DRAWING
OTHERWISE
Imagining Architectures, Sites, Places, Infrastructures, Technologies and Landscapes
SYMPOSIUM
ACADEMY OF FINE ARTS
VIENNA, AUSTRIA
November 25
2024
SYMPOSIUM
TIMETABLE
10.00
Welcome and Introduction: Symposium DRAWING OTHERWISE
Elke Krasny & Bernadette Krejs
10.30
Drawing Otherwise
Bernadette Krejs
11.00 – 12.30
Otherwises
Mona Mahall / Asli Serbest
Re-Educating Infrastructures. The Aesthetics of Democracy Building and Social Market Economy in Post-Socialist Germany
Louisa Engel
Panel Discussion
with Mona Mahall / Asli Serbest / Louisa Engel / Bernadette Krejs (Moderator)
12.30 – 14.00
LUNCH BREAK
14.00 – 15.30
Rituals of Reclaiming Space and Hybrid Realities
Xcessive Aesthetics (Rhiarna Dhaliwal / Emmy Bacharach)
How to Talk About Queerfeminist Art on Social Media: Challenges and Concerns
Sophie Lingg
Panel Discussion
with Rhiarna Dhaliwal / Emmy Bacharach / Sophie Lingg / Joanna Zabielska (Moderator)
15.30 – 17.30
remembering through spatial storytelling.
Khensani Jurczok-de Klerk
Sunflower Fields ‹Forever›: Iconic Landscapes, Social Media and the Anthropocene
Helena Schmidt
Panel Discussion
Khensani Jurczok-de Klerk / Helena Schmidt / Mona Mahall / Asli Serbest / Emmy Bacharach / Rhiarna Dhaliwal / Bernadette Krejs / Elke Krasny (Moderator)
REGISTRATION
to register for the symposium send an email to:
symposium@wohnbau.tuwien.ac.at
Collaboration by
Venue: Academy of Fine Arts Vienna, Schillerplatz 3, Sitzungssaal/Conference Room
monday 25.11.2024
10.00 am – 6.00 pm
ABOUT
In order to build the world otherwise we need to learn how to draw otherwise. In order to draw otherwise we need to learn how to imagine otherwise. The symposium DRAWING OTHERWISE imagines architectures, sites, places, infrastructures and landscapes by un/doing, un/learning, un/seeing and un/drawing against and beyond existing conditions and wants to explore other possible futures of living together. Bringing together practitioners, theorists and scholars from architecture, visual culture, and art education the symposium explores the potential of articulating imaginaries based on solidarity, reciprocity, generosity, and empathy. We navigate between what is and what could be: How forms of representation draw on, and thus reproduce, existing norms of inequity, extraction, and domination; and how the contributions work toward drawing otherwise into being transformative spaces, healing infrastructures, and new care-full imaginaries for digital and physical realms. Because it matters what stories tell stories.
speakers
Mona Mahall & Asli Serbest, Xcessive Aesthetics, Khensani Jurczok-de Klerk,
Louisa Engel, Sophie Lingg, Helena Schmidt
curated by
Bernadette Krejs (Vienna University of Technology)
Elke Krasny (Academy of Fine Arts Vienna)
team
Marie Gnesda, Sinem Firat, Mir* Miriam Roggen, Hannah Nusser, Batja Ferch, Marcel Schmitz, Laura Huber, Joanna Zabielska, Franz Ollertz, …
Louisa Engel: Re-Educating Infrastructures. The Aesthetics of Democracy Building and Social Market Economy in Post-Socialist Germany
To what extent can aesthetic practices change social and political infrastructures? As socially engaged practices, the arts are developing an ever greater interest in intervening in infrastructures through critical thinking and helping to shape them. At the same time, they are also addressed through cultural policy, for example to democratise social spaces. Infrastructures are no longer only thought of as the material conditions of social spaces but also as the emotional and aesthetic structures. Aesthetic practices, not only reduced to art practices, become an instrument for the management of social space for political and economic purposes. Do the arts then fulfil an educational role?
Starting from these questions, the talk seeks a focus on the post-reunification period in East Germany. It asks how the transition from socialism to capitalism took place through an aesthetic re-education of former GDR citizens in order to ‘democratise’ them with the means of the social market economy.
