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KUB 2020 Program1 1English
Kunsthaus BregenzProgram 2020
Kunsthaus Bregenz
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Kunsthaus Bregenz is a unique place. Peter Zumthor designed simple,
very striking spaces. The gray concrete walls, the soft light from the
ceiling, the spacious levels — all are both distinctive and singular.
The encounter with art is more intimate and intense here than in
other exhibition spaces. One reason may be that works in Kunsthaus
Bregenz convey the impression of being released from the external
world. It is not just the art, but also the visitors that experience feel-
ings of exposure as if on a stage, in direct juxtaposition with the works,
but without any mitigating trappings. Such encounters necessarily
raise fundamental questions: concerning individual perceptions, the
nature of the art, and the individuals’ sense of themselves.
2019 was a very successful year for KUB. Visitors have been
able to encounter different exhibitions, changing media, but also
a variety of approaches from artists of differing generations.
Ed Atkins’ digital self-reflections were striking, intoxicating, and
shocking, whilst Miriam Cahn’s imagery was direct and brusque,
painterly nonchalant and politically explosive. Thomas Schütte’s
models and sculptures asserted themselves powerfully within the
exhibition spaces, yet still appeared like godforsaken creatures.
Raphaela Vogel considered the existence of the artist in the era of
drones and Instagram. The imagery in her videos and sculptures
encompasses both architectural grid constructions and femininity.
A Foreword from Director Thomas D. Trummer
Kunsthaus
Bregenz, 2019
Photo: Markus
Tretter
KUB 2020 Program4 5
For the 2020 program, we are remaining true to the maxim of show-
ing exclusively solo exhibitions. Turning an institution of this size
over to one artist is almost unique worldwide, and Peter Zumthor’s
building provides the perfect venue for such an undertaking. It
not only gives the artists the opportunity of exhibiting a representa-
tive selection from their oeuvre, but also enables them — in a singular
manner, and without the distraction of rivalry and background
noise — to take risks, to “expose” themselves and their work.
As always in Bregenz, the architecture provides the point of
departure for such explorations. The distinctive phenomenology not
only encourages new ways of thinking about and addressing it, but
also new attitudes towards it. The history of exhibitions at Kunsthaus
Bregenz is one of artistic answers to present day issues in dialogue
with an extraordinary building. 2020 will be no different.
In addition to the challenges engendered by the architecture, the
program will be focusing on two further issues in particular next
year. One concerns the general state of affairs, and the other individual
happiness. Both are addressed in the work of the Swiss pair of artists
Fischli/Weiss. In 1987, Peter Fischli and David Weiss produced a
film that made them immediately famous. The Way Things Go shows
ordinary objects as the components of a witty chain reaction. Cans
fall over, basins begin to foam, tires roll, and wicks burn. These
are experiments that achieve their vitality from an almost childlike
tension, whilst also documenting physical reality, above all through
the relation of objects to each other. The film, shot in the studio
of the two artists, would today be rewarded with many likes and
clicks. But the way objects are thought about has changed. The
material world has been largely replaced, circulating digitally in
recycled form, as recordings and translations. Is realism, such as it
was then presented by Fischli/Weiss possible today without any
accompanying skepticism? Has the material world been eroded by
the digital? Do objects still exist? What does it mean when images
— like facts — are increasingly suspected of being tampered with or
even of being wrong?
The second question, the one concerning individual happiness,
was already being addressed by Fischli/Weiss in 2003, in their self-
deprecating book Will Happiness Find Me?. The diminutive volume
asked its questions in white handwriting on a black background.
None were answered and they all remain open.
Fischli/Weiss Snowman,
1987/2017
Aluminum, glass,
cooling system,
snow,
120 × 160 × 210 cm
© Peter Fischli
David Weiss
KUB 2020 Program6 7
Bunny Rogers, a US American artist, begins the 2020 series of exhibi-
tions at KUB. Rogers is the youngest artist ever to exhibit at Kunsthaus
Bregenz, creating spaces dwelling in a crepuscular ambience. They
are frequently pervaded by a forlorn atmosphere and gloomy music.
In Bregenz, the artist is creating an immaculate lawn, casting flowers
in concrete, and producing accumulations of wreaths, soil, and gar-
bage. The objects derive from American funeral ceremonies, which
have become familiar to the international audience for American
cinema. At the same time, Rogers is making references to gun ram-
pages through schools, and in particular to the so-called Columbine
massacre 1999. Rogers herself, who also writes poems and does
readings of them, is always woven into these scenes of mourning.
Her art is a search for thoughtfulness beyond individual happiness,
exposing wounds, displaying her own vulnerability and the effects
of misguided politics.
Peter Fischli is contributing the second exhibition of the year.
Since the death of his partner David Weiss, Fischli has been working
on exhibitions that continue the two artists’ project. For about
two years he has been fabricating small sculptures from cardboard
that mimic everyday objects faithfully. They look like ready-mades
but are, in fact, hand-crafted. They concern effects of imitation,
illusion, and mimicry. Fischli has carved a drawing which he made
as a child, in polystyrene, making a literal monkey of himself, but
also of art itself as well as its marketing. In a film in which Fischli
collages GoPro advertisements, he addresses the idea of simulation,
confronting it with the clichés of happiness provided by sport,
travel, and adventure.
Anri Sala has been invited for the summer exhibition. Sala
is concerned with experiences of music, which he addresses in film.
As a visual artist, he attends to audio material, instruments and
acoustic impressions becoming the real protagonists. Complex
technical arrangements are necessary in order to make objects audi-
ble. Sala, who represented France with a piece about Ravel at the
55th Venice Biennale, has recently started preparing his installations
using simulations in virtual reality. Peter Zumthor’s spaces, which
are known for their authenticity, can be made virtually accessible.
However, it will not be such apparatus of illusion that will be on
display in Bregenz, but Sala’s most recent “masterpiece,” a film of an
elegy by Igor Stravinsky from 1944, played by a violist on whose
bow a snail crawls.
Dora Budor, exhibiting at KUB in the fall, will be addressing the build-
ing’s architectural pre-conditions. Budor works in situ. Her source
material is the constructional history of a building. Her interven-
tions are therefore preceded by extensive research, particularly
into the invisible qualities of the building, its hidden and discreet
aspects. As such, the artist who was born in Croatia, is continuing an
important thread in the exhibition history at KUB: the stress testing
of the architecture, representing a distinctive contribution to ques-
tions concerning the physics of objects in the age of their digital
substitution. Many artists have specifically dealt with the building
and made use of its load-bearing abilities: Santiago Sierra had 300
tons of bricks conveyed to the third floor; Olafur Eliasson flooded
one floor with water; and last but not least, Adrián Villar Rojas also
challenged the architecture — inspired like Budor by film — lining its
floors with fossilized marble.
