History and Other Objects
Texts by Anna Matveeva, David Quigley and a conversation between Ekaterina Shapiro-Obermair and Astrid Peterle
Vienna, SCHLEBRÜGGE.EDITOR, March 2020.
This publication documents a selection of works from the past ten years and links different work groups of with one another. As different as the media in which Shapiro-Obermair works are—painting, sculpture, graphics, but also video and photography—her projects always take the same topics as a starting point or eventually return to them. The artist links historical and art-historical knowledge production and investigates the interrelations between ideology and form. Based on biographical experiences, she repeatedly explores the question of which channels shape identities—including artistic ones—and what visual expression this entails. The found and the documentary form their normal vocabulary just as much as the gestural or the concrete. The publication pays special attention to the artist’s graphic works, which are otherwise rarely shown and often taken from the series’ context.
Photos: Simona Rota
Soviet Modernism 1955–1991
Edited by Architekturzentrum Wien
Katharina Ritter, Ekaterina Shapiro-Obermair, Dietmar Steiner, Alexandra Wachter
With text by Rasim Aliyev, Ruben Arevshatyan, Vladimir Belogolovsky, Elke Beyer, Gamal Bokonbaev, Boris Chukhovich, Anatolie Gordeev, Marija Drėmaitė, Philipp Meuser, Rusudan Mirzikashvili, Rustam Mukimov, Ruslan Muradov, Mart Kalm, Andreas Kappeler, Felix Novikov, Katharina Ritter, Vaidas Petrulis, Maija Rudovska, Oleksiy Radynski, Ekaterina Shapiro-Obermair, Yuliya Sorokina, Dietmar Steiner, Iliana Veinberga, Alexandra Wachter, Dimitrij Zadorin.
This book is published on the occasion of the exhibition 'Soviet Modernism 1955–1991. Unknown Stories' 07.11.2012 to 25.02.2013 at the Architekturzentrum Wien
Zurich, Park Books, 2012
The present book shifts the perspective that Russia has erpetuated until now, placing the architecture of all other Soviet republics in the center of the study. Accordingly, our main concern in compiling the essays was to present the contribution of local experts for each country. The result is a eterogeneous collection of analyses, retrospectives and case studies in which the personal experience of this epoch resonates and others that address this subject matter with a certain distance. Texts of the ‘young generation’, which sometimes approach the legacy in a more unburdened way can be found next to texts which are still imbued with the tone of the Soviet system. As an important complement to the texts on regional developments and specificities, the contributions by Elke Beyer and Philipp Meuser offer insights into the Soviet urban planning discourse as well as the serial mass housing projects and the related centralistic organization of architecture and building.
Photos: Ulrike Boehm
Das große Moskau, das es niemals gab: Bauten der sowjetischen Avantgarde im zeitgenössischen Moskau
The Great Moscow, that Never Was: Buildings of the Soviet avant-garde in contemporary Moscow
Ekaterina Shapiro-Obermair, Wolfgang Obermair [Ed.]
With contributions by Nikolai Assejew, Kirill Faradzhev, Sergei Nikitin, Iwan Sablin, Ekaterina Shapiro-Obermair and photographs by Ulrike Boehm, Vera Faber, Julia Jungfer
Germ./Russ., 204 p., 16,5 × 21,3 cm, numerous color and b[&]w images, paperback
Vienna, SCHLEBRÜGGE.EDITOR, 2008.
The volume documents architecture of the Soviet avant-garde in Moscow and the present situation. Besides four controversial essays by younger generation Russian authors and a narrative by N. Aseyev of 1925, the book contains an extensive illustrated section. The main focus is on the building types of the 1920s: working-men’s clubs, canteen kitchens, community houses, bread factories, garages, public schools. Many of these so-called “Buildings of the Second Plan“ were rediscovered only recently. The publication responds to today’s question of conservation or demolition with a psychograph of a Moscow that never existed. The editors offer insights into the current discourse as a platform for the necessary and in Moscow still outstanding discussion on architectural heritage and urban space.
Anna Hofbauer, Bianca Regl (ed.): Black Bridge Off, Verlag für Moderne Kunst, Wien, 2018
Nina Tabassomi (ed.): 35. Österreichischer Grafikwettbewerb, Taxispalais – Kunsthalle Tirol, Innsbruck, 2017
The Five Moons: Return of the Nameless and Unknown, Pyeongchang Biennale 2017, Pyeongchang, South Korea, 2017
Kunstwerke für das Leben, auct. cat., Caritas der Erzdiöse Wien (ed.), Dorotheum, Vienna, October 24, 2016
4. André Evard-Preis für konkret-konstruktive Kunst, kunsthalle messmer, Riegel am Kaiserstuhl, 2016
Patrick Urwyler (ed.): Award Winners Exhibition 2015, exh. cat., Chimera-Project Gallery, Budapest, 2016
Über Malerei, ]a[ akademie der bildenden künste wien, Vienna, 2015
Astrid Peterle (ed.): Tales of 2 Cities, exh. cat., Jewish Museum Vienna, Vienna, 2015
Between the Volga and the Danube: the album, Moscow, 2015
Katalin Timár (ed.): [silence] – A Holocaust Exhibition, exh. cat., Ludwig Múzeum Budapest, Budapest, 2014
Anton Faistauer Preis 2014, Galerie im Traklhaus, Salzburg, 2014
Martin Vesely (ed.): Vier Jahre Ve.Sch ungefähr…, Wien, 2012
Gyeonggi Creation Center Residency 2011, Gyeonggi Museum of Modern Art, Ansan-si, Gyeonggi-do, South Korea, 2012
32. Österreichischer Grafikwettbewerb, Galerie im Taxispalais, Innsbruck, 2011
Report – Magazine for Arts and Civil Society in Central and Eastern Europe, Erste Bank, Issue 1/2009, www.kontakt.erstegroup.net, 2009
Anton Ovidiu, Hohenwarter Julia (eds.): Archive in Residence. Vienna – Bucharest, Vienna, 2008
Alexandra Wachter, Ekaterina Shapiro-Obermair, “From Soviet to Post- or Anti-Soviet: two L’viv museums of war in search of a new Ukrainian narrative of world war II”, in: Laboratorium 2018, 10 (2), pp. 52–79
Alexandra Wachter, Ekaterina Shapiro-Obermair, “Territory of Terror. Observations on the musealization of violence in Western Ukraine”, in: Cultures of History Forum, Imre Kertesz Kolleg, Uni Jena, Januar 2017
Ekaterina Shapiro-Obermair, “Framing structures of the collective memory”, in: Motel Trogir: it is not always future that always comes after, Nataša Bodrožić, Saša Šimpraga (ed.), Zagreb, Eindhoven 2016, p. 205