Vienna 1900

This article positions multidisciplinary artist Friedl Dicker-Brandeis at the center of a web that spans Vienna 1900, the Weimar Bauhaus, and interwar Vienna. Using a network metaphor to read her work, she is understood here as specialist of the ars combinatoria, in which she recombines genre and media in unexpected ways. She translates the language of photograms into painting, ecclesiastical subject matter into a machine aesthetic, adds found objects to abstract paintings, and paints allegories and scenes of distortion in the idiom of New Objectivity, all the while designing stage sets, costumes, modular furniture, toys, and interiors. While she has been the subject of renewed attention, particularly in the design world, much of her fine art has yet to be assessed. She used the idioms of twentieth-century art movements in unusual contexts, some of these very brave: in interwar Vienna, where she created Dadaistic posters to warn of fascism, she was imprisoned and interrogated. Always politically engaged, her interdisciplinary and multimedia approach to art bridged the conceptual divide between the utopian and critical responses to war during the interwar years. Such engagement with both political strains of twentieth-century modernism is rare. After integrating the interdisciplinary lessons of Vienna and the Weimar Bauhaus into her life's work, she shared these lessons with children at Terezín.

This thesis focuses on the architectural production of Red Vienna in 1920s to examine the bourgeois conception of social housing program in a governmental socialist understanding
of housing. Having a structural transformation through the First World War, Vienna became the enclave of Socialist Democrat Party and thereafter underwent radical housing and cultural transformative programs. Within these programs, it was intended to give the working-class the accurate social position by means of provided accessibility to their own private and public spheres.

Among a wide range of housing examples built during the governance of the party, Karl Marx Hof, one of the largest projects, has been chosen to examine the reflections of bourgeois conception of culture. Based on the contradictory discourse and practices in political, architectural and cultural realms, the aim of the research is to redefine the privacy of the dwellings and the public qualities of the common spaces and thereafter to situate the proletarian housing in relation to bourgeois spatial values within the history of domestic space in Vienna.

Johannes Wieninger “There’s a Chinese vase standing in the bookcase” East Asian elements in the late work of Gustav Klimt

in: Sandra Tretter und Peter Weinhäupl (Hrsg): Gustav Klimt -  Atelier Feldmühlgasse 1911-1918. (Reihe Edition Klimt) Wien 2014.

English edition 2016/17, new edition in preperation for autumn 2020


In 1913 the Japanese artist and journalist Kijiro Ohta (1883–1951) visited Vienna with the aim of writing an article on Gustav Klimt for the art magazine Bijutsushinpo (News from the World of Art). He managed to get a recommendation only with the greatest difficulty but in the end succeeded in surmounting the arduous journey to the suburb of Hietzing, several kilometres further west of Schönbrunn, where Klimt had had his studio since 1911. ...

Croatian Embassy in Vienna and Zagreb Modern gallery are commemorating 100th anniversary of Otto Wagner’s death with the exhibition on his influence on Croatian late 19th and early 20th century architecture. The exhibition is held in the former Wagner’s house in Vienna, Rennweg 3, which houses now Croatian Embassy. It will be opened between October 12th and February 10th 2019.
The Exhibition was then transferred to the Bezirksmuseum 3. Landstraße, Vienna, where it was held between February 15th and September 11th, 2019

