No.92 < t < a < n > g e > n < t > > c y, Beijing

It’s as if something… that could orbit, something referring one object to another. Think of two dancers, dance, with a movement seen from above that forms a tangent, it lets loose, one object of another, flung through a space. Neither knows exactly the…

No, it’s not that either.

It’s the lack of any precise movement, its the timing of things, in relation to… In relation to…

There’s no use trying to define it here.

Imagine a series of situations where objects on a surface change their location over time, who is to say that while those objects are attempting change, that the background, having its own agency, can not transform also.

So what is the point then? I don’t get it?

Quantum dancers, tangential space, non-linear movement. Seething, leering, movement, political movement, its as if, through trying to combine these forces, that new agency can manifest.

Is that not how all agency manifests?

You’re right, its true, there is no definition of agency as movement, it is not defined, it just is, it is present in the work, present in the viewer, the patient, the transcriber of an unknown origin.

Where was the video with the boat made?

B is for Bobr.

“ … this was the river B, A was rowing the boat…and we were on the way to make these paintings on these white cubes in the middle of nowhere … ” – D

The show <t<a<n>ge>n<t>>cy presented at the Austrian embassy in Beijing is the result of a chain of (good) events, bringing together three artist collectives,<dienstag abend>, See you next Thursday Kunstverein (SYNT) and Fusion Reaction.

. Axel Stockburger (AT)

. Desmond Mah (AU)

. Dora Deliyska (BG)

. Dorota Walentynowicz (PL)

. Fernando Mesquita (PT)

. Kai Maier-Rothe (DE)

. Lia Karl (AT)

. Phelim McConigly (IR)

. Sophie Thun (PL)

. Xi Wang (CN)

. Zeng Xin (CN)


No.91 Kupala an der Donau

Saturday, 16.06.2018

Kupala Night on Donau

Location: 48°20’30.9″N 16°18’16.5″E’30.9%22N+16%C2%B018’16.5%22E/@48.341918,16.3024023,17z/data=!3m1!4b1!4m5!3m4!1s0x0:0x0!8m2!3d48.341918!4d16.304591?hl=en

18:00—Participants gather in Kritzendorf
18:00-19:00—Preparation of the wreaths
19:00-21:00—flirting, getting to know each other
21:30-22:00—Ritual of lighting fire, circle of artistic activity
22:00—Choice of “Kupalinka”, song of Kupalinka (Ales)
—Choice of “Kupalich”
23:00-24:00—Ritual of cleansing through fire, then krupnik (made of 43 herbs and roots brought by Ales Pushkin from Belarus) and bread from Belarus
00:00-01:00—Performances of participants
Afterwards: Release of wreaths onto the water + catching them, choice of partners
Afterwards: Ritual of cleansing through water
Afterwards: Searching for the fern flower
Afterwards: Gathering around the fire, kupała circle, tea, portugese fish soup and bread from Belarus
Final: 03:00-04:00—Ritual of cleansing through rolling in the dew
Afterwards gathering at the station to return to Vienna

Dress code: white + bright colours, NO RED! NO BLACK!
Do not forget to take warm clothes, the night might get cold
Optionally: swimwear, towels, blankets

Tuesday, 19.06.2018

19:00, Hoast
Grosse Sperlgasse 25, 1020 Wien

with guest contributions by:
Vid Jeraj
Zosia Hołubowska

In July 2017 <dienstag abend> travelled to Belarus to visit artist Ales Pushkin and celebrate the slavic rite of Kupalle in a small village Bobr. The rite of Kupalle is a summer solstice festivity, which brings back an old pagan tradition of pre-Christian times. It includes a number of rituals, such as collective building of the Kupalle Wheel, jumping over fire, releasing wreaths in the river, looking for the fern flower, rolling in the dew in the rays of the rising sun and drinking traditional Belarussian “Krupnik” drink made with an extract of 40 local herbs.
This year Ales Pushkin comes to Vienna to perform Kupalle on the Danube.

