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Starting from Pulp ́s song we will discuss forms of classism at universities, the artworld, and the everyday. We will structure the seminar in a historical overview of classism embedded in cultural discourse of the last century. Then we will define possibilities to make artwork in relation to classism and its intersectionality, ending up in a public presentation outside the university. Students with personal experience in classism more than welcome!
 

* Pulp. Common People. By Banks / Doyle / Senior / Cocker / Mackey. Different Class. Polygram, Island Records, 1995. CD, LP, MC.

Als Widerstand gegen einen neoliberalen, leistungsorientierten Performance-Begriff problematisieren künstlerische Performances  ihr eigenes Potenzial, indem sie ihre medialen Grenzen hinterfragen und dadurch sichtbar machen. Sie plädieren für Spekulation statt Spektakel, entwickeln Aufmerksamkeit für situative Spannungen zwischen Ethik und Ästhetik, untersuchen Möglichkeitsbedingungen, Orte selbst als Medium zu nützen. Künstlerische Formen wie Situationismus, Aktionismus, Postmodern Dance, Performance Art, zeitgenössischer Tanz denken – in all ihren Differenzen – Kunst in ortsspezifischen Ökonomien.

Refineries, and their petroleum products, saturate the landscape of suburban social reproduction – from gasoline-fired automobility to vinyl-sided homes and petroleum-based food commodities. Just as refineries produced their own set of discrete fractioned products distilled and cracked from crude oil, petroleum products provided the material basis for the appearance of fractionated lives, each tidily contained and controlled within the private spaces of the car, the home and the body.
 

Lifeblood, Matthew T. Huber

Artistic Practice: digital formats 1/2

The city shapes our everyday life. Each person creates an individual knowledge about the city and public space through their own everyday life. This knowledge is influenced by and defined by a variety of factors. Not everyone experiences everyday life in the city in the same way. The right to the city and access to it are distributed differently.

With this series of performances and participatory formats we invite visitors to share knowledge about the city with each other and us, to change and challenge perceptions of space. What role do we play in urban scenography and how can we create spaces together?

Within the context of the course LIVING AND NON-LIVING BODIES* – INTERVENTIONS IN PUBLIC SPACE of JOHANNA TINZL, Department of Site-Specific Art with the curatorial support of CORNELIA OFFERGELD, KÖR Vienna, students confronted the mural and developed artistic contributions which examine the ideological presuppositions, their toxic effects on the present, and the meaningfulness of historical contextualization.

In the early days of the last month of spring, the cherry tree in the garden blossomed, announcing the birth of a child. In the last days of the first month of the summer, the blossoms that had now become red beautiful cherries, spoke about the death of someone who was once full of life.

A collection of watercolor paintings installed with sound

drawn from inner and outer landscapes, both potential and real

abstracted and reduced into some kind of garden 

“Language used in excess, both via the spoken and the written word, has an effect almost like that of memory: something that is triggered despite yourself."

If monuments are public expressions of what societies care to remember, they also have to be understood as evidence to what societies choose to forget. Deadly colonial imperialism and patriarchal power glorified in stone or metal are the memory infrastructure of our cities. Can public space be freed from the violence of monuments? Can a democratic public space become the site for representing monumental worries?  We argue for an activist ethics of im/permanent material articulations, spatial and visual solidarity, shared concerns, and planetary care. 

15 students from the University of Applied Arts Vienna participated in Edith Jeřábková´s course “A View from the Edge of a Pasture - Symposium on (Urban) Pastoralism” (link: http://www.ortsbezogenekunst.at/notes/view/a-view-from-the-edge-of-a-pasture-symposium-on-urban-pastoralism/en).
They joined the project at Bratislava from May 12 until May 15, 2022.

Margot Pilz (*1936 in Haarlem (NL), raised in Indonesia, lives in Vienna) belongs to the very first concept and media artists.

Sara Ghalandari erhält den Vanessa Preger-McGillivray-Preis 2022 der Universität für angewandte Kunst Wien und der Stadt Wien.

Circle as Space wird im Rahmen der Sponsionsfeier am 10. März 2021 gezeigt, wo auch der Vanessa Preger-McGillivray-Preis seiner Preisträgerin übergeben wird.

Gentrifizierung is marching on Gruppe Bussi ditto! Still one step ahead we just moved in to where city development ist planning its next attack on the ornaments of autonomous spaces.
 

We bring the fireworks, you bring the dinosaurs.
 

PS: All the donations at the event will go to an organisation supporting people affected by the war in Ukraine. 
 

PPS: Please be tested as usual. 

Mechtild Widrich joins us as guest professor in the Department of Site-Specific Art for the summer semester 2022.
She will offer the course “Monumental Cares”.