Im späten 19. Jahrhundert verzeichnete die Stadt Wien innerhalb von nur we-nigen Jahrzehnten ein deutliches Bevölkerungswachstum. Während der Bedarf an Nahrungsmitteln wie Fleisch, Obst oder Gemüse für dieses demographische Wachstum ausreichend gedeckt werden konnte, wurden vor allem zu Beginn der 1890er Jahre seitens der Wiener Bevölkerung nur geringe Mengen an Fisch konsu-miert, wie statistische Aufstellungen des Wiener Magistrats belegen. Verglichen mit anderen Städten war der Fischkonsum der Wiener Bevölkerung so niedrig, dass man sich im Jahre 1897 im Rahmen einer eigens abgehaltenen Approvisio-nierungskonferenz der Probleme des hiesigen Fischmarktes annahm. Ziel dieser Konferenz war es einerseits Ursachen für die ablehnende Haltung der Wiener Be-völkerung gegenüber der Fischware zu eruieren sowie andererseits gleichzeitig Maßnahmen zur Ankurbelung des Fischkonsums zu treffen. Der vorliegende Beitrag greift die bereits 1897 diskutierten Fragestellungen erneut auf und versucht eine kritische Einschätzung bezüglich der Effizienz der durch die Marktkommission getroffenen Maßnahmen vorzunehmen. In diesem Zusammenhang sollen vor allem mögliche Ursachen für die ablehnende Haltung der Wiener Bevölkerung gegenüber der Fischware erörtert werden. Es stellt sich demnach die Frage, inwiefern eine Kombination von Ursachen wie hygienische Mängel, Religion oder Preisgestaltung die Bevölkerung davon abhielt, Fisch zu konsumieren. Wer konnte sich Fisch überhaupt leisten? Welche Vorurteile hatte die Bevölkerung gegenüber der Fischware und welche Rolle spielten Faktoren wie die Verzehrungssteuer oder Marktverhältnisse am Wiener Fischmarkt? Was wurde letztendlich seitens der Marktdirektion unternommen, um den Fischkon-sum zu erhöhen und wie effizient waren die getroffenen Maßnahmen? Um diese Fragestellungen zu beantworten, bezieht sich die vorliegende Arbeit auf das im Wiener Stadt-und Landesarchiv zugängliche Protokoll der Approvisionierungs-konferenz, auf zeitgenössische Publikationen von Anton Krisch, der sich bereits um 1900 mit derselben Problematik auseinandersetzte, sowie auf die vom Statis-tischen Amt der Stadt Wien erhobene Statistiken zum Fischkonsum der Wiener Bevölkerung.

1900 was a remarkable year for science. Several ground-breaking events took place, in physics, biology and psychology. Planck introduced the quantum concept, the work of Mendel was rediscovered, and Sigmund Freud published The Interpretation of Dreams. These events heralded the emergence of completely new areas of inquiry, all of which greatly affected the intellectual landscape of the 20th century, namely quantum physics, genetics and psychoanalysis. What do these developments have in common? Can we discern a family likeness, a basic affinity between them, so that we can use the one to deepen our understanding of the other? One common denominator is that they open up realms of inquiry that are significantly different from the world of everyday experience, namely the realm of elementary particles, of genes and genomes, and of the unconscious. But to what extent can we meaningfully argue, for instance, that the genome is the biological unconscious, and the unconscious the psychic genome? To address these question, I will build on the work of two key intellectual figures who have explored the affinities of these developments in depth, namely Erwin Schrödinger (a quantum physicist and avid reader of Schopenhauer who initiated molecular biology) and Jacques Lacan (who reframed the specificity of psychoanalysis with the help of 20th century science: the era of structural linguistics, but also of quantum physics, molecular biology, bioinformatics and DNA.

מטרתו של מאמר זה היא לספק לקוראים תיאור של וינה 1900 תוך הסתמכול על מקורות ראשוניים שנוצרו על-ידי הווינאים עצמם סביב 1900. סטטיסטיקאים אוסטרים ליקטו חלק מהאינפורמציה המוצגת ואינפורמציה נוספת ניתן למצוא במדריך הטלפון ומסחר הווינאי. ביחד מקורות אלה מספקים לנו חומרים שבעזרתם ניתן לשחזר איך הווינאים עצמם ראו, תיארו והציגו את עירם סביב 1900, איך אפיינו, העריכו ותייגו אותה. בנתונים הסטטיסטיים ובמדריך קיימת השאיפה לכלול הכול, לספק מערך שלם של אינפורמציה. אך, למעשה, הם אינם עושים זאת, ומה שנשאר מחוץ להם איננו אינפורמטיבי או חשוב פחות ממה שנחשב ראוי להיכלל בהם.

