Category: artwork

The Cubo is a glazed showroom as a flexible exhibition space for media art, installation and sculptural art as well as conceptual and visual art in changing presentations.

The exterior design of the Cubo was conceived by Leo Schatzl and realized using transfer foil on the container. The starting point were photographs of the free-standing surface of the future location of the Cube. In a macro perspective of the digital image, these images were reduced to a composition of the primary colors in a square format, i.e. to enlarged pixels. Transferred to the open terrain, the object alludes to the illusion of a “pictorial disturbance” in the context of the natural environment. It suggests a digital glitch that irritates the eye as it wanders through the analog landscape.

The design thus refers both to the CUBO as a space for digital and temporary art forms in contrast to the materiality and interweaving of the stone sculptures, but also plays with the invasive character of the cube in a largely natural and wild natural space.

The “Hörzelle”is a converted telephone booth. Here, changing sound art works can be enjoyed with a wide view of the landscape.

It was developed by the sound artists and association members Chris Janka, Luzi Stempfer, Arnold Haberl, Christine Schörkhuber and Fabian Lanzmaier.

The power supply is activated by a motion detector and the controller is switched on when the door is closed. A dial allows you to select one of five pieces.

The visual design is strictly based on the vintage aesthetics of a telephone booth from the late 1980s, an object from the “obsolete media” genre, which is honored here

The boat, cut into two halves lengthwise, which was created as an essential part of the installation “Sprachrohr” by Milena Krobath & Johannes Schrems in 2014, was originally set up on both sides of the Danube Canal. After various stopovers, it became stranded on the grounds of Symposion Lindabrunn and – not inappropriately – came to rest near Leo Schatzl’s “Loose Harbor”.

It was no longer received as art without comment and so the idea was born to put it in a new context once again with the help of the neon sign.

„As an educational art app, Symposion Lindabrunn DIGITAL provides information about the permanent artworks at Symposion Lindabrunn and the artists who created them.

Symposion Lindabrunn DIGITAL can be used from anywhere via a browser or saved on a cell phone. On site, the app navigates through the art on the grounds – to 100 works of art from over 50 years of artistic creation at the Lindabrunn Symposium. Important artistic developments at the symposium are also presented along the two themed tours Communication Center and The Trail.“

This installation demonstrates the possibilities of sustainable darkroom practices in analog photography using plant-based developers instead of conventional photographic chemicals. The starting point is the ability of plants to reduce silver salts to metallic silver through the phenols and polyphenols they contain. The environment and surroundings become accomplices and co-producers in the photographic process. The artist hands over control to plants, weather, light, temperature, and, last but not least, to chance, which can produce unpredictable chemical reactions. The image and the depicted grow together.

Artist: Karin Frank

Two tall painted wooden steles, which focus on the physical work on the stone, were created at the symposium “50 Years Symposion Lindabrunn” 2019

 https://www.karinfrank.at/

2025, Video (22 min), Sound, objects

3.10. 25 – 23.11.25

A video and a story, a drinking trough, a hose, seeds, and an animal hoof form an installation. Grazing animals are
a special kind of landscape conservationist because they slowly eat and leave behind specific plants in a meadow.
Their short migrations across the area, their permanent droppings they leave behind and the trampling damage
they cause to the ground create mosaic landscapes. These are characterized by their mosaic-like vegetation
cover of different plant species. In times of multiple crises, the remaining urban ecosystems should be protected
and maintained. Grazing animals can take on this task. The artistic work questions a specific aspect of urban use
in Vienna and raises the question of coexistence with grazing animals in urban culture.

Artists: Golden Diskó Ship, Malin Walleser, Wiebke Frerichs
2022 – today

SOUNA is an immersive interdisciplinary art project playfully combining sound installation, participatory performance and architecture all in one.

The three female artists have created a sound space which also serves a a sauna – or the other way around.
The combination offers a unique situation in which to engage with one’s own body in its subjective and individual constitution. Musician Golden Diskó Ship (Theresa Stroetges) und the two carpenters of kollektiv RISS (Malin Walleser und Wiebke Frerichs) have teamed up for this project. The artists wanted to explore the collective-ritualistic characteristics of a sauna visit, as well as the interaction of the materials wood, sweat and sound.

By now, there are 2 compositions available for SOUNA: Let’s come home a little different (2022) and Heatwave (2024).

