Kunsthaus Bregenz · Kunsthaus Bregenz is a unique place. Peter Zumthor designed simple, very striking spaces. The gray concrete walls, the soft light from the ceiling, the spacious

KUB 2020 Program1 1English

Kunsthaus BregenzProgram 2020

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Kunsthaus Bregenz is a unique place. Peter Zumthor designed simple,

very striking spaces. The gray concrete walls, the soft light from the

ceiling, the spacious levels — all are both distinctive and singular.

The encounter with art is more intimate and intense here than in

other exhibition spaces. One reason may be that works in Kunsthaus

Bregenz convey the impression of being released from the external

world. It is not just the art, but also the visitors that experience feel-

ings of exposure as if on a stage, in direct juxtaposition with the works,

but without any mitigating trappings. Such encounters necessarily

raise fundamental questions: concerning individual perceptions, the

nature of the art, and the individuals’ sense of themselves.

2019 was a very successful year for KUB. Visitors have been

able to encounter different exhibitions, changing media, but also

a variety of approaches from artists of differing generations.

Ed Atkins’ digital self-reflections were striking, intoxicating, and

shocking, whilst Miriam Cahn’s imagery was direct and brusque,

painterly nonchalant and politically explosive. Thomas Schütte’s

models and sculptures asserted themselves powerfully within the

exhibition spaces, yet still appeared like godforsaken creatures.

Raphaela Vogel considered the existence of the artist in the era of

drones and Instagram. The imagery in her videos and sculptures

encompasses both architectural grid constructions and femininity.

A Foreword from Director Thomas D. Trummer

Kunsthaus

Bregenz, 2019

Photo: Markus

Tretter

KUB 2020 Program4 5

For the 2020 program, we are remaining true to the maxim of show-

ing exclusively solo exhibitions. Turning an institution of this size

over to one artist is almost unique worldwide, and Peter Zumthor’s

building provides the perfect venue for such an undertaking. It

not only gives the artists the opportunity of exhibiting a representa-

tive selection from their oeuvre, but also enables them — in a singular

manner, and without the distraction of rivalry and background

noise — to take risks, to “expose” themselves and their work.

As always in Bregenz, the architecture provides the point of

departure for such explorations. The distinctive phenomenology not

only encourages new ways of thinking about and addressing it, but

also new attitudes towards it. The history of exhibitions at Kunsthaus

Bregenz is one of artistic answers to present day issues in dialogue

with an extraordinary building. 2020 will be no different.

In addition to the challenges engendered by the architecture, the

program will be focusing on two further issues in particular next

year. One concerns the general state of affairs, and the other individual

happiness. Both are addressed in the work of the Swiss pair of artists

Fischli/Weiss. In 1987, Peter Fischli and David Weiss produced a

film that made them immediately famous. The Way Things Go shows

ordinary objects as the components of a witty chain reaction. Cans

fall over, basins begin to foam, tires roll, and wicks burn. These

are experiments that achieve their vitality from an almost childlike

tension, whilst also documenting physical reality, above all through

the relation of objects to each other. The film, shot in the studio

of the two artists, would today be rewarded with many likes and

clicks. But the way objects are thought about has changed. The

material world has been largely replaced, circulating digitally in

recycled form, as recordings and translations. Is realism, such as it

was then presented by Fischli/Weiss possible today without any

accompanying skepticism? Has the material world been eroded by

the digital? Do objects still exist? What does it mean when images

— like facts — are increasingly suspected of being tampered with or

even of being wrong?

The second question, the one concerning individual happiness,

was already being addressed by Fischli/Weiss in 2003, in their self-

deprecating book Will Happiness Find Me?. The diminutive volume

asked its questions in white handwriting on a black background.

None were answered and they all remain open.

Fischli/Weiss Snowman,

1987/2017

Aluminum, glass,

cooling system,

snow,

120 × 160 × 210 cm

© Peter Fischli

David Weiss

KUB 2020 Program6 7

Bunny Rogers, a US American artist, begins the 2020 series of exhibi-

tions at KUB. Rogers is the youngest artist ever to exhibit at Kunsthaus

Bregenz, creating spaces dwelling in a crepuscular ambience. They

are frequently pervaded by a forlorn atmosphere and gloomy music.

In Bregenz, the artist is creating an immaculate lawn, casting flowers

in concrete, and producing accumulations of wreaths, soil, and gar-

bage. The objects derive from American funeral ceremonies, which

have become familiar to the international audience for American

cinema. At the same time, Rogers is making references to gun ram-

pages through schools, and in particular to the so-called Columbine

massacre 1999. Rogers herself, who also writes poems and does

readings of them, is always woven into these scenes of mourning.

Her art is a search for thoughtfulness beyond individual happiness,

exposing wounds, displaying her own vulnerability and the effects

of misguided politics.

Peter Fischli is contributing the second exhibition of the year.

Since the death of his partner David Weiss, Fischli has been working

on exhibitions that continue the two artists’ project. For about

two years he has been fabricating small sculptures from cardboard

that mimic everyday objects faithfully. They look like ready-mades

but are, in fact, hand-crafted. They concern effects of imitation,

illusion, and mimicry. Fischli has carved a drawing which he made

as a child, in polystyrene, making a literal monkey of himself, but

also of art itself as well as its marketing. In a film in which Fischli

collages GoPro advertisements, he addresses the idea of simulation,

confronting it with the clichés of happiness provided by sport,

travel, and adventure.

Anri Sala has been invited for the summer exhibition. Sala

is concerned with experiences of music, which he addresses in film.

As a visual artist, he attends to audio material, instruments and

acoustic impressions becoming the real protagonists. Complex

technical arrangements are necessary in order to make objects audi-

ble. Sala, who represented France with a piece about Ravel at the

55th Venice Biennale, has recently started preparing his installations

using simulations in virtual reality. Peter Zumthor’s spaces, which

are known for their authenticity, can be made virtually accessible.

However, it will not be such apparatus of illusion that will be on

display in Bregenz, but Sala’s most recent “masterpiece,” a film of an

elegy by Igor Stravinsky from 1944, played by a violist on whose

bow a snail crawls.

Dora Budor, exhibiting at KUB in the fall, will be addressing the build-

ing’s architectural pre-conditions. Budor works in situ. Her source

material is the constructional history of a building. Her interven-

tions are therefore preceded by extensive research, particularly

into the invisible qualities of the building, its hidden and discreet

aspects. As such, the artist who was born in Croatia, is continuing an

important thread in the exhibition history at KUB: the stress testing

of the architecture, representing a distinctive contribution to ques-

tions concerning the physics of objects in the age of their digital

substitution. Many artists have specifically dealt with the building

and made use of its load-bearing abilities: Santiago Sierra had 300

tons of bricks conveyed to the third floor; Olafur Eliasson flooded

one floor with water; and last but not least, Adrián Villar Rojas also

challenged the architecture — inspired like Budor by film — lining its

floors with fossilized marble.

