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19/02 – 05/03/2021

CAUD طراحان کالبدی معاصر, Challenge Studio استودیو چلن, Daneshgar architects, einszueins architecture, Logical Process Office فرایند منطقی, Metamorphosis Method شیوه دگردیس, PPAG architects, querkraft architects 

curated by Negar Hakim and MaanMemar (Elham Geramizadeh & Ehsaan Hosseini)

Opening Hours: Thu, Fri 3 – 7 pm, Sat 11 – 2 pm

philomena+ front garden and project room, Heinestraße 40, 1020 Vienna

In the context of the COVID-19 virus, similar measures have been implemented worldwide to prevent the further spread of the virus. It is a far-reaching crisis which also heavily impacts our living spaces and, as a consequence, alters our perception or rather our needs and requirements for what we consider “home”. There is a sudden change in significance and value of space and its qualities. The function of spatial mobility, natural daylight, tranquillity, a balcony or a terrace, a kitchen, but also the layout of (outdoor) spaces acquires a new meaning. How are we going to approach it?

The exhibition “Staying Home, But How?” addresses the question of what or rather how we can learn from the COVID-19 crisis, especially in terms of architecture. A glance at architectural history shows that epidemics, crises and catastrophes have had an impact on urban planning and architecture time and time again. Is this to be expected from the COVID-19 pandemic as well? How helpful and important would a global exchange to find innovative solutions to a worldwide problem be at this very specific time? Following recent experiences, what does the population wish for the architectural future? In all these complex decisions, the question must be asked, what role politics, architects and occupants have to take on.

philomena+ has chosen Vienna, in the centre of Europe, and Isfahan, in West Asia – with both cities’ historical city centres inscribed on the UNESCO World Heritage List – as representative places for the research and exchange for this exhibition, which will travel from Vienna to Isfahan. 

The exhibition is accompanied by a publication with further contributions from  Ian Banerjee, Negar Hakim, Barbara Holub/Paul Rajakovics, Mohamad Mohamadzadeh, PPAG architects, Ida Pirstinger, Peter Reischer, Robert Temel.





Political Ideologies and their Aftermath

Sarri Elfaitouri, Soukaina Joual, Yoshinori Niwa, Kosta Tonev

03/12/2020 – 30/01/2021

curated by Christine Bruckbauer and Elisabeth Piskernik

philomena+ project room, vitrine and garden, Heinestraße 40, 1020 Vienna

Due to governmental COVID-19 Regulations we adapted the exhibition scenography by presenting the art works in the big show window and on the pavement area in front of philomena+.


The exhibition project BIG IDEAS deals with political ideologies and concepts for a better world. Often it was revolutionaries with promising visions, who gained a large number of followers, seized power and finally made their ideas the political programme of their country. They mostly failed and left a society in ruins.
BIG IDEAS brings together artists from several continents. Two of them are witnesses of failed regimes themselves. But all have been engaging in the subject for several years.


Sarri Elfaitouri, Radical Libyanism, series of 10 digital collages
The series “Radical Libyanism” by Sarri Elfaitouri showcases possible causes for the catastrophe, incoherence, and chaos in present Libya. The 24-year-old artist with an architectural and philosophical background reinterprets these attributes into new urban landscapes. Instead of fading them out, Sarri Elfaitouri incorporates them into his collages consisting of neatly arranged living environments with golden backgrounds. “Radical Libyanism” is not only a critique of the radical Gaddafi era, but also a radical representation of today’s Libyan ideology.


Kosta Tonev, Dolls, video, installation

Kosta Tonev’s artistic practice is characterized by a research-based examination of political issues. While in recent years it was the entry of liberal capitalism into the former “Second World” that was his interest, the Bulgarian-born artist, who lives in Vienna, now looks beyond Europe for this exhibition and delivers a play in which Mao and Gaddafi resurrect as mass-produced toy figures. In a turbulent, humorous conversation, the chairman and colonel reflect on their past rule, American imperialism, revolutionary ideas, and the fact that they may find themselves on the wrong side of history. There is also a competition in terms of the relevance/uniqueness of their ideas. 

