15/internal/media/dispatcher/147022/fullFeldenkreis_F2_002 extended2023[Carola Dertnig]Carola DertnigRohr-Skulptur, Stahlrundrohr (25-30mm), mattschwarz, PolymerbetonObject arthttps://sammlungtest.belvedere.at/objects/99524/rdf/internal/media/dispatcher/155990/fullgefährt*innen2023[Toni Schmale]Toni SchmaleGeschmiedeter, feuerverzinkter, lackierter Stahl, BetonNear the site where in Prince Eugene’s day two ensembles of mythological figures adorned two water basins in the Belvedere garden, Toni Schmale now places her gefährt*innen. She thus ties onto the physicality and seemingly queer staging of these mythological sea gods and goddesses and their draft animals, yet foregoes a hierarchy between gods, animals, and humans. Schmale’s shimmering, motherof-pearl shell chariot is drawn by three hybrid beings made of steel, each with a concrete wheel as a foot. The relationship of the individual figures to one another remains equitable, as they are all to be understood as companions, gefährt*innen. Rather than entering into pre-defined roles, Schmale’s work hereby allows an open interpretation, which invites contemplation on power relations and spaces of negotiation.Object arthttps://sammlungtest.belvedere.at/objects/102088/rdf/internal/media/dispatcher/137504/fullWayside House2019/2021[Lois Weinberger]Lois WeinbergerPainted metal, printed text on paper, stamp, ink padLois Weinberger’s art is characterized by his belief in the power of inverting the relationship between humans and nature. Is it coexistence, interaction, or in fact a system of dominance and oppression? Weinberger encountered wayside houses in Greece, where—comparable to wayside crosses here in Austria—they are not only memorials to accident victims, but also places where items are left for passers-by. Painted red, the Wayside House that now stands at the bottom of the ramp is dedicated to the poppy. The artist has equipped it with poems printed on sheets that visitors can stamp with a motif—based on the feeding tunnels of bark beetles— and take home with them. This could be seen as an allusion to hiking passbooks in which stamps from mountain cabins document distances covered.Object arthttps://sammlungtest.belvedere.at/objects/93222/rdf/internal/media/dispatcher/140480/fullB-Girls, Go!2018[Maruša Sagadin]Maruša SagadinSteel, wood, paintThe supersized pink baseball cap of the sculpture "B-Girls, Go!" refers to hip-hop and street culture—key reference points for Maruša Sagadin whose sculptural and architectural work is shaped by her confrontation with pop culture, gender, and language. The cap is mounted on a purple wooden decking, which creates a kind of stage. The aim is to encourage girls, women, and those who identify as female to take up space and make the stage their own. Accordingly, the artist is also asking questions about the visibility of and areas provided for women in public spaces. Since 2021, Sagadin’s participative sculpture has been used as a venue for community activities and also as a meeting point and place to hang out.Sculpturehttps://sammlungtest.belvedere.at/objects/101642/rdf/internal/media/dispatcher/119644/fullThank God I'm getting on a boat2017[Socratis Socratous]Socratis SocratousEisenguss und Bronze, lackiertIn his works, Socratis Socratous often explores the social and political conditions of his immediate reality. The form of these seven bollards is consistent with mooring posts used all over the world when berthing ships and boats. Their number corresponds to the seven seas, a term for the oceans that are important for maritime trade and that has existed since classical antiquity. For the artist these objects—in part made from molten-down weapons of war taken from conflict zones—symbolize a safe landing in an equally safe haven. Given the recurring refugee and migration movements to Europe and the perilous sea crossings many have attempted, the choice of these bollards was based not merely on their formal aesthetics but on real life.Object arthttps://sammlungtest.belvedere.at/objects/80087/rdf/internal/media/dispatcher/73713/fulle 14/1 sculptor2014[Hans Kupelwieser]Hans KupelwieserStainless