Amidst public debate concerning problematic monuments, we are in urgent need of a geographically broad and historically deep understanding of monuments and memorials. We will look at the complicated relationship between monuments, history, the public, and free speech; the various endeavors by artists and activists to democratize public art, the rise of counter-monuments, living memorials, performance as a site of memory and resistance, as well as various practices of vandalism, parody, and subversion. 

How do we view the city from the pasture and the pasture from the city? What will happen if we blur the borders between them as shepherds do between the states? Where can we find shepherds these days? Do they have answers to our climate troubles? This 3 day symposium of shared knowledge, cinema and music will prepare us for collective imagination about our pastoralist future on the grazelands around the city Bratislava, Slovakia.

The mural »Nobility of Labor« by the artist Franz Kralicek, perhaps realized in collaboration with the artist Elisabeth Benedikt, at the corner of Faulmanngasse/Operngasse in Vienna's 4th district, presumably in 1937 or 1938, is the starting point for my course.

We will build a world. This is very easy: Every story creates a world. This is also very hard: As story-telling, story-believing and story-sharing animals, we are not satisfied with just any other world. We want to collectively imagine stories, maps, figures, gestures, languages, games that help us to think and think with. We say: "We need new stories!" We ask: Why? How? Which ones?

Der Kurs setzt sich mit performativen Formaten auseinander, die unser Zusammenkommen problematisieren und dabei aktuelle ästhetische und politische Diskussionen fokussieren. 
 

Die Studierenden entwickeln einzeln oder in Gruppe eigene Arbeiten – die Präsentations- und Dokumentationsart ist offen. Performative Scores, Skripte, Skizzen, Szenarien etc. werden in der Gruppe besprochen, um dann zu einer Form-Finalisierung beim Angewandte Festival 2022 zu kommen.

Artistic Practice
digital formats 1 / 2

Next entrance exam

 

Online Registration and Submissions
of Application 12.01. - 28.01.2022

Exam week 
21.02. - 25.02.2022

Detail information: click here

"Circle as Space" is an installation made of circular forms, dealing with the perception of the human body in space through the fluid relation between its individual fragments. From the very beginning – even as a fetus in a womb – until the end of our life, we claim space through our growth and existence. According to the circumstances, we expand or contract the physical and the mental space we claim in a room. 

In 2015 Andrea Lüth and Gerald Roßbacher founded the artist-run-space KLUCKYLAND in the 20th district Brigittenau in Vienna. The art space has two glass fronts and is therefore maximally directed outwards. Alongside solo- and group-exhibitions, they organize various events in KLUCKYLAND, which form the basis of the social function of the space.

https://kluckyland.com

We offer you the possibility for a portfolio consultation:

The department's OPEN House will take place on Wednesday, December 15, 2021. Students, lecturers and the team of the department will be at Zoom at 10 am and 4 pm to answer all of your questions concerning our program.

We built this space for us, closed the doors and protected our site with transparency. You can go through without coming, feel without touching, have without taking. Stay for us in self reflection. Share the care of perfectionism, breaks, anxiety, сonfidence, time passing, identity, breeding and disruption.

Image: Andrei Lumpan

At the very core of Nora Turato’s practice is language. In her work she translates information absorbed from her daily intake of articles, conversations, subtitles and advertising slogans into linguistic-visual scripts for videos, installations, artist books, murals and spoken word performances.

Sharing similar biographies in their education both as photographers and artists, Lisa Rastl and Claudia Rohrauer observe aspects of the photographic from within their applied working practice in order to turn them into the motifs of their artistic work. The technical and sociocultural foundations of the medium, but also Rastl and Rohrauers individual and personal working experiences serve as a pool of potential contents and tools to research photography and to photograph research at the same time.

Excursion: October 14, 2021
Visiting the exhibition
„Land, Ownership and Commons“

„A picture held us captive. And we could not get outside it, for it lay in our language and language seemed to repeat it to us inexorably“, wrote the philosopher Ludwig Wittgenstein in his work Philosophical Investigations. This course is dedicated to the „inexorable language“: the private, maybe even secret language - the mother tongue.

Ortsspezifische Performances hinterfragen – im Wiederstand gegen einen neoliberalen performativen Leistungsbegriff – ihr eigenes Potenzial, indem sie ihre medialen Grenzen performativ abschreiten und dadurch sichtbar machen: Spekulation statt Spektakel. Sie entwickeln Aufmerksamkeit für performative Situationen, untersuchen Möglichkeitsbedingungen, Orte selbst als Medium zu nützen. Künstlerische Formen wie Situationismus, Aktionismus, Postmodern Dance, Performance Art, zeitgenössischer Tanz denken – in all ihren Differenzen – Kunst in spezifischen raum-zeitlichen Ökonomien.