In the summer of 2020, an opera commission will also be pre-

miered, one which Alexander Moosbrugger and Flaka Haliti have

been working on since 2017. It is being produced as part of Opern

atelier, which is starting its second edition in collaboration with

the Bregenz Festival. Haliti, one of the nominees for the Preis der

Nationalgalerie 2019, was invited by Kunsthaus Bregenz to create

the stage design. The genesis of the project is a story from the

Renaissance, Hypnerotomachia Poliphili, a narrative involving

dreams, love, architecture, and individual happiness.

I am delighted that other long-term collaborations will also

be continuing in 2020, such as those with Philosophicum Lech and

the poolbar Festival.

KUB 2020 Program8 9

One great success in 2019 was the KUB Summer Program, featuring

an open-air cinema on Karl-Tizian-Platz during July and August. The

favorite films of the exhibiting artists were shown on a large-scale

screen under the motto “Artists’ Choice.” The season ended with a

concert by the Austrian indietronic musician B. Fleischmann and the

Munich-based band Pollyester. In the summer of 2020, Kunsthaus

Bregenz will be continuing with an especially conceived open-air

program. During Anri Sala’s summer exhibition, the so-called KUB

Intros will again be on offer, short guided tours by staff at KUB,

which are always well received.

During the summer of 2020 there will be a special exhibition at

the KUB Collection Showcase, housed in the Old Post Office building.

It will be presenting the collection of Vorarlberg-born Thomas

König and his late wife Erika Lebschik, who over more than 40 years

collected more than 3,000 original prints by international artists,

including such renowned names as Maria Lassnig, Joan Miró, Arnulf

Rainer, Daniel Spoerri, and Franz West.

Happy Friday will also continue with free admission on the first

Friday of each month. This is an offer that is especially appreciated

by the regional audience. To date in 2019, 3.000 visitors have taken

advantage of this opportunity.

I am very much looking forward to the KUB program for 2020.

It will be an exciting year, promising encounters with significant

and greatly differing artists, whose exhibitions raise questions

addressing “the way things go” in our digital world, together with

ones concerning individual happiness.

Defying the

rain with KUB

raincoats at

the opening of

the summer

exhibition, 2019

KUB 2020 Program10 11

KUB 2020.01Bunny Rogers18 | 01 — 13 | 04 | 2020

KUB 2020.02Peter Fischli25 | 04 — 05 | 07 | 2020

KUB 2020.03Anri Sala18 | 07 — 11 | 10 | 2020

KUB 2020.04Dora Budor24 | 10 | 2020 — 10 | 01 | 2021

Anri SalaNo Window No Cry

(Luigi Cosenza, La

Fabbrica Olivetti,

Pozzuoli), 2015

Music box,

glass, wooden

window frame,

202.5 × 60 × 3.5 cm

Photo: Luciano

Romano

Courtesy of

the artist and

Alexander Tutsek-

Stiftung, Munich

© Anri Sala


Bunny Rogers is the youngest artist ever to be exhibited at Kunsthaus

Bregenz. The unadorned concrete of Kunsthaus Bregenz is well

suited to her since she not infrequently invites her viewers into

Stygian-like miseenscènes. The mood of her work is somber and

doleful. Her installations, which generally incorporate music and

poetry, are inspired by figures from the Internet, television series,

and video games. The symbolism of the world of consumer goods

and the entertainment industry, customarily presented as one that

is both safe and profit-oriented, is reversed, becoming equivocal,

profound, and melancholic. Rogers plays with identities by making

series of portraits of herself that are ultimately 3D models of

television characters. She does not present herself as a winner in

such works, but rather as vulnerable, capable of suffering, and

abandoned.

KUB 2020.01Bunny Rogers18 | 01 — 13 | 04 | 2020

Bunny RogersColumbine

Cafeteria, 2016

Installation view,

Société Berlin,

2016

Photo: Uli Holz

Courtesy of

the artist and

Société Berlin

© Bunny Rogers

Rogers is planning expansive installations across all four floors of

Kunsthaus Bregenz, the various scenarios and prevailing atmos-

phere being inspired by American funerals. A lawn is being laid in

one space, a shower sprinkling water from the ceiling, the whole

recalling shower rooms at an American school. Elsewhere visitors

encounter roses cast in concrete. Soil, rubbish, and withered flowers

become metaphors for the poetic and painful, beauty and transi-

ence — an art that does not shy away from the eerie, reminding each

of us of our own responsibilities. It is a memorial, “objective art is

impossible,” according to Bunny Rogers.

A central subject in her work are the deliberations in the after-

math of the 1999 mass shooting at Columbine High School in

Littleton, USA, in which fifteen people were murdered, including

twelve students, one teacher, and the two perpetrators. Bunny

Rogers choreographs spaces evoking the school but which become

atmospheric tableaus, transforming KUB into a unique site that is

not merely theatrical, but also a critical and political one interro-

gating the present.

Bunny Rogers (born 1990 in Houston, Texas, USA) graduated in 2012

from Parsons School of Design in New York with a BA in visual arts. In

2017 she completed her Master of Fine Arts at the Royal Institute of

Art in Stockholm. Bunny Rogers produces sculptures, installations,

videos, and photographs. She has also become known for her poetry,

which she presents online and at readings. She has exhibited, amongst

others, at Hamburger Bahnhof, Fondation Louis Vuitton, Whitney

Museum of American Art, and the Louisiana Museum of Modern Art in

Humlebæk, as well as being part of Ulrich Obrist’s project 89plus.

Rogers lives and works in New York.

Bunny RogersMoving is in

every direction,

2017

Installation

view Hamburger

Bahnhof, Berlin,

2017

Photo: Jan

Windszus

Courtesy of the

artist and

Société Berlin

© Bunny Rogers

Bunny Rogers

on the KUB

rooftop, 2019


Peter Fischli is one of today’s most renowned artists. Together with

David Weiss, who died in 2012, the pair of artists developed a body

of work that enabled domestic objects and everyday experiences to

return in different and unexpected forms. Employing a variety of

materials and media such as unfired clay, polyurethane, photography,

and video, the duo’s oeuvre succeeds in transcending differences

between high and low art in a playfully nonchalant and humorously

deceptive manner. The quotidian provides a source that becomes

paraphrased.

Originally, Fischli/Weiss opposed Conceptual Art, which was

attempting to introduce an objective notion of art, but they were

equally against the new subjectivity of painting in the 1980s. In 1979,

in a reaction to such trends, the Wurstserie was created as their first

joint work, ten photographs depicting scenes that they had arranged

in their own refrigerator. Plötzlich diese Übersicht (1981) is a gath-

ering of 350 small clay figures that humorously examines various

ordinary events. The small artist’s book Will Happiness Find Me? is

a bestseller that has been translated into many languages.