In the summer of 2020, an opera commission will also be pre-
miered, one which Alexander Moosbrugger and Flaka Haliti have
been working on since 2017. It is being produced as part of Opern
atelier, which is starting its second edition in collaboration with
the Bregenz Festival. Haliti, one of the nominees for the Preis der
Nationalgalerie 2019, was invited by Kunsthaus Bregenz to create
the stage design. The genesis of the project is a story from the
Renaissance, Hypnerotomachia Poliphili, a narrative involving
dreams, love, architecture, and individual happiness.
I am delighted that other long-term collaborations will also
be continuing in 2020, such as those with Philosophicum Lech and
the poolbar Festival.
KUB 2020 Program8 9
One great success in 2019 was the KUB Summer Program, featuring
an open-air cinema on Karl-Tizian-Platz during July and August. The
favorite films of the exhibiting artists were shown on a large-scale
screen under the motto “Artists’ Choice.” The season ended with a
concert by the Austrian indietronic musician B. Fleischmann and the
Munich-based band Pollyester. In the summer of 2020, Kunsthaus
Bregenz will be continuing with an especially conceived open-air
program. During Anri Sala’s summer exhibition, the so-called KUB
Intros will again be on offer, short guided tours by staff at KUB,
which are always well received.
During the summer of 2020 there will be a special exhibition at
the KUB Collection Showcase, housed in the Old Post Office building.
It will be presenting the collection of Vorarlberg-born Thomas
König and his late wife Erika Lebschik, who over more than 40 years
collected more than 3,000 original prints by international artists,
including such renowned names as Maria Lassnig, Joan Miró, Arnulf
Rainer, Daniel Spoerri, and Franz West.
Happy Friday will also continue with free admission on the first
Friday of each month. This is an offer that is especially appreciated
by the regional audience. To date in 2019, 3.000 visitors have taken
advantage of this opportunity.
I am very much looking forward to the KUB program for 2020.
It will be an exciting year, promising encounters with significant
and greatly differing artists, whose exhibitions raise questions
addressing “the way things go” in our digital world, together with
ones concerning individual happiness.
Defying the
rain with KUB
raincoats at
the opening of
the summer
exhibition, 2019
KUB 2020 Program10 11
KUB 2020.01Bunny Rogers18 | 01 — 13 | 04 | 2020
KUB 2020.02Peter Fischli25 | 04 — 05 | 07 | 2020
KUB 2020.03Anri Sala18 | 07 — 11 | 10 | 2020
KUB 2020.04Dora Budor24 | 10 | 2020 — 10 | 01 | 2021
Anri SalaNo Window No Cry
(Luigi Cosenza, La
Fabbrica Olivetti,
Pozzuoli), 2015
Music box,
glass, wooden
window frame,
202.5 × 60 × 3.5 cm
Photo: Luciano
Romano
Courtesy of
the artist and
Alexander Tutsek-
Stiftung, Munich
© Anri Sala
KUB 2020 Program12 13
Bunny Rogers is the youngest artist ever to be exhibited at Kunsthaus
Bregenz. The unadorned concrete of Kunsthaus Bregenz is well
suited to her since she not infrequently invites her viewers into
Stygian-like miseenscènes. The mood of her work is somber and
doleful. Her installations, which generally incorporate music and
poetry, are inspired by figures from the Internet, television series,
and video games. The symbolism of the world of consumer goods
and the entertainment industry, customarily presented as one that
is both safe and profit-oriented, is reversed, becoming equivocal,
profound, and melancholic. Rogers plays with identities by making
series of portraits of herself that are ultimately 3D models of
television characters. She does not present herself as a winner in
such works, but rather as vulnerable, capable of suffering, and
abandoned.
KUB 2020.01Bunny Rogers18 | 01 — 13 | 04 | 2020
Bunny RogersColumbine
Cafeteria, 2016
Installation view,
Société Berlin,
2016
Photo: Uli Holz
Courtesy of
the artist and
Société Berlin
© Bunny Rogers
Rogers is planning expansive installations across all four floors of
Kunsthaus Bregenz, the various scenarios and prevailing atmos-
phere being inspired by American funerals. A lawn is being laid in
one space, a shower sprinkling water from the ceiling, the whole
recalling shower rooms at an American school. Elsewhere visitors
encounter roses cast in concrete. Soil, rubbish, and withered flowers
become metaphors for the poetic and painful, beauty and transi-
ence — an art that does not shy away from the eerie, reminding each
of us of our own responsibilities. It is a memorial, “objective art is
impossible,” according to Bunny Rogers.
A central subject in her work are the deliberations in the after-
math of the 1999 mass shooting at Columbine High School in
Littleton, USA, in which fifteen people were murdered, including
twelve students, one teacher, and the two perpetrators. Bunny
Rogers choreographs spaces evoking the school but which become
atmospheric tableaus, transforming KUB into a unique site that is
not merely theatrical, but also a critical and political one interro-
gating the present.
Bunny Rogers (born 1990 in Houston, Texas, USA) graduated in 2012
from Parsons School of Design in New York with a BA in visual arts. In
2017 she completed her Master of Fine Arts at the Royal Institute of
Art in Stockholm. Bunny Rogers produces sculptures, installations,
videos, and photographs. She has also become known for her poetry,
which she presents online and at readings. She has exhibited, amongst
others, at Hamburger Bahnhof, Fondation Louis Vuitton, Whitney
Museum of American Art, and the Louisiana Museum of Modern Art in
Humlebæk, as well as being part of Ulrich Obrist’s project 89plus.
Rogers lives and works in New York.
Bunny RogersMoving is in
every direction,
2017
Installation
view Hamburger
Bahnhof, Berlin,
2017
Photo: Jan
Windszus
Courtesy of the
artist and
Société Berlin
© Bunny Rogers
Bunny Rogers
on the KUB
rooftop, 2019
KUB 2020 Program16 17
Peter Fischli is one of today’s most renowned artists. Together with
David Weiss, who died in 2012, the pair of artists developed a body
of work that enabled domestic objects and everyday experiences to
return in different and unexpected forms. Employing a variety of
materials and media such as unfired clay, polyurethane, photography,
and video, the duo’s oeuvre succeeds in transcending differences
between high and low art in a playfully nonchalant and humorously
deceptive manner. The quotidian provides a source that becomes
paraphrased.
Originally, Fischli/Weiss opposed Conceptual Art, which was
attempting to introduce an objective notion of art, but they were
equally against the new subjectivity of painting in the 1980s. In 1979,
in a reaction to such trends, the Wurstserie was created as their first
joint work, ten photographs depicting scenes that they had arranged
in their own refrigerator. Plötzlich diese Übersicht (1981) is a gath-
ering of 350 small clay figures that humorously examines various
ordinary events. The small artist’s book Will Happiness Find Me? is
a bestseller that has been translated into many languages.
Peter Fischli (born 1952 in Zurich, Switzerland). From 1979 onwards he
created works, together with his partner David Weiss, who died in
2012, that are regarded as masterpieces of 20th century art. The pair
of artists represented Switzerland at the Biennale di Venezia 1995
and in 2003 received the Golden Lion for their presentation Questions
(1981–2002). In addition, Fischli/Weiss participated in documenta 8
(1987) and 10 (1997). Their 1996 retrospective In a Restless World was
organized by the Walker Art Center, travelling to San Francisco,
Philadelphia, and Boston. In 2006 Tate Modern, London, presented
a further retrospective titled Flowers and Questions that was also
shown at Kunsthaus Zürich and Deichtorhallen, Hamburg.
