Kunsthaus Bregenz

KUB 11 Program 2011 Kunsthaus Bregenz

Kunsthaus Bregenz

“The astonishing beauty of Kunsthaus Bregenz’s architecture seduces even those artists whose primary concern is the addressing of conceptual issues — irrespective of their cultural background.” Yilmaz Dziewior

There is hardly any other institution as remote from art’s capital cities as Kunsthaus Bregenz is, that enjoys such widespread international recognition. This is due not only to Peter Zumthor’s singular architecture but also to its exceptional exhibition program. The distinctive architectural atmosphere of the building repeatedly motivates invited artists to create new site-specific works. In addition to its interdisciplinary and cross-generational agenda, KUB’s activities increasingly distinguish themselves in their openness to non-Western positions. Moreover, the KUB Arena is developing innovative curatorial practices, which in combination with the large-scale exhibitions lends the program a distinctive direction. In conjunction with a wide-ranging educational program comprising guided tours, workshops and film screenings and also studio visits to Vorarlberg architects, issues of contemporary art production are being addressed both in depth and on multiple levels. The scholarly publications as well as limited editions, which accompany the exhibitions, have been developed in close collaboration with the artists, complementing the wide range of Kunsthaus Bregenz’s activities.

Kunsthaus Bregenz Photograph: Weissengruber

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KUB Program 2011

Balance 2010

The Fantasy Realm of Sleeping Beauty “The Fatigue Empire“: Kunsthaus Bregenz exhibits Cosima von Bonin and her unconventional fabric animals “In such focused and simultaneously ‘encyclopedic’ form (...) as here, everything appears new and as if never seen before. Quotes and references to Informal Art, Minimal Art, Monochrome and Color Field Painting as well as other trends line the obstacle course. A fantastic and fanciful Gesamtkunstwerk has been created in Bregenz, which transports the visitor for the duration of their visit to the exhibition into a realm of weightless fantasies, suspending habitual everyday perceptions of the real.” Hans-Dieter Fronz Badische Zeitung, September 14, 2010

Key Statistics 2010 Visitors to KUB 2010: estimated approx. 48,000 Visitors at the opening of Horizon Field: approx. 1,700 In total approx. 50,000 plus thousands of visitors to Horizon Field (not counted) Funding from the State of Vorarlberg: € 1,999,000,– (64.8 %) Self-generated revenue: € 1,085,000,– (35.2 %)

Cosima von Bonin | T H E FAT I G U E E M PI R E Installation view Kunsthaus Bregenz, 2010 Photograph: Markus Tretter © Kunsthaus Bregenz, Cosima von Bonin

Antony Gormley | Horizon Field August 2010 – April 2012 A Landscape Installation in the High Alps of Vorarlberg, Austria, through to April 2012 Realized by Kunsthaus Bregenz © Antony Gormley und Kunsthaus Bregenz; Photograph: Markus Tretter

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Despite economically difficult times, 2010 was concluded satisfactorily in financial terms. With regard to its exhibition program Kunsthaus Bregenz has once again confirmed its reputation as one of Europe’s leading contemporary art institutions, with solo shows, including new works especially created for the exhibitions, by Candice Breitz, Roni Horn, Cosima von Bonin and Harun Farocki. Artists have repeatedly emphasized that such excellent conditions for the presentation of their work cannot be found elsewhere. Harun Farocki stated on the day of his press conference that his films had never been presented as well as at Kunsthaus Bregenz. KUB is showing the most extensive survey exhibition of his work to date in Austria through to the beginning of January 2011. This includes the European debut of three video installations, created especially for the Kunsthaus Bregenz show and realized with its support, as well as a film library consisting of 25 of his films. The highlight of 2010 was the completion and opening of Horizon Field, Antony Gormley’s unique landscape project in the mountains of Vorarlberg. 1,700 visitors alone took part in the celebrations on the Kriegeralpe mountain meadows on July 31 to mark its opening. Ongoing reports in the international press as well as the large amount of enthusiastic feedback from visitors confirm the work’s extremely positive reception. In general KUB’s exhibitions have received an extremely positive response from both the public and the media. Recent questionnaires show that at the time of being polled the majority of visitors (60%) had already visited KUB more than once. A clear majority of those polled (73%) gave the respective current exhibition as the reason for their visit. In answer to the question about how they had become aware of Kunsthaus Bregenz, 41% replied that “KUB is simply well-known”, 34% said it was on the recommendation of an acquaintance, and 26% stated that it was a report in the media that had made them aware of KUB. In general visitor satisfaction was very high. More than half of the visitors (63%) gave the highest score and were extremely enthusiastic. 82% of the visitors polled would “very definitely” recommend KUB to others. In general, it becomes apparent that it has been possible to build up a good relationship with a remarkably wide range of interested visitors. A considerable contribution has been made to this by substantial work in the area of communication and education as well as by publications distributed worldwide.

