AØH Recommendation: Astrup Fearnley Museet showing Damien Hirst & Anselm Kiefer

Astrup Fearnly Museum by architect Renzo Piano is one of the largest contemporary art museums I’ve visited so far.
Upon approaching the building I saw a bridge connecting two parts of the building which in comparison with Snøhetta’s Oslo Opera building connected the two part glass structure of the building with each other mainly using the materials wood and glass. In this manner there it created the sensation of openness a welcoming invitation to come inside and explore the building as well from the inside. In the back yard I saw a sculpture by Indian artist Anish Kapoor represented by Lisson Gallery, London: https://www.lissongallery.com

The main spaces however, are clearly distinct in terms of opening up to the sides and creating a vast feeling expanding to all sides of the space housing and counterpositioning contemporary art known to picture the art scene of the ‘Here and Now’ created anew with possibility to still get the insight from the artists first of hand. In a conversation with my flight seating neighbour we discussed the term contemporary and what it means yesterday and I could explain that contrary to the timewise adjacent Modernism the art has actually been created anew and quoting an article titled ‘Comrades of time’ by philosopher and art critic Boris Groys in the E-flux Reader ‘What Is Contemporary Art’? he stated as well already inherent in the title of his text that we are able to still be together with the artists defined as ‘Comrades’ of our current day-to-day life. Quoting from his article he says: Contemporary art deserves its name insofar as it manifests its own contemporaneity – and this is not simply a matter of being recently made or displayed. Thus the question ‘What is contemporary art’ implicates the question ‘What is the contemporary?’ How could the contemporary as such be shown? 1)

