Angewandte Festival

27 –30 Jun, 11:00–21:00


evidence raum


Salon de Passage #5

Der weiße Hintergrund

Threads of Life

Angewandte Festival is around the corner. From 27–30 Jun we offer extended opening hours: 11:00–21:00 and host different departments with their projects.

Come see the new exhibition evidence raum by visiting professor Shaheen Merali and Ramesch Daha, president of Vienna Secession, opening Tuesday, at 11:00!
You can also find Cabriobeet in front of Otto Wagner-Postsparkasse, at the place we initially planned to create our AIL Park Lab (Grätzloase), but unfortunately did not get approval. And of course Café Exchange is also open for you, serving best iced coffees. See you around!

Find all details of the AIL program below and the whole program of the festival here

And please note: AIL will be open till end of July and is on Summer Break in August.


Opening: 27 Jun 2023, 11:00

Running: 27 Jun 2023 – 14 Jul 2023

evidence raum

Large-scale series of installations showcasing the surmountable provocations of our times by Shaheen Merali and Ramesch Daha

An enquiry about practices, strategies, and forums for an audience to move beyond the realm of public authority and corporate investment and to find evidence in the fragility of personal narratives and the place of collections and archives from which both artists produce and reproduce.

EXHIBITION OPENING HOURS: Mon, Tue, Wed, Fri: 13:00–18:00, Thu 13:00–20:00

evidence raum, is a large-scale series of installations showcasing the surmountable provocations of our times. evidence raum provides a revelatory analysis of the forces of narratives that are currently both present and absent.

evidence raum refers to the interconnectedness of events seen through the modern media of communication and designed practices. By situating a combination of histories and landmark narratives from diverse sources, including cinema, exhibitions and political events, evidence raum presents popular and esoteric viewpoints from ‘high and low culture’ inclusive of northern and southern worlds which do not always find themselves on the same plane yet together make much more sense in reality. To exist side by side, in an intermediality overlapping and competing for our attention to make us question existing narratives.

Our temporal heritage is continued in the fictional task of progress, which carries its relationship to both shame and fame. We have become accustomed to partial knowledge, the other half of the story is never told. Who built the Gardens of Babylon or cleaned the roads and the parks that provided the freedom in which to express your right to demonstrate? What is unfolding is a relationship of images to narratives that had been hidden.The posters, the prints, the campaign leaflets, which collectively made us into eager participants in the marches/festivities of the street, are visual tableaux, floating through our public spaces and into our minds and heart. Yet, we now feel we have been gaslit by all histories, which were formerly divided into the ‘left’ and the ‘right’.

Each pillar in the evidence raum represents a way of working with the world and a strategy for understanding the role of culture. Together, the seven pillars present an eclectic collection of ephemeral material that has been used to coordinate events, ambitions, products, suppliers of books, records, films, exhibitions, knowledge, political change, and performances/events. Both Merali’s and Daha’s collections and ambitions are to re-represent the entangled world by reworking the dimensions and the materials’ presentation through collage or printing technologies. By presenting them on these columns, the aim is to produce an unusual meeting of attention (decolonizing and mindfulness).

This attention allows both artists to present the structural negotiations present in the graphic world, designed to distribute subversion, anti-propaganda assumptions, marginal narratives, even self-­aggrandizement. The installation argues against flattening information in the current archival turn. Here we refer to the social phenomenon of general exhibition-making that too easily categorizes ethically charged positions. Rather, the curatorial emerges as a fulcrum, stating the position mainly of those working against racial, gender, and class capitalism, yet also profiling that which remains undefined.

The five columns by Shaheen Merali and to a certain extent, the OSPAAL vitrines – bring together the urgent ways that posters from vast human activity mainly in western Europe (and the southern world) are designed to propel its potential audience to rush through red traffic lights and eat good dinners in haste, not to miss the opening sequence of a film screening or to be at the head of a protest march. These events have in turn successfully made internationalists out of thousands of regionalists.

Choices made in installing are primarily intuitive but driven by challenging the perceived authority of how art found in national archives is made in the sesternised institution, operating to implement the whims of the country. In trying to interpret its violent legacy as civilizing, we remain driven by memory-obsessed times, envy spreading worldwide, and believe that the ultimate horizon is in referencing western discourses. Here we encounter the converging multiple interests that inevitably favour inequity, allowing for the continuity of sweatshop labourers and poverty wages.