Fischli/Weiss participated in the Biennale Architettura di Venezia
2012, the Biennale di Venezia 2013, and exhibited at the Art Institute
of Chicago (2011) as well as at the Serpentine Gallery in London (2013).
In 2016 the Guggenheim Museum, New York, presented the third
retrospective Peter Fischli David Weiss: How to Work Better, which
was also shown at Museo Jumex in Mexico City. Peter Fischli lives and
works in Zurich, his most recent projects include exhibitions in Aspen,
Colorado, the Museum of Modern Art in New York, and Fondazione
Prada, Venice.
KUB 2020.02Peter Fischli25 | 04 — 05 | 07 | 2020
Fischli/WeissRock on Top of
Another Rock,
2013
Portrait and
installation
view
Serpentine
Gallery,
London, 2012
Photo: Morley
von Sternberg
© Peter Fischli,
David Weiss
Peter FischliWork, Summer 2018,
2018
Video stills
© Peter Fischli
Peter Fischli, who recently exhibited sculptures at the Museum of
Modern Art in New York, is presenting new works in Bregenz, some
of which are being especially developed for the Kunsthaus. They
include a video which explores the work of leisure, reliefs made
from synthetic foam, cardboard imitations of objects relating to the
packaging industry, and large-format photographs of acts of micro-
vandalism in public spaces.
Fischli’s works are always characterized by precise obser-
vation, cunning criticism, and mischievous mimicry.
Fischli/WeissHow to Work
Better, 1991
Presented by
Public Art Fund
On view at
Houston and Mott
Street NYC,
February — May
2016
Photo: Jason Wyche
Courtesy of the
artist, Matthew
Marks Gallery and
Public Art Fund, NY
© Peter Fischli
David Weiss
Anri Sala addresses the interplay of sound and moving image, of the
aural and visual. His preferred medium of expression is film. In
contrast to conventional cinema, however, there is no narrative or
actors, rather his scripts develop from attentive listening. The filmic
originates from the musical and not, as usual, vice versa, enabling
Sala to generate an intense acoustic attentiveness in his audience.
If and Only If (2018), one of his most striking works, documents
a snail creeping along the bow of a viola while an elegy by Igor
Stravinsky is played. The snail determines the tempo, the viola
player slows down and accelerates their playing in accordance with
the movement of the snail. It is the activity of the animal that defines
both the music and its perception.
KUB 2020.03Anri Sala18 | 07 — 11 | 10 | 2020
Anri SalaThe Last Resort,
2017
42-channel
sound installa-
tion including
38 altered snare
drums, loud-
speaker parts,
snare stands,
drumsticks,
soundtrack and
4 speakers
58.28 min.,
850 cm in
diameter
Photo: Peter
Greig
Courtesy of the
artist, Marian
Goodman Gallery,
New York | Paris |
London and
Esther Schipper,
Berlin
© Anri Sala
Anri Sala (born 1974 in Tirana, Albania) studied in Tirana, Paris, and
Tourcoing. He has been the recipient of many awards, including the
Vincent Award (2014) and the Silver Lion at the Biennale di Venezia
(2001). As the recipient of the 10th Benesse Prize (2013) Sala devel-
oped the long-term project All of a Tremble in situ on the island of
Teshima in Japan.
He has participated in numerous group exhibitions and biennials,
such as the 12th Havana Biennial (2015), as the representative of
France at the 55th Biennale di Venezia (2013), the 9th Gwangju
Biennale (2012), dOCUMENTA (13) (2012), the 29th São Paulo Biennial
(2010), and the 2nd Moscow Biennale of Contemporary Art (2007).
As early as 2003 he was participating in the group exhibition Remind...
at Kunsthaus Bregenz. He has had solo exhibitions at the Fundación
JUMEX, Mexico City (2017); New Museum, New York (2016); Haus der
Kunst, Munich (2015); Centre Pompidou, Paris (2012); and the Serpen-
tine Gallery, London (2011). Anri Sala lives and works in Berlin.
Anri Sala© Jutta
Benzenberg
Anri SalaAS YOU GO, 2019
13-channel HD
video and
22-channel
discrete sound
installation,
color, 39:24 min.,
Installation
view Castello
di Rivoli, 2019
Photo: Antonio
Maniscalco
Courtesy of
the artist
© Anri Sala
The function of instruments is frequently the focus of Sala’s work.
For example, he lets a group of snare drums perform, but without
any percussionists. Instead, the self-playing instruments hang from
the ceiling like whimsically mobile stalactites. Other works involve
rollers for vintage wallpaper, which he employs as a hurdy-gurdy.
The exhibition space is also an integral part of Sala’s consider-
ations. It possesses perceptual conditions differing from those that
prevail in a concert hall. A further aspect is the perspective of film,
Sala makes use of close-ups and moving elements such as the chore-
ography of musical performance. Kunsthaus Bregenz with its auratic
presence and particular acoustics offers a perfect environment for
Anri Sala’s art.
KUB 2020 Program24 25
In the exhibition I am Gong, for example, shown at Kunsthalle Basel
in the summer of 2019, she created a homeorhetic system which
transmitted the activities from renovations of a 19th century concert
hall that had been constructed by the same architect as the Kunsthalle
into shifting sculptural forms. A resonance was established between
the two buildings in which the activity and labor occurring in the
concert hall were pulsed through an electric umbilical cord to the
museum, shifting a soundscape that could be heard from beyond the
walls and flooring of the building. The noise from next door further
polluted the exhibition with cinematic ash that fell over historic
KUB 2020.04Dora Budor24 | 10 | 2020 — 10 | 01 | 2021
Dora Budor develops her works as systems occurring within and from
site-specific observations. Attending to the given architectural
conditions, the works often adapt cinematic cues to augment experi-
ences of the space. Budor locates and releases synergetic relation-
ships between human and non-human agents, realizing each visit to
the exhibition as temporally sensitized.
Dora BudorThe Preserving
Machine,
2018 — 2019
Installation
view I am Gong,
Kunsthalle Basel,
2019
Dimensions
variable,
enclosure height:
310 cm, robot:
34 × 14 × 8 cm
Photo: Philipp
Hänger/Kunst-
halle Basel
Courtesy of
the artist
© Dora Budor
KUB 2020 Program26 27
modular seating slowly composing a new terrain of accumulated
noise, while a series of environmental chambers enclosed atmos-
pheres of pigments reminiscent of hues of JMW Turner paintings. In
the last and probably most striking space, a viewing mechanism was
constructed from tarpaulin, illuminated in intense yellow. Inside,
above a landscape populated by detritus and architectural elements
from the nearby building, a biomimetic bird flew. Its movement
vector was directed by a translation of Beethoven’s 9 Symphony,
which — as on many other occasions — was played at the opening of
the historic building.