Peter Fischli (born 1952 in Zurich, Switzerland). From 1979 onwards he

created works, together with his partner David Weiss, who died in

2012, that are regarded as masterpieces of 20th century art. The pair

of artists represented Switzerland at the Biennale di Venezia 1995

and in 2003 received the Golden Lion for their presentation Questions

(1981–2002). In addition, Fischli/Weiss participated in documenta 8

(1987) and 10 (1997). Their 1996 retrospective In a Restless World was

organized by the Walker Art Center, travelling to San Francisco,

Philadelphia, and Boston. In 2006 Tate Modern, London, presented

a further retrospective titled Flowers and Questions that was also

shown at Kunsthaus Zürich and Deichtorhallen, Hamburg.

Fischli/Weiss participated in the Biennale Architettura di Venezia

2012, the Biennale di Venezia 2013, and exhibited at the Art Institute

of Chicago (2011) as well as at the Serpentine Gallery in London (2013).

In 2016 the Guggenheim Museum, New York, presented the third

retrospective Peter Fischli David Weiss: How to Work Better, which

was also shown at Museo Jumex in Mexico City. Peter Fischli lives and

works in Zurich, his most recent projects include exhibitions in Aspen,

Colorado, the Museum of Modern Art in New York, and Fondazione

Prada, Venice.

KUB 2020.02Peter Fischli25 | 04 — 05 | 07 | 2020

Fischli/WeissRock on Top of

Another Rock,

2013

Portrait and

installation

view

Serpentine

Gallery,

London, 2012

Photo: Morley

von Sternberg

© Peter Fischli,

David Weiss

Peter FischliWork, Summer 2018,

2018

Video stills

© Peter Fischli

Peter Fischli, who recently exhibited sculptures at the Museum of

Modern Art in New York, is presenting new works in Bregenz, some

of which are being especially developed for the Kunsthaus. They

include a video which explores the work of leisure, reliefs made

from synthetic foam, cardboard imitations of objects relating to the

packaging industry, and large-format photographs of acts of micro-

vandalism in public spaces.

Fischli’s works are always characterized by precise obser-

vation, cunning criticism, and mischievous mimicry.

Fischli/WeissHow to Work

Better, 1991

Presented by

Public Art Fund

On view at

Houston and Mott

Street NYC,

February — May

2016

Photo: Jason Wyche

Courtesy of the

artist, Matthew

Marks Gallery and

Public Art Fund, NY

© Peter Fischli

David Weiss

Anri Sala addresses the interplay of sound and moving image, of the

aural and visual. His preferred medium of expression is film. In

contrast to conventional cinema, however, there is no narrative or

actors, rather his scripts develop from attentive listening. The filmic

originates from the musical and not, as usual, vice versa, enabling

Sala to generate an intense acoustic attentiveness in his audience.

If and Only If (2018), one of his most striking works, documents

a snail creeping along the bow of a viola while an elegy by Igor

Stravinsky is played. The snail determines the tempo, the viola

player slows down and accelerates their playing in accordance with

the movement of the snail. It is the activity of the animal that defines

both the music and its perception.

KUB 2020.03Anri Sala18 | 07 — 11 | 10 | 2020

Anri SalaThe Last Resort,

2017

42-channel

sound installa-

tion including

38 altered snare

drums, loud-

speaker parts,

snare stands,

drumsticks,

soundtrack and

4 speakers

58.28 min.,

850 cm in

diameter

Photo: Peter

Greig

Courtesy of the

artist, Marian

Goodman Gallery,

New York | Paris |

London and

Esther Schipper,

Berlin

© Anri Sala

Anri Sala (born 1974 in Tirana, Albania) studied in Tirana, Paris, and

Tourcoing. He has been the recipient of many awards, including the

Vincent Award (2014) and the Silver Lion at the Biennale di Venezia

(2001). As the recipient of the 10th Benesse Prize (2013) Sala devel-

oped the long-term project All of a Tremble in situ on the island of

Teshima in Japan.

He has participated in numerous group exhibitions and biennials,

such as the 12th Havana Biennial (2015), as the representative of

France at the 55th Biennale di Venezia (2013), the 9th Gwangju

Biennale (2012), dOCUMENTA (13) (2012), the 29th São Paulo Biennial

(2010), and the 2nd Moscow Biennale of Contemporary Art (2007).

As early as 2003 he was participating in the group exhibition Remind...

at Kunsthaus Bregenz. He has had solo exhibitions at the Fundación

JUMEX, Mexico City (2017); New Museum, New York (2016); Haus der

Kunst, Munich (2015); Centre Pompidou, Paris (2012); and the Serpen-

tine Gallery, London (2011). Anri Sala lives and works in Berlin.

Anri Sala© Jutta

Benzenberg

Anri SalaAS YOU GO, 2019

13-channel HD

video and

22-channel

discrete sound

installation,

color, 39:24 min.,

Installation

view Castello

di Rivoli, 2019

Photo: Antonio

Maniscalco

Courtesy of

the artist

© Anri Sala

The function of instruments is frequently the focus of Sala’s work.

For example, he lets a group of snare drums perform, but without

any percussionists. Instead, the self-playing instruments hang from

the ceiling like whimsically mobile stalactites. Other works involve

rollers for vintage wallpaper, which he employs as a hurdy-gurdy.

The exhibition space is also an integral part of Sala’s consider-

ations. It possesses perceptual conditions differing from those that

prevail in a concert hall. A further aspect is the perspective of film,

Sala makes use of close-ups and moving elements such as the chore-

ography of musical performance. Kunsthaus Bregenz with its auratic

presence and particular acoustics offers a perfect environment for

Anri Sala’s art.


In the exhibition I am Gong, for example, shown at Kunsthalle Basel

in the summer of 2019, she created a homeorhetic system which

transmitted the activities from renovations of a 19th century concert

hall that had been constructed by the same architect as the Kunsthalle

into shifting sculptural forms. A resonance was established between

the two buildings in which the activity and labor occurring in the

concert hall were pulsed through an electric umbilical cord to the

museum, shifting a soundscape that could be heard from beyond the

walls and flooring of the building. The noise from next door further

polluted the exhibition with cinematic ash that fell over historic

KUB 2020.04Dora Budor24 | 10 | 2020 — 10 | 01 | 2021

Dora Budor develops her works as systems occurring within and from

site-specific observations. Attending to the given architectural

conditions, the works often adapt cinematic cues to augment experi-

ences of the space. Budor locates and releases synergetic relation-

ships between human and non-human agents, realizing each visit to

the exhibition as temporally sensitized.

Dora BudorThe Preserving

Machine,

2018 — 2019

Installation

view I am Gong,

Kunsthalle Basel,

2019

Dimensions

variable,

enclosure height:

310 cm, robot:

34 × 14 × 8 cm

Photo: Philipp

Hänger/Kunst-

halle Basel

Courtesy of

the artist

© Dora Budor


modular seating slowly composing a new terrain of accumulated

noise, while a series of environmental chambers enclosed atmos-

pheres of pigments reminiscent of hues of JMW Turner paintings. In

the last and probably most striking space, a viewing mechanism was

constructed from tarpaulin, illuminated in intense yellow. Inside,

above a landscape populated by detritus and architectural elements

from the nearby building, a biomimetic bird flew. Its movement

vector was directed by a translation of Beethoven’s 9 Symphony,

which — as on many other occasions — was played at the opening of

the historic building.