KUB Program 2011

KUB 11 Program 2011 Kunsthaus Bregenz

Exhibitions 2011

KUB 11.01

Haegue Yang

KUB Arena Living Archives – Cooperation Van Abbemuseum

Exhibitions Haegue Yang 22 | 01 | – 03 | 04 | 2011 That’s the way we do it. The Techniques and Aesthetic of Appropriation. From Ei Arakawa to Andy Warhol 16 | 04 | – 03 | 07 | 2011 Ai Weiwei 16 | 07 |  – 16 | 10 | 2011 VALIE EXPORT 29 | 10 | 2011 – 22 | 01 | 2012 KUB 11.02

That’s the way we do it.

KUB Arena Eckhard Schulze-Fielitz and Yona Friedman

The exhibition program at Kunsthaus Bregenz will in future increasingly present artists from Africa, Asia, and Latin America. This expansion of its visual horizons will be initiated in 2011 by the Korean artist Haegue Yang, and will be continued by a large-scale presentation of Ai Weiwei, perhaps China’s most famous artist. Whilst in Haegue Yang’s exhibition questions of cultural origin will be to the fore, the exhibition by Ai Weiwei will concentrate on his architectural collaborations. The highlighting of his interdisciplinary cooperation with architectural offices can be considered a further focal point in the current year’s program. Even if visual art is at the center of KUB’s activities, its involvement with architecture reflects not only the significance of Peter Zumthor’s outstanding building, but also emphasizes the great importance of architecture in Vorarlberg generally. It is in this spirit, that KUB’s agenda once again revolves around the close relationship between the local and the global. In the large-scale group exhibition That‘s the way we do it the variety of positions that will be presented range from that of Andy Warhol to completely new, current trends. Questions of origin and media as well as conceptual concerns will form the focus of this exhibition. This year’s program will conclude with an exhibition by VALIE EXPORT, in which the artist’s well-known work will be presented within the context of her archive. In parallel to the respective exhibitions on the upper three floors, the KUB Arena’s program will continue by examining examples of differing forms of curatorial practice. The ambitious and very successful Horizon Field by Antony Gormley, an example of KUB’s projects in public spaces, will be continued through to April 2012 and will include numerous activities appropriate to the season.

KUB Arena Living Archives – Cooperation Van Abbemuseum 22 | 01 | – 03 | 04 | 2011 Eckhard Schulze-Fielitz and Yona Friedman 16 | 04 | – 03 | 07 | 2011 Beginning good. All good. 16 | 07 |  – 16 | 10 | 2011 Hate Radio 29 | 10 | 2011 – 22 | 01 | 2012

KUB 11.03 Ai Weiwei

KUB Arena Beginning good. All good.

KUB 11.04 VALIE EXPORT

KUB Arena Hate Radio

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KUB Program 2011

KUB Arena

The KUB Arena was established in 2003 to develop its own autonomous projects, however in subsequent years it usually served as an exhibition space for solo exhibitions taking place in the institution. Since the summer 2010, in contrast, the KUB Arena has been used as an area for independent exhibitions and activities. Concurrently with the 2011 exhibition program a series of four interdisciplinary projects prioritizing process will be presented on the ground floor. Following on from the contribution by the architectural collective raumlaborberlin BYE BYE UTOPIA and a subsequent series of performances, the KUB Arena program will begin 2011 with a collaboration with the Van Abbemuseum, Eindhoven which was founded in 1936 — a museum that in addition to its unique collection is equally well-known for its outstanding curatorial practice at the highest level. The starting point of the joint project is a consideration of archives and collections as well as an examination of the boundaries and crossovers between the two areas. Additionally, with reference to the artistic strategies and to the Van Abbemuseum’s activities as well as to other archives located in Bregenz, the possibility of assembling an archive at the Kunsthaus will be discussed.

have been working on a contemporary translation of this almost one hundred year old material for a few years, has been invited by KUB to present Victory over the Sun as a fusion of individual artworks, texts, compositions and translations within the framework of a joint exhibition at the KUB Arena. To conclude the year the project Hate Radio will be premiered in December — a collaboration of the International Institute for Political Murder Berlin/ Zürich with the Hebbel am Ufer (HAU), Berlin, and the Hochschule der Künste Bern. Hate Radio is a dramaturgic installation reconstructed from contemporary documents and witness statements, which attempts to not only reveal, but also allow the audience to directly “experience”, the inconceivable events during the genocide within a reenactment of an RTLM radio program. An extensive volume of material, accompanying events and talks will expand the project into a broad interdisciplinary intervention addressing questions currently relevant to manifestations of racist violence today in both Europe and Africa and their representationality in contemporary art, film and theater. One of KUB Arena’s fundamental policies is that it should respond more spontaneously and flexibly to current art discourses than is possible with major survey exhibitions that by their nature require long-term planning.