The austerely minimal architecture of Kunsthaus Bregenz,
with its unique repetition and atmosphere is an ideal site for a
continued adaptation of Budor’s cinema inspired thinking.
Dora Budor (born 1984, in Zagreb, Croatia) studied architecture and
design at the University of Zagreb as well as visual art at Columbia
University School of the Arts in New York.
Her most recent solo exhibitions include ones at Kunsthalle
Basel (2019) and 80WSE, New York (2018), Ramiken Crucible, New York
(2016), and Swiss Institute, New York (2015). Her work has been pre-
sented in numerous group exhibitions including ones at the Whitney
Museum of American Art, New York; Louisiana Museum of Modern Art
in Humlebæk; Palais de Tokyo, Paris; Museum Fridericianum, Kassel;
the David Roberts Art Foundation, London; Kunsthaus Biel; La Panacee
Montpellier; Halle für Kunst und Medien, Graz; MOCA Belgrade; the
K11 Art Foundation, Hong Kong; as well as the 9th Berlin Biennale; the
Vienna Biennale, Art Encounters 2017; the 13th Baltic Triennial; and
the 16th Istanbul Biennale.
In 2014 Budor was awarded the Emerging Artist Grant from the
Rema Hort Mann Foundation, the Pollock-Krasner Foundation Grant
in 2018, and a renowned Guggenheim Fellowship in 2019. She lives and
works in New York.
Dora Budor, 2019
Photo: Miro
Kuzmanovic
Dora BudorThe Year without
a Summer (Klug’s
Field), 2019.
Installation
view I am Gong,
Kunsthalle
Basel, 2019
Dimensions
variable
Environment with
5 Terrazza DS-1025
seating elements
(designed by
Ubald Klug in 1973,
produced by De
Sede, Switzerland),
4 ash dispersing
machines with
reactive electronic
system, special
effect ash, light
scenario
Photo: Philipp
Hänger/Kunst -
halle Basel
Courtesy of
the artist
© Dora Budor
KUB 2020 Program28 29
Thomas König and his late wife Erika Lebschik collected original
prints by international artists for almost forty years. Born in
Vorarlberg and long-time resident of Vienna, the collector maintains
good contacts with both galleries and artists. The couple’s extensive
collection covers the entire range of printmaking, from woodcuts,
silkscreen prints, etchings, and lithographs, via artist portfolios and
posters, to books with limited edition prints. One of the focuses of
the collection is on international and Austrian contemporary art and
their pioneering names, including such well-known artists as Pierre
Alechinsky, Iris Andraschek, Karel Appel, Max Bill, Alexander Calder,
Eduardo Chillida, Gunter Damisch, Martin Disler, VALIE EXPORT,
Bruno Gironcoli, Franz Graf, Martha Jungwirth, Maria Lassnig, Joan
Miró, Arnulf Rainer, Günther Selichar, Daniel Spoerri, Mark Toberg,
Günther Uecker, Antoni Tàpies, and Franz West. The approximately
3,000 objects are now being presented as a gift to Kunsthaus Bregenz.
The König-Lebschik Collection is being exhibited in the summer
2020 at the KUB Collection Showcase in the Old Post Office building.
KUB 2020Sammlung König-Lebschik KUB Collection Showcase27 | 06 — 31 | 08 | 2020
Original prints of
the König-Lebschik
Collection
A comprehensive summer program is in planning for 2020. Once
again, Karl-Tizian-Platz will be transformed into an open-air cinema,
screening the favorite films of the artists exhibiting during 2020.
What cinematic worlds have inspired Bunny Rogers? Is Peter Fischli
a cinephile? And which film is Anri Sala going to recommend? What
is Dora Budor’s relation to this medium?
The KUB Open Air Cinema will enrich urban life in Bregenz
once again in the summer of 2020 with an artist inspired line-up —
let the film roll!
KUB 2020KUB Summer — Open Air Cinema
Kunsthaus
Bregenz 2019
Photo: Miro
Kuzmanovic
KUB 2020 Program32 33
The billboards along Bregenz’s Seestrasse, the town’s busiest
thoroughfare, are a fixture of Kunsthaus Bregenz’s program.
They extend the exhibitions taking place at KUB into public space.
In 2020 billboards by Bunny Rogers, Peter Fischli, Anri Sala, and
Dora Budor will relate to their exhibitions in Kunsthaus Bregenz.
KUB 2020Billboards
KUB Billboards, 2019
Ed Atkins Outsides
Photo: Markus Tretter
© Ed Atkins,
Kunsthaus Bregenz
KUB 2019 Review of the Year
Thomas SchütteDrittes Tier, 2017
Installation view
Karl-Tizian-Platz,
Bregenz
Photo: Markus
Tretter
Courtesy of
the artist
© Thomas Schütte,
Kunsthaus Bregenz
At the end of April, Kunsthaus Bregenz honored Tone Fink, an
important Vorarlberg artist. On the occasion of his 75th birthday,
an evening event took place at KUB, where more than 250 guests
celebrated the artist and the world premiere of his performance
erFAHRbar.
The 2019 summer exhibition was dedicated to the German
sculptor Thomas Schütte. The wide-ranging work of the artist who
has participated in numerous editions of documenta encountered
enormous public interest. The three large sculptures in public space,
in front of KUB, proved to be an attraction for both young and old.
More than 23,300 people visited the exhibition. The next opportu-
nity to admire the works of the German sculptor will be in New York
where the Museum of Modern Art is hosting a retrospective in 2021.
The free short guided tours by KUB staff members during the
festival season were also enthusiastically received in 2019. Various
communication activities accompanied the summer activities, such
as the especially produced KUB rain ponchos, which rapidly sold out
due to their popularity, and the KUB postcards, which were distributed
by teenagers in the town.
2019 was an exciting year, alternating between exhibitions encom-
passing diverse artistic media represented by prominent practi-
tioners respectively, video works were on view as was painting,
followed by drawing, sculpture, and installation.
The year began with Ed Atkins, one of the most significant artists
working in post-Internet art. More than 8,300 visitors saw the
striking works by the British artist. Especially younger visitors were
fascinated by works such as Old Food, which was subsequently
presented at the Venice Biennale. For Miriam Cahn’s 70th birthday,
Kunsthaus Bregenz presented the first institutional solo exhibition
in Austria by this major Swiss artist. Around 12,000 people saw
the luminously colored paintings and the drawings in DAS GENAUE
HINSCHAUEN — the title of the exhibition.
KUB 2019 Review of the Year
Artists’ talk with
Miriam Cahn and
Peter Zumthor, 2019
Photo: Miro Kuz-
manovic
KUB38 39 Review of the Year 2019
Since October 19, KUB has been exhibiting the work of the 31-year-
old German artist Raphaela Vogel. Her most recent work as well as
ones especially developed for Kunsthaus Bregenz will be on show
until January 2020.
The 2019 KUB summer program included open air cinema and
concerts on Karl-Tizian-Platz, enhancing urban life during July and
August. Under the motto “Artists’ Choice” the favorite films of the
artists exhibiting during 2019 were shown on the large-scale screen.
