KUB 11

Program 2011

Kunsthaus Bregenz

Kunsthaus Bregenz

“The astonishing beauty of Kunsthaus Bregenz’s architecture seduces even those artists whose primary concern is the addressing of conceptual issues — irrespective of their cultural background.” Yilmaz Dziewior

There is hardly any other institution as remote from art’s capital cities as Kunsthaus Bregenz is, that enjoys such widespread international recognition. This is due not only to Peter Zumthor’s singular architecture but also to its exceptional exhibition program. The distinctive architectural atmosphere of the building repeatedly motiva-tes invited artists to create new site-specific works. In addition to its interdi-sciplinary and cross-generational agenda, KUB’s activities increasingly distinguish themselves in their openness to non-Western positions. Moreover, the KUB Arena is developing innovative curatorial practices, which in combination with the large-scale exhibitions lends the program a distinctive direction.In conjunction with a wide-ranging educational program comprising guided tours, workshops and film screenings and also studio visits to Vorarlberg architects, issues of contemporary art production are being addressed both in depth and on multiple levels. The scholarly publications as well as limited editions, which accompany the exhibitions, have been developed in close collaboration with the artists, complementing the wide range of Kunsthaus Bregenz’s activities.

Kunsthaus Bregenz

KUB Program 201132

Kunsthaus BregenzPhotograph: Weissengruber

Despite economically difficult times, 2010 was concluded satisfactorily in financial terms. With regard to its exhibition program Kunsthaus Bregenz has once again confirmed its reputation as one of Europe’s leading contem-porary art institutions, with solo shows, including new works especially created for the exhibitions, by Candice Breitz, Roni Horn, Cosima von Bonin and Harun Farocki. Artists have repeatedly emphasized that such excellent conditions for the presentation of their work cannot be found elsewhere. Harun Farocki stated on the day of his press conference that his films had never been presented as well as at Kunsthaus Bregenz. KUB is showing the most extensive survey exhibition of his work to date in Austria through to the beginning of January 2011. This includes the European debut of three video installations, created especially for the Kunsthaus Bregenz show and realized with its support, as well as a film library consisting of 25 of his films.

The highlight of 2010 was the completion and opening of “Horizon Field”, Antony Gormley’s unique landscape project in the mountains of Vorarlberg. 1,700 visitors alone took part in the celebrations on the Kriegeralpe moun-tain meadows on July 31 to mark its opening. Ongoing reports in the inter-national press as well as the large amount of enthusiastic feedback from visitors confirm the work’s extremely positive reception.In general KUB’s exhibitions have received an extremely positive response from both the public and the media. Recent questionnaires show that at the time of being polled the majority of visitors (60%) had already visited KUB more than once. A clear majority of those polled (73%) gave the respective current exhibition as the reason for their visit. In answer to the question about how they had become aware of Kunsthaus Bregenz, 41% replied that “KUB is simply well-known”, 34% said it was on the recommendation of an acquaintance, and 26% stated that it was a report in the media that had made them aware of KUB. In general visitor satisfaction was very high. More than half of the visitors (63%) gave the highest score and were extremely enthusiastic. 82% of the visitors polled would “very definitely” recommend KUB to others. In general, it becomes apparent that it has been possible to build up a good relationship with a remarkably wide range of interested visitors. A considerable contribution has been made to this by substantial work in the area of communication and education as well as by publications distributed worldwide.

Balance 2010

KUB Program 201154

Cosima von Bonin | THE FATIGUE EMPIRE

Installation view Kunsthaus Bregenz, 2010Photograph: Markus Tretter© Kunsthaus Bregenz, Cosima von Bonin

Antony Gormley | Horizon FieldAugust 2010 – April 2012A Landscape Installation in the High Alps of Vorarlberg, Austria, through to Apri l 2012Realized by Kunsthaus Bregenz© Antony Gormley und Kunsthaus Bregenz; Photograph: Markus Tretter

Key Statistics 2010Visitors to KUB 2010: estimated approx. 48,000Visitors at the opening of Horizon Field: approx. 1,700In total approx. 50,000 plus thousands of visitors to Horizon Field (not counted)Funding from the State of Vorarlberg: € 1,999,000,– (64.8 %)Self-generated revenue: € 1,085,000,– (35.2 %)

The Fantasy Realm of Sleeping Beauty“The Fatigue Empire“: Kunsthaus Bregenz exhibits Cosima von Bonin and her unconventional fabric animals

“In such focused and simultaneously ‘encyclopedic’ form (...) as here, everything appears new and as if never seen before. Quotes and references to Informal Art, Minimal Art, Monochrome and Color Field Painting as well as other trends line the obstacle course. A fantastic and fanciful Gesamtkunstwerk has been created in Bregenz, which transports the visitor for the duration of their visit to the exhibition into a realm of weightless fantasies, suspending habitual everyday perceptions of the real.”

