14841/internal/media/dispatcher/160775/fullMaria meistert Metall und Anna arbeitet anständig2025[Ashley Hans Scheirl, Ursula Pürrer]Ursula PürrerPosterPrinthttps://sammlungtest.belvedere.at/objects/104533/rdf/internal/media/dispatcher/163011/fullo. T. (James Joyce, All day I hear the noise of waters)2025[Eva Schlegel]Eva SchlegelDruck auf TransparentpapierPrinthttps://sammlungtest.belvedere.at/objects/105818/rdf/internal/media/dispatcher/162469/fullo. T. (Ts20)2025[Eva Schlegel]Eva SchlegelLithographiePrinthttps://sammlungtest.belvedere.at/objects/105995/rdf/internal/media/dispatcher/164519/fullCrush 42025[Liesl Raff]Liesl RaffMetall, Latex, Pigment, TalkumObject arthttps://sammlungtest.belvedere.at/objects/106474/rdf/internal/media/dispatcher/164985/fullGrauen2025[Anna Meyer]Anna MeyerÖl auf LeinwandPaintinghttps://sammlungtest.belvedere.at/objects/106990/rdf/internal/media/dispatcher/165197/fullSafeguard I (Lion)2025[Leda Bourgogne]Leda BourgogneBleached velvet, brass door knocker, wooden panel Leda Bourgogne’s central sources of inspiration span pop, subcultures, and queer history as well as music, literature, psychoanalysis, and film. In her exploration of language, the body, and the subconscious, the artist not only reveals constructions of identity and power dynamics; her works also negotiate the boundaries between intimacy and the public sphere, while emphasizing the political dimension of the private. Safeguard I (Lion) thus marks the transition between inside and outside. Mimicking the form of a historical door, the object is stretched with bleached velvet and fitted with a bronze door knocker in the shape of a lion’s head. As the title suggests, the need it symbolizes remains ambivalent. It can be understood as a desire for security but also for separation, raising questions about the aspects of inclusion and exclusion that underpin the idea of protection.Object arthttps://sammlungtest.belvedere.at/objects/107092/rdf/internal/media/dispatcher/157849/fullY (#3)2024[Sonia Leimer]Sonia LeimerSteel, steel plate, hardboard, digital printingObject arthttps://sammlungtest.belvedere.at/objects/102817/rdfAmazon Needles2024[Katrina Daschner]Katrina DaschnerVergoldetes Messing, verchromtes Aluminium, Garn Since the 1990s, the technique of embroidery—especially against the backdrop of craft traditions associated with femininity—has been a key form of expression in Katrina Daschner’s multimedia feminist practice. The filmmaker and artist describes the needle as “the handiest pen for jotting down my inner thoughts.” The ambiguity of this motif recurs throughout her work: Not only can a sewing needle pierce and injure; it can also join fabrics together. Using loose threads, she creates images out of nothing, evoking narratives. In Amazon Needles, Daschner presents a monumental enlargement of this small, everyday object. At times detached from the fabric, the needles themselves become sculptures and act as protagonists in a stagelike setting. In the installation, they become metaphors for swords or combative comrades who protect one another and stand together against injustice.Object arthttps://sammlungtest.belvedere.at/objects/103416/rdf/internal/media/dispatcher/158489/fullHoop (Red)2024[Maruša Sagadin]Maruša SagadinKarton, Styropor, Acrylpolymer, Pigmente, Metall, HolzObject arthttps://sammlungtest.belvedere.at/objects/103417/rdf/internal/media/dispatcher/158491/fullHoop (Orange / Blue)2024[Maruša Sagadin]Maruša SagadinKarton, Styropor, Acrylpolymer, Pigmente, Metall, HolzObject arthttps://sammlungtest.belvedere.at/objects/103418/rdf/internal/media/dispatcher/158493/fullHoop (Green / Yellow)2024[Maruša Sagadin]Maruša SagadinKarton, Styropor, Acrylpolymer, Pigmente, Metall, HolzObject arthttps://sammlungtest.belvedere.at/objects/103419/rdf/internal/media/dispatcher/166755/fullwoman cut in half (IIII)2024[Birke Gorm]Birke GormEuropalletten, Jute, Metall, TerrakottaObject arthttps://sammlungtest.belvedere.at/objects/104014/rdf/internal/media/dispatcher/162194/fullONE MILLION - Be Silent Touch Look Swallow2024[Uli Aigner]Uli Aigner24 Porzellangefäße, Metall- und Holzsstruktur, 2 Dipond-Prints Be Silent Touch Look Swallow is a manifestation of the project