Micromuseum for Sculpture and Space
Q21 Backstage: with the Brückenpassage, the "Micromuseum for Sculpture and Space" was established in 2018 in the passage to Burggasse as a traffic tool with a staircase, a bridge, an elevator, various railings and doors. The artist Hans Schabus had all walls and ceilings covered with green hammered varnish, a varnish known mainly from machine manufacturing.
An already used wall cabinet was adapted for use as the exhibition space “Pfeiler”, showcasing sculptural positions.
Interview with Hans Schabus
Who are you?
That’s exactly what I am trying to find out. But I can’t seem to find an answer.
What are your fields of activity?
I am a sculptor and head of the Sculpture and Space department at the University of Applied Arts Vienna.
Since when has Brückenpassage been part of Q21/MQ?
What properties define sculptures?
Sculptures are social tools. Since they do not have one ideal viewpoint, they demand that we put ourselves in relation to them. Sculptures ask us who we are, what we do and where we go.
The exhibition space ‘Pfeiler‘ at the passage aspires to…?
The Pfeiler displays works of former students of our department, who also stock the vending machine on the other side. It aspires to display in order to be seen.
A „Micro-museum for Sculpture and Space“ can…?
…no society. Without society, no sculptures.
Christoph Giesch: lookout
Date: thru Fri, Sep 24, daily 6-22:00
Christoph Giesch (born 1991 in Winterthur/CH) graduated at the Sculpture and Space department last January. He lives and works in Vienna and Zurich.
With our human senses, she added, we can only perceive the side of things that face us. We move in, furnish our rooms, add the base and fashion the auxiliaries to our taste for the things of life. Even if we usually see one side of our being, that is the side directed towards us, we actually exist in the dual force of life’s flow.
We linger at the edge. And the walls of this room begin to open up.
Und vergiss nicht,
diese, der Wände, noch andere Seite:
selbst sie, die unverrückbar dir scheinen,
sind voller Wandlung.1
In its origin the concept of “wall” refers to walls made of wicker, a woven net of young branches that bend into each other like braided goods. This also points to the correspondence in the verbs to wind and wend.
1 The Poem of the Dead, by Jean Gebser (1945)