Kunsthaus Bregenz - KUB 2018 Program
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Kunsthaus Bregenz KUB 2018 Program English
Source: Instagram
@kunsthausbregenz
Thanks to:
mathiasjohansen-
cellist, anasbarros,
visitaustria,
drcuerda, gerlinde-
kusstatscher,
roemervii, juldama
A Foreword by Director
Thomas D. Trummer
The 2018 program is the third one I have been responsible for as
Director of Kunsthaus Bregenz. During my first year the KUB
program went under the motto of political pertinency. The second
concerned itself with current thinking around so-called »specu-
lative realism.« It addressed contemporary approaches to the
object-orientated, motivating artists and intellectuals to ask new
questions of nature.
2018 will be addressing current discussions focusing on the
distribution and circulation of commodities and values, in which
visual imagery is the driving force and vehicle, made to seduce, but
also a conveyor and trigger, both evidential and deceptive.
5
Tacita Dean
Cú mulo, 2016
Detail from the
exhibition view
of Tacita Dean,
Museo Tamayo,
Mexico City
Chalk on
blackboard
244 x 732 cm
Photo: Agustin
Garza
Courtesy of
Tacita Dean,
Frith Street Gallery,
London, and
Marian Goodman
Gallery, New
York | Paris | The British artist Simon Fujiwara’s idea of recreating the Anne Frank
London
House in Amsterdam at 1:1 scale at Kunsthaus Bregenz is daring and
absurd. And yet it typifies the program at Kunsthaus Bregenz, whose
ceaseless staging of outstanding projects has enabled it to develope a
unique profile within the international art scene. The most distinctive
exhibitions at KUB have been those which utilized all four floors as
the platform for singular artistic statements. This was especially the
case in 2017, the so-called super art year, when exhibitions such as
those by Adrián Villar Rojas and Peter Zumthor were remarkable un-
dertakings which were able to achieve broad public and media acclaim.
The current practice, under my directorship, of dedicating
the entire institution exclusively to one artist will be continued in
2018. The year’s program revolves around questions of legitimacy.
It is precisely in a building known for its aura and authenticity that
the credibility of visual imagery becomes an issue. The 2018 program
attempts a contemporary update regarding the manipulation and
accelerated trafficking of images. Film, digital media, and reprodu-
cibility are being foregrounded. It is moving, fluid, and uncontrolled
visual imagery that characterizes our everyday lives. Images, espe-
cially in the era of their distribution via social media, possess the
power of delivering one-sided, deceptive, and misleading informa-
tion. Technological sophistication plays a significant role in their
falsification, copying, manipulation, and instrumentalization. And
yet it would be wrong to speak of »fake views« — art does not de-
ceive without revealing its deception. Rather than the fake, it offers
fiction, instead of seduction the deepening of consciousness. The
Kunsthaus does not remain oblivious to such developments. It will
only be able to preserve and further confirm its internationally
acclaimed role if it consciously engages with the signs of the times
and encourages artists to take the initiative and actively address
issues facing the present. Preview 2018
06 07 KUB 2018 Program
KUB 2018.01
Simon Fujiwara
Hope House
27 | 01 — 08 | 04 | 2018
KUB 2018.02
Mika Rottenberg
21 | 04 — 01 | 07 | 2018
KUB 2018.03
David Claerbout
14 | 07 — 07 | 10 | 2018
David Claerbout
The Quiet Shore, 2011
One-channel video
projection, b&w,
KUB 2018.04 approx. 32 min.,
Video still
Courtesy of David
Tacita Dean Claerbout, Sean Kelly
Gallery, New York,
20 | 10 | 2018 — 06 | 01 | 2019 Exhibitions 2018
and Galerie Esther
Schipper, Berlin
8 9 KUB 2018 Program
Mika Rottenberg
NoNoseKnows, 2015
One-channel video,
approx. 22 min.,
Video still
Courtesy of Mika
Rottenberg and
Andrea Rosen
Gallery, New York
10 11 KUB 2018 Program
KUB 2018.01
Anne Frank
House model
Simon Fujiwara
construction kit,
cardboard
© Anne Frank
Hope House
27 | 01 — 08 | 04 | 2018
Museum,
Amsterdam
What is real? It seems not only products are being sold that promise
an emotional, authentic involvement, but also experiences them-
selves. The French philosopher Tristan Garcia speaks of an »intense
life« which may be enhanced even in relation to leisure and recrea-
tion. Absolute commercialization eschews nothing, not even histori-
cal taboos. For the first KUB exhibition in 2018, Simon Fujiwara, who
has already been responsible for choreographing Kunsthaus Bre-
genz’s Billboards during 2017, is now approaching an awkward sub-
ject for marketing, the history of the Anne Frank House in Amsterdam.
The building, which is largely a reconstruction containing only
a few remains of the original family artifacts, is a magnet for visitors.
Fujiwara is responding to the restoration of the spaces by reproduc-
ing the building to 1:1 scale at Kunsthaus Bregenz. His source is the
kit model available at the Anne Frank House museum shop. From the
replica, from the set of copies, a large-scale copy will result, which
will be made partially accessible to visitors. This is a continuation of
Kunsthaus Bregenz’s distinctive interventions, this time addressing
inevitable issues of authenticity, originality, value, history, and
replicability. Simon Fujiwara: »The project isn’t a parody of capital-
ism, it shows capitalism.«
12 13 KUB 2018 Program
Simon Fujiwara,
2017
Photo: Miro
Kuzmanovic
© Simon
Fujiwara and
Kunsthaus
Bregenz
Simon Fujiwara, born in London in 1982, spent his childhood moving
between Japan, Europe, and Africa. He studied at Cambridge Univer-
sity and Städelschule in Frankfurt/Main.
Working often in collaboration with others in the telling of
supposedly personal stories, Fujiwara’s work explores the concept
of the contemporary individual — self-determined, self-narrativised,
unique — and presents a highly contingent notion of the self that
can only be defined through the participation of others.
Fujiwara has had solo exhibitions at Power Plant Contemporary
Art Gallery, Toronto (2011), Tate St Ives (2012), Tokyo Opera City
Gallery (2015), Kunsthalle Düsseldorf (2016), Irish Museum of Modern
Art, Dublin (2016), and Dvir Gallery, Tel Aviv (2017), amongst others.
His work has been presented in various group exhibitions, including
Storylines, Guggenheim New York (2015), and Un Nouveau Festival,
Centre Pompidou, Paris (2014). He was represented at the 53th Venice
Biennale (2009), São Paulo Biennial (2010), Shanghai Biennial (2012),
Sharjah Biennial (2013), and Berlin Biennale (2016).
