Curating today can be many things, as proved by a good deal of literature on the subject.

In her professional practice, Kyiv-based, temporary Vienna-relocated Lizaveta German has tested many of those “manies”. Curating is an adventure, Lizaveta believes. Especially if you dare to choose a free-lancer’s path in Ukraine. In her statement, Lizaveta will speak about her most recent experience of producing new exhibitions, including the Ukrainian pavilion at the 59th International Exhibition–La Biennale di Venezia, and of different ways to support Ukrainian artists in times of war. Curating comes from latin curare, which means to care. It seems like a good time to restore the true meaning of this word.

Long moments, seemingly incidental discoveries and situations between facts and fictions about everyday life, geopolitical events and art are often the starting point of Klaus Schafler’s artistic as well as curatorial projects. In simultaneity he works in changing roles, between his own artistic practice, in temporary collectives, and since September 2022 also as the director of an art institution, the Kunsthalle Exnergasse in Vienna.

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

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

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.

Extracting volume from domestic space, or compressing found materials into sculptures have been some of the artist’s applied strategies. Michael Strasser’s work investigates the shifting relationship between space and human. Through the appropriation of found spaces and architectural situations, he initiates the exposure of cultural and institutional systems of representation. 

“I went to the cinema with my mother when I was only 4 years old, because she was alone at home with a little kid and wanted to go out and be entertained.” Along concrete and fictional places in her work, Marlies Pöschl explores the question how temporary communities are being formed at filming locations, how cinema becomes a place of shared concerns.

On practicing the publicness of Art and the body needed to support its voice