The austerely minimal architecture of Kunsthaus Bregenz,

with its unique repetition and atmosphere is an ideal site for a

continued adaptation of Budor’s cinema inspired thinking.

Dora Budor (born 1984, in Zagreb, Croatia) studied architecture and

design at the University of Zagreb as well as visual art at Columbia

University School of the Arts in New York.

Her most recent solo exhibitions include ones at Kunsthalle

Basel (2019) and 80WSE, New York (2018), Ramiken Crucible, New York

(2016), and Swiss Institute, New York (2015). Her work has been pre-

sented in numerous group exhibitions including ones at the Whitney

Museum of American Art, New York; Louisiana Museum of Modern Art

in Humlebæk; Palais de Tokyo, Paris; Museum Fridericianum, Kassel;

the David Roberts Art Foundation, London; Kunsthaus Biel; La Panacee

Montpellier; Halle für Kunst und Medien, Graz; MOCA Belgrade; the

K11 Art Foundation, Hong Kong; as well as the 9th Berlin Biennale; the

Vienna Biennale, Art Encounters 2017; the 13th Baltic Triennial; and

the 16th Istanbul Biennale.

In 2014 Budor was awarded the Emerging Artist Grant from the

Rema Hort Mann Foundation, the Pollock-Krasner Foundation Grant

in 2018, and a renowned Guggenheim Fellowship in 2019. She lives and

works in New York.

Dora Budor, 2019

Photo: Miro

Kuzmanovic

Dora BudorThe Year without

a Summer (Klug’s

Field), 2019.

Installation

view I am Gong,

Kunsthalle

Basel, 2019

Dimensions

variable

Environment with

5 Terrazza DS-1025

seating elements

(designed by

Ubald Klug in 1973,

produced by De

Sede, Switzerland),

4 ash dispersing

machines with

reactive electronic

system, special

effect ash, light

scenario

Photo: Philipp

Hänger/Kunst -

halle Basel

Courtesy of

the artist

© Dora Budor


Thomas König and his late wife Erika Lebschik collected original

prints by international artists for almost forty years. Born in

Vorarlberg and long-time resident of Vienna, the collector maintains

good contacts with both galleries and artists. The couple’s extensive

collection covers the entire range of printmaking, from woodcuts,

silkscreen prints, etchings, and lithographs, via artist portfolios and

posters, to books with limited edition prints. One of the focuses of

the collection is on international and Austrian contemporary art and

their pioneering names, including such well-known artists as Pierre

Alechinsky, Iris Andraschek, Karel Appel, Max Bill, Alexander Calder,

Eduardo Chillida, Gunter Damisch, Martin Disler, VALIE EXPORT,

Bruno Gironcoli, Franz Graf, Martha Jungwirth, Maria Lassnig, Joan

Miró, Arnulf Rainer, Günther Selichar, Daniel Spoerri, Mark Toberg,

Günther Uecker, Antoni Tàpies, and Franz West. The approximately

3,000 objects are now being presented as a gift to Kunsthaus Bregenz.

The König-Lebschik Collection is being exhibited in the summer

2020 at the KUB Collection Showcase in the Old Post Office building.

KUB 2020Sammlung König-Lebschik KUB Collection Showcase27 | 06 — 31 | 08 | 2020

Original prints of

the König-Lebschik

Collection

A comprehensive summer program is in planning for 2020. Once

again, Karl-Tizian-Platz will be transformed into an open-air cinema,

screening the favorite films of the artists exhibiting during 2020.

What cinematic worlds have inspired Bunny Rogers? Is Peter Fischli

a cinephile? And which film is Anri Sala going to recommend? What

is Dora Budor’s relation to this medium?

The KUB Open Air Cinema will enrich urban life in Bregenz

once again in the summer of 2020 with an artist inspired line-up —

let the film roll!

KUB 2020KUB Summer — Open Air Cinema

Kunsthaus

Bregenz 2019

Photo: Miro

Kuzmanovic


The billboards along Bregenz’s Seestrasse, the town’s busiest

thoroughfare, are a fixture of Kunsthaus Bregenz’s program.

They extend the exhibitions taking place at KUB into public space.

In 2020 billboards by Bunny Rogers, Peter Fischli, Anri Sala, and

Dora Budor will relate to their exhibitions in Kunsthaus Bregenz.

KUB 2020Billboards

KUB Billboards, 2019

Ed Atkins Outsides

Photo: Markus Tretter

© Ed Atkins,

Kunsthaus Bregenz

KUB 2019 Review of the Year

Thomas SchütteDrittes Tier, 2017

Installation view

Karl-Tizian-Platz,

Bregenz

Photo: Markus

Tretter

Courtesy of

the artist

© Thomas Schütte,

Kunsthaus Bregenz

At the end of April, Kunsthaus Bregenz honored Tone Fink, an

important Vorarlberg artist. On the occasion of his 75th birthday,

an evening event took place at KUB, where more than 250 guests

celebrated the artist and the world premiere of his performance

erFAHRbar.

The 2019 summer exhibition was dedicated to the German

sculptor Thomas Schütte. The wide-ranging work of the artist who

has participated in numerous editions of documenta encountered

enormous public interest. The three large sculptures in public space,

in front of KUB, proved to be an attraction for both young and old.

More than 23,300 people visited the exhibition. The next opportu-

nity to admire the works of the German sculptor will be in New York

where the Museum of Modern Art is hosting a retrospective in 2021.

The free short guided tours by KUB staff members during the

festival season were also enthusiastically received in 2019. Various

communication activities accompanied the summer activities, such

as the especially produced KUB rain ponchos, which rapidly sold out

due to their popularity, and the KUB postcards, which were distributed

by teenagers in the town.

2019 was an exciting year, alternating between exhibitions encom-

passing diverse artistic media represented by prominent practi-

tioners respectively, video works were on view as was painting,

followed by drawing, sculpture, and installation.

The year began with Ed Atkins, one of the most significant artists

working in post-Internet art. More than 8,300 visitors saw the

striking works by the British artist. Especially younger visitors were

fascinated by works such as Old Food, which was subsequently

presented at the Venice Biennale. For Miriam Cahn’s 70th birthday,

Kunsthaus Bregenz presented the first institutional solo exhibition

in Austria by this major Swiss artist. Around 12,000 people saw

the luminously colored paintings and the drawings in DAS GENAUE

HINSCHAUEN — the title of the exhibition.

KUB 2019 Review of the Year

Artists’ talk with

Miriam Cahn and

Peter Zumthor, 2019

Photo: Miro Kuz-

manovic

KUB38 39 Review of the Year 2019

Since October 19, KUB has been exhibiting the work of the 31-year-

old German artist Raphaela Vogel. Her most recent work as well as

ones especially developed for Kunsthaus Bregenz will be on show

until January 2020.

