Latest Events in Vienna(April Updated)

Erwin Wurm is one of the most successful and well-known international contemporary artists today. For the first time, a comprehensive retrospective of his diverse oeuvre in all artistic media will be on display at the Albertina modern on the occasion of his 70th birthday.

Erwin Wurm is one of the most successful and well-known international contemporary artists today. For the first time, a comprehensive retrospective of his diverse oeuvre in all artistic media will be on display at the Albertina modern on the occasion of his 70th birthday.

Erwin Wurm is one of the most successful and well-known international contemporary artists today. For the first time, a comprehensive retrospective of his diverse oeuvre in all artistic media will be on display at the Albertina modern on the occasion of his 70th birthday.

New social challenges and innovative forms of work organization have had just as much of an impact on the design of things as updated production techniques, marketing opportunities and distribution channels. 100 selected objects - furniture, household appliances, tools and lighting, entertainment electronics and toys, as well as design for personal care, health, sustainable mobility and collaboration with robots - in the MAK exhibition represent the diversity and innovative power of Austrian product design from 2000 to the present. They are role models for design quality with regard to functionality, technological innovation, resource conservation and ergonomics, but also for wit, charisma and the emotional content of products. In 25 thematic categories - from A for "Alpine" to Z for "Circular" - there are surprising and exciting things to discover in familiar objects.

New social challenges and innovative forms of work organization have had just as much of an impact on the design of things as updated production techniques, marketing opportunities and distribution channels. 100 selected objects - furniture, household appliances, tools and lighting, entertainment electronics and toys, as well as design for personal care, health, sustainable mobility and collaboration with robots - in the MAK exhibition represent the diversity and innovative power of Austrian product design from 2000 to the present. They are role models for design quality with regard to functionality, technological innovation, resource conservation and ergonomics, but also for wit, charisma and the emotional content of products. In 25 thematic categories - from A for "Alpine" to Z for "Circular" - there are surprising and exciting things to discover in familiar objects.

New social challenges and innovative forms of work organization have had just as much of an impact on the design of things as updated production techniques, marketing opportunities and distribution channels. 100 selected objects - furniture, household appliances, tools and lighting, entertainment electronics and toys, as well as design for personal care, health, sustainable mobility and collaboration with robots - in the MAK exhibition represent the diversity and innovative power of Austrian product design from 2000 to the present. They are role models for design quality with regard to functionality, technological innovation, resource conservation and ergonomics, but also for wit, charisma and the emotional content of products. In 25 thematic categories - from A for "Alpine" to Z for "Circular" - there are surprising and exciting things to discover in familiar objects.

New social challenges and innovative forms of work organization have had just as much of an impact on the design of things as updated production techniques, marketing opportunities and distribution channels. 100 selected objects - furniture, household appliances, tools and lighting, entertainment electronics and toys, as well as design for personal care, health, sustainable mobility and collaboration with robots - in the MAK exhibition represent the diversity and innovative power of Austrian product design from 2000 to the present. They are role models for design quality with regard to functionality, technological innovation, resource conservation and ergonomics, but also for wit, charisma and the emotional content of products. In 25 thematic categories - from A for "Alpine" to Z for "Circular" - there are surprising and exciting things to discover in familiar objects.

To mark the 200th anniversary of Johann Strauss's birth, the Theatermuseum in Vienna is opening its doors to a unique exhibition about the Waltz King. This show offers you the perfect opportunity to experience the splendor of the Strauss era in the city that made his music a world sensation.

To mark the 200th anniversary of Johann Strauss's birth, the Theatermuseum in Vienna is opening its doors to a unique exhibition about the Waltz King. This show offers you the perfect opportunity to experience the splendor of the Strauss era in the city that made his music a world sensation.