We revel from below in the majesty of billboards and throughout the summer and winter months keenly seek the film trailers—the forthcoming wave of narratives that seek our attention. Disney, Nike, Toyota, Vogue and Prada have become nouns, suffixes for lifestyles; here the transmissions from the empires have become custodians of immense wealth—trusted, collected and bigger than house style as they edge towards mimical politics.

Ramesch Daha’s multi-layered memorial ­Eisenerz 1945 (art in public space project, positioned in Eisenerz, Steiermark) is dedicated to the Hungarian Jews who became victims of the Eisenerz Volkssturm on the Präbichl in Styria in April 1945. Daha approaches this historical setting in a specifically conceptual way and positions herself as the reflector of an unspeakably violent crime. By replacing the picture postcards and texts with a blueprint, both the potential and continuation of a dormant matrix as well as the history and memory of the place and its people become visible, i.e. the personal imprints of different generations as well as the clash of different realities.

Together the seven cylindrical columns present the evidence raum, as an enquiry about practices, strategies, and forums for an audience to move beyond the realm of public authority and corporate investment and to find evidence in the fragility of personal narratives and the place of collections and archives from which both artists produce and reproduce.

In addition, eight monitors each present one of the recordings of the online panels of pax praxis that questioned the modalities of:

performance as movement (event 1)
Vânia Gala, Choy Kai Fa, Narendra Pachkhede

the lumbung movement (event 2)
Ethel Brooks on behalf of RomaMoma, Christopher Cozier on behalf of Alice Yard, Vidisha-Fadesha and Shaunak Mahbubani on behalf of party office

the film and moving images movement (event 3) Vika Kirchenbauer and Michelle Williams ­Gamaker

Artists whose posters are presented:

Fundamental/Aki Nawaz, Amar Kanwar, superflex­ ­Yinka Shonibare, Mark Titchner, Chris Ofili, Hew Locke, OSPAAL, Renzo Martens, Kathrin Jakobsen, Chris Miles, Liaqut Rasul, Elizabeth Peyton, Andrew Logan, Thomas Zipp, Carey Young, Omar Victor Diop, Havy Kahraman, ­Susana Hefuna, Ras Daniel Heartman et al. 

Shaheen Merali (born in Tanzania, lives in Britain) is a curator, critic, and artist of Asian ancestry. Merali is currently the Visiting professor at the University of Applied Arts, Vienna. He was the curator for the inaugural Uganda Pavilion, Radiance – They Dream in Time, for the International art exhibition for the 59th Venice Biennale. At the Golden Lion Ceremony the pavilion was presented the special mention award. He was the co-curator of Berlin Heist or the enduring fascination of walled cities for the 4th Mediations Biennale, Posnan, Poland (2014) and co-curator of the 6th Gwangju Biennale, Korea (2006).

Merali was the Head of Department of Exhibition, Film and New Media at the Haus der Kulturen der Welt, Berlin (2003-2008) where he curated several exhibitions accompanied by publications, including The Black Atlantic; Dreams and Trauma- Moving images and the Promised Lands; and Re-Imagining Asia, One Thousand years of Separation.

In 1988, Merali had co-founded the Panchayat Arts Education Resource Unit in East London. The Unit's main function was one of collecting ephemera, documents, and publications, detailing the work of political British Black artists (of Asian and African descent). In 2015 the Panchayat archival material was donated and is part of the Tate library's Special Collection in London.

Ramesch Daha (b. 1971, Tehran, Iran) lives in Vienna since 1978. Working in a wide range of media, Daha examines the disappearance of narratives and objects in moments of historic disruption, as well as family (hi)stories as reflections of larger social developments. Basing her work on extensive research, she compiles multifaceted collections of materials that endow the act of recollection with a novel physical quality. This involves extensive travelling and study visits to, among others, Vancouver, New York, London or Berlin. Ramesch Daha has met broad international recognition with her yet uncompleted series ‚Victims 9/11‘, in which she attempts to save the victims of the terrorist attack from oblivion by portraying every single one of them.