Hugo von Hofmannsthal was distinct from the other contemporary Viennese writers. Since Hofmannsthal studied Romanic Literature at the University of Vienna, he could peruse Latin, French, Spanish, Italian, Provençal textes at will. In all likelihood, Ernst Robert Curtius alone could apprehend this well-bred pan-European aspect of Hofmannsthal. This paper analyzes the Hofmannsthal's reception of the Romantic culture, referring to two critical works by Curtius - Zu Hofmannsthals Gedächtnis (1929) and  George, Hofmannsthal und Calderón (1934). Curtius insists that Venice was an Austrian territory between the Napoleon's occupation and Italian unification in the 19th century and meaning of Venice for Hofmannsthal resembles the one that Rome had for Goethe, the Ligurian Riviera for Nietzsche, or Florence for George. Hofmannsthal had a strong interest, probably influenced Walter Pater, in a Venetian Painting Concerto campestre, whose atmosphere a rococo painter Watteau inherited. Though the example of Hofmannsthal, the author of this paper seeks to combine the Venetian aristocratic culture with the rococo the ancient régime in France. It is characteristic of Curtius to attach the importance to Spanish literature in Europe. Although the Spanish baroque dramatists (e.g., Calderón) had an influence on the works of Hofmannsthal, the relationship between Habsburgian Austria and Habsburgian Spain has not been widely discussed until now. He also indicates the catholic and baroque aspects of Paul Claudel in Die literarischen Wegbereiter des neuen Frankreich (1919) that Walter Benjamin highly estimated. We insist on the importance of similar interest to Calderón that Hofmannsthal and Claudel shared and Curtius has pointed out separately. In conclusion, we can indicate the transition of Curtius from aristocratism to mysticism, by comparing these two critical works.

Tra i vari revival che nel corso dell'Ottocento si succedettero nel panorama artistico europeo, quel lo relativo al recupero della decorazione libraria miniata appare come ancora in gran parte da studiare, nonostante i recenti interventi critici abbiano iniziato a gettare luce sul fenomeno. Le ragioni di questo recupero sono varie. La fine delle guerre napoleoniche ed il congresso di Vienna avevano indotto gli animi degli europei, fiaccati dai continui conflitti, a propendere verso un atteggiamento retrospettivo, incline all'apprezzamento delle tradizioni. 1 Inoltre, l'interesse stesso che i nascenti nazionalismi espressero per il Medioevo, sentito come alba generatrice degli stati moderni, funzionò come notevole incentivo per la ricerca, nel proprio patrimonio culturale, degli elementi in grado di connotare al meglio la patria identità. 2 A questo aspetto si saldò la nuova venta-ta di devozione favorita dalla Restaurazione, che restituì tutte le fondazioni religiose precedentemente soppresse agli antichi proprietari, 3 facendo concentrare ulteriormente sull'età di mezzo e suoi bellissimi manoscritti religiosi l'attenzione dell'es tablishment culturale europeo. 4 La miniatura si trovò così ad essere considerata una delle espressioni più autentiche di quei secoli, ›nata‹ dalle ceneri del mondo romano e ›deceduta‹ -o meglio condannata al dilettantismo -nel corso del Sedicesimo secolo. Coordinate cronologiche allettanti per chi, durante il Romanticismo, desiderò riappropriarsi di una tradizione ormai dimenticata. Dopo i primi approcci, coincidenti all'interesse che quei meravigliosi manufatti medievali iniziarono a suscitare nel mercato antiquario dell'epoca, 5 la moda esplose, diffondendosi in gran parte del continente. La riproduzione di mi-* Questo contributo deve molto alla pazienza, alla disponibilità ed alla cortesia di diverse persone:

Klimt looked at me as he showed me this picture and said ‘Japon.’

