An important theme in studio ASYNCHROME’s work is democratic participation. Their drawings and installations examine utopian concepts and visual metaphors from the past, contrasting or over-lapping them with visions and close observations of the present. For their compelling image montages, they use a huge vocabulary of graphic communication that can range from digital icons to visionary architectural drawings through to the image rhetoric of propaganda. In Weltverschiebung, the desire for public space is juxtaposed with the growing economisation of what once seemed like endless outer space. Through unexpected confrontations, they create media- and socio-critical images of an ominous future in which social classes build their own worlds while the sharing of resources remains a goal that is as disputed as it is aspirational.
100 Spectres, 2018–2020 (selection from a 110-piece series)
With the help of the Limnological Institute in Konstanz, Sarah Bildstein analysed water samples from all over the world.
FIELD STATION (with research table), 2020–2021
Anita Fuchs has rented a meadow on the border between Austria and Slovenia. For months now, she has been working there out of her FIELD STATION – a shiny cube that looks like a minimalist sculpture.
27 x Display, 2021
studio itzo (Martina Schiller, Rainer Stadlbauer)
The exhibition architecture designed by studio itzo adopts a resource-saving approach on a number of levels. Most of the elements are from previous Kunsthaus exhibitions.
Suitcase of Memories A service for people with and without dementia
In Austria, there are currently about 130,000 people living with dementia, and the number is expected to double by 2050.
Unlearning Classroom, 2017
IZK, Artistic Practice 1, 2017 (lecturer: Daniela Brasil)
The concept of the World as a Classroom emerges, where instead of the controversial ECTS points system of academic achievement, a WTCS, a global collection of study experiences is proposed.
Hardly Working, 2021
Total Refusal (Susanna Flock, Robin Klengel, Leonhard Müllner, Michael Stumpf)
Total Refusal takes the video game Red Dead Redemption 2, played millions of times, as the basis for a reflection on the capitalist concept of labour.
First installed in 2010 for the exhibition Mehrwert (added value) in front of the church in Quartier Leech, the fictitious construction sign marked the public garden with fruit trees next to the church as the building site of a spectacular architecture.