Hans Schabus

"Pfeiler" is an exhibition space in the Brückenpassage / MQ.

Every three months, a work by graduates of the Sculpture and Space Department is on display here.


Exhibition opening

Tuesday 14 December 2021, 6 pm

Exhibition duration

Wednesday 15 December 2021–Friday 4 March, 2022

Samuel Linus Gromann






















Photo: Samuel Linus Gromann


Samuel Linus Gromann (*1994 in Vienna, Austria) lives and works in Frankfurt am Main, Germany.


Wednesday, 6 October–Friday, 10 December 2021

Julia Steinbach

„in this scenery"





















Photo: Julia Steinbach


The writer Bodil Malmsten once said that she hates music because it is the one form of artistic expression that doesn’t take the detour through the intellect, but rather manipulatively, goes straight to the heart. The same could be said about decoration.


The vases, the tablecloths, the figurines, the candleholders, the flowerpots, the knickknacks, the lamps, the blankets, the carpets, the pillows, the wallpapers. To decorate is to allow the subconsciousness of taste to surface. It is to lose oneself in the facilitation of visual and spatial pleasure and comfort. It is to acknowledge all the objects and images that we, on a purely practical level do not need, but depend on spiritually.


If we look at an artwork as an externalised thought process, decoration could be seen as an externalised emotional or intuitive process. It’s all desire, pleasure and impulse. As I write this I realise the same could be said for art. Maybe the real difference is that with decoration we don’t feel the need to ask any clever, well-formulated questions, casually referring to the theorist du jour. We don’t expect there to be a text providing us with a context and a point of entry. We don’t feel the need to understand, we just enjoy it to the deepest and fullest meaning of the word.


Text: Albin Bergström


Julia Steinbach (*1989, Avesta, Sweden) graduated from Sculpture and Space at the University of Applied Arts Vienna in January this year. She has been living and working in Vienna since 2017.


Wednesday, 29 June–Friday, 24 September 2021

Christoph Giesch






















Simultaneously Christoph Giesch opens the exhibition lookout (Doppelpfeiler) at Favoritenstrasse 13, 1040 Vienna.



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.


Text: Linda


1 The Poem of the Dead, by Jean Gebser (1945)


Wednesday, 5 May–Friday, 25 June 2021

Anastasia Jermolaewa

„Arch Support"





















Photos: Jennifer Gelardo


Droplets of warm sweat run down my glowing forehead.

After 3 hours of heavy lifting I glance over to the vertical cardboard formations now inhabiting my otherwise empty hallway. Quite a challenge for my lower ribs.


The boxes function as shells.

Prevent damage.

Hollow units that contain, conceal and unify.

Cardboard, sellotape, packing peanuts, foam.

Keep the pearl safe.

Non-materials of the in-between.

Fridge, urn, airplane, museum.

Ensure safety and integrity of the product.

A to B.


All of a sudden - I’m spinning. Light headed & dry mouthed…

I settle down on one of the cardboard towers. I’m the oversized gargoyle to this Gothic church, waiting for water to hydrate my throat.


Text: Samuel Linus Gromann


Wednesday, 27 January–Friday, 9 April 2021

Felizitas Moroder





















constants contradict contrary constellations

I keep repeating until my mouth is sandy

constants contradict contrary constellations


some people dive deep to retrieve pearls

they endanger themselves

they could be collecting shells from the beach instead

through small crashes of shells — sand forms

dervishes are turning in caves

there is an urge to repeat and to rest

a gaze to the far, as if everything far is good

so they dive




I pace

fast - forward - further

it seems unnatural

looking for scissors to cut unsteady thoughts

one turns to artificial nights

briefly pain will figure our movement


J.Haller says in his „Theories of Friction“

chapter 4.1.3

„when two bodies are rubbed together,

some form of interaction takes place

at the contacting surfaces

resulting in a resistance to relative motion.

most friction theories

assume that the resistive force

per unit area

of contact is a

constant, thus…“


it all becomes movement

autonomous  movement

repetition becomes ground

for the next pearl retrieval

there is an obligation

to cope with dissonance

pillars of inevitable contrasts

are resting their head on sharp coral reefs


time is a component

repetition is key

I am variable

my mouth still sandy

constants contradict contrary constellations


Text: Dafne Aruyta Ilhan


Wednesday, 7 October 2020–Friday, 22 January 2021

Rafaella Pilar Isnit
„…selbst bei so viel wurscht"





















Wurscht. It is a mentality. A Viennese cliché. The sausage has two ends. Two options.