Hans-Dieter FronzBadische Zeitung, September 14, 2010

KUB 11

Program 2011

Kunsthaus Bregenz

KUB 11.01 Haegue Yang KUB Arena Living Archive – Kooperation Van Abbemuseum

KUB 11.02 That’s the way we do it. KUB Arena Eckhard Schulze-Fielitz und Yona Friedman

KUB 11.03 Ai Weiwei KUB Arena Anfang gut. Alles gut.

KUB 11.04 VALIE EXPORT KUB Arena Hate Radio

The exhibition program at Kunsthaus Bregenz will in future increasingly present artists from Africa, Asia and Latin America. This expansion of its visual horizons will be initiated in 2011 by the Korean artist Haegue Yang, and will be continued by a large-scale presentation of Ai Weiwei, perhaps China’s most famous artist. Whilst in Haegue Yang’s exhibition questions of cultural origin will be to the fore, the exhibition by Ai Weiwei will concentrate on his architectural collaborations. The highlighting of his interdisciplinary cooperation with architectural offices can be considered a further focal point in the current year’s program. Even if visual art is at the center of KUB’s activities, its involvement with architecture reflects not only the significance of Peter Zumthor’s outstanding building, but also emphasizes the great importance of architecture in Vorarlberg generally. It is in this spirit, that KUB’s agenda once again revolves around the close relationship between the local and the global.In the large-scale group exhibition That‘s the way we do it the variety of positions that will be presented range from that of Andy Warhol to completely new, current trends. Questions of origin and media as well as conceptual concerns will form the focus of this exhibition. This year’sprogram will conclude with an exhibition by VALIE EXPORT, in which the artist’s well-known work will be presented within the context of her archive.In parallel to the respective exhibitions on the upper three floors, the KUB Arena’s program will continue by examining examples of differing forms of curatorial practice.The ambitious and very successful Horizon Field by Antony Gormley, an example of KUB’s projects in public spaces, will be continued through to April 2012 and will include numerous activities appropriate to the season.

Exhibitions 2011

KUB Program 201198

Exhibitions

Haegue Yang 22 | 01 | – 03 | 04 | 2011

That’s the way we do it. The Techniques and Aesthetics of Appropriation. From Ei Arakawa to Andy Warhol 16 | 04 | – 03 | 07 | 2011

Ai Weiwei16 | 07 | – 16 | 10 | 2011

VALIE EXPORT 29 | 10 | 2011 – 22 | 01 | 2012

KUB Arena

Living Archive – Kooperation Van Abbemuseum 22 | 01 | – 03 | 04 | 2011

Eckhard Schulze-Fielitz und Yona Friedman16 | 04 | – 03 | 07 | 2011

Anfang gut. Alles gut.16 | 07 | – 16 | 10 | 2011

Hate Radio29 | 10 | 2011 – 22 | 01 | 2012

KUB Arena

The KUB Arena was established in 2003 to develop its own autonomous projects, however in subsequent years it usually served as an exhibition space for solo exhibitions taking place in the institution. Since the summer 2010, in contrast, the KUB Arena has been used as an area for independent exhibitions and activities.

Concurrently with the 2011 exhibition program a series of four interdiscipli-nary projects prioritizing process will be presented on the ground floor. Following on from the contribution by the architectural collective raum-laborberlin BYE BYE UTOPIA and a subsequent series of performances, the KUB Arena program will begin 2011 with a collaboration with the Van Abbemuseum, Eindhoven which was founded in 1936 — a museum that in addition to its unique collection is equally well-known for its outstanding curatorial practice at the highest level. The starting point of the joint project is a consideration of archives and collections as well as an examination of the boundaries and crossovers between the two areas. Additionally, with reference to the artistic strategies and to the Van Abbemuseum’s activities as well as to other archives located in Bregenz, the possibility of assembling an archive at the Kunsthaus will be discussed.

For KUB Arena’s second project in 2011 Yona Friedman (Paris) and Eckhard Schulze-Fielitz who lives in Bregenz are to be invited to make a joint presen-tation of their works — two architects who with their visionary ideas in the 1960s not only developed approaches to problems of urban planning, but also created the basis for a new philosophy in architecture.

The program will continue in summer 2011 with a presentation of the inter-disciplinary project Anfang gut. Alles gut. (All Is Well That Begins Well). This updates the futuristic opera Victory over the Sun by Welimir Chleb-nikow, Alexej Krutschonych, Kasimir Malewitsch and Michail Matjuschin, which was first premiered in Saint Petersburg in 1913. The opera is about a new society which attempts to triumph over nature, elevating technology as a new divinity. The capturing of the sun is supposed to create space for a

new social order. An international group of about 35 artists, musicians, architects and authors, who have been working on a contemporary transla-tion of this almost one hundred year old material for a few years, has been invited by KUB to present Victory over the Sun as a fusion of individual artworks, texts, compositions and translations within the framework of a joint exhibition at the KUB Arena.To conclude the year the project Hate Radio will be premiered in December — a collaboration of the International Institute for Political Murder Berlin/Zürich with the Hebbel am Ufer (HAU), Berlin, and the Hochschule der Künste Bern. Hate Radio is a dramaturgic installation reconstructed from contemporary documents and witness statements, which attempts to not only reveal, but also allow the audience to directly “experience”, the inconceivable events during the genocide within a reenactment of an RTLM radio program. An extensive volume of material, accompanying events and talks will expand the project into a broad interdisciplinary intervention addressing questions currently relevant to manifestations of racist violence today in both Europe and Africa and their representation-ality in contemporary art, film and theater.One of KUB Arena’s fundamental policies is that it should respond more spontaneously and flexibly to current art discourses than is possible with major survey exhibitions that by their nature require long-term planning.