Soukaina Joual, The Arab World as Pieces of Meat, wall painting, executed by Thaer Maarouf
Strongly inspired by the world of butchery and the matter of meat itself, the Moroccan artist Soukaina Joual uses strange, disturbing and seductive images from slaughterhouses to question socio-political connections and grievances. Her wall painting The Arab World as Pieces of Meat in the exhibition depicts the Arab world through the figure of an ox. The ox, a symbol of strength, but also of submission and passivity, ready to be cut into numerous pieces.
Soukaina Joual’s painting refers also the Berlin Conference in 1885, at which the European states divided the African continent among them like pieces of meat only to then brutally exploit the colonized states. The artist refers to the consequences that are still visible today and criticizes a system that turned a region into a battlefield of extremist ideologies through political machinations.


Yoshinori Niwa, Releasing Euro Banknotes into the Danube River and Looking for them as Lost Items in the Countries Downstream, bill board, philomena+ garden
Yoshinori Niwas works carry self-explanatory slogan-like titles and are mainly installed on the street and in public spaces. In recent years the artist has explored the history of communism and has been involved in projects that explore the nature of national history. Among his most famous works are, Looking for Vladimir Lenin in Moscow Apartments, 2012, and Withdrawing Adolf Hitler from a Private Space, created for the art festival steirischer herbst in 2018.
For BIG IDEAS, Yoshinori Niwa is starting a new billboard series in the public space of Vienna, with slogans inspired by Muammar al Gaddafi’s vision of a society without wage labour and the incident of 100.000 Euros found by Vienna police floating in the Danube.

in collaboration with:


supported by:



23/09 – 27/09/2020
curated by Christine Bruckbauer

Opening: 22/09/2020, 5 – 10 pm

philomena+ @ PARALLEL VIENNA
Rudolf-Sallinger-Platz 1, 1030 Vienna, room #720
Wed – Sun 12 am – 9  pm
Due to recent COVID 19 preventions visitors are asked to book TIMESLOT for their visit to PARALLEL VIENNA. 

As every year, philomena+ is preparing its project statement in collaboration with artists from the MENA region and representatives of the Viennese art scene. 
This year the duo-exhibition from the series Carrefour des Possibles is entitled Knotentopologie.
With their walk-in installation Férielle Doulain-Zouari and Bárbara Palomino-Ruiz analyse the scope of activity of the textile trade, starting from the places of manufacture (emerging countries), the transport routes (sea) and the places of consumption (industrialized countries).

In the process, knots and edges in the system are made visible, relationships and dependencies between the individual elements are examined. For this, the artists relate concepts such as proximity, texture of space and connectivity, creating an installation that not only weaves together recycled materials and found objects but also incorporates various textile techniques and sound recordings.

Férielle Doulain-Zouari (from Tunis artist-in-residence at philomena+) studied Textile Science in Paris.
Her sculptures and in-situ installations demonstrate a high degree of textile craftsmanship and concern the mass production and circulation of cheap goods, which have infiltrated everyday lives all over the world. 


Bárbara Palomino-Ruiz (from Vienna, philomena+ Buddy-Artist and Kültür-Gemma!-Fellow) studied Audiovisual Arts in France and Textile Art and Social Sciences in Chile. Her multimedia works show a special concentration on the theme of textile production, digital narratives and technological heritage.


in collaboration with La Boîte Tunis

supported by:



Sanae Arraqas, Manuela Picallo Gil, Mind the Gap II, 2020, acrylic on aquarelle painting, 148 x 210 mm

Mind the Gap!
20/08 – 12/09/2020
curated by Christine Bruckbauer

Opening: Thursday 20/08/2020, 7 pm

Residency Sanae Arraqas: cancelled due to Covid-19
Online Artists Talk: Friday, 11/09/2020, 6 pm, on ZOOM moderated by Janine Maria Schneider
philomena+ project room, Heinestraße 40, 1020 Vienna

Keeping your distance, we have learned in the last few months, can save lives. However, with the warning phrase “Mind the Gap” the artists intend to highlight the danger that arises when the discrepancy between each other becomes too big, when the gap between North and South, between old and young, educationally advantaged and educationally deprived groups opens up too much.

