/internal/media/dispatcher/34016/fullYou are my Sunshine II1994[Birgit Jürgenssen]Birgit JürgenssenColor photocopyPhotographyhttps://sammlungtest.belvedere.at/objects/25281/rdf/internal/media/dispatcher/34017/fullYou are my Sunshine II1994[Birgit Jürgenssen]Birgit JürgenssenColor photocopy of a drawingPhotographyhttps://sammlungtest.belvedere.at/objects/25282/rdf/internal/media/dispatcher/34128/fullH(e)ard(t) Shot1999[Fatima Bornemissza]Fatima BornemisszaMixed mediaPhotographyhttps://sammlungtest.belvedere.at/objects/26685/rdf/internal/media/dispatcher/34009/fullMy Servantundated[Fatima Bornemissza]Fatima BornemisszaMixed mediaPhotographyhttps://sammlungtest.belvedere.at/objects/26686/rdf/internal/media/dispatcher/34129/fullUntitled1999[Fatima Bornemissza]Fatima BornemisszaMixed mediaPhotographyhttps://sammlungtest.belvedere.at/objects/26689/rdf/internal/media/dispatcher/34420/fullAu Salon1996[Constanze Schweiger]Constanze SchweigerWallpaper on woodPrinthttps://sammlungtest.belvedere.at/objects/26714/rdf/internal/media/dispatcher/37068/fullZone 01988[Felix Kalmar]Felix KalmarPhotographic magnification, airbrush Photographyhttps://sammlungtest.belvedere.at/objects/29579/rdf/internal/media/dispatcher/37069/fullSerie 31995–1996[Felix Kalmar]Felix KalmarPhotographic magnification, airbrushPhotographyhttps://sammlungtest.belvedere.at/objects/29580/rdf/internal/media/dispatcher/58001/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa Oppenheim Silver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36555/rdf/internal/media/dispatcher/58002/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36556/rdf/internal/media/dispatcher/58003/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36557/rdf/internal/media/dispatcher/58004/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36558/rdf/internal/media/dispatcher/58005/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36559/rdf/internal/media/dispatcher/58006/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36560/rdf/internal/media/dispatcher/58007/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36561/rdf/internal/media/dispatcher/58008/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36562/rdf/internal/media/dispatcher/58009/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36563/rdf/internal/media/dispatcher/58010/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36564/rdf/internal/media/dispatcher/58011/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36565/rdf/internal/media/dispatcher/58012/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36566/rdf/internal/media/dispatcher/58013/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36567/rdf/internal/media/dispatcher/58014/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36568/rdf/internal/media/dispatcher/58015/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36569/rdf/internal/media/dispatcher/58016/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36570/rdf/internal/media/dispatcher/58018/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36571/rdf/internal/media/dispatcher/58019/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36572/rdf/internal/media/dispatcher/58020/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36573/rdf/internal/media/dispatcher/58021/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36574/rdf/internal/media/dispatcher/58022/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumDie US-amerikanische Künstlerin Lisa Oppenheim wurde 2012 eingeladen, ein Projekt zur Sammlung des Belvedere zu realisieren. Für die „Belvedere Heliograms“ isolierte sie die Darstellungen der Sonne (gr. „helios“) aus vier historischen Werken: „Apollo auf dem Sonnenwagen“ (1716) von Martino Altomonte, „Italienisches Fischerkind“ (um 1873) von Anton Romako, „Vier Bäume“ (1917) von Egon Schiele und „Der Prager Hafen“ (1936) von Oskar Kokoschka. Auch in ihrer künstlerischen Umsetzung verweist die Serie auf die Kraft der Sonne – Oppenheim belichtete die 26 Fotogramme zu verschiedenen Zeiten im Tageslicht. Die wechselnde Intensität der Sonnenstrahlen konnte somit gestalterischen Einfluss auf die Bilder nehmen. Photographyhttps://sammlungtest.belvedere.at/objects/36575/rdf/internal/media/dispatcher/58023/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36576/rdf/internal/media/dispatcher/58024/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36577/rdf/internal/media/dispatcher/58025/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36578/rdf/internal/media/dispatcher/58026/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/36579/rdf/internal/media/dispatcher/58028/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa OppenheimSilver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/50182/rdf/internal/media/dispatcher/103700/fullFotografisches