During the presentation in Hoast, apart from objects and images related to the Kupalle celebration, a selection of video works by Ales Pushkin will be presented – documenting his performances in public spaces across the Minsk region in Belarus and his engagement in activating the local community in his village Bobr. The exhibition should provoke a number of questions regarding tradition, nationalism, radicalism and the role of the artist in today’s society.
“Pushkin’s idiosyncratic performances owe little to canonical Western radical performance art – instead, they draw upon a tradition of anarchical happenings that flourished throughout the Soviet Bloc as an organic response to the everyday absurdities of life in a totalitarian state.” (Max Seddon)


Ales Pushkin is a Belarusian artist and performer, whose works respond to current political situation of Belarus – a country that since 1994 remains under Lukashenko’s authoritarian rule. Ales Pushkin was born in 1965 to a family affected by soviet repressions. He got his education at the Belarusian State Fine Art Academy at the Faculty of Monumental and Decorative Painting. In 1993 Pushkin managed to open in Vitebsk one of the first private art galleries in the country, which after three years was closed by the authorities. One of his most well-known performances ‘A gift for the president’ (1999) ended up by two-year suspended sentence determined by Belarusian court and regular control by the police. SInce 1997 Pushkin lives with his family in the small rural hometown Bobr. In spite of its remote location, he continues being active in public sphere. The works of Ales Pushkin were exhibited in art galleries and museums in Belarus, Poland, Russia, Sweden, Norway and USA.

“Pushkin weaves together politics, religion, and everyday events in his art. His world is complex, with many points of entry, with surprises and paradoxes, and it’s not quite possible to describe him in terms of the art world’s usual categories.” (Martin Schibli)

with contributions by
Minda Andren,
Flavio Palasciano,
Jennifer Gelardo,
Alexander Jackson Wyatt

Zosia Holubowska

Vid Jeraj

Stafett is comprised of four distinct artistic positions made up of Minda Andrén (1990, SE), Jennifer Gelardo (1986 US), Flavio Palasciano (1987, CH), and Alexander Jackson Wyatt (1989 AU). The group have been working together on semi-site specific exhibition projects in the format of Stafett and Mirage (an extension of their work as an ongoing series of public projects including a range of other artists and practitioners). Their ongoing work plays with the idea of a continuous group exhibition, introducing single works that embrace an inevitable blurring of their objects, images or ideas as competing aspects of collaboration and autonomy collide. The work shifts between their material and content, slowly merging towards an unknown and undefined end.
Stafett Established in 2016. Notable exhibitions include Stafett (2016), curated by Mes Meufs, RAUM D Museumsquartier, Vienna AT, Scamming (2017) curated by Franziska Sophie Wildförster and Flavio Palasciano, Palazzo Lancia, Turin IT and Glass Jaws, GOMO, Vienna AT.

Vid Jeraj lives within multiplicity of languages, but mostly among the syncopation. He has punctuated the rhythms in education, tourism and media, while he solos in prose, poetry and essays. In brief, he plays for his soul’s sake… A founding member of Impronedjeljci/Impromondays, d-d-d-drumski pjesnici, he played saxophone with Kreso, Projekt-Projekt, Vlakovi u dzungli, and participated in numerous workshops by the likes of Eugene Chadbourne, Seijiro Murayama, Tomaz Grom, a.o. Still manages concert series with Mocvara Club in Zagreb, writes about music with Express, Radio Orange, Cantus, Lupiga Com, Paris Transatlantic Com, while his work was disseminated and published in Austria, Croatia, Slovenia, Serbia, Montenegro, Italy, USA and France.

Zosia Hołubowska is a Polish performer, anthropologist, and ethno-musicologist. They are currently doing a PhD in Practice at the Academy of Fine Arts in Vienna where they research the connection between the experience of traditional music and a community-building space. They have been involved in independent music scene for over 10 years, singing and playing in bands, organising shows, festivals and music workshops and booking tour for bands.