For KUB Arena’s second project in 2011 Yona Friedman (Paris) and Eckhard Schulze-Fielitz who lives in Bregenz are to be invited to make a joint presentation of their works — two architects who with their visionary ideas in the 1960s not only developed approaches to problems of urban planning, but also created the basis for a new philosophy in architecture. The program will continue in summer 2011 with a presentation of the interdisciplinary project Beginning good. All good.This updates the futuristic opera Victory over the Sun by Welimir Chlebnikow, Alexej Krutschonych, Kasimir Malewitsch and Michail Matjuschin, which was first premiered in Saint Petersburg in 1913. The opera is about a new society which attempts to triumph over nature, elevating technology as a new divinity. The capturing of the sun is supposed to create space for a new social order. An international group of about 35 artists, musicians, architects and authors, who

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KUB Program 2011

Kunsthaus Bregenz

KUB 11.01 Haegue Yang Arrivals KUB Arena Living Archives – Cooperation Van Abbemuseum 13

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22  | 01 | – 03 | 04 | 2011 KUB Jahrespressekonferenz 2007

KUB 11.01

Haegue Yang Arrivals 22 | 01 | – 03 | 04 | 2011

Haegue Yang Haegue Yang (born 1971) has had solo exhibitions at amongst others New Museum, New York (2010), Artsonje Center, Seoul (2010), Walker Art Center, Minneapolis (2009), Sala Rekalde, Bilbao (2008), REDCAT, Los Angeles (2008), Portikus, Frankfurt am Main (2008) and at BAK, Utrecht (2007). Amongst her most important group exhibitions are: Gwangju Biennale, Gwangju (2010), Intro Motion Ditch, Art Sheffield, S1 Artspace, Sheffield (2010), Squatting: erinnern, vergessen, besetzen, Temporäre Kunsthalle, Berlin (2010), The New Décor, Hayward Gallery, London (2010), Garage CCC, Moscow (2010), Venice Biennale (2009), Your Bright Future: 12 Contemporary Artists from Korea, LACMA, Los Angeles and Museum of Fine Arts, Houston, Freer Sackler in Washington, D.C. (2009), Turin Triennial, Turin (2008), 55th Carnegie International, Pittsburgh (2008), Wessen Geschichte, Kunstverein, Hamburg (2008), La Coleccion Jumex, Mexico City (2007), Sao ˜ Paulo Biennale (2006), Manifesta 4, Frankfurt am Main (2004). Haegue Yang lives and works in Berlin and Seoul.

With solo exhibitions in the U.S.A., her native Korea, and Germany, young artist Haegue Yang has already acquired a considerable international reputation. This was reflected in her country’s invitation to represent it at the 2009 Venice Biennale. Haegue Yang’s work comprises items in and on paper, as well as full-scale installations and sculptures. Her cultural origins and wider issues of cultural identity play an important part in her artistic activity. Worked out with enormous aesthetic sensitivity down to the last detail, her pieces address the viewer’s senses on a more than purely visual level. She works with the olfactory properties of materials, for example, employs fans to generate currents of air and makes use of evocative acoustic elements. Haegue Yang’s exhibition on all three floors of KUB will consist of new work. The display will give differing visual expression to the various facets of her art.

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KUB Program 2011

KUB Arena

Living Archives – Cooperation Van Abbemuseum 22 | 01 | – 03 | 04 | 2011

Kunsthaus Bregenz

Living Archives – A collaboration with the Van Abbemuseum Eindhoven, Michal Heiman, Hannah Hurtzig & Katrin Mayer The starting point of the collaboration with the Van Abbemuseum founded in Eindhoven in 1936, is a joint consideration of archives and collections as well as a questioning of the boundaries and crossovers between the two areas. Over a period of three months, alongside the Living Archive of the museum, works by Michal Heiman and Hannah Hurtzig, from the museum’s collection are to be shown, introducing more open, that is process-like strategies of collecting, archiving and presenting collected material. Furthermore the artist Katrin Mayer will be invited to develop a site-specific work, to address this subject through the formulation of examples, and on a conceptual level negotiate current conditions of visibility and design of the archive. With reference to the artistic strategies presented and to the Van Abbemuseum’s practice as well as to other archives located in Bregenz, the possibility of assembling an archive at the Kunsthaus are to be discussed within the framework of this project. In close collaboration with Charles Esche (Director Van Abbemuseum) and Galit Eilat (Curator, Van Abbemuseum)

KUB 11.02 That’s the way we do it. The Techniques and Aesthetic of Appropriation. From Ei Arakawa to Andy Warhol KUB Arena Eckhard Schulze-Fielitz and Yona Friedman 17

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16 Jahrespressekonferenz | 04 | – 03 | 07 | 2011 KUB 2007

That’s the way we do it. The Techniques and Aesthetic of Appropriation. From Ei Arakawa to Andy Warhol

