TransArts

MA semester presentations summer‘26

With guest juror Günther Oberhollenzer ()

slide 1,2,3 Luise Lutz / Michel Strümpf, Auf Wiedersehen Sprache, 2026 at Galerie Lombardi-Kargl (Lombardi—Kargl) ( )

slide 4,5 Juli Winterstein, Hibernation, 2026 (Juli Winterstein)

slide 6,7 Simone Molinari, Icky-the-Bocky, 2026 (Simone Molinari)

slide 8,9 Natallia Yelavik, TAKES, 2026 (Natasha Moreno)

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BA semester presentations summer‘26

With guest juror Hannah Marynissen (.marynissen)

slide 1,2,3 Pieter Zomerdijk, UMWELT In castration, it cuts, it bites, it pulls and stretch, 2026 (Pieter Zomerdijk)

slide 4,5 Ilijah Vujošević, I, who know the letters, say that it is very good to live on earth oder maintained order / Literate in power, 2026 (илија)

slide 6,7 Frederike Gordillo, it’s longue durée; The World Turned Upside Down, public reading with Maria Vittoria Franzini, Simone Molinari, Momoko Berthold, curated by Alice Bazzichelli, 2026 (Frederike Gordillo)

slide 8,9 Anselm Wieland, ohne titel, 2026 (Anselm Wieland)

slide 10,11 Max Steinacker, Biomachina 274, 2026 (Max Steinacker)

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BA semester presentations summer‘26

With guest juror Hannah Marynissen (.marynissen)

slide 1,2,3 Pieter Zomerdijk, UMWELT In castration, it cuts, it bites, it pulls and stretch, 2026 (Pieter Zomerdijk)

slide 4,5 Ilijah Vujošević, I, who know the letters, say that it is very good to live on earth oder maintained order / Literate in power, 2026 (илија)

slide 6,7 Frederike Gordillo, it’s longue durée; The World Turned Upside Down, public reading with Maria Vittoria Franzini, Simone Molinari, Momoko Berthold, curated by Alice Bazzichelli, 2026 (Frederike Gordillo)

slide 8,9 Branko Bekavac, ohne titel, 2026 (Anselm Wieland)

slide 10,11 Max Steinacker, Biomachina 274, 2026 (Max Steinacker)

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MA semester presentations summer‘26

With guest juror Günther Oberhollenzer ()

slide 1,2 Lorenzo Zerbini, It Is Impatient of the Knife, 2026 ()

slide 3,4 Emilia Momoko Berthold, Pigeon Piece, 2026 (Momoko Berthold)

slide 5,6,7 Noa Laetitia Schaub/ Marlene Victoria Fröhlich, Dialog 1/ ich denke an das Haus, denke ich, 2026

slide 8,9 Leonhard Thomas Pill, SCHLAMMSTAPELZEIT PART I, 2036

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MA semester presentstions winter‘26

With guest judge Pia Wamsler ().

slide 1,2 Ester Gašparovà, first person singular, 2026 ()

slide 3,4 Daria Lytvynenko, Sevastapol? My father studied in Sevastapol, 2026 (darialytvynenko)

slide 5,6 Natallia Yelavik, PEARL, 2026 (Natasha Moreno)

slide 7,8 Laura Schlagintweit, ScHu TSChu neXt sTop dOOm :,)), 2026 (Laura Schlagintweit)

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TransArts lectures recap part II summer‘26

Starting off the second half of this semester‘s lecture series, the class invited Nikolaj Schulz, PhD fellow at department of sociology, university of Copenhagen and close collaborator to late french philosopher Bruno Latour.
In his talk Schultz argued that getting closer to non-humans is not the only analytical strategy we need if we wish to face our times crisis of sensibilities. Instead, based on his book ‚Land Sickness‘, Schultz argued that we also need descriptions of how the existential conditions of the human being has transformed in the Anthropocene, how the human has transformed into another kind of being, one leaving behind a set of destructive traces that is slowly but certainly destroying its own species’ conditions of subsistence.
Nikolaj Schultz

In the framework of a residency at PART International Art Residency Austria (PART Residency), the class made a studio visit to artist Beaux Mendes.
Their work treats painting as a transitory medium, while consistently revealing the physical qualities of the used support. Involving rituals of passage and pilgrimage, their practice invites estrangement and altered states of experience resulting from repeated trips to sites for painting, often remote and obscure. These sites conjure a relay of sensory information and embedded imagery that phase between environment and artist, generating a range of phenomena recorded by way of an artwork as conduit.
beaux mendes

Closing off this semester, Peter Melicharek and Veronika Haberler, Legal advisors at the Wiener Advocatur Bureau, visited the class to discuss everything legal concerning arts.
The students were invited to bring their very own art-related legal cases and concrete questions which they were then legally advised on. Additionally the two legal advisors decided legal terms and specific laws.

Curation and Organisation: Roswitha Schuller (Roswitha Schuller), Stephan Hilge, Roman Pfeffer (Roman Pfeffer), Christoph Hoeschele (Christoph Hoeschele), Anja Werkl

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‘AAA TransArts MA graduations summer‘26

Elena Rosalia Apollonio (Elena Rosalia Apollonio)
„Die Katze beißt sich in den Schwanz“
Painting, 2026

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Thesis supervision: Stephan Hilge, Bettina-Maria Busse

Photos: Vincent Forstenlechner

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‘AAA TransArts MA graduations summer‘26

Christopher Friess (Christopher Friess)
„For now, time is the duration of a thought“
Installation, 2026

In a world where nothing remains unavailable, something is lost. A future or alternative reality emerges, one shaped by the condition of post-availability: a sleepless world in which the legacy of 24/7 ideologies persist. In this world, processes of homogenisation extend even to those domains that once resisted the capitalisation of material and immaterial resources. Enter the remains of our world: a depot of artefacts. Wooden crates contain objects accumulated between the present and the imagined. The exhibition space becomes a temporary storage site. The crates are opened for inspection.

Thesis supervision: Roman Pfeffer (Roman Pfeffer), Bettina-Maria Busse

Photos: Vincent Forstenlechner

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‘AAA TransArts BA graduations summer‘26

San Jang (sancloudwater)
„Conifers“
Inkjet print, open window, 2026

The work revisits an abandoned Korean garden in Frankfurt. The window facing the scaffolding remained open during public hours.

Thesis supervision: Roswitha Schuller (Roswitha Schuller), Patricia Grzonka ()

Photos: Vincent Forstenlechner

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‘AAA TransArts BA graduations summer‘26

Maksym Khodak (Maksym Khodak)
„Wide Russian“
Sculpture, 2026

Three multicolored granite slabs feature engraved images of three Russian figures in war zones. The sculptures forge a connection between Eduard Limonov, Zakhar Prilepin, and the rapper Husky, spanning a geography from besieged 1990s Sarajevo to the Donetsk region in the 2010s and 2020s. The formal stretching of the images references the “wide putin” meme that went viral years ago. The work documents specific Russian war crimes and examines how culture shares responsibility for them. Smaller granite pieces are layered over the main slabs, detailing historical fragments through the language of memes. This layering symbolizes the “layers” integral to digital image editing. By transferring theseimages onto granite—a material typical of Soviet memorials—these elements become part of a history etched into.

Thesis supervision: Roswitha Schuller (Roswitha Schuller), Patricia Grzonka ()

Photos: Vincent Forstenlechner

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