80/internal/media/dispatcher/163389/fullV12/192019[Maria Hahnenkamp]Maria HahnenkampVideo, Farbe, stummFilm/video arthttps://sammlungtest.belvedere.at/objects/102762/rdf/internal/media/dispatcher/144408/fullO. T. („Steingipsplatten bebohrt“)2016/2022[Maria Hahnenkamp]Maria HahnenkampStone plaster cast, white wall paint, drilledSculpturehttps://sammlungtest.belvedere.at/objects/98463/rdf/internal/media/dispatcher/161050/fullO. T.2013[Maria Hahnenkamp]Maria HahnenkampSteingips, gegossen, bebohrtObject arthttps://sammlungtest.belvedere.at/objects/105328/rdf/internal/media/dispatcher/161051/fullO. T.2013[Maria Hahnenkamp]Maria HahnenkampSteingips, gegossen, bebohrtObject arthttps://sammlungtest.belvedere.at/objects/105329/rdf/internal/media/dispatcher/161052/fullO. T.2013[Maria Hahnenkamp]Maria HahnenkampSteingips, gegossen, bebohrtObject arthttps://sammlungtest.belvedere.at/objects/105330/rdf/internal/media/dispatcher/161053/fullO. T.2013[Maria Hahnenkamp]Maria HahnenkampSteingips, gegossen, bebohrtObject arthttps://sammlungtest.belvedere.at/objects/105331/rdf/internal/media/dispatcher/161054/fullO. T.2013[Maria Hahnenkamp]Maria HahnenkampSteingips, gegossen, bebohrtObject arthttps://sammlungtest.belvedere.at/objects/105332/rdf/internal/media/dispatcher/160818/fullO. T.2013[Maria Hahnenkamp]Maria HahnenkampSteingipsplatte, gegossen, unbebohrt Maria Hahnenkamp has been collecting empty candy boxes since 1990 and uses the repurposed objets trouvés to reveal underlying meanings and contexts: the empty packaging refers to the supposedly precious object that was formerly wrapped while simultaneously exposing the deceptive appearance of marketing strategies— the packaging material is made of plastic rather than gold. Hung on the wall as an art object with a Baroque frame, the candy boxes once again experience an increase in value. The artist repeatedly works with found materials, which she transfers into an artistic context in order to challenge their form and purpose.Object arthttps://sammlungtest.belvedere.at/objects/106128/rdf/internal/media/dispatcher/160822/fullGravuren2012/2015[Maria Hahnenkamp]Maria HahnenkampGlasbild; Weissglas mit Sandstrahlung in flacher und mittlerer TiefeObject arthttps://sammlungtest.belvedere.at/objects/102716/rdf/internal/media/dispatcher/160824/fullOrnament 22012[Maria Hahnenkamp]Maria HahnenkampGlasbild; Weissglas mit Sandstrahlung in flacher und mittlerer TiefeObject arthttps://sammlungtest.belvedere.at/objects/102717/rdf/internal/media/dispatcher/160823/fullOrnament 12012[Maria Hahnenkamp]Maria HahnenkampGlasbild; Weissglas mit Sandstrahlung in flacher und mittlerer TiefeObject arthttps://sammlungtest.belvedere.at/objects/102718/rdf/internal/media/dispatcher/161096/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102667/rdf/internal/media/dispatcher/161098/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102668/rdf/internal/media/dispatcher/161099/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102669/rdf/internal/media/dispatcher/161100/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102670/rdf/internal/media/dispatcher/161101/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102671/rdf/internal/media/dispatcher/161102/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102672/rdf/internal/media/dispatcher/161103/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102673/rdf/internal/media/dispatcher/161104/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102674/rdf/internal/media/dispatcher/161105/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102675/rdf/internal/media/dispatcher/161106/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102676/rdf/internal/media/dispatcher/161107/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/102677/rdf/internal/media/dispatcher/163388/fullV10/16 – Philipp2008/2016[Maria Hahnenkamp]Maria HahnenkampVideo, Farbe, stummFilm/video arthttps://sammlungtest.belvedere.at/objects/102759/rdf/internal/media/dispatcher/161109/fullFragmente2008/2019[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Harman-BarytpapierPhotographyhttps://sammlungtest.belvedere.at/objects/105327/rdf/internal/media/dispatcher/161021/fullCut-Out2007[Maria