EIKON #110/111

Editorial Content Order

Artists | Akinbode Akinbiyi | Julian Charrière | VALIE EXPORT | Alwin Lay | Laura Schawelka | Sophie Thun |

Maike Aden | Thomas Ballhausen | Simon Bowcock | Pia Draskovits | Nela Eggenberger | Regine Ehleiter | Jasmin Haselsteiner-Scharner | Ruth Horak | Daniel Hornuff | Annekathrin Kohout | Peter Kunitzky | Maren Lübke-Tidow | Katharina Manojlović | Günther Oberhollenzer | Maria Schindelegger | Walter Seidl | STATION ROSE  | Wolfgang Ullrich  | Bernard Vienat | Sabine Weier | Diana Weis | Margit Zuckriegl

Languages | German / English
Dimensions |  280 x 210 mm
ISBN | 978-3-904083-03-4
128 pages

Price: € 23,00 (incl. 10% VAT)

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Content

PORTFOLIO

Julian Charrière | Bernard Vienat
VALIE EXPORT | Nela Eggenberger
Alwin Lay | Regine Ehleiter
Laura Schawelka | Katharina Manojlović
Akinbode Akinbiyi | Maren Lübke-Tidow
Sophie Thun | Ruth Horak

A WORK IN PROFILE

Sissa Micheli | Günther Oberhollenzer

PROJECTS

STReaming. Art In and Beyond the Lockdown | STATION ROSE

ARTMARKET

A Spotlight on viennacontemporary

ARTS & STUDIES

Company. Photographs and Fragments on Working

IN FOCUS

Digital Image Cultures | Annekathrin Kohout and Wolfgang Ullrich

EXHIBITIONS

Radio-Activity | Maria Schindelegger
Having Lived. Ingeborg Strobl | Pia Draskovits
Masculinities | Simon Bowcock
Sissi Farassat / Erwin Polanc | Margit Zuckriegl
Isabelle Le Minh. After Alfred Ehrhardt – Cristal réel | Sabine Weier
Erwin Wurm. Photographs | Maike Aden
Everything Was Clear | Walter Seidl

SCHEDULE

with the editors of EIKON

COLLECTOR‘S EDITION

Ekaterina Shapiro-Obermair—History and other Objects

PUBLICATIONS

Roland Meyer. Operative Portraits | Peter Kunitzky
Martin Zellerhoff. Archiv | Jasmin Haselsteiner-Scharner
Johanna Diehl. In den Falten das Eigentliche | Katharina Manojlović
Tess Taylor. Last West. Road Songs for Dorothea Lange | Thomas Ballhausen
Anja Manfredi. Raum gewordene Blicke in die Sterne | Maren Lübke-Tidow

Editorial

Alles war klar (Everything Was Clear) is the title of an exhibition in the newly renovated Künstlerhaus Wien (p. 108)—or wasn’t clear at all, as hindsight is always 20/20. Like our colleagues on Karlsplatz, we, too, had imagined the opening of our exhibition Michael Höpfner. Von Ruthok nach Lhamo Latso in the recently adapted EIKON Schauraum at Q21 / MuseumsQuartier Wien (pp. 10ff.) to go very differently, as the nationwide lockdown a few days later forced us to close again. The breaks mandated on a federal, European, and global level, whose consequences we traced graphically, at least in the exhibitions we reviewed in this issue, by marking the original dates and the newly scheduled durations (pp. 92ff.), also brought the production of EIKON #110 to a grinding halt. They are, therefore, responsible for this double issue.

Many images this pandemic has given us—from the empty grocery-store shelves and the excessive police presence in urban areas to make sure we all stayed socially distanced, to the shocking mass graves in Bergamo, Italy—have become part of our global collective consciousness. Federal closings and curfews as well as restrictions on free travel constituted a radical break in the life we’d grown accustomed to and, at the same time, led to a massive relocation of public life into digital space: exhibition makers faced the challenge of making up for the lack of visitors by offering online tours (empty spaces “going viral,” which some professionals wouldn’t consider entirely successful, pp. 63ff.). Individuals, in turn, have been using the Internet to an even greater extent than before, which is why the focus on “Digital Image Cultures,” which we had been planning for a while and which quotes the eponymous series of books by Annekathrin Kohout und Wolfgang Ullrich, proved virtually prophetic for this issue (pp. 73ff.).

Nela Eggenberger
for EIKON, September 2020

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