Adding to this notion I have curated a group exhibition at my then gallery space Para_SITE which was founded to showcase contemporary art mainly students of the art universities for Applied Arts & Academy of Fine Arts in Vienna and the FH Joanneum in Graz, Austria where the gallery was based in the city centre. The translation to German with a term I created was ‘Zeitgenöss_innen’ by choice gendering as in my curatorial practise I tried to equal both female as well as male artists being able to present their work in the small white cube space presenting themselves to the public for the first time or at first in a commercial context that supported their work with small or none at all commissions as funded by the local funding boards and the BMUKK today Bundeskanzleramt therefore being able to support the artists in this manner with sales solely benefiting themselves. To summerise in short ‘Comrades of Time’ equals ‘Zeitgenöss_innen’ inherent both comrades as Genöss_innen and ‘of Time’ Zeit’ reflecting the term ‘Zeitgenössisch’ in English ‘Contemporary’.
The art experience at Astrup Fearnley makes as well supported by the building itself best use of the curatorial concept presenting Contemporary Art counterpositioning and streching it like a conceptual web allowing for different settings depending on the point of view within the space and the location the visitor directs her or his gaze towards the curatorial positioning. Wandering around in the exhibition I realised that no matter where I stood the presentation of a handful of contemporary works always created a perfect setting allowing for several encompassing and clearly structured settings. The presentation was based on colour coding, sculpture versus painting or print works and conent-wise across the two open floors of the show. These curatorial concept I am using as well in my own curatorial practise as well connecting the three floors of my art space the landmark Bell Tower by means of Deja-vues reminding of the seen when walking from the ground floor to the second floor like a web created by the visual complexities of the human eye, just recently in Anna Werzowa’s exhibition ‘Creation by Nature’ making us experience her body of work by means of ‘Sichtachsen’ like being an insect exploring a space as we showcased her work incorporating her insects being presented using a technical as well as natural historic approach.
In the exhibition Private Passion New Aquisitions in the Astrup Fearnly Collection the curatorial display by Gunnar B. Kvaran opened up various assemblages of the works presented relating to each other nearly endlessly communicating with each other.
Like in my personal approach to art critisism and curatorial practise I choose one work to depart from on my personal journey or more concret my personal story I am telling about the experience when walking through the art display. This as well is incorporated in my ‘Art Ark/ Brückenschlag der Kunst’ educational programme as part of every exhibition in the framework of ‘Zu Gast am Schlossberg’ in English ‘Visiting Schlossberg Mountain’ opening up several stories to be told by means of the subjective approach by every visitor. Like the French philosopher Michel Foucault wrote the positioning and inherent spacial setting created new stories to be spread by word of mouth adding to the experience of the visit of galleries or in my case independent art space using the Bell Tower and creating a marketing possibility stronger than any other means of communication. The invisible web created by us as curators leads to an infinite communication about the art and every personal view is since the foundation of the exhibition series incorporated in my personal curatorial guided tours through the exhibitions as well being mentioned in the limited edition AØH Art Publication realised in the framework of every exhibition.
At the museum in Oslo the invisible web was enlarged by the museum guards wearing jackets with the printed text ‘Let’s Talk Art’ inviting to engage in discussion about what’s on view in a very reduced manner not forcing or inflicting an opinion on the viewer. This is as well my own approach simply being there when needed other than that experiencing the exhibition in solitude. Challenging for myself as an exhibition guide and guard at the same time engaging with the visitors on a personal level especially those who were bias last in Werzowa’s display and by means of an always doggerent approach suiting the requirements by the individual visitors creating an art experience that viewers can benefit from personally. As inherent in the commercial world the ‘Buyer is queen or king’ added to by myself ‘Everyone is treated equally be it doctor or professor as well as homeless or beggar. Funilly enough I habe tge experience that those dressed like homeless are most likely to buy art, probably like in my case that expensive clothing is not as important as the addiction to add to ones art collection.
Astrup Fearnly is currently housing a collection display under the title ‘Private Passion New Aquisitions in the Astrup Fearnley Collection’ and a survey with seminal works by German artist Anselm Kiefer curated by Natalia Granero and Gunnar B. Kvaran travelling to the Fondation Jan Michalski from 7th February until the 7th of April 2020. In the second adjecent space as well works by British artist Damien Hirst are on view which steem from his participation in ‘Sensation’ at the Royal Academy in 1997 marking the beginning of Britain’s art movement YBA (Young British Art) portraying the contemporary art scene of the late 90s in the United Kingdom mainly backed by Marketing Mongul Charles Saatchi. Years later after my thesis on the Investment strategy when buying Austrian Contemporary Art under the title ‘Is Austrian Contemporary Art a Good Investment’? leading to my answer to YBA and creation of the movement YACA (Young Austrian Contemporary Art) as the result of my research concluded in it being a good investment but the marketing and spread of notion as well as ankering in the public notion nationally but as well focusing mainly on internationalisation like once achieved by ‘Actionism’ in the 60s till 90s that gained international respect by means of attracting attention by performance art e.g. by Peter Weibel & Valie Export.
Anselm Kiefer’s Personale at the Astrup Fearnly Museum presented large scale works overwhelming both in size and strength maling us small besides them.
Relating to knowledge by means of showing journals and large scale sculptures of books the impression is created that reading books results in accumulation of knowledge making our life and the time spent worthwile. At the same time being monumental in size reflecting that knowledge is infinite as well creating a slightly pressuring sensation from my personal view. The pressure and at times depression knowledge about worrying content can lead to especially when portrayed in a ‘reisserisch’ writing style by some boulevard and yellow press news media frightening the public results in wrong impressions leading to fright and panic in our society. Secrets we often stumble upon or are leading to change and necessity to adapt to a new approach in our day-to-day life, like one might say: What we saw with a distant view years ago only known from far away countries informed about in television and daily press now happens right in front of our doorsteps. Like we donated around Christmas to children and as well as elderly or the poorest in need happens today right on our doorsteps and becomes frightening as we need to really face it not just write a cheque and not be further involved.
Once before we were made aware of war and destruction during the fachist and Nazi  times all accross the world, now we face fugitives dying on their way to reach secure and peacful lands being followed and imprissiond in their homecountries only because they state their personal views with society that suffers from repression and dictatorship.
Do we pay our debts to society to quiet our conscience or simply buy food for the homeless with a friendly supporting conversation  like in my case better than the payment which might reach organisations but not the suffering?
Key to the approach to provide shelter and support is in- not exclusion and our willingness to help by being open to the new that reaches us like here in Austria still our haven and island of security and peace. Why not share it with the suffering by being open to change and diminish our predigist. This is meant to be a credo by both locals as well as those asking for help. Racism is always both sided which I know from personal experience being treated racist by people from foreign countries still I stay true to my way to treat everyone equally not drift into being bias towards people from foreign countries strange to ourseves and our way of living.
Anselm Kiefer’s work left the impression on me that today’s world needs a more open approach towards inclusion in contrary to fierce rejection of things alien to our own culture and way of living. Standing between his large-scale sculptures amd manuscripts I felt like a little sandkorn in the wide array of the universe of wisdom. Inspired by his work I got a book with a text about his work and a small childrens’ tale Niels Holgerson which seemed related to the wide openess of the Nordic landscapes that this book is set in.
The next exhibition titled ‘The Great Exhibition’ will be by Gilbert & George who are represented by my new co-operation partner Lehmann Maupin based in London, Hong Kong & New York: https://www.lehmannmaupin.com/
The App of the Astrup Fesrnley Museum that can be downloaded for free gives further educational insight in the exhibitions on view or for those of us that prefer the analogue world like me, engage in a discussion with the museum guides as offered: ‘Let’s talk Art’!
All my best,
Daniela Haberz, M.A.
Curator & Independent Art Critic

