A.rtificial I.ntrospection O.
Exhibition Tour
Slide show

Maria Lassnig, Portrait von Ingrid und Oswald Wiener (Portrait of Ingrid and Oswald Wiener, 1967
Oil on canvas
111 × 130 cm
Courtesy Ingrid Wiener, Kapfenstein
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Maria Lassnig, Nach O. Wieners Vorschlägen (Based on O. Wiener’s Suggestions), 1976
Pencil on paper
45,8 × 60,9 cm, framed
Courtesy Maria Lassnig Foundation, Vienna
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtifcial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Ausstellungsansicht HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Oswald Wiener, Würfelabwicklung II, 1993
16 watercolors, each 16,5 × 24 cm
Provided by Ingrid Wiener
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Oswald Wiener, Ungefähre Anlage von Güter Brus als Vogel (Approximate Layout of Günter Brus as a Bird), 1970
Pencil on paper
29,7 × 21 cm and 21 × 29,7 cm
Courtesy Archive Brus, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Oswald Wiener, bio-adapter, 1967
Typewritten on paper
each 29,7 × 21,0 cm
Courtesy of Galerie Krinzinger and Estate of Walter Pichler
Photo: kunst-dokumentation.com

VALIE EXPORT, Oswald Wiener – “Tischbemerkungen November 1985” (Table Remarks November 1985), 1985
Documentary, digital file, 4:3, color, stereo, 45 min.
Courtesy VALIE EXPORT / sixpackfilm, Vienna
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Michael Krebber, Lecture notes, class notes, homework assignments, ephemera related to
“Ghost Trap”, 2024
Mixed Media
Variable dimensions
Courtesy the artist and Greene Naftali, New York
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Walter Pichler, Apparat (Prototyp 1), 1966
Aluminum, chrome-plated brass
136 × 55 × 50 cm
Courtesy Galerie Krinzinger and Estate of Walter Pichler, Vienna
Photo: kunst-dokumentation.com

Walter Pichler, Kleiner Raum (Prototyp 4), 1967
Silver gelatin print
40 × 30 cm, framed
Courtesy Galerie Krinzinger and Estate of Walter Pichler, Vienna
Photo: kunst-dokumentation.com

Walter Pichler, TV Helm, 1967
Mixed media on paper
29 × 20,5 cm, framed
Courtesy Galerie Krinzinger and Nachlass Walter Pichler, Vienna
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Dieter Roth, Stempelbild (Stempelzeichnung), 1975
Original drawing on tracing paper, created using a rubber stamp
70 × 95,5 cm, framed
Courtesy Philipp Konzett, Vienna
Photo: kunst-dokumentation.com

Dieter Roth, Stempelbild (Stempelzeichnung), 1975
Original drawing on tracing paper, created using a rubber stamp
70 × 95,5 cm, framed
Courtesy Philipp Konzett, Vienna
Photo: kunst-dokumentation.com

Dieter Roth, Die Löwen von L. (3 Stück)(The Lions of L. (3 pieces), 1973
Acrylic on paper
60 × 40 cm, framed
Courtesy Ingrid Wiener, Kapfenstein
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Franz West, Ossi aussi Ossi, 1984
Gouache, photograph, magazine page on corrugated cardboard
35 × 110 cm, framed
Courtesy Cathy Fiscus, Vienna
Foto: kunst-dokumentation.com

Franz West, Dialoge, 1984
Gouache and print, paper collage on cardboard
31 × 91 cm, framed
Courtesy Sammlung Philipp Konzett, Vienna
Photo: kunst-dokumentation.com

Franz West, Demagog, 1984
Gouache, photograph, magazine page on corrugated cardboard
42,7 × 135,5 cm, framed
Courtesy Heinz Neumann, Vienna
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Morag Keil, Mr. Magic, 2024
Mannequin, microwave, table, armchair, cameras, screens, phone and apple
Variable dimensions
Courtesy Galerie Isabella Bortolozzi, Berlin
Photo: kunst-dokumentation.com