Hahnenkamp]Maria HahnenkampC-Print, digitaler Cut Maria Hahnenkamp’s series Cut-Out shows female models in everyday clothes stretching horizontally across the pictorial space in fragmented close-ups. Individually or in pairs, they press themselves against a glass plate and are photographed from below. The flattened bodies, overlaid with cut-out white lines, give the impression of constriction—especially as their arms, legs, hips, and chests are wrapped in bands of text. The quotes are from The Psychic Life of Power: Theories in Subjection by American philosopher Judith Butler and refer to Hahnenkamp’s ongoing engagement with sociopolitical, philosophical, psychological, and feminist criticism, which she incorporates into her artistic work and pictorial strategies.Photographyhttps://sammlungtest.belvedere.at/objects/102735/rdf/internal/media/dispatcher/161022/fullCut-Out2007[Maria Hahnenkamp]Maria HahnenkampC-Print, digitaler Cut Maria Hahnenkamp’s series Cut-Out shows female models in everyday clothes stretching horizontally across the pictorial space in fragmented close-ups. Individually or in pairs, they press themselves against a glass plate and are photographed from below. The flattened bodies, overlaid with cut-out white lines, give the impression of constriction—especially as their arms, legs, hips, and chests are wrapped in bands of text. The quotes are from The Psychic Life of Power: Theories in Subjection by American philosopher Judith Butler and refer to Hahnenkamp’s ongoing engagement with sociopolitical, philosophical, psychological, and feminist criticism, which she incorporates into her artistic work and pictorial strategies.Photographyhttps://sammlungtest.belvedere.at/objects/102736/rdf/internal/media/dispatcher/161024/fullCut-Out2007[Maria Hahnenkamp]Maria HahnenkampC-Print, digitaler Cut Maria Hahnenkamp’s series Cut-Out shows female models in everyday clothes stretching horizontally across the pictorial space in fragmented close-ups. Individually or in pairs, they press themselves against a glass plate and are photographed from below. The flattened bodies, overlaid with cut-out white lines, give the impression of constriction—especially as their arms, legs, hips, and chests are wrapped in bands of text. The quotes are from The Psychic Life of Power: Theories in Subjection by American philosopher Judith Butler and refer to Hahnenkamp’s ongoing engagement with sociopolitical, philosophical, psychological, and feminist criticism, which she incorporates into her artistic work and pictorial strategies.Photographyhttps://sammlungtest.belvedere.at/objects/102737/rdf/internal/media/dispatcher/161027/fullCut-Out2007[Maria Hahnenkamp]Maria HahnenkampC-Print, digitaler Cut Maria Hahnenkamp’s series Cut-Out shows female models in everyday clothes stretching horizontally across the pictorial space in fragmented close-ups. Individually or in pairs, they press themselves against a glass plate and are photographed from below. The flattened bodies, overlaid with cut-out white lines, give the impression of constriction—especially as their arms, legs, hips, and chests are wrapped in bands of text. The quotes are from The Psychic Life of Power: Theories in Subjection by American philosopher Judith Butler and refer to Hahnenkamp’s ongoing engagement with sociopolitical, philosophical, psychological, and feminist criticism, which she incorporates into her artistic work and pictorial strategies.Photographyhttps://sammlungtest.belvedere.at/objects/102738/rdf/internal/media/dispatcher/161028/fullCut-Out2007[Maria Hahnenkamp]Maria HahnenkampC-Print, digitaler Cut Maria Hahnenkamp’s series Cut-Out shows female models in everyday clothes stretching horizontally across the pictorial space in fragmented close-ups. Individually or in pairs, they press themselves against a glass plate and are photographed from below. The flattened bodies, overlaid with cut-out white lines, give the impression of constriction—especially as their arms, legs, hips, and chests are wrapped in bands of text. The quotes are from The Psychic Life of Power: Theories in Subjection by American philosopher Judith Butler and refer to Hahnenkamp’s ongoing