… for more info on the event see our feature in blok magazine

photo: Wolfgang Obermair / Hoast

No.90 ICA Yerevan

At ICA Yerevan we explored questions of situation specificity through a community based, site- specific curatorial process and artistic practice in visual arts. The inquiry we aimed at raising with our initiative was  deconstructed, materialised and subsequently transmitted to an audience through a workshop/exchange program with local artists from which we developed an exhibition at the Karoyan Gallery in Yerevan.

Our proposed creation of a framework able to stage, in a consequent way, specific entanglements between local and international artistic production, which was similar to previous <dienstag abend> projects dealing with artistic practice itself, being that our aim is to shift a large part of the emphasis from “what” is done to “how” it is done, directing our quest towards the visualisation and sensory experimenting of the subtle balance between artistic practice and the works it produces. In this sense the experience at Yerevan had a direct impact, in terms of methodology, in the development of our own practice. Furthermore the collectives exchange with Armenian artists and cultural producers working with site specific or contextual practice (with works and interventions strongly determined by the specificities of the space where the project is taking place) will opened a precedent for further collaborations.


Collaborating Artists included:

<dienstag abend> with:

Andranik Petrosyan

Anna Vahrami

Anush Ghukasyan

Ara Petrosyan

Arthur Petrosyan

Ed Tadevossian

Jakob Vrba

Marine Karoyan

Mikael Hovhannisyan

Nazareth Karoyan

Tigran Aleksanyan

Vahram Galstyan


No.89 Bobr, Belarus 2017

<dienstag abend> No.89 followed an invitation from Belarusian artist Ales Pushkin to participate in Kupala celebrations in his home village Bobr in Belarus. The project became a performative implementation of instructions, which Ales Pushkin prepared for <dienstag abend> within this framework of designed positions. In view of the unknown cultural environment and the rapid classification of an act of political provocation by Belarusian authorities, <dienstag abend> assumed the role assigned by Pushkin rather than autonomously deciding on any project, finding additional value of learning through this informal cultural exchange.

Ales Pushkin’s artistic output consists mainly of monumental paintings and performance art, therefore he invited <dienstag abend> to jointly paint several objects – remains of a post-soviet holiday resort in the Belarusian countryside. Obliterating their former function, the objects were treated as white canvas on which several monumental paintings were created which will remain for the view of the animals and the plants in this now uninhabited area.
<dienstag abend> was then invited to participate in the celebration of Kupala Night which stems from Slavic pagan tradition and celebration of the sun and fertility. Ales Puskin considers celebration of pagan customs as a permissible form of protest in the hostile political environment of current dictatorship in Belarus.

30 June – 10 July 2017


No.88 SUPER with Thomas Geiger / Kunsthalle 3000

Kunsthalle3000: no bricks, no doors, no roof, no rise, no ground, no fence, no sea, no lights

Thomas Geiger is happy to invite you to join in for a narrative talk about his project Kunsthalle3000, an institution as intervention in public space. Kunsthalle3000 started last year in Vienna and developed as a tool to experience and to reflect about the concepts of public spaces at various places: Johannesburg, Geneva and most recently Beirut. The project’s aim is to transform the unused potentials of the public realm into new situations and to provide the connections to other centres and forms of social existence. As a frame and platform for like-minded, Kunsthalle3000 wants to join forces and to create an energetic spot for discussion, confrontation, provocation and interchange.

Image: Hashem Adnan: ذو الصوت (Voice), Kunsthalle3000–Beirut

No.87 SUPER with Manfred Hubmann

Dienstag, 16. Mai 19 Uhr, im Kunstraum SUPER

One day someone’s dog ran off… Into a forest, the moss moist under its paws.
Running up a hill – breathing deeper – its lungs filled with the scent of a deer, standing somewhere.
And there was also a bird, sitting on a branch. The wind blew, it got colder and started raining.
The dog went back home to go to sleep.
(Manfred Hubmann)

SUPER dienstag abend is a presentation series organized by <dienstag abend> and hosted by Kunstraum SUPER in a parallel reality called time-and-space-in-between.
Filling the void between exhibitions at SUPER, <dienstag abend> invites (or not) different guests for presentations about economy and (non-) authorship. And maybe this is a sequence of a film.