1) Julieta Aranda, Brian Kuan Wood, Anton Vidokle: e-flux journal, What is Contemporary Art?, art. Boris Groys: Comrades of Time, p. 22, Sternberg Press New York, 2010

Copyright visual material & review: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Daniela Haberz, M.A.
AØH Art Consultancy Haberz
Schörgelgasse 32, 8010 Graz, Austria
Mobile: +43 (0) 664 182 8678

Contact Anish Kapoor
Lisson Gallery, London

Contact Gilbert & George
Lehman Maupin Gallery, London/ New York

AØH Recommendation: Opera House in Oslo, Norway

Photographing and approaching the Oslo Opera House in Norway I came to the conclusion that the building has similarities with structures of pyramides.

Shapes that appeared continiously in the architectural concept by Norwegian Snøhetta are the triangle and the combination of two forms to a rectangle.

Small stairways with small steps led up on the side of the building cornering the triangle shaped seating area and bear similarities with the skyline of ancient pyramid structures.

The shadow on the side of the building added another layer to the building enlarging it by means of natural light.

As in my curatorial concepts, last in the exhibition ‘Creation by Natur’ by young Austrian artist Anna Werzowa in May/ June 2019, shadows are a main importance in my curatorial practice as this way the art can be put in perspective with the existing architecture. The newly created  art sculpture ‘Flight of the Dragonfly’, 2019 by Anna Werzowa was set in her exhibition in a triangle shape to  counterposition the art work with the existing architecture  of the Bell Tower on Schlossberg Mountain dating from the 15th century and by means of falling in daylight and artificial light, created shadows that prolonged the quadryptichon sculpture onto the surrounding walls of the landmark.

The light played an essential role in Snøhetta’s architectural concept too and by means of a large glass structure in the middle of the building that span from one side to the other and standing on the side slopes allowed to view the entire space inside from the outside. Mirroring glass reflecting sunlight created an additional conceptual level which I often include in my curatorial work as well.

In case of the contemporary architecture of the Oslo Opera a sculpture by the Danish Islandic artist Olafur Eliasson created light in the corners of the building that were not reached by daylight and as well spun the structure of the sculpture consisting of small triangle shapes  as well due to the glass structure near the sculpture that mirrored it to infinity.

As mentioned above the building has a clear reference to the ancient building methods of pyramides which Snøhetta brought to the Here and Now of contemporary Architecture and Art.

All my best,

Daniela Haberz, M.A.

Independent Art Advisor

AØH Art Consultancy Haberz E.u.

Photo Credits: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.




