#18th vienna secession exhibition series

They had great reverence for Romanticism, disposition for melancholy, irrationality, apathy, and eagerly referred to symbolism and decadence. The milieu which yield the three above-mentioned associations consisted of ARTISTS-GENIUSES, ARTISTS-NEUROTICS, ARTISTS-PRIESTS, and also ARTISTS-ACTORS who were ready to fulfil their great missions according to the principle of 'ART FOR ART'S SAKE'. The three associations closely collaborated with three art journals, set up almost simultaneously: Ver Sacrum in Vienna, Volné Směry in Prague, and Życie in Cracow, which on their pages united an analogous literary content with a beautiful layout and graphic design.

Each of them possessed its own, specific kind of a 'temple' and salon of art, where - beside exhibiting art - they introduced a new style of exhibition arrangement, using painted friezes, draperies, furniture, and above all - decorative shrubs, plants and festoons of flowers, which made the exhibition space look like a society drawing-room or a garden house. The three groups maintained mutual contacts (however cold they proved to be), and jointly participated in many exhibitions, asserting at the same time their distinct national characters. It was at that time that the three art associations: Vereinigung bildender Künstler Österreichs - 'Wiener Secession', Towarzystwo Artystów Polskich 'Sztuka', and Spolek výtvarných umělců Mánes were set up.

#18th vienna secession exhibition series

Hamilton has also conceived and designed an artist book to be published with Secession, which comprises a series of images collaged from personal photographs, found images and computer-based drawings.Īsked about her sources of inspiration, Hamilton has frequently mentioned the French writer Antonin Artaud and his idea of a “physical knowledge of images.” It is this bodily response to an idea or an image that she wants us to experience when we encounter her work and its use of unexpected materials, scale and humour like the off-kilter proportions of the various elements, they attest to the fine sense of humour that sustains her art.The years 18 are regarded as the golden era for three art groups and three art journals in three separate centres of the Habsburg empire - the cities of Vienna, Cracow and Prague. The artist occupies the space by covering it with an all-over pattern, turns it into her own, in which she will present a number of individual sculptures and which will have a striking effect on how the space is perceived. Each subject is studied closely and used as a lens through which to understand the world.įor her first solo exhibition in Austria, in Secession’s iconic gallery space, Turner Prize nominee (2016) Anthea Hamilton has developed an immersive installation. Hamilton’s work grows out of wide-ranging research, whether she explores strands in cultural history such as the roots of 1970s disco, art-historical references like Art Nouveau, Italian furniture design or ancient Japanese theatre, documentary photography or lichen. Her sculptures, idiosyncratic constructions precariously balanced between emergence and collapse, function like props for stories that remain to be told.

Anthea Hamilton’s interdisciplinary interest in performance is evident in her sculptural assemblages and installations whose tableau-like quality makes them reminiscent of stage sceneries or film sets, and which she has referred to as ‘performative spaces’.