The editions sold by the Belvedere 21 are a selection of exclusive works – both unique individual productions and limited multiple copies – by up-and-coming as well as internationally renowned artists who live and work in Austria. All editions are developed in the context of solo exhibitions or special projects at the Belvedere 21. We would like to thank the artists involved for their valuable support.
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editionen@belvedere.at
Attersee
Torte mit Speisekugeln und Speiseblau (Backe, backe Kuchen), 1966, 2018
12-colour print on handmade paperSize: 50 × 50 cm on 60 × 60 cm, framed
Number of copies: 50 + 20 a.p.
signed, dated, numbered
€ 490 incl. VAT.
Based on: Torte mit Speisekugeln und Speiseblau, 1966
Collage and mixed media on cardboard
57 × 57 cm
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Christian Ludwig Attersee
Over the course of almost sixty years, Christian Ludwig Attersee has created a multifaceted oeuvre with a unique visual language. From his Würfel-BH to his Prothesenalphabet, from his wine label to the Attersee sausage, from his postage stamp to the Attersee house, the Viennese artist has turned his name into his trademark and ‘atterseeised’ his world. Pop, humour and irony characterise his work, which draws on the subjects of his life like weather, sailing, nature, music and language. Issues of beauty and eroticism likewise permeate Attersee’s entire oeuvre.
The exhibition Feuerstelle, at the Belvedere 21 from 1 February to 18 August 2019, shows all facets of Attersee’s oeuvre, focusing particularly on the first twenty years of his creative career. The subject of the edition, chosen by the artist himself, is also in keeping with this focus. For the Belvedere 21 Christian Ludwig Attersee has selected a colour print based on a collage of his early works. The original work, from 1966 and entitled Torte mit Speisekugeln und Speiseblau (Backe, backe Kuchen), was made during his time in Berlin in 1965/66. Gnawing hunger was his constant companion there, which led him to a visual appeasement through collages of food imagery.
Over the course of almost sixty years, Christian Ludwig Attersee has created a multifaceted oeuvre with a unique visual language. From his Würfel-BH to his Prothesenalphabet, from his wine label to the Attersee sausage, from his postage stamp to the Attersee house, the Viennese artist has turned his name into his trademark and ‘atterseeised’ his world. Pop, humour and irony characterise his work, which draws on the subjects of his life like weather, sailing, nature, music and language. Issues of beauty and eroticism likewise permeate Attersee’s entire oeuvre.
The exhibition Feuerstelle, at the Belvedere 21 from 1 February to 18 August 2019, shows all facets of Attersee’s oeuvre, focusing particularly on the first twenty years of his creative career. The subject of the edition, chosen by the artist himself, is also in keeping with this focus. For the Belvedere 21 Christian Ludwig Attersee has selected a colour print based on a collage of his early works. The original work, from 1966 and entitled Torte mit Speisekugeln und Speiseblau (Backe, backe Kuchen), was made during his time in Berlin in 1965/66. Gnawing hunger was his constant companion there, which led him to a visual appeasement through collages of food imagery.
Poly Apfelbaum
A Potential, 2018
Enamel on metalSize: 22.9 x 30.5 cm
Number of copies: 25
signed, dated, numbered
€ 990 incl. VAT.
€ 792 incl. VAT. (CERCLE Members)
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Polly Apfelbaum
Polly Apfelbaum’s multifaceted oeuvre breaks down the barriers between sculpture, painting and installation. Stylistically, the artist is influenced by Bauhaus Modernism, Minimal Art, Abstract Expressionism and Pop Art. She draws on a plethora of media like ceramic, textiles, paper and handwoven carpets to break down the barriers between art and craft. Apfelbaum is interested in overcoming the domestic and feminine ‘stigma’ of arts and crafts. Since the 1990s, Polly Apfelbaum has used the floor as a surface on which to present her ‘Fallen Paintings’. Her intent exploration of space, colour, form and materiality finds its logical progression in her show at the Belvedere 21, from 6 September 2018 to 13 January 2019.To commemorate the exhibition Polly Apfelbaum. Happiness Runs, the edition A Potential was developed in close collaboration with the artist. This edition revisits the subject of Polly Apfelbaum’s 2017 work The Potential of Women and translates it into a colourful composition in enamel on metal. The subject shows the front view of an abstract female head with a black bob hairstyle. It references the illustration for a symposium in 1963 that explored the emancipation of women but completely neglected the current issues and demands of 1960s’ feminism. Over fifty years later, Polly Apfelbaum borrowed both its graphic subject and its title: it served as her starting point to shine a light on the historical and contemporary dimensions of equality.