engagement with sociopolitical, philosophical, psychological, and feminist criticism, which she incorporates into her artistic work and pictorial strategies.Photographyhttps://sammlungtest.belvedere.at/objects/105336/rdf/internal/media/dispatcher/160798/fullSchnörksel2005/2006[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Bütten, bestickt For her seven-part series Schnörksel, Maria Hahnenkamp begins with found photographs from fashion magazines, which are digitally overlaid with text fragments written by Rainer Fuchs. The Austrian art historian has repeatedly used Hahnenkamp’s oeuvre to explore the role of ornament in the history of art and culture in order to demonstrate its social relevance. Finally, the artist embroiders the reproduced images by hand with artfully curved lines. By juxtaposing a supposedly clearly formulated text with a seemingly meaningless motif, Hahnenkamp calls for a reappraisal of ornamentation.Photographyhttps://sammlungtest.belvedere.at/objects/102678/rdf/internal/media/dispatcher/161061/fullO.T. (aus der Serie "Kleid")2005/2024[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Hahnemühle-Photo-Pearl-PapierNeuproduktionPhotographyhttps://sammlungtest.belvedere.at/objects/102728/rdf/internal/media/dispatcher/161062/fullO.T. (aus der Serie "Kleid")2005/2024[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Hahnemühle-Photo-Pearl-PapierNeuproduktionPhotographyhttps://sammlungtest.belvedere.at/objects/102729/rdf/internal/media/dispatcher/161063/fullO.T. (aus der Serie "Kleid")2005/2024[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Hahnemühle-Photo-Pearl-PapierNeuproduktionPhotographyhttps://sammlungtest.belvedere.at/objects/102730/rdf/internal/media/dispatcher/161064/fullO. T. (aus der Serie "Kleid")2005/2024[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Hahnemühle-Photo-Pearl-PapierPhotographyhttps://sammlungtest.belvedere.at/objects/105334/rdf/internal/media/dispatcher/161055/fullO. T. (aus der Serie "Eine Frau")2003[Maria Hahnenkamp]Maria HahnenkampC-Print, besticktPhotographyhttps://sammlungtest.belvedere.at/objects/104158/rdf/internal/media/dispatcher/161059/fullO. T. (aus der Serie "Eine Frau")2003[Maria Hahnenkamp]Maria HahnenkampC-Print, besticktPhotographyhttps://sammlungtest.belvedere.at/objects/105335/rdf/internal/media/dispatcher/163050/fullDiaprojektion 2 (Malerei)2002[Maria Hahnenkamp]Maria HahnenkampDoppelprojektion, je Set 81 EinzeldiasÜberlappende Doppelprojektion mit 2 DiakarussellenPhotographyhttps://sammlungtest.belvedere.at/objects/102772/rdf/internal/media/dispatcher/163040/fullDiaprojektion 3 (Unbekannte Frau aus Hamburg und Marilyn Monroe)2002[Maria Hahnenkamp]Maria HahnenkampÜberlappende Doppelprojektion; je Set 81 EinzeldiasDoppelprojektion mit DiakarussellenPhotographyhttps://sammlungtest.belvedere.at/objects/102773/rdf/internal/media/dispatcher/163041/fullDiaprojektion 4a (Mode-Porno-Porno (Extase))2002[Maria Hahnenkamp]Maria HahnenkampDreifachprojektion; je Set 81 EinzeldiasDreifach-Projektion mit DiakarussellenPhotographyhttps://sammlungtest.belvedere.at/objects/102775/rdf/internal/media/dispatcher/160801/fullO. T. (aus der Serie "Eine Frau")2001/2014[Maria Hahnenkamp]Maria HahnenkampPigmentprint, Gelatineschicht abgerissenPhotographyhttps://sammlungtest.belvedere.at/objects/102684/rdf/internal/media/dispatcher/160802/fullO. T. (aus der Serie "Eine Frau")2001/2014[Maria Hahnenkamp]Maria HahnenkampPigmentprint, Gelatineschicht abgerissenPhotographyhttps://sammlungtest.belvedere.at/objects/102685/rdf/internal/media/dispatcher/160803/fullO. T. (aus der Serie "Eine Frau")2001/2014[Maria Hahnenkamp]Maria HahnenkampPigmentprint, Gelatineschicht abgerissenPhotographyhttps://sammlungtest.belvedere.at/objects/102686/rdf/internal/media/dispatcher/160804/fullO. T. (aus der Serie "Eine Frau")2001/2014[Maria Hahnenkamp]Maria HahnenkampPigmentprint, Gelatineschicht abgerissenPhotographyhttps://sammlungtest.belvedere.at/objects/102687/rdf/internal/media/dispatcher/161146/fullO. T. (aus der Serie "Eine Frau")2001/2024[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Hahnemühle-Photo-Pearl-PapierNeuproduktionPhotographyhttps://sammlungtest.belvedere.at/objects/102720/rdf/internal/media/dispatcher/163457/fullOrnament