Acquired for the MAK Contemporary Art Collection

from funds provided by 2009–19 gallery grants of the Federal Ministry for Arts, Culture, the Civil Service and Sport

The internationally oriented MAK Collection of Contemporary Art funds its focus on selected Austrian artistic stances mainly via gallery grants from the Federal Ministry for Arts, Culture, the Civil Service and Sport. Acquisitions since 2009 have included works by artists such as Josef Dabernig, Verena Dengler, Andreas Fogarasi, Peter Friedl and Eva Schlegel.

GK 759
Benjamin Hirte
Aloa Table, 2020
Aluminum, marble
250 × 100 × 58.5 cm

GK 760
Benjamin Hirte
Aloa Chair, 2020
70 × 50 × 65 cm

GK 763
Florian Pumhösl
[Canal Section VI], 2017
Relief, part 1
Anticorrosive paint on galvanized sheet steel
220 × 74 cm

GK 754/1-7
Katrina Daschner
Golden Shadow, 2022
Series of seven drawings
Ink and colored pencil on paper
each measuring 30 × 23.8 cm

GK 756
Katrina Daschner
Glowing Pearls, 2021
Threads and beads on fabric

GK 757-1
Katrina Daschner
Untitled (Costa), 2000
Photo collage
framed 36 × 36 cm

GK 757-2
Katrina Daschner
Trust in Me [Wasted Couple], 2000
Photo collage
36 × 36 cm

GK 764
Dorit Margreiter
Textile Blocks, 2019
Series of three photographs


GK 740
Angelika Loderer
Untitled (Foster II), 2021
Sand, glass, water, wood
Size varies

GK 743
Jakob Lena Knebl
Coco & Hagenauer, 2014
Steel, varnish, leather
160 x 130 x 85 cm

GK 753
Sonia Leimer
Awning, 2021
Aluminum, acrylic, PVC, concrete
277 x 175 x 160 cm

GK 739/1-5
Kerstin von Gabain
Metal, castors
70 x 85 x 200 cm
JAW BONE (HIPPO) #2, 2021
30 x 30 x 50 cm
Wood, oil paint
30 x 30 x 50 cm
Cardboard, rivets, LED lights, batteries
54.5 x 27 x 19 cm
Wood, oil paint
4 x 19 x 23 cm

GK 741
Luisa Kasalicky
From the series Wovon sprechen wir? [What Are We Talking About?], 2021
Plaster, pigment and paint on wood and Botament
143 x 45 x 3.6 cm

GK 751/1-5
Philipp Timischl
5 photographs
C-print, passe-partout, framed
40 x 30 cm
Too blessed to be stressed, too broke to be bothered. (BELLEVUE AVE.), 2019
Too blessed to be stressed, too broke to be bothered. (SUNSET BLVD.), 2019
Too blessed to be stressed, too broke to be bothered. (ECHO PARK), 2019
Too blessed to be stressed, too broke to be bothered. (SARGENT PL.), 2019
Too blessed to be stressed, too broke to be bothered. (ECHO PARK AVE.), 2019

KI 23572
Andreas Duscha
Industriemelanismus [Industrial Melanism], 2021
B/w photographs on Baryta paper, framed
Outer dimensions: 49.5 x 44.5 cm

Industriemelanismus [Industrial Melanism], 2021
B/w photographs on Baryta paper, framed
Outer dimensions: 49.5 x 44.5 cm

GK 752
Jenni Tischer
Perceptual Screen (Schindler’s Terrace,
4800 Hollywood Blvd., L.A.)
Textile, copper, print


GK 733
Andreas Fogarasi
Nine Buildings, Stripped (Südbahnhof), 2019
Sculpture, two parts
Marble, terrazzo, mosaic tiles, steel strapping band
Left: 107 x 44 x 13 cm
Right: 107 x 72 x 19 cm

