Three international artists, alongside the Austrian contemporary group Gelatin, are currently exhibiting their works at the Vienna Secession. Since the establishment of the Viennese Künstervereinigung at the Vienna Secession in 1897, Gustav Klimt’s temple for art provides the urban facilities to exhibit visual lifeworks.
Sarah Lucas invited the four Austrian artists of the Gelatin to contribute to her installation of penises, which is currently exhibited in the main room of the Secession. They decided to play with the theme of eggs, with which Lucas has played since a long time in various ways, and placed four hens – according to their own number – next to her work. Thereby, they put an emphasis on the focus of her work: her past sexual impressions.
This collaborative element of this work stands in contrast to the two-room exhibition at the subterranean part of the Secession, where it is clear that the Austrian artist Tobias Pils prefers to be autonomous. When he starts to paint he has an idea of what he wants to do, but during the process of painting he loses it again; and therefore, his work remains personal and encrypted for the observers.
But to what degree can an artist be autonomous? Does autonomy automatically imply taking responsibility for one’s output? The art of the Dutch artist Guido van der Werve tries to explore the meaning of purpose, goal, aim and the end. By exhibiting a documentary of his life he shares his thoughts on the desire to create intrinsic values with his art.