14 15 KUB 2018 Program
KUB 2018.02
Mika Rottenberg
21 | 04 — 01 | 07 | 2018
The artist Mika Rottenberg, who was born in Argentina and grew up
in Israel, is concerned with cycles of production and the manner
in which commodities are transported. Her work is neither disinter-
ested critique nor precise political documentation, rather under-
takes an analysis of the present in a distorted, caricaturial exaggera-
tion. In confining claustrophobic spaces, frequently fabricated from
Mika Rottenberg
Cosmic generator, cardboard and found objects, the core of Rottenberg’s installations
2017 is usually a video showing specific production processes, such as the
One-channel video,
extracting of pearls from mussel shells. Rottenberg highlights the
approx. 22 min.,
Videostill premises of labor, whilst simultaneously forcing the viewer into the
Courtesy of Mika role of a voyeur who is coerced into narrow corridors in order to
Rottenberg and
Andrea Rosen
view the processes of work. In her small spaces, objects tower in sur-
Gallery, New York real scenographies, revealing the absurd accumulations and sense-
lessness of some global enterprises.
The majority of the protagonists in her films are women who,
according to Rottenberg, »loan« the artist their body parts. In the
film Dough (2006), there are four women, two of them, the corpulent
Raqui and the slender Kat, fashion lumps of dough in a factory-like
environment.
For her highly acclaimed work Cosmic Generator for Skulptur
Projekte 2017 in Münster, Rottenberg again worked with provisional
architecture. She employed a disused Asian store as a readymade
set-up. In the video filmed in a small border town between the USA
and Mexico, she depicts the lives of Asian immigrants who main-
tain — literally between frontiers –a continual production process.
Capitalism does not acknowledge borders.
Many of her installations are comical or incorporate erotic
elements. For her exhibition at Kunsthaus Bregenz, she is planning,
among other things, to set up the multi-layered processes of cheese
production.
16 17 KUB 2018 Program
Mika Rottenberg was born in Buenos Aires in 1976. She lives and
works in New York.
Mika Rottenberg’s film installations explore the seduction,
magic, and desperation of our hyper-capitalistic, globally connected
reality. The artist weaves documentary elements with fiction to
Mika Rottenberg
Ponytails, 2014 create complex allegories for the living conditions experienced
Hair, wood, within our global systems.
acrylic adhesive,
nylon fibers,
Several solo shows have been dedicated to the artist’s work in
acrylic paint recent years: Magasin III, Stockholm (2013), Israel Museum, Jerusa-
Courtesy of Mika lem (2014), Palais de Tokyo, Paris (2016). She will be presenting a new
Rottenberg,
Andrea Rosen solo exhibition at the Bass Museum, Miami (Dec 2017–April 2018).
Gallery, New York, Rottenberg’s work was also showcased at the Whitney Biennial 2008.
and Galerie Lau-
She collaborated in 2011 with artist Jon Kessler on Seven, a cycle of
rent Godin, Paris
performances and installations created for Performa 11 in New York
Mika Rottenberg City. In 2015, her work NoNoseKnows was featured in the Venice
Photo: Jessica
Chou
Biennale as part of All the World’s Futures. Rottenberg’s most recent
© Mika Rottenberg film Cosmic Generator was part of Skulptur Projekte 2017 in Münster.
18 19 KUB 2018 ProgramDavid Claerbout
Oil workers (from
the Shell company
of Nigeria) retur-
ning home caught
in torrential rain,
2015
one-channel
video projection,
HD animation,
silent, looped,
Video still
Courtesy of David
Claerbout, Sean
Kelly Gallery,
New York, and
Galerie Esther
Schipper, Berlin
achieves these effects employing sequences of slides or by computer
generated methods that enable imagery to become as frozen as stills.
The result is increased attention on the part of the viewers, who
surrender to decelerated time and adapt to it. Its auric presence and
sensitive lighting make Kunsthaus Bregenz an ideal site for such a
form of perception.
For Die reine Notwendigkeit / The Pure Necessity (2016) Claer-
bout subjects the 1967 movie of the children’s book classic The Jungle
Book to a reworking. The animals are not presented anthropomorph-
ically, but to revert them to behaviors appropriate to their species.
Olympia (The real time disintegration into ruins of the Berlin Olympic
stadium over the course of a thousand years) (2016), is a digital recon-
struction of the Olympic Stadium in Berlin. David Claerbout scanned
KUB 2018.03 each stone of the famous Nazi building to create a deceptively real
3D version. Its representation in real time has been calculated to
David Claerbout last for a thousand years. Stones erode and plants sprout. Even the
current weather conditions are simulated by data from a webcam — if
14 | 07 — 07 | 10 | 2018 the sky over Berlin is cloudless, it is likewise so in the film. »With any
technological device, the first thing that is lost is the sensation of
synchronicity. (…) The way the camera moves autonomously, without
any operator, indicated that it’s a completely synthetic situation,« as
The Belgian artist David Claerbout works in photography, film, David Claerbout stated in an interview with Elise Lammer, quoted
video, sound, digital media, and drawing. He is known for his se- from Spike Art Quarterly, no. 53, 4/2017. Claerbout not only calculates
quences of imagery that have been slowed to the extreme, images and renders the future but also the present. Olympia is a meditation
which are actually moving become almost motionless. Claerbout on time and perception, Impressionism in the digital era.
20 21 KUB 2018 ProgramDavid Claerbout
Olympia, 2017
Two-channel
real-time projec-
tion, Video still David Claerbout, born 1969 in Kortrijk, Belgium, studied painting in
Photo: Tom Bisi
Courtesy of David
Antwerp; he lives and works in Antwerp and Berlin. He became
Claerbout, Sean increasingly interested in time as a result of his investigations into
Kelly Gallery, New the nature of photography and film. Fusing together the past, pres-
York, and Galerie
Esther Schipper, ent and future into stunning moments of temporal elasticity, his
Berlin works present profound and moving philosophical contemplations
on our perception of time and reality, memory and experience, truth
and fiction.
He has been the subject of numerous solo exhibitions inter
nationally, including: Van Abbemuseum, Eindhoven (2005), Centre
Pompidou, Paris (2007), Kunstmuseum St. Gallen (2008), De Pont,
Tilburg (2009 and 2016), WIELS, Brussels (2011), SFMOMA, San Fran-
cisco (2011), Tel Aviv Museum of Art (2012), Wiener Secession (2012),
Kunsthalle Mainz (2013), Nederlands Fotomuseum, Rotterdam (2014),
David Claerbout, Marabouparken, Sundbyberg (2015), KINDL — Centre for Contempo-
2017 rary Art, Berlin (2016), Städel Museum, Frankfurt/Main (2016), MNAC,
Photo: Koos
Breukel
Barcelona (2017), as well as Schaulager, Münchenstein/Basel (2017).
© David Claerbout His work is represented in major public collections worldwide.
