Salva Storie Instagram

In preparation of the new program we are reopening the windows at mumok. With a note by Melanie Counsell, in the process of developing a new work for ‘Terminal Piece‘:
___
 
In Vorbereitung auf das neue Programm öffnen wir die Fenster in den Ausstellungsräumen des mumok.
Mit einer Notiz von Melanie Counsell, entstanden im Prozess der Entwicklung einer neuen Arbeit für ‚Terminal Piece‘:
 
„Trajectory, through the space and out of the window. What window?
The one that’s been hidden, it’s going to be revealed, opened up, letting the light in.
From the outside the window is high up, I see it reflecting the sky and the clouds.
Inwardness, outwardness, trapped spaces.
Unbeknown to me, unbeknown to all of us, edges will meet and we will make a scene.“
___
 
Video: Dora Cohnen
Design: CTMS @ctms.studio
 
@melanie_counsell 
#melaniecounsell

Tolia Astakhishvili, Figure of the Child
20.7.2026 – 1.11.2027

‘Figure of the Child’ by Tolia Astakhishvili is an inaugural exhibition of mumok’s new program:

Figure of the Child is Tolia Astakhishvili’s first solo museum exhibition. Realized in situ, the exhibition profoundly transforms mumok’s spaces and procedures, bridging the rhythms of everyday life with the temporality of exhibition-making. In the process, Astakhishvili draws on the titular “figure of the child.” For the artist, this figure encompasses the intellectual and creative autonomy of children, but also their dependency and vulnerability. Beginning from this tension, the exhibition explores the possibilities and limits of empathy.

Tolia Astakhishvili (born 1974 in Tbilisi, Georgia) lives and works in Berlin and Tbilisi.

Opening on 20 June 2026, 2–8 pm
____

‚Figure of the Child‘ von Tolia Astakhishvili ist eine Eröffnungsausstellung des neuen mumok Programms:

Die Ausstellung 'Figure of the Child' ist Tolia Astakhishvilis erste museale Einzelausstellung. Vor Ort realisiert, transformiert sie die Räume und Abläufe des mumok grundlegend und verknüpft die Rhythmen des Alltags mit der Zeitlichkeit des Ausstellungsmachens. Dabei greift Astakhishvili auf die titelgebende 'Figur des Kindes' zurück. Für die Künstlerin umfasst diese Figur sowohl die intellektuelle und kreative Autonomie von Kindern als auch ihre Abhängigkeit und Verletzlichkeit. Ausgehend von dieser Spannung untersucht die Ausstellung die Möglichkeiten und Grenzen von Empathie.

Tolia Astakhishvili (* 1974, Tiflis, Georgien) lebt und arbeitet in Berlin und Tiflis.

Eröffnung am 20. Juni 2026, 14-20 Uhr

#fatimahellberg #manuelaammer
____

Tolia Astakhishvili
I would like to return and say I am back and it's nice on the other side, 2026
© Tolia Astakhishvili

TERMINAL PIECE
20.6.2026 – 7.2.2027

'Terminal Piece' is an inaugural exhibition of mumok’s new program:

Unfolding across five floors, 'Terminal Piece' brings together works from the collection alongside new productions and external loans. By proposing new ways of considering the museum and its collection in their entirety and complexity, it presents a vision for the future.

The final act features new works by Nina Porter, making a proposition for the future.

Opening on 20 June 2026, 2–8 pm
___

‚Terminal Piece' ist eine Eröffnungsausstellung des neuen mumok Programms:

Als solche schlägt sie ein neues Kapitel für das mumok auf und richtet den Blick auf die Gesamterfahrung des Museums und seiner Sammlung in all ihrer Komplexität.

Im letzten Akt zeigt Nina Porters neue Werkserie eine neue Zukunftsperspektive auf.

Eröffnung am 20. Juni 2026, 14-20 Uhr
___

Nina Porter
SPR7W4445WC5240424 (Detail), 2024
Courtesy of the Artist
Design: CTMS @ctms.studio

TERMINAL PIECE
20.6.2026 – 7.2.2027

'Terminal Piece' is an inaugural exhibition of mumok’s new program:

Unfolding across five floors, 'Terminal Piece' brings together works from the collection alongside new productions and external loans. By proposing new ways of considering the museum and its collection in their entirety and complexity, it presents a vision for the future.

The prologue by scenographer and costume designer Anna Viebrock transforms mumok’s ground level in its entirety and revealing spaces that usually remain unseen.

Opening on 20 June 2026, 2–8 pm
___

'Terminal Piece' ist eine Eröffnungsausstellung des neuen mumok Programms:

Als solche schlägt sie ein neues Kapitel für das mumok auf und richtet den Blick auf die Gesamterfahrung des Museums und seiner Sammlung in all ihrer Komplexität.