Mona Mahall / Asli Serbest: Otherwises
Clearly, drawing in the field of architecture institutes a framework of conventions and conditions on which spaces are built. It is a power-practice and an instrument of power-knowledge to (re)produce social hierarchies –the more so, the more it is linked to claims of neutrality and universality. The more so, the more it is associated with notions of professionalism and perfection. Of course, this is all (Western) idealism as if there were such a thing as a perfect or universal drawing.
Clearly, an emancipatory politics of (re)presentation will look at drawing differently, first by acknowledging the multitude of "otherwises" of drawing, and second by focusing on minor, peripheral, and marginalized ways of drawing.
In our talk, we will examine several drawings as particular cases, material-historical contexts, and even theoretical devices that sketch a politics and poetics of space through affect and empathy, as well as reciprocity.
Drawing Otherwise and the (Re)-Presentation of Space
11.00 – 12.30
SEssion 01
Asli Serbest and Mona Mahall (based in Berlin) work together in various collective constellations. Their research-based practice reflects and produces space through various media: exhibitions, installations, scenographies as well as (video) texts, concepts, and publications. Their projects are explorations of particular past, present, and future contexts and aim to negotiate the evolving relationship between architecture, art and the political. They exhibit and publish internationally, among other venues at the Pera Museum Istanbul (2024), E-Flux Screening Room New York (2022), Venice Biennale (2021, 2019, 2014), Tarabya Cultural Academy Istanbul (2022, 2020), Ural Industrial Biennial (2021), Württembergischer Kunstverein Stuttgart (2018), Pinakothek der Moderne Munich (2017), Istanbul Design Biennial (2016), Storefront for Art and Architecture New York (2016, 2015), Art Center Los Angeles (2015), and other venues; in Volume Magazine (2014), Perspecta (2013), The Gradient: Walker Art Center (2013), e-flux journal (2011, 2012), and other online and offline publications. In 2019, they curated the 7th International Sinop Biennial under the title of “A Politics of Location.” They are professors at the University of the Arts Bremen and Bauhaus-University Weimar.
LOUISA ENGEL works between the theory and practice of art. She studied Fine Art, Ethics and Education at Burg Giebichenstein University of Art and Design and Martin Luther University in Halle (Saale) in Germany, as well as in the Masters programme in Contemporary Art Theory at Goldsmiths University in London. She has worked as an editorial assistant for Texte zur Kunst and as a curatorial assistant at KINDL - Centre for Contemporary Art Berlin. In her research she is interested in the relationship between artistic production and cultural politics, art as social practice and the link between art and knowledge production.
Xcessive Aesthetics (Rhiarna Dhaliwal / Emmy Bacharach): Rituals of Reclaiming Space and Hybrid Realities
How does replication bestow value on certain bodies and spaces? What hierarchies are inherent to architectural systems across the physical and digital realms? How can we work with digital tools to empower, reclaim, reimagine and explode spaces and bodies? Xcessive Aesthetics utilises digital tools such as photogrammetry, 3D modelling, simulation and generative AI to explore the feedback loops between digital and physical worlds and aims to materialise these processes. Through projects ranging from installations to performative workshops, we reclaim and reimagine spaces in the physical and virtual realms from an unapologetically femme perspective, centering our own experiences and bodies to challenge public perceptions of architecture, networks and digital space. Our projects blur boundaries between the physical and digital, landscape and body, mesh and void. We welcome, exploit and play with glitches that can occur across scales, networks and organisations such as datascapes, landscapes and cultural institutions. We confront the entanglement of these spaces and tools within systems of oppression, whilst seeking playful and energetic ways to challenge and rework the narratives of our hybrid existence.
Drawing Otherwise and the Power of Digital Realms
14.00 – 15.30
SEssion 02
Sophie Lingg: Queerfeminist art, friendships, social media and patriarchy: challenges and concerns
This lecture examines difficulties concerning the working conditions of queerfeminist artists on social media platforms, focusing on different forms of violence, hate speech, censorship, and discrimination. My project is based on long-term observations within my social media network followed by in-depth interviews with five artists. Alongside a short introduction to the artists and their challenges they face on social media, the presented paper focuses on the epistemic aspects of their experiences with online gender-based violence and on how these issues draw attention on the platforms as well as in academic contexts. My personal acquaintance and friendships with all five artists have impacted our open conversations and my research process, and pose significant methodological and ethical questions with regard to incorporating them into academic writing without exploiting relationships or intimate conversation settings. By applying queerfeminist epistemological theories to media theory the lecture aims to balance the dynamics of community, dimensions of friendship, and academic research. It seeks to discuss online violence without resorting to sensationalism, thereby avoiding the perpetuation of hate speech and aims towards discussions on transformation.