‘Horizon’ by Alfredo Barsuglia @ Glockenturm on Schlossberg, Graz (AUT) – 11th October 2019

Horizont 2019

Horizon, 2019 © Alfredo Barsuglia




Opening: Friday, 11th of October 2019 from 4.00 till 09.00 p.m.
Duration: 12th October till 08th November 2019
Closing reception: 09th November 2019 11.00 a.m. till 4.00 p.m.
Inauguration of the Sculpture Garden on the River Mur:  Barsuglia’s Sculpture ‘Time Jump’, 2019 – 2040 at the river banks
09th Nov 2019 at 4.30 p.m.


Exhibition Horizon
Glockenturm at Schlossberg, Schlossberg 6, 8010 Graz, Austria

Inauguration Sculpture Garden at the River Mur
Installation Time Jump, 2019 – 2040 by Alfredo Barsuglia:
Banks of the River Mur located near Taggerwerk, Graz, Austria

Opening hours

Exhibition Horizon:
Thursday & Friday: 2.00 – 6.00 p.m.
Saturday: 11.00 a.m. – 2.00 p.m.

Closed on 1st Allerheiligen & 2nd Allerseelen of November 2019

Sculpture Garden at the River Mur:
Public Installations – open to all 24/7
Wheel chair & baby stroller access
Family friendly


Pressetext Horizont & Zeitsprung von Alfredo Barsuglia ‘Zu Gast am Schlossberg’

Press release:

The young Austrian artist Alfredo Barsuglia born in Graz, Austria with Italian roots, will present his exhibition in the Bell Tower on Schlossberg Mountain, Graz (AUT) in the exhibition series ‘Visiting Schlossberg Mountain’ 2019 starting from 11th October until 09th of November 2019.

The installation titled ‘Horizon’ will transform the local landmark Bell Tower Graz into a Sea side lieux which upon entering makes us feel being in a different remote surrounding.

From a sea side sun down through a level of maps and nautical equipment towards a star constellation, invented by the artist Alfredo Barsuglia himself, we discover the Bell Tower anew.

In the framework of Barsuglia’s exhibition the first installation of the Sculpture Garden at the river Mur will be realised on the banks of the river in Graz under the title ‘Time jump’, 2019-2040 which presents the artist’s invitation to revisit the site where a five year old tree will be planted this October 2019, in 2040 when he will be creating a little drawing in the birch of the tree. As we discussed with dry sense of humour: ‘If we and the tree will still be alive’. ‘Definitely planning on it’ we decided.

The closing reception on 09th November  will be followed by the presentation of Barsuglia’s installation Time Jump, 2019 – 2040 inaugurating the Sculpture Garden on the River Mur at 4.30 p.m. curated and Head of Project Daniela Haberz, M.A.

Looking forward to seeing you all at the Bell Tower and at the inauguration of the Sculpture Garden on the River Mur for Barsuglia’s performance planting a tree referencing Joseph Beuys Dokumentation Project 7.000 Oaks.

We would like to thank the County of Styria, City of Graz Culture, Real Estate Department & the Tourism Board as well as the Mayor of the City of Graz.

All my best for a relaxing summer,

Daniela Haberz, M.A.
Curator & Head of projects

Daniela Haberz, M.A., Curator
AØH Art Consultancy Haberz E.u.
E-mail: dhaberz@artconsultancyhaberz.org
Mobile: +43 664 182 8678
Web: http://www.artconsultancyhaberz.org

Synästhesie von Daniel Krammer im Rahmen von Zu Gast am Schlossberg 2018

Synästhesie, 2015 von Daniel Krammer









Please scroll down for English version

Der aufstrebende Steirische Künstler Daniel Krammer, aus Rottenmann eröffnet am  25. Mai 2018 um 16:00 Uhr  seine Ausstellung Synästhesie im Rahmen der Ausstellungsreihe Zu Gast am Schlossberg im Grazer Wahrzeichen Glockenturm am Schlossberg, im Volksmund Liesl genannt.
(Alle Termine im Überblick unten stehend)

Krammer’s Arbeiten, beschäftigen sich mit dem Subtilen, bringen Untertöne an die Oberfläche, das fast nicht Existente wird zum Vorschein gebracht und lässt den Bezug zum Koreanischen Künstler Lee Ufan, Teil der Mono-Ha Bewegung zu, der aus dem Nichts Etwas werden lässt, dieses jedoch anschließend wieder auflöst.

