■ Luiza Margan: Peripheric Muscle
8 Photographs, 2018

Margan’s photographs juxtapose two motifs. On the one hand, a building façade with socialist imagery is shown, glorifying the worker’s body and its contribution to society through physical labour. The adjacent windows, on the other hand, offer glimpses into private spaces, thereby revealing other, often hidden forms of labour, such as domestic work or care work.
In relation to this, Luiza Margan performs a series of movements within the industrial windows of the former Leica factory in Vienna. Today, the building houses artists’ studios, including the artist’s own. Margan’s actions correspond to the representations of workers in the socialist relief.
By combining these two elements, a visual dialogue emerges around the invisible aspects of artistic labour, the precarity of cultural work, and the societal perception of these practices.

■ Lydia Nsiah: burnt in
3 prints, 2017

Nsiah’s series "burnt in" (2017) emerged from her film work "distortion" (2016) and makes use of contemporary laser print technology. Its material basis consists of DVD compilations of (largely canonical) experimental, ephemeral, and animated films. Their copy-protection encoding generates digital artefacts (glitches) during duplication, which in turn transform visual compositions by Marcel Duchamp or Fernand Léger into a second-order deformation.
In the exhibition, the paper works are presented as translucent screens, thus becoming inscribed within an in-between space of ephemerality and canon, as well as digital copy and analogue original.
Lydia Nsiah lives and works in Vienna and on the move. She studied fine arts as well as film and media studies in Vienna, Berlin, Montreal, and Amsterdam. As an artist and researcher, she engages with gaps and interstitial spaces through film, photography, text, and installation. Her work addresses themes of forgetting and remembering, mistakes and error, film art and its uses. Her works are exhibited and published internationally.

■ Nathalie Koger and Wolfgang Obermair: Sleep is the crawling of human into itself
Installation, 2018

In their collaborative installation, Koger and Obermair create an experimental setting that incorporates sensory impressions such as touch and the perception of warmth. Using self-made yoga mats, thermochromic paints, and sculptural elements of fabric and silicone, they construct material interfaces where the “form memory” of materials can interact with human senses.
Snake-like objects function as a hinge to the collective body of the exhibition’s visitors. Conceptually, Koger and Obermair draw on questions of anxiety and well-being derived from so-called “screening tests”, as used in psychology.

■ Marlies Pöschl: „The street was like a drive-through cinema, the images came to live through her movement“. Notes on „Cinema Cristal“
Installation, 2019

Laleh Zar Street in the centre of Tehran was once known for its numerous cinemas. Today, the area is characterised by a multitude of luminous objects displayed for sale in the दुकans lining the street. The flow of images — cinema itself — seems to have fragmented into individual light sources in the wake of the Iranian Revolution.
A woman pushes her mother along the street in a wheelchair, as if the two were making a film together: each shop window becomes a frame, the street resembling a drive-through cinema. Like the installation itself — a spatial adaptation of Cinema Cristal — in which the images of the film are examined in terms of their “conditions of light.”

■ Viktoria Schmid: A Proposal to project (in 4:3)
16mm-film (transferred to .mov), 2 min, sound, 2017

In various locations around the world, Viktoria Schmid constructs projection screens whose aspect ratios are based on a range of existing and even fictional film formats. These screens are then filmed, with the chosen film format corresponding to the aspect ratio of the screen itself.
In "A Proposal to Project", Schmid engages with 16mm film in the 4:3 format. The screen was installed in the sculpture park of the Djerassi Resident Artists Program in California and invites nature-based projections: shifting sunlight creates shadow plays that reveal the faint outlines of trees and the surrounding environment.

■ Kamen Stoyanov: New Piece of Art
Installation, banner and 2 videos, 2013
"Opening Speech", 2:15; "Making Of", 5 min

Stoyanov discovered an unused and partially destroyed billboard in a wasteland near Sofia Airport. The approximately 3x4 meter billboard was painted over with black paint by the artist on location, in its original position, as thoroughly as possible. The material moved due to the wind, thus forming a lively surface in contrast to the still canvas in the studio. The artist had to physically respond to these circumstances, creating a kind of "Minimal-Post-Pleinair-Actionism." In the process, a sculptural artwork also emerged: through the monochrome treatment and the dark color, the volume of the hanging (art) fabric was accentuated. After completing the overpainting, the artist opens the new artwork "New Piece of Art" in the second project phase. Now dressed in an elegant suit, he delivers a speech in the style of Andrea Fraser and institutional critique. In the exhibition space, the black vinyl billboard is hung once again, and the action is projected onto its reverse side.

■ Katharina Swoboda: Penguin Pool
Video, 2015

The video shows the "Penguin Pool," a modernist zoo architecture located at the London Zoo. The video emerged from Swoboda's engagement with zoological gardens and architectures built for animals, particularly with the architecture group "Tecton." Due to today's animal welfare regulations, many of the structures constructed by the group at the time no longer house the animals originally intended for them; the Penguin Pool, for example, stands completely empty. The visitors at the zoo are searching for the penguins, with very few noticing the architecture. The visitors were masked out of the image, leaving only the architecture, which once again is reminiscent of a model.

■ Lisa Truttmann: Zig Zag: Another Attempt
Installation, Collages, 2019

The buildings wrapped in colorful tent tarps within the cityscape of Los Angeles are simultaneously eye-catching and foreign bodies. As a measure against termite infestation, the toxic gases of the insecticides are kept from escaping into the interior. This form of screens is used as a casing, though they should be understood less as protection than as an unsparing boundary. For beneath the colorful surface, brutal processes of extermination take place. From the interior of the building, the gaze is now directed outward — the window itself thus becomes a screen, yet the view of the world is obscured by a dense layer of plastic. As a projection surface, the tent tarps have already served as the basis for meandering trains of thought in Truttmann's essay film "Tarpaulins" (2017), with further working and thinking processes later staged in the exhibition space. In the context of the exhibition, the focus is directed toward materiality and format, and the "zigzag approach" is expanded as an artistic strategy. For in this case too, the big screen is not the only window to the world.