Konzept für ein Schubladenmuseum2005[Marc Adrian]Marc Adrian37 s/w Fotos, Vintage PrintsMarc Adrian beteiligte sich 1972 am Schubladenmuseum des Berner Künstlers Herbert Distel, heute im Kunsthaus Zürich. Ein ähnliches Konzept einer Sammlung von Miniaturobjekten und -aufnahmen diverser Künstler verfolgte er in einem Konvolut von s/w Fotos, darunter Aufnahmen des Schubladenmuseums von Distel sowie eigener Werke, sowie im Sinn eines Détournements veränderte Originale, wie das Buchcover: Robert Musil / Die Frau [Der Mann]ohne Eigenschaften; das Plattencover David Bowie / Modern Art [Love]; weiters auch Werke anderer Künstler wie das Martin Kippenberger Porträt von Clegg & Guttmann; die konzeptuelle Arbeit spielt subversiv mit der Idee des Musealen und der traditionellen Kunstkammer. [Cabuk 2017]Photographyhttps://sammlungtest.belvedere.at/objects/79584/rdf/internal/media/dispatcher/163013/fullWOLKEN (Zeit-Himmel-Anteil) / INNERE FREQUENZ 1892006/2013[Meina Schellander]Meina SchellanderFarbfotografie, Zeichnung auf geleimtem Papier, kaschiert auf Alu, AcrylglasabdeckungPhotographyhttps://sammlungtest.belvedere.at/objects/106130/rdf/internal/media/dispatcher/58001/fullBelvedere Heliograms2012[Lisa Oppenheim]Lisa Oppenheim Silver toned silver gelatin print, mounted to aluminumIn 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.Photographyhttps://sammlungtest.belvedere.at/objects/107715/rdf/internal/media/dispatcher/79609/fullAcrobatic Composition Using Form and Light (An Attempt at Something Dynamic / A Choreographed Zigzag)2014[Zin Taylor]Zin TaylorC-print, marker on white frameZin Taylors formales Grundvokabular ist abstrakt und minimalistisch: Überwiegend in Schwarz und Weiß gehalten, sind seine Arbeiten oft mit Punkten und Streifen versehen. In der Linguistik spricht man von Signifikat und Signifikant, also vom Bezeichneten und vom Wort selbst, das etwas bezeichnet. Zwischen der Form des Ausdrucks und seiner Bedeutung besteht kein zwingendes Verhältnis, außer die Gewohnheit bzw. die gesellschaftliche Übereinkunft über einen Verweis. Und so verwendet Taylor seine Streifen und Punkte als eine Visualisierung von Sprache und ihrer Performanz und lässt ansonsten abstrakte Zeichen zu Symbolen für Kommunikation werden. — Diesmal geht es bei ihm um die Sprache von Produktion, der Form, die sich über unzählige Gedanken verselbstständigt und einen Dialog mit dem Künstler eingeht. Die Elemente, die Taylor im Studio im Rahmen einer Residency angefertigt hat, hat er schließlich in unterschiedlichen Kombinationen und Formationen arrangiert und fotografiert. Herausgekommen ist eine Geschichte über die Entstehung und Verwicklung von Gedankenströmen – eine Fotoserie über die Produktion von Dingen, wie sie gedacht werden können, nicht, wie sie scheinen. — [Severin Dünser, 04/2016]Photographyhttps://sammlungtest.belvedere.at/objects/61001/rdf/internal/media/dispatcher/79608/fullAcrobatic Composition Using Form and Light (A Thinker and a Thought)2014[Zin Taylor]Zin TaylorC-print, marker on white frameZin Taylors formales Grundvokabular ist abstrakt und minimalistisch: Überwiegend in Schwarz und Weiß gehalten, sind seine Arbeiten oft mit Punkten und Streifen versehen. In der Linguistik spricht man von Signifikat und Signifikant, also vom Bezeichneten und vom Wort selbst, das etwas bezeichnet. Zwischen der Form des Ausdrucks und seiner Bedeutung besteht kein zwingendes Verhältnis, außer die Gewohnheit bzw. die gesellschaftliche Übereinkunft über einen Verweis. Und so verwendet Taylor seine Streifen und Punkte als eine Visualisierung von Sprache und ihrer Performanz und lässt ansonsten abstrakte Zeichen zu Symbolen für Kommunikation werden. — Diesmal geht es bei ihm um die Sprache von Produktion, der Form, die sich über unzählige Gedanken verselbstständigt und einen Dialog mit dem Künstler eingeht. Die Elemente, die Taylor im Studio im Rahmen einer Residency angefertigt hat, hat er schließlich in unterschiedlichen Kombinationen und Formationen arrangiert und fotografiert. Herausgekommen ist eine Geschichte über die Entstehung und Verwicklung von Gedankenströmen – eine Fotoserie über die Produktion von Dingen, wie sie gedacht werden können, nicht, wie sie scheinen. — [Severin Dünser, 04/2016]Photographyhttps://sammlungtest.belvedere.at/objects/61014/rdf/internal/media/dispatcher/128222/fullI bought a knife: confusing twirl2016[Anna-Sophie Berger]Anna-Sophie BergerC-print on foamcorePhotographyhttps://sammlungtest.belvedere.at/objects/91179/rdf/internal/media/dispatcher/162125/fullEisenblaufärbung für Ballgasse 62023[Constanze Schweiger]Constanze Schweiger Cyanotype, grassed cotton crêpePhotographyhttps://sammlungtest.belvedere.at/objects/103415/rdf