KUB 11.02

16 | 04 | – 03 | 07 | 2011



Ei Arakawa *1977, lives and works in Brooklyn, New York

John Baldessari *1931, lives and works in Santa Monica, California

Anne Collier *1970, lives and works in New York

Simon Denny *1982, lives and works in Auckland und Köln

Jean-Luc Godard *1930, lives and works in Rolle, Switzerland

Wade Guyton *1972, lives and works in New York

Rachel Harrison *1966, lives and works in New York

Tobias Kaspar *1984, lives and works Hamburg

Barbara Kruger *1945, lives and works in New York und Los Angeles

Richard Prince *1949, lives and works in New York

Michael Riedel *1972, lives and works in Frank fur t

Martha Rosler *1943, lives and works in Brooklyn, New York

institute for incongruous translation with Can Altay, Natascha Sadr Haghighian, Ashkan Sepahvand Nora Schultz *1975, lives and works in Berlin

Danh Vo *1975, lives and works in Berlin

Kelley Walker *1969, lives and works in New York

Andy Warhol *1928 Pittsburgh – 1987 New York

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This ambitious group exhibition investigates how contemporary artists have appropriated existing repertories of visual images and transformed them through specially developed techniques. Earlier examples of this procedure, for instance in the work of John Baldessari, Jean-Luc Godard, Richard Prince, Martha Rosler, and Andy Warhol, form the cornerstones of the show. These artists and others who incorporated images from the world of politics and popular culture in their work made a decisive contribution to the stylistic vocabulary of twentieth-century art. Work by the younger generation of artists included in the exhibition shows that the appropriation of various modes of pictorial invention is still of fundamental significance. In the context of this show technique is viewed not so much literally, as a means of realizing ideas, as metaphorically, as denoting an approach to artistic production. The exhibition ranges chronologically from the middle of the past century to the present day, from early screenprints by Andy Warhol and the revolution they effected in the viewing of art to recent performative approaches founded in research and social criticism. Techniques oscillate between the two poles of the kind of highly wrought visual language exemplified by Godard’s cinematic milestone Histoire(s) du Cinéma and the inimitable, cool directness of Warhol’s works. Within this spectrum That’s the way we do it focuses on artists who engage intensively with materials and techniques in order to address social, cultural, and economic issues. The exhibition includes loans from private and public collections in addition to specially created works by younger artists. A catalogue will be published to accompany the exhibition. It will include essays by Yilmaz Dziewior and Sebastian Egenhofer along with texts on the artists represented in the show.

KUB Program 2011

KUB Arena

Eckhard Schulze-Fielitz und Yona Friedman 16 | 04 | – 03 | 07 | 2011



Kunsthaus Bregenz

For the KUB Arena’s second project in 2011 the architects Yona Friedman (Paris) and Eckhard Schulze-Fielitz who lives in Bregenz are invited to make a joint presentation of their works—two architects who with their visionary ideas in the 1960s not only developed approaches to problems of urban planning, but also created the basis for a new philosophy in architecture. An important impetus in the exchange was their membership of “Groupe d’étude d’architecture mobile“, initiated by Yona Friedman in 1958 as an organization concerned with the design of mobile forms of architecture. Within this framework they developed so-called megastructures which were supposed to be laid over existing cities and whose future inhabitants would be able to arrange their living environment flexibly—developments which against the background of growing megacities in Africa, Asia, and Latin America have lost none of their currency. On the contrary, Friedman’s manifesto L‘Architecture Mobile (1958), his space-city concepts such as La ville spatiale (1960), Schulze-Fielitz’s Raumstadt (1959) as well as his early involvement with subject matters such as environmental control, sustainability and resource shortages were forward-looking and still preoccupy urban planners and architects today. Friedman and Schulze-Fielitz are still bound by a close friendship today, which found its architectural expression in a joint project for a bridge city spanning the English Channel (1963).

KUB 11.03 Ai Weiwei KUB Arena Beginning good. All good. 21

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16 Jahrespressekonferenz | 07 |  – 16 | 10 | 2011 KUB 2007

KUB 11.03

Ai Weiwei 16 | 07 |  – 16 | 10 | 2011

Ai Weiwei Ai Weiwei (born 1957) is a Chinese conceptual artist, sculptor, architect and curator. He has had numerous solo exhibitions, amongst others at the Turbine Hall, Tate Modern, London (2010), Museum of Contemporary Craft, Portland (2010), Stiftung DKM, Duisburg (2010), Mies Van der Rohe Pavillon, Barcelona (2009), Haus der Kunst, Munich (2009), Mori Art Museum, Tokyo (2009). He participated in the 48th Venice Biennale, Guangzhou Trienniale 2002 in China, Biennale of Sydney 2006 and documenta 12. For documenta he created the project Fairytale and the outside work Template, which collapsed following a heavy storm. Amongst his most important architectural projects are the Beijing National Stadium for the Summer Olympics 2008 and Ordos 100, both in collaboration with the Swiss architectural office Herzog & de Meuron.