Recent exhibitions include KINDL, Berlin (2020); Index Foundation, Stockholm (2020); KUVA—Academy of Fine Arts, Helsinki (2019); Konstfack, Stockholm (2019); 5th D-0 ARK Underground Biennial, Konjic, Bosnia and Herzegovina (2019); B7L9, Kamel Lazaar Foundation, Tunis (2019); Jüdisches Museum Augsburg (2018) and ACF, New York (2017).

Ramesch Daha is also the President of the Association of Visual Artists Vienna Secession

This exhibition is part of pax praxis:

convened/curated by Shaheen Merali, research generated as guest professor at the University of Applied Arts Vienna, at the invitation of Vice Rector Barbara Putz-Plecko.

The title pax praxis alludes to acts as a counterforce – framing and conceptualising de-globalisation and de-colonising understanding in the multiple locations in which art and education reside.

Enacting on the place of continuous breakdown provokes a more comprehensive reading by artists and scholars, enabling discussion of the processes of undoing and re-making, defining themselves by separation from the inherited homology. 

Collectively, the talks over a period of three months, followed by the exhibition, offer a critique of sociality or the concept of living together in an organised way as a society of cultural formations, further questioning the scale of our responsibility in an era marked by self-determination. 


Opening: 25 Jun 2023, 18:00

Running: 27 Jun 2023 – 30 Jun 2023


Public intervention by Christoph Schwarz & neighbors in the 9th District of Vienna as part of Angewandte Festival 2023.

A replacement for the originally planned and not approved AIL Park Lab ­(Grätzloase).

Image by ©

Since the AIL has not received permission to convert parking spaces into a Grätzloase (AIL Park Lab), the selected parking lot for the period of the Angewandte Festival will now be occupied by a car: the Cabriobeet. The private initiative of filmmaker Christoph Schwarz and neighborhood project from Vienna's 9th district, is a raised herbs garden bed in a yellow Peugeot 306 as well as an art project with an activist message.

Housing in Vienna is becoming more and more expensive, but parking space is being given away. For an unbelievably paltry 10€/month, public space can be privatized with a car. Wouldn’t it be fair to be able to set up a raised bed in a similarly uncomplicated and cheap way? Currently, there is no legal basis for this – but if there is a convertible under the raised bed, all this is no problem.

Public space in Vienna is dominated by cars. Yet we urgently need to reduce CO2 emissions, especially in the transport sector. The city of Vienna knows this, and in its climate roadmap wants to halve the number of car trips in the city by 2030. However, there are no measures to achieve this, and the city is sticking to freeway projects, thus fueling the climate crisis: more roads means more traffic. The Cabriobeet wants to encourage the neighborhood to become active for the traffic turnaround - through informal conversations at the roadside & while gardening together.

Image by ©

Sunday, 25 Jun, 16:00–18:00

Demo with Cabriobeet (pushed) 

Start 16:30 at Nussdorfer Str. 74, 1090 Wien

Arrival 18.00 at Georg-Coch-Platz 2 (Stubenring), 1010 Wien

Sunday, 2 Jul, 16:00–18:00

Demo with Cabriobeet (pushed) 

Start 16:00 at Georg-Coch-Platz 2, 1010 Wien

Arrival 18:00 at Nussdorfer Str. 74, 1090 Wien

Everybody is welcomed to join!

Cabriobeet is a private initiative of filmmaker Christoph Schwarz together with neighbors in the 9th District.

AIL Park Lab was planned and not realized by Nora Mayr, Eva Weber and Philipp Reinsberg.

live performance

28 Jun 2023, 19:00

Salon de Passage #5

Gathering, Hunting, Cultivating: Green

Passenger Diaries – Performative Research on Emergent Subjectivities in Trans-Urban Space

The final node of the series of Salon de Passage culminates in a blog presentation with a live performance

Program Overview:

19:00 address of Welcome and blog presentation by The Passenger aka Mariella Greil, Lucie Strecker, KT Zakravsky, and Viktor Fucek.

20:00 Live Performance: Borderland

Sound: Werner Moebius

Photo: Radek Hewelt

Passing Plates by Alexander Afrough

The Passenger understood as a post-human cloud existence and ‘swarm intelligence’ feeding on informational and aesthetic patterns, enables a wildly dynamic and transgressive mode of perception and non-linear storytelling.