According to Manuela Picallo Gil social gaps for example arise from biased news reporting. Tabloid papers, often distributed free of charge at public transport stops, play a major role in shaping public opinion and greatly influence the intellectual life and actions of our time. For some time now, she has chosen this free print medium in question as the starting material for her artistic practice. Corner shops (Trafik) that sell newspapers, lottery tickets and tobacco products in Austria were allowed to keep open alongside pharmacies and grocery stores in the state of emergency. With her in situ installation, the Viennese artist questions the concept of basic human needs.

Sanae Arraqas’ painterly paper works show the alienation of the individual in the context of the growing pace of everyday life. Technical acceleration in the area of (mass) mobility but also in the digital sector causes spatial and social distance between people. Her involuntary confinement due to Corona in Côte d’Ivoire resulted in the personal experience of another crucial aspect of the subject: the question of the right of self-determination, which is above all prevented by entrenched white-suprematist, market-economy dependency relationships and hinders the emancipation of former colonial countries.

Sanae Arraqas born in Rabat in 1989, lives and works in Casablanca. In 2013 she graduated from the National Institute des Beaux-Arts de Tétouan. Besides her artistic work she teaches art at the Technical University of Casablanca.

Manuela Picallo Gil born in Eisenstadt in 1985, lives and works in Vienna. After graduating in Art and Communication she started to work as visual artist and high school teacher at the same time. Currently she is also studying in Ashley Hans Scheirl’s course Contextual Painting.

Supported by




Petra Gell, Elma Riza, How to make a bee-line, 2020, digital fusion of two artistic positions, © philomena+

How to make a bee-line
15/06 – 01/08/2020
curated by Christine Bruckbauer

Opening: Thursday, June 25, 2020, 7 pm
with a performance by Elma Riza, 8 pm
philomena+ project room, Heinestraße 40, 1020 Vienna

The residency and exhibition project How to make a bee-line tests the artistic and interpersonal approach of two artists unfamiliar with each other: Elma Riza & Petra Gell.

What both artists have in common is their desire to make the different layers of a place visible through artistic interaction, to expose historical events, but also to create new spaces that do not necessarily have a function, free and open spaces for encounters and experiments with visitors and curious passers-by.

By means of Performance and Instant Composition, the Franco-Tunisian artist Elma Riza explores the relationship between body and space, focusing in particular on the tension between the visible and the invisible, the real and the imaginary. Like Elma Riza, the Viennese artist Petra Gell also creates spatial guidelines. In Elma Riza’s work it is often the movement of her own performing body that she marks with wool thread or tape. Petra Gell, on the other hand, draws lines that define relations between things and new spaces, using pencil, brush, monochrome and painted surfaces, as well as found materials. An eminent oscillation between two- and three-dimensionality lies in the resulting interventions, which in turn creates spatial illusion.


ELMA RIZA is a Franco-Tunisian artist, born in France in 1986, who has lived and worked in Berlin since 2007 in the field of visual arts and performance. Graduated from the Berlin School of Fine Arts – KHB in 2012. By means of Performance and Instant Composition, Elma Riza explores the relationship between body and space, focusing in particular on the tension between the visible and the invisible, the real and the imaginary. 

PETRA GELL is an Austrian artist, born in Linz in 1976. Since 2001 she has participated in international exhibitions and curatorial activities with the artists’ collective “Die 4 Grazien”. Graduated in Painting and Graphics from the Academy of Fine Arts in Vienna in 2006, Petra Gell’s installation work explores, in the era of fake news and virtual reality, the durability of the material and the meaning of objet trouvés in the real exhibition space.

Supported by



Islamisches Kulturzentrum Graz, Architekt: Gerhard Springer 2012–2020

How Visible May Or Should The Mosque Be In The European Cityscape?
21/01 – 07/03/2020

Opening and Round Table: Tuesday, 21/01/2020, 7pm
Murat Arslan, Vice Chairman of the Islamic Cultural Center, 1020
Uschi Lichtenegger, representative of the district Leopoldstadt
Gerhard Springer, architect of the Islamic Cultural Center Graz

curated and moderated by Negar Hakim
Venue: philomena+, Heinestraße 40, 1020 Vienna
Fr 3pm – 7pm and Sa 11am – 1pm or on request at +43(0)6502255937

