PRINT December 1996

Boris Groys


Current curatorial practice pays less and less attention to national boundaries, fixated as it is on an international art scene governed by its own laws, criteria, and hierarchies. For that very reason it’s interesting to see what happens when the traditional task of presenting the art of a given country is carried out today. Curator Harald Szeemann’s “AUSTRIA IM ROSENNETZ” (Austria in a net of roses), at Vienna’s Museum für Angewandte Kunst, is exemplary. Works by internationally known Austrian artists—from Egon Schiele and Alfred Kubin to Arnulf Rainer, the Viennese Actionists, and various contemporary artists—are presented alongside Austrian folk art, architectural models, decorative work, film clips, and other curios spanning several eras. Thematic obsessions, as well as visual associations and psychological peculiarities, are elucidated along a broad spectrum encompassing

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