Saliera

To comply with Covid distancing rules, some tables at Salzamt must remain free. The restaurant’s architect, Hermann Czech, made very efficient use of the space.
While these tables may not host people, they can still support objects. So I initiated a festival of small sculptures. It is named Saliera, after the epitome of table sculptures, a gold-and-ebony salt container commissioned by Francis I of France. This receptacle, apparently called a salt cellar in English, is on display at Vienna’s Kunsthistorisches Museum. This wasn’t always the case though, it was abducted for some time.
Salt was once Austria’s most precious resource for trade. The restaurant Salzamt, the salt office, is built on the spot where the salt that was delivered on the river Danube would be taxed.
Karoline Dausien, Julia Goodman, Erik Haugsby, and Laurence Sturla kindly provided works for the first stage of Saliera. The festival will continue until all the tables may be taken up by eaters again.

Na drugi pogled  // Auf den zweiten Blick // At Second Glance

Online Exhibition
Austrian Cultural Forum, Belgrade (RS)

March 15th – April 30th 2021

The new online platform of the Austrian Cultural Forum was created in view of the current uncertain circumstances, but also opens the opportunities for the new forms of artistic creation and communication.  It is conceived as an exhibition space for thematic and curated art content, which in the initial phase consists of works by 10 visual artists from Serbia and 10 from Austria that arrived for the competition announced for this occasion.

The selected artists from Austria are: Catrin Bolt, Eva Maria Schartmüller, Hannah Priemetzhofer, Hannah Stippl, Julian Turner, Leonhard Pill, Michael Heindl, Sangam Sharma, Ulrich Reiterer and Walter Kratner.

The selection of artists from Serbia is: Aleksej Sivčević, Andrea Palašti, Boris Burić, Doplgenger (Isidora Ilić, Boško Prostran), Igor Ripak, Ivana Ivković/Marina Marković, Lana Vasiljević, Mariela Cvetić, Mirjana Đorđević Thaler and Tijana Petrović.

Artforum International, Caroline Lillian Schopp on “4 × 1 = 30”, April 2020

Cover Artforum International April 2020, Vol. 58, No. 8

(…) While Ackroyd, Clement, and Zamojski reflected on the human by displacing it, Julian Turner took a more direct approach. In his installation Schön im Öl (Beautiful in the Oil), 2020, the artist investigated the infrastructures of geopolitics using clever dissonances of scale: Pink Viennese treats from the Aida coffeehouse chain, Swiss Parisienne cigarettes, Italian panettone, plenty of empty German beer cans, and a roll of toilet paper were assembled to create a rough model of the oil refinery near Vienna’s airport. This was, in a certain sense, Anthropocene art, in which the Great Acceleration was not graphed as an increasingly severe asymptote but rather pictured as a series of temporal and above all visual ruptures. In a group of related collages, cutouts of photos of fancy cuisine—from soufflés to herbed scallops—from old magazines were pasted over pictures of the refinery’s chemical-processing units. Turner’s works thus embedded imagery of midcentury prosperity and hospitality—along with the promised pleasure of collective consumption—within its inhospitable industrial excretions, all the while trying to maintain spaces in which the party could keep going on. Bringing together the compelling work of four disparate artists, “4 × 1 = 30” was a thoughtful exhibition that attested to our present environmental precarity, performing a timely, cautionary, and sometimes delightful equation of surplus value.