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New Jörg
Jägerstraße 56
1200 Vienna

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📌📌 SAVE THE DATE 📌📌

🖼️ Try Before Museum
🗓️ Preview: Thursday, 21 May 2026, 7–11 pm
📍 New Jörg: Jägerstraße 56, 1200 Vienna

Since June 2025, @new_joerg_ has been a temporary home — from @l.a.u.r.a.w.a.g.n.e.r ’s 5-star studio to @janine.schranz ’s.
This exhibition marks, for now, the end of that passage.

(1) portrait by @sophie_morelli from my small residency at @dietextilfabrik in 2024 (my workspace right under the Mona Lisa)
(2) documentation of the Passsockel Intervention during Vienna Art Week by @sophiemenegaldo — which will be part of Try Before Museum and can be worn and tried on by visitors
(3) a first sketch of a new work — we’ll see what it becomes by May

📌📌 SAVE THE DATE 📌📌

🖼️ Try Before Museum
🗓️ Preview: Thursday, 21 May 2026, 7–11 pm
📍 New Jörg: Jägerstraße 56, 1200 Vienna

Since June 2025, @new_joerg_ has been a temporary home — from @l.a.u.r.a.w.a.g.n.e.r ’s 5-star studio to @janine.schranz ’s.
This exhibition marks, for now, the end of that passage.

(1) portrait by @sophie_morelli from my small residency at @dietextilfabrik in 2024 (my workspace right under the Mona Lisa)
(2) documentation of the Passsockel Intervention during Vienna Art Week by @sophiemenegaldo — which will be part of Try Before Museum and can be worn and tried on by visitors
(3) a first sketch of a new work — we’ll see what it becomes by May

ABC (Hungarian for Beginners), 2025
Photographs, pages from a Hungarian–German dictionary, posca pens, tape

Currently, 'ABC (Hungarian for Beginners), 2025' is on display at the 16th Jahresausstellung, curated by Martina Greil, @martinagreil at the Stadtgalerie Salzburg, @stadtgalerie_salzburg as the residency was funded by the City of Salzburg.

During my residency at @budapestgaleria in Budapest, I could not fail to notice the state of the city's streets: Cracks, holes and missing stones. I started planting flowers in the holes, creating 'Soft Disruptions': little stumbling stones made of plants in the middle of our tarred streets. I used them to disrupt the everyday, creating unexpected encounters. While these temporary sculptures were in place, I observed people stepping over them, taking care to avoid them, dancing around them, picking them up, taking pictures, and also passing by without noticing them.

Also during my residency, Judith from @massolitbooksbudapest bookshop gave me among other books a Hungarian–German dictionary. For me, a German-speaking artist doing his first residency in Budapest, Hungary, this dictionary was quite symbolic of the experience. It inspired my work, ABC (Hungarian for Beginners, 2025), and is also the physical basis of it. At the end of my residency, I exhibited in the gallery space of the Massolit bookshop. The presentation of photographs of people's reactions to the ‘Soft Disruptions, 2025’ on book pages was a site-specific installation.

📷 1, 15 Leonie Lindinger, @lindinger_leonie
📷 2,3, 14 Stadt Salzburg/ Christian Ecker, @christian_ecker_
📷 16-19 Johanna Schlegel, @johanna__schlegel

ABC (Hungarian for Beginners), 2025
Photographs, pages from a Hungarian–German dictionary, posca pens, tape

Currently, 'ABC (Hungarian for Beginners), 2025' is on display at the 16th Jahresausstellung, curated by Martina Greil, @martinagreil at the Stadtgalerie Salzburg, @stadtgalerie_salzburg as the residency was funded by the City of Salzburg.

During my residency at @budapestgaleria in Budapest, I could not fail to notice the state of the city's streets: Cracks, holes and missing stones. I started planting flowers in the holes, creating 'Soft Disruptions': little stumbling stones made of plants in the middle of our tarred streets. I used them to disrupt the everyday, creating unexpected encounters. While these temporary sculptures were in place, I observed people stepping over them, taking care to avoid them, dancing around them, picking them up, taking pictures, and also passing by without noticing them.