philomena+ presents outstanding examples of contemporary mosques from Europe, which were discussed in the course “Contemporary Sacred Architecture of Islam” at the Vienna University of Technology in the research area “History of Architecture and Building Archaeology
The space, architecture and construction of historical mosques were examined and the changes in use and benefits of newer mosques were researched.
What could a mosque look like in the age of globalization? This is a question that gained new importance at the international level due to the growing labor and refugee migration from Islamic countries to Western and Central Europe.
Here, the visibility of Islam in public space, especially in the form of representative mosques, is associated with social and political conflicts. Most of the mosques that have been designed and often built in recent years have provoked fierce discussion and rejection despite decades of cultural diversity.
One effect of this controversy is that the critical question as to whether prayer houses in today’s world really need to have the traditional building elements is raised. Specifically, the dome and the minaret and their necessity for functionality and to be perceived by the religious community as a dignified establishment – because it is precisely these that are reacted to sensitively.

philomena+ asks whether architects can contribute to defusing emerging conflicts with creative, contemporary solutions.





15/11 – 07/12/2019
Lisa Großkopf and Shiri Rozenberg
curated by Christine Bruckbauer

Opening: 15/11/2019 at 6 pm
Venue: philomena+, Heinestraße 40, 1020 Vienna
Mo – Fr 10 am – 6 pm / Sa 11 am – 3 pm

Lisa Großkopf (AT) and Shiri Rozenberg (IL) transform the project space of philomena+ into a temporary photo studio.
According to the artists, photo studios are spaces in which normative structures of our society, in particular in terms of gender, sexuality and body, become visible in a more compact form. In the displays, the highlights of the (heterosexual) family biography are often presented. At the same time, one often encounters stereotypical depictions of feminity and masculinity regarding the subjects shown, poses, facial expressions, image composition, etc.

The Fotostudio Großkopf & Rozenberg in the Heinestraße is considered as ‘safe space’ where everyone is welcome and normative structures will be demolished. 

Lisa Großkopf (AT)
Lisa Großkopf’s work oscillates between different disciplines, from photography to transmediale art. In her artistic practice and investigation she combines conceptual, experimental and performative methods with practices of activism. A recurrent theme in her work is connected with the tension between private and public spaces. Since 2016 Lisa Großkopf has been transforming windows of vacant shops into displays of fictional photo studios in order to question norm structures of our society through artistic intervention. Lisa Großkopf studied photography and visual communication at the University of Art in Linz as well as TransArts at the University of Applied Art in Vienna.
Shiri Rozenberg (IL)
Shiri Rozenberg is a photographer and a conceptual artist working with photography and installation. She received her BFA in photography and her MFA both from the Bezalel Academy of Arts and Design, Jerusalem, Israel. Her point of view raises questions about her environment, as she brings up different conflicts between cultures, nationalities, sexuality and gender. She seeks to re-assimilate within a place and to create a new narrative through this assimilation in which she chooses its boundaries or alternately breaks them.

Fotocredits: top: Lisa Großkopf, Fotostudio, Thaliastraße 153,
Shiri Rozenberg, Untitled_(Miuriel)

Special Event:
Friday, 22/11/2019
5 pm Performative Intervention by guest artist Veronika Merklein
6 pm Talk Ruby Sircar in conversation with Lisa Großkopf, Veronika Merklein and Shiri Rozenberg
Venue: Fotostudio Großkopf & Rozenberg, project room philomena+ Heinestraße 40, 1020 Wien



Befindlichkeiten مزاج 

24/09 – 29/09/2019
curated by Christine Bruckbauer

Opening: Tuesday, 24/09/2019, 5 – 10 pm
Venue: PARALLEL VIENNA, Lassallestraße 5, 1020 Vienna, room 2.35
Wed.–Sun, 12 am – 7 pm

The duo show entitled << Befindlichkeiten مزاج >> deals with the emotional state of individuals as well as of different societies.
Nabil Saouabi and Thaer Maarouf work in a multidisciplinary manner, but both show a striking affinity to figurative painting.

Nabil Saouabi (artist-in-residence)holds a doctorate in art theory and teaches at the Academy of Fine Arts in Tunis. Through his artistic work he examines the impact of the image on the human psyche in the fluent transition between reality and fiction. He makes use of different image sources, such as from the press, the internet or classical films. Painterly reinterpreted, they allow current socio-political conclusions.
Thaer Maarouf, who was born the same year as Nabil Saouabi, is from Syria. Since 2015 he has been living and working in Austria. His multifaceted oeuvre has been shown at international exhibitions and art fairs. Thaer Maarouf is known for his use of symbolism, which focuses on human rights issues in the Middle East and on the living conditions of displaced peoples. Currently it is above all the self-portrait that assists him to transport questions about existence and state of mind.