Ai Weiwei is China’s best known living artist, his exhibitions across the globe having caused a sensation. He figured prominently at the last documenta and mounted compelling solo exhibitions and projects at the Haus der Kunst in Munich and in the Turbine Hall at Tate Modern, London. The cultural, social, and political content of his work has repeatedly brought him into conflict with the Chinese authorities. The KUB exhibition focuses on Ai Weiwei’s collaboration with architects. These have included such “stars” as Herzog & de Meuron, with whom he worked on the Olympic Stadium in Beijing, one of his most widely published projects. Along with models, plans, and videos relating to his cooperation with famous architects, visitors to the exhibition will have the opportunity to become acquainted with the work of the many lesser-known architects with whom Ai Weiwei has collaborated. For KUB, Ai Weiwei will produce a special exhibition installation designed to present his projects in an optimum way while constituting a work of art in its own right.

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KUB Program 2011

KUB Arena

Beginning good. All good. 16 | 07 |  – 16 | 10 | 2011

Kunsthaus Bregenz

Beginning good. All good. updates the futuristic opera Victory over the Sun by Welimir Chlebnikow, Alexej Krutschonych, Kasimir Malewitsch, and Michail Matjuschin, which was premiered in Saint Petersburg in 1913. In an ongoing project begun in 2008, a continually growing group of around 35 international artists, musicians, architects, and authors have been considering how to translate this almost one hundred year old material into contemporary terms, in the form of exhibitions,performances or publications. In the past several highly focused sub-projects emerged, which will now not only be merged but also expanded in the KUB Arena. Historical material, documents and documentation will form the basis of a collaborative exhibition as well as performances of Victory over the Sun, which will be developed as a fusion of individual artistic works, texts, compositions and translations. In addition to the series of exhibitions, performances and workshops, the KUB Arena will be enabling the opportunity of further work on the historical material. In doing so, Beginning good. All good. will be demonstrating the contemporary relevance of Russian Futurism.

KUB 11.04 VALIE EXPORT KUB Arena Hate Radio 25

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29  | 10 | 2011 – 22 | 01 | 2012 KUB Jahrespressekonferenz 2007

KUB 11.04

VALIE EXPORT 29 | 10 | 2011 – 22 | 01 | 2012

VALIE EXPORT VALIE EXPORT (born 1940 in Linz, lives and works in Vienna) is counted amongst the most important international pioneers of conceptual media, performance and film art. Since 1968 she has had international solo exhibitions and presentations of her work and participated in international exhibitions, amongst others at Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venice; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Brussels; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; and ars electronica, Linz. She has participated in international film and video festivals, amongst others London Film Festival; Filmex, Los Angeles; Internationale Filmfestspiele Berlin, Cannes, Montreal, Vancouver, San Francisco, Locarno, Hong Kong, Sydney, New York, etc.

VALIE EXPORT is a pioneer of experimental film and cinema and an exponent of feminist, socially critical visual art. For a long time in Austria she did not receive the attention due to an artist of her international standing. This changed in 2010, when the Belvedere in Vienna and the Lentos Kunstmuseum Linz staged large-scale retrospectives of her work. The KUB exhibition will differ from the surveys in Vienna and Linz by focusing on the artist’s archives. Major works like Tap and Touch Cinema, Action Pants: Genital Panic, and Body Sign Action will be presented not in isolation, but in the context of the material used in their genesis. In connection with her films, for example, VALIE EXPORT produced visual “scripts,” drawings, and Polaroid photographs. In Bregenz visitors will be able to see preparatory drawings, collages, and photographs relating to her most important works, which now rank among the outstanding achievements of twentieth-century art. The exhibition installation will be devised in close cooperation with the artist.

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KUB Program 2011

KUB Arena

Hate Radio 29 | 10 | 2011 – 22 | 01 | 2012

Kunsthaus Bregenz

Within an extremely short time in 1994 a genocide occurred in Rwanda, involving all the social classes within the country. The ground for this atrocity was prepared by “Radio-Télévision Libre des Mille Collines“ (RTLM), the country’s most popular radio station, which also accompanied subsequent events with treacherous psychological and technical skill. The interdisciplinary project Hate Radio, a cooperation between IIPM Berlin/Zürich, the KUB Arena, Hebbel am Ufer (HAU), Berlin, and the Hochschule der Künste Bern, approaches these unimaginable events with the assistance of a dramaturgic installation reconstructed from contemporary documents and witness statements which not only reveals, but also allows the audience to directly “experience” the consequences of racist thinking within a reenactment of an RTLM program. In addition to the reconstruction of the radio station as an installation in the KUB Arena, the staging of Hate Radio will also receive its debut in Bregenz. An extensive volume of material, accompanying events and talks will expand the project into a broad interdisciplinary intervention addressing questions currently relevant to manifestations of racist violence today in both Europe and Africa and their representationality in contemporary art, film and theater. The presentation in the KUB Arena has been developed in close cooperation with the author and director of Hate Radio Milo Rau (Head of the International Institute of Political Murder).

