‘Instructions for Happiness’

Anna-Sophie Berger, Keren Cytter, Heinrich Dunst, Simon Dybbroe Møller, Christian Falsnaes, Barbara Kapusta, Rallou Panagiotou, Angelo Plessas, Maruša Sagadin, Hans Schabus, Socratis Socratous, Jannis Varelas, Salvatore Viviano, Anna Witt; curated by Severin Dünser and Olympia Tzortzi

21er Haus, Vienna

8 July – 5 November 2017

Happiness is a fundamental human emotion, and every single one of us strives to achieve it in one form or other. This individual pursuit of happiness also forms the cornerstone of this exhibition, but instructions for happiness? Happiness is a very personal thing, and so it seems—quite frankly—absurd to promise that we can get closer to it simply by following a series of instructions. Whatever the truth of the matter may be, this exhibition attempts to approach the phenomenon of happiness from a variety of different perspectives.
Since the dawn of history, humans have sought to discover what it is that makes them happy and at what point they can truly be called a happy person. Although today we have access to a wealth of self-help literature on this very topic, instructions for happiness have existed since antiquity, albeit in a more philosophical form. According to Plato, happiness was to be found in maintaining the balance between the three parts of the soul—reason, spirit, and appetite—and preventing them from coming into conflict with one another. Aristotle saw a fundamental link between happiness and self-fulfillment, as when you do what you set out to do well, you gain a place in society and, at the same time, contribute to its betterment. As far as Epicurus was concerned, an individual’s happiness hinged on strategic abstinence: an individual could gain greater happiness by pursuing their pleasures, taking care not to numb their senses by pursuing desires that exceeded their basic needs. One of these pleasures was the cultivation of interpersonal relationships. ‘Do not spoil what you have by desiring what you have not; remember that what you now have was once among the things you only hoped for’ is one piece of life advice offered by Epicurus. ‘Learn to be silent. Let your quiet mind listen and absorb,’ advised Pythagoras, who was also quoted as saying: ‘The more our minds understand, the greater the blessings received.’
According to the old proverb, ‘every man is the architect of his own fortune.’ We all have a different concept of happiness, and since we each have our own individual needs, the fulfillment of these needs must necessarily be taken into our own hands. Regardless of whether fulfillment is sought in human relationships, the immediate, everyday life, or the beauty of small things, this exhibition seeks to challenge notions of happiness.
Anna-Sophie Berger’s piece, for instance, invites us to build a house of cards and knock it down again; to work with care and precision towards a specific goal and retain the freedom to leave behind the fruit of our labors at the end. In Keren Cytter’s video installation, visitors reflect themselves on the surface of a screen while watching a story of a family, a lover, a beach house, and a lonely boy, and are drawn into a meditative state by a soothing voice. Heinrich Dunst, meanwhile, raises questions about status. The phrase ‘Nicht Worte’ (Not Words) has been written on a page but has then been scored out; ‘Dinge’ (Things) has been written underneath. Is this a double negative, thus meaning words and things? Beneath this image lies a doormat featuring a Piet Mondrian design: it remains unclear, however, whether this mat is anything more than a thing or whether it instead constitutes an image-like thing or a thing-like replication of an image. The photo by Simon Dybbroe Møller shows a hug between a cook and a plumber. Is this a photo about interpersonal needs? It is, if anything, a representation of physical needs, consumption and digestion, the ‘basics’, so to speak. Christian Falsnaes’s sound installation instructs visitors to interact with one another through simple actions that obviously bring pleasure by playfully transgressing social conventions. Barbara Kapusta, meanwhile, invites visitors to make cups and bowls from modeling clay, to use their own bodies in the molding of drinking vessels that will satisfy basic needs. Rallou Panagiotou combines impersonal suitcases with replicas of things associated with happy memories, such as a pair of sandals lost on a beach in the 1990s and a mask—presumably of Medusa—that once hung on the wall of her grandmother’s summer house. Under the motto ‘Sharing is caring’, Angelo Plessas offers us a USB stick with files that can be transferred onto our own devices. These files seem to cover every one of life’s eventualities and include self-help books, music for meditation, and advice on love and spirituality. Jannis Varelas, on the other hand, instructs us to leave the exhibition space and go for a walk around the city. As we walk, he asks us to think about whether or not we want to go back and turn our attention once more to art. Salvatore Viviano asks us to ask ourselves how lonely we feel while listening to Elvis Presley laughing as he sings ‘Are You Lonesome Tonight?’ Maruša Sagadin’s sculpture collection invites us to reflect on life in public space. On the one hand, she scrutinizes the opportunities for regeneration in urban spaces and on the other, the function of make-up and the formulaic conventions associated with it and representations of the self: if lipstick is a building, does that mean my face is a façade? A different question is asked by Hans Schabus and his sculpture: if good luck is a birdie, does that mean it is fleeting? And if that is the case, wouldn’t it be better to build a house for it? Socratis Socratous’s sculptures also deal with forms of flight and refuge. Small islands and bollards, made partially from smelted-down munitions from the world’s conflict zones, symbolize landing sites. The work focuses on migration over the seas and the safe havens that migrants hope to reach. Finally, Anna Witt’s video installation shows a group of people smiling for sixty minutes. Revolving around the commercialization of emotions and the sale of our own feelings, her video becomes a form of endurance test.
With their artworks, the artists shown in this exhibition ask us to follow instructions, respond to constructed situations, use objects to engage with others, or think about a particular theme. The different perspectives on show, in terms of both form and content, reflect the diversity of the artists’s own perspectives on happiness and those of society in general.
Walter Benjamin once wrote: ‘To be happy is to be able to become aware of oneself without fright.’ In this spirit, we invite you to interact freely with the artworks on display and to use this experience as a chance to reflect on the phenomenon of happiness. One’s own fulfillment is, after all, intrinsically linked to reflecting on one’s own needs and actions, which in turn leads to a conscious, self-determined life and mastery of the ars vivendi, the art of living. For as the sociologist Gerhard Schulze once said: ‘What does one live for, if not for the beautiful life?’