The Japanese artist Kijiro Ohta visited Gustav Klimt in January 1913, and although he put no pressure on him, Gustav Klimt performed a kind of vowed declaration to the Japanese artist when he said “Japon.”

Der japanische Künstler Kijiro Ohta besucht Gustav Klimt im Jänner 1913, und obwohl er nicht drängt, leistet Gustav Klimt dem Japaner gegenüber einen Art Offenbarungseid: „Japon“.

Was bedeutet es, zu töten? Was bedeutet es, getötet zu werden? Wie wird Töten sag- und sichtbar gemacht? Im Aufschreibesystem von 1900 – zwischen Film, Grammophon und Literatur – werden diese Fragen kulturanthropologisch, medientheoretisch und poetologisch relevant.
Wie das Töten erzählt oder gezeigt wird, hat Einfluss auf poetische Sprache, die Unterscheidung von Mensch und Tier sowie die Materialität von Filmen und Literatur. Wo das Töten sprachlich und bildlich durch diskursive Zuschreibung zum Mord, zur Schlachtung oder zum Opferritual stilisiert wird, erscheinen durch das Ereignis des Tötens Leerstellen, die zwei Erkenntnisse zeitigen:
Erstens ist Töten immer schon kulturell. Es verhandelt das Tötbarmachen von nicht-menschlichen und menschlichen Lebewesen. Porträtiert wird diese Macht des Tötens von zumeist männlichen Cultural Born Killern.
Zweitens zeigt sich, wie mit dem Töten auch etwas anderes gesagt und gezeigt werden kann: Die vorliegende Arbeit weist Poetologien des Tötens nach, die mit tierlichen Stimmen, technischen Geräuschen, und Schriftzeichen, die etablierte Interpretation kanonisierter kultureller Artefakte dekonstruieren.

https://www.verlag-koenigshausen-neumann.de/product_info.php/info/p9437_Cultural-Born-Killers---Poetologie-n--des-T--tens-um-1900---Film-----Medium-----Diskurs--Bd--110-.html/XTCsid/kmoakpeha4rbhj1e5pht26bt17

Apstrakt: Od kanonskog spisa analitičke filozofije do egzistencijalističke sabotaže naučnog pogleda na svet-malo koje kapitalno delo savremene filozofije je postao predmetom tako oprečnih tumačenja kao Vitgenštajnov Tractatus Logico-Philosophi-cus. Ovaj rad pokušava da osvetli značenje Tractatusa polazeći od uvida da je moderni svetonazorski sukob između naučnog prosvetiteljstva i estetskog protiv-prosvetiteljstva obeležio kako istorijski kontekst nastanka knjige, tako i istoriju njene interpretacije. Argumentuje se u prilog pretpostavci da Vitgenštajn pribegava modernističkoj ironiji kako bi primerom samog Tractatusa pokazao iracionalnost prosvetiteljskog uverenja koje obe strane u pomenutom istorijskom, idejnom i egzegetskom sporu dele, a to je da naučni metod iscrpljuje ljudsku racionalnost.
Ključne reči: Ludvig Vitgenštajn, Tractatus Logico-Philosophicus, prosvetitelj-stvo, protiv-prosvetiteljstvo, nauka, umetnost.