Nr. 202001/2025[Maria Hahnenkamp]Maria Hahnenkamp2-teilig, mittels Vorlage und Bohrmaschine auf die Wand übertragene In-situ-Bohrung This in-situ work, which consists of hundreds of holes and covers several square meters, is probably Maria Hahnenkamp’s most radical intervention in an exhibition space—even if it is barely perceptible at first. The artist deliberately experiments with the boundaries of visibility and also highlights the contradictions between removal and presence. A nineteenth-century pattern book for church furnishings serves as a template for the ornamental forms that penetrate the surface of the wall. Hahnenkamp uses a computer to digitally edit and modify the magnificent tendril patterns. The ornaments, which are adapted to the space, are then transferred to the wall with a drill, one hole at a time, in such a way that the dark circles of the drill holes create a kind of drawing.Scenic workhttps://sammlungtest.belvedere.at/objects/102779/rdf/internal/media/dispatcher/161147/fullO. T. (aus der Serie "Zwei Frauen")2001/2003/2024[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Hahnemühle-Photo-Pearl-PapierNeuproduktionPhotographyhttps://sammlungtest.belvedere.at/objects/104155/rdf/internal/media/dispatcher/161145/fullO. T. (aus der Serie "Eine Frau")2001/2024[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Hahnemühle-Photo-Pearl-PapierNeuproduktionPhotographyhttps://sammlungtest.belvedere.at/objects/105333/rdf/internal/media/dispatcher/161148/fullO. T. (aus der Serie "Zwei Frauen")2001/2003/2024[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Hahnemühle-Photo-Pearl-PapierNeuproduktionPhotographyhttps://sammlungtest.belvedere.at/objects/105404/rdf/internal/media/dispatcher/160819/fullO. T.undated[Maria Hahnenkamp]Maria HahnenkampC-Print, abgeschmirgelt und besticktPhotographyhttps://sammlungtest.belvedere.at/objects/102707/rdf/internal/media/dispatcher/163441/fullDiaprojektion 1 (Bollwerk)2000/2002/2017[Maria Hahnenkamp]Maria HahnenkampDiaprojektion, 81 Einzeldias For a lecture at the School for Artistic Photography, Maria Hahnenkamp translated her collection of images into slides for the first time and developed them into an independent work: in Diaprojektion 1 (Bollwerk) (Slide Projection 1 [Bulwark], 2000/2002/2017), she combined photographs depicting Christian iconography, church architecture, fashion, and pornography. Over the years, she created further series in which she regularly adapted the selection of images. In a double projection, for example, she compares the facial expressions of women in fashion photographs and in pornographic magazines as well as the aesthetic presentation of these printed images. In a further pairing, Hahnenkamp juxtaposes photographs of an unknown woman from Hamburg with iconic images of Marilyn Monroe and uses their similar poses to reveal beauty ideals specific to that era.Film/video arthttps://sammlungtest.belvedere.at/objects/102760/rdf/internal/media/dispatcher/160815/fullO. T.undated[Maria Hahnenkamp]Maria Hahnenkamp5 Pigment-Prints auf Harman Barytpapier, bestickt, Passepartout besticheltPhotographyhttps://sammlungtest.belvedere.at/objects/104147/rdf/internal/media/dispatcher/163039/fullO. T.1996[Maria Hahnenkamp]Maria Hahnenkamp14 Vitrinen, mit bestichelten Farbfotografien ausgekleidet, konvex gebogenes GlasPhotographyhttps://sammlungtest.belvedere.at/objects/102646/rdf/internal/media/dispatcher/160793/fullO. T.1995/2020[Maria Hahnenkamp]Maria HahnenkampFarbfotos bis zum Papierträger abgeschmirgelt, maschinell zusammengenäht, auf Karton montiertPhotographyhttps://sammlungtest.belvedere.at/objects/102644/rdf/internal/media/dispatcher/160794/fullO. T.1995/2019[Maria Hahnenkamp]Maria HahnenkampStuckrahmen / Rocaille, Gipsscheibe aus Alabaster mit SichtlochObject arthttps://sammlungtest.belvedere.at/objects/102655/rdf/internal/media/dispatcher/160795/fullPassepartout bestichelt1995[Maria Hahnenkamp]Maria HahnenkampPassepartoutkarton, collagiert, besticheltArts and craftshttps://sammlungtest.belvedere.at/objects/102661/rdf/internal/media/dispatcher/163675/fullO.T. (aus der Serie "Bügeln")1995/2024[Maria