Angewandte Innovation Lab

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Former Postsparkasse

Georg-Coch-Platz 2,

1010 Vienna, Austria

Masked people, an artist that can't travel to his own show, all these are known to us, but when Michal Helfman (born Tel Aviv 1973) shot Dear A.S.A/P in 2019, it was still considered science fiction. The video went back in time, taking inspiration from the painter Felix Nussbaum, who worked in hiding from the Nazis in Belgium until he was caught and deported to Auschwitz in 1944.

How does an artist live and work in isolation? How can he/she follow up on exhibition commitments? What kind of artistic strategies should be developed in order to maintain a presence and contact with the public in this situation? What would then be the role of the curator, and of the institution in general, in extreme situations where mobility is imperiled? These are topics raised in Michal Helfman's video Dear A.S.A/P (2019, 23:30"), the subject of this HASENHERZ.

Sergio Edelsztein was born in Buenos Aires, Argentina in 1956. He studied at the Tel Aviv University (1976-85) and shortly after founded and directed Artifact, a commercial gallery in Tel Aviv (1987-1995). In 1997, Edelsztein founded The Center for Contemporary Art in Tel Aviv and has served as its director and chief curator until 2018. Within the framework of the CCA he curated seven performance art biennials (titled "Blurrr") and five international video art biennials ("VideoZone"). Edelsztein curated the Israeli component of the 24th Sao Paulo Biennial in 1998, and the 2005 and 2013 Israeli Pavilions at the Venice Biennale. Since 1995 he has curated exhibitions and time-based events in Spain, China, Poland, Singapore and several other locations. Major exhibitions curated for the CCA include solo shows of Guy Ben Ner, Roee Rosen, Yael Bartana, Marina Abramovic, Chrsitian Jankowski, Rosa Barba, Ceal Floyer, Gary Hill and many more. Edelsztein has lectured, presented video programs and published texts in Israel, Spain, Brazil, Italy, Austria, Germany, China, the USA, Switzerland, and Argentina, and he writes extensively for catalogues, web-sites and publications throughout the world.

The HASENHERZ or the Pleasures of the Moving Image and Word sessions present artistic research from academic and non-academic background to a wider audience. By means of repetition and an open and receptive conversation between the audience and invited artistic researchers, new ways of artistic and curatorial practice and their novel ways of knowledge work will be introduced to the audience.

Ruth Anderwald + Leonhard Grond have been working as a collective in artistic, curatorial and artistic-research contexts since 1999. They perceive their artistic practice as a dialogue with and between disciplines. Their art is primarily concerned with exploring zones of staggering and uncertainty. Again and again, they devote themselves to processes of thinking and acting, such as recently the importance of repetition and remembering, also with their association HASENHERZ, and the contemplation of processes of change. Anderwald + Grond are Professors for the Doctoral Programme Artistic Research at Angewandte. Navigating Dizziness Together is their current project at the ZFF, Angewandte – funded by FWF Peek.