Johanna Hofleitner

  • “LAX”

    This exhibition of nine artists, which drew from Paul Schimmel’s selection for “Helter Skelter: L.A. Art in the 1990s” (with the exception of Jeffrey Valiance), posited the proximity of current art from Los Angeles and Viennese Aktionismus. Such a thesis may have programmatic value, and indeed such relationships exist, but the juxtapositions only served to make the differences clearer, rather than to underline anything other than superficial similarities.

    Central to the exhibition was an installation by Mike Kelley and Paul McCarthy consisting of various pieces and entitled Midlife Crisis Trauma

  • Felix Gonzalez-Torres

    Behind a glass wall that divided the public gallery space from the office, a video played. A series of facts appeared on a blue background; no dates or names offered clues to the real context, but together they hinted at a specific meaning. This piece, Untitled (Self-Portrait), 1991, a work in progress, was simultaneously biography, autobiography, and history. Also behind this glass wall hung a photograph of the grave of Gertrude Stein and Alice B. Toklas encircled by a bed of flowers, entitled Untitled (Alice B. Toklas and Gertrude Stein Grave, Paris), 1992.

    In contrast to the intimacy of this

  • Patricia London Ante Paris

    The artist adopted the pseudonym, Patricia London ante Paris, during her stay in London. For this exhibition, she created an installation, 4 Masosuta, 1992, for the imaginary figure of Masosuta. The windows of the gallery were covered to eye level with newspapers. In front of them there were four metal tables on which were placed four wooden boxes. Like altars they supported cast human organs. On the opposite wall hung Masosuta’s Manifesto, 1991—instructions on how to attain a better life in this world. The German text was translated into Arabic, Japanese, and English, and each text was framed

  • Kiki Smith

    “This is dedicated to the Virgin Mary/Lot’s wife/Peter Noever and/the objects of the Österreichisches Museum für angewandte Kunst.” This is the first entry in Kiki Smith’s notebook, which documents the one-year development of this exhibition. She entitled her intertwining of biblical myths and site-specificity “Silent Work.” The museum’s collection presented itself to the artist in no way as an organized exhibition. Such anarchy dissipated the institutional and historical laws of presentation. What was decoration could now be seen as morphology.

    But these rooms were a zone of protection. They

  • Elke Krystufek and Franz Graf

    In three rooms on two floors Elke Krystufek and Franz Graf dramatize the possibilities of energy flow, exploring the different intensities and conditions of potential energy. In a moving stream produced by expansion and decentralization (Krystufek), as well as by concentration and the definition of boundaries (Graf), the two artists display a rich spectrum, turning the gallery space into a stage on which events unfold. It is up to the viewer, however, to play a part on this stage and to project his/her own history onto it. The artists provide the raw material, but the viewer must choose the