ONE MILLION, initiated in 2014 by multimedia artist Uli Aigner. Here, Aigner pursues the goal of producing one million porcelain objects—knowing full well that this will not be possible in her lifetime. Each unique piece is numbered chronologically, its location digitally archived and mapped, creating a global network. For the twenty-four-part installation on view here, the artist tried out a new production technique: She trained an artificial intelligence system to create forms, some of which she then produced on her potter’s wheel. Aigner views advancing digitization as both a challenge and a mode of production to be mastered, which she seeks to reconcile with one of humanity’s oldest cultural techniques.Arts and craftshttps://sammlungtest.belvedere.at/objects/104262/rdf/internal/media/dispatcher/160735/fullFlora's Twinkle2024[Flora Hauser]Flora HauserAcryl- und Baumwollgarn auf Leinwand genäht Flora Hauser, whose practice is rooted in painting and drawing, transfers her compositions onto canvases using a sewing machine and colored thread. In pastel yet intense hues, she creates works that generate a peculiar tension between technical precision and the spontaneity of drawing. Within them, the artist constructs visual worlds full of spiritual symbols that straddle religion, science fiction, and fantasy. Hauser’s engagement with philosophical and theological principles takes shape in Flora’s Twinkle as a futuristic depiction of a goddess. Within the pictorial space, religious and cosmological motifs— such as the throne, the ceremonial robe, the figure’s blue skin, and the halo—as well as geometric and vegetal forms coalesce into a synthetic universal icon detached from specific religious traditions.Arts and craftshttps://sammlungtest.belvedere.at/objects/104264/rdf/internal/media/dispatcher/161596/fullDawn Chorus - Egypt2024[Jasmina Cibic]Jasmina CibicBleistift, Farbstift, Tinte, Aquarell auf Papier In her films, sculptures, performances, and installations, Jasmina Cibic explores the entanglements of art, architecture, and political ideologies. Created for the sculpture garden of Belvedere 21, Dawn Chorus draws on the history of the Non-Aligned Movement, founded in 1961 in former Yugoslavia. The work brings together sound recordings of birds from the movement’s member states—which are also the countries of origin for most of the unaccompanied minor refugees in Austria—interweaving a historical geopolitical order with contemporary global migration and refugee movements. The sound installation is accompanied by images of birds named after European researchers, colonial officials, and missionaries. Within imperial power structures, such illustrations facilitated a global exchange of knowledge linked to the expropriation of territories and resources. These depictions of animals thus reveal colonial narratives and classification systems that continue to shape the present, raising questions about who defines cultural capital and who benefits from it.Drawing arthttps://sammlungtest.belvedere.at/objects/104267/rdf/internal/media/dispatcher/161598/fullDawn Chorus - Syria2024[Jasmina Cibic]Jasmina CibicBleistift, Farbstift, Tinte, Aquarell auf Papier In her films, sculptures, performances, and installations, Jasmina Cibic explores the entanglements of art, architecture, and political ideologies. Created for the sculpture garden of Belvedere 21, Dawn Chorus draws on the history of the Non-Aligned Movement, founded in 1961 in former Yugoslavia. The work brings together sound recordings of birds from the movement’s member states—which are also the countries of origin for most of the unaccompanied minor refugees in Austria—interweaving a historical geopolitical order with contemporary global migration and refugee movements. The sound installation is accompanied by images of birds named after European researchers, colonial officials, and missionaries. Within imperial power structures, such illustrations facilitated a global exchange of knowledge linked to the expropriation of territories and resources. These depictions of animals thus reveal colonial narratives and classification systems that continue to shape the present, raising questions about who defines