Rachel Whiteread
Vienna, 2018
Fine-art inkjet print, framedSize: 25 x 33.7 cm
Number of copies: 50 + 10 a.p.
€ 1.760 incl. VAT.
€ 1.410 incl. VAT. (CERCLE Members)
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Rachel Whiteread
For more than thirty years, Rachel Whiteread (b. 1963) has been materializing the intangible. Her work makes visible that which has disappeared, awakening memories of things irretrievably lost.On the occasion of the comprehensive Rachel Whiteread exhibition at the Belvedere 21, the edition Vienna has been developed in close cooperation with the artist. Each number is a framed direct-from-original print of a punched postcard work created by the artist to reflect the special position that her art occupies in Vienna. The postcard shows Whiteread's Holocaust Monument, which has stood on the city square Judenplatz since the year 2000. The monument depicts the negative space of a fictive library. While the artist's earlier works of this sort generally are casts of real hollow cavities, the "impression" of invisible exterior space is of relevance in this work. Those who visit it symbolically lay down at the monument their thoughts, memories and experiences relating to the Holocaust. Rachel Whiteread captures this invisible thought space surrounding the Holocaust Monument in her postcard, recalling to memory the disappearance of the Jewish victims of the Shoah in Austria.
Vienna is presented in 2018 in a limited edition of 50 + 10 a.p. Each print has been numbered, dated and signed in the artist's own hand. The 25 x 33.7 cm prints are framed in white, and beginning on 6 March they are available in the Salon für Kunstbuch at the Belvedere 21.
Günter Brus
Von nirgendwo her bis irgendwo hin, 2018
Book (in German) Von nirgendwo her bis irgendwo hin(148 pages, with 28 illustrations by the author, hand-signed by the artist)
including an original drawing
(felt-tip pen, dimensions: 18.5 x 12.5 cm, in a passe-partout)
Linen portfolio, size: 30 x 40 cm
Number of copies: 28
signed
€ 700 incl. VAT.
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Günter Brus
As one of the most significant pioneers of performance art, Günter Brus (b. 1938) made the body into the site of artistic explorations during the 1960s that were highly unsettling. In 1970 Brus turned away from Actionist art, increasingly devoting his attention to drawing, his "picture-poems", and theatre.On the occasion of the opening of the major retrospective at Belvedere 21, the versatile Styrian artist also presented the book Von nirgendwo her bis irgendwo hin ("From Nowhere to Somewhere"), published by Jung and Jung. Employing all the resources of his inexhaustible fantasy, Günter Brus uses words and pictures to put the reality of morality and character to the test, letting the truth emerge in the end with the help of humor. In more than 80 stories, illustrated by 28 drawings, the author looks at various annoyances, trifles, surprises and catastrophes, retelling each in an anecdote and then setting it off center in a concluding rhymed quatrain.
Now a special limited edition of the book Von nirgendwo her bis irgendwo hin is available in the Salon für Kunstbuch at Belvedere 21. It is published in an edition of 28, with each copy signed personally by Brus and including an original drawing by the author. The price is EUR 700.
Erwin Wurm
Hanging Pullover, 2017
Cotton, polyester Clothing sizes S–XL
Number of copies: 25 + 5 AP
signed, dated, numbered
Price: € 500 incl. VAT.
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Erwin Wurm
In the late 1980s, Erwin Wurm (* 1954) started to use items of clothing as the source material for his sculptures. He pulled jackets, trousers, shirts and other items over cubes and cylinders. The works thrive on the contrast between their relationship to the human body and the dissociation caused by being forced over a geometric shape. In 1990 this developed into the Hanging Pullovers, which are no longer attached to an object, but rather hang on the wall like pictures, while also taking on a sculptural quality as a result of the specific way in which they are folded. Conversely, items of clothing are also folded and placed in boxes.In 2017 these works were accompanied by instructions for the first time, making it possible for the viewer to understand the folding process with the aid of drawings and comments. In these clothing works, Wurm on the one hand points to a classic sculptural method, transforming a practical everyday object into a work of art by robbing it of its function. At the same time, he shifts the focus away from the object itself and towards the sculptural process of creating, which he potentially even transfers to the recipient.