Artists: monochrom
2013, 2025

In 2025, monochrom is celebrating the 20th anniversary of its world-famous performance series Buried Alive at Symposion Lindabrunn, where there has been a regular, permanent “burial site” since 2013, which has attracted international attention through filming for ORF, pro7 and other private broadcasters. Buried Alive (also known as Experience the Experience of Being Buried Alive and Lebendig begraben) is a performance series by the Austrian art and theory group monochrom. The basic concept is to offer voluntary participants the opportunity to be buried alive in a coffin underground for fifteen minutes.

Artist: Leo Schatzl
2017 – today

Loose Harbour is the title of the annual program curated by Leo Schatzl at Symposion Lindabrunn in 2017. The basis of the project can still be seen on site: two sea containers and a pontoon for variable crane constructions. One of the containers contains a “metal construction kit” that makes it possible to simulate different constructions of a port facility. In 2017, these building materials were used in a spectacular way. The communication center, commonly known as the Arena, was briefly flooded and a temporary summer oasis with a sauna, bathing boat and sunbathing lawn was created with the Sun Deck installation. With Loose Harbour, Leo Schatzl takes a playful approach to the site and picks up on the history of the quarry, which was formed from the fossilized Tethys Sea. The dream project “Harbour”, which was experimentally designed by the participating artists in Lindabrunn in 2017, is located between the past, present and future.

Artist: Martina Menegon
AR Virtual Sculpture, 2021 – 22

“untouched (v.n.)” is a series of 3D Scan-Selfies by Martina Menegon that started in 2015 under the title Virtual Narcissism (v.n.) and has now evolved into Performative and Interactive Virtual Sculptures with Augmented Reality capability (on compatible mobile). Using 3D Scanning as an artistic medium, Menegon’s self-scanning procedure, combined with the use of low-budget technology, challenges the notion of the virtual as perfect and exposes the results of the scans “as is”, with all the beautiful flaws, mistakes and data loss. Untouched, those failures present a new authentic digital body, an avatar fixed in time yet always performing.

Artists: Marianne Ertl, Dirk Baecker, Nicolaj Kirisits and Kathrin Stumreich /CSUI
2021 – today

In 2021, media artist Kathrin Stumreich founded the platform “The Center of Solar Use Interpretation” and curated “Solar Habitat”, an exhibition and symposium in Lindabrunn. Research led to Heinz von Förster’s Sun Shower, which was described in Dirk Baecker’s obituary in the FAZ and, at Förster’s request, mentioned as his most important invention. Marianne Ertl Heinz (Heinz von Förster Archive) found an original picture of the Sun Shower, photographed by Albert Müller in the late 90s in Heinz von Förster’s garden in Pescadero.
In Solar Habitat, the Sun Shower was restaged as a remake by Stumreich in collaboration with Marianne Ertl and the Heinz von Förster Archive, Dirk Baecker and Nikolaj Kirisits.
The Symposion Lindabrunn took over “Heinz von Förster’s Sun Shower, Remake” as a permanent installation in the symposium grounds.
In the development process from original to remake, the Sun Shower was expanded: Dirk Baecker talks for 3 minutes via QR code about his discovery of the Sun Shower in the company of Heinz von Förster, and lets us participate vividly in this encounter on Rattlesnake Hill in 1990.

The composition “LOVE” attempts to create a cross-species understanding with the help of deceleration. The nightingale’s song, which is far too fast for the human ear to resolve, was stretched to ten times its original length, transcribed and this score interpreted on a cello. It is thus made comprehensible to the human ear and played live on the cello.

In the installation of the same name, this recording was accelerated back to its original speed – making it attractive again for nightingales. With the fresh memory of the musical slow motion, the human audience can gain new aspects from the resulting twittering.

Artists: Klaus Filip, Nicolaj Kirisits
2019

Photos: Sophia Wiegele

Two laser beams are sent through a water cloud, a fog. The light of these lasers is visualized and refracted by the aleatory disorder of the internal structure of this unsteady mist object.

The two laser beams are relayed via mirrors twice through the fog and then to the listening station aprox. 100 m away from the mist object. The computer controlled fog consisting of waterdrops in varying sizes, turns audible according to the idea of the photophone (Graham Bell, 1880), by means of two photocells mounted at the listening station.

