Flirting With Strangers: Encounters with Works from the Collection
Why not, for once, look at a collection as a fabric of relationships among things and their encounters? And as an opportunity that, as Baudrillard put it, might establish an 鈥榚veryday prose of objects, [鈥 a triumphant unconscious discourse鈥? Picking up on this idea, Flirting with Strangers, the autumn exhibition on the ground floor of the 21er Haus, stages an exciting, playful, and sometimes also unexpected encounter of works from the collection. Is it necessary to have many things in common to 鈥渟trike up a conversation鈥, or is it rather individual peculiarities that will ignite a spark?
Works of art are objects to which a particularly high degree of individuality is ascribed: none exactly resembles the other, and they are characterised by their uniqueness. This is why they are usually also considered worth collecting. Once chosen, they become one among many, which is one of the paradoxes inherent to collecting of comparing what is incomparable. Museum collections are generally associated with the systematisation of objects according to scientific categories and art historical classification criteria that are apt to establish connections, make sense, and, as powerful entities of interpretation, produce authoritative knowledge. And exhibitions are, after all, organisations and arrangements of knowledge, which, however, also have the potential to conceive alternative interpretations and that enable actualisation.
Central tasks of the 21er Haus comprise collecting, preserving, studying, and not least exhibiting contemporary Austrian art in an international context. Flirting with Strangers presents works by more than one hundred artists in a show that seeks to rethink the format of a collection exhibition: it deliberately unfolds along achronological lines and independent of the history of styles while occasionally emphasising seemingly negligible aspects or similarities that might be far fetched 鈥 with the intention to sharpen our focus on detail and the individual piece and at the same time to propose possible unexpected relationships among things.
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Why not, for once, look at a collection as a fabric of relationships among things and their encounters? And as an opportunity that, as Baudrillard put it, might establish an 鈥榚veryday prose of objects, [鈥 a triumphant unconscious discourse鈥? Picking up on this idea, Flirting with Strangers, the autumn exhibition on the ground floor of the 21er Haus, stages an exciting, playful, and sometimes also unexpected encounter of works from the collection. Is it necessary to have many things in common to 鈥渟trike up a conversation鈥, or is it rather individual peculiarities that will ignite a spark?
Works of art are objects to which a particularly high degree of individuality is ascribed: none exactly resembles the other, and they are characterised by their uniqueness. This is why they are usually also considered worth collecting. Once chosen, they become one among many, which is one of the paradoxes inherent to collecting of comparing what is incomparable. Museum collections are generally associated with the systematisation of objects according to scientific categories and art historical classification criteria that are apt to establish connections, make sense, and, as powerful entities of interpretation, produce authoritative knowledge. And exhibitions are, after all, organisations and arrangements of knowledge, which, however, also have the potential to conceive alternative interpretations and that enable actualisation.
Central tasks of the 21er Haus comprise collecting, preserving, studying, and not least exhibiting contemporary Austrian art in an international context. Flirting with Strangers presents works by more than one hundred artists in a show that seeks to rethink the format of a collection exhibition: it deliberately unfolds along achronological lines and independent of the history of styles while occasionally emphasising seemingly negligible aspects or similarities that might be far fetched 鈥 with the intention to sharpen our focus on detail and the individual piece and at the same time to propose possible unexpected relationships among things.
Artists on show
- Alois Heidel
- Alois Mosbacher
- Angus Fairhurst
- Anita Leisz
- Anja Ronacher
- Anna Jermolaewa
- Anton Romako
- Antonin Prochazka
- Benjamin Hirte
- Bernd Ribbeck
- Bernhard Hosa
- Birgit Jurgenssen
- Bruno Gironcoli
- Cäcilia Brown
- Carl Goebel
- Carl von Merode
- Carola Dertnig
- Christian Hutzinger
- Christian Mayer
- Christian Schwarzwald
- Christine & Irene Hohenbüchler
- Christoph Meier
- Christoph Weber
- Cornelius Kolig
- Damien Hirst
- Dan Graham
- Dorit Margreiter
- Edvard Munch
- Edward Steichen
- Elisabeth Penker
- Elke Krystufek
- Erika Giovanna Klien
- Ernst Juch
- Erwin Wurm
- Esin Turan
- Flora Neuwirth
- Florian Pumhösl
- Franti拧ek Kupka
- Franz Amann
- Franz Barwig
- Franz West
- Gelitin
- Georg Baselitz
- Gerald Domenig
- Gerold Tagwerker
- Gerwald Rockenschaub
- Giulio Paolini
- Hans Kupelwieser
- Heimo Zobernig
- Heinrich Dunst
- Herbert Albrecht
- Herbert Bayer
- Herbert Boeckl
- Jakob Knebl
- Jo Baer
- Johannes Schweiger
- Johannes Vogl
- John Chamberlain
- Josef Dabernig
- Judith Hopf
- Julia Haller
- Kathi Hofer
- Kiki Kogelnik
- Kurt Hüpfner
- Letizia Werth
- Lisa Holzer
- Lisl Ponger
- Lovis Corinth
- Luisa Kasalicky
- Lukás Jasanský
- Lukás Jasansky & Martin Polák
- Maja Vukoje
- Maria Lassnig
- Marko Lulic
- Martin Arnold
- Martin Polák
- Martina Steckholzer
- Matt Mullican
- Michael Kienzer
- Nathalie Koger
- Nick Oberthaler
- Norbertine von Bresslern-Roth
- Oskar Kokoschka
- Oswald Oberhuber
- Otto Zitko
- Peter Kogler
- Plamen Dejanov
- Plamen Dejanov/Swetlana Heger
- Rebecca Warren
- Richard Artschwager
- Robert Gruber
- Roland Goeschl
- Rosemarie Trockel
- Rudolf Polanszky
- Rudolf Stingel
- Salvatore Viviano
- Sarah Lucas
- Sherrie Levine
- Sonia Leimer
- Sue Williams
- Svenja Deininger
- Swetlana Heger
- Thomas Demand
- Thomas Locher
- Tillman Kaiser
- Verena Dengler
- Wally Salner
- Walter Obholzer
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