The 2019 KUB summer program included open air cinema and

concerts on Karl-Tizian-Platz, enhancing urban life during July and

August. Under the motto “Artists’ Choice” the favorite films of the

artists exhibiting during 2019 were shown on the large-scale screen.

Cocktails and snacks from the KUB Café Bar made the open-air cin-

ema very popular. The open-air summer culminated with perfor-

mances on the open-air stage in front of KUB by the Austrian indie-

tronic musician B. Fleischmann and his band, and the Munich-based

ensemble Pollyester.

A wide-ranging outreach program, including guided tours as

well as workshops for all ages and film screenings, offers an oppor-

tunity to explore the content of contemporary art production at

various levels. By the end of 2019, around 370 guided tours for

adults, 225 events for children and adolescents, and over 100 other

events will have taken place.

Scholarly publications and limited editions designed in close

collaboration with the artists completed the range of Kunsthaus

Bregenz’ activities. Worldwide distribution, supported by a well-re-

ceived online store, reinforces the international positioning of the

institution.

By the end of the year, about 53,500 visitors will have seen the

exhibitions at KUB in 2019. The contribution by the Federal State of

Vorarlberg for the year 2019 was € 2.8 million; KUB generated € 0.9

million of its own revenue, a sum corresponding to more than 24

percent of the total budget. Funds from the central government for

the purchase of art contributed € 36,500 in 2019.

The 2019 KUB Year in Figures

Total number of visitors approx. 53,500 2019 (estimated)

48,310 2018

77,237 2017

37,661 2016

visitors 8,308 Ed Atkins

11,934 Miriam Cahn

23,313 Thomas Schütte

approx. 10,000 Raphaela Vogel (estimated)

369 guided tours for adults (estimated)

255 activities for children and adolescents (estimated)

102 a total of 102 further events

€ 2,804,000.00 the Federal State’s contribution in 2019 (approx. 75.7 %)

€ 900,000.00 the institution’s own revenues in 2019 (approx. 24.3 %)

€ 36,500.00 funds from the central government for the purchase of art

in 2019 amounted to

27.3 fulltime equivalent staff

approx.


KUB’s exhibitions during 2019 were extensively and positively

discussed by regional and international news agencies, print and

online media, as well as by radio and TV stations.

Such local media as ORF, Vorarlberger Nachrichten, NEUE

Vorarlberger Tageszeitung, Kultur, WANN & WO, and Blättle regu-

larly reported on the KUB program.

KUB 2019Press Reports

At the beginning of the year Ed Atkins disturbing digital worlds were

being frequently and controversially discussed in the press. “Tears

of gelatin — is it possible to feel any sympathy at all?” asked the

Südkurier, and Lisa Kammann confirmed in the NEUE Vorarlberger

Tageszeitung: “In this exhibition the human is being expressed

by the nonhuman in a sophisticated manner.” The Badische Zeitung

praised KUB as “the perfect setting for this ingenious laboratory

of cyber-existentialism.” Numerous radio and TV stations such as Ö1,

ORF, SWR, and 3sat broadcast reports. Under the title Mein anderes

Ich, the magazine WANN & Wo ran an art competition to accompany

the Ed Atkins’ exhibition which was enthusiastically received by the

younger readership and was accompanied by on-going coverage.

Even before the opening of Miriam Cahn’s exhibition DAS

GENAUE HINSCHAUEN, the TV station BR was broadcasting a compre-

hensive preview of the exhibition on its Capriccio program. Such

international media as Vogue, ARD, Frankfurter Allgemeine Sonn

tagszeitung, and Bolero also covered the exhibition. Interviews and

reviews in such major Austrian newspapers as Die Presse, Der Falter,

Tiroler Tageszeitung, and Vorarlberger Nachrichten fueled the dis-

course surrounding the pugnacious artist. “Serious fare, cleverly

staged,” was how Anne-Katrin Feßler praised the exhibition in Der

Standard. Angelika Drnek from ORIGINAL met Miriam Cahn for an

interview in her studio in Bergell in Switzerland.

The summer exhibition by Thomas Schütte was discussed both

regionally and nationally, including in Die Furche, Der Standard,

Schwäbische Zeitung, Kunstbulletin, and St. Galler Tagblatt, but also

in major German daily newspapers such as Augsburger Allgemeine

Zeitung. The Neue Zürcher Zeitung published a one-page interview

with the German artist. There were numerous radio and TV reports

on ORF, Ö1, 3sat, and SWR. The open-air bronze sculptures around

KUB attracted a lot of attention. “A good decision,” said Christa

Dietrich in the Vorarlberger Nachrichten, because Schütte’s works

“belong among the public,” and APA stated that it was “impressive

and ‘instagramable.’”

Raphaela Vogel also received wide media coverage even before

the opening of her exhibition at KUB. In a TV report for ZDF, the

young artist gave Tocotronic singer Dirk von Lowtzow an insight

into the preparations in her Berlin studio. The regional and German

press both reported in detail. Karl-Heinz Pichler praised Vogel’s

work in Kultur as “one of the most interesting and exciting things to

be seen by a young artist on the international scene in recent years.”

Photo: Miro

Kuzmanovic


The success story continues: Kunsthaus Bregenz has been able to

establish itself online in recent years, and digital communication

continues to be an essential medium for the institution. Kunsthaus

Bregenz is in daily contact with visitors, art aficionados, and cultural

institutions from all over the world, using online platforms. Diverse

social media, the website www.kunsthaus-bregenz.at, and the

digital calendar provide the latest information in real time on both

the KUB program and the exhibitions. Media reports and current

news are rapidly republished on Facebook. In addition, users in-

creasingly use the platform as a calendar of events. Looks behind

the scenes strengthen bonds with visitors, whilst prize competitions

encourage interactive participation, and additionally questions can

be answered immediately.

Instagram is the most important social media channel for KUB as an

international institution for contemporary art, enabling contact with

a global audience and cultural institutions worldwide, promoting the

strong visual online presence of Kunsthaus Bregenz. Since joining in

2016, KUB has doubled its number of subscribers annually, and 2019 is

no exception: to date, more than 8,300 people are following Kunsthaus

Bregenz on Instagram. Its success is thanks to a professional mix of

curated images, best-of contributions from such events as exhibition

openings and the KUB Open Air Summer 2019, together with insights

into KUB’s daily operations. Stories enables followers to view con-

certs and the installation of exhibitions live. By participating in

further training and digital fairs such as Interactive West, and the

Kommunikationskongress 2019 in Berlin, we are able to continually

optimize the professional presence of our online environment.

Trailers and statements by the artists are produced for each

of the solo exhibitions, which are accessible via the website and all

social media channels, including YouTube. In addition, Kunsthaus

Bregenz provides online media, as well as radio and TV stations with

comprehensive audio and video material, and also sends out a

popular weekly newsletter to around 2,000 current subscribers,

whose number is growing steadily.