Morag Keil, Mr. Magic, 2024
Mannequin, microwave, table, armchair, cameras, screens, phone and apple
Variable dimensions
Courtesy Galerie Isabella Bortolozzi, Berlin
Photo: kunst-dokumentation.com

Morag Keil, Mr. Magic, 2024
Mannequin, microwave, table, armchair, cameras, screens, phone and apple
Variable dimensions
Courtesy Galerie Isabella Bortolozzi, Berlin
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Ken Okiishi, 25 jan. 2025, 2025
Acrylic paint on mylar, monitor, .mov File (color, silent)
121,9 × 68,6 × 9,5 cm
Courtesy Reena Spaulings Fine Art, New York and Pilar Corrias, London
Photo: kunst-dokumentation.com

Ken Okiishi, 25 jan. 2025, 2025
Acrylic paint on mylar, monitor, .mov File (color, silent)
121,9 × 68,6 × 9,5 cm
Courtesy Reena Spaulings Fine Art, New York and Pilar Corrias, London
Photo: kunst-dokumentation.com

Ken Okiishi, 25 jan. 2025, 2025
Acrylic paint on mylar, monitor, .mov File (color, silent)
121,9 × 68,6 × 9,5 cm
Courtesy Reena Spaulings Fine Art, New York und Pilar Corrias, London
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Agnes Scherer, An unnamed file contains an incorrect path, 2021
Wooden sculpture, painting on canvas, mural
Screen: 214 × 330 cm; keyboard: 214 × 330 cm
Courtesy of the artist and ChertLüdde, Berlin; Sans Titre, Paris
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Jenna Bliss, Drone I, Drone II, Drone III, 2021
Silver gelatin print
114,3 × 78,2 cm, framed
Courtesy Collection of Attilia Fattori Franchini and Felix Gaudlitz, Vienna
Photo: kunst-dokumentation.com

Jenna Bliss, 5 Stock / Gangway (chat), New Delivery / Gangway (chat), 2017 & 2019
Super 8 mm film and video
1:39 min., Loop
Photo: kunst-dokumentation.com
Courtesy the artist and FELIX GAUDLITZ, Vienna

Jenna Bliss, 5 Stock / Gangway (chat), New Delivery / Gangway (chat), 2017 & 2019
Super 8 mm film and video
1:39 min., Loop
Courtesy the artist and FELIX GAUDLITZ, Vienna
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Tishan Hsu, Breath 2, 2021
UV print, silicone on wood
121,9 × 57,5 × 7,6 cm
Courtesy Private Collection, Paris
Photo: kunst-dokumentation.com

Tishan Hsu, Breath 2, 202
UV print, silicone on wood
121,9 × 57,5 × 7,6 cm
Courtesy Private Collection, Paris
Photo: kunst-dokumentation.com

Tishan Hsu, Breath 2, 2021
UV print, silicone on wood
121,9 × 57,5 × 7,6 cm
Courtesy Private Collection, Paris
Photo: kunst-dokumentation.com

Josh Kline, Whatever It Takes 2024, 2024
Pigmented silicone, metal shelf with tinted polyurethane paint, LED lighting
Top shelf: Artist’s hand with a Magic 8 Ball; middle shelf: Artist’s hand with a wrist brace; bottom shelf: Artist’s hand with a Mac mouse
94 × 66 × 33,7 cm
Courtesy Josh Kline and Lisson Gallery, London / New York
Photo: kunst-dokumentation.com

Josh Kline, Whatever It Takes 2024, 2024
Pigmented silicone, metal shelf with tinted polyurethane paint, LED lighting
Top shelf: Artist’s hand with a Magic 8 Ball; middle shelf: Artist’s hand with a wrist brace; bottom shelf: Artist’s hand with a Mac mouse
94 × 66 × 33,7 cm
Courtesy Josh Kline and Lisson Gallery, London / New York
Photo: kunst-dokumentation.com