KUB Project A landscape installation in the High Alps of Vorarlberg, Austria Realized by Kunsthaus Bregenz

Antony Gormley Horizon Field 32

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April 2010 –2011 April 2012 KUB Programm

KUB Project

Antony Gormley Horizon Field April 2010 – April 2012

“Horizon Field, as does much of my work, asks an open question as to where the human project fits within the evolution of life on this planet. In presenting these obdurate, earth-bound but earth-witnessing markers in space and time, the installation puts 100 industrially produced artefacts within an elemental world which is far from the contextualising influences of the museum. It asks basic questions: who are we, what are we, where do we come from and to where are we headed? The work does this by engaging the physical, perceptual and imaginative responses of anyone coming within its relational field.” Antony Gormley, April 2010

Kunsthaus Bregenz realized a unique project with the British artist Antony Gormley, which will be on show in the mountains of Vorarlberg through to April 2012. Horizon Field consists of one hundred life-size, solid cast iron figures of the human body spread over an area of 150 square kilometers, forming a horizontal plane at 2,039 meters above sea level. This particular placement has no metaphorical or thematic meaning, rather the results of the artist’s own field work were that, whilst this altitude is readily accessible, it simultaneously lies beyond the realm of everyday life. It is the largest artistic intervention in a landscape in Austria to date. Horizon Field in the Bregenz Forest and in the communities of Mellau, Schoppernau, Schröcken, Warth, Mittelberg, Lech, Klösterle and Dalaas in the Arlberg region is the first time such an art project has been realized in the mountains, and moreover, at such a high altitude. Already in the summer of 2009 KUB had shown an extensive solo exhibition of Antony Gormley’s work, to great regional and international acclaim. The exhibition significantly contributed to introducing Gormley’s artworks to a wide audience and so paving the way for the subsequent sculpture project. KUB’s exhibitions repeatedly meet international standards whilst its work and external projects simultaneously make an important contribution to the cultural identity of the region. The landscape installation Horizon Field is consistent with this in its continuation of artistic interventions initiated by KUB in public spaces in Vorarlberg, as well as representing its culmination to date.

Antony Gormley | Horizon Field August 2010 – April 2012 A Landscape Installation in the High Alps of Vorarlberg, Austria, through to April 2012 Realized by Kunsthaus Bregenz © Antony Gormley und Kunsthaus Bregenz; Photograph: Markus Tretter

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KUB Program 2011

KUB Project

Antony Gormley Horizon Field April 2010 – April 2012

Extracts Media Response “Antony Gormley’s famous human figures are to have a final hurrah – high in the Austrian Alps. Gormley has created 100 life-size cast-iron statues which he has installed across Europe’s most imposing mountain range in an operation so complex that it required the involvement of the Austrian army, 15 mountain rescue teams, dozen of helicopter flights and five years of planning. (…) The Austrian commission has come from the Kunsthaus Bregenz, a leading contemporary art gallery.” The Observer, July 4, 2010

Balance 2010 After five years of preparation Horizon Field was brought to successful completion in the summer of 2010. The opening on the Kriegeralpe mountain meadows on July 31 was marked by a virtual flood of people; the 1,700 visitors enjoyed the happy atmosphere of a wonderful summer’s day in the mountains. The number of visitors that have so far hiked their way to the figures in the mountains cannot be counted, in contrast to the number of visits to KUB’s Horizon Field website, which has so far reached around 80,000. In particular locations and maps, the project description, the suggestions for hiking tours, the press portal and information on events were popular. In general the educational program comprising information events, talks, hikes and workshops was extremely well received, confirmed by the great response.

“The life-size casts of a human figure in the mountain landscape are as equally fascinating individually as they are in groups. (…) As soon as you become acquainted with one figure you develop a kind of addiction and want to seek out all its other companions. Standing in the bright sunshine next to a corroded and completely elementary iron man, trying to follow its gaze to the green of the vast meadows or the distant mountain peaks, you begin to immerse yourself in the artist’s imagination, gazing into the distance becomes an inward journey. (…) Gormley has developed a completely new dimension in land art with his figures, placing them in a context in which even though the artist lays down the basic rules, it is ultimately the viewers themselves who access complex visual, intellectual and contextual levels.” Die Furche, August 12, 2010, no. 322

International Recognition in 2010 Ongoing reports in the international press as well as the large amount of positive feedback from visitors confirm the extremely positive response and the enormous reach of this art project. The landscape installation was at the center of a report in the ZDF news program “heute journal” which, with about 3.4 million viewers, is one of the most successful news programs on German television. Filming for the report took place in Vorarlberg and Gormley’s studio in London. Additionally SWR television, Deutsche Welle and the BBC reported extensively on the background to the project. Broadcasts by Arte Metropolis and the Italian production company Videoest followed in winter 2010. ORF Vorarlberg accompanied the development process and the spectacular installation of the iron sculptures by helicopter with film cameras. The 25 minute documentary was transmitted by the ORF and 3sat television stations. Substantial press articles appeared for example in the “Süddeutsche Zeitung” as well as in the British newspapers “The Independent”, “Financial Times” and twice in “The Guardian”. From the end of January 2011 a video presentation of Horizon Field is being screened in the Austrian Cultural Forum in New York.