KUB 2019Online Media

Facebook

> 8,400 Subscribers

#kunsthausbregenz

5,800 + contributions under

this hashtag

Instagram

> 8,500 Subscribers

(double the number in

comparison with 2018)

> 1.000 Contributions

As of October 23, 2019

YouTube

> 204,300 Clicks

Photo: Miro KuzmanovicPhoto: Udo Mittelberger


Based on the concepts of the exhibiting artists, the KUB outreach

team continually develops a program customized to the needs of a

wide range of interest groups. The outreach program enables

participants to experience and understand art.

Since the beginning of the year Happy Friday has been held

every first Friday of the month. Admission is free, and a guided tour

is offered twice a day, after which there is an opportunity to ex-

change ideas over a glass of sparkling wine. Another new outreach

format combines art and language. At Art Meets Language, native

English speaker Chris Thomas provides an opportunity for partici-

pants to refresh their English language skills. For every exhibition a

free guide is provided for children, who communicates the works of

art in a playful way, encouraging smaller visitors to become creative

themselves. In addition, the KUB outreach team accompanying

films for each exhibition, providing in-depth interviews concerning

the content that the respective artists are addressing.

KUB 2019Outreach & Events

Photos: Deutsche

Kinemathek

(top row right)

Miro Kuzmanovic

(2. and 3. row right)

Rudolf Sagmeister

(bottom row left)

The exhibition Ed Atkins focused on emotions and digital worlds;

whilst psychiatrist Albert Lingg spoke in a lecture about the sub-

conscious, Lenka Radecky, the head of the costume department at

the Bregenz Festival focused on the haptic in her guided tour. Game

designer Eric Jannot was a guest as part of the OpenIdea series of

lectures (in collaboration with FH Vorarlberg).

Miriam Cahn invited the architect Peter Zumthor to take part

in a much-discussed conversation about architecture and exhibition

formats. At the Easter workshop with artist Bianca Tschaikner,

children were able to try out various printing techniques in the KUB

studio. With regard to Cahn’s socio-critical works, Burcu Dogramaci,

a professor of art history, discussed the theme of flight and exile.

Participants were able to discuss with Hypo prize winner Christine

Lederer her own role as an artist during her guided tour of the

exhibition.

Art historian Dieter Schwarz gave a lecture as part of the

program accompanying Thomas Schütte’s summer exhibition. Children

were able to experiment with clay under the guidance of the artist

Ulli Knall. The groups Dirty Five and Slip and Slide played in the KUB

Café Bar in a tribute to Schütte’s series of watercolors Blues Men. A

highlight was the guided tour around the exhibition followed by an

excursion to the sculpture foundry in Sankt Gallen with founder and

owner Felix Lehner. During the Bregenz Festival in the summer of

2019, the KUB team offered visitors to the KUB summer exhibition

free daily guided tours at 6 pm.

Visitors will have the opportunity to see the current exhibition

by Raphaela Vogel with the artist herself and her royal poodle Rollo,

a day on which all four-legged friends will be welcome in KUB. In

relation to Helke Sander’s short film Nr. 1 — Aus Berichten der Wach

und Patrouillendienste, KUB is showing the film PUSH — das Grundrecht

auf Wohnen in collaboration with vai at Filmforum Bregenz. During

the Advent season, a varied program for the whole family will be

available, based around the Christmas tree on Karl-Tizian-Platz.

At the end of the year we will be celebrating the old and new year at

Gittis KUB Club, including an impressive line-up of DJs.Photo: Miro Kuzmanovic


Exclusive special editions for Kunsthaus Bregenz are a result of

close collaboration with artists and their production processes.

Developed together with the artists and from within the context of

their exhibitions, the works are published by KUB as limited editions,

making them particularly attractive to collectors of contemporary

art. In 2019 limited editions are being published to accompany the

exhibitions by Ed Atkins and Thomas Schütte.

For his KUB Edition, Ed Atkins has endowed a computer-generated

object, a jerkin from the video work Old Food, a material form.

Elaborately hand-crafted by seamstress Stephanie Wladika, the

digital template has been transformed into a physical garment.

For his artist’s edition, Thomas Schütte has compiled a port-

folio of eight intaglio prints selected from Blues Men, the series of

watercolor portraits he exhibited at Kunsthaus Bregenz.

KUB 2019Editions

Thomas SchütteBlues Men, 2019

Limited edition

portfolio com-

prising 8 intag-

lio prints

68.5 × 91.5 cm

Limited edition

of 30 copies + 5

A.P., signed and

numbered

€ 8,200 includ-

ing 10% VAT,

excluding ship-

ping, packing

costs, and cus-

tom duties

Ed AtkinsYoung

Doublet, 2019

Limited edition

of 25 copies

+ 5 A.P.

€ 5,800 incl. 10 %

VAT, plus post-

age, packaging,

and customs

duties

Photo: Miro Kuzmanovic

Photos: Luise Heuter


Kunsthaus Bregenz publishes catalogues in close collaboration with

the artists as well as renowned graphic designers. The graphic design

of the catalogues accompanying the exhibitions reflects both the

subject matter and visual language of the respective artists, so that

each catalogue not only provides documentation, but also becomes

part of the work and an extension of the exhibition. Conceived to be

bilingual, the publications are intended for sale at KUB as well as for

worldwide distribution.

Thomas SchütteEdited by Thomas

D. Trummer, published

by Kunsthaus Bregenz

Essays by Thomas

D. Trummer, Dieter

Schwarz, and Julia

Wallner

Graphic design:

Peter Nils Dorén

German | English

Hardcover, 23.5 × 29

cm, 184 pages

Date of publication:

October 2019

Price: € 42

Ed AtkinsEdited by Thomas



Essays by Thomas

D. Trummer, Thomas

Oberender, and

Steven Zultanski

Graphic design:

HIT Studio

German | English

Softcover, 13 × 16.5 cm,

approx. 480 pages


November 2019

Price: € 42

Raphaela VogelBellend bin ich

aufgewacht

Edited by Thomas



Essays by Thomas

D. Trummer, Oriane

Durand, Vera Palme,

Rudolf Sagmeister

and Paul Sochacki

Graphic design:

Studio Marie Lusa

German | English

Softcover,

approx. 20.5 × 27.5 cm,

approx. 224 pages


December 2019

Price: € 42

The exhibition catalogue Miriam Cahn — DAS GENAUE HINSCHAUEN

was designed in close collaboration with the artist. Her works, which

address issues of violence and love, displacement, as well as the

relation between humankind and nature in expressive forms and

luminous colors, are discussed in knowledgeable essays.

The wide-ranging work of sculptor Thomas Schütte, which

encompasses bronze sculptures, architectural models, as well as

Woodcuts, and watercolors, is documented in generously sized

installation views. The catalogue’s essays expound on the philo-

sophical and art historical aspects of his work.

The fourth publication of 2019 looks at the poetic and apocalyp-

tic installations of Raphaela Vogel that combine associative objects

with video and audio.