No.86 Press To Exit, Skopje

<dienstag abend> No.86 is a workshop about situations, interventions and interferences.

We want to share the myriad of processes that have come to define how <dienstag abend> takes place through different events, exhibitions and editions. For it we invite our guests to find a situation, to intervene on it and to receive back new interventions and interferences that might take place upon their own work.

In our collective practice, a situation may be a way of making our surroundings intelligible to ourselves after an individual reading of the moment. Embracing misunderstandings and errors, these readings fuel an ontology of feedback loops and their contingent outcomes, enabling a situational understanding of space instead of an exclusively representative one.

As a site-specific workshop conducted in the city of Skopje, we consider all spaces as a field of interest: public, commercial, emotional, institutional space, etc…The works and artistic interventions are immaterial, as well as the posterior and unpredictable interferences that will happen upon them. Documenting and sharing are rooted in the amazing processes of oral tradition and will form the material substrate left after our workshop

No.85 Kluckyland

Ismini Adami, Abdul Sharif Baruwa, Cäcilia Brown, Ana De Almeida, Marc-Alexandre Dumoulin, Baptiste Elbaz, Yael Fides,Thomas Geiger, Ipek Hamzaoglu, Matthew Halpin, Jessyca R. Hauser, Milijana Istijanovic, Lia Karl, Eirini Linardaki, Nektarios Pappas, Vincent Parisot, Catalina Ravessoud, George Rei, Nausika Riga, Maria Trabulo, Stewart Ziff

Freitag, 25. November, 2016
Othmargasse 34, 1200 Wien

It is a sculptural organism between site specific works, local occupation and the (de)regulation of the public space.

After the 83rd edition of <dienstag abend> that took place in the city of Heraklion in May 2016, a collective of 29 artists based in Vienna and in Greece reunite once again to work with the public space, this time by transposing it to an institutional framework inside of Kluckyland as an associative space.

The entire exhibition undergoes a spatial, material and dimension-bound transformation. Here we are interested in making diverse translation possibilities visible as well as the exhibition’s potential of readability through an exchange between the audience, the works and the space. It is equally a movement from the original to the original and one from the model to the model within the framework of the possibility of a new autonomous representation

Within our exhibition format, our focus is on the friction surfaces and intersections between public ⇄ institutional ⇄ private space.

No.84 European Capital of Culture 2016 Wrocław

Axel Koshier, Barbara Kapusta, Eirini Linardaki, Ismini Adami, Melanie Ender, Misael Soto, Stefan Reiterer, Stewart Ziff, Thomas Kratz, Vanja Smiljanić

< dienstag abend > No. 84, materializes itself as a sculptural organism that lives somewhere between the acts of occupation and of de-regularization of the public space. This is an intervention that should exist as a site that summits and problematizes form, function and certainly, value.
More than an answer to the call set up by the Space for Beauty project of the European Cultural Capital Wroclaw, < dienstag abend > No. 84 is a reflection about the very process of intervening in a space. What are the inherent effects upon a specific place in the urban landscape and which are the implicit power relations within an intervention that happens outside the place’s own dynamics? What happens when a set of (art)ificial dynamics is implemented from the outside? What does it mean to intervene and perform for someone else? It is also an attempt to find answers to these questions throughout a collaborative practice in which the already existing agents in this space, although yet unknown, will be invited to act.
Ultimately, searching for a miracle is in itself an antilogy; searching includes a set of expectations whereby a miracle comes as something unexpected, in the same way < dienstag abend > No. 84 is a programme about desire, searching, (not) finding, illusion and disillusion.

