Auer investigates the toilet signs at the Kunsthaus, challenging tradi-tional gender images and divisions with her artistic, interventionist commentaries.
G.R.A.M.’s film borrows from Charlie Chaplin’s Kid Auto Races at Venice from 1914.
A new farm shop with a café at the central market place, a farm offering demonstrations and a fun experience, a research centre and an innovation centre for organic agriculture form the five cornerstones of the new centre together with the school.
In his temporary material library, the artist Andreas Fogarasi gathers materials used in current building projects.
The ‘Weizer Schafbauern’ – sheep farmers from the Weiz area of Styria – have taken everything into their own hands as a cooperative, from primary production through to processing, refining and marketing. They have received many awards for their initiative, as well as setting quality standards and co-founding the ‘GenussRegion Weizer Berglamm & Schaf’.
As a medium between two-dimensionality and three-dimensionality, the photogram has been part of Kupelwieser’s diverse œuvre from the 1980s until today.
In order to raise awareness of this state of affairs, the artist Adina Camhy designed posters that call for more appreciation of care work. NO MORE BITTER PILLS continues her project. The posters were shown in the exhibition HILFSLINIEN - Linije pomoči in the Pavelhaus – Pavlova hiša, but were also distributed in public space.
Flea markets, table-tennis rounds, dancing among the plants, knitting, gardening without a garden of your own ... the long, colourful list of socio-cultural activities in the ANNENViERTEL district since 2014 could go on and on.
Over the course of days and weeks, disciplined series of numbers have been compiled to record the daily consumption of cigarettes.