22 23 KUB 2018 ProgramTacita Dean
FILM, 2011
Exhibition view
Tate Modern,
London
Photo: Marcus
Leith and
Andrew Dunkley
Courtesy of
Tacita Dean,
Frith Street
Gallery, London,
and Marian
Goodman Gal-
lery, New York |
Paris | London
KUB 2018.04
Tacita Dean
20 | 10 | 2018 — 06 | 01 | 2019
The work of the renowned British artist Tacita Dean has already been
seen at Kunsthaus Bregenz in 2003/2004. In the group exhibition
Remind... with Eija-Liisa Ahtila, Anri Sala, and Jane and Louise Wilson,
she produced a presentation for the first floor. Dean, who is regarded
as one of today’s most outstanding artists, addresses the fundamen-
tals of film and is known, above all, for her distinctive 16 mm film
works. Her films of brutalist architecture from the South of England,
and of the former East German Palast der Republik in Berlin before
it was pulled down, are amongst the most significant works in con-
temporary art. Dean’s films are as poetic as they are melancholic.
Her graphic work interrelates the medium of film, photogra-
phy, drawing, and books. Her works on blackboards appear like
excerpts from a film storyboard. Her photogravures of fictional
landscapes display a richness of forms and diversity of line. Small-
scale notation is embedded within large-scale imagery; they are
miniscule and personal, her handwriting almost indecipherable. And
yet it becomes clear that every scene, every vista, each image is
permeated by a directing, scripting, and planning hand. Kunsthaus
Bregenz plans to exhibit a comprehensive exhibition that displays
the full breadth and expression of her work.
24 25 KUB 2018 ProgramTacita Dean
JG, 2013
35 mm, color and
b&w anamorphic
film, approx.
26 min., Video still
Courtesy of Tacita
Dean, Frith Street
Gallery, London,
and Marian
Goodman Gallery,
New York | Paris |
London Tacita Dean was born in 1965 in Canterbury, UK. She studied at
Falmouth School of Art and the Slade School of Fine Art before mov-
ing to live and work in Berlin in 2000. In 2014/15, she was invited
as artist in residence at the Getty Research Institute in Los Angeles
where she continues to live at this current time.
Her solo exhibitions include Tate Britain, London, and MACBA,
Barcelona (2001), Schaulager, Münchenstein/Basel (2006), Solomon
R. Guggenheim Museum, New York (2007), Fondazione Nicola Trus-
sardi, Milan (2009), MUMOK, Vienna (2011), New Museum, New York
(2012), Instituto Moreira Salles, Rio de Janeiro (2013), Fundación
Botín, Santander (2013), and Museo Tamayo, Mexico City (2016). Dean
was nominated for the Turner Prize in 1998, and was awarded the
Hugo Boss Prize in 2006 and the Kurt Schwitters Prize for Visual Art
in 2009. In 2011, she made FILM as part of the Unilever Series of com-
missions in Tate Modern’s Turbine Hall, which marked the beginning
of her campaign to protect the medium of photochemical film (www.
savefilm.org). Other recent group exhibitions include dOCUMENTA
Tacita Dean
Photo: Jim Rakete
(13), Kassel (2012), 55th Venice Biennale (2013), as well as the Biennale
© Tacita Dean of Sydney (2014).
26 27 KUB 2018 ProgramKUB 2018
Projects
KUB Projects provides a forum for an extended involvement with
current developments in contemporary art and society. Employing
experimental formats and working methods, discussions, and inter-
ventions, KUB Projects will be entering into a direct dialogue with
the town, its history and people.
Talks on Music and the Arts
Bregenz is not just home to Kunsthaus Bregenz but also to the Bre-
genz Festival and a public enthusiastic about music. Music and visual
art frequently interrelate in such a town — for example, during the Lawrence Abu Hamdan | born 1985 in Amman, Jordan
celebrations for KUB’s 20th anniversary, when the sound artist Tarek Tarek Atoui | born 1980 in Beirut, Lebanon
Atoui thrilled the audience with his haunting performance. Christian Marclay | born 1955 in San Rafael, USA
A series of public talks and presentations of works, spread Marinella Senatore | born 1977 in Cava de’ Tirreni, Italy
throughout 2018, will deal with the role of music, notation, and lis- Samson Young | born 1979 in Hong Kong
tening in the practice of visual artists. Voice, media, and listening
habits are being addressed by the following artists, for whom audio Specific dates and details concerning the Talks on Music and
and sound are ongoing concerns in their artistic practices. the Arts will be published in due course.
28 29 KUB 2018 Program Tarek Atoui, 2017
Photo: Miro Kuzmanovic
© Kunsthaus BregenzLili Reynaud
Dewar
TEETH GUMS
MACHINES FU-
TURE SOCIETY,
2017
Photograph,
digital print,
61.7 x 46.3 cm
Courtesy of Lili
Reynaud-Dewar
and Galerie
Emanuel Layr,
Vienna | Rome
KUB 2018
Billboards
The billboards along Bregenz’s Seestrasse, the town’s busiest road,
are a fixture of Kunsthaus Bregenz’s program. During 2018, they will
be completely in female hands — four young artists have been invited
to each show a series of seven images in public space. The year will
begin with Flaka Haliti, born in Pristina, Kosovo, and a graduate of
the renowned Städelschule in Frankfurt | Main. In the era of digital
imagery, Haliti’s work revolves around such romantic ciphers as clouds,
moons, and love letters. Two other artists, Lili Reynaud Dewar and
Alicia Frankovich, will be presenting emotional states in interior
spaces and performances. Maeve Brennan, born in London in 1990, is
seeking the origins of caring and nurturing in geology and archeol-
ogy as well as the value of objects. The Billboards, in juxtaposition to
the large-scale solo exhibitions at Kunsthaus Bregenz, ensure that
alternative perceptions, new types of imagery, and current issues
are also addressed and made accessible to a wide public.
Maeve Brennan | born 1990 in London
Alicia Frankovich | born 1980 in Tauranga, New Zealand
Flaka Haliti | born 1982 in Pristina, Kosovo
Lili Reynaud Dewar | born 1975 in La Rochelle, France
Specific dates and details concerning the KUB Billboards 2018 will be
published in due course.
30 31 KUB 2018 ProgramChildren visi-
ting the exhibi-
tion Adrián
Villar Rojas —
The Theater of
Disappearance,
Kunsthaus
Bregenz, 2017
Photo: Miro
Kuzmanovic
Review of the Year 2017
© Kunsthaus
Bregenz
32 33 KUB 2018 ProgramKUB 2017
Review
2017 was the year Kunsthaus Bregenz celebrated its 20th anniversary,
a highly successful one, and not only in regard to the celebrations
during the anniversary weekend in the summer. Most importantly,
our visitors were able to enjoy three extremely different exhibitions.
The year began with Rachel Rose, the youngest artist who has
ever been invited to stage a solo exhibition at Kunsthaus Bregenz.
She was born in New York in 1986 and is considered a shooting star on
the contemporary US American art scene. Approximately 8,000
visitors attended her exhibition, which has been especially designed
for the spaces at Kunsthaus Bregenz.