Xcessive Aesthetics is an all-female interdisciplinary design collective exploring data and alternate realities through spatial installations. XA was founded in 2019 with the idea of combining spatial design and digital tools in unconventional ways, on the one hand to explore the hidden biases behind emerging technologies, and on the other to create accessible and playful public installations that spark digital and physical interactions.Xcessive Aesthetics has exhibited installations in major cultural institutions such as the Wellcome Collection (2024) and Victoria and Albert Museum (2022) in London and the Fundación Proa in Buenos Aires (2022), has participated in design festivals such as Transmediale (2023), London Design Festival (2022) and Buenos Aires Architecture Biennial (2022) and has been featured in publications such as Arch+, The Architects’ Journal and Terraforma Journal. Members from the collective currently lead a Bachelors design studio at Design Academy Eindhoven titled Studio Digital Native. XA was founded by six members based in London and internationally.
Rhiarna Dhaliwal is a British-Indian spatial designer, researcher and educator based in London. Her work exists at the intersection of environmental geo-politics, technology and visual language. Rhiarna currently co-leads the bachelors design studio, Studio Digital Native at the Design Academy Eindhoven and is co-founder of the all-female design collective Xcessive Aesthetics.
Emmy Bacharach is an architect and designer working between infrastructure, installation design and research. Her interests lie at the intersection of spatial design, sound and immersive technologies, with a focus on empathy and post-human imaginaries. Emmy is a co-founder of interdisciplinary design collective Xcessive Aesthetics and has co-led Studio Digital Native within the Design Academy Eindhoven bachelors design course since 2022.
Sophie Lingg (she/her) experiments in and researches digitality, digital mass media, and their use for artistic work and art education. Since 2019 she has been working at the Academy of Fine Arts Vienna’s Art and Education Program, where she is currently writing her dissertation on artistic and artistic-activist work on social media (supervised by Elke Krasny). She is co-editor of the book Radicalizing Care: Feminist and Queer Activism in Curating (London: Sternberg Press, 2021). Sophie was part of the Erasmus+ research project Digital Didactics in Art Education didae.eu.
Drawing Living Together Otherwise
16.00 – 17.30
SEssion 03
Speaker
Drawing Otherwise
Symposium
Khensani Jurczok-de Klerk: remembering through spatial storytelling.
How can architecture be used as a mode of spatial storytelling — excavating, scavenging, fabulating and making sense of the scraps of ‘stable’ archives that only whisper slithers of Black women’s lives in Zürich? How can spatial storytelling affirm and transmit the readily available archives sitting in the mouths of many who have experienced, frequented, lived and manifested space? This offering will focus on the communicative and archival abilities of collage as a methodological tool that draw/s (from) the ‘stable’ references and oral histories orbiting the Treffpunkt Schwarzer Frauen in Zürich (1990-2010) which currently leaves no perceivable spatial imprints of it’s existence, despite being a critical safe space infrastructure for Black foreign women during it’s active years. Drawing, or articulating through collage can be helpful for abstracting elements, encapsulating conditions that are not always fixed in time or scale. On an ontological level, collage is incredibly useful as a subversive tool for resisting controlling images of Black women who remain objectified within dominant architectural archives. This offering is an ongoing attempt to affirm and transmit the lived and spatial qualities that were held in the Treffpunkt Schwarzer Frauen in Zürich.
Helena Schmidt: Sunflower Fields ‹Forever›: Iconic Landscapes, Social Media and the Anthropocene
The input examines the presence of sunflower fields on social media as a starting point for critical ecological thinking. It begins with a student's artwork from research on "poor images" (Steyerl 2009), based on selfies in trending sunflower fields. These viral images serve as a basis for critically reflecting on the iconic and hegemonic visualities of landscapes in social media. The analysis covers four areas: 1. the cultural and colonial history of the sunflower; 2. sunflowers in agriculture and ecology; 3. sunflowers in art history and popular culture; 4. the viral image of sunflower fields online. The cultural significance of sunflowers is explored, from their mythology to their role in (European) art and agriculture. Finally, the paper questions the idealized worlds promoted by western digital image production and considers which visual stories are told or hidden in the anthropocene.