Der Prolog, entwickelt von der Szenografin und Kostümbildnerin Anna Viebrock, verwandelt das Erdgeschoss des mumok in seiner Vollständigkeit und macht Räume sichtbar, die sonst verborgen bleiben.

Eröffnung am 20. Juni 2026, 14-20 Uhr
___

Anna Viebrock,
Bühnenmodell für / Stage model for Doktor Faust (Detail), 2003
Foto / Photo: Hans Dekeyser
Design: CTMS @ctms.studio

TERMINAL PIECE
20.6.2026 – 7.2.2027

'Terminal Piece' is an inaugural exhibition of mumok’s new program:

Unfolding across five floors, 'Terminal Piece' brings together works from the collection alongside new productions and external loans. By proposing new ways of considering the museum and its collection in their entirety and complexity, it presents a vision for the future.

Beginning with Kate Millet's work 'Terminal Piece' the exhibition questions how we position ourselves in relation to the artwork and how our position may have already been shaped.

Opening on 20 June 2026, 2–8 pm
___

'Terminal Piece' ist eine Eröffnungsausstellung des neuen mumok Programms:

Als solche schlägt sie ein neues Kapitel für das mumok auf und richtet den Blick auf die Gesamterfahrung des Museums und seiner Sammlung in all ihrer Komplexität.

Beginnend mit dem titelgebenden Werk der Künstlerin und Autorin Kate Millett, hinterfragt die Ausstellung, wie wir uns in Relation zum Kunstwerk positionieren und ob unsere Position womöglich bereits geprägt ist.

Eröffnung am 20. Juni 2026, 14-20 Uhr
___

Kate Millett
Terminal Piece, 1972 (Detail)
Foto / Photo: Bettye Lane ©️ Bettye Lane Photos
mumok – Museum moderner Kunst Stiftung Ludwig Wien
Design: CTMS @ctms.studio

"Trajectory, through the space and out of the window. What window?
The one that’s been hidden, it’s going to be revealed, opened up, letting the light in.
From the outside the window is high up, I see it reflecting the sky and the clouds.
Inwardness, outwardness, trapped spaces.
Unbeknown to me, unbeknown to all of us, edges will meet and we will make a scene."

We are re-opening the windows at mumok, here the first one. With a beautiful note by Melanie Counsell, in the process of developing her new work.

***
In preparation and anticipation of the openings of 'Terminal Piece', and Tolia Astakhishvili's 'Figure of the Child' 20 June @mumok_vienna
Photography: Dora Cohnen
@melanie_counsell @lukasflygare @innercitybliss

"Trajectory, through the space and out of the window. What window?
The one that’s been hidden, it’s going to be revealed, opened up, letting the light in.
From the outside the window is high up, I see it reflecting the sky and the clouds.
Inwardness, outwardness, trapped spaces.
Unbeknown to me, unbeknown to all of us, edges will meet and we will make a scene."

We are re-opening the windows at mumok, here the first one. With a beautiful note by Melanie Counsell, in the process of developing her new work.

***
In preparation and anticipation of the openings of 'Terminal Piece', and Tolia Astakhishvili's 'Figure of the Child' 20 June @mumok_vienna
Photography: Dora Cohnen
@melanie_counsell @lukasflygare @innercitybliss

"Trajectory, through the space and out of the window. What window?
The one that’s been hidden, it’s going to be revealed, opened up, letting the light in.
From the outside the window is high up, I see it reflecting the sky and the clouds.
Inwardness, outwardness, trapped spaces.
Unbeknown to me, unbeknown to all of us, edges will meet and we will make a scene."

We are re-opening the windows at mumok, here the first one. With a beautiful note by Melanie Counsell, in the process of developing her new work.

***
In preparation and anticipation of the openings of 'Terminal Piece', and Tolia Astakhishvili's 'Figure of the Child' 20 June @mumok_vienna
Photography: Dora Cohnen
@melanie_counsell @lukasflygare @innercitybliss

"Trajectory, through the space and out of the window. What window?
The one that’s been hidden, it’s going to be revealed, opened up, letting the light in.
From the outside the window is high up, I see it reflecting the sky and the clouds.
Inwardness, outwardness, trapped spaces.
Unbeknown to me, unbeknown to all of us, edges will meet and we will make a scene."

We are re-opening the windows at mumok, here the first one. With a beautiful note by Melanie Counsell, in the process of developing her new work.