Dagobert Peche (1887–1923) had the formal language of the Wiener Werkstätte explode. He responded to the geometry of the Wiener Werkstätte founder Josef Hoffmann and Koloman Moser with opulent decors, which were obtained from nature; everyday objects he deliberately gave a complexity that logic and utility value deliberately underwent logic and utility. In theory, Peche underpined his approach with the writing The Burning Bush, in which he called for the "overcoming of the utility" in order to arrive at a new artistic expression. The architect graduated from 1911 turned to arts and crafts and experimented with various materials – silver, glass, ceramics, leather and paper. He designed jewellery, furniture and exhibition displays as well as sensational fabric and wallpaper patterns.

Dagobert Peche (1887–1923) had the formal language of the Wiener Werkstätte explode. He responded to the geometry of the Wiener Werkstätte founder Josef Hoffmann and Koloman Moser with opulent decors, which were obtained from nature; everyday objects he deliberately gave a complexity that logic and utility value deliberately underwent logic and utility. In theory, Peche underpined his approach with the writing The Burning Bush, in which he called for the "overcoming of the utility" in order to arrive at a new artistic expression. The architect graduated from 1911 turned to arts and crafts and experimented with various materials – silver, glass, ceramics, leather and paper. He designed jewellery, furniture and exhibition displays as well as sensational fabric and wallpaper patterns.

Dagobert Peche (1887–1923) had the formal language of the Wiener Werkstätte explode. He responded to the geometry of the Wiener Werkstätte founder Josef Hoffmann and Koloman Moser with opulent decors, which were obtained from nature; everyday objects he deliberately gave a complexity that logic and utility value deliberately underwent logic and utility. In theory, Peche underpined his approach with the writing The Burning Bush, in which he called for the "overcoming of the utility" in order to arrive at a new artistic expression. The architect graduated from 1911 turned to arts and crafts and experimented with various materials – silver, glass, ceramics, leather and paper. He designed jewellery, furniture and exhibition displays as well as sensational fabric and wallpaper patterns.

Dagobert Peche (1887–1923) had the formal language of the Wiener Werkstätte explode. He responded to the geometry of the Wiener Werkstätte founder Josef Hoffmann and Koloman Moser with opulent decors, which were obtained from nature; everyday objects he deliberately gave a complexity that logic and utility value deliberately underwent logic and utility. In theory, Peche underpined his approach with the writing The Burning Bush, in which he called for the "overcoming of the utility" in order to arrive at a new artistic expression. The architect graduated from 1911 turned to arts and crafts and experimented with various materials – silver, glass, ceramics, leather and paper. He designed jewellery, furniture and exhibition displays as well as sensational fabric and wallpaper patterns.

Dagobert Peche (1887–1923) had the formal language of the Wiener Werkstätte explode. He responded to the geometry of the Wiener Werkstätte founder Josef Hoffmann and Koloman Moser with opulent decors, which were obtained from nature; everyday objects he deliberately gave a complexity that logic and utility value deliberately underwent logic and utility. In theory, Peche underpined his approach with the writing The Burning Bush, in which he called for the "overcoming of the utility" in order to arrive at a new artistic expression. The architect graduated from 1911 turned to arts and crafts and experimented with various materials – silver, glass, ceramics, leather and paper. He designed jewellery, furniture and exhibition displays as well as sensational fabric and wallpaper patterns.

Dagobert Peche (1887–1923) had the formal language of the Wiener Werkstätte explode. He responded to the geometry of the Wiener Werkstätte founder Josef Hoffmann and Koloman Moser with opulent decors, which were obtained from nature; everyday objects he deliberately gave a complexity that logic and utility value deliberately underwent logic and utility. In theory, Peche underpined his approach with the writing The Burning Bush, in which he called for the "overcoming of the utility" in order to arrive at a new artistic expression. The architect graduated from 1911 turned to arts and crafts and experimented with various materials – silver, glass, ceramics, leather and paper. He designed jewellery, furniture and exhibition displays as well as sensational fabric and wallpaper patterns.

