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EXHIBITIONS AND EVENTS
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2012 - 2018
Oodi Helsingin keskustakirjasto
ALA Architects
Finland [Suomi/Finland] Helsinki [Helsinki/Helsingfors]
Suomen arkkitehtuuria. Katsaus 2020 / Finnish Architecture. Biennial Review 2020, Helsinki, Arkkitehtuurimuseo / Museum of Finnish Architecture, 4 september 2020 / 28 february 2021
1964 - 1970
Concattedrale Gran Madre di Dio
GioPonti  
Italy [Italia] Taranto
Gio Ponti e la Concattedrale Taranto 1970-2020. Il sogno di una città, il sogno dei suoi cittadini e il sogno di Guglielmo e di Giovanni, Taranto (Italy), Museo Diocesano
[the exhibition will be open to the public as soon as the anti-Covid containment measures allow it]
1953 - 1960
Grattacielo Pirelli
GioPonti  AntonioFornaroli  AlbertoRosselli  GiuseppeValtolina  EgidioDell'Orto  Pier LuigiNervi  
Italy [Italia] Milan [Milano]
Storie del Grattacielo. I 60 anni del Pirellone tra cultura industriale e attività istituzionali di Regione Lombardia, Milano (Italy), Grattacielo Pirelli (Regione Lombardia), spring 2021
[the exhibition will be open to the public as soon as the anti-Covid containment measures allow it]
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ARCHITECTS
 
Lina Bo Bardi
Isaac Julien, Lina Bo Bardi. Un meraviglioso groviglio / A Marvellous Entanglement, Roma (Italy), MAXXI Museo nazionale delle arti del XXI secolo, 27 may / 4 october 2020 24 september 2020 / 17 january 2021
Le Corbusier
I disegni giovanili di Le Corbusier, 1902-1916, Mendrisio, Switzerland, Teatro dell'Architettura, 19 september 2020 / 24 january 2021
Aldo Rossi
Aldo Rossi, Santi Caleca. Monumental Memento, Milano (Italy), Antonia Jannone Disegni di Architettura, 7 december 2020 / 30 january 2021
Pier Luigi Nervi
Pier Luigi Nervi. Architettura come sfida
Firenze (Italy), Manifattura Tabacchi, Edificio B8, 9 november 2020 / 31 january 2021
[the exhibition will be open to the public as soon as the anti-Covid containment measures allow it]
EPFL-ENAC Archizoom, Lausanne [Switzerland], 18 april / 22 june 2012 [Pier Luigi Nervi. L’architecture comme défi]
Salerno, Palazzo di Città, Sala del Gonfalone, 8 december 2012 / 24 february 2013
Torino, Torino Esposizioni Salone C, 29 april / 17 july 2011
Venezia, Palazzo Giustinian Lolin, 28 august / 14 november 2010
OMA Office for Metropolitan Architecture
Project, Process and Projection, Shenzhen (China), Qianhai Kerry Center, 18 december 2020 / 6 february 2021
Olafur Eliasson
E luce fu. Giacomo Balla, Lucio Fontana, Olafur Eliasson, Renato Leotta, Cuneo (Italy), Complesso Monumentale di San Francesco, 24 october 2020 / 14 february 2021

Ne la profonda e chiara sussistenza
de l’alto lume parvermi tre giri
di tre colori e d’una contenenza

Dante Alighieri, Divina Commedia, Paradiso, Canto XXXIII


Olafur Eliasson, The Sun as no money, Castello di Rivoli, Torino, E luce fuIl Castello di Rivoli Museo d’Arte Contemporanea e la Fondazione CRC presentano E luce fu, mostra che raccoglie quattro importanti opere incentrate sulla luce realizzate da Giacomo Balla, Olafur Eliasson, Lucio Fontana e Renato Leotta, appartenenti alle Collezioni del Castello di Rivoli Museo d’Arte Contemporanea. Allestita presso il Complesso Monumentale di San Francesco a Cuneo, la mostra è parte del progetto di collaborazione volto a promuovere nel territorio cuneese la conoscenza di lavori di artisti di fama internazionale presentati dal Museo.