Also during my residency, Judith from @massolitbooksbudapest bookshop gave me among other books a Hungarian–German dictionary. For me, a German-speaking artist doing his first residency in Budapest, Hungary, this dictionary was quite symbolic of the experience. It inspired my work, ABC (Hungarian for Beginners, 2025), and is also the physical basis of it. At the end of my residency, I exhibited in the gallery space of the Massolit bookshop. The presentation of photographs of people's reactions to the ‘Soft Disruptions, 2025’ on book pages was a site-specific installation.

📷 1, 15 Leonie Lindinger, @lindinger_leonie
📷 2,3, 14 Stadt Salzburg/ Christian Ecker, @christian_ecker_
📷 16-19 Johanna Schlegel, @johanna__schlegel

Passsockel Intervention 2025

Imagine you could build your own gallery — a mobile white cube you can take anywhere.
Creating and exhibiting — wherever & whatever you want.
Imagine a conceptual Girl Gang Gallery infiltrating Vienna Art Week.

Exhibited was & exhibiting were:

Grand Tour, 2024
Fotocollage
Oni Atzwanger / @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer / @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska / @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth / @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff / @imhoff_hannah

#whitecube #girlgang #girlganggallery #walkinggallery #mobilegallery #guerillaart #streetart #contemporaryart #viennaartweek

Passsockel Intervention 2025

Imagine you could build your own gallery — a mobile white cube you can take anywhere.
Creating and exhibiting — wherever & whatever you want.
Imagine a conceptual Girl Gang Gallery infiltrating Vienna Art Week.

Exhibited was & exhibiting were:

Grand Tour, 2024
Fotocollage
Oni Atzwanger / @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer / @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska / @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth / @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff / @imhoff_hannah

#whitecube #girlgang #girlganggallery #walkinggallery #mobilegallery #guerillaart #streetart #contemporaryart #viennaartweek

Passsockel Intervention, 2025

We entered @viennaartweek with our unannounced intervention: Five emerging artists presented their own works of art in portable plinths – empty museum pedestals with Plexiglas covers that could be carried like bags.

These plinths are called 'Passsockel' – a reference to Franz West's 'Passstücke', which, like the 'Passsockel', only come to life through activation.

Taking inspiration from William Anastasi’s Gallery at Dwan in New York and Yves Klein’s The Void in Paris, we created our own mobile gallery in Vienna. The Passsockel became our white cube and a work of art in itself.

Unlike traditional institutions, which are often supposedly open but then only address the 'shared space' in exhibitions, while keeping their own institutional structures and decision-making processes closed off, the Passsockel are truly shared: several artists use them together, moving collectively through galleries in the city to realise spontaneous, decentralised exhibitions.

Exhibited was & exhibiting were:

Grand Tour, 2024
Fotocollage
Oni Atzwanger, @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer, @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska, @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth, @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff, @imhoff_hannah

Camera by Erik Meinhart

#whitecube #guerillaperformance #contemporaryart #mobilegallery #institutionalcritic #girlganggallery #viennaartweek #art #girlganggallery

Passsockel Intervention, 2025

We entered @viennaartweek with our unannounced intervention: Five emerging artists presented their own works of art in portable plinths – empty museum pedestals with Plexiglas covers that could be carried like bags.

These plinths are called 'Passsockel' – a reference to Franz West's 'Passstücke', which, like the 'Passsockel', only come to life through activation.

Taking inspiration from William Anastasi’s Gallery at Dwan in New York and Yves Klein’s The Void in Paris, we created our own mobile gallery in Vienna. The Passsockel became our white cube and a work of art in itself.

Unlike traditional institutions, which are often supposedly open but then only address the 'shared space' in exhibitions, while keeping their own institutional structures and decision-making processes closed off, the Passsockel are truly shared: several artists use them together, moving collectively through galleries in the city to realise spontaneous, decentralised exhibitions.

Exhibited was & exhibiting were:

Grand Tour, 2024
Fotocollage
Oni Atzwanger, @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer, @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska, @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth, @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff, @imhoff_hannah

Camera by Erik Meinhart

#whitecube #guerillaperformance #contemporaryart #mobilegallery #institutionalcritic #girlganggallery #viennaartweek #art #girlganggallery

Passsockel, 2025
Guerilla Performance at Vienna Art Week 2025

In reference to William Anastasi and Yves Klein, the White Cube became mobile during Vienna Art Week: five artists presented their works in portable Passsockel – empty museum pedestals with Plexiglas covers that could be carried like bags.

