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VIENNA FOR ART’S SAKE!CONTEMPORARY ART SHOWWinter Palace27 February to 31 May 2015Invitation imageContemporary Art Show 2014 Fabrica, Italy

VIENNA FOR ART’S SAKE!CONTEMPORARY ART SHOWFor three months, the exhibitionwill contrast contemporary artand exhibition-maker Peter Noever invited thirteen contemporary artists to enter into adialogue with thirteen Baroque rooms at the Winter Palace.The starting point for the show wasImago Mundi. A collector and connoisseurof contemporary art, this prominent Italian fashion magnate and president of theFondazione Benetton Studi Ricerche, has been inviting established and emerging artistsall over the world to explore in their art a canvas in a postcard format of 10 by 12 cm.Currently, Benetton can boast over 10,000 works from 60 countries in his ever -growinginventory of contemporary art. In contrast to Imago Mundihives,Peter Noever opened up Archive Austria not only to artists but also to architects anddesigners who live and work in Vienna or who have left behind an important contributionto the city, regardless of their geographic origins or nationality. The 161 works fromArchive Austria will be presented in the Primary Exhibition in the Sala Terrena at theWinter Palace from 27 February to 31 May 2015. The thirteen artists from ArchiveAustria, who were selected to create installations in thirteen rooms of the stateapartment, explore the significance of contemporary artistic production and visualize theunbroken force of thinkers and visionaries. On display are installations by Vito MariaElena Acconci, Zaha Hadid, Magdalena Jetelová, Michael Kienzer, Hans Kupelwieser, thenext ENTERprise, Hermann Nitsch, Eva Schlegel, Kiki Smith, Iv Toshain, Atelier VanLieshout, Koen Vanmechelen, and Manfred Wakolbinger.The exhibition in Vienna is the first to present on a large scale the stature of the artistpersonalities behind the postcard format of 10 by 12 cm. Painters, architects, designers, andConceptual artists faced the challenge of visualizing their artworks in an unusually smallformat. Peter Noever then invited artists to nominate other artists, architects, and designers,A microcosm to which the artists have givenvarious forms, intense and mysterious [.] arising from a maximum concentration of strokes,is how Luciano BenettonThe 161 works tellendures that can enhance our happiness; this vivacity of ideas makes our lives, individual andcollective, richer, morBenetton continues.Luciano Benetton, who cherishes Austria as a traditional centre of art, set out to secure PeterNoever forLuciano Benetton was willing to unconditionally accept myPeter Noever relates about the collaboration.essential question: how free can the decision be to make art that is itself produced in a state of

market, the gallery, the collector, and the commissioner with clear guidelines. These and otherpremises were the true challenge for me when I was first confronted with the present project.An experiment. And a process with an uncertain outcome. For me, of course, it was aboutnothing less than a liberating view, opening up a new perspective on the actual production ofPeter Noever continues.After Looking Eastward (Russia), Snapshot Romania (Romania) and Iceland/Boiling Ice(Iceland), Viennis now the fourth European collection in Imago Mundi. In thisImago Mundi isphilanthropic in nature and aims to present a wide spectrum featuring a maximum number ofartists and perspectives in art.

Luciano BenettonLuciano Benetton is known as one of the most creative, high-profile artminded entrepreneursin the world. In 1965, he founded the Fondazione Benetton Studi Ricerche, which he led tointernational success with non-conformistic ideas. During the 1990ies he launched aprovocative ad-campaign in cooperation with the now internationally renowned photographerOliver Toscani against war or racial discrimination, causing hot debates. With his art projectImago Mundi he follows a visionary utopic approach, trying to connect the artworld in a 10 x12 cm postcard format. This idea is based on a philantropic approach, with the goal torepresent a maxiumum of artists and positions in the art world in a broader context. In spite ofhis worldwide success, Luciano Benetton was permanently striving to nurture the local cultureand architecture in the Veneto region. www.imagomundiart.comPeter NoeverDesigner and internationally successful exhibition creator Peter Noever was artistic directorand CEO at the MAK Österreichisches Museum für angewandte Kunst/Gegenwartskunst inVienna. In the years from 1988 to 1993 he was responsible for the general rennovation of themuseum, inviting prominent international artists like Donald Judd, Günther Förg and JennyHolzer. In 1994 he founded the MAK Center for Art and Architecture in Los Angeles, including3 future-oriented houses by the Austrian-american architect Rudolph M. Schindler andinitiated the MAK-Schindler-Scholarship at the Mackey Apartments. There have beenapproximately 520 exhibitions with international susccess. www.noever-design.comThe 13 artists in the exhibitionVito Maria Elena Acconci, Zaha Hadid, Magdalena Jetelová, Michael Kienzer, HansKupelwieser, the next ENTERprise, Hermann Nitsch, Eva Schlegel, Kiki Smith, Iv Toshain,Atelier Van Lieshout, Koen Vanmechelen, Manfred WakolbingerA PDF of the catalogue is available for download at:www.belvedere.at/press (login: pr2015)