Khensani Jurczok-de Klerk is an architectural researcher, designer and historian. She is a doctoral fellow at the gta ETH Zürich, focusing on understanding safe space in spatial terms with an interest in visually remembering and foregrounding the forms of kinship that Black foreign women have constructed since the 1970s in Zürich. She is the founder of Matri-Archi(tecture), an association of spatial practitioners dedicated to the development of African spatial education, offering a site for artistic collaboration through design, art and architectural research projects. Through her multidisciplinary approach, Khensani finds educational value in spatial, written and auditory explorations.
Dr. Helena Schmidt is a university lecturer and researcher (post-doc) at the Academy of Fine Arts Vienna. She researches in the fields of digital didactics in art education, digital images and digital justice. Her dissertation, "Vom poor image zu den poor images. Didactics of Digitality in Art Education", supervised by Elke Krasny, was awarded the “Award of Excellence” State Prize for the best dissertations 2023 by the Austrian Federal Ministry of Education, Science and Research and the 2022/23 Award of Appreciation for Scientific Work by the Academy of Fine Arts Vienna.
LOUISA ENGEL works between the theory and practice of art. She studied Fine Art, Ethics and Education at Burg Giebichenstein University of Art and Design and Martin Luther University in Halle (Saale) in Germany, as well as in the Masters programme in Contemporary Art Theory at Goldsmiths University in London. She has worked as an editorial assistant for Texte zur Kunst and as a curatorial assistant at KINDL - Centre for Contemporary Art Berlin. In her research she is interested in the relationship between artistic production and cultural politics, art as social practice and the link between art and knowledge production.
Foto: Louisa Engel
Foto: Harun Farocki, Die Umschulung, 1994, film still (courtesy Antje Ehmann)
Louisa Engel
Re-Educating Infrastructures. The Aesthetics of Democracy Building and Social Market Economy in Post-Socialist Germany
To what extent can aesthetic practices change social and political infrastructures? As socially engaged practices, the arts are developing an ever greater interest in intervening in infrastructures through critical thinking and helping to shape them. At the same time, they are also addressed through cultural policy, for example to democratise social spaces. Infrastructures are no longer only thought of as the material conditions of social spaces but also as the emotional and aesthetic structures. Aesthetic practices, not only reduced to art practices, become an instrument for the management of social space for political and economic purposes. Do the arts then fulfil an educational role?
Starting from these questions, the talk seeks a focus on the post-reunification period in East Germany. It asks how the transition from socialism to capitalism took place through an aesthetic re-education of former GDR citizens in order to ‘democratise’ them with the means of the social market economy.
11.40 – 12.00
Asli Serbest and Mona Mahall (based in Berlin) work together in various collective constellations. Their research-based practice reflects and produces space through various media: exhibitions, installations, scenographies as well as (video) texts, concepts, and publications. Their projects are explorations of particular past, present, and future contexts and aim to negotiate the evolving relationship between architecture, art and the political. They exhibit and publish internationally, among other venues at the Pera Museum Istanbul (2024), E-Flux Screening Room New York (2022), Venice Biennale (2021, 2019, 2014), Tarabya Cultural Academy Istanbul (2022, 2020), Ural Industrial Biennial (2021), Württembergischer Kunstverein Stuttgart (2018), Pinakothek der Moderne Munich (2017), Istanbul Design Biennial (2016), Storefront for Art and Architecture New York (2016, 2015), Art Center Los Angeles (2015), and other venues; in Volume Magazine (2014), Perspecta (2013), The Gradient: Walker Art Center (2013), e-flux journal (2011, 2012), and other online and offline publications. In 2019, they curated the 7th International Sinop Biennial under the title of “A Politics of Location.” They are professors at the University of the Arts Bremen and Bauhaus-University Weimar.
Foto: Mona Mahall and Asli Serbest
Foto: Project: "I‘m not good at catchy one-liners, but who can say no to a laser proposal?”, Istanbul 2023
Otherwises
Clearly, drawing in the field of architecture institutes a framework of conventions and conditions on which spaces are built. It is a power-practice and an instrument of power-knowledge to (re)produce social hierarchies –the more so, the more it is linked to claims of neutrality and universality. The more so, the more it is associated with notions of professionalism and perfection. Of course, this is all (Western) idealism as if there were such a thing as a perfect or universal drawing.