The catalogue for the exhibition by Ed Atkins impressively

reflects the atmospheric presence of his works.

In 2020, catalogues will be published for the exhibitions by

Bunny Rogers, Peter Fischli, Anri Sala, and Dora Budor.

KUB 2019Publications

Miriam CahnDAS GENAUE HIN

SCHAUEN

Edited by Thomas D.

Trummer, published


Essays by Thomas

D. Trummer, Burcu

Dogramaci, Kerstin

Thomas and Nina

Schedlmayer,

Graphic design:

Dagmar Reiche

German | English

Gatefold softcover,

21 × 28 cm, 224 pages


July 2019

Price: € 42

KUB 2019KUB Billboards

KUB Billboards 2019

during the seasons

Photos: Markus Tretter


The KUB Open Air Cinema took place on Karl-Tizian-Platz during the

summer months. The favorite films of the artists exhibiting during

2019 were shown on a large outdoor screen.

Perfect summer weather and cocktails from the KUB Café Bar

accompanied Adriano Celentano’s Joan Lui (1985), the opening film

of the season. Celentano attempts to transform the world, as a mod-

ern Messiah, with art and dance in his self-directed film — providing

inspiration for the artist Raphaela Vogel. Miriam Cahn selected Blue

Steel (1990, Kathryn Bigelow) and Sans toit ni loi (1985, Agnès Varda),

two classic films with and by emancipated women.

The imaginative stop-motion filming of Alice (1988, Jan Švankmajer)

enabled the audience to experience the inspiration for Ed Atkin’s

video art. Cooler temperatures did not discourage the audience from

seeing the evening-length Tarkovsky classic Stalker (1979).

The summer program culminated with two bands playing the

open-air stage on Karl-Tizian-Platz: the Austrian indietronica musician

B. Fleischmann and his band delighted fans with a mix of indie-pop

and electro. They were followed by the performance artist Polina

Lapkovskaja alias Pollyester’s experimental sounds and extravagant

stage performance who transported the audience to another realm.

KUB 2019Summer ProgramOpen Air Cinema & Concert

Photos: Miro

Kuzmanovic,

Udo Mittelberger


Collaboration with companies, institutions, and other cultural bodies

is a crucial opportunity for Kunsthaus Bregenz to collaborate, enter

partnerships, and engage in public discourse. Joint projects with

various partner organizations such as the poolbar Festival, Philo-

sophicum Lech, Kulturabteilung der Landeshauptstadt Bregenz,

Sparkasse 3-Länder-Marathon, and ÖBB were once again very suc-

cessful in 2019.

The Bregenz Festival has been a long-term and important

collaborative partner for KUB. In 2019 the successful Opernatelier

series continued, several Einblicke events provided insights into the

process of creating an opera, including concerts, lectures, and read-

ings at Kunsthaus Bregenz. For the current project, the composer

Alexander Moosbrugger is collaborating with the visual artist Flaka

Haliti. The world premiere of the resulting opera Wind will take

place during the Bregenz Festival 2020.

In 2019, for the third time, there was a collaboration with

Philosophicum Lech under the title Philosophieren im KUB — philoso-

pher Wolfgang Müller-Funk and KUB Director Thomas D. Trummer

met at Kunsthaus Bregenz for a public talk and an interactive guided

tour. In addition, Thomas D. Trummer led many interested participants

through James Turrell’s Skyspace during the event in Lech.

In 2019 Kunsthaus Bregenz collaborated with the Kulturamt

der Landeshauptstadt Bregenz and Tanzfestival Bregenzer Frühling

for the second time. Within the framework of Bregenzer Frühling

2019, KUB and Landeshauptstadt Bregenz jointly presented the

premiere of Mystory: An Unapologetic Body by choreograph and

dancer Francesca Harper. On two evenings at KUB, the US-American

translated her personal experiences into the medium of dance, in

an interplay with the works on exhibition by Miriam Cahn.

KUB 2019Collaborating Partners

Alpenregion Bludenz Tourismus

Art Bodensee

BodenseeErlebniskarte

Bodensee-Schiffsbetriebe

Bodensee-Vorarlberg Tourismus

Bregenzer Festspiele

Bregenz Tourismus & Stadtmarketing

Familien-Freizeit

Filmforum Bregenz

Hugo Boss

Hunger auf Kunst & Kultur

Johanniterkirche Feldkirch

Kongress Kultur Bregenz

Kunstmuseum St. Gallen (Kulturachse),

Kunstmuseum Liechtenstein (Kulturachse)

Kronen Zeitung

Bündner Kunstmuseum Chur (Kulturachse)

Landeshauptstadt Bregenz

Montafoner Gästekarte

ÖBB Rail Tours

ORF-Lange Nacht der Museen

Ö1 Club

Pfänderbahn

Philosophicum Lech

poolbar Festival

POTENTIALe Feldkirch

Sparkasse 3-Länder-Marathon

Verkehrsverbund Vorarlberg

Vorarlberger Landesbibliothek

Vorarlberg Lines Bodenseeschifffahrt

vorarlberg museum

Vorarlberger Kulturservice

Vorarlberg Tourismus

Werkraum Bregenzerwald

Universität Konstanz

Numerous collaborating partners contribute to the success of Kunsthaus Bregenz

through their commitment:

Concert at KUB, 2019

Photo: Dietmar Matthis

© Bregenzer Festspiele


In 2019 the KUB Collection was expanded by the acquisition of works

by three young Austrian artists and the artists’ group DIE DAMEN.

Maria Anwander (*1980, Bregenz)

My Most Favourite Art is collage of one hundred exhibition labels

collected by Maria Anwander, which she expropriated from various

museums and galleries between 2004 and 2019. The installation,

which she herself describes as her most personal work, involves

pieces of art that have shaped Anwander’s own artistic career.

KUB 2019Acquisitions

Cäcilia Brown (*1983, Sens, Frankreich)

Brown examines aspects of sculpture, especially issues of

tension and gravity. In Zahnfee a sculptural form hangs from a

thin metal pipe.

Angelika Loderer (*1984, Feldbach)

For Untitled (LZZZV) Angelika Loderer used variously colored sand,

which was pressed into a form. The artist calls this type of image-

making “media-reflexive,” because the materials become part of the

compositional process.

DIE DAMENONA B., Evelyne Egerer, Birgit Jürgenssen, Ingeborg Strobl, and Lawrence Weiner

DIE DAMEN, a group comprising Vienna-based female artists and a

New York-based male artist, humorously examine the role-specific

behavior of genders and the status of women in their performances,

videos, photographs, and objects.

During a public

discussion

with Thomas

D. Trummer at

Art Bodensee

in July 2019,

Cäcilia Brown

combined pho-

tography with

sculptural work

by adhering

photographs of

architecture to

white panels —

a sculpture of

association and

research.