Durch Krammer’s Installation werden beim Betreten des Glockenturms alle fünf Sinne angesprochen, durch das Verlassen wird diese Erfahrung durch die Besucher_innen weitergetragen, jedoch gleichzeitig aufgelöst.

Pressetext Deutsch:
Ausstellung Synästhesie des Künstlers Daniel Krammer

Das Künstlerinterview mit Daniel Krammer, im Rahmen von AØH Conversations 2017 im Gespräch mit Daniela Haberz, erläutert sein Verständnis von Synästhesie und seine Arbeitsweise anhand seiner vorjährigen Ausstellung im Wiener Kunstort Kaeshmesh.

Der Künstler sagt zu seinem Einfluss durch die Kunstrichtung Dadaismus selbst: Dada heißt für mich die Fähigkeit Widerstand zu erkennen, nutzen und übertragen, um daraus Strategien zu ziehen, die eine Kultur von innerer Stärke und Frieden fortsetzen um sie weitläufig zu kultivieren. Der Ursprung ist daher für mich weniger relevant, eher seine Position aus heutiger Sicht. Dada ist aus sich heraus beendet worden (Dada aus dem Koffer – Enrique Vila-Matas), da gibt es für mich nicht viel mehr zu sagen. Ich bin davon in seiner ursprünglichen Fassung auch wenig inspiriert, eher von der Strategie der Durchsetzung über lange Zeiträume, vom intellektuellen Exil und dem Staunen über die Sprache aus purem Idealismus. Ich bin ein Konstruktivist, was das angeht.

Während der Dauer der Ausstellung findet die neu entwickelte Workshop Reihe Art Ark/ Brückenschlag der Kunst statt, mit der Bildenden Kunst als Vermittlerin wird eine Intergenerations Brücke zwischen Jung und Alt geschlagen. Die Workshop Ergebnisse werden in der letzten Ausstellungswoche dem Publikum vorgestellt und durch eine kleine Zeitschrift dokumentiert.

Im Rahmen der Genusshauptstadt Graz 2018 findet am 08. Juni um 18:00 Uhr eine kuratorische Führung mit Aperitif
und anschließendem kostenpflichtigen Abendessen im Rahmen der 2015 am Schlossberg gestarteten Reihe Art & Dining statt, um Anmeldung bei Daniela Haberz, M.A. unter unten stehenden Kontaktdaten wird gebeten.

Die Ausstellung ist durch das Land Steiermark, die Stadt Graz und Stadt Graz Immobilien, sowie den Bürgermeister der Stadt Graz gefördert und unterstützt durch die Graz Tourismus und Stadtmarketing GmbH im Rahmen der Genusshauptstadt Graz 2018.


Wir freuen uns auf  ein Wiedersehen in der Liesl mit inspirierenden Gesprächen zur Kunst von Daniel Krammer.

Daniela Haberz, M.A.
Kuratorin & Projektleiterin

Eröffnung: 25. Mai 2018 16:00 – 20:00 Uhr
Presseführung: 25. Mai 2018 15:00 Uhr
Art & Dining: Fr., 08. Juni 2018 18:00 Uhr
Workshop Art Ark: Di., 12. Juni 2018 14:00 Uhr
Dauer: 25. Mai – 06. Juli 2018
Finissage: Sa., 07. Juli 2018 11:00 – 14:00 Uhr

Ort: Glockenturm, Schlossberg 6, 8010 Graz
Öffnungszeiten: Do. & Fr. 14:00 – 18:00 Uhr
Sa. 11:00 – 14:00 Uhr sowie nach Vereinbarung

Kontakt Künstler:
Daniel Krammer, B.A.
E-mail: d_krammer@hotmail.com

Kontakt Kuratorin & Presse:
Daniela Haberz, M.A.
AØH Art Consultancy Haberz E.u.
Veranstaltungsort: Glockenturm, Schlossberg 6, 8010 Graz
Mobil: +43 (0) 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

Ein Projekt der AØH Art Consultancy Haberz kuratiert und unter der Leitung von Daniela Haberz, M.A.

