Eva Ebersberger Boeken

This book unfolds differentiated paths, forming a topography with sequences of potential narratives and a collective archive of visual imaginary. Within this seemingly labyrinthine context, the work of the foundation becomes an abstract and at the same time concrete sphere containing its artworks and commissions, projects and exhibitions, issues and ideas—the practice of a foundation that is a collection and at the same time determined through impermanence and sitelessness. As such, the book emphasizes the act of collecting as practice(s) throughout multiple parallel universes.

A semi-fictional performative account of the lives and archives of a legendary Spanish art collection How does a private art collection become public? Who was Hans Heinrich Thyssen-Bornemisza? These questions are at the heart of Cotton under My Feet, a new project by New York-based Lebanese artist Walid Raad (born 1967) conceived for the Museo Nacional Thyssen-Bornemisza, coinciding with the centennial of its original founder. From the depths of the museum's archives, Raad unearthed fragments of stories, fictional documents and puzzling artifacts. Brought to life through a slippery narrative--a lavishly illustrated performance script forms the centerpiece of the volume--Raad invites readers to follow him into the tunnels of conjecture he has constructed, offering a vertiginous reflection on the potential legacy of the Thyssen-Bornemisza collections and their relation to the histories of Western and non-Western art.

Green light' is a project initiated by artist Olafur Eliasson in collaboration with Thyssen-Bornemisza Art Contemporary, Vienna. Conceived as a field of production and mutual learning, 'Green light' works with refugees, asylum seekers, migrants, and NGOs to fabricate an unlimited edition of fully functional lamps: geometric, stackable modules made from recyclable materials and fitted with a welcoming green light. Providing fundraising and education opportunities, 'Green light' workshops first took place in Vienna in 2016, and have since been hosted at the Moody Center for the Arts, Houston, and the 57th Venice Biennale.0

The Morning Line ist eine Struktur aus 17 Tonnen beschichtetem Aluminium, acht Meter hoch und 20 Meter breit, von Matthew Ritchie als ein permeabler „Anti-Pavillon“, Ruine und Denkmal bezeichnet. Die Form des Pavillons korrespondiert mit Ritchies Bemühungen, durch Kunst ein kohärentes Zeichensystem zu schaffen. Pläne, Skizzen und Computeranimationen zeigen die komplexe Struktur. In ausführlichen Texten und Interviews zwischen Ritchie und den Architekten wird der „Anti-Pavillon“ als interdisziplinäre Arbeit zwischen Architektur, Kunst, Musik, Mathematik und Kosmologie erforscht. Die fraktale Ästhetik der Struktur wird in den Fotografien von Todd Eberle festgehalten. Thyssen-Bornemisza Art Contemporary feiert mit diesem beeindruckenden Pavillon das Kunstprogramm Istanbuls im Rahmen der Europäischen Kulturhauptstadt 2010. Der Pavillon untersucht die Wechselwirkungen zwischen Kunst, Architektur, Musik, Mathematik, Kosmologie und Wissenschaft. Ein zentrales Element ist die klangliche Identität, die in der Tradition von Iannis Xenakis und Le Corbusier sowie Fritz Bornemanns Expo'70-Pavillon konzipiert wurde und Gegenstand eines Gesprächs zwischen Hans Ulrich Obrist und den beauftragten Klangkünstlern ist. Die fraktale Schönheit der Struktur wird in Todd Eberles beeindruckenden Fotografien eingefangen.