KUB Program 20111110

KUB Jahrespressekonferenz 20071313

Kunsthaus Bregenz

KUB 11.01

KUB ArenaLiving Archive – Kooperation Van Abbemuseum

Haegue Yang Arrivals

22 | 01 | – 03 | 04 | 2011

KUB 11.01

Haegue Yang Arrivals22 | 01 | – 03 | 04 | 2011

KUB Program 20111514

With solo exhibitions in the U.S.A., her native Korea, and Germany, young artist Haegue Yang has already acquired a considerable international repu-tation. This was reflected in her country’s invitation to represent it at the 2009 Venice Biennale. Haegue Yang’s work comprises items in and on paper, as well as full-scale installations and sculptures. Her cultural origins and wider issues of cultural identity play an important part in her artistic activity. Worked out with enormous aesthetic sensitivity down to the last detail, her pieces address the viewer’s senses on a more than purely visual level. She works with the olfactory properties of materials, for example, employs fans to generate currents of air and makes use of evocative acoustic elements.Haegue Yang’s exhibition on all three floors of KUB will consist of new work. The display will give differing visual expression to the various facets of her art.

Haegue Yang Haegue Yang (born 1971) has had solo exhibitions at amongst others New Museum, New York (2008), Artsonje Center, Seoul (2008), Walker Art Center, Minneapolis (2009), Sala Rekalde, Bilbao (2008), REDCAT, Los Angeles (2008), Portikus, Frankfurt am Main (2008) and at BAK, Utrecht (2007). Amongst her most important group exhibitions are: Gwangju Biennale, Gwangju (2010), Intro Motion Ditch, Art Sheffield, S1 Artspace, Sheffield (2010), Squatting: erinnern, vergessen, besetzen, Temporäre Kunsthalle, Berlin (2010), The New Décor, Hayward Gallery, London (2010), Garage CCC, Moscow (2010), Venice Biennale (2009), Your Bright Future: 12 Contemporary Artists from Korea, LACMA, Los Angeles and Museum of Fine Arts, Houston, Freer Sackler in Washington, D.C. (2009), Turin Triennial, Turin (2008), 55th Carnegie International, Pittsburgh (2008), Wessen Geschichte, Kunstverein, Hamburg (2008), La Coleccion Jumex, Mexico City (2007), Sao Paulo Biennale (2006), Manifesta 4, Frankfurt am Main (2004).Haegue Yang lives and works in Berlin and Seoul.

KUB Arena

Living Archive – Kooperation Van Abbemuseum22 | 01 | – 03 | 04 | 2011

Living Archive – A collaboration with the Van Abbemuseum Eindhoven, Michal Heiman, Hannah Hurtzig & Katrin Mayer

The starting point of the collaboration with the Van Abbemuseum founded in Eindhoven in 1936, is a joint consideration of archives and collections as well as a questioning of the boundaries and crossovers between the two areas. Over a period of three months, alongside the Living Archive of the museum, works by Michal Heiman and Hannah Hurtzig from the museum’s collection are to be shown, introducing more open, that is process-like strategies of collecting, archiving and presenting collected material. Furthermore the artist Katrin Mayer will be invited to develop a site-specific work, to address this subject through the formulation of examples, and on a conceptual level negotiate current conditions of visibility and design of the archive. With reference to the artistic strategies presented and to the Van Abbemuseum’s practice as well as to other archives located in Bregenz, the possibility of assembling an archive at the Kunsthaus are to be discussed within the framework of this project.In close collaboration with Charles Esche (Director Van Abbemuseum) and Galit Eilat (Curator, Van Abbemuseum)

KUB Jahrespressekonferenz 20071717

Kunsthaus Bregenz

KUB 11.02

KUB ArenaEckhard Schulze-Fielitz und Yona Friedman

That’s the way we do it. The Techniques and Aesthetics of Appropriation. From Ei Arakawa to Andy Warhol

16 | 04 | – 03 | 07 | 2011

KUB 11.02 That’s the way we do it. The Techniques and Aesthetics of Appropriation. From Ei Arakawa to Andy Warhol 16 | 04 | – 03 | 07 | 2011