Clearly, an emancipatory politics of (re)presentation will look at drawing differently, first by acknowledging the multitude of "otherwises" of drawing, and second by focusing on minor, peripheral, and marginalized ways of drawing.
In our talk, we will examine several drawings as particular cases, material-historical contexts, and even theoretical devices that sketch a politics and poetics of space through affect and empathy, as well as reciprocity.
11.00 – 11.40
PEOPLE
Mona Mahall / asli Serbest
Xcessive Aesthetics
(Rhiarna Dhaliwal / Emmy Bacharach)
Rituals of Reclaiming Space and Hybrid Realities
How does replication bestow value on certain bodies and spaces? What hierarchies are inherent to architectural systems across the physical and digital realms? How can we work with digital tools to empower, reclaim, reimagine and explode spaces and bodies? Xcessive Aesthetics utilises digital tools such as photogrammetry, 3D modelling, simulation and generative AI to explore the feedback loops between digital and physical worlds and aims to materialise these processes. Through projects ranging from installations to performative workshops, we reclaim and reimagine spaces in the physical and virtual realms from an unapologetically femme perspective, centering our own experiences and bodies to challenge public perceptions of architecture, networks and digital space. Our projects blur boundaries between the physical and digital, landscape and body, mesh and void. We welcome, exploit and play with glitches that can occur across scales, networks and organisations such as datascapes, landscapes and cultural institutions. We confront the entanglement of these spaces and tools within systems of oppression, whilst seeking playful and energetic ways to challenge and rework the narratives of our hybrid existence.
14.00 – 14.40
Foto: Xcessive Aesthetics
Foto: Xcessive Aesthetics
Xcessive Aesthetics is an all-female interdisciplinary design collective exploring data and alternate realities through spatial installations. XA was founded in 2019 with the idea of combining spatial design and digital tools in unconventional ways, on the one hand to explore the hidden biases behind emerging technologies, and on the other to create accessible and playful public installations that spark digital and physical interactions.Xcessive Aesthetics has exhibited installations in major cultural institutions such as the Wellcome Collection (2024) and Victoria and Albert Museum (2022) in London and the Fundación Proa in Buenos Aires (2022), has participated in design festivals such as Transmediale (2023), London Design Festival (2022) and Buenos Aires Architecture Biennial (2022) and has been featured in publications such as Arch+, The Architects’ Journal and Terraforma Journal. Members from the collective currently lead a Bachelors design studio at Design Academy Eindhoven titled Studio Digital Native. XA was founded by six members based in London and internationally.Rhiarna Dhaliwal is a British-Indian spatial designer, researcher and educator based in London. Her work exists at the intersection of environmental geo-politics, technology and visual language. Rhiarna currently co-leads the bachelors design studio, Studio Digital Native at the Design Academy Eindhoven and is co-founder of the all-female design collective Xcessive Aesthetics.Emmy Bacharach is an architect and designer working between infrastructure, installation design and research. Her interests lie at the intersection of spatial design, sound and immersive technologies, with a focus on empathy and post-human imaginaries. Emmy is a co-founder of interdisciplinary design collective Xcessive Aesthetics and has co-led Studio Digital Native within the Design Academy Eindhoven bachelors design course since 2022.
https://xcessiveaesthetics.co/
SOPHIE LINGG
14.40 – 15.00
Queerfeminist art, friendships, social media and patriarchy: challenges and concerns
This lecture examines difficulties concerning the working conditions of queerfeminist artists on social media platforms, focusing on different forms of violence, hate speech, censorship, and discrimination. My project is based on long-term observations within my social media network followed by in-depth interviews with five artists. Alongside a short introduction to the artists and their challenges they face on social media, the presented paper focuses on the epistemic aspects of their experiences with online gender-based violence and on how these issues draw attention on the platforms as well as in academic contexts. My personal acquaintance and friendships with all five artists have impacted our open conversations and my research process, and pose significant methodological and ethical questions with regard to incorporating them into academic writing without exploiting relationships or intimate conversation settings. By applying queerfeminist epistemological theories to media theory the lecture aims to balance the dynamics of community, dimensions of friendship, and academic research. It seeks to discuss online violence without resorting to sensationalism, thereby avoiding the perpetuation of hate speech and aims towards discussions on transformation.