Durch die Datenschutzgrundverordnung, welche mit 25. Mai 2018 in Kraft tritt, geben wir hier unsere Datenschutzerklärung zum Nachlesen bekannt. Mit Nutzung unserer Website und des Newsletters erklären Sie sich mit der Datenschutzregelung einverstanden. Diese dient zum Schutz Ihrer und unserer Daten und wurde durch eine Vorlage der Wirtschaftskammern Österreich und in Rücksprache mit dem Rechtsservice der WKO Steiermark erstellt. Näheres hier:
Datenschutzerklaerung Art Consultancy Haberz 2018

The emerging Austrian artist Daniel Krammer is showing his solo exhibition Synaesthesia with three site-specific installations in the framework of the exhibition series Visiting Schlossberg Mountain in the local landmark Bell Tower, known as Liesl on Schlossberg Mountain from 25th of May until 7th of July 2018.

Krammer’s work engages with the subtile and brings the subconcious to the surface, the in-existent becomes evident and allows reference to the Korean artist Lee Ufan, part of the Mono-Ha Movement, who in his artistic process crosses the boundaries between ‘nothing’ to ‘something’, subsequently dissolving again.

Press release in English: Exhibition Synaesthesia by Daniel Krammer in the framework of Visiting Schlossberg Mountain

Entering Krammer’s installation our five senses engage with his work, upon leaving the exhibition visitors carry their experience with them, at the same time it is dissolved. The exhibition Synaesthesia adds sculptural realisation of Krammer’s experience to his oeuvre, his works spread out like a web into real space taking on material form.

In the framework of the art interview series AØH Conversations Krammer explains his access point to his understanding of Synaesthesia and shows his subtle artistic output often solely to be read between the lines uncovering the in-existent, thereby leaving a mark in our perception. By means of white noise in the exhibition setting in the Bell tower our experience is intensified still at the same time leaving space for our own thoughts and interpretation in relation to his art. Interview in German see above.

The artist says to his influence by Dadaism himself: Dada means for me the ability to recognise opposition, its use and transfer, drawing strategies from, thereby continuing inner strength and freedom and vast cultivation. The origin is not primarily relevant, more its positioning from today’s perspective. Dada has been ended out of itself (Dada from the suitcase – Enrique Vila Matas). There is nothing more to say by myself, neither am I inspired by it’s original form, rather by the strategy of lasting assertion over a long period of time. From intellectual exile and admiration of language for pure idealistic reasons. With regards to that I am a constructivist.

During the exhibition the newly conceived workshop series Art Ark/ Brückenschlag der Kunst will be staged. By means of Fine Art as intermediary an intergenerational bridge will be drawn between young and senior citizens. In the last exhibition week the results of the workshops will be presented to the public and a magazine will document the results.

In the framework of the Indulgence Capital Graz 2018, a curatorial tour with small appetiser takes place on 8th of June at 6.00 p.m., followed by a dinner in the framework of the series Art & Dining to be disbursed by the participants themselves. The series takes place on Schlossberg Mountain since 2015, please RSVP to Daniela Haberz, M.A. under the below contacts.

The exhibition is funded by the County of Styria, the City of Graz and supported by the Mayor of the City of Graz and supported by the Graz Tourism & City Marketing G.m.b.H. in the framework of the Indulgence Capital  Graz  2018.


We look forward to your reviews and seeing you at the Liesl with inspired discussions on the art by Daniel Krammer.