KUB Program 20111918

This ambitious group exhibition investigates how contemporary artists have appropriated existing repertories of visual images and transformed them through specially developed techniques. Earlier examples of this proce-dure, for instance in the work of John Baldessari, Jean-Luc Godard, Richard Prince, Martha Rosler, and Andy Warhol, form the cornerstones of the show. These artists and others who incorporated images from the world of politics and popular culture in their work made a decisive contribution to the stylis-tic vocabulary of twentieth-century art. Work by the younger generation of artists included in the exhibition shows that the appropriation of various modes of pictorial invention is still of fundamental significance. In the con-text of this show technique is viewed not so much literally, as a means of realizing ideas, as metaphorically, as denoting an approach to artistic production.The exhibition ranges chronologically from the middle of the past century to the present day, from early screenprints by Andy Warhol and the revolution they effected in the viewing of art to recent performative approaches found-ed in research and social criticism. Techniques oscillate between the two poles of the kind of highly wrought visual language exemplified by Godard’s cinematic milestone Histoire(s) du Cinéma and the inimitable, cool direct-ness of Warhol’s works. Within this spectrum So machen wir es focuses on artists who engage intensively with materials and techniques in order to address social, cultural, and economic issues.The exhibition includes loans from private and public collections in addition to specially created works by younger artists.A catalogue will be published to accompany the exhibition. Edited by Yilmaz Dziewior, it will include essays by Sebastian Egenhofer, Lev Manovich, and Richard Sennet, along with texts on the artists represented in the show.

Ei Arakawa*1977, l ives and works in Brooklyn, New York

Anne Collier*1970, l ives and works in New York

Simon Denny*1982, l ives and works in Auckland und Köln

Jean-Luc Godard*1930

Wade Guyton*1972, l ives and works in New York

Rachel Harrison*1966, l ives and works in New York

Tobias Kaspar*1984, l ives and works Hamburg

Barbara Kruger*1945, l ives and works in New York und Los Angeles

Richard Prince*1949, l ives and works in New York

Michael S Riedel*1972, l ives and works in Frankfur t

Martha Rosler*1943, l ives and works in Brooklyn, New York

Natascha Sadr Haghighian*1968, l ives and works in Berl in

Nora Schultz*1975, l ives and works in Berl in

Danh Vo*1975, l ives and works in Berl in

Kelley Walker*1969, l ives and works in New York

Andy Warhol*1928 Pittsburgh – 1987 New York

KUB Arena

Eckhard Schulze-Fielitz und Yona Friedman16 | 04 | – 03 | 07 | 2011

For the KUB Arena’s second project in 2011 the architects Yona Friedman (Paris) and Eckhard Schulze-Fielitz who lives in Bregenz will be invited to make a joint presentation of their works — two architects who with their visionary ideas in the 1960s not only developed approaches to problems of urban planning, but also created the basis for a new philosophy in architecture. An important impetus in the exchange was their membership of “Groupe d’étude d’architecture mobile“, initiated by Yona Friedman in 1958 as an organization concerned with the design of mobile forms of architecture. Within this framework they developed so-called megastructures which were supposed to be laid over existing cities and whose future inhabitants would be able to arrange their living environment flexibly — developments which against the background of growing megacities in Africa, Asia and Latin America have lost none of their currency. On the contrary, Friedman’s manifesto L‘Architecture Mobile (1958), his space-city concepts such as La ville spatiale (1960), Schulze-Fielitz’s Raumstadt (1959) as well as his early involvement with subject matters such as environmental control, sustainability and resource shortages were forward-looking and still preoccupy urban planners and architects today. Friedman and Schulze-Fielitz are still bound by a close friendship today, which found its architectural expression in a joint project for a bridge city spanning the English Channel (1963).

KUB Jahrespressekonferenz 20072121

Kunsthaus Bregenz

KUB 11.03

KUB ArenaAnfang gut. Alles gut.

Ai Weiwei

16 | 07 | – 16 | 10 | 2011

KUB 11.03

Ai Weiwei16 | 07 | – 16 | 10 | 2011

KUB Program 20112322

Ai Weiwei is the best-known living Chinese artist, his exhibitions across the globe having caused a sensation. He figured prominently at the last documenta and mounted compelling solo exhibitions and projects at the Haus der Kunst in Munich and in the Turbine Hall at Tate Modern, London. The cultural, social, and political content of his work has repeatedly brought him into conflict with the Chinese authorities. The KUB exhibition focuses on Ai Weiwei’s collaboration with architects. These have included such “stars” as Rem Koolhaas and Herzog & de Meuron, with whom he worked on the Olympic Stadium in Beijing, one of his most widely published projects. Along with models, plans, and videos relating to his cooperation with famous architects, visitors to the exhibition will have the opportunity to become acquainted with the work of the many lesser-known architects with whom Ai Weiwei has collaborated. For KUB, Ai Weiwei will produce a special exhibition installation designed to present his projects in an optimum way while constituting a work of art in its own right.