As part of his solo show Performative Sculptures and the subsequent group exhibition Duet with Artist, in 2017 Erwin Wurm reinterpreted a Hanging Pullover as an edition for the 21er Haus (now Belvedere 21).
Roland Kollnitz / Hermann Bayer
Chances Acquarintance, 2017
Carton with 5 parts plus nailSize: 3 x 23 x 32,5 cm
Number of copies: 150 numbered copies
€ 50 incl. VAT.
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Roland Kollnitz / Hermann Bayer
Roland Kollnitz (* 1972) explores the poetry of space in the broadest sense. His work is characterised by a sensitive approach to materials of widely varying quality. Kollnitz analyses and changes the architectural space to demonstrate in the best possible way the relationship that connects his individual sculptures and to draw attention to structural connections with Bayer’s painting. Hermann Bayer (1936–2012) is still largely unknown, even though the quality of his oeuvre deserves a better status in the art world. In his multifaceted pictures, the artist positions different stylistic features from modern painting alongside each other in an isolated way and then connects them to create an abstract world of forms.The edition Roland Kollnitz / Hermann Bayer – Chance Acquaintance came about to mark the exhibition of the same name, which opened in March 2017 at the 21er Haus (now Belvedere 21). The show succeeded in connecting a forgotten position from the 1970s avant-garde with the work of a contemporary artist. A project that encourages an exciting dialogue between Bayer’s two-dimensional works and Kollnitz’ installations.
The work is available in a limited edition of 150 numbered copies. A silk-screened grey cardboard box contains three booklets in German and English with numerous colour illustrations, an accordion book with views of the exhibition, an art print and a nail in a glassine envelope.
Christoph Meier & Salvatore Viviano
untitled (Marcel), 2016
AluminiumSize: 59 cm x 27,7 cm
Number of copies: 8 + 2 a.p.
signed
€ 1.200 incl. VAT.
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Christoph Meier & Salvatore Viviano
For seven consecutive winters, the Belvedere invited young artists to explore the topic of Christmas in the context of a competition. In 2016 Christoph Meier and Salvatore Viviano were chosen, and they developed untitled (Marcel).
While the Belvedere Christmas tree was being set up in 2016, the two artists designed an exclusive edition, which – like the installation of the same name, untitled (Marcel) – makes reference to an iconic work in the history of art. The bottle drying rack is firmly fixed in the minds of the viewers as both a practical object and as a famous ready-made by Duchamp.
With untitled (Marcel) Christoph Meier and Salvatore Viviano make reference to these associations. Furthermore, they add further levels of interpretation by monumentalising the object, by its implicit reference to Christmas and by its site-specific context in the baroque Sala terrena. The question of the connection between everyday object – idea – artwork is central to this work.
Oswald Oberhuber
Column, 2016
Aluminium, shaped, anodizedSize: 18 × 7 × 6 cm
Number of copies: 11 + 3 a.p.
Signature: hallmarked
€ 1.000 incl. VAT.
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Oswald Oberhuber
Oswald Oberhuber (* 1931) is considered a pioneer of informal art in Austria. This branch of abstract art aims to completely dissolve form in a spontaneous, subconscious creative process. By translating these principles from painting into his concept of ‘informal sculpture’, the artist also made a unique contribution in the international context. His work represents permanent change and hence a radical break with the notion of a uniform, stylistically consistent oeuvre.In spring 2016 the 21er Haus (now Belvedere 21) presented one of the most comprehensive monographic shows to date on Oswald Oberhuber. It showed works from the late 1940s to the present day which reflected the variety of media used, including major works from all creative periods: from informal sculpture, painting, collage, assemblage and sculpture to language and number pictures, big fabric works and drawings, the latter being a constant thread running through Oberhuber’s oeuvre.
To mark his comprehensive monographic show at the 21er Haus (now Belvedere 21), Oberhuber produced the edition Column. This edition takes up a subject from his so-called furniture sculptures, a central group of works by the artist from the 1980s/1990s. Made of aluminium, the object illustrates Oberhuber’s exploration of the fundamental forms and visual vocabulary of classical architecture.