Cocktails and snacks from the KUB Café Bar made the open-air cin-
ema very popular. The open-air summer culminated with perfor-
mances on the open-air stage in front of KUB by the Austrian indie-
tronic musician B. Fleischmann and his band, and the Munich-based
ensemble Pollyester.
A wide-ranging outreach program, including guided tours as
well as workshops for all ages and film screenings, offers an oppor-
tunity to explore the content of contemporary art production at
various levels. By the end of 2019, around 370 guided tours for
adults, 225 events for children and adolescents, and over 100 other
events will have taken place.
Scholarly publications and limited editions designed in close
collaboration with the artists completed the range of Kunsthaus
Bregenz’ activities. Worldwide distribution, supported by a well-re-
ceived online store, reinforces the international positioning of the
institution.
By the end of the year, about 53,500 visitors will have seen the
exhibitions at KUB in 2019. The contribution by the Federal State of
Vorarlberg for the year 2019 was € 2.8 million; KUB generated € 0.9
million of its own revenue, a sum corresponding to more than 24
percent of the total budget. Funds from the central government for
the purchase of art contributed € 36,500 in 2019.
The 2019 KUB Year in Figures
Total number of visitors approx. 53,500 2019 (estimated)
48,310 2018
77,237 2017
37,661 2016
visitors 8,308 Ed Atkins
11,934 Miriam Cahn
23,313 Thomas Schütte
approx. 10,000 Raphaela Vogel (estimated)
369 guided tours for adults (estimated)
255 activities for children and adolescents (estimated)
102 a total of 102 further events
€ 2,804,000.00 the Federal State’s contribution in 2019 (approx. 75.7 %)
€ 900,000.00 the institution’s own revenues in 2019 (approx. 24.3 %)
€ 36,500.00 funds from the central government for the purchase of art
in 2019 amounted to
27.3 fulltime equivalent staff
approx.
KUB40 41 Review of the Year 2019
KUB’s exhibitions during 2019 were extensively and positively
discussed by regional and international news agencies, print and
online media, as well as by radio and TV stations.
Such local media as ORF, Vorarlberger Nachrichten, NEUE
Vorarlberger Tageszeitung, Kultur, WANN & WO, and Blättle regu-
larly reported on the KUB program.
KUB 2019Press Reports
At the beginning of the year Ed Atkins disturbing digital worlds were
being frequently and controversially discussed in the press. “Tears
of gelatin — is it possible to feel any sympathy at all?” asked the
Südkurier, and Lisa Kammann confirmed in the NEUE Vorarlberger
Tageszeitung: “In this exhibition the human is being expressed
by the nonhuman in a sophisticated manner.” The Badische Zeitung
praised KUB as “the perfect setting for this ingenious laboratory
of cyber-existentialism.” Numerous radio and TV stations such as Ö1,
ORF, SWR, and 3sat broadcast reports. Under the title Mein anderes
Ich, the magazine WANN & Wo ran an art competition to accompany
the Ed Atkins’ exhibition which was enthusiastically received by the
younger readership and was accompanied by on-going coverage.
Even before the opening of Miriam Cahn’s exhibition DAS
GENAUE HINSCHAUEN, the TV station BR was broadcasting a compre-
hensive preview of the exhibition on its Capriccio program. Such
international media as Vogue, ARD, Frankfurter Allgemeine Sonn
tagszeitung, and Bolero also covered the exhibition. Interviews and
reviews in such major Austrian newspapers as Die Presse, Der Falter,
Tiroler Tageszeitung, and Vorarlberger Nachrichten fueled the dis-
course surrounding the pugnacious artist. “Serious fare, cleverly
staged,” was how Anne-Katrin Feßler praised the exhibition in Der
Standard. Angelika Drnek from ORIGINAL met Miriam Cahn for an
interview in her studio in Bergell in Switzerland.
The summer exhibition by Thomas Schütte was discussed both
regionally and nationally, including in Die Furche, Der Standard,
Schwäbische Zeitung, Kunstbulletin, and St. Galler Tagblatt, but also
in major German daily newspapers such as Augsburger Allgemeine
Zeitung. The Neue Zürcher Zeitung published a one-page interview
with the German artist. There were numerous radio and TV reports
on ORF, Ö1, 3sat, and SWR. The open-air bronze sculptures around
KUB attracted a lot of attention. “A good decision,” said Christa
Dietrich in the Vorarlberger Nachrichten, because Schütte’s works
“belong among the public,” and APA stated that it was “impressive
and ‘instagramable.’”
Raphaela Vogel also received wide media coverage even before
the opening of her exhibition at KUB. In a TV report for ZDF, the
young artist gave Tocotronic singer Dirk von Lowtzow an insight
into the preparations in her Berlin studio. The regional and German
press both reported in detail. Karl-Heinz Pichler praised Vogel’s
work in Kultur as “one of the most interesting and exciting things to
be seen by a young artist on the international scene in recent years.”
Photo: Miro
Kuzmanovic
KUB42 43 Review of the Year 2019
The success story continues: Kunsthaus Bregenz has been able to
establish itself online in recent years, and digital communication
continues to be an essential medium for the institution. Kunsthaus
Bregenz is in daily contact with visitors, art aficionados, and cultural
institutions from all over the world, using online platforms. Diverse
social media, the website www.kunsthaus-bregenz.at, and the
digital calendar provide the latest information in real time on both
the KUB program and the exhibitions. Media reports and current
news are rapidly republished on Facebook. In addition, users in-
creasingly use the platform as a calendar of events. Looks behind
the scenes strengthen bonds with visitors, whilst prize competitions
encourage interactive participation, and additionally questions can
be answered immediately.
Instagram is the most important social media channel for KUB as an
international institution for contemporary art, enabling contact with
a global audience and cultural institutions worldwide, promoting the
strong visual online presence of Kunsthaus Bregenz. Since joining in
2016, KUB has doubled its number of subscribers annually, and 2019 is
no exception: to date, more than 8,300 people are following Kunsthaus
Bregenz on Instagram. Its success is thanks to a professional mix of
curated images, best-of contributions from such events as exhibition
openings and the KUB Open Air Summer 2019, together with insights
into KUB’s daily operations. Stories enables followers to view con-
certs and the installation of exhibitions live. By participating in
further training and digital fairs such as Interactive West, and the
Kommunikationskongress 2019 in Berlin, we are able to continually
optimize the professional presence of our online environment.
Trailers and statements by the artists are produced for each
of the solo exhibitions, which are accessible via the website and all
social media channels, including YouTube. In addition, Kunsthaus
Bregenz provides online media, as well as radio and TV stations with
comprehensive audio and video material, and also sends out a
popular weekly newsletter to around 2,000 current subscribers,
whose number is growing steadily.