Ai Weiwei Ai Weiwei (born 1957) is a Chinese conceptual artist, sculptor, architect and curator. He has had numerous solo exhibitions, amongst others at the Turbine Hall, Tate Modern, London (2010), Museum of Contemporary Craft, Portland (2010), Stiftung DKM, Duisburg (2010), Mies Van der Rohe Pavillon, Barcelona (2009), Haus der Kunst, Munich (2009), Mori Art Museum, Tokyo (2009). He participated in the 48th Venice Biennale, Guangzhou Trienniale 2002 in China, Biennale of Sydney 2006 and documenta 12. For documentahe created the project Fairytale and the outside work Template, which collapsed following a heavy storm.

Amongst his most important architectural projects are the Beijing National Stadium for the Summer Olympics 2008 and Ordos 100, both in collaboration with the Swiss architectural office Herzog & de Meuron.

KUB Arena

Anfang gut. Alles gut.16 | 07 | – 16 | 10 | 2011

Anfang gut. Alles gut. updates the futuristic opera Victory over the Sun by Welimir Chlebnikow, Alexej Krutschonych, Kasimir Malewitsch and Michail Matjuschin, which was premiered in Saint Petersburg in 1913. In an ongoing project begun in 2008, a continually growing group of around 35 international artists, musicians, architects and authors have been considering how to translate this almost one hundred year old material into contemporary terms, in the form of exhibitions,performances or publications. In the past several highly focused sub-projects emerged, which will now not only be merged but also expanded in the KUB Arena. Historical material, documents and documentation will form the basis of a collaborative exhibition as well as performances of Victory over the Sun, which will be developed as a fusion of individual artistic works, texts, compositions and translations. In addition to the series of exhibitions, performances and workshops, the KUB Arena will be enabling the opportunity of further work on the historical material. In doing so, Anfang gut. Alles gut. will be demonstrating the contemporary relevance of Russian Futurism.

KUB Jahrespressekonferenz 20072525

Kunsthaus Bregenz

KUB 11.04

KUB ArenaHate Radio

VALIE EXPORT

29 | 10 | 2011 – 22 | 01 | 2012

KUB 11.04

VALIE EXPORT29 | 10 | 2011 – 22 | 01 | 2012

KUB Program 20112726

VALIE EXPORT is a pioneer of experimental film and cinema and an expo-nent of feminist, socially critical visual art. For a long time in Austria she did not receive the attention due to an artist of her international standing. This changed in 2010, when the Belvedere in Vienna and the Lentos Kunstmuseum Linz staged large-scale retrospectives of her work.The KUB exhibition will differ from the surveys in Vienna and Linz by focusing on the artist’s archives. Major works like Tap and Touch Cinema, Action Pants: Genital Panic, and Body Sign Action will be presented not in isolation, but in the context of the material used in their genesis. In connection with her films, for example, VALIE EXPORT produced visual “scripts,” drawings, and Polaroid photographs. In Bregenz visitors will be able to see preparatory drawings, collages, and photographs relating to her most important works, which now rank among the outstanding achievements of twentieth-century art. The exhibition installation will be devised in close cooperation with the artist.

VALIE EXPORT VALIE EXPORT (born 1940 in Linz, lives and works in Vienna) is counted amongst the most important international pioneers of conceptual media, performance and film art.Since1968 she has had international solo exhibitions and presentations of her work and participated in international exhibitions, amongst others at Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venice; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Brussels; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; and ars electronica, Linz. She has participated in international film and video festivals, amongst others London Film Festival; Filmex, Los Angeles; Internationale Filmfestspiele Berlin, Cannes, Montreal, Vancouver, San Francisco, Locarno, Hong Kong, Sydney, New York, etc.

KUB Arena

Hate Radio29 | 10 | 2011 – 22 | 01 | 2012

Within an extremely short time in 1994 a genocide occurred in Rwanda, involving all the social classes within the country. The ground for this atrocity was prepared by “Radio-Télévision Libre des Mille Collines“ (RTLM), the country’s most popular radio station, which also accompanied subsequent events with treacherous psychological and technical skill. The interdiscipli-nary project Hate Radio, a cooperation between IIPM Berlin/Zürich, the KUB Arena, Hebbel am Ufer (HAU), Berlin, and the Hochschule der Künste Bern, approaches these unimaginable events with the assistance of a dramaturgic installation reconstructed from contemporary documents and witness statements which not only reveals, but also allows the audience to directly “experience”, the consequences of racist thinking within a reenactment of an RTLM program. In addition to the reconstruction of the radio station as an installation in the KUB Arena, the staging of Hate Radio will also receive its debut in Bregenz. An extensive volume of material, accompanying events and talks will expand the project into a broad interdisciplinary intervention addressing questions currently relevant to manifestations of racist violence today in both Europe and Africa and their representationality in contemporary art, film and theater. The presentation in the KUB Arena has been developed in close cooperation with the author and director of Hate Radio Milo Rau (Head of the International Institute of Political Murder).