Adrián Villar Rojas’ exhibition The Theater of Disappearance
has already secured its place in the illustrious history of Kunsthaus
Bregenz. Rarely have so many materials been used and such massive
resources employed. Adrián Villar Rojas created a visual experience
in four impressive acts, visitors were not entering an exhibition
space containing individual works of art but more a Gesamtkunstwerk.
The attendance figures are also evidence of the great appeal of this
year’s KUB summer exhibition, almost 38,000 people marveled at The
Theater of Disappearance.
On July 15 and 16, Kunsthaus Bregenz celebrated a glamorous
20th KUB anni-
versary, 2017 anniversary weekend on the occasion of its 20th anniversary. At-
Photo: Miro tracted by bright sunshine and free admittance more than 7,200
Kuzmanovic
© Kunsthaus
guests visited KUB, 850 of them taking advantage of the free short
Bregenz guided tours.
34 35 KUB 2018 ProgramSince September 16, Kunsthaus Bregenz has been honoring the build-
ing’s architect with an outstanding exhibition. In the anniversary
year, Peter Zumthor has installed Dear to Me across the four floors of
his striking building, inviting curators to stage each space in differ-
ing ways using his sources of inspiration as a point of departure.
The 2017 KUB Year in Figures
Such forms of art as literature and music are particularly important
to him. For this reason Kunsthaus Bregenz has become a venue for
more than 160 events, running until January 7. A program booklet Total number of visitors
available at Kunsthaus Bregenz serves as a guide to the extensive
range of readings, concerts, talks, and lectures. 70,000 2017 (approx. | estimated)
For the KUB Billboards this year, the advertising spaces along
Seestraße reverted to their original purpose: spectacular photos of 37,661 2016
KUB façade projects displayed the 20-year success story of Kunsthaus
Bregenz as well as announcing the anniversary in the summer. Since 48,509 2015
April, the KUB Billboards have been curated by the British-Japanese
artist Simon Fujiwara. In a continuation of his project Joanne from
2016, Fujiwara employed his former art teacher as the »face« of
a media campaign for Kunsthaus Bregenz. The KUB Billboards by visitors
Simon Fujiwara remain on view along Seestraße in Bregenz until
January 7, 2018. The artist will subsequently install the first exhibi- 7,997 Rachel Rose
tion at Kunsthaus Bregenz in 2018.
Together with a wide-ranging educational program which in 37,363 Adrián Villar Rojas — The Theater of Disappearance *
addition to guided tours also includes workshops for all age groups
and film screenings, contemporary art production will be examined 25,000
Peter Zumthor — Dear to Me (approx. | estimated)
on as many different levels as possible. In 2017, a record number of
800 different educational activities was achieved, of which 362 were * incl. 7,222 visitors to the anniversary weekend on July 15 and 16
guided tours for adults, 277 activities for children and adolescents
and about 170 were other types of events.
Scholarly publications and limited editions designed in close
collaboration with the artists to accompany the exhibitions completed Vermittlungsaktivitäten
the range of Kunsthaus Bregenz’ activities. Worldwide distribution
reinforces the institution’s international profile. Since autumn 2017, 362 guided tours for adults
an online store that is already well used, now further supports the sale
of various KUB products worldwide. 277 activities for children and adolescents (workshops, guided tours, etc.)
With total visitor numbers estimated to reach 70,000 in 2017
KUB will have been able to double the previous year’s already posi- more than 170 other events during the year
tive figures. Also from an economic point of view 2017 has been one
of the most successful years in KUB’s history. The Federal State of
Vorarlberg’s contribution for 2017 amounted to 2.56 million Euros,
the institutions own revenues reached 0.75 million Euros, a sum
corresponding to more than 22 percent of the total budget. Funds € 2,564,000 The Federal State’s contribution 2017 (= 77,37 %)
from the central government for the purchase of art in 2017 € 750,000 The institution’s own revenues 2017 approx. (= 22,63 %)
amounted to 36,500 Euros. 27,40 fulltime equivalent staff
36 37 KUB 2018 ProgramPeter Zumthor
in discussion
with Karin
Salm, SRF, 2017
Photo: Laura
Heinzle
© Kunsthaus
Bregenz
KUB 2017
Press Coverage
The KUB exhibitions during 2017 received particularly wide and
positive coverage, both regional and international, from news agencies,
print and online media as well as radio and TV stations. The national
and local media APA – Austria Presse Agentur, ORF, NEUE Vorarlberger
Tageszeitung, Vorarlberger Nachrichten, WANN & WO, Blättle and
Kultur regularly filed reports. The year began with the American
artist Rachel Rose, the youngest artist ever to be given a solo exhibi-
tion at KUB. Ingrid Grohe from the Allgäuer Zeitung judged it to be
»highly complex and highly aesthetic. Numerous radio and TV reports
were broadcast by Ö1, ORF, and 3Sat. Big international magazines
such as Mousse Magazine and Bolero also reported on the exhibition.
Monopol described Kunsthaus Bregenz as the »perfect resonating
chamber for Rachel Rose’s sensory visual journeys.« And Christa
Dietrich, Vorarlberger Nachrichten, stated: »It’s great when art chal-
lenges us explicitly to question our own sensibilities.«
Adrián Villar Rojas, the Argentinian shooting star, achieved
immense media response to the staging of his Theater of Disappear-
ance. Lisa Kammann from NEUE Vorarlberger Tageszeitung praised:
»an intense work.« »Villar Rojas has constructed a wunderkammer,«
wrote Jutta Berger from the newspaper Der Standard. The exhibition
was »prepared to take risks and courageous in statement,« according
to Joanna Kamm from the renowned Spike Art Quarterly, »something
that contemporary art needs.« But the exhibition was also polarizing:
»His works break boundaries,« wrote Leonie Hof in the Swiss maga-
zine Bolero. Critically but appreciatively Nicole Scheyerer asserted
in the Falter: »The apocalyptic mood of this art strikes a current
nerve.« Larger TV stations such as ORF, and the Bayerischer Rundfunk
also reported. On 3Sat Markus Greussing suggested it was »optically
seductive, concealing deeper meaning.«
38 39 KUB 2018 ProgramSource: Instagram
@kunsthausbregenz
Gottfried Bechtold
Peter Zumthor
Adrián Villar Rojas
Rachel Rose
Simon Fujiwara
KUB Team
The newspaper Vorarlberger Nachrichten published a widely seen
supplement to accompany the anniversary weekend, designed
by the Danish artist Jakob Kolding. On the occasion of the two anni-
versaries — Kunsthaus Bregenz’s 20th and WANN & WO’s 40th — an
art competition was held by WANN & WO, with ongoing contributions
over several weeks, which met with much interest from its young
readership.
