Maria Lassnig Reihenfolge der Bücher (Chronologisch)

Maria Lassnig (1919–2014) pflegte Freundschaften mit zeitgenössischen Dichterinnen und Dichtern. Sie war eine Vielleserin vor allem von österreichischen Autorinnen und Autoren. Den beiden ebenso wie sie in Kärnten geborenen Ingeborg Bachmann und Peter Handke fühlte sie sich besonders nahe. Den Verwandtschaftsgrad der beiden künstlerischen Gattungen beschrieb Lassnig gerne mit der Feder als Schwester des Pinsels: der Gegenstand kann der gleiche sein, nur die künstlerischen Ausdrucksmittel unterscheiden sich. Maria Lassnig konzentrierte sich ganz und gar auf die bildende Kunst, daneben besaß sie literarische Fähigkeiten, die in den Texten zu ihren Filmen, in Briefen und in Notizen Ausdruck fanden. In diesem Band wird Kenntnis gegeben von dem, was Lassnig auf literarischem Gebiet geschaffen hat. Der Leser, die Leserin möge eine Ahnung von der lichten Weite der Autorin Maria Lassnig bekommen.

The artist Maria Lassnig and the curator Hans Ulrich Obrist had an amicable exchange lasting twenty years, where they discussed art, literature and their exhibition and book projects together. Published for the first time here, handwritten letters from Maria Lassnig provide an insight into her reflections on art and her existence as an artist, into their heights, depths and intricacies. Maria Lassnig allowed her addressee not only to partake in her thoughts on painting or polemics on photography, but also in her everyday life between the urban art world and her remote studio in the countryside. Including numerous images of the works of Maria Lassnig, letters and postcards.

The catalogue offers insights into Maria Lassnig’s and Arnulf Rainer’s early work in the years between 1945 and 1960. Having first met after the Second World War in Carinthia, the two artists travelled to Paris together in the early 1950s. The valuable stimuli they each received in that city were to be essential for their future work. Text: Robert Fleck, Monika Leisch-Kiesel, Natalie Lettner, Brigitte Reutner, Hemma Schmutz, Chirstine Wetzlinger-Grundnig

This volume documents the long-term initiative 'Safety Curtain' of Museum in progress, a project that is unique in the world. The exhibition series in the Vienna State Opera has represented a symbolic interface between performance and visual arts since 1998. It also creates a link between thorny historical questions and contemporary ways to address them. Beyond the actual curtain images that have originated over the years an associative and sensuous view to further related works of the participating artists in several different media forms is presented. The art project 'Safety Curtain', because of its exceptional quality, its year-long existence and its unusual dimension of 175 m² is singular and enables a distinctive perspective of art history of the past twenty years.

German, English