The title refers to Franz West's Passstücke, which – like the Passsockel – are only activated through action. The Passsockel transform the White Cube from a closed space into a mobile display.

In contrast to the supposed openness of classical institutions, which often only address the "shared space" while structures and decision-making processes remain closed, the Passsockel are actually shared: several artists use them together, move collectively through the city and realise spontaneous, decentralised exhibitions.

The following was exhibited:

Grand Tour, 2024
Fotocollage
Oni Atzwanger, @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer, @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska, @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth, @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff, @imhoff_hannah

📸 Photos with Erik Meinhart's camera

⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜

Passsockel, 2025
Guerilla Performance at Vienna Art Week 2025

In Referenz zu William Anastasi und Yves Klein wurde der White Cube während der Vienna Art Week mobil: Fünf Künstlerinnen präsentierten ihre Arbeiten in tragbaren Passsockeln – leeren Museumssockeln mit Plexiglashaube, die wie Taschen getragen werden können.

Der Titel verweist auf Franz Wests Passstücke, die – wie unsere Sockel – erst durch Aktion aktiviert werden. Die Passsockel transformieren den White Cube vom abgeschlossenen Raum zum beweglichen Display.

Im Gegensatz zur vermeintlichen Offenheit klassischer Institutionen, die oft nur den „geteilten Raum“ thematisieren, während Strukturen und Entscheidungsprozesse geschlossen bleiben, werden die Passsockel tatsächlich geteilt: Mehrere Künstler:innen nutzen sie gemeinsam, bewegen sich kollektiv durch die Stadt und realisieren spontane, dezentrale Ausst

Passsockel, 2025
Guerilla Performance at Vienna Art Week 2025

In reference to William Anastasi and Yves Klein, the White Cube became mobile during Vienna Art Week: five artists presented their works in portable Passsockel – empty museum pedestals with Plexiglas covers that could be carried like bags.

The title refers to Franz West's Passstücke, which – like the Passsockel – are only activated through action. The Passsockel transform the White Cube from a closed space into a mobile display.

In contrast to the supposed openness of classical institutions, which often only address the "shared space" while structures and decision-making processes remain closed, the Passsockel are actually shared: several artists use them together, move collectively through the city and realise spontaneous, decentralised exhibitions.

The following was exhibited:

Grand Tour, 2024
Fotocollage
Oni Atzwanger, @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer, @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska, @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth, @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff, @imhoff_hannah

📸 Photos with Erik Meinhart's camera

⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜

Passsockel, 2025
Guerilla Performance at Vienna Art Week 2025

In Referenz zu William Anastasi und Yves Klein wurde der White Cube während der Vienna Art Week mobil: Fünf Künstlerinnen präsentierten ihre Arbeiten in tragbaren Passsockeln – leeren Museumssockeln mit Plexiglashaube, die wie Taschen getragen werden können.

Der Titel verweist auf Franz Wests Passstücke, die – wie unsere Sockel – erst durch Aktion aktiviert werden. Die Passsockel transformieren den White Cube vom abgeschlossenen Raum zum beweglichen Display.

Im Gegensatz zur vermeintlichen Offenheit klassischer Institutionen, die oft nur den „geteilten Raum“ thematisieren, während Strukturen und Entscheidungsprozesse geschlossen bleiben, werden die Passsockel tatsächlich geteilt: Mehrere Künstler:innen nutzen sie gemeinsam, bewegen sich kollektiv durch die Stadt und realisieren spontane, dezentrale Ausst

Krampussy draws on the Krampus tradition without submitting to it. Tradition, after all, speaks to a human need — but not the same as in the 17th century. Here, tradition becomes a living, collective craft that creates community: people carve, sew, paint and design together, exchanging knowledge and shifting roles.

My mask is a reference to Ms. Perchta — the powerful mythic figure who brought light to the depths of winter and guarded social balance. It was only in the 19th century that the Krampus custom became male-dominated through militarisation and fraternities, reducing women to passive “angels” beside violent male fantasies.