cultural capital and who benefits from it.Drawing arthttps://sammlungtest.belvedere.at/objects/104268/rdf/internal/media/dispatcher/161600/fullDawn Chorus - Pakistan2024[Jasmina Cibic]Jasmina CibicBleistift, Farbstift, Tinte, Aquarell auf Papier In her films, sculptures, performances, and installations, Jasmina Cibic explores the entanglements of art, architecture, and political ideologies. Created for the sculpture garden of Belvedere 21, Dawn Chorus draws on the history of the Non-Aligned Movement, founded in 1961 in former Yugoslavia. The work brings together sound recordings of birds from the movement’s member states—which are also the countries of origin for most of the unaccompanied minor refugees in Austria—interweaving a historical geopolitical order with contemporary global migration and refugee movements. The sound installation is accompanied by images of birds named after European researchers, colonial officials, and missionaries. Within imperial power structures, such illustrations facilitated a global exchange of knowledge linked to the expropriation of territories and resources. These depictions of animals thus reveal colonial narratives and classification systems that continue to shape the present, raising questions about who defines cultural capital and who benefits from it.Drawing arthttps://sammlungtest.belvedere.at/objects/104269/rdf/internal/media/dispatcher/161602/fullDawn Chorus - India2024[Jasmina Cibic]Jasmina CibicBleistift, Farbstift, Tinte, Aquarell auf Papier In her films, sculptures, performances, and installations, Jasmina Cibic explores the entanglements of art, architecture, and political ideologies. Created for the sculpture garden of Belvedere 21, Dawn Chorus draws on the history of the Non-Aligned Movement, founded in 1961 in former Yugoslavia. The work brings together sound recordings of birds from the movement’s member states—which are also the countries of origin for most of the unaccompanied minor refugees in Austria—interweaving a historical geopolitical order with contemporary global migration and refugee movements. The sound installation is accompanied by images of birds named after European researchers, colonial officials, and missionaries. Within imperial power structures, such illustrations facilitated a global exchange of knowledge linked to the expropriation of territories and resources. These depictions of animals thus reveal colonial narratives and classification systems that continue to shape the present, raising questions about who defines cultural capital and who benefits from it.Drawing arthttps://sammlungtest.belvedere.at/objects/104270/rdf/internal/media/dispatcher/161604/fullDawn Chorus - Afghanistan2024[Jasmina Cibic]Jasmina CibicBleistift, Farbstift, Tinte, Aquarell auf Papier In her films, sculptures, performances, and installations, Jasmina Cibic explores the entanglements of art, architecture, and political ideologies. Created for the sculpture garden of Belvedere 21, Dawn Chorus draws on the history of the Non-Aligned Movement, founded in 1961 in former Yugoslavia. The work brings together sound recordings of birds from the movement’s member states—which are also the countries of origin for most of the unaccompanied minor refugees in Austria—interweaving a historical geopolitical order with contemporary global migration and refugee movements. The sound installation is accompanied by images of birds named after European researchers, colonial officials, and missionaries. Within imperial power structures, such illustrations facilitated a global exchange of knowledge linked to the expropriation of territories and resources. These depictions of animals thus reveal colonial narratives and classification systems that continue to shape the present, raising questions about who defines cultural capital and who benefits from it.Drawing arthttps://sammlungtest.belvedere.at/objects/104271/rdf/internal/media/dispatcher/161607/fullDawn Chorus - Tunisia2024[Jasmina Cibic]Jasmina CibicBleistift, Farbstift, Tinte, Aquarell auf Papier In her films, sculptures, performances, and installations, Jasmina Cibic explores the entanglements of art, architecture, and political ideologies. Created for the sculpture garden