La mostra è a cura di Carolyn Christov-Bakargiev e Marcella Beccaria, con la consulenza curatoriale di Marianna Vecellio per il progetto di Renato Leotta.

Lo spazio dell’abside è animato dai giochi di luci e ombre di The sun has no money (Il sole non ha soldi), 2008, di Olafur Eliasson (Copenaghen, 1967), artista che pone al centro della propria ricerca la soggettività di ciascuno dei visitatori e che sin dall’inizio del suo percorso indaga la luce quale tematica cruciale nell’ambito della conoscenza del reale. Eliasson si riferisce spesso ai suoi lavori come a “macchine”, intendendo che la vera opera d’arte è il prodotto dell’incontro tra gli oggetti fisicamente disposti nello spazio e l’unicità degli individui che li percepiscono. Nel caso dell’installazione in mostra, Eliasson utilizza due fari da teatro, puntandone i potenti fasci luminosi su due strutture fatte da anelli concentrici in materiale acrilico. Appesi al soffitto e azionati meccanicamente, gli anelli proiettano nello spazio espositivo molteplici ombre, producendo cerchi di luce colorata che disegnano forme inedite lungo le pareti dello spazio. L’effetto ottenuto rende l’ambiente avvolgente e lievemente ipnotico, trasformandolo in un luogo dove anche il trascorrere del tempo e la sua percezione diventano oggetto di numerose riflessioni riguardanti la luce e i suoi effetti. Come nel caso di tutte le sue opere, anche in The sun has no money Eliasson lascia visibili gli elementi meccanici ed elettrici che compongono l’installazione, invitando i visitatori a interrogarsi sulle modalità della percezione così ottenuta. L’opera, in comodato al Museo da Fondazione per l’Arte Moderna e Contemporanea CRT, è stata realizzata dall’artista per il Castello di Rivoli, in occasione della mostra 50 lune di Saturno, organizzata nel 2008.
Vico Magistretti
1, 10, 100 Magistretti, Milano, Fondazione studio museo Vico Magistretti, 2020 / february 2021
Adolf Loos
Adolf Loos: Private Houses, Vienna [Wien], MAK - Österreichisches Museum für angewandte Kunst - Gegenwartskunst / Austrian Museum of Applied Arts / Contemporary Art, MAK Permanent Collection Contemporary Art, 8 december 2020 / 14 march 2021

Adolf Loos, Private Houses, Vienna, MAKAdolf Loos: Private Houses focuses on his revolutionary private residential buildings, the lion’s share of which were luxuriously appointed single-family homes, villas, and country resi- dences for a bourgeois, frequently Jewish clientele as well as for artists and literary fig- ures. As a contrast to such structures, the present selection of 100 design sketches, plans, photographs, and models from the Albertina Museum’s Adolf Loos Archive also includes important social projects designed by this exceptional architect, including structures for the housing cooperative Wiener Siedlungswerk, for the municipality of Vienna, and for the Austrian Werkbund.

Adolf Loos, Private Houses, Vienna, MAKAdolf Loos’s complex oeuvre, especially his architecture and his writings, had a sus- tained influence over the past century’s culture of building. With his revolutionary archi- tectural solutions, Loos satisfied one of the most important human needs—the need for housing. Later architectural icons such as Richard Neutra, Heinrich Kulka, Rudolph M. Schindler, and (briefly) Margarete Schütte-Lihotzky numbered among his students and colleagues.

As an energetic opponent of the historicist Ringstraße style and a sharp critic of both Art Nouveau and the Vienna Secession, Loos also left his mark on Vienna’s aesthetic dis- course around the turn of the last century. In his numerous theoretical tracts and espe- cially in his legendary polemic Ornament and Crime (1908), he spoke out vehemently against all newly invented ornamentation of utilitarian objects and buildings.

 Residential buildings were a topic for Loos throughout his career, and they occupy a special place in his output. This MAK exhibition sheds light on both his planned and his realized projects, which can be divided into private and public housing. Loos created his structures in a highly independent manner but not without a wide array of influences, among which one can discern complex ties to American, English, and Mediterranean architecture as well as to classicism and antiquity.