The anniversary year concluded with Dear to Me, an extremely
personal exhibition by KUB architect Peter Zumthor. Regular reports
and program announcements were published in Vorarlberger Nach-
richten, Blättle, and also NEUE Vorarlberger Tageszeitung. »Colorful
and adventurous,« wrote the Bündner Tagblatt. Swiss, local, and
international media have all been very enthusiastic during the, as yet,
short run of the Zumthor exhibition. NZZ published a comprehensive
report, at the time of the opening, a full-page article has also ap-
peared in Süddeutsche Zeitung. In its fall issue the German magazine
DEAR dedicated a cover story over several pages to the architect and
the exhibition: »Visitors are captivated, they don’t want to leave the
Kunsthaus.« Christa Dietrich, in Vorarlberger Nachrichten, discov-
ered the reason: »His being down-to-earth in combination with an
absolute eye for quality is also the recipe for success of his exhibition
at KUB.«
40 41 KUB 2018 Program> 2,500
Subscriptions in Instagram
subscription numbers have quadrupled compared to 2016
2,628
posts using #kunsthausbregenz hashtag
> 6,463
Likes on Facebook
> 120,000
Views on YouTube
doubled since 2016
Photo: Miro Kuzmanovic
© Kunsthaus Bregenz
KUB 2017
Online Media Instagram as last year follow the Institution’s exhibitions and activi-
ties. Using the newly established hashtag #kunsthausbregenz, more
than 2,600 posts have already been published.
Video trailers have been produced for each exhibition, intro-
The 2017 results for KUB online media were positive. We have re- ducing visitors to artists and their work. In a mini video series for the
corded a steady growth in all areas and lively participation on the 20th anniversary, KUB staff also stepped into the limelight. Many of
part of subscribers to all our social media channels. Using Facebook the videos have been clicked several thousand times on YouTube and
and Instagram, Kunsthaus Bregenz is in daily contact with visitors, Facebook. The overall figures have doubled for YouTube to over
answering questions and linking with cultural institutions all over 120,000 views. In addition, Kunsthaus Bregenz provides footage for
the world. Up-to-date information on exhibitions and events are download to TV stations and online media.
made available in real time on all the relevant platforms. A look The new Kunsthaus Bregenz website has been online since May
be- hind the scenes as well as insights into daily affairs within the 2017, using a new design and improved mobile viewing. The online
cultural sphere complement Kunsthaus Bregenz’s online presence. store, which was established in September, not only makes the insti-
The growing number and range of subscribers are confirmation tution’s publications and limited editions for individual exhibitions
of a successful use of social networks. Posts on Facebook regularly available, but also the purchase of admission tickets. During the first
reached over a thousand people. Four times as many subscribers to four weeks over 100 orders were processed online.
42 43 KUB 2018 ProgramSource: Instagram
@kunsthausbregenz
photos: Miro
Kuzmanovic
KUB 2017
20 Years Of Kunsthaus Bregenz
The various activities celebrating the 20th anniversary of Kunsthaus
Bregenz had already begun in the first half of the year: in collabora-
tion with Vorarlberger Nachrichten, members of the public were able
to win a meeting with people who have significantly shaped the
history of the institution. The winners of the competition could for
example go hiking with former KUB Director Yilmaz Dziewior, work
with Gottfried Bechtold in concrete, or go sailing with Hans Schabus.
With regard to Gottfried Bechtold, Kunsthaus Bregenz was
able to purchase a concrete Porsche 911 from the sculptural ensemble
Elf Elf, thanks to funds from the central government, which had
already been on display on the square in front of Kunsthaus Bregenz
in 2006. For the anniversary it was positioned in front of KUB, as was
the 15 meter long sculpture APROPOS, donated by Heimo Zobernig in
collaboration with the town of Bregenz’s culture department. In
addition, the art project SCULPTURE.IN.DA.HOOD. spanning several
towns, by the artist duo Gabriele Fulterer and Christine Scherrer,
was made possible by financial support from the regional capital of
Bregenz.
44 45 KUB 2018 ProgramSource: Instagram
@kunsthausbregenz
photos: Miro
Kuzmanovic
A widely seen supplement designed by the Danish artist Jakob Kold-
ing was published by Vorarlberger Nachrichten for the anniversary
weekend. On July 15 and 16, a glamorous celebration of Kunsthaus
Bregenz’s anniversary took place: 7,222 visitors were counted, 850 of
whom took part in free guided tours by KUB staff. Meanwhile the art
education department looked after nearly 350 children. 500 balloons
were released into a radiantly blue festive sky. Following the anniver-
sary, around 400 postcards which had been deposited in the anniver-
sary postbox in KUB, were sent on their journeys around the whole
world. After the official ceremony on Saturday evening, sound artist
Tarek Atoui enthralled visitors from the outside stage. In addition,
Tanzwerk Vertikal developed a choreographic spectacle for the KUB
façade.
On Sunday, curator Rudolf Sagmeister presented his book KUB
Artistsʼ Portraits, consisting of photographic portrait of artists span-
ning a 20-year history of exhibitions. The weekend was successfully
concluded with a concert by the Vienna Symphony.
46 47 KUB 2018 ProgramKUB 2017
Outreach & Events
For Kunsthaus Bregenz the education department fulfills an essen-
tial task at the interface between the work, audience, and society
at large. The KUB education team develops educational activities,
departing from the concepts of the exhibiting artists and tailored
to the diversity of visitors and all age groups.
Visitors were invited, for example, to learn about the exhibi-
tion by Adrián Villar Rojas in discussion with invited guests: a tour by
the blind musician George Nussbaumer opened up new perspectives
for participants. In collaboration with inatura in Dornbirn, children
were able to look for fossils during a workshop in nearby Wirtatobel.
Several special moments occurred during KUB’s 20th anniver-
sary: Karl Tizian Platz became a meeting place for all art aficionados
during the two-day anniversary weekend. In addition to hourly short
guided tours, there was also music by Candy Ken and Tarek Atoui as
well as a spectacular dance on the KUB façade. In collaboration with
WIGEM, school classes from Vorarlberg designed colorful models of
Ensemble KUB, which could be admired in local Bregenz shop windows. Vorarl-
Pagon
Interventions
berger Nachrichten raffled private events with artists and former
in the exhibi- directors. The lucky winners could, for example, talk to Yilmaz Dziewior
tion Peter
whilst hiking with him, or work with Gottfried Bechtold to create their
Zumthor —
Dear to Me, 2017 own piece of art in concrete.
Photo: Rudolf In addition, a variety of cross-institutional collaborations
Sagmeister
© Kunsthaus
contributed to the cultural landscape: working jointly with Caritas, a
Bregenz workshop took place over several days for unaccompanied refugee
minors. The resulting pieces of art were subsequently exhibited at
Guided tour
and discussion Haus Said. As part of Aktion Demenz, the vorarlberg museum and
with the blind Kunsthaus Bregenz invited people suffering from dementia and their
musician
relatives to engage with the exhibitions accompanied by a trained
George Nuss-
baumer, 2017 art educator.
Photo: Rudolf More than 160 additional events will be taking place during the
Sagmeister
© Kunsthaus
ongoing exhibition Peter Zumthor — Dear to Me. Music, literature, and
Bregenz talks will conclude KUB’s wide-ranging program.