Exhibition catalogue:
Instructions for Happiness
Edited by Stella Rollig, Severin Dünser and Olympia Tzortzi
Including texts by Anna Sophie Berger, Keren Cytter, Severin Dünser & Olympia Tzortzi, Heinrich Dunst, Simon Dybbroe Møller & Post Brothers, Christian Falsnaes, Barbara Kapusta, Rallou Panagiotou, Angelo Plessas, Stella Rollig, Maruša Sagadin, Hans Schabus, Socratis Socratous, Jannis Varelas, Salvatore Viviano and Anna Witt
Graphic design by Alexander Nußbaumer
Photos by Thomas Albdorf
German/English
Hardcover, 22.5 × 16 cm, 128 pages, numerous illustrations in color
Belvedere, Vienna, 2017
ISBN 978-3-903114-41-8

»Instructions for Happiness«

Featuring works by Anna Sophie Berger, Liudvikas Buklys, Heinrich Dunst, Simon Dybbroe Møller, Christian Falsnaes, Benjamin Hirte, Barbara Kapusta, Stelios Karamanolis, Alexandra Kostakis, Adriana Lara, Lara Nasser, Rallou Panagiotou, Natasha Papadopoulou, Angelo Plessas, Maruša Sagadin, Hans Schabus, Björn Segschneider, Socratis Socratous, Misha Stroj, Stefania Strouza, Jannis Varelas, Kostis Velonis and Salvatore Viviano; curated by Severin Dünser and Olympia Tzortzi

Lekka 23 – 25 & Perikleous 34, Athens

December 21 — 30, 2016

Happiness can be understood as a basic human need. And the exhibition is all about the personal pursuit for happiness. But instructions for happiness? As happiness is quite an individual matter, instructions for happiness are of course a pretty absurd promise. Regardless of whether happiness is sought after in the interpersonal, the immediate or the everyday respectively the beauty of the small things in life – the exhibition tries to question the notions of happiness.

Selected artists were invited to contribute a work, that also includes a manual: A work that – based on an instruction – invites to do something, for instance use an object, react to a situation, interact with others under certain rules, perform something for others or oneself or simply initiates a thought process. The form of the work (as well as the instruction) could take any possible shape – resulting in artworks that are as diverse and formally divergent as the technical possibilities. But the seemingly chaotic diversity also reflects a plurality of perspectives on happiness that the artist (as well as society) share.

Aside from the question of happiness in the context of today’s Athens, the exhibition also tries to reflect upon art’s possibilities of immediate effects on society. Thus the boarders of the power of the aesthetic field can be questioned in the show on one side, while tracing the notions of happiness on the other side through experiencing the works in order to maybe also find answers for oneself.