In its 29th edition, the special presentation Point of View, which regularly presents different artworks temporarily in the permanent exhibition of the Picture Gallery of the Kunsthistorische Museum, focuses on a masterful portrait of the nine-month-old Princess Maria Teresa of Naples and Sicily, allowing visitors to explore the work of the court painters Anton Raphael Mengs and Diego Velázquez. In 1770, Anton Raphael Mengs (1728–1779), the celebrated court painter to King Charles III of Spain, returned to Italy to relax and at the same time to create portraits on behalf of his employer: in Naples he was to portray, among others, the family of King Ferdinand IV and his wife Maria Carolina of Austria. A highlight of this work can be seen as the now freshly restored portrait of Marie-Therese of Bourbon-Sicily, which shows the royal couple's first-born daughter. The portrait of the approximately nine-month-old princess impresses with its artistic sophistication. With it, Mengs created a work that combines traditional representation with a new naturalness and liveliness. The picture thus reflects a changed conception of childhood that became widespread in the 18th century - influenced by the educational ideas of Jean-Jacques Rousseau, which Maria Carolina particularly valued.

In its 29th edition, the special presentation Point of View, which regularly presents different artworks temporarily in the permanent exhibition of the Picture Gallery of the Kunsthistorische Museum, focuses on a masterful portrait of the nine-month-old Princess Maria Teresa of Naples and Sicily, allowing visitors to explore the work of the court painters Anton Raphael Mengs and Diego Velázquez. In 1770, Anton Raphael Mengs (1728–1779), the celebrated court painter to King Charles III of Spain, returned to Italy to relax and at the same time to create portraits on behalf of his employer: in Naples he was to portray, among others, the family of King Ferdinand IV and his wife Maria Carolina of Austria. A highlight of this work can be seen as the now freshly restored portrait of Marie-Therese of Bourbon-Sicily, which shows the royal couple's first-born daughter. The portrait of the approximately nine-month-old princess impresses with its artistic sophistication. With it, Mengs created a work that combines traditional representation with a new naturalness and liveliness. The picture thus reflects a changed conception of childhood that became widespread in the 18th century - influenced by the educational ideas of Jean-Jacques Rousseau, which Maria Carolina particularly valued.

In cooperation with the National Gallery of Slovenia, the Belvedere is presenting the highlights of Slovenian painting from the era of national emancipation, from the revolutionary year of 1848 to the collapse of the Danube Monarchy in 1918. The exhibition focuses on the central characteristic of local painterly approaches of this period: the intensive preoccupation with color. The study of its decorative effect, symbolism, expressiveness, and technical application was rarely as central to artistic movements as it was in Slovenian painting around 1900. Following the outstanding painter of the Vormärz period, Jožef Tominc, fascinating figures such as Jožef Petkovšek and Ivana Kobilca achieved their breakthrough in the second half of the 19th century. Around the turn of the century, the group of so-called Slovenian Impressionists, around Rihard Jakopič, Ivan Grohar, Matija Jama, and Matej Sternen, established itself. Their style shaped Slovenian art until 1918 and beyond. The exhibition particularly focuses on the ambivalent relationship between Slovenian artists and Austria and the capital, Vienna. Several artists studied or lived temporarily in Vienna, Graz, or Lower Austria. This ambivalence was characterized by a sense of latent exclusion and simultaneous dependence on state funding. Numerous documents from the Belvedere archive shed new, differentiated light on the cultural-political connections between Vienna and Ljubljana.