How is life?  Chetori?  چطوری؟
17/05 – 06/07/2019
Ali Akbar Farzadi, Fariba Farghadani, Minoo Iranpour Mobarakeh,
Mahroo Movahedi, Ramesch Daha
curated by Sibylle Omlin

Opening: Thursday, 16/05/2019, 7 pm

Venue: philomena+, Heinestraße 40/7, 1020 Vienna

The exhibition How is life? Chetori? چطوری؟ aimes to explore the area of ​​conflict between artists living in Iran and emigrating from Iran. Based on the selected artists from Iran, an art scene, mainly from Isfahan, will be presented. We will ask about the working condition for artists, important topics and which artistic narrations they need. Isfahan – Iran’s third largest city with about 2 million inhabitants – has a small art scene, an art school and a museum of contemporary art. In addition, an active gallery scene endeavors to provide better remuneration and exchange among the artists.

Ali Akbar Farzadi and Fariba Farghadani paint everyday scenes and symbols – the act of taking off the shoes in front of the house or the red cult car, the Méhari. In her poetic short films, Minoo Iranpour Mobarakeh describes the not always easy encounter between man and woman and, above all, reflects on the position of women in Iranian society. Mahroo Movahedi, born in Isfahan, lives in Switzerland, is researching in a long-term project on the Zayanderud, the river running through Isfahan, which is dry every two or three months due to diversions and congestion projects. Ramesch Daha, who emigrated to Vienna with her family, knows Iran as part of her family history. She does large-scale artistic research projects on historical and current events in Tehran.

An additional program accompanied the exhibition: 
Thursday,  06/06/2019, 7 pm   Reading: Nava Ebrahimi, author from Graz with Iranian roots, reads from her book, „Sechzehn Wörter“ (2017), in which she presents a narrative of 16 terms that play a role in Iranian everyday life.
Thursday,  27/06/2019, 7 pm     Expert Talk: Art historian and co-founder of philomena+ Negar Hakim talks about contemporary architecture and buildings in her birthplace Isfahan. Picnic with Iranian food in the front garden of philomena+.




Someone has been sleeping in my bed
22/03 – 04/05/2019
curated by Basak Senova

Opening: Thursday, 21 March, 2019, 7pm
Wed to Fri 1pm – 7pm, Sat 10am – 3pm
philomena+, Heinestraße 40, 1020 Vienna

A man is lying on a bed without moving. The position of his body suggests no action by maintaining an immobile posture as if he is dead; it feels like the body will remain completely still. The positioning of his hands raises a suspicion; it is not clear for the viewer whether it was staged to manipulate how the body must be seen and experienced. Nevertheless, the same body posture also stimulates a scene of sleep. Therefore, the photograph creates a tidal situation between life and death.
Each photograph in the Someone Has Been Sleeping in My Bed series displays the same body in distinctly different interior settings that have their unique style, character, theme, fashion, and atmosphere.
Someone Has Been Sleeping in My Bed designates a binary orientation in line with the contemporary discourse of photography: on the one hand, each photograph focuses on visible reality, yet on the other hand, it relates to its photographic trace to various interpretative fields, rooted in pre-existing connotations. Therefore, these photographs question our perception of reality and the medium itself by creating another layer of complexity of vision and gaze on space, time and perspective.

Special Event:
Monday, 25 March, 2019, 7pm: Beyond the Gaze, Panel Discussion at the Akademie der bildenden Künste Wien

with Orit Ishay (photo artist), Basak Senova (curator of the exhibition) and Christine Bruckbauer (philomena+)
Moderation: Marina Grzinic, Akademie der bildenden Künste Atelierhaus, Lehargasse 8, 1060 Vienna, 1. OG, Atelier Süd



Improvisation with Lines
10/11 – 24/11/2018
curated by Negar Hakim

Venue: philomena+, Heinestr. 40, 1020 Vienna
Mo & Tue 10am – 2pm, Fr 5pm – 8pm, Sat 11am – 5pm, or by arrangement +43-(0)664/1431453

These works reflect the artistic spirit of an architect who is not always able to find a suitable canvas for his pictorial creations solely through the design of the architectural space. They are the expression of ideas that were often completely improvised in the artist’s mind and subsequently put on paper using a fountain pen. The concept of these works is based, on the one hand, on capturing the composing of form and, on the other hand, on the optical perception of space with regard to visual aspects. These drawings are the result of a search for complex structures created through lines and aim to deliver a new representation of a three-dimensional Form-Space on a two-dimensional image area.