of Belvedere 21, Dawn Chorus draws on the history of the Non-Aligned Movement, founded in 1961 in former Yugoslavia. The work brings together sound recordings of birds from the movement’s member states—which are also the countries of origin for most of the unaccompanied minor refugees in Austria—interweaving a historical geopolitical order with contemporary global migration and refugee movements. The sound installation is accompanied by images of birds named after European researchers, colonial officials, and missionaries. Within imperial power structures, such illustrations facilitated a global exchange of knowledge linked to the expropriation of territories and resources. These depictions of animals thus reveal colonial narratives and classification systems that continue to shape the present, raising questions about who defines cultural capital and who benefits from it.Drawing arthttps://sammlungtest.belvedere.at/objects/104272/rdf/internal/media/dispatcher/164086/fullDawn Chorus2024[Jasmina Cibic]Jasmina Cibic6-Kanal-Soundinstallation In her films, sculptures, performances, and installations, Jasmina Cibic explores the entanglements of art, architecture, and political ideologies. Created for the sculpture garden of Belvedere 21, Dawn Chorus draws on the history of the Non-Aligned Movement, founded in 1961 in former Yugoslavia. The work brings together sound recordings of birds from the movement’s member states—which are also the countries of origin for most of the unaccompanied minor refugees in Austria—interweaving a historical geopolitical order with contemporary global migration and refugee movements. The sound installation is accompanied by images of birds named after European researchers, colonial officials, and missionaries. Within imperial power structures, such illustrations facilitated a global exchange of knowledge linked to the expropriation of territories and resources. These depictions of animals thus reveal colonial narratives and classification systems that continue to shape the present, raising questions about who defines cultural capital and who benefits from it.Sound arthttps://sammlungtest.belvedere.at/objects/104273/rdf/internal/media/dispatcher/166775/fullwhite IWAN2024[Canan Dagdelen]Canan DagdelenWhite, porcelain-like clay, porcelain engobe, steel cables, wooden plate In her long-standing exploration of Islamic architecture, Canan Dagdelen creates sculptural works that describe spaces and make them tangible. For example, her delicate yet expansive installation white IWAN explores the architectural principle of the iwan. In medieval Persian and Arabic manuscripts, the term refers to the central representative part of a building. Over the centuries, this function evolved into a distinct architectural form within Islamic architecture in the Near and Middle East. It can be found in both palaces and religious buildings. The iwan consists of a tall space enclosed on three sides and covered by a barrel vault. In white IWAN, these contours are traced by white ceramic spheres and ovals suspended from the ceiling on threads.Object arthttps://sammlungtest.belvedere.at/objects/106236/rdf/internal/media/dispatcher/164488/fullout of four iwan plan I2024[Canan Dagdelen]Canan DagdelenWhite, porcelain-like clay, porcelain and clay engobeObject arthttps://sammlungtest.belvedere.at/objects/106237/rdf/internal/media/dispatcher/164490/fullout of four iwan plan II2024[Canan Dagdelen]Canan DagdelenWhite, porcelain-like clay, porcelain and clay engobeObject arthttps://sammlungtest.belvedere.at/objects/106238/rdf/internal/media/dispatcher/165736/fullHAUT-DIALOG2024[VALIE EXPORT]VALIE EXPORTBlack-and-white photographyPhotographyhttps://sammlungtest.belvedere.at/objects/107094/rdf/internal/media/dispatcher/165739/fullHAUT-DIALOG2024[VALIE EXPORT]VALIE EXPORTBlack-and-white photographyPhotographyhttps://sammlungtest.belvedere.at/objects/107095/rdf/internal/media/dispatcher/165741/fullHAUT-DIALOG2024[VALIE EXPORT]VALIE EXPORTBlack-and-white photographyPhotographyhttps://sammlungtest.belvedere.at/objects/107096/rdf/internal/media/dispatcher/165742/fullHAUT-DIALOG2024[VALIE EXPORT]VALIE EXPORTBlack-and-white