Manfred Erjautz
Gefangen in der Gegenwart, 2015
Porcelain, Transfer printingSize: 10,5 x 15,5 cm
Number of copies: 80 + 20 a.p.
€ 29 incl. VAT.
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Manfred Erjautz
Manfred Erjautz, born 1966, studied between 1985 and 1990 at the Academy of Fine Arts in Vienna with Bruno Gironcoli. He is a member of the Vienna Secession and the Forum Stadtpark.
In the wake of works by gelatin (2010), Fabian Seiz (2011), Eva Grubinger (2012), Constantin Luser (2013), and Verena Dengler (2014), in 2015 Erjautz presented the Christmas installation Under the Weight of Light at the Belvedere. Parallel with that presentation was another work by the artist shown in the Palace Garden, explicitly created for the exterior space: a snowman carved from stone, symbolizing not only a particular season but also memories and the complexities of transience.
Manfred Erjautz’s Christmas edition of porcelain cups and saucers bears the same name and motif as his sculpture: Trapped in the Present. Just as with the original, the edition addresses the phenomenon of time and hidden paradox. The artistic process has put an end to the snowman’s potential ephemeral existence, ultimately trapping him in the present.
Hans Weigand
Untitled, 2015
Woodblock print on paperSize: 78.5 x 53.5 cm
Number of copies: 25 + 5 AP
unframed, signed and dated
€ 450 incl. VAT.
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Hans Weigand
Hans Weigand (* 1954) adopted the principle of ‘permanent change in art’ in the tradition of Oswald Oberhuber. His artistic strategy is based on picking up on banal everyday phenomena and lifestyles and humorously manipulating and revising their design vocabulary. In the process, he links photography and painting with video, music, performance, literature and ever new experimental areas.
With the exhibition Surfing, the 21er Haus (now Belvedere 21) turned its attention to the wide-ranging work of the Tirolean artist in summer 2015. The show presented over one hundred works from forty years of creativity, ranging from Weigand’s early photographic works and his collaborative film projects to his lampshade designs and the large-format paintings that combine elements of printing, painting and the digital. Furthermore, Weigand developed an exhibition design that referenced the unique architectural structure of the building as well as wood as a construction material.
This edition comprises thirty prints by Hans Weigand that connect the woodblock printing technique, which is so typical of the artist and is inspired by Japanese woodcuts, with a kind of sign language. Using three different colours, Weigand places several handprints next to each other on paper.
Verena Dengler
Merry HanuKwanzMas!, 2014
Acrylic glass & LacquerDiameter: 15 cm
Number of copies: 100 + 20 a.p.
€ 29 incl. VAT.
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Verena Dengler
Verena Dengler is a master of trenchant allusions. She pieces together images, sculptures, textiles and found objects into a poetic cosmos: historical and political details combine with reflections on the economic conditions of artistic existence, art historical genealogies with quotations from popular culture.
Christmas is not the only festival celebrated in December: the Jewish festival of Hanukkah and the pan-African festival of Kwanzaa also fall in the same month. Under the motto ‘Happy HanuKwanzMas!’ Verena Dengler’s Christmas installation at the Belvedere combined Jewish, pan-African and Christian symbolism. Dengler appropriates the tree and the associated cultural techniques to visualise the construction of traditions as well as languages of form. The contexts of popular culture and neologisms play as much of a role in this as does the juxtaposition of mass production and unique work of art.
The corresponding Christmas edition by Verena Dengler is a hanging object signed by the artist and made of transparent acrylic glass that combines motifs of the Christmas tree and the Star of David and is decorated individually by the artist in the colours of the pan-African Kwanzaa.
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Peter Weibel
The media artist, actor, theorist, musician and museum director Peter Weibel (* 1944) became known in the 1960s and 1970s as the Austrian Rebel. His unusual creative work revolves around topics such as the mechanisms of perception and thought; the private world of appliances; the crisis of representation, the image and the museum; the relationship between art, politics and the economy; and the conditions of the operating system that is art.A retrospective at the 21er Haus (now Belvedere 21) in winter 2014/15 displayed the individual chapters of Weibel’s artistic work – to a certain extent an Orbis Sensualium Pictus. Designed by curator Alfred Weidinger, the show forged a bridge between his Actionist works, numerous videos and brand-new explorations of the possibilities of media-based illumination and obfuscation.