Kindly supported by The Federal Chancellery of Austria, NON SPACES and KUP 

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»Instructions for Happiness«

Συμμετέχουν: Anna Sophie Berger, Liudvikas Buklys, Heinrich Dunst, Simon Dybbroe Møller, Christian Falsnaes, Benjamin Hirte, Barbara Kapusta, Stelios Karamanolis, Alexandra Kostakis, Adriana Lara, Lara Nasser, Rallou Panagiotou, Natasha Papadopoulou, Angelo Plessas, Maruša Sagadin, Hans Schabus, Björn Segschneider, Socratis Socratous, Misha Stroj, Stefania Strouza, Jannis Varelas, Kostis Velonis, Salvatore Viviano

Υπό την επιμέλεια: Severin Dünser, Olympia Tzortzi

Λέκκα 23 – 25 & Περικλέους 34, Αθήνα

21.12. — 30.12.2016

Η ευτυχία μπορεί να κατανοηθεί ως μια από τις βασικές ανάγκες του ανθρώπου. Ο Freud έλεγε ότι σκοπός της ζωής είναι η επίτευξη και η διατήρηση της ευτυχίας – και στην αναζήτησή της επιδίδεται η έκθεση με τίτλο «Instructions for Happiness». Αλλά είναι δυνατό να υφίστανται οδηγίες;

Μια σειρά από Έλληνες και διεθνείς καλλιτέχνες έχουν κληθεί να καταθέσουν την δική τους εικαστική απάντηση σχετικά με την κατάκτηση της ευτυχίας η οποία, στον βαθμό ασφαλώς που είναι για τον καθένα υποκειμενική, δεν μπορεί παρά να καθορίζει και τις «απαντήσεις» ως αυστηρά προσωπικές. Υπό αυτήν την οπτική, όλα τα εκθέματα απηχούν διαφορετικές προσεγγίσεις ως προς την μορφή αλλά και ως προς τους «κανόνες» που θα πρέπει κανείς να εφαρμόσει (ή και να απορρίψει) προκειμένου να εκπληρώσει, έστω και πρόσκαιρα, το πολυπόθητο αποτέλεσμα και, πάντως, όλα αυτοσκηνοθετούνται ως «οδηγίες προς απόκτηση ευτυχίας». Συγχρόνως, όμως, τα έργα δεν λησμονούν ότι η ευτυχία είναι ατομική υπόθεση, ότι ουσιαστικά κάθε υπόδειξη πραγμάτωσής της συνιστά ανεδαφική ή ουτοπική υπόσχεση. Εντούτοις δεν παραιτούνται. Κι έτσι καταφέρουν να στρέψουν την προσοχή στα μικρά αντικείμενα της ζωής και να αναδείξουν, με απρόσμενο τρόπο, την ομορφιά τους (ιδού μια στιγμή ευτυχίας!) – ή εφιστούν τη προσοχή στην «ευτυχή συγκυρία» ή και στην ευδαιμονία που μπορεί, φέρ’ ειπείν, να πηγάζει από άγνοια ή παραγνώριση της πραγματικότητας ή και από τη ζωηρή φαντασία ακόμη.

Προπάντων, όλα τα έργα της έκθεσης αμφισβητούν τις παγιωμένες αντιλήψεις για το τι είναι ευτυχία και θέτουν το ερώτημα του κατά πόσο η ίδια η τέχνη μπορεί να αποβεί «πρόξενος ευτυχίας», όχι απλώς ωραιοποιώντας αλλά ενεργά μεταμορφώνοντας τον γύρω μας κόσμο. Και εντέλει θέτουν το ερώτημα των ερωτημάτων: μήπως η ευτυχία προϋποθέτει πάντοτε την ευτυχία του άλλου, δηλαδή, θα πρέπει επιτακτικά να εννοηθεί σε ένα πολιτικό πλαίσιο;