48 49 KUB 2018 ProgramOpernatelier
To the Lighthouse,
2017
Photo: Anja Köhler
Courtesy of
Bregenz Festival
FAQ Bregenzer-
wald festival 2017,
day 1
Photo: Jana Sabo,
Friendship
KUB 2017
Project Partners
Kunsthaus Bregenz’s collaborations with other institutions and
cultural organizations provide a valuable opportunity for network-
ing and discourse. Jointly working with new partners during 2017,
such as the fledgling FAQ Bregenzerwald festival, Franz-Michael-
Felder-Verein, Philosophicum Lech, Sparkasse 3-Länder-Marathon,
Vorarlberger Landesbibliothek, and Werkraum Bregenzerwald,
proved highly successful.
The Bregenz Festival has been a long-term KUB partner. In 2017
the Opernatelier organized various Einblicke events at Kunsthaus
Bregenz, providing insights into the creation of an opera, including
concerts, talks, and readings. The Einblicke series culminated in the
premiere of the opera To the Lighthouse at the Bregenz Festival 2017.
The Danish artist Jakob Kolding created the stage design for the pro
duction. The Opernatelier will continue in 2018 with new protagonists.
In 2017, Kunsthaus Bregenz collaborated with Philosophicum
Lech for the first time, under the title Philosophieren im KUB, for a dis-
cussion between cultural theorist Wolfgang Ullrich and KUB director
Thomas D. Trummer. 2018 will again feature a philosophical tour
through Kunsthaus Bregenz.
Joint work with Bregenz’s cultural authorities was revitalized
by interventions in public space by Heimo Zobernig, as well as
Gabriele Fulterer and Christine Scherrer, amongst others. For the
20th anniversary of KUB, this year’s partners included Vorarlberg
Tourismus, Bregenz Tourismus & Stadtmarketing, Bodensee-Vorarl-
berg Tourismus, and the Federal State Capital Bregenz, in addition
to numerous sponsors.
50 51 KUB 2018 ProgramRudolf Sagmeister Wael Shawky German | English | Rachel Rose German | English Maria Eichhorn
KUB Artists’ Portraits Cabaret Crusades — Arabic Edited by Kunsthaus Hardcover, Catalogues Raisonnés
Published by Kunsthaus Drawings Hardcover, 27 x 18 cm, Bregenz, Thomas 21 x 26.5 cm, 1986–2015
Bregenz, edited by Edited by Kunsthaus 7 pages D. Trummer 184 pages Edited by Kunsthaus
Rudolf Sagmeister Bregenz, Thomas Softcover, 18 x 12 cm, Essays by Claudia La September 2017 Bregenz, Yilmaz
Contributions by Rudolf D. Trummer 60 pages Rocco, Chus Martínez, € 42 Dziewior
Sagmeister, Thomas D. Pop-up book with April 2017 Laura McLean-Ferris, Essay by Alexander
Trummer, and Yilmaz 7 drawings by € 52 Thomas D. Trummer, Alberro and Nora M.
Dziewior Wael Shawky and Jorge Otero Alter as well as a con-
Graphic design by Ste- Booklet with essays Pailos versation between
fan Gassner by Omar Berrada and Graphic design by Maria Eichhorn and
English / German Thomas D. Trummer Sara De Bondt Yilmaz Dziewior
Hardcover, 24 x 30 cm, Graphic design by Graphic design by
248 pages Dagmar Reiche Yvonne Quirmbach
€ 28 German / English
Hardcover, 18 x 23 cm,
562 pages
May 2017
€ 54
KUB 2017
Publications
Kunsthaus Bregenz publishes catalogues in close collaboration with
the artists as well as renowned graphic designers. The graphic of his work into the medium of the book. For the 20th KUB anniver-
design of the catalogues accompanying the exhibitions reflects both sary, a unique photographic book of Kunsthaus Bregenz’s 20-year
the subject matter and visual language of the respective artists, exhibition history was launched in the summer, featuring artists
so that each catalogue not only provides documentation but also before, during, and after work, as photographed by KUB curator
becomes part of the work and an extension of the exhibition. Rudolf Sagmeister. A comprehensive catalogue raisonné by Maria
A publication was produced for Rachel Rose’s exhibition docu- Eichhorn and the exhibition catalogue for Theaster Gates were
menting her work at Kunsthaus Bregenz in numerous installation also brought to conclusion.
photographs and scholarly contributions. Further catalogues in- In 2018, catalogues will be published for exhibitions by Simon
cluded a pop up book based on Wael Shawky’s delicately poetic Fujiwara, Mika Rottenberg, David Claerbout, and Tacita Dean.
drawings as well as an artist’s book catalogue designed in close Conceived in principle to be bilingual, the publications are not
collaboration with Lawrence Weiner, one of American Conceptual only available for purchase at KUB itself but have also been devised
Art’s leading senior figures, translating the typographical power for worldwide distribution.
52 53 KUB 2018 ProgramPeter Zumthor Hélène Binet Hélène Binet
Entwurfszeichnung Kunsthaus Bregenz, Kunsthaus Bregenz,
Lichteinfall Kunsthaus Fassade, 1997/2017 Foyer, 1997/2017
Bregenz I ,1997/2017 Hand-produced gelatin Hand-produced gelatin
Pigment-ink art print silver print, 60 × 50 cm silver print, 60 × 50 cm
on Hahnemühle paper, Limited edition of Limited edition of
70 × 60 cm 3 copies + 2 A.P., 3 copies + 2 A.P.,
Limited edition of 100 signed and numbered signed and numbered
copies + 20 A.P., signed Price € 4,000 Price € 4,000
and numbered incl. 10% VAT, plus incl. 10% VAT, plus
Price € 470 postage, packaging, postage, packaging,
incl. 10% VAT, plus and custom duties and custom duties
postage, packaging,
and custom duties
Peter Zumthor Price € 470
Entwurfszeichnung incl. 10% VAT, plus
Lichteinfall Kunsthaus postage, packaging,
Bregenz II,1997/2017 and custom duties
Pigment-ink art print
on Hahnemühle
paper, 70 × 60 cm
Limited edition of
100 copies + 20 A.P.,
signed and numbered
KUB 2017
Editions
Exclusive special editions for Kunsthaus Bregenz are a result of close Rachel Rose Jakob Kolding Adrián Villar Rojas
Ten Pieces, 2017 Untitled (Virginia), 2017 The Theater of Disap-
collaboration with artists and their production processes. In 2017,
Art print with pigment Wood, b&w print, pearance, 2017
limited editions were published for all three exhibitions — Rachel ink on Hahnemühle fabric, 90 x 56 cm Brown Merzouga
Rose, Adrián Villar Rojas, and Peter Zumthor. In addition, the Danish FineArt William Turner Limited edition of marble, (age of the
200 g/m², 80 x 60 cm 25 copies + 7 A.P., marble block 360 M
artist Jakob Kolding created a limited edition for Kunsthaus Bregenz Limited edition of signed and numbered, years), 80 x 80 x 7 cm,
to coincide with his stage design for the opera To the Lighthouse by 25 + 10 A.P., signed € 3,900 approx. 60 kg
Zesse Seglias. Developed from within the context of the exhibition and numbered, incl. 10% VAT, plus Limited edition of
€ 1.400 postage, packaging, 20 + 5 A.P., signed
and developed together with the artist, the works are published in incl. 10% VAT, plus and custom duties and numbered
limited editions, making them particularly attractive to collectors postage, packaging, € 9.500
and customs duties incl. 10% VAT, plus
of contemporary art.
postage, packaging,
In 2018, limited editions will be published for the exhibitions by and custom duties
Simon Fujiwara, Mika Rottenberg, David Claerbout, and Tacita Dean.