photographyPhotographyhttps://sammlungtest.belvedere.at/objects/107097/rdf/internal/media/dispatcher/165744/fullHAUT-DIALOG2024[VALIE EXPORT]VALIE EXPORTBlack-and-white photographyPhotographyhttps://sammlungtest.belvedere.at/objects/107098/rdf/internal/media/dispatcher/147022/fullFeldenkreis_F2_002 extended2023[Carola Dertnig]Carola DertnigRohr-Skulptur, Stahlrundrohr (25-30mm), mattschwarz, Polymerbeton Carola Dertnig’s performative artistic practice finds a dynamic expression even within the purportedly static formal language of sculpture. Here, the artist takes the personal Feldenkrais archive of her mother—who studied and taught the movement techniques developed by Moshé Feldenkrais in the 1950s—as the starting point for her work Feldenkreis_ F2_002 extended. She expands her mother’s notations and transforms them into visible manifestations of movement as drawings in space. In the process, the specialized artisans who bent the steel tube were given precise instructions and asked to coordinate their movements with Dertnig’s, becoming part of the performative act themselves. Installed alongside the steel form are two objects made of papier-mâché, which allude to fragments of millstones from the High and Late Middle Ages.Object arthttps://sammlungtest.belvedere.at/objects/99524/rdf/internal/media/dispatcher/152209/fullAtlas2023[Thomas Geiger]Thomas GeigerFilm, MP4-File (Transfer auf USB-Stick), Farbe, Ton, Untertitel, 22:20 minAus der Bust Talk-Reihe "Atlas, Sphinx und Doktor", Premiere: 12. Juli 2023 Film/video arthttps://sammlungtest.belvedere.at/objects/100629/rdf/internal/media/dispatcher/155626/fullSphinx2023[Thomas Geiger]Thomas GeigerFilm, MP4-File (Transfer auf USB-Stick), Farbe, Ton, Untertitel, 18:38 minAus der Bust Talk-Serie "Atlas, Sphinx und Doktor", Premiere: 13. Mai 2023Film/video arthttps://sammlungtest.belvedere.at/objects/100630/rdf/internal/media/dispatcher/154652/fullCotton Mouth2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101051/rdf/internal/media/dispatcher/154653/fullSofa2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101052/rdf/internal/media/dispatcher/154657/fullFluidfuturefeminismus2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101056/rdf/internal/media/dispatcher/154658/fullClear the Stage for Universal floating Genders2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101057/rdf/internal/media/dispatcher/154659/fullMy dirty old God*esses2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101058/rdf/internal/media/dispatcher/154660/fullTransplant2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101059/rdf/internal/media/dispatcher/154661/fullMehr Unruhe2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101060/rdf/internal/media/dispatcher/154662/fullMenschenwesen können divers Mitdenken2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101061/rdf/internal/media/dispatcher/154663/fullDer Ursprung des Krieges2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101062/rdf/internal/media/dispatcher/154664/fullKunstgeschichte wird gemacht: Muse en hinken2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101063/rdf/internal/media/dispatcher/154665/fullShe Wolves2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101064/rdf/internal/media/dispatcher/154666/fullDengler dengelt den Staatsvertrag: Zur freien Entnahme2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101065/rdf/internal/media/dispatcher/154667/fullBarrierefree Arthistory2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101066/rdf/internal/media/dispatcher/154668/fullIch töte euch Alle ich bring euch alle um2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101067/rdf/internal/media/dispatcher/154669/fullAuf dem Schlachtfeld der Geschlechter Zeitachse2023[Anna Meyer]Anna MeyerÖl auf PlexiglasPaintinghttps://sammlungtest.belvedere.at/objects/101068/rdf/internal/media/dispatcher/153952/fullRudolf Steiner2023[Thomas Geiger]Thomas GeigerFilm, MP4-File (Transfer auf USB-Stick), Farbe, Ton, Untertitel, 18:38 minAus der Bust Talk-Reihe "Atlas, Sphinx und Doktor": 13.09.2023Film/video arthttps://sammlungtest.belvedere.at/objects/101269/rdf/internal/media/dispatcher/159388/fullRoadkill (Sparrow)2023[Angelika Loderer]Angelika