Franz Graf

»See What Sees You«

Among other things, with exhibits by Franz Graf and Marc Adrian, Estera Alicehajic, Theo Altenberg, Ferdinand Andri, Anouk Lamm Anouk, Nobuyoshi Araki, Magnús Árnason, Johanna Arneth, Snorri Ásmundsson, Rudolf Bacher, Franz Barwig the Elder, Lothar Baumgarten, Selina de Beauclair, Tjorg Douglas Beer, Joseph Beuys, Binär, Herbert Boeckl, Anna-Maria Bogner, Herbert Brandl, Geta Brătescu, Arik Brauer, Günter Brus, William S. Burroughs, James Lee Byars, John Cage, Nina Canell, Ernst Caramelle, Anna Ceeh, Larry Clark, Tamara Dinka, Iris Dostal, Marcel Duchamp, Dejan Dukic, Rudolf Eb.er & Joke Lanz, Valie Export, Helmut Federle, Ernst Fuchs, Walther Gamerith, August Gaul, Ron Geesin & Roger Waters, Gelitin, Liam Gillick & Corinne Jones, Allen Ginsberg, Sara Glaxia, Gottfried Goebel, Karl Iro Goldblat, Martin Grandits, Fritz Grohs, Mario Grubisic, Kristján Guðmundsson, The Guerilla Art Action Group, Tatjana Hardikov, Friedrich Hartlauer, Carl Michael von Hausswolff, Gunnhildur Hauksdóttir, Rudolf Hausner, André Heller, Herbert Hinteregger, Benjamin Hirte, Marcel Houf, Françoise Janicot, Ali Janka, Ana Jelenkovic, Robert Jelinek, Hildegard Joos, Donald Judd, Tillman Kaiser, Felix Kalmar, Allan Kaprow, Mike Kelley, Didi Kern & Philipp Quehenberger, Richard Kern, Leopold Kessler, Martin Kippenberger, Imi Knoebel, Peter Kogler, Franz Koglmann & Bill Dixon, Zenita Komad, Svetlana Kopystiansky, Brigitte Kowanz, Angelika Krinzinger, Elke Silvia Krystufek, Zofia Kulik, Doreen Kutzke, Marcellvs L., Bruce LaBruce, Eskil Loftsson, Daniel Löwenbrück, Sarah Lucas & Julian Simmons, Victor Man, Mark Manders, Michaela Math, marshall!yeti, Otto Maurer, Paul McCarthy, Andrew M. McKenzie, Bjarne Melgaard, Cecilie Meng, Merzbow, Rune Mields, Chiara Minchio, Milan Mladenovic, Klaus Mosettig, Otto Muehl, Wladd Muta, Adam Mühl, Gina Müller, Mario Neugebauer, Hermann Nitsch, Oswald Oberhuber, Erik Oppenheim & David Kelleran, Charlemagne Palestine, Manfred Pernice, Goran Petercol, Rade Petrasevic, Raymond Pettibon, Walter Pichler, Begi Piralishvili, Elisabeth Plank, Natascha Plum, Rudolf Polanszky, Franz Pomassl, Arnulf Rainer, Raionbashi / Krube., Konrad Rapf, Jason Rhodes, Paul-Julien Robert, Gerwald Rockenschaub, Dieter Roth, Fiona Rukschcio, Runzelstirn & Gurgelstøck, Alexander Ruthner, Gerhard Rühm, Kurt Ryslavy, Nino Sakandelidze, Georg Sallner, Ed Sanders, Markus Schinwald, Eva Schlegel, Conrad Schnitzler, Philipp Schöpke, Claudia Schumann, Rudolf Schwarzkogler, Frederike Schweizer, Björn Segschneider, Jim Shaw & Benjamin Weissman, Jörg Siegert, Sigtryggur Berg Sigmarsson, Tamuna Sirbiladze, Linnéa Sjöberg, Dominik Steiger, Nino Stelzl, Curt Stenvert, Alexander Stern, Rudolf Stingel, Martina Stoian, Johannes Stoll, Ida Szigethy, Lilli Thießen, Bjarni H. Thórarinsson, Manfred Unger, Franz Vana, Jannis Varelas, Walter Vopava, Wolf Vostell, Klaus Weber, Peter Weibel, Lois Weinberger, Herwig Weiser, Wendy & Jim, Adam Wiener, Ingrid Wiener, Oswald Wiener, John Wiese, Judith Weratschnig, Stefan Wirnsperger, Eva Wohlgemuth, Helmut Wolech, Iwona Zaborowska, Thomas Zipp and Heimo Zobernig