steel, polishedObjects and sculptures generally intrigue observers with their multitude of views. In Hans Kupelwieser’s work, this effect is further enhanced by its irregular shape and reflective surface. Reflection has a dual meaning here, as not only the visual phenomenon, as such, is in the foreground but also its content-related component. When metals are employed in Hans Kupelwieser’s oeuvre, their qualities are thwarted, as it were, by the artistic processing. Nonetheless, what is reminiscent of crumpled paper on an enlarged scale, weighs 270 kilograms. The crushing is carried out by means of an excavator. Of course, with this process an exact prognosis of the result is impossible, but for the artist it is precisely this principle of guided chance that has become an important category in his creation.Object arthttps://sammlungtest.belvedere.at/objects/50691/rdf/internal/media/dispatcher/51969/fullUntitled2013[Heimo Zobernig]Heimo ZobernigCast concrete In 2013 Heimo Zobernig realized an intervention in the Sculpture Garden of the Belvedere 21 with five concrete surfaces, which act as plinths. The work references the overall architecture of the museum building. The levels can be used to display sculptures from the Belvedere’s collection, for other formats like performances, or left empty. Zobernig’s intervention eludes any clear art historical categorization by opening up manifold possible uses and interpretations. With this open work concept, the installation also forces its viewers to question their own expectations, perceptions, and notions of sculpture or of a traditional sculpture garden.Sculpturehttps://sammlungtest.belvedere.at/objects/39207/rdf/internal/media/dispatcher/133082/fullWild Cube2011[Lois Weinberger]Lois WeinbergerIron ruderal fencing, spontaneous vegetationPlants that reclaim urban spaces—areas that have been greatly altered by human activities— are referred to as wild plants or, to use the technical term, “ruderal species.” They are mostly able to do so when land has been abandoned or is no longer used. It is precisely this kind of vegetation that is now on display in the Sculpture Garden of the Belvedere 21: Inside a huge iron cage various plants (including elm, birch, white poplar, and Norway maple) are growing rankly and uncontrolledly, their branches reaching out between the iron bars. They are part of a work by the artist Lois Weinberger, who conceived his "Wild Cube", as the installation is called, as a critical counterpart to the “white cube” of the typical museum setting.Sculpturehttps://sammlungtest.belvedere.at/objects/25247/rdf/internal/media/dispatcher/133734/fullThe Double (The Scissors)2010[VALIE EXPORT]VALIE EXPORTAluminium casting, brushedThis sculpture by the internationally renowned feminist artist VALIE EXPORT comprises two pairs of scissors interlocked to create a single figure. They can be seen in motion in what seems to have been a quickly scribbled sketch; on it, EXPORT has added the words “[They have] come together.” Thus, the tools have joined forces, appearing from now on as a pair. These scissor dancers, as EXPORT herself calls them, served as the visual motif of an advertising campaign for which the artist was commissioned in 2009 by Vienna’s Tanzquartier. The cut, the incision can also be found in EXPORT’s early videos and performances. There, cutting usually represents the way social conventions that are inscribed in the female body mutilate the soul. Hence the scissors can also be viewed as a reference to household tasks typically associated with women.Sculpturehttps://sammlungtest.belvedere.at/objects/19130/rdf/internal/media/dispatcher/133698/fullMuseum of Revolution2009[Marko Lulić]Marko LulićSteel, lacquer Marko Lulić has placed his word sculpture "Museum of Revolution" effectively in front of Karl Schwanzer’s architecture: in giant, luminous, red metal letters, the two-liner stands at the same height as the entrance level of the Belvedere 21. Upon its original installation in 2010, the work was the first artistic intervention at the museum—as yet unopened and still under reconstruction—and sat on the