• WHO WAS 1968?
    28 Sept 2018 − 13 Jan 2019

    LENTOS Kunstmuseum WHO WAS 1968? Art, Architecture, Society Curated by: Hedwig Saxenhuber, Georg Schöllhammer Loans by Kontakt from: Heimrad Bäcker, Stanisław Dróżdż, VALIE EXPORT, Stano Filko, Běla Kolářová, Július Koller, Natalia LL, Karel Miler, Petr Štembera, Raša Todosijević and Goran Trbuljak A decade of eruptions, departures and redefinitions in the steel city Linz. The year I968 marks a turning point that ushered in a new era. Across Western Europe and in the United States Student protests and workers’ revolts called into question the post-war power structure itself, while Soviet tanks bulldozed the Prague Spring into the ground and signalled the end of the hope that the Eastern Bloc would open up to the West. This exhibition harks back to the echoes of I968 in Linz and Upper Austria. Embracing the arts, architecture, music, film and literature, it unfolds for the first time a synoptic map on which key figures and moments of local history – some largely unknown to this day – are accorded a place. It enables visitors to embark on exploratory trips and to survey the rich fabric of relationships and linkages that includes points of contact with international scenarios and trends. Experiments in the aesthetic field were begun with a view to escaping from the cultural stuffiness of the first two post-war decades. The participating artists include: Claudia von Alemann, Ant Farm, Heimrad Bäcker, Josef Bauer, Bill Bollinger, Dietmar Brehm, Gerd Conradt, Waltraut Cooper, Stanisław Dróżdż, Erró, VALIE EXPORT, Harun Farocki, Hans-Peter Feldmann, Stano Filko, Helmuth Gsöllpointner, Timo Huber, Johann Jascha, Martha Jungwirth, Gülsün Karamustafa, Gerhard Knogler, Běla Kolářová, Juliús Koller, Peter Kubelka, Zofia Kulik, KwieKulik, Maria Lassnig, Fritz Lichtenauer, Natalia LL, Karel Miler, Josef Nöbauer, OHO, Yoko Ono, Gina Pane, Friederike Pezold, Cora Pongracz, Chris Reinecke, Martha Rosler, Dieter Roth, Zorka Sàglovà, Dominik Steiger, Petr Štembera, Raša Todosijević, Goran Trbuljak, Tucumàn Arde, Jiřì Valoch, Agnés Varda, Peter Weibel, Hannah Wilke, Jana Želibská, Želimir Žilnik, Zünd-Up


Margherita Spiluttini

As one of the leading architectural photographers of her era, Margherita Spiluttini analyzes structures with great attention to detail and captures them mainly by using a plate camera. Her oeuvre gives rise to a unique vocabulary of visual representation in the way it deals with spaces predetermined by architectural interventions. Spiluttini is interested in achieving a neutral objectivity via level shots, thus creating an archive of spatial compositions that is bereft of any skewed interventions. 
Over the decades, Spiluttini has worked together with a number of internationally acclaimed architects like Herzog & de Meuron, Zaha Hadid, and fellow Austrians such as Adolf Krischanitz, Hermann Czech, henke & schreieck, and Coop Himmelblau, to name but a few. She captures their buildings via the precise analysis of location, space, and light, lending such photographs a highly distinct quality that is also evident in her landscape photography.
An important series that documents human intervention in nature is "Beyond Nature. Constructions of Landscape"1, which was published as a book in 2002 and captures thorough perspectives on landscapes exhibiting traces of human activity that have altered many aspects of what nature used to be. These photographs, while being devoid of any people as in most of Spiluttini’s work, show the interference of civilization as an unavoidable effect of human activity and economic development. Yet there are exceptions where people appear in the foreground of representation, like in her series of Vienna’s former Southern Railway Station: this sequence of color slides, taken there in 1986, deals with passenger traffic and shows travelers roaming about the platforms. And in other instances, Spiluttini took portraits of colleagues like Austrian artist Heinz Frank or focused on personal settings in a way that confirmed the artistic stance behind every one of her photographs.
In terms of international photographic history, Spiluttini’s works have revolved around culturally significant buildings constructed since the latter half of the 20th century that are embedded in the memory of many architectural critics and will continue to be so in the years to come.



1 Margherita Spiluttini. "Nach der Natur. Konstruktionen der Landschaft" ("Beyond Nature. Constructions of Landscape"). Salzburg: fotohof edition, 2002.

1947, Schwarzach im Pongau / AT 

From 1981 to 2014, Spiluttini has been active as freelance photographer/artist in the field of architectural photography with commissions worldwide. She has received numerous awards, most recently the Austrian State Prize for Artistic Photography (2016) and taught at universities in Linz and Vienna.  


Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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