In cooperation with the National Gallery of Slovenia, the Belvedere is presenting the highlights of Slovenian painting from the era of national emancipation, from the revolutionary year of 1848 to the collapse of the Danube Monarchy in 1918. The exhibition focuses on the central characteristic of local painterly approaches of this period: the intensive preoccupation with color. The study of its decorative effect, symbolism, expressiveness, and technical application was rarely as central to artistic movements as it was in Slovenian painting around 1900. Following the outstanding painter of the Vormärz period, Jožef Tominc, fascinating figures such as Jožef Petkovšek and Ivana Kobilca achieved their breakthrough in the second half of the 19th century. Around the turn of the century, the group of so-called Slovenian Impressionists, around Rihard Jakopič, Ivan Grohar, Matija Jama, and Matej Sternen, established itself. Their style shaped Slovenian art until 1918 and beyond. The exhibition particularly focuses on the ambivalent relationship between Slovenian artists and Austria and the capital, Vienna. Several artists studied or lived temporarily in Vienna, Graz, or Lower Austria. This ambivalence was characterized by a sense of latent exclusion and simultaneous dependence on state funding. Numerous documents from the Belvedere archive shed new, differentiated light on the cultural-political connections between Vienna and Ljubljana.

In cooperation with the National Gallery of Slovenia, the Belvedere is presenting the highlights of Slovenian painting from the era of national emancipation, from the revolutionary year of 1848 to the collapse of the Danube Monarchy in 1918. The exhibition focuses on the central characteristic of local painterly approaches of this period: the intensive preoccupation with color. The study of its decorative effect, symbolism, expressiveness, and technical application was rarely as central to artistic movements as it was in Slovenian painting around 1900. Following the outstanding painter of the Vormärz period, Jožef Tominc, fascinating figures such as Jožef Petkovšek and Ivana Kobilca achieved their breakthrough in the second half of the 19th century. Around the turn of the century, the group of so-called Slovenian Impressionists, around Rihard Jakopič, Ivan Grohar, Matija Jama, and Matej Sternen, established itself. Their style shaped Slovenian art until 1918 and beyond. The exhibition particularly focuses on the ambivalent relationship between Slovenian artists and Austria and the capital, Vienna. Several artists studied or lived temporarily in Vienna, Graz, or Lower Austria. This ambivalence was characterized by a sense of latent exclusion and simultaneous dependence on state funding. Numerous documents from the Belvedere archive shed new, differentiated light on the cultural-political connections between Vienna and Ljubljana.

From February 2025, the Kunsthistorisches Museum will be dedicating an exhibition to the now largely forgotten artist Daniel Neuberger (1621-1680) and his impressive art of deception. This will be the first time ever he is honoured with a retrospective exhibition. Daniel Neuberger and the Art of deception demonstrates the master's virtuosity in sculpting with wax and imitating a wide variety of materials and surfaces. His artworks, frequently measuring no more than a few centimetres, were highly sought-after all over Europe and still impress today with their eye-deceiving illusionism.

From February 2025, the Kunsthistorisches Museum will be dedicating an exhibition to the now largely forgotten artist Daniel Neuberger (1621-1680) and his impressive art of deception. This will be the first time ever he is honoured with a retrospective exhibition. Daniel Neuberger and the Art of deception demonstrates the master's virtuosity in sculpting with wax and imitating a wide variety of materials and surfaces. His artworks, frequently measuring no more than a few centimetres, were highly sought-after all over Europe and still impress today with their eye-deceiving illusionism.

The aim of the exhibition is to emphasize the role of the medal as an object of art. Moreover, it will illuminate how the role of artists developed from the universal genius of the Renaissance and early Baroque to specialists for separate genres of the arts during the later years of the monarchy. The exhibition Imperial Impressions is dedicated to artists who were active at Habsburg courts and residences. It focuses on masters who were at ease in several genres of the arts, such as architecture, painting, and sculpture. It is the fact that they also made medals that warranted their inclusion in this exhibition, however. As the objects on display were mostly produced for members of the imperial family, they were of the highest quality. The period of the presented artists ranges from around 1500 to the end of the monarchy in 1918. The exhibition will show significant medals and provide in-depth context. The presentation of renowned works together with exceptional works from the field of medal-making art introduces visitors to a new, unusual viewpoint at familiar objects from the collection. The exhibition comprises about eighty works: medals, coins, paintings, gemstones, ivory and goldsmithery. Most object stem from the museum’s own collection, complemented by loans from the Numismatic Collection at the Staatliche Museen zu Berlin and from the Tyrolean Landesmuseen.