***
In preparation and anticipation of the openings of 'Terminal Piece', and Tolia Astakhishvili's 'Figure of the Child' 20 June @mumok_vienna
Photography: Dora Cohnen
@melanie_counsell @lukasflygare @innercitybliss

From May 22, Tolia Curriculum will, for the first time, open up mumok’s production and installation process to the public:

In the lead-up to the new programme opening on June 20, Tolia Curriculum will unfold alongside Tolia Astakhishvili’s solo exhibition Figure of the Child (June 20 – November 1, 2026) and invite visitors into her artistic world and practice.

Find the complete programme overview at the link in our bio.
___

Ab dem 22. Mai macht das mumok die Produktions- und Aufbauphase einer Ausstellung erstmals öffentlich zugänglich:

Während die Eröffnung des neuen Programmes am 20. Juni in greifbare Nähe rückt, begleitet das Tolia Curriculum die Entstehung von Tolia Astakhishvilis Solo Ausstellung ‚Figure of the Child‘ (20. Juni bis 1. November 2026) und lädt Besucher*innen in ihre künstlerische Welt und Praxis ein.

Die gesamte Übersicht über das Programm findest du über den Link in unserer Bio.
___

(1) Tolia Astakhishvili, Tolia Curriculum, 2026, courtesy of the artist

Design: Syndicat @s.y.n.d.i.c.a.t

(2) Tolia Astakhishvili, Tolia Curriculum, 2026, courtesy of the artist

From May 22, Tolia Curriculum will, for the first time, open up mumok’s production and installation process to the public:

In the lead-up to the new programme opening on June 20, Tolia Curriculum will unfold alongside Tolia Astakhishvili’s solo exhibition Figure of the Child (June 20 – November 1, 2026) and invite visitors into her artistic world and practice.

Find the complete programme overview at the link in our bio.
___

Ab dem 22. Mai macht das mumok die Produktions- und Aufbauphase einer Ausstellung erstmals öffentlich zugänglich:

Während die Eröffnung des neuen Programmes am 20. Juni in greifbare Nähe rückt, begleitet das Tolia Curriculum die Entstehung von Tolia Astakhishvilis Solo Ausstellung ‚Figure of the Child‘ (20. Juni bis 1. November 2026) und lädt Besucher*innen in ihre künstlerische Welt und Praxis ein.

Die gesamte Übersicht über das Programm findest du über den Link in unserer Bio.
___

(1) Tolia Astakhishvili, Tolia Curriculum, 2026, courtesy of the artist

Design: Syndicat @s.y.n.d.i.c.a.t

(2) Tolia Astakhishvili, Tolia Curriculum, 2026, courtesy of the artist

From May 22, Tolia Curriculum will, for the first time, open up mumok’s production and installation process to the public:

In the lead-up to the new programme opening on June 20, Tolia Curriculum will unfold alongside Tolia Astakhishvili’s solo exhibition Figure of the Child (June 20 – November 1, 2026) and invite visitors into her artistic world and practice.

Find the complete programme overview at the link in our bio.
___

Ab dem 22. Mai macht das mumok die Produktions- und Aufbauphase einer Ausstellung erstmals öffentlich zugänglich:

Während die Eröffnung des neuen Programmes am 20. Juni in greifbare Nähe rückt, begleitet das Tolia Curriculum die Entstehung von Tolia Astakhishvilis Solo Ausstellung ‚Figure of the Child‘ (20. Juni bis 1. November 2026) und lädt Besucher*innen in ihre künstlerische Welt und Praxis ein.

Die gesamte Übersicht über das Programm findest du über den Link in unserer Bio.
___

(1) Tolia Astakhishvili, Tolia Curriculum, 2026, courtesy of the artist

Design: Syndicat @s.y.n.d.i.c.a.t

(2) Tolia Astakhishvili, Tolia Curriculum, 2026, courtesy of the artist

R.I.P. Annelie Pohlen (1944-2026) - a dear friend, pioneering curator, and brilliant mind. Beyond visionary exhibition making and a tireless curiosity, Annelie had a remarkable sense of the potential and responsibility of the public art institution. Boldness and generosity. She'll be so greatly missed ❤️

Image: Annelie Pohlen, 1986

Tolia Astakhishvili, to love and devour - this show does something remarkable and profoundly generous with perception. With a beautiful closing event/final tuning fork by Kristian Vistrup Madsen, Rita Selvaggio, Tolia and Dylan Peirce ❤️ @toliaasta #kristianvistrupmadsen @rita.selvaggio #dylanpierce @nicolettafioruccifoundation

Tolia Astakhishvili, to love and devour - this show does something remarkable and profoundly generous with perception. With a beautiful closing event/final tuning fork by Kristian Vistrup Madsen, Rita Selvaggio, Tolia and Dylan Peirce ❤️ @toliaasta #kristianvistrupmadsen @rita.selvaggio #dylanpierce @nicolettafioruccifoundation

"A museum lives through what it takes in and what it gives back," says Fatima Hellberg. "It responds to its time, changes and creates new connections between art, people and ideas."