Cäcilia Brown Über die Allianz von

Halterungen, 2017

Collage compiled

from discussions

with Hannes Heel,

Noële Ody, Eva

Seiler, Johanna Tinzl

Screen print on C print

44.5 × 43.5 cm

Screen print on wood

126 × 94 cm

Cäcilia Brown Zahnfee, 2017

From the series

Leichte Mädchen

Wax, wire rope,

concrete, lacquered

steel pipe

219 × 49 × 279 cm

Maria Anwander My Most Favourite

Art, 2004 — 2019

100 exhibition la-

bels, dimensions

variable

Angelika Loderer Untitled (LZZZV),

2019, Sand

145 × 66 × 10 cm

Angelika Loderer Untitled (Wood

pecker III), 2013

Patinated bronze

55 × 30 × 30 cm

Limited edition of

3 + 1 AP

DIE DAMENVarious works and

documents from the

oeuvre of the artists’

group


How did the Statue of Liberty arrive at Kunsthaus Bregenz? How

are enormously heavy bronze sculptures moved into and out of

the exhibition spaces? And how are giant wafer-thin parchment

drawings suspended freely from the ceiling? The KUB technical team

around Markus Tembl masters such challenges and many more

during the installation of each exhibition that frequently takes less

than two weeks.

Endless meters of fabric, hundreds of costumes from the

Vorarlberger Landestheater and the Bregenz Festival were part of

the spectacular exhibition by Ed Atkins. Following the successful

exhibition at KUB, his striking work Old Food then traveled to Venice

for the 58th Biennale di Venezia, accompanied by experts from

Vorarlberg’s cultural institutions.

Miriam Cahn demanded special sensitivity during the installa-

tion of her exhibition DAS GENAUE HINSCHAUEN. For the Swiss artist

the hanging of the works is an essential element of her practice.

Supported by the KUB team, she positioned her drawings and paint-

ings personally by hand on the concrete walls. This proved to be

no easy task, as she recounted to KUB architect Peter Zumthor during

a public artist’s talk in a packed foyer.

The summer exhibition by Thomas Schütte called for entirely

different solutions: even before the opening, the sculpture Drittes

Tier, located immediately in front of KUB’s entrance, became an

attraction and irresistible opportunity for snapshots for both young

and old. The steam spewing from the two-ton bronze dragon required

the technical team to lay piping under the asphalt. At intervals of 30

seconds it snorted a total of 9 liters of water per day through his

nostrils. And the three Männer im Wind sculptures on the third floor,

each weighing 1.5-tons, likewise demanded a great deal of resource-

fulness from the KUB technicians: the 3.5-meter colossi could only

be placed upright using pullies and muscle power.

The success of the 2019 exhibition year was in no small part

dependent on technical know-how, a sensitive approach, and

well-established collaboration with regional and international

partners, as well as the commitment of the entire KUB team.

KUB 2019Behind the Scenes

Photo top left and bottom:

Rudolf Sagmeister

With its iconic architecture and ambitious exhibition program, KUB

is one of the world’s most renowned exhibition venues for contem-

porary art. Convinced of its outstanding value, the Society of Friends

of Kunsthaus Bregenz are greatly committed to supporting KUB with

ideas as well as financially.

The society can currently count approximately 1,200 people

amongst its members. They are able to enjoy exclusive events such

as guided tours by the director, Meet & Greet the Artist gatherings,

lectures, and professionally guided art excursions.

KUB is an educational institution, an experiential space, a place

for discussions and leisure time, appealing to all ages and social

classes. The institution’s innovative outreach and communication

projects promote discourse. The Friends’ membership fees provide

substantial support for such efforts. Consequently, in 2019, the

society was able to fund the outreach films accompanying the solo

exhibitions, the KUB ArtClass, holiday workshops over several days

for children, and the KUB Open Air Summer Program.

The excursion program for 2019 received a great deal of interest.

In June there was a trip lasting several days to Antwerp. There were

also one-day trips to Lech (James Turrell’s Skyspace), to private

collections in Reutlingen/Sindelfingen, and also to Stuttgart (100 jahre

bauhaus: Das Jubiläum).

The Rhine Valley Cultural Axis, a collaboration between KUB,

Kunstmuseum St. Gallen, Kunstmuseum Liechtenstein, and Bündner

Kunstmuseum Chur is to be extended and strengthen in the future by

the respective societies of friends. A beginning was made by joint

guided tours for the societies of friends at this year’s Art Bodensee fair.

The Society of Friends of Kunsthaus Bregenz is delighted that

Thomas D. Trummer has been confirmed as the director of KUB for a

further five years, and looks forward to its continuing work with the

entire KUB Team.

KUB 2019The Society of Friends of Kunsthaus Bregenz

Photo: Miro

Kuzmanovic


The exhibition program at Kunsthaus Bregenz is made possible not

least by the generous commitment of our sponsors. In return, our

business partners benefit from collaborating with KUB’s team of

professionals. The ambitious exhibition and accompanying program

creates new horizons, encounters with international contemporary

art promote openness, enabling thinking beyond everyday patterns.

Hypo Vorarlberg and illwerke vkw AG are both long-term

sponsors of KUB. They make a significant contribution to the funding

of the major exhibitions. The Zumtobel company has also been

supporting Kunsthaus Bregenz continuously for many years and is

an indispensable partner, especially in implementing projects em-

ploying light. In 2019 the exhibition Ed Atkins was supported by the

Volkart Stiftung, phileas — A Fund for Contemporary Art, and the

British Embassy, whilst Miriam Cahn — DAS GENAUE HINSCHAUEN was

supported by the cultural foundation Pro Helvetia and Ars Rhenia

foundation. The exhibition Thomas Schütte received generous dona-

tions from the Art Mentor Foundation Lucerne as well as from UNIQA.

We would like to thank all our partners for their continuing loyalty!

KUB 2019 Sponsors and Patrons

Principle sponsor

of Kunsthaus Bregenz

With kind

support from

Partner 2019

Partners


Kunsthaus BregenzKarl-Tizian-Platz | 6900 Bregenz | Österreich

Phone +43-5574-485 94-0 | [email protected]

www.kunsthaus-bregenz.at | #kunsthausbregenz

Hours 2020Tuesday to Sunday 10 am — 6 pm | Thursday 10 am — 8 pm

July 18 to August 31 daily 10 am — 8 pm

Ticket office ext. -433

Admission 2020Standard € 11 | Concessions € 9 | 20 to 27 years € 7 | Free admission

for children and adolescents up to 19 years old

Combined ticket KUB and vorarlberg museum € 17 |

Concessions € 14 | 20 to 27 years € 12 | Kulturhäuser Card € 99

Free admission every first Friday of the month

© Kunsthaus Bregenz

All images if not otherwise stated: Kunsthaus Bregenz

Photo:

Markus Tretter

Photos first

and last page:

Miro Kuzmnanovic,

Kunsthaus Bregenz

Documents

Kunsthaus Bregenz · Kunsthaus Bregenz is a unique place. Peter Zumthor designed simple, very striking spaces. The gray concrete walls, the soft light from the ceiling, the spacious