KUB 2019Online Media
> 8,400 Subscribers
#kunsthausbregenz
5,800 + contributions under
this hashtag
> 8,500 Subscribers
(double the number in
comparison with 2018)
> 1.000 Contributions
As of October 23, 2019
YouTube
> 204,300 Clicks
Photo: Miro KuzmanovicPhoto: Udo Mittelberger
KUB44 45 Review of the Year 2019
Based on the concepts of the exhibiting artists, the KUB outreach
team continually develops a program customized to the needs of a
wide range of interest groups. The outreach program enables
participants to experience and understand art.
Since the beginning of the year Happy Friday has been held
every first Friday of the month. Admission is free, and a guided tour
is offered twice a day, after which there is an opportunity to ex-
change ideas over a glass of sparkling wine. Another new outreach
format combines art and language. At Art Meets Language, native
English speaker Chris Thomas provides an opportunity for partici-
pants to refresh their English language skills. For every exhibition a
free guide is provided for children, who communicates the works of
art in a playful way, encouraging smaller visitors to become creative
themselves. In addition, the KUB outreach team accompanying
films for each exhibition, providing in-depth interviews concerning
the content that the respective artists are addressing.
KUB 2019Outreach & Events
Photos: Deutsche
Kinemathek
(top row right)
Miro Kuzmanovic
(2. and 3. row right)
Rudolf Sagmeister
(bottom row left)
The exhibition Ed Atkins focused on emotions and digital worlds;
whilst psychiatrist Albert Lingg spoke in a lecture about the sub-
conscious, Lenka Radecky, the head of the costume department at
the Bregenz Festival focused on the haptic in her guided tour. Game
designer Eric Jannot was a guest as part of the OpenIdea series of
lectures (in collaboration with FH Vorarlberg).
Miriam Cahn invited the architect Peter Zumthor to take part
in a much-discussed conversation about architecture and exhibition
formats. At the Easter workshop with artist Bianca Tschaikner,
children were able to try out various printing techniques in the KUB
studio. With regard to Cahn’s socio-critical works, Burcu Dogramaci,
a professor of art history, discussed the theme of flight and exile.
Participants were able to discuss with Hypo prize winner Christine
Lederer her own role as an artist during her guided tour of the
exhibition.
Art historian Dieter Schwarz gave a lecture as part of the
program accompanying Thomas Schütte’s summer exhibition. Children
were able to experiment with clay under the guidance of the artist
Ulli Knall. The groups Dirty Five and Slip and Slide played in the KUB
Café Bar in a tribute to Schütte’s series of watercolors Blues Men. A
highlight was the guided tour around the exhibition followed by an
excursion to the sculpture foundry in Sankt Gallen with founder and
owner Felix Lehner. During the Bregenz Festival in the summer of
2019, the KUB team offered visitors to the KUB summer exhibition
free daily guided tours at 6 pm.
Visitors will have the opportunity to see the current exhibition
by Raphaela Vogel with the artist herself and her royal poodle Rollo,
a day on which all four-legged friends will be welcome in KUB. In
relation to Helke Sander’s short film Nr. 1 — Aus Berichten der Wach
und Patrouillendienste, KUB is showing the film PUSH — das Grundrecht
auf Wohnen in collaboration with vai at Filmforum Bregenz. During
the Advent season, a varied program for the whole family will be
available, based around the Christmas tree on Karl-Tizian-Platz.
At the end of the year we will be celebrating the old and new year at
Gittis KUB Club, including an impressive line-up of DJs.Photo: Miro Kuzmanovic
KUB48 49 Review of the Year 2019
Exclusive special editions for Kunsthaus Bregenz are a result of
close collaboration with artists and their production processes.
Developed together with the artists and from within the context of
their exhibitions, the works are published by KUB as limited editions,
making them particularly attractive to collectors of contemporary
art. In 2019 limited editions are being published to accompany the
exhibitions by Ed Atkins and Thomas Schütte.
For his KUB Edition, Ed Atkins has endowed a computer-generated
object, a jerkin from the video work Old Food, a material form.
Elaborately hand-crafted by seamstress Stephanie Wladika, the
digital template has been transformed into a physical garment.
For his artist’s edition, Thomas Schütte has compiled a port-
folio of eight intaglio prints selected from Blues Men, the series of
watercolor portraits he exhibited at Kunsthaus Bregenz.
KUB 2019Editions
Thomas SchütteBlues Men, 2019
Limited edition
portfolio com-
prising 8 intag-
lio prints
68.5 × 91.5 cm
Limited edition
of 30 copies + 5
A.P., signed and
numbered
€ 8,200 includ-
ing 10% VAT,
excluding ship-
ping, packing
costs, and cus-
tom duties
Ed AtkinsYoung
Doublet, 2019
Limited edition
of 25 copies
+ 5 A.P.
€ 5,800 incl. 10 %
VAT, plus post-
age, packaging,
and customs
duties
Photo: Miro Kuzmanovic
Photos: Luise Heuter
KUB50 51 Review of the Year 2019
Kunsthaus Bregenz publishes catalogues in close collaboration with
the artists as well as renowned graphic designers. The graphic design
of the catalogues accompanying the exhibitions reflects both the
subject matter and visual language of the respective artists, so that
each catalogue not only provides documentation, but also becomes
part of the work and an extension of the exhibition. Conceived to be
bilingual, the publications are intended for sale at KUB as well as for
worldwide distribution.
Thomas SchütteEdited by Thomas
D. Trummer, published
by Kunsthaus Bregenz
Essays by Thomas
D. Trummer, Dieter
Schwarz, and Julia
Wallner
Graphic design:
Peter Nils Dorén
German | English
Hardcover, 23.5 × 29
cm, 184 pages
Date of publication:
October 2019
Price: € 42
Ed AtkinsEdited by Thomas
D. Trummer, published
by Kunsthaus Bregenz
Essays by Thomas
D. Trummer, Thomas
Oberender, and
Steven Zultanski
Graphic design:
HIT Studio
German | English
Softcover, 13 × 16.5 cm,
approx. 480 pages
Date of publication:
November 2019
Price: € 42
Raphaela VogelBellend bin ich
aufgewacht
Edited by Thomas
D. Trummer, published
by Kunsthaus Bregenz
Essays by Thomas
D. Trummer, Oriane
Durand, Vera Palme,
Rudolf Sagmeister
and Paul Sochacki
Graphic design:
Studio Marie Lusa
German | English
Softcover,
approx. 20.5 × 27.5 cm,
approx. 224 pages
Date of publication:
December 2019
Price: € 42
The exhibition catalogue Miriam Cahn — DAS GENAUE HINSCHAUEN
was designed in close collaboration with the artist. Her works, which
address issues of violence and love, displacement, as well as the
relation between humankind and nature in expressive forms and
luminous colors, are discussed in knowledgeable essays.
The wide-ranging work of sculptor Thomas Schütte, which
encompasses bronze sculptures, architectural models, as well as
Woodcuts, and watercolors, is documented in generously sized
installation views. The catalogue’s essays expound on the philo-
sophical and art historical aspects of his work.
The fourth publication of 2019 looks at the poetic and apocalyp-
tic installations of Raphaela Vogel that combine associative objects
with video and audio.