António Sousa Ribeiro (Universidade de Coimbra) Um mundo em desagregação? Ordem, violência e o discurso da literature na "Viena de 1900" 1 … the worst is not So long as we can say 'This is the worst'. Shakespeare, King Lear, IV/1 Escolhi esta epígrafe, colhida numa das tragédias mais sombriamente apocalípticas de Shakespeare, pela sua pertinência muito directa para o conjunto das reflexões que aqui pretendo desenvolver. Pertinência, antes de mais, pelo modo ambivalente como se fundem na fala de Edgar os motivos do desespero e da esperança. A linguagem pode exprimir a violência do real, mas, ao fazê-lo, está a dar testemunho de que não foi ainda atingido o limite extremo, a partir do qual só restaria o silêncio. E, no entanto, a linguagem existe e legitima-se justamente nesse movimento através do qual, apesar de tudo, vai assumindo o risco permanente de forçar os limites do que pode ser dito. É nesta capacidade de nomear o inominável -o domínio por excelência do literário -que se situa o núcleo paradoxal da relação entre discurso e violência. Na verdade, por definição, a violência é aquilo que está para além das fronteiras da linguagem, aquilo que se furta à representação. No extremo, a violência não consente a linguagem, mas, sobretudo se experimentada da perspectiva da vítima, admite apenas formas de expressão elementares e inarticuladas como o grito. É assim que, para usar uma distinção de Wittgenstein, a dor enquanto tal não pode ser dita, pode tão-somente ser mostrada. E, no entanto, pode dizer-se desde sempre, a violência foi tema da literatura, da arte da palavra. Isto é, formulado de outro modo, desde sempre a literatura soube 1 O presente ensaio reproduz, com modificações e acrescentos muito pontuais, a lição de Agregação que apresentei, em Julho de 2000, à Universidade de Coimbra. As citações foram todas traduzidas,

Emotions and Literature of the Viennese Modernity refer to one other in an attempt to create a new language of wholeness. The study focuses in this regard on writings of Friedrich Nietzsche, Ernst Mach, Fritz Mauthner, Sigmund Freud, Hugo von Hofmannsthal, Leopold von Andrian, Richard Beer-Hofmann e.a.

Catalogue essay for Stadt der Frauen / City of Women, Belvedere exhibition based on Julie M. Johnson, The Memory Factory: The Forgotten Women Artists of Vienna 1900 (Purdue, 2012)
A short commentary on the historically specific erasure of women artists during the Holocaust and how that has impacted our view of women artists in Vienna 1900; a focus on public works of art that were destroyed

PrimaryText Commentary Berthold Hub Bertho d H ub s Assistant Professor at ETH (Sw ss Federal nstitute ofTechno og/) Zurch, n the Fa.ulty ofArchltecture, nstitute for H story andTheory ofArchiteciure. Our mage ofHermann Bahr (1863 914) the Austrian wrte[ dramatist nove 51, essayist diarin newspaper editor journalist po tical commentator popu ar philosophe[ th eater d redor and dramatn,who was also a critic oftheater art, and cuture s shaped even today bythe contempt with wh ch Kar Kraus regarded him. Kraus,the ed tor of Die Fockei, saw Bahr as the personificatlon ofde.adence and as the quintessence of morlal literary sin a recogniton craving medio.rty someone who goes aong with every fishlon,who ro s along with all the latest trends, a lLrdge olevery{h ng, a know it all who lacked tudgment. Whatever Hermann Bahis persona, inte Lectual, and literary qualties may have been, howeve[therc s no d]sputngthe centr" role that he played

105th Annual Conference, College Art Association (CAA), New York, 15-18 February 2017. Panel: "Erasures and Eradications in Viennese Modernism."

Chairs: Megan Brandow-Faller, City University of New York, Kingsborough; Laura Morowitz, Wagner College. Email(s): [email protected]; [email protected]

During the last two decades Viennese Modernism has exploded in popular culture and academia: in countless exhibitions dedicated to Viennese modernist painting, architecture, and the applied arts, in myriad books on every well-known Viennese designer, and in the “Klimtomania” that covers umbrellas, scarves and shopping bags. Yet the popularity of Viennese Modernism and the commercial “Vienna 1900” industry uneasily co-exists with a series of problematic historiographical erasures and fissures. All too often, the glittering culture of ‘Vienna 1900’ is studied in isolation from the political exigencies of 1938 and thereafter. Even as certain individuals have faded in the shadow of larger Viennese superstars, our panel interrogates the intentional neglect and repression of specific figures, organizations and movements. This panel seeks to widen the field of artists, questions, exhibitions and issues surrounding the heyday of Viennese modernism, from 1890 to the Anschluss. Topics to be explored may include: understudied artists active in Vienna, particularly women and those of minority descent and/or Jewish descent; conflicting and alternative narratives of modernity within the realm of Viennese Modernism; historiographies of Viennese art from the fin-de-siècle through the twentieth century; major exhibitions held in Vienna during the Anschluss; examination of other areas of eradication or obliteration related to Viennese Modernism, such as art historical erasures in the context of postwar Austrian “amnesia.”