The aim of the exhibition is to emphasize the role of the medal as an object of art. Moreover, it will illuminate how the role of artists developed from the universal genius of the Renaissance and early Baroque to specialists for separate genres of the arts during the later years of the monarchy. The exhibition Imperial Impressions is dedicated to artists who were active at Habsburg courts and residences. It focuses on masters who were at ease in several genres of the arts, such as architecture, painting, and sculpture. It is the fact that they also made medals that warranted their inclusion in this exhibition, however. As the objects on display were mostly produced for members of the imperial family, they were of the highest quality. The period of the presented artists ranges from around 1500 to the end of the monarchy in 1918. The exhibition will show significant medals and provide in-depth context. The presentation of renowned works together with exceptional works from the field of medal-making art introduces visitors to a new, unusual viewpoint at familiar objects from the collection. The exhibition comprises about eighty works: medals, coins, paintings, gemstones, ivory and goldsmithery. Most object stem from the museum’s own collection, complemented by loans from the Numismatic Collection at the Staatliche Museen zu Berlin and from the Tyrolean Landesmuseen.

The aim of the exhibition is to emphasize the role of the medal as an object of art. Moreover, it will illuminate how the role of artists developed from the universal genius of the Renaissance and early Baroque to specialists for separate genres of the arts during the later years of the monarchy. The exhibition Imperial Impressions is dedicated to artists who were active at Habsburg courts and residences. It focuses on masters who were at ease in several genres of the arts, such as architecture, painting, and sculpture. It is the fact that they also made medals that warranted their inclusion in this exhibition, however. As the objects on display were mostly produced for members of the imperial family, they were of the highest quality. The period of the presented artists ranges from around 1500 to the end of the monarchy in 1918. The exhibition will show significant medals and provide in-depth context. The presentation of renowned works together with exceptional works from the field of medal-making art introduces visitors to a new, unusual viewpoint at familiar objects from the collection. The exhibition comprises about eighty works: medals, coins, paintings, gemstones, ivory and goldsmithery. Most object stem from the museum’s own collection, complemented by loans from the Numismatic Collection at the Staatliche Museen zu Berlin and from the Tyrolean Landesmuseen.

The New York Times has called Matthew Wong »one of the most talented painters of his generation.« This Chinese-Canadian artist straddled the frontier between Far-Eastern and Western art and was influenced equally by van Gogh and Shitao, both of whom significantly figured in his individual development. Wong, who committed suicide at age 35, was an autodidact who came late to art: his impressive oeuvre arose during a brief period encompassing his final eight years of life. The artist engaged with modernist stances as well as with varieties of expressive art produced by his contemporaries. This exhibition is conceived as a juxtaposition of around 44 paintings and 12 works on paper by Wong with selected works by van Gogh. It is being mounted in cooperation with the Van Gogh Museum in Amsterdam, Kunsthaus Zürich, and the Matthew Wong Foundation.

The New York Times has called Matthew Wong »one of the most talented painters of his generation.« This Chinese-Canadian artist straddled the frontier between Far-Eastern and Western art and was influenced equally by van Gogh and Shitao, both of whom significantly figured in his individual development. Wong, who committed suicide at age 35, was an autodidact who came late to art: his impressive oeuvre arose during a brief period encompassing his final eight years of life. The artist engaged with modernist stances as well as with varieties of expressive art produced by his contemporaries. This exhibition is conceived as a juxtaposition of around 44 paintings and 12 works on paper by Wong with selected works by van Gogh. It is being mounted in cooperation with the Van Gogh Museum in Amsterdam, Kunsthaus Zürich, and the Matthew Wong Foundation.