Daniela Haberz, M.A.
Curator & Head of project

Opening: 25th May 2018 4.00 – 8.00 p.m.
Press tour: 25th May 2018 3.00 p.m.
Art & Dining: Fri, 8th June 2018 6.00 p.m.
Workshop Art Ark: Tue, 12th June 2018 2.00 p.m.
Duration: 25th May – 6th July 2018
Finissage: 7th Juli 2018 11.00 a.m. – 2.00 p.m.

Location: Bell Tower, Schlossberg 6, 8010 Graz
Opening hours: Thu & Fri 2.00 – 6.00 p.m.
Sat 11.00 a.m. – 2.00 p.m. and upon appointment

Contact Artist:
Daniel Krammer, B.A.
E-mail: d_krammer@hotmail.com

Contact Curator  & Press:
Daniela Haberz, M.A.
AØH Art Consultancy Haberz E.u.
Location: Glockenturm, Schlossberg 6, 8010 Graz
Mobil: +43 (0) 664 182 8678

E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

A project  by AØH Art Consultancy Haberz curated and directed by Daniela Haberz, M.A.




Azur Azur von Evalie Wagner


Azur Azur von Evalie Wagner, 2016

Eröffnung: Mi. 25.05 17:30 – 20:00 Uhr
Dauer: 26.05 – 08.07.2016
Finissage: Sa. 09.07. 11:00 – 15:00 Uhr

Öffnungszeiten: Do. und Fr. 14 – 18 Uhr, Sa. 11 – 15 Uhr

Ort: Glockenturm am Grazer Schlossberg (unter den Kasematten beim Ausgang der Schlossbergbahn)

Evalie Wagner’s Ausstellungsprojekt ‘Azur Azur’ zeigt bestehende Arbeiten und Neuinterpretationen in installativer Form, welche auf die bestehende Architektur des Glockenturms am Grazer Schlossberg eingeht und diese in Wagner’s künstlerischer Denkart weiterspinnt. Die Arbeiten der Künstlerin sind auf ersten Blick nicht immer in ihrer Gänze fassbar, vielmehr gibt es meist poetische und erzählerische Hintergrundsgeschichten, welche die Werke komplettieren und die Geduld der Betrachter_innen erfordert.

Die Installationen im Glockenturm spielen mit dem tagsüber einfallenden und von Fenster zu Fenster wandernden Licht, das beispielsweise in einer der zentralen Werke in den Spiegeln reflektiert und somit weitergesponnen und vervielfältigt wird.

Wir freuen uns auf ihr Kommen und viele angeregte Gespräche, welche die Kunstwerke näher beleuchten werden.

Ein vollständiger Pressetext ist auf Anfrage unter: dhaberz@artconsultancyhaberz.org oder unter:
+43 (0) 664 182 8678 Daniela Haberz, M.A. oder hier als Download erhältlich: PDF Pressetext (Größe: 335 KB)

Fotomappe PDF (Größe: 983 KB)

‘Azur Azur von Evalie Wagner’ fotografiert von MC Friedl
Bildrechte: Friedrich Poglitsch, 2016

Eröffnung Azur Azur von Evalie Wagner am 25.05.2016 ab 17:30 Uhr

Bildrechte: AØH Art Consultancy Haberz, 2016 für Evalie Wagner
Rechte Kunstwerke: Evalie Wagner, 2016

Olafur Eliasson at TBA21 Augarten


Olafur Eliasson – Green Light An artistic workshop

The current exhibition by Olafur Eliasson in the Viennese art space TBA21 at Augarten is on view until 5th June 2016 and includes a programme with lectures and workshops mainly for the group that has been chosen amongst fugitives and foreign people living in Vienna however, visitors are welcome. On 7th of April Olafur Eliasson himself will be at the exhibition and a performance by the group involved directed by artist and curator Johannes Porsch will take place starting from 12.00 p.m. again visitors are welcome.

The main task the foreign Viennese residents build a lamp designed by Olafur Eliasson including a green light which symbolizes the green light Olafur Eliasson wants to give to the open applications for asylum for a permanent stay for the people involved and also those staying in the three charitable partner organisations of TBA21 where the participants have been chosen from.

