| | | | | | | | Robert F. Hammerstiel
Herr S. und Frau D., 1989, (Mr. S. and Mrs. D.),
from the series Mittagsporträts – Der Stand der Dinge,
chromogenic print, Albertina, Wien, © Rober F. Hammerstiel / Bildrecht, Wien, 2018 | | | | | Austria. Photography 1970–2000 | | | | | | | 10 March ― 1 July 2018 | | | | Opening: Friday, 9 March, 7pm | | | | | | | | | | | | | | | | Elfriede Mejchar
Ohne Titel, 1967–1976, (untitled)
from the series Simmeringer Haide und Erdberger Mais,
Gelatin silver print, 24 x 30 cm Museum der Moderne Salzburg, © Elfriede Mejchar | | | | | | With the exhibition "Austria. Photography 1970–2000", the Museum der Moderne Salzburg consolidates its standing as Austria’s leading center of expertise on photography. Following the original presentation at the Albertina in Vienna, the presentation in Salzburg is enhanced by additional works from the museum’s own collections. An introspective photographic survey of life in Austria, it also undertakes a probing examination of Austrian photography in the final decades of the twentieth century.
The Museum der Moderne Salzburg’s own collections and the Austrian Federal Photography Collection, which is housed at the museum, contain singular photographic documents. With more than 22,000 works, the collections are a vast national treasury of visual memories and media representations dating from 1945 to the present. In cooperation with the Albertina, Vienna, we drew on these holdings for the exhibition "Austria. Photography 1970–2000", an enlarged version of which opens in Salzburg in March. | | | | | | | | | Leo Kandl
Weinhaus Höller – Wien 8. Bezirk, 1979–1980
from the series Weinhaus, Gelatin silver print,
Museum der Moderne Salzburg, © Leo Kandl | | | | | | | "As director of the Museum der Moderne Salzburg, I set several priorities, including a reassessment of the collections and sustained measures to strengthen the museum as a center for expertise on photography. This year, these efforts culminate in a series of exhibitions. "With Austria. Photography 1970–2000"", we embark on a photographic exploration of Austria’s inner life that also yields a critical revision of our holdings. I am delighted that this exhibition, the fruit of a successful cooperation with the Albertina and the Federal Chancellery, now comes to Salzburg," Sabine Breitwieser, director of the Museum der Moderne Salzburg, says. "I am especially pleased that our spacious galleries and ample collections allow us to present an enlarged version of the exhibition for an even richer experience. We put a special focus on the pioneering work done by institutions and photographers in Salzburg and their influential contributions to the evolution of Austrian photography during the period under consideration," Christiane Kuhlmann, Curator Photography and Media Art, notes about the expanded exhibition in Salzburg. | | | | | | | | | Bernhard Fuchs
Junger Mann mit Motorrad, Bad Leonfelden, 1995, (Young Man with Motorcycle)
from the series Portraits, chromogenic print,
Austrian Federal Photography Collection at the Museum der Moderne Salzburg
© Bernhard Fuchs | | | | | | | In the history of Austrian photography, the years around 1970 were a time of fresh beginnings and new directions. Photographers trained their lenses on their own country and its traditions. In the works on display, which were created between 1970 and 2000, the distinctive characteristics of the country’s regions, its political past, diverse cultural identities, different social milieus, and urban sociographies emerge as major themes. Divided into these five sections, the exhibition presents works by twenty-four artists in order to examine their personal visions of their native land. In the absence of theoretical discourses and institutional infrastructures that would have guided and nourished their work, photographers devised very individual artistic and methodical approaches as they engaged with their Heimat—a concept with a fraught history and highly subjective connotations that remains controversial even today. It was not until the 1980s that the artists’ professional situation began to improve—the establishment of Fotohof in Salzburg and the launching of the photography journal Camera Austria in Graz were turning points—paving the way for more elaborate creative endeavors. | | | | | | | | | Friedl Kubelka
Wien, Graben, Dämmerung, 1984
Gelatin silver print, Photocollage, Carton 20 x 35 cm,
Austrian Federal Photography Collection at the Museum der Moderne Salzburg,
© Friedl Kubelka / Bildrecht, Wien, 2018 | | | | | | unsubscribe here
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