Georg Schöllhammer

  • Adrian Piper

    In 1992, just when a series of attacks on refugee camps was forcing a reunited Germany to confront its history anew, Adrian Piper made her first significant appearance in the German-speaking art world, with a solo exhibition at the Kunstverein München. The scandalous implications of the incidents at Hoyerswerda, Rostock, and elsewhere had a disturbing impact on the nation's liberal self-image, despite attempts by the media to minimize the events as acts by individuals. In this context, Piper's images and texts scored a direct hit, powerfully stirring many observers.

    Now, ten years later, Piper's

  • the Austrian Boycott Debate

    THE VIENNA SECESSION has put its distinctive facade—one of the most photographed tourist attractions in the city—at the disposal of artists like Franz West and Renée Green for work critical of the new Austrian government, a coalition formed by the conservative People’s Party (known by its German initials ÖVP)—the hitherto dominant Social Democrats’ long-time partner in the Austrian government—and the openly racist, far-right Freedom Party (FPÖ). Encouraged in part by the harsh international reaction to this dismaying coalition, almost every noteworthy Austrian intellectual, artist, filmmaker,

  • Vienna

    Vienna suddenly seems quieter than it has been for some time. Curator Kasper König has gone back to his job as director of Frankfurt’s Stadel school, and his Swiss colleague Hans-Ulrich Obrist has taken up a project in Paris; “Der zerbrochene Spiegel” (The broken mirror), the show they came here to produce, has finally come down, after months of complaints about its failure to realize the bold new claims it made about painting. At the same time, the dealers who spent much of the year attacking the selection of foreigners Andrea Fraser and Christian Philipp Müller for the Austrian pavilion of