The catalogue for the exhibition by Ed Atkins impressively
reflects the atmospheric presence of his works.
In 2020, catalogues will be published for the exhibitions by
Bunny Rogers, Peter Fischli, Anri Sala, and Dora Budor.
KUB 2019Publications
Miriam CahnDAS GENAUE HIN
SCHAUEN
Edited by Thomas D.
Trummer, published
by Kunsthaus Bregenz
Essays by Thomas
D. Trummer, Burcu
Dogramaci, Kerstin
Thomas and Nina
Schedlmayer,
Graphic design:
Dagmar Reiche
German | English
Gatefold softcover,
21 × 28 cm, 224 pages
Date of publication:
July 2019
Price: € 42
KUB 2019KUB Billboards
KUB Billboards 2019
during the seasons
Photos: Markus Tretter
KUB54 55 Review of the Year 2019
The KUB Open Air Cinema took place on Karl-Tizian-Platz during the
summer months. The favorite films of the artists exhibiting during
2019 were shown on a large outdoor screen.
Perfect summer weather and cocktails from the KUB Café Bar
accompanied Adriano Celentano’s Joan Lui (1985), the opening film
of the season. Celentano attempts to transform the world, as a mod-
ern Messiah, with art and dance in his self-directed film — providing
inspiration for the artist Raphaela Vogel. Miriam Cahn selected Blue
Steel (1990, Kathryn Bigelow) and Sans toit ni loi (1985, Agnès Varda),
two classic films with and by emancipated women.
The imaginative stop-motion filming of Alice (1988, Jan Švankmajer)
enabled the audience to experience the inspiration for Ed Atkin’s
video art. Cooler temperatures did not discourage the audience from
seeing the evening-length Tarkovsky classic Stalker (1979).
The summer program culminated with two bands playing the
open-air stage on Karl-Tizian-Platz: the Austrian indietronica musician
B. Fleischmann and his band delighted fans with a mix of indie-pop
and electro. They were followed by the performance artist Polina
Lapkovskaja alias Pollyester’s experimental sounds and extravagant
stage performance who transported the audience to another realm.
KUB 2019Summer ProgramOpen Air Cinema & Concert
Photos: Miro
Kuzmanovic,
Udo Mittelberger
KUB56 57 Review of the Year 2019
Collaboration with companies, institutions, and other cultural bodies
is a crucial opportunity for Kunsthaus Bregenz to collaborate, enter
partnerships, and engage in public discourse. Joint projects with
various partner organizations such as the poolbar Festival, Philo-
sophicum Lech, Kulturabteilung der Landeshauptstadt Bregenz,
Sparkasse 3-Länder-Marathon, and ÖBB were once again very suc-
cessful in 2019.
The Bregenz Festival has been a long-term and important
collaborative partner for KUB. In 2019 the successful Opernatelier
series continued, several Einblicke events provided insights into the
process of creating an opera, including concerts, lectures, and read-
ings at Kunsthaus Bregenz. For the current project, the composer
Alexander Moosbrugger is collaborating with the visual artist Flaka
Haliti. The world premiere of the resulting opera Wind will take
place during the Bregenz Festival 2020.
In 2019, for the third time, there was a collaboration with
Philosophicum Lech under the title Philosophieren im KUB — philoso-
pher Wolfgang Müller-Funk and KUB Director Thomas D. Trummer
met at Kunsthaus Bregenz for a public talk and an interactive guided
tour. In addition, Thomas D. Trummer led many interested participants
through James Turrell’s Skyspace during the event in Lech.
In 2019 Kunsthaus Bregenz collaborated with the Kulturamt
der Landeshauptstadt Bregenz and Tanzfestival Bregenzer Frühling
for the second time. Within the framework of Bregenzer Frühling
2019, KUB and Landeshauptstadt Bregenz jointly presented the
premiere of Mystory: An Unapologetic Body by choreograph and
dancer Francesca Harper. On two evenings at KUB, the US-American
translated her personal experiences into the medium of dance, in
an interplay with the works on exhibition by Miriam Cahn.
KUB 2019Collaborating Partners
Alpenregion Bludenz Tourismus
Art Bodensee
BodenseeErlebniskarte
Bodensee-Schiffsbetriebe
Bodensee-Vorarlberg Tourismus
Bregenzer Festspiele
Bregenz Tourismus & Stadtmarketing
Familien-Freizeit
Filmforum Bregenz
Hugo Boss
Hunger auf Kunst & Kultur
Johanniterkirche Feldkirch
Kongress Kultur Bregenz
Kunstmuseum St. Gallen (Kulturachse),
Kunstmuseum Liechtenstein (Kulturachse)
Kronen Zeitung
Bündner Kunstmuseum Chur (Kulturachse)
Landeshauptstadt Bregenz
Montafoner Gästekarte
ÖBB Rail Tours
ORF-Lange Nacht der Museen
Ö1 Club
Pfänderbahn
Philosophicum Lech
poolbar Festival
POTENTIALe Feldkirch
Sparkasse 3-Länder-Marathon
Verkehrsverbund Vorarlberg
Vorarlberger Landesbibliothek
Vorarlberg Lines Bodenseeschifffahrt
vorarlberg museum
Vorarlberger Kulturservice
Vorarlberg Tourismus
Werkraum Bregenzerwald
Universität Konstanz
Numerous collaborating partners contribute to the success of Kunsthaus Bregenz
through their commitment:
Concert at KUB, 2019
Photo: Dietmar Matthis
© Bregenzer Festspiele
KUB58 59 Review of the Year 2019
In 2019 the KUB Collection was expanded by the acquisition of works
by three young Austrian artists and the artists’ group DIE DAMEN.
Maria Anwander (*1980, Bregenz)
My Most Favourite Art is collage of one hundred exhibition labels
collected by Maria Anwander, which she expropriated from various
museums and galleries between 2004 and 2019. The installation,
which she herself describes as her most personal work, involves
pieces of art that have shaped Anwander’s own artistic career.
KUB 2019Acquisitions
Cäcilia Brown (*1983, Sens, Frankreich)
Brown examines aspects of sculpture, especially issues of
tension and gravity. In Zahnfee a sculptural form hangs from a
thin metal pipe.
Angelika Loderer (*1984, Feldbach)
For Untitled (LZZZV) Angelika Loderer used variously colored sand,
which was pressed into a form. The artist calls this type of image-
making “media-reflexive,” because the materials become part of the
compositional process.
DIE DAMENONA B., Evelyne Egerer, Birgit Jürgenssen, Ingeborg Strobl, and Lawrence Weiner
DIE DAMEN, a group comprising Vienna-based female artists and a
New York-based male artist, humorously examine the role-specific
behavior of genders and the status of women in their performances,
videos, photographs, and objects.
During a public
discussion
with Thomas
D. Trummer at
Art Bodensee
in July 2019,
Cäcilia Brown
combined pho-
tography with
sculptural work
by adhering
photographs of
architecture to
white panels —
a sculpture of
association and
research.