Yesmine Ben Khelil and Lisl Ponger
Project statement at the Parallel Vienna 2018
art shelf: Enrico Floriddia, Wassim Ghozlani, Rania Werda

Lassallestraße 1, 1020 Wien
Second floor, room number 247

25/09 – 30/09/2018, 12am – 7pm

philomena+ presents the exhibition „Carrefour des possibles” with Yesmine Ben Khelil and Lisl Ponger who both question clichés and take a critical view on our capitalist society. Lisl Ponger translates a 17th century Spanish still-life into a contemporary photography in a neoliberal, postcolonial and globalized setting. Yesmine Ben Khelil tells through her work Tunisian stories connecting the past, present and the future and oscillates between reality and fiction.

On the art shelf philomena+ shows works by Enrico Floriddia, Wassim Ghozlani, Patrick Timm and Rania Werda.






artistic interventions at Praterstern
02/16 – 04/22/2018

photographer: Abdulrab Habibyar

curator: Christine Bruckbauer
assisted by Aline Lenzhofer

In spring and summer 2018 philomena+ realizes a series of artistic interventions at the Vienna Praterstern. 
The exhibition at philomena+ project room offers a preview of the site-specifically conceived projects which aim to make utopias and dreams at an inhospitable place true, even if it’s just for a short period of time.

exhibition venue: philomena+ project room, Heinestraße 40, 1020 Vienna
opening hours: Th, Fr 2pm – 7pm and Sa 10am – 3pm,
or by arrangement +43-(0)664/1431453

Read more

supported by


Attokoussy الطقوسي (Part II)
Hassad al Houb / Labour of Love, 2017
11/16 –11/30/2017

curated by Elisabeth Piskernik and Gabrielle Camuset
le Cube – independent art room/ Rabat

Opening: Thursday, 16th of November, 2017, 10am (coffee&cake)
Introduction: Elisabeth Piskernik, Le Cube, Rabat, Morocco
venue: philomena+ showcase, Heinestraße 40/7, 1020 Vienna, +43(0)664-1431453

Mohammed Laouli creates with the video << Hassad al Houb / Labor of Love >> an interface between the arduous work of Moroccan women in the production of rose water and a text of the feminist activist Sylvia Federici. In the artist’s work, we see a ritual in which a miraculous rose water is produced that symbolizes a cure against patriarchal, sexist, and capitalist thinking. This water, presented in little flacons in philomena+ showcases, is intended to release the viewer from these thoughts.

Mohammed Laouli was born in 1977 in Salé, Morocco, where he still lives and works today. He studied philosophy in Rabat. His artistic work focusses on social marginalized groups and has received high recognition in the international arena.

<< Attokoussy >> is the Arabic epitome for practices and rituals of faith. The art project with the same title is a collaboration between the independent art space Le Cube in Rabat and Hinterland Gallery in Vienna. It deals with the so often ethnically and archaically connoted theme by the use of new artistic approaches. In September 2017 an artist residence programme in Marrakesh, organised by Le Cube, gave the opportunity to several artists from Morocco, Austria and Australia to confront the local practices of faith and to transform these experiences into and drawings where the past and the present merge with each other. One of them is the video work << Hassad al Houb / Labor of Love >> by Mohammed Laouli. 

The entire exhibition «Attokoussy» in the Galerie Hinterland, Krongasse 20, 1050 Vienna will stay open until Dec. 23rd, 2017.

Attokoussy is part of the Vienna Art Week 2017.