Foto: Sophie Lingg
Foto: Sophie Lingg
Sophie Lingg (she/her) experiments in and researches digitality, digital mass media, and their use for artistic work and art education. Since 2019 she has been working at the Academy of Fine Arts Vienna’s Art and Education Program, where she is currently writing her dissertation on artistic and artistic-activist work on social media (supervised by Elke Krasny). She is co-editor of the book Radicalizing Care: Feminist and Queer Activism in Curating (London: Sternberg Press, 2021). Sophie was part of the Erasmus+ research project Digital Didactics in Art Education didae.eu.
KHENSANI JURZCOK-DE KLERK
remembering through spatial storytelling.
How can architecture be used as a mode of spatial storytelling — excavating, scavenging, fabulating and making sense of the scraps of ‘stable’ archives that only whisper slithers of Black women’s lives in Zürich? How can spatial storytelling affirm and transmit the readily available archives sitting in the mouths of many who have experienced, frequented, lived and manifested space? This offering will focus on the communicative and archival abilities of collage as a methodological tool that draw/s (from) the ‘stable’ references and oral histories orbiting the Treffpunkt Schwarzer Frauen in Zürich (1990-2010) which currently leaves no perceivable spatial imprints of it’s existence, despite being a critical safe space infrastructure for Black foreign women during it’s active years. Drawing, or articulating through collage can be helpful for abstracting elements, encapsulating conditions that are not always fixed in time or scale. On an ontological level, collage is incredibly useful as a subversive tool for resisting controlling images of Black women who remain objectified within dominant architectural archives. This offering is an ongoing attempt to affirm and transmit the lived and spatial qualities that were held in the Treffpunkt Schwarzer Frauen in Zürich.
16.00 – 16.40
Foto: Getrud Vogler, Zürich
Foto: Jurczok1001
Khensani Jurczok-de Klerk is an architectural researcher, designer and historian. She is a doctoral fellow at the gta ETH Zürich, focusing on understanding safe space in spatial terms with an interest in visually remembering and foregrounding the forms of kinship that Black foreign women have constructed since the 1970s in Zürich. She is the founder of Matri-Archi(tecture), an association of spatial practitioners dedicated to the development of African spatial education, offering a site for artistic collaboration through design, art and architectural research projects. Through her multidisciplinary approach, Khensani finds educational value in spatial, written and auditory explorations.
HELENA SCHMIDT
Sunflower Fields ‹Forever›: Iconic Landscapes, Social Media and the Anthropocene
The input examines the presence of sunflower fields on social media as a starting point for critical ecological thinking. It begins with a student's artwork from research on "poor images" (Steyerl 2009), based on selfies in trending sunflower fields. These viral images serve as a basis for critically reflecting on the iconic and hegemonic visualities of landscapes in social media. The analysis covers four areas: 1. the cultural and colonial history of the sunflower; 2. sunflowers in agriculture and ecology; 3. sunflowers in art history and popular culture; 4. the viral image of sunflower fields online. The cultural significance of sunflowers is explored, from their mythology to their role in (European) art and agriculture. Finally, the paper questions the idealized worlds promoted by western digital image production and considers which visual stories are told or hidden in the anthropocene.
16.40 – 17.00
Foto: Sonnenblumenfeld: Helena Schmidt 2024
Foto: Helena Schmidt
Dr. Helena Schmidt is a university lecturer and researcher (post-doc) at the Academy of Fine Arts Vienna. She researches in the fields of digital didactics in art education, digital images and digital justice. Her dissertation, "Vom poor image zu den poor images. Didactics of Digitality in Art Education", supervised by Elke Krasny, was awarded the “Award of Excellence” State Prize for the best dissertations 2023 by the Austrian Federal Ministry of Education, Science and Research and the 2022/23 Award of Appreciation for Scientific Work by the Academy of Fine Arts Vienna.