54 55 KUB 2018 Programwalls fabricated from MDF panels. The installation of a 12 meter long
open gas fire — an absolute first in the world of exhibitions — required
prolonged trials, 80 meters of new gas lines as well as ongoing safety
checks and air measurements.
KUB 2017 A highlight was the anniversary weekend with more than 7,200
visitors. In addition to the extensive construction and technical
Behind the Scenes support required for the celebrations, the technical team, in collabo-
ration with event technician Martin Beck, planned and installed
abseiling devices on the roof of the building for the Tanzwerk Verti-
kal dancers.
Tons of marble, an open fire, and more than 160 events during one Peter Zumthor subsequently transformed the ticket counter
exhibition — 2017 took a top spot, as a year of extremes, in KUB’s area into a fully functional bar for his exhibition Dear to Me, and KUB
eventful exhibition history. The institution’s technical team around became the center for over 160 events, from readings via discussions
Markus Tembl and Markus Unterkircher undertook preparations to concerts — a new challenge for all those working on the events.
for three exhibitions and the elaborate anniversary weekend. Each 2017 will consequently be remembered not only as a year of
individual project demanded maximum effort, use of materials, extremes, but also as a year of successful interpersonal relationships
sensitivity, and technical knowhow. with Vorarlberg businesses, the artists, and their assistants. It is thanks
The close collaboration between numerous Vorarlberg crafts- to the dedication of the entire staff and their great enthusiasm in
people, members of KUB staff, and the exhibiting artists’ teams working together for KUB, that this stress test for the institution and
typified 2017. For Adrián Villar Rojas’ exhibition The Theater of its employees was managed so successfully.
Images from Disappearance, 1,100 square meters of marble slabs were laid in Concurrently to the exhibitions, the building’s glass façade was
behind the Scenes
collaboration with stonemason Bertram Lenz. The ground floor, thoroughly cleaned and important conversions concerning the insti-
Photos: Udo
Mittelberger, including the ticket counter, was emptied completely, whilst a ton of tution’s use of energy were carried out during the first half of the
Rudolf Sagmeister, Polyurethane varnish was poured to create new flooring on the third year. It is not least due to a constructive collaboration with the Fed-
Barbara Straub
© Kunsthaus
floor. Working with carpenter Hubert Steinhauser, all the building’s eral State of Vorarlberg’s department of public works that Kunsthaus
Bregenz spaces were furnished with deceptively authentic artificial concrete Bregenz is again looking almost as good as new after twenty years.
56 57 KUB 2018 Program58 59 KUB 2018 Program
Simon Fujiwara
Campaign, 2017
Photo: Markus
Tretter
Courtesy of
Simon Fujiwara
KUB 2017
Billboards
Campaign, his unusual commission for KUB Billboards, questions the
At the beginning of the year, the KUB Billboards along Seestraße rever- traditional relationship between artist and institution. In reimagin-
ted to their original purpose, spectacular photographs of KUB façade ing the museum’s public image, Fujuwara cast himself in the role of
projects displayed Kunsthaus Bregenz’s 20-year success story as PR consultant. Expanding on his 2016 project Joanne, he employed
well as announcing the anniversary in the summer. Since April, the his former art teacher as the »face« of the Kunsthaus Bregenz media
KUB Billboards have been curated by the British-Japanese artist campaign. The KUB Billboards Campaign by Simon Fujiwara will
Simon Fujiwara. The artist’s work can be seen as an examination of remain on view until January 7, 2018 along Seestraße in Bregenz.
the increasing cultural obsession with self-presentation and indi The artist will subsequently install the first exhibition in Kunsthaus
viduality that new technologies offered to his generation. Bregenz in 2018.
60 61 KUB 2018 ProgramIn 2017, the number of members increased by 10% compared to the
previous year. The excellent atmosphere during KUB’s 20th anniver-
20th anni- sary celebrations was also conducive in obtaining new Friends, which
versary of
today total 1,100 members. This positive development has been
Friends of
KUB, 2016 mainly due to the institution’s exhibition program, the society’s
Photo: Miro program, and not least the highly amenable collaborative relation-
Kuzmanovic
© Kunsthaus
ship between Director Thomas D. Trummer, the entire staff at KUB,
Bregenz and the society’s board. Special guided tours by the Director over
the last two years have led to an almost doubling of visitor numbers.
The resulting scarcity of headsets — to date 100 units — prompted the
society to make a donation for the purchase of 60 additional ones.
The new Meet and Greet the Artist event has also been well received,
attracting great interest. KUB Friends have been able to come face to
face with a variety of artists and their work.
The 2017 travel program was both varied and very popular,
ranging from day trips to St. Gallen, Chur/Davos, and the Rohnerhaus
in Lauterach to several longer trips: Belgrade in May, the Skulptur
Projekte in Münster and documenta 14 in Kassel in early October, as
well as Milan in November. Knowledgeable insights to the excursions
by Director Thomas D. Trummer and KUB’s educational department
have made the trips particularly valuable.
KUB 2017 A particular focus this year was the establishment of the Young
Friends group within the Society of Friends of KUB. Young society
The Society of Friends of members introduce new ideas, network with other art loving people
in the region, increasing their interest in the society, and undertake
Kunsthaus Bregenz joint excursions such as the visits to the Gallery Weekend in Berlin in
the spring of 2017. In July, Marie Christine Molitor became the first
Young Friends member to be elected to the society’s board.
Another concern was networking with other friends societies.
The Society of Friends of Kunsthaus Bregenz, founded in 1996, has We have already received visits from the Association of the Friends
set itself the goal of supporting Kunsthaus Bregenz financially of the Fine Arts at Kunstmuseum St. Gallen and the Society of Friends
and assisting in the optimum implementation of its program. The of Werkraum Bregenzerwald. The Friends of the Kunstmuseum
Friends of KUB regard themselves as the Kunsthaus’ ambassadors Liechtenstein Foundation will also be accepting our invitation in
in both regional and international cultural life, and are convinced December 2017. In addition, we also enjoy a lively exchange with our
of the outstanding value of this cultural institution for the region. immediate neighbors, the Friends of Vorarlberger Landestheater.