Hahnenkamp]Maria HahnenkampPigmentprints auf Hahnemühle-Photo-Pearl-PapierPhotographyhttps://sammlungtest.belvedere.at/objects/104116/rdf/internal/media/dispatcher/160779/fullO. T. (Parfum-Devotionalie I. – Roter Seidenfilz Nr. 30)1995[Maria Hahnenkamp]Maria HahnenkampSeidenbeflockte Plastikform, Rahmen, vergoldet, mundgeblasener Glassturz von Lobmeyr Religious objects such as crosses, crucifixes, rosaries, and figures of saints and icons are usually referred to as devotional objects. These relics are used for remembrance and private prayer. In contrast, Maria Hahnenkamp’s series of works of perfume devotional objects (starting in 1993) consists of satin or felt beds taken from different types of packaging with recesses for bottles and soaps. The empty spaces allude to the absence of the perfume bottle and, by association, to the absent, seductively fragrant female body. What remains is merely the ideal substitute in the form of an emptied object. The image—or rather the imprint—of the woman is thus inscribed into this hollow space, which the artist has placed in a golden frame.Object arthttps://sammlungtest.belvedere.at/objects/104764/rdf/internal/media/dispatcher/160783/fullO. T. (Parfum-Devotionalie I. – Blauer Seidenfilz Nr. 32)1995[Maria Hahnenkamp]Maria HahnenkampSeidenbeflockte Plastikform, Rahmen, vergoldet, mundgeblasener Glassturz von Lobmeyr Religious objects such as crosses, crucifixes, rosaries, and figures of saints and icons are usually referred to as devotional objects. These relics are used for remembrance and private prayer. In contrast, Maria Hahnenkamp’s series of works of perfume devotional objects (starting in 1993) consists of satin or felt beds taken from different types of packaging with recesses for bottles and soaps. The empty spaces allude to the absence of the perfume bottle and, by association, to the absent, seductively fragrant female body. What remains is merely the ideal substitute in the form of an emptied object. The image—or rather the imprint—of the woman is thus inscribed into this hollow space, which the artist has placed in a golden frame.Object arthttps://sammlungtest.belvedere.at/objects/104767/rdf/internal/media/dispatcher/117221/fullOhne Titel1994/2018[Maria Hahnenkamp]Maria HahnenkampC-Prints, abgeschmirgelt und zusammengenähtPhotographyhttps://sammlungtest.belvedere.at/objects/85204/rdf/internal/media/dispatcher/117215/fullRote-Zusammengenähte-Fotos1993–1995 / 2018[Maria Hahnenkamp]Maria HahnenkampSequenz von C-Prints, zusammengenäht und collagiertPhotographyhttps://sammlungtest.belvedere.at/objects/85199/rdf/internal/media/dispatcher/117216/fullRote-Zusammengenähte-Fotos1993–1995 / 2018[Maria Hahnenkamp]Maria HahnenkampSequenz von C-Prints, zusammengenäht und collagiertPhotographyhttps://sammlungtest.belvedere.at/objects/85200/rdf/internal/media/dispatcher/117217/fullRote-Zusammengenähte-Fotos1993–1995 / 2018[Maria Hahnenkamp]Maria HahnenkampSequenz von C-Prints, zusammengenäht und collagiertPhotographyhttps://sammlungtest.belvedere.at/objects/85201/rdf/internal/media/dispatcher/117219/fullRote-Zusammengenähte-Fotos1993–1995 / 2018[Maria Hahnenkamp]Maria HahnenkampSequenz von C-Prints, zusammengenäht und collagiertPhotographyhttps://sammlungtest.belvedere.at/objects/85202/rdf/internal/media/dispatcher/117220/fullRote-Zusammengenähte-Fotos1993–1995 / 2018[Maria Hahnenkamp]Maria HahnenkampSequenz von C-Prints, zusammengenäht und collagiertPhotographyhttps://sammlungtest.belvedere.at/objects/85203/rdf/internal/media/dispatcher/161030/fullO. T.1993[Maria Hahnenkamp]Maria HahnenkampFarbfotografie, Bildmitte abgeschmirgeltPhotographyhttps://sammlungtest.belvedere.at/objects/102649/rdf/internal/media/dispatcher/161032/fullO. T.1993[Maria Hahnenkamp]Maria HahnenkampFarbfotografie, Bildmitte abgeschmirgeltPhotographyhttps://sammlungtest.belvedere.at/objects/102650/rdf/internal/media/dispatcher/161034/fullO. T.1993[Maria Hahnenkamp]Maria HahnenkampFarbfotografie, Bildmitte abgeschmirgeltPhotographyhttps://sammlungtest.belvedere.at/objects/102651/rdf/internal/media/dispatcher/161036/fullO. T.1993[Maria Hahnenkamp]Maria HahnenkampFarbfotografie, Bildmitte