GK 735
Toni Schmale
vagina dentata, 2020
2 sculptures
Powder-coated steel
Each 84.8 x 84.8 x 75 cm


GK 729
Marina Sula
Untitled, 2019
UV print on Plexiglas, Dibond, steel
120 × 90 cm

GK 727
Rosa Rendl
Cocktail set
90 × 60 cm

GK 726
Magda Csutak
Ellipse +, 2016
Wood, glass, porcelain, iron oxide, nickel oxide
88 × 64 × 13.5 cm

GK 730
Ulrike Müller
Rug (con tacón), 2018
Wool tapestry, hand-woven
260 × 300 cm

GK 725
Markus Hanakam and Roswitha Schuller
Travertin, 2015
Double channel digital film, stereo, color
Variable format
12:04 min.
1/3 (Ed. 3 + 2 AP)

GK 731
Sofa, 2019
Carpet, steel, foam rubber, mattresses, cardboard
496 × 205 × 206 cm


GK 721
Michael Kienzer
Cobalt Blue / Signal Blue / Cobalt Blue (3-part flyer), 2016–2018
Metal panels, threaded rods, magnets, varnish
132 x 112 x 72 cm

GK 710
Sofie Thorsen
Playground sculptures, 2013
Room installation
Varnished steel, inkjet prints
Version with 3 elements, 4 paper objects
Variable dimensions, h 280 cm
GK 711
Sofie Thorsen
Relief, 2018
Gouache on paper
Box frame: 32 x 26 x 8 cm

GK 714
Edgar Honetschläger
Chair Portrait (Margarete Schütte-Lihotzky), 2018
Oil on canvas
180 x 140 cm

GK 722/1-6
Sabine Bitter & Helmut Weber
Un_Formal Housing (photogram #1–6), 2018
40.5 x 31 cm each
GK 723-1
Sabine Bitter & Helmut Weber
Un_Formal Housing (Model #1), 2018
Cedarwood, wooden sticks
42 x 15 x 7.5 cm
GK 723-2
Sabine Bitter & Helmut Weber
Un_Formal Housing (Model #2), 2018
46.5 x 21 x 9 cm
GK 723-3
Sabine Bitter & Helmut Weber
Un_Formal Housing (Model #3), 2018
Rice paper, rice noodles
24.5 x 8 x 8 cm
GK 723-4
Sabine Bitter & Helmut Weber
Un_Formal Housing (Model #4), 2018
Model-making cardboard, twigs
45 x 20 x 12 cm
GK 723-5
Sabine Bitter & Helmut Weber
Un_Formal Housing (Model #5), 2018
Birchbark, glue (Vienna Woods)
41.5 x 13.5 x 5 cm
GK 723-6
Sabine Bitter & Helmut Weber
Un_Formal Housing (Model #6), 2018
Cedar bark, glue
47.5 x 6 x 3 cm

BJ 1822
Petr Dvorak
Necklace [Long Sliver], 2014–2016
Sliver of agate, neck ring made of stainless steel


GK 693
Misha Stroj, Io non aumento piu (versione fanfarone), 2012
Artist’s belt, aluminum
163,5 x 105 x 4 cm

GK 694
Herbert Hinteregger, Untitled (Nohoval) after W.W., 2010
Acrylic on canvas
120 x 80 cm

GK 696
Hubert Blanz, Urban Codes 01, 2013
C print on Dibond; framed acrylic glass (wooden frame)
Ed. 1/3+1 AP
137 x 177 cm

GK 698
Kerstin von Gabain, Ohne Titel [No title] #7, 2017
Framed C print
Ed. 1 of 3 + 2AP
43,5 x 38 x 2,5 cm

GK 699
Kerstin von Gabain, My friend’s leg, 2017
Wax, concrete
17 x 15 x 133 cm

GK 701
Mladen Bizumic, KODAK (Retina Type 117, Made in Germany, 1934), 2016
100 x 70 x 4 cm