The exhibition and its programme is definitely worth a visit and it is a joy to watch the participants building the lamps who are attending German classes and are eating their lunch every day at TBA21.

The green light lamps can be bought from TBA21 and the further programme can be viewed under the following link: TBA21 Green Light



Vienna Gallery Days 2015

The Gallery Days Tour No. #1 for the friends of Albertina was an interesting and informing talk.

The curatorial Conversation with the artist Marko Lulic at the Galerie Senn started the tour and a performance at Galerie Christine König was the following exhibition we visited. Christine König’s Gallery was well staged like always  the works were installed in a perfect setup completed by the artist’s song a hymn to prepaid phone bills which we now know are better paid unless you want your quiet out of reach island mentality.

Marco Lulic Conversation
Marco Lulic Conversation at Galerie Senn, Vienna

Performance at Galerie Christine König, Vienna Gallery Days 2015

Looking forward to further gallery visits next time I’m around in Vienna and as Christine König put it well into words, better don’t spoil your relationship with the gallerist unless you plan to retire early.

Definitely worth visiting Schleifmühlgasse when you are in Vienna.

All my best,

Daniela Haberz, M.A.

AØH Art Consultancy Haberz

Michael Schuster im Landtag Graz, Landhaushof Passage towards Herrengasse, Graz (AUT)

Michael Schuster in der Landhaushof Passage

Michael Schuster in der Landhaushof Passage, May 2015  

“The mirror that shows what you’re lacking” is one of the largest interface art works I have seen so far.

Austrian new media artist Michael Schuster and his studio have created a new interactive device, which passer-bys and people from and around Graz can interact with.
My first encounter with the art work, located  in a passage from Herrengasse towards the Sterirische Landhaushof about a month ago, made me pose the question towards the art work, What does the art work lack, was my counter-question to the question posed on the art work, that translates the German phrase into: “There are as well mirrors, that show what you are lacking.” The exact German phrase is: “Es gibt auch Spiegel, in denen man erkennen kann was einem fehlt.”
Upon my first encounter with the installation in the Landhaushof Passage it lacked depths and colour-proofing, as the writing did not spread towards the entire screen. The next day the guard lacked “health” as he turned up at work sick and had to go home. The art work was fine-tuned soon later as the technicians arrived and adjusted the depths to 5 pixle evenly spread as to appear three-dimensional. At that point in time, a few people engaged with the work into a discussion, after a week or two I felt the need of better adjusting of my spectacles and also my sunglasses needed optical lenses.
I started a co-operation with Optik Fauland, who is my optrician since almost 30 years. We chose Zeiss glasses for my Chanel Sunglasses with plastic glass for security purposes. This smaller scale project was bringing me down to earth after working for two or three weeks on adjusting the work.
My answer to the question posed by Michael Schuster’s art work was: “Time to think in order to develope visionary works.” which also relates to the sculpture in the Landhaushof according to greek mythology a half-god, half-human Faun, who according to the art work’s title is visionary and gazes directly into the direction into the centre of Schuster’s work. Be it accidentally or by precise calculation the result is perfection.
“Faun with Vision”, 2010 by Martin Karlik
Visible in the mirrored image of Michael Schuster’s artwork

“Mirror”, Landhaushof, Copyright: May 2015

“The Mirror shows what you’re lacking”, 2015 by Michael Schuster
 Artist: Michael Schuster
Measurements: 5,5 x 2,5 meter
Location: Landhaushof, Passage
Steirischer Landtag
Documentation: Daniela Haberz, M.A.; May 2015

Future Generation Art Prize 2014


Check out the Application for Viktor Pinchuk’s Future Generation Art Prize here:

Extended Deadline until 30.04.2014

Jury members include Francesco Bonami Curator and Director of the 50th Venice Biennale (Italy) and Eckhard Schneider, General Director of the PinchukArtCentre, Ukraine as well as artists Doris Salcedo and Jan Fabre.

Good luck!

Daniela Haberz, M.A., Art Advisor, AØH Art Consultancy