Metropole.

So gründete er unter anderem das heute international herausragende Israel Museum. Teddy Kollek, dessen Eltern ihn als begeisterte Zionisten nach Theodor Herzl benannt hatten, war bereits 1934 nach Palästina ausgewandert, wo er seine politische Karriere im Büro des Staatsgründers David Ben Gurion begann. In den 28 Jahren seiner Amtszeit setzte er sich in Jerusalem für ein friedliches Zusammenleben seiner multireligiösen BewohnerInnen ein. Mit der Gründung der gemeinnützigen Jerusalem Foundation legte er einen Grundstein dafür. Als kulturelles und kommunalpolitisches Vorbild galt ihm das Wien seiner Jugend. Auf Einladung des Wiener Bürgermeisters Helmut Zilk eröffnete Teddy Kollek am 18. November 1993 das Jüdisches Museum Wien.


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Private view: Tuesday 17 April 2018 | 6-8 pm
Exhibition: 17 April – 16 June 2018




is pleased to present Joseph Beuys: Utopia at the Stag Monuments, the most comprehensive exhibition of Joseph Beuys’ work in London in a quarter century. Curated by Norman Rosenthal, who worked with Joseph Beuys on many exhibitions from 1970 onwards, the exhibition brings together pivotal works from various stages of his life, revealing the extent to which Joseph Beuys’ ideas were clearly defined from the very beginning of his artistic career.

“In a world that is now more than ever searching for new solutions for basic social and economic problems, a sense of new ways forward might be found in the ideas of societal rebirth that arise from the Stag Monuments.” Norman Rosenthal

For the first time since its creation, most of the elements of Joseph Beuys’ seminal work known as Hirschdenkmäler (Stag Monuments) will be brought together, offering a far-reaching insight into his artistic practice. The exhibition takes its name from this environment, created for the legendary 1982 Berlin exhibition Zeitgeist, co-curated by Christos M. Joachimides and Norman Rosenthal himself.

Joseph Beuys notoriously proclaimed: every man is an artist. The statement, taken in context, refers to Joseph Beuys’ belief in the potential of art and creativity to enable the fruition of his utopian vision, a social organism as a work of art. He subscribed to an interdisciplinary concept, eliminating the barriers between art and life.

Joseph Beuys: Utopia at the Stag Monuments will be seen through a retrospective lens; it includes masterpieces apart from Hirschdenkmäler (Stag Monuments), including Feldbett (Campaign Bed), 1982, Kleines Kraftwerk (Small Power Station), 1984, and Infiltration-homogen für Cello (Infiltration-homogenous for Cello), 1966-85, alongside early drawings, sculptures and extraordinary early photographs from the late 40s and early 50s.

A catalogue will accompany the exhibition with an essay by Norman Rosenthal.

Photo: Jochen Littkemann, Joseph Beuys in der Ausstellung “Zeitgeist”, Martin-Gropius-Bau, 1982

© Jochen Littkemann





Private view: Tuesday 17 April 2018 | 6-8 pm
Exhibition: 17 April – 16 June 2018




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