GK 695
Mathias Poledna, Schönberg Wardrobe, 2013
Verneered oak, stainless steel
Ed. 1 von 2+1 EA
180 x 210 x 60 cm

GK 697
Peter Jellitsch, Automatic Writing (Var. 4), 2017
Acrylic, pencil, and crayon on paper
92 x 140 cm


GK 583
Gerold Tagwerker, pennzoil, 2007
Plate glass, metal
198 x 100 x 100 cm

GK 689
Verena Dengler, Invoice (Kiesler / Black Widows), 2016
Tufted carpet
150 x 200 cm

GK 691
Markus Schinwald, Untitled (Maschine 3), 2015
Wood, brass, motor
170 x 70 x 107 cm

GK 692
Kay Walkowiak, Island, 2016
HD video (1920 x 1080), B/W, stereo
12 min.
Ed. 1/6 + 2 AP


KI 23 084/1-12
Mladen Bizumic, From cube to ball and back again, 2014
12 black/white photographs
18 x 24 cm each

GK 681
Kathi Hofer, Offering IV, 2015
Diverse objects, printed and engraved
40.5 x 51 x 120 cm

GK 675
Manuel Knapp, int/ext04, 2011
Installation: computer animation, HD, 9 min. 30 sec. looped
241 x 429 x 629,5 cm

GK 676
Manuel Knapp, lightX02, 2014
Installation: computer animation, HD, 5 min. looped, stereo sound, canvas
195 x 135 cm

GK 677
Eva Schlegel, Untitled (208), 2013
Print on Hahnemühle Paper
210 x 150 cm
Ed. 2

GK 670
Adriana Czernin, Nach Ibn-Tulun, [To Ibn-Tulun], 2014
Pencil on paper
156 x 220 cm

GK 666
Verena Dengler, Sponsors, 2001-2014
Embroidery, framed
74 x 106 cm

GK 667
Verena Dengler, Untitled (blue), 2014
127 x 176 cm

GK 669
Nilbar Güres, Red, Old Woman, Yellow, Black Eyes, Brown, Pride Belt, Blue, Drilled Ears, Silver, Carpet Seeds, Blue, Teenage Acne, 2014
Installation, fabric, indigenous skirts
ca. 300 x Ø 50 cm

GK 668
Florian Schmidt, Untitled (Hold) 29, 2013
Acrylic paste, lacquer, vinyl, cardboard, canvas, wood
215 x 155 cm

Verena Dengler
Verena Dengler (* 1981) juxtaposes private and museum passions for collecting with her own collection of material. In willful translations she incorporates pieces from present-day art production into the identification potential of the objects. The sculpture Heim für gefallene Mädchen [Home for Wayward Girls] (2013) draws attention to the plight of Jewish women in the time of National Socialism. Dengler also takes as a subject Anna O., Sigmund Freud’s patient whose case marks the beginning of psychoanalysis. Anna O. was a pseudonym for Bertha Pappenheim (1859–1936), founder and first president of the League of Jewish Women. In 1935 she donated her important collection of European laces to the MAK.

GK 650
Verena Dengler, Heim für gefallene Mädchen, [Home for Wayward Girls], 2013
Steel, lacquer, spray paint, framed work on paper
Paper clips, metal grid, polyester resin
170 x 80 x 42 cm

GK 651
Hans Weigand, Before and After the Final Judgement, 2003/2013
Mixed media on canvas, interactive computer animation
220 x 180 cm

GK 638
Benjamin Hirte, Untitled, 2012
Wood, plexiglass, mirror, lacquer
89 x 35 x 35 cm

GK 645
Kerstin von Gabain, Die Hysterikerin, [The Hysteric], 2013
3 photos, framed
83 x 41 x 3 cm

GK 644
Kerstin von Gabain, Dissection, 2013
Photo, framed
53 x 53,5 x 3 cm

Gerwald Rockenschaub
In his artistic work, Gerwald Rockenschaub (* 1952) fuses the principles of modernism with motifs drawn from everyday life and pop culture. The artist explains his untitled wall object (2002), which alternates between frame and cut-out, through his choice of materials: acrylic glass, heavy-duty screws, industrial washers, and a “white cube” background. Using simple means—medium and materials—Rockenschaub defines the work of art and aligns himself with the principles of minimal art, which he translates into our computer-generated era through pictographic forms.