Peter Weibel is not only a media rebel, but also an enthusiastic hat-wearer. In cooperation with the hat makers Mühlbauer and together with the 21er Haus (now Belvedere 21), he created a hat that bears his name.
Constantin Luser
Planet, 2013
Glass, Fluorescent colourDiameter: 8 cm
Number of copies: 100 + 20 a.p.
€ 29 incl. VAT.
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Constantin Luser
Constantin Luser (* 1976 in Graz) lives and works in Vienna. His drawings are geographic realisations of thoughts, technically complex systems furnished with several levels comprising words, numbers, symbols, abstract and figurative elements. Luser’s visual reference to computer graphics creates an implicit connection to digital information processing and attracts attention thanks to a fine and precise linearity that defines levels, develops structures, establishes relationships and facilitates orientation.The Belvedere first showed Luser’s works in the exhibition Clouds of Action in 2008 at the Augarten Contemporary. In 2013 he developed the Belvedere’s Christmas tree in the form of a playable sound object that could be experienced in the exciting interdependence between sculpture and instrument, visual and auditory art. This complex construction builds on the classification of a plucked instrument. Horizontal strings are connected to pickups and audio systems that amplify the sounds produced by plucking the strings and carry them far into the space.
For the limited Christmas edition, Luser applied phosphorescent paint to the inside of transparent glass baubles, which – like sparkling miniature planets – radiate a mild neon shimmer into the dark and intentionally compete with classic Christmas candlelight.
Franz Graf
fragmente, 2014
Collages of paper cuttings, graphite, plastic sheets, ink and printing on paper, welded, between glassSize: 43 x 29 cm
Number of copies: 15 unique copies, signed and dated
In a special frame
€ 880 incl. VAT.
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Franz Graf
Franz Graf (* 1954) lives and works in Vienna and the Waldviertel, Lower Austria. His pictures are black and white, figurative and abstractly ornamental, often based on circles and enhanced with letters, scraps of conversations and quotations – an art of material poetry. Graf interleaves drawings, photographs, audio and canvas works, prints and everyday objects to create open systems that are more aesthetic experiential spaces than multimedia installations.
For the spring 2014 exhibition at the 21er Haus (now Belvedere 21), Graf produced a new series of works that was contrasted with works by international and national contemporary artists as well as works from the Belvedere’s and the artist’s own collection. The exhibition space became a kind of stage on which Franz Graf constantly expanded his installation and where performances and collaborative art productions took place throughout the duration of the exhibition.
Franz Graf conceived a special edition for the 21er Haus (now Belvedere 21): fifteen unique works, variations of his signature toying with black and white, the figurative and the abstractly ornamental. They stem from Graf’s typical vocabulary, yet with them he has introduced a new collage technique to his oeuvre. Furthermore, the fragments used in these works are pieces of drawings, prints and paper cuttings that arose from planning his exhibition at the 21er Haus (now Belvedere 21).
Ursula Mayer
The Unbegotten, 2013
C-Print
Size: 60 x 40 cm
Number of copies: 25 + 5 a.p.
Photo: Hannes Böck
unframed, unlaminated
€ 580 incl. VAT.
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Ursula Mayer
Ursula Mayer (* 1970) lives and works in London and Vienna. In her work, she explores strategies of filmic pictorial composition in which social norms are cemented in order to lay bare, change and question these conventional images by dissecting the filmic language in her construction. Her films have been shown at international film festivals including Locarno, Oberhausen and Rotterdam.In winter 2013/14, Ursula Mayer presented a phase of her work at the 21er Haus (now Belvedere 21) in which subjects such as neoliberal identity, consumer culture in a post-capitalist society and their forerunners are discussed. Beginning with sources from film, philosophy, politics and culture, Mayer rearranged text and image material from the history of ideas and used this to develop a complex network of autonomous statements and concepts.
Ursula Mayer created the photographic edition The Unbegotten exclusively for the 21er Haus (now Belvedere 21). Twenty-five copies are available. The transgender model Valentijn de Hingh and the musician JD Samson meet in a sculpture by Bruno Gironcoli. With his series The Unborn, Gironcoli created sculptures that are neither male nor female, but rather are comprised of a variety of pansexual bodies and machine-like parts.