LodererBronze, patiniertSculpturehttps://sammlungtest.belvedere.at/objects/101345/rdf/internal/media/dispatcher/159396/fullRoadkill (Hedgehog)2023[Angelika Loderer]Angelika LodererBronzeSculpturehttps://sammlungtest.belvedere.at/objects/101377/rdf/internal/media/dispatcher/159392/fullRoadkill (Snake)2023[Angelika Loderer]Angelika LodererBronzeSculpturehttps://sammlungtest.belvedere.at/objects/101577/rdf/internal/media/dispatcher/160064/fullClimate Feedback Loops2023[Oliver Ressler]Oliver ResslerZweikanal-Videoinstallation, 4K, 16:9In der Arktis steigen die Temperaturen wesentlich schneller an als im globalen Durchschnitt. Ein besonderer Hotspot ist die Insel Svalbard zwischen der Nordküste Norwegens und dem Nordpol, wo das Meereseis im Sommer mittlerweile fast völlig schmilzt. Das Sonnenlicht wird daher nicht länger von der weißen Oberfläche reflektiert, sondern durch Wasser und Felsen absorbiert. Dieses als „Arctic Amplification” [arktische Verstärkung] bezeichnete Phänomen befördert einen neuerlichen Temperaturanstieg, der wiederum das Auftauen der Permafrostböden beschleunigt. So kann das seit Jahrtausenden in der Erde gebundene Methan in riesigen Mengen in die Atmosphäre entweichen. Dort heizen Treibhausgase die Temperaturen weiter an. Folglich entstehen sogenannte „Climate Feedback Loops“, also Kettenreaktionen, die sich nicht mehr stoppen lassen. Oliver Resslers Videoinstallation zeigt Aufnahmen aus Svalbard vom Juli 2022. Die massive Störung dieses Ökosystems findet in rauen arktischen Sounds ihre akustische Entsprechung.Film/video arthttps://sammlungtest.belvedere.at/objects/101780/rdf/internal/media/dispatcher/152210/fullDark Mirrors (Turning Brighter)2023[Constanze Ruhm]Constanze RuhmComputeranimationFilm/video arthttps://sammlungtest.belvedere.at/objects/101902/rdf/internal/media/dispatcher/155628/fullDark Mirrors (Turning Brighter)2023[Constanze Ruhm]Constanze RuhmDatei, selbstklebender PrintPrinthttps://sammlungtest.belvedere.at/objects/101903/rdf/internal/media/dispatcher/155627/fullA Shard is a Fragment of a Life2023[Constanze Ruhm]Constanze RuhmZweikanal-VideoinstallationFilm/video arthttps://sammlungtest.belvedere.at/objects/101904/rdf/internal/media/dispatcher/155629/fullA Shard is a Fragment of a Life2023[Constanze Ruhm]Constanze RuhmDatei, selbstklebender PrintPrinthttps://sammlungtest.belvedere.at/objects/101905/rdf/internal/media/dispatcher/159348/fullA Woman's Work is Never Done / Autoritratto come martire_89610033, ca. 1615/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101906/rdf/internal/media/dispatcher/159349/fullA Woman's Work is Never Done / Autoritratto come allegoria della pittura_89530019, ca. 1638-39/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101907/rdf/internal/media/dispatcher/159350/fullA Woman's Work is Never Done / Autoritratto come St. Caterina d'Alessandria_89570010, ca. 1615-17/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101908/rdf/internal/media/dispatcher/159351/fullA Woman's Work is Never Done / Autoritratto come St. Caterina d'Alessandria_89570011, ca. 1615-17/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101909/rdf/internal/media/dispatcher/159352/fullA Woman's Work is Never Done / Clio, la musa della storia_89530007, 1632/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101910/rdf/internal/media/dispatcher/159353/fullA Woman's Work is Never Done / Corisca e il satiro_89570036, ca. 1630-35/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101911/rdf/internal/media/dispatcher/159354/fullA Woman's Work is Never Done / Samson e Dalila_89600017, ca. 1630-38/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101912/rdf/internal/media/dispatcher/159355/fullA Woman's Work is Never Done / Giaele e Sisara_89550034, 1620/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101913/rdf/internal/media/dispatcher/159356/fullA Woman's Work is Never Done / Giuditta con la sua ancella_89530031, ca. 1623-25/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101914/rdf/internal/media/dispatcher/159357/fullA Woman's Work is Never Done / Giuditta con la sua ancella_89570024, ca. 1623-25/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101915/rdf/internal/media/dispatcher/159358/fullA Woman's Work is Never Done / Giuditta con la sua ancella_89570027, ca. 1618-19/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101916/rdf/internal/media/dispatcher/159359/fullA Woman's Work is Never Done / Giuditta che decapita Oloferne_89550001 (Set), ca. 1612-13/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101917/rdf/internal/media/dispatcher/159360/fullA Woman's Work is Never Done / Giuditta che decapita Oloferne_89550019, ca. 1612-13/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101918/rdf/internal/media/dispatcher/159361/fullA Woman's Work is Never Done / Lucrezia_89610014, ca. 1650/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101919/rdf/internal/media/dispatcher/159362/fullA Woman's Work is Never Done / La conversione della Maddalena_89540004, ca. 1622-25/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101920/rdf/internal/media/dispatcher/159363/fullA Woman's Work is Never Done / La conversione della Maddalena_89600025, ca. 1615-17/20232023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101921/rdf/internal/media/dispatcher/159364/fullA Woman's Work is Never Done / Shards_895900142023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101922/rdf/internal/media/dispatcher/159365/fullA Woman's Work is Never Done / Set1_895500362023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101923/rdf/internal/media/dispatcher/159366/fullA Woman's Work is Never Done / Set2_896000342023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101924/rdf/internal/media/dispatcher/159367/fullA Woman's Work is Never Done / Set3_895800212023[Constanze Ruhm]Constanze RuhmAnaloge Farbvergrößerung auf Fuji Crystal ArchivePhotographyhttps://sammlungtest.belvedere.at/objects/101925/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/156739/fullPalmer2023[Friedl vom Gröller]Friedl vom Gröller16mm-FilmFilm/video arthttps://sammlungtest.belvedere.at/objects/102331/rdf/internal/media/dispatcher/156741/fullRedskins2023[Friedl vom Gröller]Friedl vom Gröller16mm-FilmFilm/video arthttps://sammlungtest.belvedere.at/objects/102332/rdf/internal/media/dispatcher/164032/fullTod2023[Friedl vom Gröller]Friedl vom Gröller16mm-FilmFilm/video arthttps://sammlungtest.belvedere.at/objects/102333/rdf/internal/media/dispatcher/157674/fullOhne Titel2023[Heimo Zobernig]Heimo ZobernigBronzeSculpturehttps://sammlungtest.belvedere.at/objects/102411/rdf/internal/media/dispatcher/158804/fullWelcome2023[Ferdinand Melichar]Ferdinand MelicharOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/102830/rdf/internal/media/dispatcher/159215/fullHände 20232023[Margot Pilz]Margot PilzPigment print on fine art barytaPhotographyhttps://sammlungtest.belvedere.at/objects/103101/rdf/internal/media/dispatcher/159216/fullHände 20232023[Margot Pilz]Margot PilzPigment print on fine art barytaPhotographyhttps://sammlungtest.belvedere.at/objects/103102/rdf/internal/media/dispatcher/159217/fullHände 20232023[Margot Pilz]Margot PilzPigment print on fine art barytaPhotographyhttps://sammlungtest.belvedere.at/objects/103103/rdf/internal/media/dispatcher/159218/fullHände 20232023[Margot Pilz]Margot PilzPigment print on fine art barytaPhotographyhttps://sammlungtest.belvedere.at/objects/103104/rdf/internal/media/dispatcher/159219/fullHände 20232023[Margot Pilz]Margot PilzPigment print on fine art barytaPhotographyhttps://sammlungtest.belvedere.at/objects/103105/rdf/internal/media/dispatcher/159220/fullHände 20232023[Margot Pilz]Margot PilzPigment print on fine art barytaPhotographyhttps://sammlungtest.belvedere.at/objects/103106/rdf/internal/media/dispatcher/162125/fullEisenblaufärbung für Ballgasse 62023[Constanze Schweiger]Constanze Schweiger Cyanotype, grassed cotton crêpePhotographyhttps://sammlungtest.belvedere.at/objects/103415/rdf/internal/media/dispatcher/160059/fullFinished and begun in the next one 22023[Constanze Schweiger]Constanze Schweiger Cyanotype, grassed cotton crêpe, artist frame (linen, foam, wood)Printhttps://sammlungtest.belvedere.at/objects/104229/rdf/internal/media/dispatcher/160303/fullMon Lit2023[Norbert Fleischmann]Norbert FleischmannAcryl auf Holz, MetallkonstruktionPaintinghttps://sammlungtest.belvedere.at/objects/104306/rdf/internal/media/dispatcher/166755/fullTwo Heads2023[Ashley