Please be sure to submit all correspondence and application materials to both co-chairs by August 30 2016. Potential panelists will be notified no later than 15 September 2016. Please note that all conference participants must be current members of the CAA.

Every proposal should include the following five items:
1. Completed session participation proposal form, located at the
end of this brochure (http://www.collegeart.org/pdf/2017-call-for-participation.pdf).
Make sure your name appears EXACTLY as
you would like it listed in the conference program and conference
website. Make sure your affiliation appears as the official,
recognized name of your institution and do not list multiple affiliations.
No changes will be accepted after September 15, 2016.
2. Paper abstract (strict 250 word maximum) in the form of one
double-spaced, typed page with final title for paper at top of
page. Make sure your paper title and abstract appear EXACTLY as
you would like them published in the conference program and
Abstracts 2017; no changes will be accepted from you or your
session chairs after September 15, 2016.
3. Letter explaining your interest, expertise in the topic, and CAA
membership status (all participants must be current members
through February 18, 2017; inactive or lapsed members will be
pulled from participation by December).
4. Shortened CV with home and office mailing addresses, email address,
and phone and fax numbers. Include summer address and
telephone number, if applicable.

Full guidelines for participation can be found at: http://www.collegeart.org/pdf/2017-call-for-participation.pdf

Thanks to Prof. Tom Hurka and Dr. Steven Beller. All mistakes are mine alone.

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„Heraus mit dem Frauenwahlrecht!“: Wien am 19. 3. 1911, 20 000 Frauen fordern das Frauenwahlrecht ein, demonstrieren für Kinderschutz und gleiche Bezahlung. Als probates Mittel der Agitation für die Ziele der (sozialistischen) Frauenbewegung wurde zusätzlich zu der Festveranstaltung am Parkring ein Protestmarsch entlang des Prachtboulevards der Hauptstadt abgehalten. Diese Strategie der Raumnahme sorgte nicht nur für eine höhere Öffentlichkeitswirkung, sie zielte auch auf die symbolische Ebene, denn die Frauen forderten BürgerInnenrechte im „öffentlichen“ Raum. Aber wie ist dieser „öffentliche“ Raum beschaffen? Die Wiener Ringstraße, entlang der die wichtigsten staatlichen Institutionen mit ihren Prachtbauten angesiedelt sind, sich die teuersten Palais der gesellschaftlichen Elite befinden, ist der Inbegriff von Herrschaftsarchitektur. Er bildet soziale Realitäten ab – und damit auch die „Geschlechterordnung“.
Wie ist nun dieser urbane Raum als Verkörperung eines Gender- Diskurses lesbar? (Wie) verändern sich seine Bezüge, die Raumordnung, wenn eine Frauenrechts-Demonstration sich durch ihn hindurch bewegt? Und was bedeutet dies für die Strategie der „Raumnahme“? Am Beispiel des Wiener „Kaiserforums“, dem Zentrum der Habsburgmonarchie, werden diese Fragen erörtert.

Struck down by the Spanish Flu in 1918, aged just 28, in his short life Egon Schiele created over 3000 drawings and paintings, many of them self-portraits and nudes. His sexually frank images shocked audiences in early 20th-century Vienna and still challenge us today. Are these the images of empowered young women in control of their sexual lives, or the impoverished and vulnerable, using their bodies to survive? Directed by Teresa Griffiths, known for her thought-provoking documentaries on women artists and writers, the film both celebrates Schiele’s remarkable artistic achievements and debates the controversies around his work.