KUB Programm 20112932 KUB Programm 20112932

Kunsthaus Bregenz

Antony GormleyHorizon Field

April 2010 – April 2012

KUB ProjectA landscape installation in the High Alps of Vorarlberg, Austria

Realized by Kunsthaus Bregenz

KUB Project

Antony GormleyHorizon FieldApril 2010 – April 2012

KUB Program 20113130

“Horizon Field, as does much of my work, asks an open question as to where the human project fits within the evolution of life on this planet. In presenting these obdurate, earth-bound but earth-witnessing markers in space and time, the installation puts 100 industrially produced artefacts within an elemental world which is far from the contextualising influences of the museum. It asks basic questions: who are we, what are we, where do we come from and to where are we headed? The work does this by engaging the physical, perceptual and imaginative responses of anyone coming within its relational field.”Antony Gormley, April 2010

Kunsthaus Bregenz realized a unique project with the British artist Antony Gormley, which will be on show in the mountains of Vorarlberg through to April 2012.

Horizon Field consists of one hundred life-size, solid cast iron figures of the human body spread over an area of 150 square kilometers, forming a horizontal plane at 2,039 meters above sea level. This particular placement has no metaphorical or thematic meaning, rather the results of the artist’s own field work were that, whilst this altitude is readily accessible, it simultaneously lies beyond the realm of everyday life.It is the largest artistic intervention in a landscape in Austria to date. Horizon Field in the Bregenz Forest and in the communities of Mellau, Schoppernau, Schröcken, Warth, Mittelberg, Lech, Klösterle and Dalaas in the Arlberg region is the first time such an art project has been realized in the mountains, and moreover, at such a high altitude.

Already in the summer of 2009 KUB had shown an extensive solo exhibition of Antony Gormley’s work, to great regional and international acclaim. The exhibition significantly contributed to introducing Gormley’s artworks to a wide audience and so paving the way for the subsequent sculpture project.

KUB’s exhibitions repeatedly meet international standards whilst its work and external projects simultaneously make an important contribution to the cultural identity of the region.The landscape installation Horizon Field is consistent with this in its conti-nuation of artistic interventions initiated by KUB in public spaces in Vorarl-berg, as well as representing its culmination to date.

Antony Gormley | Horizon FieldAugust 2010 – April 2012A Landscape Installation in the High Alps of Vorarlberg, Austria, through to Apri l 2012Realized by Kunsthaus Bregenz© Antony Gormley und Kunsthaus Bregenz; Photograph: Markus Tretter

KUB Project

Antony GormleyHorizon FieldApril 2010 – April 2012

Balance 2010

After five years of preparation Horizon Field was brought to successful completion in the summer of 2010. The opening on the Kriegeralpe mountain meadows on July 31 was marked by a virtual flood of people; the 1,700 visitors enjoyed the happy atmosphere of a wonderful summer’s day in the mountains. The number of visitors that have so far hiked their way to the figures in the mountains cannot be counted, in contrast to the number of visits to KUB’s Horizon Field website, which has so far reached around 80,000. In particular locations and maps, the project description, the suggestions for hiking tours, the press portal and information on events were popular. In general the educational program comprising information events, talks, hikes and workshops was extremely well received, confirmed by the great response.

International Recognition in 2010

Ongoing reports in the international press as well as the large amount of positive feedback from visitors confirm the extremely positive response and the enormous reach of this art project.The landscape installation was at the center of a report in the ZDF news program “heute journal” which, with about 3.4 million viewers, is one of the most successful news programs on German television. Filming for the report took place in Vorarlberg and Gormley’s studio in London. Addition-ally SWR television, Deutsche Welle and the BBC reported extensively on the background to the project. Broadcasts by Arte Metropolis and the Italian production company Videoest followed in winter 2010. ORF Vorarlberg accompanied the development process and the spectacular installation of the iron sculptures by helicopter with film cameras. The 25 minute documentary was transmitted by the ORF and 3sat television stations. Substantial press articles appeared for example in the “Süddeutsche Zeitung” as well as in the British newspapers “The Independent”, “Financial Times” and twice in “The Guardian”.From the end of January 2011 a video presentation of Horizon Field is being screened in the Austrian Cultural Forum in New York.