Hans Scheirl]Ashley Hans ScheirlAcrylic on canvasPaintinghttps://sammlungtest.belvedere.at/objects/104320/rdf/internal/media/dispatcher/160739/fullGlorious Magic - Trained No. 52023[Miao Ying]Miao YingOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/104326/rdf/internal/media/dispatcher/161651/fullTraining Landscapes No. 7 - Clockwork symphony, gears align, a melody of magic, notes divine2023[Miao Ying]Miao YingOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/104327/rdf/internal/media/dispatcher/163981/fullTechnomancy at Lava pit2023[Miao Ying]Miao YingSoftwareFilm/video arthttps://sammlungtest.belvedere.at/objects/104329/rdf/internal/media/dispatcher/162970/fullRespire (Liverpool) (2023) und Keep On Keepin' On (for Nile) (2023)2023[Belinda Kazeem-Kamiński]Belinda Kazeem-KamińskiVideo, Farbe, kein Ton, 16:9 (Respire) und 4-Kanal-Sound-Installation (Keep On Keepin' On) In Respire (Liverpool), people breathe into red balloons across three video projections that are facing one another. As the balloons expand, an otherwise invisible bodily process becomes visible, while the sound of Keep On Keepin’ On (for Nile) moves in waves through the installation, establishing a persistent rhythm throughout the room. The protagonists are all Black, and breathing here is more than just a bodily act. Against the backdrop of the precarity of Black existence, it becomes a gesture of individual and collective self-assertion, of reclaiming space, and ultimately of liberation—a symbolic sigh of relief and the ability to continue breathing. The immersive video-and-sound installation was created for the 2023 Liverpool Biennial. It exemplifies Belinda Kazeem-Kamiński’s interdisciplinary, researchbased practice, which is rooted in postcolonial and Black feminist thought and has collaborative working methods at its core.Film/video arthttps://sammlungtest.belvedere.at/objects/106165/rdf/internal/media/dispatcher/164494/fullOl / BECOME2023[Canan Dagdelen]Canan DagdelenAluminum, anodizedObject arthttps://sammlungtest.belvedere.at/objects/106239/rdf/internal/media/dispatcher/164510/fullDistant Memory IV2023[Luisa Kasalicky, Siegfried Zaworka]Luisa KasalickyÖl und Acryl auf Leinwand In both their individual works and collaborative projects, Luisa Kasalicky and Siegfried Zaworka explore the conditions and possibilities of the medium of painting. In their jointly developed series Distant Memory, the painted picture frames are by Zaworka, while the motifs are by Kasalicky. What seems like a cast shadow connects the two elements into a single work. For the intensely luminous pictorial elements, Kasalicky drew inspiration from stained glass windows in churches, whose colors are determined by the light entering from outside. Interspersed among them, circular black fields break up the pictorial space. Situated at the intersection of painting, object, and installation, the work explores the potential of painted illusion.Paintinghttps://sammlungtest.belvedere.at/objects/106832/rdf/internal/media/dispatcher/164514/fullwhether we're together2023[Nana Mandl]Nana MandlTextiles and embroidery on canvasArts and craftshttps://sammlungtest.belvedere.at/objects/107008/rdf/internal/media/dispatcher/142942/fullFilm Sculpture (2)2022[Philipp Fleischmann]Philipp Fleischmann 16mm film, color, silent, aluminum, polyoxymethylene, lens, projector In his artistic practice at the intersection of film and visual art, Philipp Fleischmann explores unconventional forms of production and representation of moving images. For example, the series of works titled Film Sculptures, developed since 2022, stages the 16mm analog film strip and the projector as apparatuses of visualization, transforming them into installations. In Film Sculpture (2), the bare film strip is routed through the exhibition space via specially constructed devices, pulleys, and rails, passing through a harp-shaped support structure with a palpable aesthetic impact. Fleischmann always exposes the film material in the studio without a camera and uses specific light frequencies and color fields to create abstract, stroboscopic sequences that defy standardized image formats.Object arthttps://sammlungtest.belvedere.at/objects/95712/rdf