abgeschmirgeltPhotographyhttps://sammlungtest.belvedere.at/objects/102652/rdf/internal/media/dispatcher/161039/fullO. T.1993[Maria Hahnenkamp]Maria HahnenkampFarbfotografie, Bildmitte abgeschmirgeltPhotographyhttps://sammlungtest.belvedere.at/objects/102653/rdf/internal/media/dispatcher/161042/fullO. T.1993[Maria Hahnenkamp]Maria HahnenkampFarbfotografie, Bildmitte abgeschmirgeltPhotographyhttps://sammlungtest.belvedere.at/objects/102654/rdf/internal/media/dispatcher/160781/fullO. T. (Parfum-Devotionalie I. – Gelber Seidenfilz Nr. 34)1993/2022[Maria Hahnenkamp]Maria HahnenkampSeidenbeflockte Plastikform, Rahmen, vergoldet, mundgeblasener Glassturz von LobmeyrReligious objects such as crosses, crucifixes, rosaries, and figures of saints and icons are usually referred to as devotional objects. These relics are used for remembrance and private prayer. In contrast, Maria Hahnenkamp’s series of works of perfume devotional objects (starting in 1993) consists of satin or felt beds taken from different types of packaging with recesses for bottles and soaps. The empty spaces allude to the absence of the perfume bottle and, by association, to the absent, seductively fragrant female body. What remains is merely the ideal substitute in the form of an emptied object. The image—or rather the imprint—of the woman is thus inscribed into this hollow space, which the artist has placed in a golden frame. Object arthttps://sammlungtest.belvedere.at/objects/104766/rdf/internal/media/dispatcher/160784/fullO. T. (Parfum-Devotionalie I. – Roter Seidenfilz/Satin Nr. 19)1993[Maria Hahnenkamp]Maria HahnenkampSeidenbeflockte Plastikform, Rahmen, vergoldet, mundgeblasener Glassturz von Lobmeyr Religious objects such as crosses, crucifixes, rosaries, and figures of saints and icons are usually referred to as devotional objects. These relics are used for remembrance and private prayer. In contrast, Maria Hahnenkamp’s series of works of perfume devotional objects (starting in 1993) consists of satin or felt beds taken from different types of packaging with recesses for bottles and soaps. The empty spaces allude to the absence of the perfume bottle and, by association, to the absent, seductively fragrant female body. What remains is merely the ideal substitute in the form of an emptied object. The image—or rather the imprint—of the woman is thus inscribed into this hollow space, which the artist has placed in a golden frame.Object arthttps://sammlungtest.belvedere.at/objects/104768/rdf/internal/media/dispatcher/161046/fullO. T.1993[Maria Hahnenkamp]Maria HahnenkampFarbfotografie, Bildmitte abgeschmirgeltPhotographyhttps://sammlungtest.belvedere.at/objects/105326/rdf/internal/media/dispatcher/160780/fullO. T. (Parfum-Devotionalie I. – Gelber Seidenfilz Nr. 35)1992/2022[Maria Hahnenkamp]Maria HahnenkampSeidenbeflockte Plastikform, Rahmen, vergoldet, mundgeblasener Glassturz von Lobmeyr Religious objects such as crosses, crucifixes, rosaries, and figures of saints and icons are usually referred to as devotional objects. These relics are used for remembrance and private prayer. In contrast, Maria Hahnenkamp’s series of works of perfume devotional objects (starting in 1993) consists of satin or felt beds taken from different types of packaging with recesses for bottles and soaps. The empty spaces allude to the absence of the perfume bottle and, by association, to the absent, seductively fragrant female body. What remains is merely the ideal substitute in the form of an emptied object. The image—or rather the imprint—of the woman is thus inscribed into this hollow space, which the artist has placed in a golden frame.Object arthttps://sammlungtest.belvedere.at/objects/104765/rdf/internal/media/dispatcher/160785/fullO. T. (Parfum-Devotionalie I. – Altrosa Filz Nr. 11)1992[Maria Hahnenkamp]Maria HahnenkampSeidenbeflockte Plastikform, Rahmen, vergoldet, mundgeblasener Glassturz von Lobmeyr Religious objects such as crosses, crucifixes, rosaries, and figures of saints and icons are usually referred to as devotional objects. These relics are used for remembrance and private prayer. In contrast, Maria Hahnenkamp’s series of works of perfume devotional objects (starting in 1993) consists of