Demanding the Impossible at Unexpected Turns
10/04 – 10/27/2017

curated by Gülsen Bal and Walter Seidl

venue: philomena+ project room, Heinestraße 40/7, 1020 Vienna
Friday and Saturday 1 pm – 6 pm and viewing is available by appointment only for the rest of the weekdays. Admission free

In a world, where the impossible seems possible, when something that has been repressed for a long time, steps out of the unconscious and seems to get radicalised through the extreme right, artists are more than ever prompted to dedicate themselves to a future, where anti-intellectualism is at stake and critical thinking no longer accepted. What will come after Trump, Brexit and ISIS? Which forms of radicalisation are constituted and how has our perspective on a liberal, open society changed? How can artists reclaim this open society and which conflicts arise along economic, technological and medical progress, which makes us want to live longer but prevents us from thinking critically?

Artists are in constant need of demanding new models of gauging how the world can be seen from a different perspective than the one, which is determined, by dominant models of power, politics or religious beliefs. The latter often cause unexpected turns that shift societies into different directions, which might not even be accepted by a majority of voters and/or the population. Ever again, societies and certain population groups are trapped in a “state of exception”, as Giorgio Agamben put it in 2005. This state of exception, however, has continued to the present day and rather turned into a “state of emergency, which might not be overcome in a near future.

The artists whom are taking part in the exhibition tackle these questions implicitly and try to generate various models, which claim for a different status quo to open up new possibilities and areas of thought at the prelude to further urgent hopeless transformations and the voids that carry certain disappearances within unexpected turns.

produced by open space 



<< Harraga  حراقة >> at Parallel Vienna 2017
09/19 – 09/22/2017

Algerian Arabic for “those who burn” (the frontiers).
Harragas are persons who run ashore.

Parallel Vienna 2017
10th floor, Room 1001
Schnirchgasse 9A

A-1030 Wien

Opening Hours:
Tue 09/19 1pm-10pm
Wed 09/20 3pm-11pm Fair Night
Thu 09/21 12am-8pm
Fri 09/22 12am-8pm



THE TURN المنعرج – Art Practices in Post-Spring Societies
03/18 – 05/14/2016


curated by Christine Bruckbauer and Patricia K.Triki

Venue: Kunstraum Niederoesterreich, Herrengasse 13, 1010 Vienna

The Arab Revolution held much promise. Anger at the old regime and a burning desire for political and social change caused the people to rebel. The revolution opened up possibilities and inspired new beginnings far beyond the borders. These political transformations have also caused a ‘turn’ in local art practices. Artists began to intervene in their own way and to become more vigorous participants in civil society. On the occasion of the 5 years-anniversary of the revolution, the Kunstraum Niederoesterreich and Public Art Lower Austria were presenting interventions by artists from the MENA region (Middle East and North Africa) as well as Austria. All of the projects took place in urban and rural public spaces in Tunisia and express the hopes and difficulties of the democratization process. For THE TURN المنعرج, the curators Christine Bruckbauer and Patricia K.Triki faced the challenge of presenting works initially not only intended for the public space but also participatory and process-oriented in the Kunstraum Niederoesterreich. There a number of questions arise: What remains? Can we measure the effectiveness of these projects in which international artists also took part and which were largely funded by foreign institutions? What is the role of art in times of transformation?

The conference THE TURN المنعرج on March 18 in the Kunstraum Niederoesterreich was a chance to explore these issues and other crucial questions in comprehensive discussions with artists, civilians who participated in the projects, art historians, and representatives of funding institutions from Tunisia, Egypt, Libya, Syria, Germany and Austria.

At the opening, there were three performances: Moufida Fedhila: DO NOT TRACK Halim Karabibene: COMMUNIQUÉ NUMÉRO 2: AUTOFLAGELLATION POST RÉVOLUTIONNAIRE Inkman: KINGDOM OF LETTERS, CALLIGRAFITTI

The following projects are being presented: BLASTI (Anja Pietsch & Miriam Stock), BYE BYE BAKCHICH SYSTEME (Faten Rouissi), DE COLLINE EN COLLINE (Faten Rouissi), DJERBAHOOD (Mehdi Ben Cheikh), DREAM CITY (Selma & Sofiane Ouissi), ECRIVAIN PUBLIC (Irena Eden & Stijn Lernout), LAAROUSSA (Selma & Sofiane Ouissi), LA CHRONOLOGIE (Christine Bruckbauer & Patricia K.Triki), MNAMC (Halim Karabibene), SUPER-TUNISIAN (Moufida Fedhila)