The laser beams are mapping different locations inside the cloud. Due to the stereophonic overlapping situation, resulting rooms from the difference of the internal disorder of the water are opened up acoustically.

The compositon of the density of the mist is realized with an arduino board controlling a 4 channel water valve. Each channel controls the water flow in different fog nozzles and water sprinkler to produce different audible sensations.

Artist: umraum
2020 – 2023

Mare Nostrum was the Roman term for the Mediterranean Sea. In Autumn 2013 the Italian Marine Forces have started the rescue mission Mare Nostrum. The umraum art project Mare Nostrum consists of three installations:

Keep Distance
A bright yellow canoe has run aground in the sand and tipped over. Did it manage to escape? Was anyone rescued?

Broken Dreams
Dreams and hopes lead people away from home. They set off to start new lives. A broken boat symbolizes the fragility of these hopes and the difficulties on the way to achieving dreams. Are they as broken as the boat?

Stranded
An abandoned boat lies on a barren embankment. Did people steer it here, are they stranded or did a storm put it there? The boat is empty. No sign of life, nothing has been left behind. The hope for rescue lives on.

Artist: Christine Schörkhuber
2020, 2021, online

This interview-based work is based on stories from people who have a passionate relationship to the site of the Symposium Lindabrunn. Their positions become the starting point for an outdoor installation that subtly and personally approaches this multi-layered place with its different perspectives and levels of meaning. In selected places, a lounger invites you to linger – it’s all about listening, looking and being influenced.

site specific installation, oral history, 2020

Artist: Klaus Filip
2020, 2021

17 woodpeckers are invited to search for grubs and worms in the black pine forest just behind the symposion building in lindabrunn. Each woodpecker is given its own tree and a musical score to follow in knocking. However, the individual woodpeckers interpret their score individually, following their own idea of time and won’t be rattled by us listening.

Marlene Hausegger opens the anniversary year of the Lindabrunn Symposium with her exhibition.

The artist works primarily with found situations in public space. Her “interventions” always refer to existing structures that lie outside our everyday perception. They are characterized by a revealing gaze that makes us aware of these repressed, overlooked places and things anew.

Marlene Hausegger is interested in social processes as well as everyday structures of coexistence, which she translates with wit and humor into mostly ephemeral works of art. For her project at the Symposion Lindabrunn, she uses round hay bales, as they are found every year in meadows and fields and characterize the landscape. Using the simplest of means, such as adhesive tape or paint, she adds new meanings to them.

The opening of the exhibition will take place on April 26, 2019 at 7 pm at Symposion Lindabrunn. The exhibition can be viewed from April 27 to June 9 at the symposium site.

Vernissage: April 26, 2019, 7 pm
Exhibition: April 27 to June 9, 2019
The exhibition is open to the public at the symposium site.

2009 – today

Flying object HUI from 2009 is part of a series of helicopter experiments by David Moises and Chris Janka. HUI was planned as an airworthy helicopter with a particularly ecological design. However, after essential parts for take-off could no longer be supplied due to the bankruptcy of a specialist company, the artists had to bury their dream of flying. This dream has been part of the history of technology and art for centuries. Numerous artists have attempted to design an object capable of flight. The title of the work HUI is based on the “utility helicopter” Huey. However, the pronunciation “HUI” also emphasizes the playful component of flight experiments. Due to its rotating red nozzles, the first version of HUI created the illusion of a red ring and a piercing, loud noise. In the second version, the helicopter model was transformed into the water-spouting sculpture HUIcicle. Equipped with the nozzles of a high-pressure cleaner, HUIcicle transformed the surroundings in winter. The spraying water covered everything with a layer of ice.

Artist: Franz Xaver
2007 – today

Franz Xaver’s Stonehenge 1986 – Fragments of Media Art was erected on the symposium grounds in 2007. The original sculpture consisted of 15 tubular screens arranged in a steel construction to form the letters “IT”. Xaver’s work is also interesting because it forms a bridge between the sculptural work created as part of the Steinbildhaurei symposia and the multimedia art that has been offered space on the grounds of the Lindabrunn Symposium since 1999, many of which are temporary in nature. In 2018, seven of the fifteen screens of the media art sculpture have been vandalized.

Artist: Olivier Hölzl

Mural

https://www.livil.at