GK 658
Gerwald Rockenschaub, 2002
110 x 156 x 8 cm

Nadim Vardag
Nadim Vardag’s sculpture Untitled (2012) consists of a movable partition that at first glance appears to be part of the museum’s furnishings inventory. In the interplay of sculpture, design, and display, Vardag (* 1980) emphasizes the reduction to basic geometric shapes, which are ascribed different meanings with regard to ethics and aesthetics. The structure rests upon a 1960s table frame design by Egon Eiermann, who in the post-war period, despite his earlier work for the National Socialists, became one of most important representatives of modern German architecture symbolizing progress.

GK 656
Nadim Vardag, Untitled, 2012
200 x 300 x 72,8 cm

GK 657-1/2/3
Nadim Vardag, Catpeople (I - III), 2010/11
3 videos
Edition 3/5 + 2 AP

Mathias Poledna
In his installation Double Old Fashion Mathias Poledna makes visible complex formal relations between filmic narration and historic imagination. He concentrates on media specific formalisms such as repetition, movement, and reduction and, in doing so, he intensifies the aesthetic connotations of the depicted “story” within the process of media-based pictorial transformation. Polednas visual language is generated from the tension created by his idiosyncratic aesthetic condensation of design, art, and architecture. Moreover, he turns the project space of the film into a resonating space that opens up a new dimension.

GK 632
Mathias Poledna
Double Old Fashion, 2009
16 mm, color, no sound, 20 min.
Edition 4/5 + 1AP

Werner Feiersinger
“I’ve always enjoyed visiting the Unité in Marseille—that specific atmosphere of the building with the windy evenings and the sunsets on the flat roof, with the strangely shaped concrete objects which trace the contours of the mountains in the background. The assembling of all those different objects and elements on that roof creates an incredible, almost theatrical tension. My pictures are mostly about the sculptural and materiality as well as about everyday perception without idealization.”  Werner Feiersinger

GK 630
Werner Feiersinger, Ohne Titel (Le Corbusier, Unité d’Habitation, Marseille), 2007
C-Print on AluDibond®, framedEdition 1/5

GK 631
Werner Feiersinger,  Ohne Titel (Le Corbusier, Wand im Atelier, Paris), 2007
C-Print on AluDibond®, framed
Edition 1/5


Rudi Stanzel
This intervention was developed by Rudi Stanzel specifically for the MAK Tower as a reaction to the former Arenbergpark flak tower’s monolithic form. Intending to penetrate the structure of the tower in its verticality, Stanzel created a monumental and yet membrane-like suspended sculpture of individual aluminum chains for the tower’s central stairwell.

GK 319
Rudi Stanzel
Rise/Fall, 2010
Aluminum, anodized
3,400 x 90 x 45 cm

Andreas Fogarasi
The design for the marble objects in Andreas Fogarasi’s installation Untitled (Wise Corners) is based on the conception of a “Final Projects” exhibition (2006) at the Schindler House—a location of the MAK Center for Art and Architecture, Los Angeles; they were generated by a dialog with architectural elements of the presentation space, the material language of which Fogarasi quotes. These sculptures function as carriers for photographs that show works of architecture built for exhibition-related purposes. The installation’s form, concept and theme combine to produce a single whole embedded in a dense network of evoked associations.
The objects were shown and acquired in connection with the MAK exhibition ENVISIONED BUILDINGS. Reflecting Architecture in Contemporary Art Photography (7 December 2011–22 April 2012).