No.83 Heraklion – public space

Ismini Adami, Abdul Sharif Baruwa, Cäcilia Brown, Ana De Almeida, Marc-Alexandre Dumoulin, Baptiste Elbaz, Yael Fides,Thomas Geiger, Ipek Hamzaoglu, Matthew Halpin, Jessyca R. Hauser, Milijana Istijanovic, Lia Karl, Eirini Linardaki, Nektarios Pappas, Vincent Parisot, Catalina Ravessoud, George Rei, Nausika Riga, Maria Trabulo, Stewart Ziff

exhibitions / urban interventions in the city of Heraklion.

Friday 27th May
Lakkos, ex-Xenia, Polykentro

For the event an international group of artists will create site-specific works in the historical suburb of Lakkos and nearby areas in Heraklion. The invited group of artists will arrive in Heraklion on 20th of May 2016, and during a week long residency will create installations, murals, performance acts and sculptures in the designated areas throughout the city.

The activities of < dienstag abend > deal with artistic practice itself – aiming to shift a large part of the emphasis from what is done to how it is done, directing the quest towards the visualization of the subtle balance between artistic practice and the works it produces. The concept of < dienstag abend > is raised upon three main axes: a collective practice, a site specific or contextual practice and the audience..

The idea of <dienstag abend> project in Heraklion is deeply rooted in the specificity of the area. Central suburbs in Heraklion have suffered from a symptomatic depopulation due to economic circumstances in recent years, a phenomenon that became visible as part of the urban landscape. This concerns predominantly the Lakkos district, amongst other effects illustrated by the real estate vacancy. The public space will be the venue for artists’ engagement on alternative forms of display and collaborative models – posing questions to the concepts of the autonomy of art, collective practice, cultural enrichment, gentrification and profit.

Πρόγραμμα εκθέσεων / αστικών παρεμβάσεων στην πόλη του Ηρακλείου.

Το πρόγραμμα είναι μια έκθεση από έργα σε συγκεκριμένες τοποθεσίες, από διεθνείς καλλιτέχνες στην ιστορική γειτονιά του Λάκκου και σε κοντινές περιοχές του Ηρακλείου. Η προσκεκλημένη ομάδα καλλιτεχνών θα φτάσει στο Ηράκλειο στις 20 Μαΐου 2016, και μέσα σε μια εβδομάδα θα δημιουργήσει τοιχογραφίες, γλυπτά και θα δώσει παραστάσεις σε καθορισμένες περιοχές σε ολόκληρη την πόλη.

Οι δράσεις της ομάδας εστιάζουν στην ίδια την καλλιτεχνική πράξη, με στόχο να μετατοπιστεί το ενδιαφέρον από το τι γίνεται στο πώς γίνεται, κατευθύνοντας την αναζήτηση προς την οπτικοποίηση της λεπτής ισορροπίας ανάμεσα στην καλλιτεχνική πράξη και στα έργα που δημιουργούνται. Η ιδέα της «Dienstag abend» πατάει σε τρεις άξονες: τη συλλογική πρακτική, τη site-specific ή συγκειμενική πρακτική και το κοινό.
Η ιδέα της ομάδας για το Ηράκλειο βρίσκεται βαθιά ριζωμένη στην ιδιαιτερότητα της περιοχής. Κεντρικές γειτονιές του Ηρακλείου έχουν πληγεί από τη μείωση του πληθυσμού λόγω της οικονομικής κατάστασης που επικρατεί τα τελευταία χρόνια. Ένα φαινόμενο που έγινε αντιληπτό ως μέρος του αστικού τοπίου. Αυτό συμβαίνει κυρίως στη γειτονιά του Λάκκου, και απεικονίζεται, μεταξύ άλλων, με τα εγκαταλελειμμένα κτίρια. Ο δημόσιος χώρος θα αποτελέσει τον κόμβο διασύνδεσης των καλλιτεχνών σε μία εναλλακτική μορφή απεικόνισης και συνεργατικών μοντέλων, υποβάλλοντας ερωτήματα για την έννοια της αυτονομίας της τέχνης, της συλλογικής πρακτικής, του πολιτισμικού εμπλουτισμού, του εξευγενισμού (gentrification) αλλά και του κέρδους.