THE 13 ARTISTS IN THE EXHIBITIONVito Maria Elena AcconciChapelTURN/BUMP/TURN, 2015Bubble wrap, steel cable, programmable colored lights, 198 x 345 x 635 cmPlanning and implementation: Harald Trapp, Klaus Molterer- it is just under 3.7 meters long, but 6.9 meters high designing for this room is particularly challenging. Vito Maria Elena Acconci have created aprismatic architecture made of bubble wrap inside the chapel; as a result the existingecclesiastical design of the church interior is only indistinctly visible. Based on a quadrangularfloor plan, the architectural structure soars, suggesting a diagonal upward movement. Itspolygonal counterpart on the ceiling, causing its irregular layout, adds a further captivatingaspect to the walkchapel was situated inhis private chambers in the rear part of the Palace; it was established at its current locationonly later, in around 1752, using the original altar.Zaha HadidBel Étage TerraceSteel, 227.5 x 72.5 x 627 cmDesign: Zaha Hadid, Patrik Schumacher, project director: Woody Yao, design team: GerhildOrthacker, Peter Logan, in collaboration with Zumtobel / DornbirnThe bel étagespace. During restoration works on the terrace in 2004, workers discovered preparatorydrawings for a wall fresco depicting an ancient amphitheater featuring columns, arcades andstairs. To date, it is not known why the fresco was never completed.Zaha Hadid has transformed the Euclidian geometries of these historical preparatory drawingsand future, the installation of steel tubes describes a fluid, four-dimensional world defined bythe narrative of abstraction and flow of space. More Einsteinian than Cartesian, it is a worlddetermined by seamless connectivity; a microcosmic extrusion of the dynamism, complexity,ecture.

Magdalena JetelováHall of Battle PaintingsThe essential is no longer visible, 2015Titanium, carbon fiber, projection, sound, 738 x 880 x 1400 cmIn collaboration with SchiebelThe privileged view of the world from above was originally considered the divine perspective;the fascination with this perspective of an absolute ruler is recognizable. An unmannedfought by Prince Eugene, which were depicted by Ignace-Jacques Parrocel between 1704 and-eye view in a divine,omniscient way painted by the artist, but by means of digital calculations and technology.Jetelová confronts history with the current speeding up of virtual and real life. She examinesour way of looking at the world of art from a new perspective. Reality is the absence of reality.Michael KienzerGallery RoomVierung, 2014/15Aluminum, steel, 246 x 314 x 400 cmA large sculpture fills the Gallery Room, where Prince Eugene once presented parts of his artcollection. This abstract sculpture, made of industrial aluminum elements, with its complexform vocabulary establishes a direct reference to the baroque stateroom and its history. As amaterial, aluminum,and in the tension created by the interconnected individual elements. Kienzer considers aart is a direct response to the baroque room it is placed in. The artist always takes the room,the large cavity, into consideration as a prerequisite of the sculpture - it becomes part of thesculpture, for the sculpture was designed exclusively for this room.

Hans KupelwieserYellow RoomHütteldorf im Himmelpfort, 2015Structure made of spruce, neon tubes, 800 x 400 x 300 cmA structure has sprung up inside the Baroque Room! For his artistic intervention Hansmade of spruce recalls a mountain hut where one may seek refuge - also from the goldensplendor. Kupelwieser causes the baroque abundance to disappear, replacing it with a plain,simple room. Golden rays of light reach into the walk-in wooden sculpture only through anumber of slits deliberately incorporated into the structure; however, details of thesurroundings can no longer be made out. Baroque seems to be very far away. The hut is apolitical, revolutionary act against the palace.the next ENTERpriseRosa Room, the Former Second Library Hallsilent conquest, 2015Object made of heat-sealed Complain foil, filled with air and water, covered by a textile net(45 mm meshes, Ø 3 mm diagonally), spotlight, fragrance, 450 x 450 x 120 160 cmFragrance created by: Yogesh Kumar, www.dasparfum.comLighting concept: Christian Ploderer in cooperation with Lukas KaltenbeckObject produced by: Plecherplanen, www.plecher.at; Haanl, www.haanl.atthe next ENTERprise-architectsA large, black-blue object occupies the Rosa Room, the former second library hall. Theintervention relates to its baroque surroundings in deliberately ambivalent ways: on the onehand the object seems like a foreign object landed in the center of the room; on the otherhand its haptic characteristics enable visitors to interact playfully with each other and with theroom. If touched by visitors, the object, filled with air and water, transforms these touches intoreflections of light that create an interactive painting on the ceiling. The installation, which alsoqualities, its proportions as well as its use of light engage all the senses to counteract therepresentative architecture of the Baroque