• 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


Heidrun Holzfeind

Heidrun Holzfeind is an artist who explores selected thematic complexes with great analytic interest, rendering them accessible in an aesthetic and artistic sense via seemingly restrained but all the more precise means. One of Holzfeind’s emphases is on (frequently modernist or postwar-modernist) architectural projects, many of which were built as residential complexes designed to facilitate specific forms of urban cohabitation; she confronts such projects’ once-utopian aspirations with the social and political reality of the people who live there today. Holzfeind’s method has a documentary component: she shows her protagonists in their living situations and allows them to speak at length while herself remaining in the background. At the same time, though, she subtly brings her personal aesthetic reflections to bear in order to simultaneously convey political content between the lines. “Za Żelazną Bramą” (2009) is part of a trilogy about modernist residential complexes—two of them in the West, one of them in the (former-)communist East—aimed at evoking critical discussion of modernist promises with regard to urbanism and home living: In “Corviale, Il Serpentone” (2001), Holzfeind looks at the “Corviale” complex that was constructed between 1975 and 1982 on the outskirts of Rome, while her work “Za Zelezna Brama” focuses on a Warsaw residential project built between 1965 and 1972; both of these are based the urbanistic ideas of Le Corbusier. “Colonnade Park, Mies in Newark Revisited” (2011), on the other hand, is about the “Pavilion and Colonnade Apartments” built by Mies van der Rohe in Newark, New Jersey in 1960. Holzfeind composes portraits of the respective presences of these complexes and their inhabitants while at the same time showing the historical shifts and upheavals to which such projects, originally intended as ideal solutions, have been subject. And in doing so, she succeeds in placing urbanistic and sociopolitical elements that would seem to be peripheral, ignored, and forgotten at the center of attention.



1972, Lienz / AT

Holzfeind works as filmmaker. She studied Art History at the University of Vienna (Austria) from 1990 to 1992, and Sculpture at the Academy of Fine Arts in Vienna from 1991 to 1996. Furthermore did she study at Cooper Union in New York City (USA) in 1995. Holzfeind has received several grants and awards, including the “Camera Austria Preis für zeitgenössische Fotografie der Stadt Graz” (2011) and the “Gerhard und Birgit Gmoser-Preis für Gegenwartskunst, Secession Wien” (2011).

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