A.rtifcial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Maria Lassnig, Violettes Monster (The Purple Monster), 1964
Oil on canvas
60 × 50 cm, framed
Courtesy Maria Lassnig Foundation, Vienna
Photo: kunst-dokumentation.com

Maria Lassnig, Violettes Monster (The Purple Monster), 1964
Oil on canvas
60 × 50 cm, framed
Courtesy Maria Lassnig Foundation, Vienna
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Maria Lassnig, Selbstportrait mit Sprechblase (Self-portrait with a speech bubble, 2006
Oil on canvas
207,5 × 154 cm
Courtesy Maria Lassnig Foundation, Vienna
Foto: kunst-dokumentation.com

Maria Lassnig, Selbstportrait mit Sprechblase (Self-Portrait with Speech Bubble, 2006
Oil on canvas
207,5 × 154 cm
Courtesy Maria Lassnig Foundation, Vienna
Foto: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Maria Lassnig, Das optische Zeitalter (The Optical Age), 1985 – 1986
Oil on canvas
98,5 × 75 cm
Courtesy Maria Lassnig Foundation, Vienna
Photo: kunst-dokumentation.com

Maria Lassnig, Das optische Zeitalter (The Optical Age), 1985 – 1986
Oil on canvas
98,5 × 75 cm
Courtesy Maria Lassnig Foundation, Vienna
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Ingrid Wiener, Schnallenverschluß (Buckle fastening), 2019
Tapestry, wool, silk, rayon
37 × 65 cm
Courtesy Charim Galerie, Vienna
Photo: kunst-dokumentation.com

Ingrid Wiener, JAQUARDBINDUNG, 2019
Tapestry, wool, silk, rayon
50 × 100 cm
Courtesy Charim Gallery, Vienna
Photo: kunst-dokumentation.com

Ingrid Wiener, BUCHSTABE E (LETTER E), 2012
Tapestry, wool, silk, rayon
60 × 32 cm
Courtesy Charim Galerie, Vienna
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Ingrid Wiener, Dr. Müllers Kabelfrühling (Dr. Müller’s Cable Spring), 2008
Wool, silk, rayon, knitwear
120 × 180 cm
Courtesy MAK – Museum für angewandte Kunst, Vienna
Photo: kunst-dokumentation.com

Ingrid Wiener, Dr. Müllers Kabelfrühling (Dr. Müller’s Cable Spring), 2008
Wool, silk, rayon, knitwear
120 × 180 cm
Courtesy MAK – Museum für angewandte Kunst, Vienna
Photo: kunst-dokumentation.com

A.rtificial I.ntrospection O., 2026
Exhibition view HALLE FÜR KUNST Steiermark, Graz
Photo: kunst-dokumentation.com

Tiffany Sia, Antipodes II, 2024
Rewired rear-view mirror with recorded live-stream video of the port Okinawa for a duration of 24 hours
26 × 7,5 × 9 cm
Courtesy the artist and Maxwell Graham, New York
Photo: kunst-dokumentation.com

Tiffany Sia, Antipodes II, 2024
Rewired rear-view mirror with recorded live-stream video of the port Okinawa for a duration of 24 hours
26 × 7,5 × 9 cm
Courtesy the artist and Maxwell Graham, New York
Photo: kunst-dokumentation.com

Tiffany Sia, Antipodes II, 2024
Rewired rear-view mirror with recorded live-stream video of the port Okinawa for a duration of 24 hours
26 × 7,5 × 9 cm
Courtesy the artist and Maxwell Graham, New York
Photo: kunst-dokumentation.com