On June 27th at 14:00 we invite you to a micro-trip to the Steinhof grounds that will connect our leitmotifs Otto Wagner, urban fringe/peripheral city, and hybrid zones.

Meeting point: Entrance gate of the Otto Wagner Church at Steinhof, 1140 Vienna, Baumgartner Höhe 1

For the 27 th please register by email to: or

live performance

29 Jun 2023, 18:30

Der weiße Hintergrund

Lecture Performance by Kervin Saint Pere

Which historical forms of representation served the exploitation of the "other"? And how are these representations implicated in the extractivism of the rubber industry? The artist Kervin Saint Pere brings selected images, their afterlife in archives, and the extractivist mechanisms at work in them into dialogue with each other.


Opening: 13 Jun 2023, 18:00

Running: 14 Jun 2023 – 14 Jul 2023

Threads of Life

Textiles in Medicine and the Arts

About the multifaceted relationship between textiles, medicine and the arts. Presentation of historical and artistic positions that enter into a dialogue and generate productive tensions.

EXHIBITION OPENING HOURS: Mon, Tue, Wed, Fr: 13.00 – 18.00; Thu: 13.00 – 20.00

Image by © Camille Borchert, Schnittstelle, 2022 Tissue, Latex, 37 x 42 cm Foto © Camille Borchert
Image by © Barbara Graf, Faltenlinien 8 – Fußbandage 1 (Mapping), 2016−2018 Medical Gauze, Red Thread, 7,5 x 290 cm, Photograph Foto © Barbara Graf

Although textiles have been indispensable to medicine since time immemorial, their role in this context has been understudied so far. From the surgical thread, wound dressings, wipes, pads, and protective clothing to the hospital bed, the practices of healing are unimaginable without them. But the relationship between textiles in the arts, wellbeing and health is much broader. It includes, but is not restricted to, the use of such techniques as knitting, crocheting, weaving or braiding in the development of cardiovascular grafts or surgical meshes. The use of textiles is also ambivalent. They have found use in psychiatric institutions for the bodily restraint of patients, but patients also used them for designing their environment and creating body wrappings as survival strategies. Textiles can also be a source of ill-health: Beyond the addition of harmful substances during their production, textiles have been used in fashion for centuries to shape, deform and discipline the body according to ideals of beauty. Practitioners from the fields visual arts and artistic research reflect on this complicated relationship in manifold ways. Artists use fabrics to evoke the vulnerability of the human body, its ongoing decay and imminent death, and also to highlight the complexity of interhuman relationships. They draw attention to (self-)care, understanding the human anatomy, perceiving one’s own corporeality, and to the ways in which textiles can become an existential embodiment. Beyond the metaphorical “Threads of Life”, suturing connects the craft of surgery with that of tailoring. The exhibition spotlights the multifaceted relationships between textiles, medicine and the arts. It brings historical objects and contemporary artistic positions into a dialogue that generates productive tensions.

Image by © Katharina Sabernig, Darm, 2016 Cotton, Knitted and Crocheted 50 x 60 x 14 cm Foto © N. Lackner, UMJ

Save the Date: The exhibition will be accompanied by an interdisciplinary conference on 20 Jun 2023, 10:00 – 18:30


Sonja Bäumel, Pascale Maxime Ballieul, Camille Borchert, Ida Flora Frantal, Raja Goltz, Barbara Graf, Ruth Anderwald + Leonhard Grond, Elizabeth McGlynn, Ute Neuber, Katharina Sabernig, Hannah Schwab, Yuliia Strykovska, Leo Ruben Enosch Zellweger

Curatorial team:

Monika Ankele (Medical University of Vienna), Barbara Graf (University of Applied Arts Vienna), Katrin Pilz (Ludwig Boltzmann Institute for Digital History, Vienna), Monika Pietrzak-Franger (University of Vienna), Barbara Putz-Plecko (University of Applied Arts Vienna), Katharina Sabernig (University of Applied Arts Vienna), Georg Vasold (University of Vienna).

The curatorial team is part of the transdisciplinary working group History of Medicine and Medical/Health Humanities of the Austrian Academy of Sciences.