Under the leadership of Fatima Hellberg, mumok is entering a new phase, guided by a clear programmatic vision and a spirit of openness. In doing so, mumok is repositioning itself as a space for dialogue and hospitality.
_____
„Ein Museum lebt durch das, was es aufnimmt, und durch das, was es zurückgibt“, sagt Fatima Hellberg. „Es reagiert auf seine Zeit, verändert sich und schafft neue Verbindungen zwischen Kunst, Menschen und Ideen.“

Mit einem klaren programmatischen Fokus und einer Haltung der Offenheit startet das mumok unter der Leitung von Fatima Hellberg in eine neue Phase. Damit etabliert sich das mumok als Haus des Dialogs und der Gastfreundschaft.
_____
Photo: Niko Havranek @niko.havranek , © mumok

From mumok's collection:
Ull Hohn, Untitled, 1991

Infants frozen in awkward poses, perhaps still suspended in some amniotic sea. The other day, an artist and I were discussing how lonely it must be in the womb – cut off from the outside world in a state of complete dependency. But looking at Ull Hohn’s babies, I wonder if the opposite mightn’t also be true? The most complete connection, two bodies sharing the same the bloodstream, a state one ultimately drifts further from over the course of a life. The press release from their 1991 debut calls the bodies ‘undifferentiated’. And rendered in that Richter-esque blur, they command a space both intimate and clinical, an ambivalence echoing the experiences of the AIDS-era. So baby is also a double-edged projection who takes that separation further: squishy, vulnerable, and permanently in need of protection, though it’s unclear against whom.
#ullhohn @mumok_vienna

From mumok's collection:
Ull Hohn, Untitled, 1991

Infants frozen in awkward poses, perhaps still suspended in some amniotic sea. The other day, an artist and I were discussing how lonely it must be in the womb – cut off from the outside world in a state of complete dependency. But looking at Ull Hohn’s babies, I wonder if the opposite mightn’t also be true? The most complete connection, two bodies sharing the same the bloodstream, a state one ultimately drifts further from over the course of a life. The press release from their 1991 debut calls the bodies ‘undifferentiated’. And rendered in that Richter-esque blur, they command a space both intimate and clinical, an ambivalence echoing the experiences of the AIDS-era. So baby is also a double-edged projection who takes that separation further: squishy, vulnerable, and permanently in need of protection, though it’s unclear against whom.
#ullhohn @mumok_vienna

From mumok's collection:
Ull Hohn, Untitled, 1991

Infants frozen in awkward poses, perhaps still suspended in some amniotic sea. The other day, an artist and I were discussing how lonely it must be in the womb – cut off from the outside world in a state of complete dependency. But looking at Ull Hohn’s babies, I wonder if the opposite mightn’t also be true? The most complete connection, two bodies sharing the same the bloodstream, a state one ultimately drifts further from over the course of a life. The press release from their 1991 debut calls the bodies ‘undifferentiated’. And rendered in that Richter-esque blur, they command a space both intimate and clinical, an ambivalence echoing the experiences of the AIDS-era. So baby is also a double-edged projection who takes that separation further: squishy, vulnerable, and permanently in need of protection, though it’s unclear against whom.
#ullhohn @mumok_vienna

From mumok's collection:
Ull Hohn, Untitled, 1991

Infants frozen in awkward poses, perhaps still suspended in some amniotic sea. The other day, an artist and I were discussing how lonely it must be in the womb – cut off from the outside world in a state of complete dependency. But looking at Ull Hohn’s babies, I wonder if the opposite mightn’t also be true? The most complete connection, two bodies sharing the same the bloodstream, a state one ultimately drifts further from over the course of a life. The press release from their 1991 debut calls the bodies ‘undifferentiated’. And rendered in that Richter-esque blur, they command a space both intimate and clinical, an ambivalence echoing the experiences of the AIDS-era. So baby is also a double-edged projection who takes that separation further: squishy, vulnerable, and permanently in need of protection, though it’s unclear against whom.
#ullhohn @mumok_vienna

'SPRACHGEFÜHLE' by Sabeth Buchmann and Christian Liclair - an astute reflection on Gregg Bordowitz' show 'Dort: Ein Gefühl ' in the current issue of Texte zur Kunst. It's affirming to see the continued and sincere grappling with this show and Gregg's sensitive and urgent work. Image: Gregg reading from Robert Duncan's 'Opening of the Field' in his lecture performance 'Testing Some Beliefs' #greggbordowitz #sabethbuchmann #christianliclair #textezurkunst
@textezurkunst #dorteingefuhl @bonnerkunstverein #robertduncan