satin or felt beds taken from different types of packaging with recesses for bottles and soaps. The empty spaces allude to the absence of the perfume bottle and, by association, to the absent, seductively fragrant female body. What remains is merely the ideal substitute in the form of an emptied object. The image—or rather the imprint—of the woman is thus inscribed into this hollow space, which the artist has placed in a golden frame.Object arthttps://sammlungtest.belvedere.at/objects/104769/rdf/internal/media/dispatcher/160786/fullO. T. (Parfum-Devotionalie I. – Blassrosa Filz Nr. 10)1992[Maria Hahnenkamp]Maria HahnenkampSeidenbeflockte Plastikform, Rahmen, vergoldet, mundgeblasener Glassturz von Lobmeyr Religious objects such as crosses, crucifixes, rosaries, and figures of saints and icons are usually referred to as devotional objects. These relics are used for remembrance and private prayer. In contrast, Maria Hahnenkamp’s series of works of perfume devotional objects (starting in 1993) consists of satin or felt beds taken from different types of packaging with recesses for bottles and soaps. The empty spaces allude to the absence of the perfume bottle and, by association, to the absent, seductively fragrant female body. What remains is merely the ideal substitute in the form of an emptied object. The image—or rather the imprint—of the woman is thus inscribed into this hollow space, which the artist has placed in a golden frame.Object arthttps://sammlungtest.belvedere.at/objects/104770/rdf/internal/media/dispatcher/160926/fullO. T. (aus der Serie "Sticken")vor 1998[Maria Hahnenkamp]Maria HahnenkampPigmentprint auf Harman-Barytpapier, bestickt, Passepartout besticheltPhotographyhttps://sammlungtest.belvedere.at/objects/104146/rdf/internal/media/dispatcher/160943/fullO. T.1990[Maria Hahnenkamp]Maria HahnenkampBonbonschachtel, Verpackungsmaterial Maria Hahnenkamp has been collecting empty candy boxes since 1990 and uses the repurposed objets trouvés to reveal underlying meanings and contexts: the empty packaging refers to the supposedly precious object that was formerly wrapped while simultaneously exposing the deceptive appearance of marketing strategies— the packaging material is made of plastic rather than gold. Hung on the wall as an art object with a Baroque frame, the candy boxes once again experience an increase in value. The artist repeatedly works with found materials, which she transfers into an artistic context in order to challenge their form and purpose.Object arthttps://sammlungtest.belvedere.at/objects/102741/rdf/internal/media/dispatcher/160942/fullO. T.1990[Maria Hahnenkamp]Maria HahnenkampBonbonschachtel, Verpackungsmaterial Maria Hahnenkamp has been collecting empty candy boxes since 1990 and uses the repurposed objets trouvés to reveal underlying meanings and contexts: the empty packaging refers to the supposedly precious object that was formerly wrapped while simultaneously exposing the deceptive appearance of marketing strategies— the packaging material is made of plastic rather than gold. Hung on the wall as an art object with a Baroque frame, the candy boxes once again experience an increase in value. The artist repeatedly works with found materials, which she transfers into an artistic context in order to challenge their form and purpose.Object arthttps://sammlungtest.belvedere.at/objects/102752/rdf/internal/media/dispatcher/162471/fullO. T.1990[Maria Hahnenkamp]Maria HahnenkampBonbonschachtel, Verpackungsmaterial Maria Hahnenkamp has been collecting empty candy boxes since 1990 and uses the repurposed objets trouvés to reveal underlying meanings and contexts: the empty packaging refers to the supposedly precious object that was formerly wrapped while simultaneously exposing the deceptive appearance of marketing strategies— the packaging material is made of plastic rather than gold. Hung on the wall as an art object with a Baroque frame, the candy boxes once again experience an increase in value. The artist repeatedly works with found materials, which she transfers into an artistic context in order to challenge their form and purpose.Object arthttps://sammlungtest.belvedere.at/objects/102753/rdf