Cäcilia Brown Über die Allianz von
Halterungen, 2017
Collage compiled
from discussions
with Hannes Heel,
Noële Ody, Eva
Seiler, Johanna Tinzl
Screen print on C print
44.5 × 43.5 cm
Screen print on wood
126 × 94 cm
Cäcilia Brown Zahnfee, 2017
From the series
Leichte Mädchen
Wax, wire rope,
concrete, lacquered
steel pipe
219 × 49 × 279 cm
Maria Anwander My Most Favourite
Art, 2004 — 2019
100 exhibition la-
bels, dimensions
variable
Angelika Loderer Untitled (LZZZV),
2019, Sand
145 × 66 × 10 cm
Angelika Loderer Untitled (Wood
pecker III), 2013
Patinated bronze
55 × 30 × 30 cm
Limited edition of
3 + 1 AP
DIE DAMENVarious works and
documents from the
oeuvre of the artists’
group
KUB60 61 Review of the Year 2019
How did the Statue of Liberty arrive at Kunsthaus Bregenz? How
are enormously heavy bronze sculptures moved into and out of
the exhibition spaces? And how are giant wafer-thin parchment
drawings suspended freely from the ceiling? The KUB technical team
around Markus Tembl masters such challenges and many more
during the installation of each exhibition that frequently takes less
than two weeks.
Endless meters of fabric, hundreds of costumes from the
Vorarlberger Landestheater and the Bregenz Festival were part of
the spectacular exhibition by Ed Atkins. Following the successful
exhibition at KUB, his striking work Old Food then traveled to Venice
for the 58th Biennale di Venezia, accompanied by experts from
Vorarlberg’s cultural institutions.
Miriam Cahn demanded special sensitivity during the installa-
tion of her exhibition DAS GENAUE HINSCHAUEN. For the Swiss artist
the hanging of the works is an essential element of her practice.
Supported by the KUB team, she positioned her drawings and paint-
ings personally by hand on the concrete walls. This proved to be
no easy task, as she recounted to KUB architect Peter Zumthor during
a public artist’s talk in a packed foyer.
The summer exhibition by Thomas Schütte called for entirely
different solutions: even before the opening, the sculpture Drittes
Tier, located immediately in front of KUB’s entrance, became an
attraction and irresistible opportunity for snapshots for both young
and old. The steam spewing from the two-ton bronze dragon required
the technical team to lay piping under the asphalt. At intervals of 30
seconds it snorted a total of 9 liters of water per day through his
nostrils. And the three Männer im Wind sculptures on the third floor,
each weighing 1.5-tons, likewise demanded a great deal of resource-
fulness from the KUB technicians: the 3.5-meter colossi could only
be placed upright using pullies and muscle power.
The success of the 2019 exhibition year was in no small part
dependent on technical know-how, a sensitive approach, and
well-established collaboration with regional and international
partners, as well as the commitment of the entire KUB team.
KUB 2019Behind the Scenes
Photo top left and bottom:
Rudolf Sagmeister
With its iconic architecture and ambitious exhibition program, KUB
is one of the world’s most renowned exhibition venues for contem-
porary art. Convinced of its outstanding value, the Society of Friends
of Kunsthaus Bregenz are greatly committed to supporting KUB with
ideas as well as financially.
The society can currently count approximately 1,200 people
amongst its members. They are able to enjoy exclusive events such
as guided tours by the director, Meet & Greet the Artist gatherings,
lectures, and professionally guided art excursions.
KUB is an educational institution, an experiential space, a place
for discussions and leisure time, appealing to all ages and social
classes. The institution’s innovative outreach and communication
projects promote discourse. The Friends’ membership fees provide
substantial support for such efforts. Consequently, in 2019, the
society was able to fund the outreach films accompanying the solo
exhibitions, the KUB ArtClass, holiday workshops over several days
for children, and the KUB Open Air Summer Program.
The excursion program for 2019 received a great deal of interest.
In June there was a trip lasting several days to Antwerp. There were
also one-day trips to Lech (James Turrell’s Skyspace), to private
collections in Reutlingen/Sindelfingen, and also to Stuttgart (100 jahre
bauhaus: Das Jubiläum).
The Rhine Valley Cultural Axis, a collaboration between KUB,
Kunstmuseum St. Gallen, Kunstmuseum Liechtenstein, and Bündner
Kunstmuseum Chur is to be extended and strengthen in the future by
the respective societies of friends. A beginning was made by joint
guided tours for the societies of friends at this year’s Art Bodensee fair.
The Society of Friends of Kunsthaus Bregenz is delighted that
Thomas D. Trummer has been confirmed as the director of KUB for a
further five years, and looks forward to its continuing work with the
entire KUB Team.
KUB 2019The Society of Friends of Kunsthaus Bregenz
Photo: Miro
Kuzmanovic
KUB64 65 Review of the Year 2019
The exhibition program at Kunsthaus Bregenz is made possible not
least by the generous commitment of our sponsors. In return, our
business partners benefit from collaborating with KUB’s team of
professionals. The ambitious exhibition and accompanying program
creates new horizons, encounters with international contemporary
art promote openness, enabling thinking beyond everyday patterns.
Hypo Vorarlberg and illwerke vkw AG are both long-term
sponsors of KUB. They make a significant contribution to the funding
of the major exhibitions. The Zumtobel company has also been
supporting Kunsthaus Bregenz continuously for many years and is
an indispensable partner, especially in implementing projects em-
ploying light. In 2019 the exhibition Ed Atkins was supported by the
Volkart Stiftung, phileas — A Fund for Contemporary Art, and the
British Embassy, whilst Miriam Cahn — DAS GENAUE HINSCHAUEN was
supported by the cultural foundation Pro Helvetia and Ars Rhenia
foundation. The exhibition Thomas Schütte received generous dona-
tions from the Art Mentor Foundation Lucerne as well as from UNIQA.
We would like to thank all our partners for their continuing loyalty!
KUB 2019 Sponsors and Patrons
Principle sponsor
of Kunsthaus Bregenz
With kind
support from
Partner 2019
Partners
KUB 2020 Program66 67
Kunsthaus BregenzKarl-Tizian-Platz | 6900 Bregenz | Österreich
Phone +43-5574-485 94-0 | [email protected]
www.kunsthaus-bregenz.at | #kunsthausbregenz
Hours 2020Tuesday to Sunday 10 am — 6 pm | Thursday 10 am — 8 pm
July 18 to August 31 daily 10 am — 8 pm
Ticket office ext. -433
Admission 2020Standard € 11 | Concessions € 9 | 20 to 27 years € 7 | Free admission
for children and adolescents up to 19 years old
Combined ticket KUB and vorarlberg museum € 17 |
Concessions € 14 | 20 to 27 years € 12 | Kulturhäuser Card € 99
Free admission every first Friday of the month
© Kunsthaus Bregenz
All images if not otherwise stated: Kunsthaus Bregenz
Photo:
Markus Tretter
Photos first
and last page:
Miro Kuzmnanovic,
Kunsthaus Bregenz