KUB Program 20113332

Extracts Media Response

“Antony Gormley’s famous human figures are to have a final hurrah – high in the Austrian Alps. Gormley has created 100 life-size cast-iron statues which he has installed across Europe’s most imposing mountain range in an operation so complex that it required the involvement of the Austrian army, 15 mountain rescue teams, dozen of helicopter flights and five years of planning. (…) The Austrian commission has come from the Kunsthaus Bregenz, a leading contemporary art gallery.” The Observer, July 4, 2010 “The life-size casts of a human figure in the mountain landscape are as equally fascinating individually as they are in groups. (…) As soon as you become acquainted with one figure you develop a kind of addiction and want to seek out all its other companions. Standing in the bright sunshine next to a corroded and completely elemen-tary iron man, trying to follow its gaze to the green of the vast meadows or the distant mountain peaks, you begin to immerse yourself in the artist’s imagination, gazing into the distance becomes an inward journey. (…) Gormley has developed a completely new dimension in land art with his figures, placing them in a context in which even though the artist lays down the basic rules, it is ultimately the viewers themselves who access complex visual, intellectual and contextual levels.”Die Furche, August 12, 2010, no. 322

“Antony Gormley’s Horizon Field is one of the most important, and in any case the largest art projects that has ever been realized in a public space in Austria, initiated five years ago by the then Director of Kunsthaus Bregenz Eckhard Schneider. Its realization represents a formidable organizational and logistical achievement.”Die Presse, August 2, 2010

Initially people want to interact with the figures (…). The strongest reaction appears to be the urge to take snapshots with the silent, corroded sentinels. Children are sat on their shoulders, the sculptures stoically bear embraces and piggybacks (…). Climbing up a little higher than 2039 meters, for example to the Mohnenfluh mountain peak, it becomes evident how small and insignificant the figures, i.e. humans are in this majestic landscape. The artwork, whilst nothing less than impressive, appears like acupuncture needles in the mountains.”Süddeutsche Zeitung, Thursday, August 5, 2010, no. 178, page 35

KUB Program 20113534

KUB Billboards

KUB-Bil lboardsCosima von Bonin, 2010Harun Farocki, 2010

KUB-Billboards 2011

Haegue Yang 22 | 01 | – 03 | 04 | 2011

N.N.16 | 04 | – 03 | 07 | 2011

Ai Weiwei16 | 07 | – 16 | 10 | 2011

VALIE EXPORT 29 | 10 | 2011 – 22 | 01 | 2012

Since the opening of the Kunsthaus Bregenz in the summer of 1997, the seven KUB Billboards, each measuring 342 x 342 cm and situated along the Seestraße in Bregenz, have been continuously used to display art projects created by Austrian and international artists specifically for this site. Because of their location along one of the busiest streets that runs through the middle of town from the train station to the Kunsthaus, the KUB Billboards are among the most high-profile and widely discussed artistic interventions in the public space of Bregenz. For the Kunsthaus Bregenz and the participating artists, the KUB Billboards are an important instrument for communicating with a wider public. The Billboards also reach people who tend to avoid or somehow never make it to the White Cube of the Kunsthaus. They introduce an exten-sive platform for discussion about contemporary art and current themes. The subjects of the Billboards have in the past repeatedly caused positive, but also controversial reactions in the form of letters to the editor in local newspapers or comments on Internet forums, in phone calls, public radio debates, and in round-table discussions at the Kunsthaus and continue to do so in the present. In terms of programming, the KUB Billboards are designed in part by the artists of the exhibitions at the Kunsthaus Bregenz, who in this way also have the opportunity to communicate their work outside of the KUB, but there are also series of works by artists who have been invited specifically for this task. They are generally from Vorarlberg and have the chance to pose their current work as a subject of discussion at this prominent site. The artists invited to contribute in 2010 are Haegue Yang, N.N., Ai Weiwei und VALIE EXPORT

Kunsthaus Bregenz06 | 02 | – 11 | 04 | 2010

The Scripted LifeCandice Breitz

KUB Program 20113736

In 2011 we plan to continue the discursive forums with lectures and discussions and the series “Diskurs Architektur.”

PR ToolsInvitation cards and brochures, information booklets, Save-the-Date cards, newspapers, image brochures, postcards, posters, fliers, ads, commercial material, press service, website, e-news, presentations at art fairs, sponsor relations, event support, Friends of the Kunsthaus Bregenz trips

A new theory series and catalogues on all the exhibitions and the project Horizon Field will be published.

Editions in various formats will be published: original works of serial character, photographs, and objects.

Press and Public Relations The aim of our press and public relations activities is to reinforce the goodstanding of the Kunsthaus Bregenz in Austria and abroad by maintaining itsongoing and widespread presence in the media and implementing focusedmarketing strategies and PR tools. One of the most important PR tools is the printed material published by the Kunsthaus Bregenz itself, e.g. the invitation cards, information booklets, and posters accompanying each exhibition, as well as the annual programs, newspapers, and our website. All these serve to inform the public and at the same time convey the corpo-rate identity of the Kunsthaus.

EducationAt the interface of the artwork, the audience, and society, the art educationteam at the Kunsthaus Bregenz does its best to assist visitors in their exploration of contemporary art and to develop custom forms of dialogue to meet the different needs. Concrete ways of getting started include the audio guide with initial information about art. The regular guided tourshave become a permanent part of the event program. Special highlightsinclude the tours led by the director or curator, studio visits, dialogue tourswith the artists, or architectural and backstage tours.

