Hans Kupelwieser

Die retrospektiv konzipierte Monografie wird sich sowohl dem fotografischen als auch dem skulpturalen Schaffen Hans Kupelwiesers widmen. Hans Kupelwieser (geb. 1948), Würdigungspreisträger des Landes Niederösterreich und seit 1995 Professor an der Technischen Universität Graz, ist vor allem als Bildhauer und in weiterer Folge für seine im öffentlichen Raum realisierten Arbeiten bekannt geworden (z. B.: "Hohlkopfwand" im Regierungsviertel St. Pölten, Jüdischer Friedhof Krems, Seebühne in Lunz am See). Dennoch bewegt sich sein Schaffen seit jeher im Grenzbereich zwischen Zwei- und Dreidimensionalität, wobei der Fotografie ebenso große Bedeutung zukommt wie der Skulptur. 0Exhibition: Landesgalerie St. Pölten in the Landesmuseum Niederösterreich, St. Pölten, Austria (29.9.2012-27.1.2013). 0.

"Wittgenstein in Vienna" documents Wittgenstein's life in the city: the places he, his family and those with whom he was in contact, lived, worked, entertained and socialized. The book will be a source of enrichment to the cultural tourist in Vienna. Its authors are authorities on Wittgenstein's philosophy especially in relation to Viennese culture and popular culture, in particular the world of the coffee house and cabaret.

A bold new spatial perspective on modern sculpture, with 800 color images of work by artists including Henry Moore, Lygia Clark, Anish Kapoor, and Ana Mendieta. This monumental, richly illustrated volume from ZKM | Karlsruhe approaches modern sculpture from a spatial perspective, interpreting it though contour, emptiness, and levitation rather than the conventional categories of unbroken volume, mass, and gravity. It examines works by dozens of twentieth- and twenty-first-century artists, including Hans Arp, Marcel Duchamp, Henry Moore, Barbara Hepworth, Lygia Clark, Anish Kapoor, Olafur Eliasson, Ana Mendieta, Fujiko Nakaya, Tomás Saraceno, and Alicja Kwade. The large-scale book contains over 800 color images. Negative Space comes out of an epic exhibition at ZKM, and volume editor Peter Weibel (Chairman and CEO of ZKM) takes a curatorial approach to the topic. The last exhibition to deal comprehensively with the question “What is modern sculpture?” was at the Centre Georges Pompidou in 1986. Weibel and ZKM pick up where the Pompidou left off, examining sculptures not as figurative, solid, and self-contained monoliths but in terms of open and hollow spaces; reflection, light, shadow; innovative materials; data; and the moving image. Weibel puts advances in science, architecture, and mathematics in the context of avant-garde sensibilities to show how modern sculpture significantly deviates from the work of the past. Texts in the volume include an introduction and twelve chapters written by Weibel with contributions by cocurators as well as facsimiles and reproductions of artist-authored manifestos.

Alongside Erwin Wurm and Franz West, Hans Kupelwieser (born in 1948 in Lunz) occupies a third independent position in contemporary Austrian sculpture that represents a significant step forward in the development of a Postmodern concept of sculpture. Kupelwieser has always sought new materials which he uses in the manner of Arte Povera but also in a kind of linguistic approach in which he explores new meanings associated with these materials. A flat rubber or a massive steel sculpture in which letters have been punched to create openings serve, for example, as a windscreen and thus assume an entirely new function. This interplay of material extension and operational expansion between form and function is the fertile ground of Hans Kupelwieser's analytical explorations. Presenting numerous large illustrations, the book offers an overview of the sculptor's current work as well as several important reference works from early periods. Attention is also given to his photographic oeuvre, an equally important part of his work that relates closely to his sculpture. Exhibition schedule: Neue Galerie Graz am Landesmuseum Joanneum, May 8 - June 20, 2004

Dynamic components and adaptive elements are becoming increasingly important in contemporary architecture, and not just because of their visual effect. If architects and engineers are engaging more and more with the issue of movement – whether in the form of sun-tracking solar cells, lowerable walls, or intelligently programmed elevators – it’s because they are busy exploring responses to three challenges: How can we control and reduce the energy requirement of buildings? How can we expand the range of possible uses? And how can we represent, illustrate, accommodate, and control dynamic movements in buildings? Designers and builders who seek to use kinetic components face technical and design challenges that aren’t covered by traditional structural theory. For these users, this book presents the technical tools and constructional solutions that will allow them to implement these movements concretely and deploy them functionally within the domains of of "Energy," "Change of Use," and "Interaction." First it lays out the fundamentals and design principles of kinetics in architecture, technology, art, and nature in a structured manner. In a third section, forty movable elements are shown in action, each on a double page – with specially prepared phase drawings and organized by type of movement, including rotation, sliding, folding, and transformation. The international examples from noted architects range from window mechanisms to solar protection and light redirection systems, movable walls and roofs, and movable civil engineering structures.

Plottegg is one of Austria's most high-profile avant-garde architects. He has been pioneering the use of the computer since the 1980s. However, using the technology purely as an electronic drawing board is not enough for him - programs are intended to generate solutions. The works selected for this publication therefore represent the architect's design concepts and working methods rather than solutions for building projects. The projects are primarily presented in the form of images; descriptions, data and comments have been reduced to the minimum possible. To that extent, this book is also a visual supplement to his essays published up to now. This first monograph on Plottegg's built and planned architecture closes a gap in the documentation of innovative Austrian architects.