62 63 KUB 2018 ProgramArt Bodensee Kulturamt der Landeshauptstadt Bregenz
Bodenseeerlebniskarte Montforter Zwischentöne
Bodensee-Schiffsbetriebe Land Vorarlberg
Bodensee-Vorarlberg Tourismus ÖBB Rail Tours
Bregenzer Festspiele Ö1 Club
Bregenz Tourismus & Stadtmarketing Pfänderbahn
FAQ Bregenzerwald Philosophicum Lech
Hugo Boss poolbar-Festival Feldkirch
Hunger auf Kunst & Kultur Sparkasse 3-Länder-Marathon
Inatura Verkehrsverbund Vorarlberg
Jüdisches Museum Hohenems Vorarlberger Landesbibliothek
Kongress Kultur Bregenz Vorarlberg Lines Bodenseeschifffahrt
Kulturachse: Kunstmuseum St. Gallen, Vorarlberg Museum
Kunstmuseum Liechtenstein, Vorarlberg Tourismus
Bündner Kunstmuseum Werkraum Bregenzerwald
Symposium:
Vorarlberg
Hospitality,
2017
Photo: Didi
KUB 2017 Mathis
© Kunsthaus
Bregenz
Collaborating Partners
The commitment of numerous collaborating partners contributes
An essential prerequisite for KUB’s successful work has been the to the success of Kunsthaus Bregenz, supporting exhibitions and
Federal State of Vorarlberg’s long-standing cultural policy of projects with an international profile.
supporting the institution, and the financial security this provides. Partners with long-standing associations to the institution are
The Vorarlberger Kulturhäuser Betriebsgesellschaft mbH as Art Bodensee, Bodensee-Vorarlberg Tourismus, Bregenzer Festspiele,
central service supplier plays a crucial role. Bregenz Tourismus & Stadtmarketing, Hugo Boss, Ö1 Club, poolbar-
An important partner since the founding of the institution has Festival Feldkirch, Verkehrsverbund Vorarlberg, Vorarlberg Lines
been the Society of Friends of Kunsthaus Bregenz. The society Bodenseeschifffahrt, Vorarlberg Tourismus, as well as the Kultur-
supports KUB in implementing its concept and particularly the edu- achse museum network: Kunstmuseum St. Gallen, Kunstmuseum
cational program. Liechtenstein, Vaduz, and Bündner Kunstmuseum, Chur.
64 65 KUB 2018 ProgramPrinciple sponsor of
Kunsthaus Bregenz
KUB 2017
Sponsors and Supporters with kind
support from
Without the generous financial support and the related cultural
commitment of the many sponsors and partners from the business
world, Kunsthaus Bregenz’s exhibition work would not be possible
in its current form.
Our sponsors and supporters value collaborating with our
dedicated and professional staff. The experience of outstanding
international contemporary art broadens horizons and promotes
openness and a spirit of innovation.
Hypo Vorarlberg and Vorarlberger Kraftwerke AG are long-
standing sponsors, who always make a special contribution to the
financing of major survey exhibitions. The company Zumtobel too
has been continually supporting Kunsthaus Bregenz for many years
KUB Program 2017
and is an indispensable partner, particularly in the implementation
of exhibitions and projects in which light is used.
The support for Adrián Villar Rojas’ exhibition The Theater of
Disappearance by kurimanzutto and the Marian Goodman Gallery
as well as the support for the exhibition Peter Zumthor — Dear to
Me by the Swiss cultural foundation Pro Helvetia, Ars Rhenia, and
the UNIQA deserve particular mention in 2017.
We would like to thank all our partners for their loyalty!
66 67 KUB 2018 ProgramSource: Instagram
@kunsthausbregenz
Thanks to: mathias-
johansencellist,
anasbarros, visitau-
stria, drcuerda, ger-
lindekusstatscher,
roemervii, juldama
Kunsthaus Bregenz
Karl-Tizian-Platz | 6900 Bregenz | Austria
Phone +43-5574-485 94-0 | Fax +43-5574-485 94-408
kub@kunsthaus-bregenz.at | www.kunsthaus-bregenz.at | #kunsthausbregenz
Hours
Tuesday to Sunday 10 am — 6 pm | Thursday 10 am — 8 pm
Summer Opening Hours 2018: July 15 — August 31, 2018
Monday to Sunday 10 am — 8 p.m.
Ticket Office ext. -433
Admission
Adults € 9.– | Reductions € 7.– | Free admission for children and adolescents up to
18 years of age | Combi-Ticket KUB and vorarlberg museum € 15.– | Reductions € 12.–
Kulturhäuser Card € 99.–
Information and booking for guided tours
Mareile Halbritter | DW -417 | m.halbritter@kunsthaus-bregenz.at
Barbara Straub | DW -415 | b.straub@kunsthaus-bregenz.at
Head Office
Margot Dörler-Fritsche | ext. -409
m.doerler-fritsche@kunsthaus-bregenz.at
Director Thomas D. Trummer Chief Executive Werner Döring Curator Rudolf Sagmeister
Marketing | Cooperation Birgit Albers, ext. -413, b.albers@kunsthaus-bregenz.at Development |
Sponsorship Lisa Hann, ext. -437, l.hann@kunsthaus-bregenz.at Press | Online Media Martina
Feurstein, DW -410, m.feurstein@kunsthaus-bregenz.at • Laura Heinzle Art Education
Mareile Halbritter, DW -417, m.halbritter@kunsthaus-bregenz.at • Barbara Straub, DW -415,
b.straub@kunsthaus-bregenz.at Publications | Artistsʼ Editions Katrin Wiethege, DW -411,
k.wiethege@kunsthaus-bregenz.at • Samantha-Josephine Kiesel Sales Editions Caroline
Schneider-Dürr, ext. -444, c.schneider@kunsthaus-bregenz.at Director’s Office Beatrice
Nussbichler, ext. -418, b.nussbichler@kunsthaus-bregenz.at Technical Staff Markus Tembl,
Markus Unterkircher, Lukas Piskernik, Stefan Vonier, Helmut Voppichler KUB Collection
Ute Denkenberger Copyright © 2017 by Kunsthaus Bregenz Concept Kunsthaus Bregenz Text
Thomas D. Trummer, Birgit Albers, Martina Feurstein, Mareile Halbritter, Lisa Hann, Laura
Heinzle, Barbara Straub Editing Martina Feurstein, Laura Heinzle Copy Editing Samantha-
Josephine Kiesel, Katharina Kümmerle, Katrin Wiethege Translation Artlanguage Image Rights
© lie with the photographers, artists and successors Basic Graphic Design Clemens Theobert
Schedler, Büro für konkrete Gestaltung Graphic Design Bernd Altenried, Stefan Gassner
Paper Munken Pure Rough 120g Pre-press Production Boris Bonev, PrePress & PrintService
Print Thurnher Druckerei GmbH
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