PublicationsTo accompany its exhibitions, Kunsthaus Bregenz publishes catalogues that are produced in close cooperation with the artists and leading graphic designers. The design reflects the subjects and visual idiom of the artist concerned, lending each catalogue a distinctive character and making it a part and extension of both the exhibition and of the artist’s work. In addition to catalogues accompanying the show “So machen wir es” (This Is How We Do It) and exhibitions by the artists Ai Weiwei and Valie Export, the cata-logue raisonné series begun in 2010 will be continued with a publication on Haegue Yang. Careful comprehensive documentation and a lively scholarly engagement with the work are of primary importance to the publications. Additionally a new series on theory under the supervision of KUB Arena will appear as well as a publication accompanying the series of talks “Wieder-sehen in Bregenz” (See You Again in Bregenz). Conceived in principle as bilingual, the publications are distributed worldwide as well as being available at KUB

Editions Resulting from close working ties with the artists, special editions are crea-ted exclusively for Kunsthaus Bregenz. In 2009, editions were produced in cooperation with Markus Schinwald, Lothar Baumgarten and Antony Gorm-ley, and in 2010 with Candice Breitz, Roni Horn and Cosima von Bonin. For 2011, editions with Haegue Yang, Ai Weiwei and Valie Export are planned. Released in very small numbers, KUB Editions are of special interest to collectors of contemporary art.

The Kunsthaus Bregenz owes it success in great part to the long-term political support of the State of Vorarlberg as the body responsible for the institution and the Kulturhäuser Betriebsgesellschaft mbH as the central service provider. Since the KUB was founded, the Society of Friends of the Kunsthaus Bregenz has become an indispensable partner contributing significantly to implementing the museum’s concept, in particular its edu-cation program. Other major partners include above all Montfort Werbung, Hypo Landesbank Vorarlberg, and Zumtobel. Their commitment allows the Kunsthaus Bregenz to organize exhibitions and projects which demand high technical and financial investments. The sponsoring partners Hypo Landesbank Vorarlberg, Vorarlberger Kraftwerke AG, Vorarlberg Tourismus, and especially the company Hugo Boss are contributing significantly to financing the KUB project Horizon Field by Antony Gormley.

Freunde und Partner

Sponsor of KUB Arena

Hypo LandesbankVorarlberg

Principal sponsorof Kunsthaus Bregenz

With kind support from

Cultural bodies

Kulturhäuser Betriebs-gesellschaft mbH

Gesellschaft der Freunde des Kunsthaus Bregenz

KUB Program 20113938

Presenting Sponsor

Kunsthaus BregenzEröf fnung der Ausstellung»Tony Oursler, LOCK 2,4,6«

KUB 11

Program 2011Kunsthaus Bregenz

Opening hours Tuesday – Sunday 10 a.m. – 6 p.m.Thursday 10 a.m. – 9 p.m.

CounterPhone (+43-55 74) 4 85 94-433

Information and registration for guided toursKirsten Helfrich, ext. -415k.helfrich@kunsthaus-bregenz.at

Office

Iris Rothemund-Leonhardt, ext. -409i.rothemund@kunsthaus-bregenz.at

Kunsthaus BregenzKarl-Tizian-Platz6900 Bregenz, AustriaPhone (+43-55 74) 4 85 94-0Fax (+43-55 74) 4 85 94-408kub@kunsthaus-bregenz.atwww.kunsthaus-bregenz.at

DirectorYilmaz Dziewior

Chief executiveArtur Vonblon

CuratorRudolf Sagmeister

Curator of the KUB ArenaEva Birkenstock

CommunicationsBirgit Albers, ext. -413b.albers@kunsthaus-bregenz.atassistantMelanie Büchel

Art educationWinfried Nußbaummüller, ext. -417w.nussbaummueller@kunsthaus-bregenz.atassistantKirsten Helfrich

Publications/artist editions

Katrin Wiethege, ext. -416k.wiethege@kunsthaus-bregenz.atassistantAntje Roth

Sales editionsCaroline Schneider, ext. -444c.schneider@kunsthaus-bregenz.at

Assistance to the directorBeatrice Nussbichler, ext. -418b.nussbichler@kunsthaus-bregenz.at

Event managementMirjam Steinbockmirjam.steinbock@kulturhaeuser.at Phone (+43-55 74) 531 06-911

Technical staffStephan Moosmann | Markus Tembl | Markus Unterkircher | Stefan Vonier | Helmut Voppichler

Copyright© 2010 by Kunsthaus Bregenz

ConceptKunsthaus Bregenz

Text Yilmaz Dziewior | Birgit Albers |

Winfried Nußbaummüller | Rudolf Sagmeister | Katrin Wiethege |

Editors

Birgit Albers |

Melanie Büchel

Copy editingWolfgang Astelbauer | Antje Kühn | Katrin Wiethege

TranslationKimi Lum

Picture credits© the photographers, artists, and legal successors

Basic graphic designClemens Theobert SchedlerBüro für konkrete Gestaltung

Graphic designBernd Altenried | Stefan Gassner

Kunsthaus Bregenz