Matthias Dusini

  • Marine Hugonnier

    The candle burning in Marine Hugonnier’s exhibition in Vienna was first lit in the year 2000, at the Galerie Chantal Crousel in Paris. At that time the point was the fragrance it released: that of a candle that has just been extinguished. Hugonnier had used a similarly paradoxical tautology in an earlier work: Flowers, 1996-2000, a bouquet in a vase standing on a pedestal. The flowers’ yellows and whites were especially strong because the artist had treated them with paint. This kind of pictorial manipulation, occurring as it does not on canvas but on the object itself, adopts the philological

  • Mathias Poledna

    Mathias Poledna, an Austrian artist living in Los Angeles, has repeatedly delved into archives, treating them as sources for the reconstruction of recent history. In the project Produktion Pop, 1996, Poledna (together with Martin Beck and Jon Savage) attempted to bring to light sources for a museological examination of the British punk and new-wave scene, while in the group exhibition “Zonen der Verstörung” (Zones of disturbance), Graz, 1997, he examined the history of the militant left, focusing on the radical Italian philosopher Antonio Negri. Poledna also displayed this interest in visualizing

  • the Vienna Museum Quarter

    FROM THE STREET, everything looks more or less the way it has since the Baroque era. Vienna's once-upon-a-time imperial stables, commissioned by Emperor Karl VI in the early eighteenth century, present an unadorned two-story facade stretching about a quarter of a mile along the city's Museumsplatz. Only on passing into the central courtyard do visitors catch sight of the monumental structures that have risen within.

    Opening to the public later this month, the MuseumsQuartier, or MQ as its logo (already emblazoned on coffee cups and Frisbees) has it, is a “cultural cluster” that will eventually

  • Olivier Zabat, Zona Oeste, Video, 41min, color, France, 2000.

    You Are the World

    Sixteen years after Michael Jackson and Lionel Richie gave us “We Are the World,” that chart-topping anthem of global conscience, a chorus of curators headed by Wiener Festwochen codirector Hortensia Völckers is singing a different tune. As part of this year’s citywide cultural festival, nearly seventy artists—including Anri Sala, Elias Khoury, and Dorit Margreiter—examine the “cultural and political, ethnic and economic fault lines of globalization” as well as “specific living conditions, specific places, and specific biographies” on the shrinking world map. Most of the participants have

  • Barbara Holub

    SUBURBIA IS BOOMING—not just in terms of population, but as a subject for both video art and movies. And in discussions of architecture, Celebration, Florida, Disney's “model” community, is sure to come up, usually as an example of the interplay between deregulated corporate development and the replacement of public pace by private architectures of security or aesthetic “retropias.” In Austria, the number of single-family dwellings is rising dramatically, and Fontana, a development near Vienna, is a kind of counterpart to Celebration. It is the subject of Barbara Holub's exhibition “Set!”