21er Haus, Vienna

January 29 — May 25, 2014

Franz Graf is a thoroughly distinctive artist. He cannot be pigeonholed in any of the usual categories, and his works, indeed his oeuvre, cannot easily be described. He is neither a conceptual artist, painter prince, misunderstood genius, an artist of the state or of the market, nor even a critic of the institutions, and yet he has something of all these traits – and is always one step ahead when it comes to eluding all-too conventional structures and the classifications that go hand in hand with them.
After training under Oswald Oberhuber at the University of Applied Arts Vienna from the mid to late 1970s, he worked with Brigitte Kowanz until 1984 on the fringes of the Neo-Geo movement. In the following years, he evolved a visual language of his own, which, though extremely reduced, has sometimes been described as „expressive geometry“(1). Addressing the most fundamental element of drawing – a dark line on a pale ground – he developed a vocabulary that is essentially based on the juxtaposition of contrasts. Geometric forms and ornamental symbols dominate his works, which became increasingly corporeal towards the end of the 1980s. At the same time, he broadened his technical range, focusing more on the carrier materials such as tracing paper and on the installative integration of the work. He rolled back the classic boundaries of media and art: drawings became sculptures, sculptures became furnishings, furnishings became installations and installations, in turn, became spatial ornamentations. And amongst all this, painting also took on an increasingly important role. Graf is constantly expanding his field of action: curating, music, writing, events, and even teaching at the Academy of Fine Arts Vienna from 1997 to 2006.
This intermeshing of art and life is also reflected in his works. Franz Graf sets in motion a visual machine that devours everything that crosses its path. It is like a Machine Célibataire that drives the artist on to become a collector, archaeologist, documentarist, explorer and archivist, creating a world of his own through the synthesis of all his findings. They undergo a seemingly alchemistic process that orders things anew and melds the resulting structures into an idiosyncratic reality. In this universe, all things are one and exist side by side on equal terms, yet are also interwoven. A need for symmetry appears to underpin this cosmos, suggesting a pure and higher order in which moralistic, pecuniary and even worldly laws no longer hold sway. This world order is beyond good and evil and is subject to no ideals or hierarchies, following only the transcendental and the dualism of black and white.
Yet, for all of this, Graf remains true to drawing. Its reductionist form of portrayal permits abstraction in conjunction with depiction, which lends the drawings a certain autonomy from subject matter and signification alone. And this is precisely where Graf begins, using the natural patterns of perception – the instinctive quest for something recognisable – to alienate what we discern from our own reality, allowing it to disintegrate into strokes, lines and planes, as well as ideas and signs. The signifier becomes as visible as the signified and as signifying itself.
Franz Graf pursues this approach on a grand scale in his exhibition at 21er Haus. Processes of perception are unleashed, a cosmos formulated. „See what sees you“ is the motto of this show, which not only showcases Graf‘s works, but which also lays claim to presenting the current state of an artistic universe and putting it into context.
For his exhibition at 21er Haus, Graf dovetails the many aspects of his oeuvre in a new way, playing out his typical game with emptiness and fullness, black and white, delicate detail and iconic grandeur, archaic and modern. Specially created works can be seen here alongside older works, which he has placed together with works by contemporary artists both international and local, as well as pieces from the Belvedere collection and from his own private collection.
Some of his works are figurative. All are black and white, but some also abstract and ornamental. Some are based on circles, almost like mandalas or meditative objects. Others consist of combinations of letters that form fragments of words or quotes, the meaning of which can suddenly emerge, only to be lost from grasp just as quickly and form new meanings. Graf’s handling of letters echoes his handling of figurative subjects. His distinctly eclectic approach in combining elements lends them new form that emerges through his material poetry. The cultural technique of copy-and-paste is one of his stock stylistic devices – appropriation and alienation his accomplices, structure and repetition his accessories. Drawings, photographs, audio works, canvases, prints and everyday objects dovetail in Graf’s formation of open systems that are more akin to aesthetic spaces of experience than multimedia installations.
In the exhibition, eyes gaze at the viewers. Their unsettling gaze is at once seductive, coy, accusatory, fearful and profound. This is not about the eye of Big Brother, but about the image at eye level. Like mirrors, they reflect the gaze back upon the viewer with an intensity that makes seeing the theme in itself: triggering an awareness of our own ways of seeing and, consequently, of our perceptions and apperceptions.
But the title „See what sees you“ also implies reciprocity. It suggests that you can not only see, but be seen (and read) as well. The question this raises was indeed the starting point for the concept of this exhibition: is there a way of seeing that does not involve being distracted by the presentation of our own gaze and the ossification of representative gestures? Practical experience of exhibition openings tells us that there is no escaping this. Either we get used to the idea of coming back alone to have a look, or we try to act naturally and risk being distracted. For the exhibition, we decided to take that risk – by showing the work with all it entails and encompasses, rather than isolating and stylising it.
The framework for this is an architecture of elements normally used for scaffolding or stage construction. The display consists of carrier material that is quite literally used to visualise structures that would otherwise remain in the background. In this respect, there is a symbiosis between the presentation itself and the display of the construct of representation. The sum of the parts not only adds up to an exuberant exhibition in the main room of 21er Haus, but also creates a stage on which Franz Graf constantly expands his installation throughout the duration of the show, by repositioning and rehanging pieces, and with regular performances and collaborative art productions. Visitors thus step onto a stage on which, together with Graf, guest artists and inter-related works, they themselves become actors in a process of ongoing adaptation to an ever-changing situation. But is there more to it than simply being there? Can the exhibition break free from the patterns of representation and offer direct, sensory access to, or perhaps even allow entrance into, the world of Franz Graf? Blessed indeed are they that „have not seen, and yet have believed“(2).

(1) Donald Kuspit, in Franz Graf (exhibition catalogue, Galerie nächst St. Stephan, October 22 – November 26, 1988), Vienna 1988
(2) Gospel according to St John, 20:29