roof of the adjacent office block. It was designed to look like a giant billboard from a distance. By temporarily repositioning his word sculpture in 2023, thirteen years later, Lulić has not only shifted the levels of perception but has also positioned the characters literally at eye level, thus renegotiating the building’s content as well as the terms “museum” and “revolution” themselves anew.Conceptual arthttps://sammlungtest.belvedere.at/objects/23454/rdf/internal/media/dispatcher/133575/fullWAK2008/2020[Thomas Baumann]Thomas BaumannVerschiedene MaterialienObject arthttps://sammlungtest.belvedere.at/objects/92030/rdf/internal/media/dispatcher/44388/fullFormation of a columnca. 1979[Roland Goeschl]Roland GoeschlLacquered iron“Everyone can build their own color space.” This motto by Roland Goeschl dating from the year 1968 also applies to the work Column Formation. The three objects are not the result of an analytical deconstruction of a figure; rather, the relation they bear to one another is unique to this composition. Rotated to equal degrees around the shortest side, the otherwise static solid figures are lent a dynamism that makes one forget the weight of the material they are made from. This rotation around a shared axis also invites the viewer to actively explore the monumental object in its spatial setting—as if the cubes were calling on the viewer to pile them up or reposition them.Sculpturehttps://sammlungtest.belvedere.at/objects/22459/rdf/internal/media/dispatcher/115651/fullsand spiele1973[Wil Frenken]Wil FrenkenSand in Folie, 4 Plakate in Kartonschuber, Faltumschlag aus Naturkarton, weiß bestempeltAb 1973 veranstalteten Wil Frenken und Fria Elfen an verschiedenen Orten in Österreich und Deutschland Sandspiele im öffentlichen Raum, aber auch in Museen und Galerien. In Form eines partizipativen Experiments wurde das zum „Mitspielen“ aufgeforderte Publikum integraler Bestandteil der künstlerischen Arbeit. — Die Arbeit "sand spiele" umfasst vier Poster zur Dokumentation der Sandspielaktionen mit Texten von Klaus Basset, Hermann Hendrich und Josef Hermann Stiegler, zudem Plastiktüten mit vier verschiedenen Sandsorten (Silbersand, Pflastersand, Rheinsand und "rote Halde") sowie ein Sandobjekt. — [Véronique Abpurg, 7/2019]Object arthttps://sammlungtest.belvedere.at/objects/82889/rdf/internal/media/dispatcher/9611/full[Inclined Standing Figure]1995[Ingeborg Goeschl-Pluhar]Ingeborg Goeschl-PluharBronzeIngeborg G. Pluhar’s approach to sculpture and space has been shaped by myriad influences, including her training under Fritz Wotruba. From 1962 to 1966 she was one of the few female students in his class at the Academy of Fine Arts Vienna. Initially created in plaster in 1965, the artist had "Leaning Figure" cast in bronze for a Belvedere exhibition in the Augarten park in 1994. The life-size sculpture is structured by organically formed segments and is literally stepping out of two-dimensionality. It remains an early exception in Pluhar’s oeuvre, who increasingly turned her attention to abstraction from the 1970s. Her unique stylistic idiom in a range of media has deviated from the classic genre of sculpture but her understanding of physicality endures.Sculpturehttps://sammlungtest.belvedere.at/objects/9966/rdf/internal/media/dispatcher/91130/fullLarge Figure Relief1958[Fritz Wotruba]Fritz WotrubaBronze One of the most important Austrian sculptors of the twentieth century, Fritz Wotruba had already shown his enthusiasm for the geometric qualities of the objective world in his early work from the late 1920s. In his oeuvre, the dismantling of the objective into elementary forms took place in stages, during which he explored the possibilities of concrete means of expression. In this relief the figures are modeled from cylinders and tubes. Wotruba’s exploration of the body’s proportions is precisely manifested in his works. Figural Relief was designed for the Brussels World’s Fair in 1958 as part of the overall concept of the Austrian pavilion, just like the building by Karl Schwanzer, today’s Belvedere 21.Sculpturehttps://sammlungtest.belvedere.at/objects/66335/rdf