GK 626
Andreas Fogarasi
Untitled (Wise Corners), 2010
Ten marble (Rosso Levanto) sculptures with mounted photographs, ten photographs for the wall
Sculptures: 148.5 x 110 x 34 cm each, photographs: either 45 x 25 or 25 x 45 cm

Josef Dabernig
In the presentation 1 sculpture 2 versions, Josef Dabernig analyzed the location of the artwork as an idea. In doing so, he used a modular system to focus the multifaceted interplay between the given symmetrical structure of the MAK Columned Main Hall and his rhythmic intervention. The 1988/2010 installation Ohne Titel, comprising 48 pieces of folded steel sheet, was presented sequentially in two variants which were each developed individually in order to conform to the specific spaces for which they were intended. It was originally realized as four-walled sheet metal channels modeled on the pre-formed duct elements used in climate control systems. Dabernig later on dismantled these constructions to save space, thereby producing a mobile and variable sculpture for which presentation within various spatial contexts became a part of the formal and substantive concept. In contrast to static constructions, the sculptural models thus created became understandable via sequences of possible scenographic interpretations of the space. To this end, a single spatial situation was dismantled into two outtakes and presented as a sequence of consecutive tableaux. In their respective logics, the various arrangements of the metal sheets provided interpretations of their relationships to architecture while simultaneously referring to the manifold ways of employing one and the same sculptural vocabulary.

GK 607
Josef Dabernig
Ohne Titel, 1988
Steel sheets, galvanized
48-part installation, variable dimensions

Hans Schabus
Previously installed on the roof of the Vienna Secession building, at Schabus’s studio (2003) and at the Villa Manin ¬– Centro d’arte contemporanea in Codroipo near Udine (2007/2008), Hans Schabus’s work Astronaut relates to specific contexts and special characteristics of spaces. In this respect, the sign can also be read as standing for the artist Hans Schabus himself and the way in which he works. It has repeatedly occupied and explored new sites in order to create new perceptive vantage points. In the case of the MAK Tower, the work has been placed in dialog with the inside of the exterior wall. The sign, just like the site itself, subverts the existing context and opens up new latitudes for action.

GK 595
Hans Schabus
Astronaut, 2003
Aluminum, wood, concrete building blocks, fluorescent lamps, wiring, various types of fastenings
220 x 10.000 x 100 cm

Jochen Traar
Since 1994, Jochen Traar has been formulating his art under the label Art Protects You. Conceived for the public realm, this work by Traar questions the urban experience. The group of letters making up “Art Protects You” is the core element of his Letter Triology, with which Jochen Traar traced and characterized the movement dynamics of Los Angeles (1996), Vienna (1997) and Venice (1999). As part of his MAK Schindler Scholarship in 1996, the red letters were mounted on the beds of 14 pickup trucks and sent on a drive through the heavy traffic of Los Angeles’s inner-city freeways.

GK 594
Jochen Traar
Art Protects You, 1996
Plywood, polyester, varnish, rollers; 14 letters
255 x 180 x 50 cm each

Peter Friedl
In Peter Friedl’s piece Neue Straßenverkehrsordnung, a moment of historical construction reappears in the artistic medium of neon lettering made to look like a child’s handwriting. This work refers to an early pamphlet of the German RAF (Red Army Faction), written in prison in 1971. Under the title of “On Armed Struggle in Europe”, the author outlines models and opportunities for revolutionary activity in various Western European cities and formulates a political program of sorts. The text was circulated under the cover name “New Rules of The Road,” a shrewd allusion to the power of existing structures and public order (the title being an ironic reference to the new traffic regulations that went into effect in Germany during that same year). Conceived as a loop, Friedl’s work transforms messages and communicates instances of recoding, effects which art is capable of having on historic moments and monuments.

GK 696
Peter Friedl
Neue Straßenverkehrsordnung, 2000
Neon tubes, wiring, transformers
Neon installation
215 x 700 x 6 cm