Clegg & Guttmann
Small Frozen Ribs, 2007/2013
C-Print
Size: 30 x 50 cm
Number of copies: 25 + 5 a.p.
unframed, unlaminated
€ 385 incl. VAT.
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Clegg & Guttmann
Michael Clegg (* 1957 in Dublin) and Martin Guttmann (* 1957 in Jerusalem) live and work as an artistic duo in New York, Berlin and Vienna. Clegg & Guttmann explore social structures, power relations and their historical backgrounds.The artistic duo created a photographic edition in early 2013 as part of the 21er Haus (now Belvedere 21) exhibition Photos: Points of view in Austrian Photography from the 1930s until today. The exhibition revolved around the question ‘What is the current status of Austrian photography, and where is it going?’ Three basic motifs underlay the selection of works: things, people and photography itself. Historical to contemporary still life photography looks clearly at everyday objects and not least reflects a retreat into the private sphere.
Clegg & Guttmann see their still lifes of meat as a humorous portrait of Austria and Austrian art history – from the shimmering gold leaf in Gustav Klimt’s paintings to the slaughtered animals of the Viennese Actionists. The silver materiality is likewise a melancholic reference to photography itself and to a time when silver gelatine prints were still produced by hand.
Eva Grubinger
Untitled, 2012
PotteryDiameter: 8 cm
Number of copies: 100 + 20 a.p.
€ 29 incl. VAT.
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Eva Grubinger
The sculptor and installation artist Eva Grubinger (* 1970 in Salzburg) lives and works in Berlin. She was professor of Sculpture – Transmedial Space at the University of Art and Design Linz, Austria, and is currently visiting professor at the Kunstakademie Düsseldorf. Her main interest is objects’ semiotic potential.A monumental black Christmas bauble made of polyethylene and designed by Eva Grubinger served as the Belvedere Christmas tree in 2012. On the shiny black surface – an allusion to Claude glass, a black pocket mirror that was widespread during the baroque period – an iridescent interplay of light and colour emerged that absorbed the painting into the sculpture.
Eva Grubinger’s Christmas bauble can also be taken home: a limited edition made of black glazed ceramic is available in a manageable format. The object combines everyday objectivity and decor – supplemented by reflection on perception, its history and its own mediality.
Monika Baer
Untitled, 2008
Cardboard, Magazine clipping, Crayon, framedSize: 28 x 23,9 cm
Number of copies: 15 + 4 e.a. Original
€ 750 incl. VAT.
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Form und Grund I
Limited Edition
In her images, Monika Baer confronts object and effect, precise form placement and spontaneity, thereby declining painterly linguistic forms. Thomas Eggerer makes social fabric the starting point of his collages and images, which connect body shapes with architectural façades, and graphically dissolved surfaces with textiles or movements. Amelie von Wulffen’s works pursue the tedious links between objects, architecture, actions and experiences.What Wulffen, Baer and Eggerer have in common is their interest in memory. Painting as a storage device becomes part of their artistic discourse. Questioning the conventions of image-making is equally as important as reflecting on the associated rhetoric.
Amelie von Wulffen, Monika Baer and Thomas Eggerer produced this special edition in 2008 on the occasion of their joint exhibition Form and Matter at the Augarten Contemporary. The Belvedere showed paintings and collages there by the three artists, who explored the web of relationships between body and space.
Thomas Eggerer
Run River, 2008
OffsetprintSize: 73 x 50 cm
Number of copies: 15 + 6 e.a.
€ 750 incl. VAT.
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Form und Grund I
Limited Edition
Thomas Eggerer makes social fabric the starting point of his collages and images, which connect body shapes with architectural façades, and graphically dissolved surfaces with textiles or movements. In her images, Monika Baer confronts object and effect, precise form placement and spontaneity, thereby declining painterly linguistic forms. Amelie von Wulffen’s works pursue the tedious links between objects, architecture, actions and experiences.What Wulffen, Baer and Eggerer have in common is their interest in memory. Painting as a storage device becomes part of their artistic discourse. Questioning the conventions of image-making is equally as important as reflecting on the associated rhetoric.
Amelie von Wulffen, Monika Baer and Thomas Eggerer produced this special edition in 2008 on the occasion of their joint exhibition Form and Matter at the Augarten Contemporary. The Belvedere showed paintings and collages there by the three artists, who explored the web of relationships between body and space.