Tiffany Sia, Antipodes II, 2024
Rewired rear-view mirror with recorded live-stream video of the port Okinawa for a duration of 24 hours
Courtesy the artist and Maxwell Graham, New York
26 × 7,5 × 9 cm
Photo: kunst-dokumentation.com
A.rtificial I.ntrospection O. relates Wiener’s theoretical positions to contemporary artistic practices that engage with introspection and cybernetics. Art is not understood as a counter-model to technology, but rather as a field in which similar processes of translation are at work as in cybernetics: visual, linguistic, and affective information is encoded, decoded, and transferred into circulating systems. Against the backdrop of a present situation in which algorithmic systems increasingly support decision-making in administration, law, communication, and the military, and in which AI-based language models simulate human communication, Wiener’s skeptical thinking gains renewed urgency. The indistinguishability of human and machine language production, paradigmatically embedded in the Turing Test, shifts the question away from intelligence toward issues of observability, control, and self-description.
What effects cybernetic intelligence will have on our everyday lives, our bodies, and our language remains partially open and can so far only be anticipated; they are and will certainly be considerable. The experimental exhibition A.I.O. seeks to make Oswald Wiener’s ideas artistically productive and to go beyond them. It engages with the relationship between cybernetics and introspection — and in doing so, interrogates the interaction between human and machine.
Exhibition page
More contributions
Dr. Brigitte Borchhardt-Birbaumer
Susanne Wenger’s painting between Africa and Europe
Video

In her lecture, art historian and curator Brigitte Borchhardt-Birbaumer examines Susanne Wenger’s work as a transcultural Gesamtkunstwerk that bridges European modernism and Yorùbá ritual practice, creating a new sacred aesthetic that merges art, ritual, and cultural boundaries.
Brigitte Borchardt Kathy Rae Huffman
FROM CYBERFEMINISM
UNTIL NOW
Video

Kathy Rae Huffman’s lecture traces the evolution of cyberfeminism since the 1990s: it connected women in the digital sphere, challenged existing power structures, and presented examples — from VNS Matrix to contemporary digital activism — that highlight critiques of platform corporations, AI cultures, and global inequalities.
Kathy Rae Huffman Xol Meissner
Concert
Video

New York-based artist Xol Meissner — the alter ego of composer Mauro Hertig — has transformed the HALLE FÜR KUNST Steiermark into a hypnotic soundscape of extraordinary intensity with his haunting music, which oscillates between contemporary classical and avant-garde rock.
Xol Meissner Karin M. Schmidlechner
Styrian women during and after National Socialism
Video

In her research and in the volume Aus dem Blickfeld (Out of Sight), co-edited with Heimo Halbrainer, Karin Maria Schmidlechner demonstrates that the lived realities of Styrian women during the Nazi era and the postwar period were diverse and ambivalent. Hence, she broadens the scholarly discourse on their daily lives while simultaneously deconstructing common narratives such as that of the conformist woman or the so-called “rubble woman.”
Karin M. Schmidlechner Eva Ursprung
The Art of Surfacing
Slide show

With the exhibition The Art of Surfacing, HALLE FÜR KUNST Steiermark presents the multifaceted work of Austrian artist, musician, and curator Eva Ursprung, who was awarded the Honorary Prize of the Province of Styria in 2024. Her cross-media, feminist, and socially critical approaches revolve around the element of water as a metaphor for change and political and ecological processes.
Slide show Eva Ursprung Susanne Wenger
Àdùnní Olórìṣà
Slide show

Susanne Wenger gilt als eine zentrale Künstlerin Österreichs nach 1945 und als frühe Wegbereiterin des Surrealismus. Ihr Œuvre, das Skulpturen, Gemälde, Zeichnungen, Drucke und Batiken umfasst, überschreitet ästhetische Kategorien und verbindet Kunst, Spiritualität und Mythos.
Slide Show Susanne Wenger Tobias Boos
Chainsaws, crypto, corruption.
Argentina between populism and the radical right
Video

Tobias Boos is political scientist at the University of Vienna who specializes in Latin America, populism, and economic developments, such as Argentina’s crisis since the 2000s and current right-wing populist movements like that led by Javier Milei.
Tobias Boos Exhibition Tour
Diego Bianchi: Errores Irreales
Video

Diego Bianchi’s immersive sculptural installations reinterpret the concepts of sculpture and of the torso, taking seriously the sensitivity and distress of the human body as subjected to manifold pressures, and expanding and updating its forms of expression.
Exhibition Tour Diego Bianchi