BERNADETTE KREJS
Foto: Carolina Frank
Bernadette Krejs, PHD, is an architect and researcher based at the Department for Housing and Design at Vienna University of Technology. Her work is situated in a transdisciplinary research field between architecture, housing and visual culture. In her research-led practice, she critically engages with various aesthetic practices as well as politics inscribed within them. She is co-editor and author of numerous books. (Instagram-Wohnen (2023), Lorde for Architecture Students (2023), Vienna: The End of Housing (as a Typology) (2021)). Her work has been published in exhibitions (PLATFORM AUSTRIA - La Biennale di Venezia 2021). As cofounder of the feminist collective Claiming*Spaces she deals with questions of a queer-feminist, intersectional knowledge production in architectural education and co-conceived international conferences in this context (WHOSE HISTORY?, AzW 2022). Together with Max Utech she co-founded the activist research practice Palace of Un/Learning, and collaborated with various intuitions like Fundació Mies van der Rohe Barcelona, Oslo Architecture Triennale, Irish Architecture Foundation Dublin, Viper Gallery Prague, Design Academy Eindhoven, UMPRUM Prague).
https://www.instagram.com/bernadettekrejs/
https://www.claimingspaces.org
https://wohnbau.tuwien.ac.at/en/team/bernadette-krejs
ELKE KRASNY
Foto: Yona Schuh
Elke Krasny, PhD, Professor for Art and Education and Head of the Program Art and Education at the Academy of Fine Arts Vienna. Elke Krasny is a feminist cultural theorist, urban researcher, curator, and author. Her scholarship and her international lectures address ecological and social justice at the global present with a focus on caring practices in architecture, urbanism, curatorial work, and contemporary art.In 2011, Krasny received the Outstanding Artist Award – Women’s Culture. Krasny supervises PhD students working with feminist and queer feminist epistemologies and methodologies in art, architecture, urbanism, and curating. Together with Urska Jurman, she initiated Ecologies of Care. The 2019 exhibition and edited volume Critical Care. Architecture and Urbanism for a Broken Planet, curated and edited together with Angelika Fitz, was published by MIT Press and introduces a care perspective in architecture addressing the anthropogenic conditions of the global present. Together with Angelika Fitz and Marvi Mazhar, she edited the book Yasmeen Lari. Architecture for the Future (MIT Press, 2023) Her book Living with an Infected Planet. Covid-19, Feminism and the Global Frontline of Care introduces feminist worry and feminist hope in order then to develop a feminist cultural theory on pandemic frontline ontologies and feminist recovery plans.
JOANNA ZABIELSKA
Foto: Bilal Alame
Joanna Zabielska (born in Warsaw, living in Vienna) works at the intersection of digital art, exhibition design, architecture and urban planning. After graduating in Spatial Planning at the Vienna University of Technology and in Social Design at the University of Applied Arts Vienna, she expanded her digital skills at Digital Art at the University of Applied Arts Vienna. As a freelance designer, she has collaborated with various curators, offices and institutions, including: MAK - Museum of Applied Arts, Das Metro Kinokulturhaus, Das Wien Museum, Schallaburg, NS-Dokumentationszentrum München, Das Jüdische Museum Augsburg Schwaben, Graz Museum, Museum für Geschichte Graz. As an artist she was supported by SHIFT Basis.Kultur Wien, KÖR- Kunst im öffentlichen Raum Wien, MA7 Stadtteilkultur und Interkulturalität and Foreign Ministry with Austrian Cultural Forums. Currently developing a platform DigitEyes for the digital exhibitions.
https://joannazabielska.com/information
HANNAH NUSSER UND BATJA FERCH
Foto: Hannah Nusser und Batja Ferch
Hannah Nusser and Batja Ferch met during their studies and developed their first joint project as part of the "Palace of Unlearning by Bernadette Krejs and Max Utech". Together, they created a culinary performance about the invisibility of work. In doing so, they were able to combine two of their interests: spatial design and food. Hannah works in urban planning and placemaking as well as a conceptual designer in the food and hospitality sector. She explores forms of coexistence and translates them into food experiences. With her work she wants to contribute to connecting humans and non-humans on a deeper level. For Batja, craft has always been omnipresent, with the working process and exploration of the material as important as the finished work. This strong interest is also evident in the way she approaches edibles, experimenting and refining them.
With the help of Jule Bachstädter.
Marie Gnesda | coordination and homepage
Sinem Firat | CI and graphic design
Franz Ollertz
Laura Huber
student assistants Housing and Design, TU Wien
Mir* Roggen
student assistants Academy of Fine Arts
Marcel Schmitz
student assistants Visual Culture, TU Wien