“Antony Gormley’s Horizon Field is one of the most important, and in any case the largest art projects that has ever been realized in a public space in Austria, initiated five years ago by the then Director of Kunsthaus Bregenz Eckhard Schneider. Its realization represents a formidable organizational and logistical achievement.” Die Presse, August 2, 2010 Initially people want to interact with the figures (…). The strongest reaction appears to be the urge to take snapshots with the silent, corroded sentinels. Children are sat on their shoulders, the sculptures stoically bear embraces and piggybacks (…). Climbing up a little higher than 2039 meters, for example to the Mohnenfluh mountain peak, it becomes evident how small and insignificant the figures, i.e. humans are in this majestic landscape. The artwork, whilst nothing less than impressive, appears like acupuncture needles in the mountains.” Süddeutsche Zeitung, Thursday, August 5, 2010, no. 178, page 35

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KUB Program 2011

KUB Billboards

Since the opening of the Kunsthaus Bregenz in the summer of 1997, the seven KUB Billboards, each measuring 342 x 342 cm and situated along the Seestraße in Bregenz, have been continuously used to display art projects created by Austrian and international artists specifically for this site. Because of their location along one of the busiest streets that runs through the middle of town from the train station to the Kunsthaus, the KUB Billboards are among the most high-profile and widely discussed artistic interventions in the public spaces in Bregenz. For the Kunsthaus Bregenz and the participating artists, the KUB Billboards are an important instrument for communicating with a wider public. The Billboards also reach people who tend to avoid or somehow never make it to the white cube of the Kunsthaus. They introduce an extensive platform for discussion about contemporary art and current themes. The Billboards’s subject matter have in the past repeatedly caused positive, but also controversial reactions in the form of letters to the editor in local newspapers or comments on internet forums, in phone calls, public radio debates, and in round-table discussions at the Kunsthaus and continue to do so up to the present. In terms of programming, some of the KUB Billboards are designed by artists having exhibitions at the Kunsthaus Bregenz, who in this way also have the opportunity to communicate their work outside of KUB, but there are also series of works by artists who have been specifically invited to contribute to this project. They are generally from Vorarlberg and have the chance to display their current work as a subject of discussion at this prominent site. The artists invited to contribute in 2010 are Haegue Yang, Ai Weiwei and VALIE EXPORT

KUB-Billboards 2011 Haegue Yang 22 | 01 | – 03 | 04 | 2011 N.N. 16 | 04 | – 03 | 07 | 2011 Ai Weiwei 16 | 07 | – 16 | 10 | 2011 VALIE EXPORT 29 | 10 | 2011 – 22 | 01 | 2012

KUB-Billboards Cosima von Bonin, 2010 Harun Farocki, 2010

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KUB Program 2011

Candice Breitz

PR Tools Invitation cards and brochures, information booklets, Save-the-Date cards, newspapers, image brochures, postcards, posters, fliers, ads, commercial material, press service, website, e-news, presentations at art fairs, sponsor relations, event support, Friends of the Kunsthaus Bregenz trips

The Scripted Life

Kunsthaus Bregenz 06 | 02 | – 11 | 04 | 2010

In 2011 we plan to continue the discursive forums with lectures and discussions and the series “Diskurs Architektur.”

Press and Public Relations The aim of our press and public relations activities is to reinforce the good standing of Kunsthaus Bregenz in Austria and abroad by maintaining its ongoing and widespread presence in the media and implementing focused marketing strategies and PR tools. One of the most important PR tools is the printed material published by Kunsthaus Bregenz itself, e.g. the invitation cards, information booklets, and posters accompanying each exhibition, as well as the annual programs, newspapers, and our website. All these serve to inform the public and at the same time convey the corporate identity of the Kunsthaus.

Education At the interface of the artwork, the audience, and society, the art education team at the Kunsthaus Bregenz does its best to assist visitors in their exploration of contemporary art and to develop custom forms of dialogue to meet the different needs. Concrete ways of getting started include the audio guide with initial information about art. The regular guided tours have become a permanent part of the event program. Special highlights include the tours led by the director or curator, studio visits, dialogue tours with the artists, or architectural and backstage tours.

Publications

A new theory series and catalogues on all the exhibitions and the project Horizon Field will be published.