It protects and determines the form  in which the sausage matures. Nothing is absolute, not even freedom. Every day, everyone leaves their mark. In a private space, it is different. You are alone. Everything is adapted. Everything speaks of intimacy and stability.

Suddenly, a crisis arises. Loss becomes relevant. Present uncertainty comes to light. No more planning tools. Solidary distance commended, staying safe in a shielded room.

Just a disconnected perception of time. I become the space and the tightness becomes noticeable. Cuts. Collected experiences increase the intensity. My needs become clear. I still have the sausage in the fridge.

After the shock, I am looking for movement. Now probably, everyone is their own space. There is no use of time. Without time, is everything still? What reality? My materiality? I am tired of absorbing. Wurscht.

The sausage has two ends. Eventually two options, even if you don’t care that much.


Text: Rafaella Pilar Isnit


Wednesday 7 January–Wednesday 30 September 2020
Philip Pichler

Lower volume in higher frequencies, deep layered brown noise. Like a whole ocean, rumbling between 5 and 9 Hz. A frequency, lower than the limit of human hearing.

A “rough” present to the sleep deprived person. Relaxing and calming deep sleep aid. The downside: Earbuds prevent me from being a side sleeper. Gotta stay on my back at all times.

(Ab morgen keine toxische Feinstaub Belastung sondern autofreie Innenstadt; ein möglicher Wunsch. Das Gegenteil: Ein vermeintliches Geschenk für die Allgemeinheit. “Liebe Mieterinnen und Mieter, bitte Entschuldigen sie die nächtliche Störung in den kommenden Wochen [...]” - Herr Oberbürgermeister. Persönliche Unterschrift. Acht Spuren sind die Zukunft vor dem Fenster.)

Typically, I prefer smoothed brown noise. It is not as rough. Mixes on streaming plattforms are between 6 and 12 hours long. Cancelling most noise, making sense of my existence.


Text: Daniel Stubenvoll


Wednesday 12 June–Sunday 13 October 2019
Eugen Wist
"unwanted souvenir"

It is flat and called schiefer

It has a name and… gesture gesture… with my hand from the sidewalk

I can´t stop hating myself for the dried flowers on my wall

I made you this kit for overcoming the past

The orderly Altbauwohnung and circumstances

In sci-fi movies I fall for all the vases that have been left over in this world

My eyes burn


This is an urgent wish to make a book of all the poems about toxic nostalgia, that hurt the make-great-agains.


Text: Julia Znoj


For „Pfeiler“ the Vienna/Frankfurt based artist Eugen Wist (*1989, Sheregesh, Russia) developed a site specific situation. The window glass is blurred by a greenish substance and leaves just a peephole for the viewer to see a wall object, – a book with a screen print, a postcard with an image of one of Van Goghs flower paintings and a found stone. All of the materials are bound together by a rope holding in place the layered composition.


Thursday 29 November 2018–Sunday 2 June 2019
Antonia Rippel-Stefanska

Timokleia was a citizen of Thebes, who in the Macedonian occupation around 335 BC. Chr. was raped by a soldier. Following this act of violence, she led the offender to a well, pushed him in and threw heavy stones at him until he died.

We face a figure who exposes herself and confronts us with the physical scope of a violent act. At the same time, we are facing an image that seeks the complexity of sculpture and the conditions of space in the balancing act with gravity. Acting in a limited space, the sculpture develops at times an almost relief-like character.

Many of the artist's sculptural arrangements are created by pouring, deforming and assembling individual body parts in garments. By polishing the surfaces, the fine interiors of the material are carried outwards. The resulting figures provoke different relationships between the individual and social perceptions of bodies.

To what extent does violence lead to a deformation of one's own and what does Timokleia’s act of self-justice means today?


Text: Diana Barbosa Gil

Untitled, 2018
Cement, marble split, pigment, stone plaster, steel, LED, triple laminated safety glass