EXTENDED until AUGUST 30th
Whether at the Flint Festival (1970/71) or at the Bregenzer Randspiele (1972 – 1976) (alternative culture festival in Bregenz) – the graphic designer Nolde Luger was one of the leaders of the cultural protest movement in Vorarlberg. He also delivered corresponding paperwork: acrimonious posters, caricatures, pamphlets and flyers. Later, from 1983 to 2003, he designed posters of timeless beauty for all the opera productions at the Bregenz Festival. Today, almost everybody in Vorarlberg knows the graphic designer’s work – the logos of cities and communities, the design of local and regional bus fleets and the typical steles at bus stops as well as the guidance systems in buildings and public spaces. Embedded in the context of cultural and contemporary history, the exhibition shows numerous examples of Luger’s constructive and critical work.
In cooperation with the Vorarlberger Landesbibliothek.
The collection of the vorarlberg museum lacked nativity scenes, particularly contemporary ones, despite the 19 nativity construction groups with some 1,500 members that are active in the federal state. In order to document the art of contemporary nativity scene construction, these associations built scenes especially for the museum, with an astonishing diversity of nativity scenes created. Various designs and special local features were integrated depending on the region or valley they were built in. For nine nativity scenes, the members of the associations also created the figures, the others were made by wood sculptors of Vorarlberg. In conclusion of this cooperation, the nativity scenes are shown in an exhibition which will also be documented by a newly published book.
In cooperation with the Vorarlberger Landeskrippenverband.
With their exhibition project Beauty, the New York based graphic artist Stefan Sagmeister, who is originally from Vorarlberg, and the US graphic designer Jessica Walsh provide a visually powerful multimedia plea for the joy of beauty. The exhibition explores the reasons why people feel attracted to beauty and what positive effects beauty has. Using examples from graphic arts, product design, architecture and city planning, Sagmeister & Walsh demonstrate that beautiful objects, buildings and strategies not only make people happier but also work better.
The exhibition is a cooperation between the Museum Angewandte Kunst, Frankfurt, and the MAK in Vienna.
What frightens you? What is of risk to you? Who or what protects you? The answers to these questions have changed over time. Trust in the good Lord or the patron saints has faded. Our ancestors started to secure slopes and regulate streams and rivers, they founded fire brigades, insurance companies, the police force and armies. Today, security companies are thriving, public places are protected by surveillance cameras or access control systems, right-wing parties win votes with promises to guarantee our safety. But still people feel less safe. How safe do you feel? Come and explore this exhibition at your own risk.
EXTENDED until AUGUST 30th
For centuries, people have been praying to heavenly powers for help. There were patron saints for every- thing that impaired or even threatened human existence in the Middle Ages and the early Modern Age. To eliminate the risk of water, for example, according to popular belief, it was first Saint Nicholas who helped, and later on in the Baroque Era Saint John of Nepomuk. As the most prominent patron, Saint Christopher was appealed to daily because he protected people from an unexpected and sudden death. Today, only motorists still regard him as their patron. The exhibition showcases legends and illustrations of the Fourteen Holy Helpers in Vorarlberg who served as a kind of package policy in former days. Apart from Saint Christopher, the Fourteen Holy Helpers include the saints Agathius, Giles, Barbara, Blaise, Cyriacus, Denis, Erasmus, Eustace, George, Catherine of Alexandria, Margaret of Antioch, Pantaleon and Vitus.
18 03 – 07 06 2020
EXTENDED until JULY 31st
In their free-spirited and radical approach to the federal state’s collection of contemporary art, the curators Severin and Pirmin Hagen make the collection visible through renunciation. The show- cases on the second floor stay empty. Instead, you can listen to the artists philosophising. They do not talk about individual works but about questions of collecting and ordering, claiming that five categories are sufficient enough to rearrange the collection of contemporary art. To the last of these categories, the Hagen brothers dedicate an exhibition with the title Löcher, die nicht einmal der Schnee zudeckt (Holes that not even snow covers up) at Druckwerk Lustenau.
A forum the size of a football pitch, an ancient Roman spa, the craft and trade quarter at the Tschermakgarten in Bregenz – the public and private buildings of Brigantium dating from the first century A.D. all fire up your imagination. Was Bregenz a city during the time of the Romans? It seems logical to assume, but there is no clear evidence. While the exhibition Romans or? dealt with who had been buried in the local burial ground, Cosmopolitan City or? is all about living together in the place called Brigantium. Were the tasks of a community realised here? Did they have an administration as well as a fiscal and social system? How was the economic and religious life organised? Based on the most recent scientific findings and archaeological finds, the exhibition invites visitors to speculate about Brigantium, its residents and visitors.
How did Vorarlberg become what it seems to be like today? The exhibition vorarlberg. a making-of questions the past and present of a region which, over the course of its eventful history, has been subject to various cultural, political and economic influences. It does not tell “the” story but should be seen as more of a “history laboratory” which utilises topics such as migration, identity and belonging to stimulate contemplation and debate on Vorarlberg’s past and present.
A trapeze artist from Feldkirch who performed at the world-famous Sarrasani Circus; a nurse who collects all kinds of nursing utensils; an imam who does ritual washing of the dead. These far-apart worlds and stories have one thing in common: They all involve touch. Lips, hands, fists – fragments of narratives and memories open up a panorama of popular customs surrounding touch. Touch can extend across borders and it can provoke, it can be experienced as threatening or pleasurable, it can stand both for basic trust and profession. “close to heart”: a rulebook exploring touch – need, taboo and refusal.
The museum’s collection comprises close to 160,000 objects from the fields of archaeology, art, everyday culture and history. The exhibition showcases important and less important objects from the museum’s rich holdings in alphabetical order. It starts with the letter “A” for “angelicamad” showing engravings by the artist Angelika Kauffmann, and ends with the letter “Z” for “zahla” (to pay), which features the hoard of coins found at Sonderberg Castle. In between schnapps glasses, self-portraits by Edmund Kalb, pommels, the estate of Fritz Krcal, priest‘s vestments, herbariums …