@krampuxxy reclaims that space with strength, rage, wit and joy. Backed by its initiator, Hannah Wimmer (@hannah_maria_ ) and the resources for costumes and masks, the project embodies collective care. Being part of Krampussy since this spring has been a true gift – one of them was dancing with Anna Buchegger (@buc.ann) and all the other Krampussys to her new song SOIZ.

Song SOIZ by Anna Buchegger, @buc.ann
Video by Alex Gotter, @alex.gotter
Foto 1 by Dorian Karafiat, @locknschedl
Fotos 2, 4 & 5 by Wolfgang Spitzbart, @spitzi_foto

🎭🎭🎭🎭

Krampussy knüpft an den Krampusbrauch an, ohne sich ihm zu unterwerfen. Das Wort „Brauchtum“ verweist bereits auf etwas, das Menschen brauchen – aber eben nicht mehr dasselbe wie im 17. Jahrhundert. Krampussy versteht Brauchtum als etwas Wandelbares: als kollektives Handwerk, das Gemeinschaft stiftet. Hier wird geschnitzt, genäht, gemalt und gestaltet; jede* bringt ihre Fähigkeiten ein, Wissen zirkuliert, Rollen wandeln sich.

Meine Maske ist eine Referenz an Frau Perchta – jener mächtigen Sagengestalt, die im tiefsten Winter das Licht brachte und zugleich über die soziale Ordnung wachte. Erst im 19. Jahrhundert wurde der Krampusbrauch männlich aufgeladen – durch Militarisierung,Burschenschaften und die Zuschreibung handwerklicher Fähigkeiten an „starke junge Männer“. Frauen wurden zu passiven „Engerl“ degradiert – schmückendes Beiwerk männlicher Gewaltfantasien.

Krampussy holt sich diesen Raum zurück.

Krampussy draws on the Krampus tradition without submitting to it. Tradition, after all, speaks to a human need — but not the same as in the 17th century. Here, tradition becomes a living, collective craft that creates community: people carve, sew, paint and design together, exchanging knowledge and shifting roles.

My mask is a reference to Ms. Perchta — the powerful mythic figure who brought light to the depths of winter and guarded social balance. It was only in the 19th century that the Krampus custom became male-dominated through militarisation and fraternities, reducing women to passive “angels” beside violent male fantasies.

@krampuxxy reclaims that space with strength, rage, wit and joy. Backed by its initiator, Hannah Wimmer (@hannah_maria_ ) and the resources for costumes and masks, the project embodies collective care. Being part of Krampussy since this spring has been a true gift – one of them was dancing with Anna Buchegger (@buc.ann) and all the other Krampussys to her new song SOIZ.

Song SOIZ by Anna Buchegger, @buc.ann
Video by Alex Gotter, @alex.gotter
Foto 1 by Dorian Karafiat, @locknschedl
Fotos 2, 4 & 5 by Wolfgang Spitzbart, @spitzi_foto

🎭🎭🎭🎭

Krampussy knüpft an den Krampusbrauch an, ohne sich ihm zu unterwerfen. Das Wort „Brauchtum“ verweist bereits auf etwas, das Menschen brauchen – aber eben nicht mehr dasselbe wie im 17. Jahrhundert. Krampussy versteht Brauchtum als etwas Wandelbares: als kollektives Handwerk, das Gemeinschaft stiftet. Hier wird geschnitzt, genäht, gemalt und gestaltet; jede* bringt ihre Fähigkeiten ein, Wissen zirkuliert, Rollen wandeln sich.

Meine Maske ist eine Referenz an Frau Perchta – jener mächtigen Sagengestalt, die im tiefsten Winter das Licht brachte und zugleich über die soziale Ordnung wachte. Erst im 19. Jahrhundert wurde der Krampusbrauch männlich aufgeladen – durch Militarisierung,Burschenschaften und die Zuschreibung handwerklicher Fähigkeiten an „starke junge Männer“. Frauen wurden zu passiven „Engerl“ degradiert – schmückendes Beiwerk männlicher Gewaltfantasien.

Krampussy holt sich diesen Raum zurück.

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