To accompany its exhibitions, Kunsthaus Bregenz publishes catalogues that are produced in close cooperation with the artists and leading graphic designers. The design reflects the subjects and visual idiom of the artist concerned, lending each catalogue a distinctive character and making it a part and extension of both the exhibition and of the artist’s work. In addition to catalogues accompanying the show That‘s the way we do it and exhibitions by the artists Ai Weiwei and Valie Export, the catalogue raisonné series begun in 2010 will be continued with a publication on Haegue Yang. Careful comprehensive documentation and a lively scholarly engagement with the work are of primary importance to the publications. Additionally a new series on theory under the supervision of KUB Arena will appear as well as a publication accompanying the series of talks Wiedersehen in Bregenz (See You Again in Bregenz). Conceived in principle as bilingual, the publications are distributed worldwide as well as being available at KUB

Editions Resulting from close working ties with the artists, special editions are created exclusively for Kunsthaus Bregenz. In 2009, editions were produced in cooperation with Markus Schinwald, Lothar Baumgarten and Antony Gormley, and in 2010 with Candice Breitz, Roni Horn and Cosima von Bonin. For 2011, editions with Haegue Yang, Ai Weiwei and Valie Export are planned. Released in very small numbers, KUB Editions are of special interest to collectors of contemporary art.

Editions in various formats will be published: original works of serial character, photographs, and objects.

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KUB Program 2011

Freunde und Partner

Presenting Sponsor

Principal sponsor of Kunsthaus Bregenz

Sponsor of KUB Arena

With kind support from

Kulturhäuser Betriebsgesellschaft mbH

Gesellschaft der Freunde des Kunsthaus Bregenz

Hypo Landesbank Vorarlberg

Cultural bodies

The Kunsthaus Bregenz owes it success in great part to the long-term political support of the State of Vorarlberg as the body responsible for the institution and the Kulturhäuser Betriebsgesellschaft mbH as the central service provider. Since KUB was founded, the Society of Friends of Kunsthaus Bregenz has become an indispensable partner contributing significantly to implementing the museum’s concept, in particular its education program. Other major partners include above all Montfort Werbung, Hypo Landesbank Vorarlberg, and Zumtobel. Their commitment allows Kunsthaus Bregenz to organize exhibitions and projects which demand high technical and financial investments. The sponsoring partners Hypo Landesbank Vorarlberg, Vorarlberger Kraftwerke AG, Vorarlberg Tourismus, and especially the company Hugo Boss are contributing significantly to financing the KUB project Horizon Field by Antony Gormley.

Kunsthaus Bregenz “VN double page”-signing with Gottfried Bechtold

Kunsthaus Bregenz Opening of the exhibitions Cosima von Bonin and raumlaborberlin

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KUB Program 2011

KUB 11 Program 2011 Kunsthaus Bregenz

Kunsthaus Bregenz

Opening hours Tuesday – Sunday 10 a.m. – 6 p.m. Thursday 10 a.m. – 9 p.m. Counter Phone (+43-55 74) 4 85 94-433 Information and registration for guided tours Kirsten Helfrich, ext. -415 [email protected] Office  Iris Rothemund-Leonhardt, ext. -409 [email protected]

Kunsthaus Bregenz Karl-Tizian-Platz 6900 Bregenz, Austria Phone (+43-55 74) 4 85 94-0 Fax (+43-55 74) 4 85 94-408 [email protected] www.kunsthaus-bregenz.at Director Yilmaz Dziewior Chief executive Artur Vonblon Curator Rudolf Sagmeister Curator of the KUB Arena Eva Birkenstock Communications Birgit Albers, ext. -413 [email protected] assistant Melanie Büchel Art education Winfried Nußbaummüller, ext. -417 w.nussbaummueller@ kunsthaus-bregenz.at assistant Kirsten Helfrich Publications/artist editions  Katrin Wiethege, ext. -416 [email protected] assistant Antje Roth Sales editions Caroline Schneider, ext. -444 [email protected] Assistance to the director Beatrice Nussbichler, ext. -418 [email protected] Event management Mirjam Steinbock [email protected] Phone (+43-55 74) 531 06-911 Technical staff Stephan Moosmann | Markus Tembl  |  Markus Unterkircher  | Stefan Vonier  |  Helmut Voppichler

Copyright © 2010 by Kunsthaus Bregenz Concept Kunsthaus Bregenz Text  Yilmaz Dziewior  | Birgit Albers  | Winfried Nußbaummüller  | Rudolf Sagmeister  | Katrin Wiethege  | Editors  Birgit Albers  | Melanie Büchel Copy editing Wolfgang Astelbauer  | Antje Roth  | Katrin Wiethege Translation Kimi Lum  | Sabine Bürger and Tim Beeby (Art Language) Picture credits © the photographers, artists, and legal successors Basic graphic design Clemens Theobert Schedler Büro für konkrete Gestaltung Graphic design Bernd Altenried  |  Stefan Gassner