Adolf Loos, Private Houses, Vienna, MAKFrom the USA, where he spent three years of his life, Loos brought to Vienna an entirely new impression of modern culture that he propagated in polemic newspaper articles and demonstrated in his famous Looshaus (1910/11) on Michaelerplatz: this building’s struc- tural clarity and unadorned façade created a public scandal in the Vienna of that day. Whenever possible, Loos preferred to design his often flat-roofed private residential buildings with large terraces and in accordance with his idea of the Raumplan (lit.: “spatial plan”): this self-developed system departed from the method of simply “layer- ing” floors on top of each other, with each room instead being given the height and floor space necessary for its intended use. This economical way of dealing with space gave rise to a complex, spatially interlocked system that did and still does offer a high degree of livability.

Projects planned and/or built according to this system between 1903 and 1931, such as the houses for the Dadaist figure Tristan Tzara (1925/26), for the singer and dancer Josephine Baker in Paris (1927—this house was never realized), for the builder František Müller in Prague (1928–1930), and for the textile manufacturer Hans Moller in Vienna (1927), number among the world’s most important 20th-century single family homes.

In addition to showing Adolf Loos’s architectural projects, this exhibition will for the first time ever juxtapose the plaster replica of his bust by sculptor Artur Immanuel Löwental (1911) with his death mask, which was taken by Adolf Rainbauer in 1933.
Juan Navarro Baldeweg
Juan Navarro Baldeweg. Architettura, Pittura, Scultura. In un campo di energia e processo, Brescia (Italy), Museo di Santa Giulia, 26 june 2020 / 10 january 2021 18 september 2020 / 5 april 2021
Gae Aulenti
Gae Aulenti: A Creative Universe, Weil-am-Rhein (Germany), Vitra Schaudepot, 29 february 2020 / 18 april 2021

Gae Aulenti: A Creative Universe, 
Vitra Schaudepot
, Vitra Design Museum, Weil-am-RheinGae Aulenti is one of the most influential architects and designers of the post-war period. As early as the 1960s, her iconic creations – such as her »Locus Solus« series (1964), the »Pipistrello« (1965) and »King Sun« (1967) lamps – played a vital role in Italy’s global dominance within the field of product design. The Italian designer gained international renown for her transformation of a Parisian train station into the Musée d’Orsay (1980–1986). But although Aulenti realized over 700 projects, she is relatively unknown outside her native Italy. The Vitra Design Museum seeks to counteract this undeserved neglect with »Gae Aulenti: A Creative Universe«. The exhibition explores Aulenti’s multifaceted body of work, one that encompasses not only architectural projects and design objects, but also interiors, set and costume design, as well as exhibitions. The Vitra Schaudepot will present roughly 35 items from across her career, complemented by photographs, sketches, and drawings, as well as a slideshow, documentary films, and interviews.

Gae Aulenti: A Creative Universe, 
Vitra Schaudepot
, Vitra Design Museum, Weil-am-RheinThe exhibition opens with Aulenti’s early designs for the company Poltronova. These include her first item of furniture, »Sgarsul« (1962), which is characterized by a highly distinctive and modern use of forms, as well as her garden furniture series, »Locus Solus« (1964). The »Stringa« sofa (1963) and many other items Aulenti designed, she also used to furnish her own home. Additionally, she developed products for Zanotta, including a tubular steel version of »Locus Solus« (1964) and an extremely lightweight, easy-to-store folding chair, the »Aprilina« (1964). In 1970/71, she developed the latter into a more solid side-folding version with a matching footrest. The products she made concurrently for FontanaArte display her use of diverse materials and her innovative approach to her work. For instance, the top of the »Giova« (1964) glass lamp may be used as a vase, and the sculptural »Rimorchiatore« (1967), made of lacquered metal, is a hybrid lamp, vase, and ashtray.

Along with glass and metal, Aulenti also worked with other materials. Her »Jumbo« (1965) table for Knoll, for example, was made of marble. This massive item evinces her precisely constructed and architectural use of forms, which was visible already in her early designs. Aulenti established her reputation as an interior designer with her work for the typewriter manufacturer Olivetti’s showrooms in Paris (1966/67) and Buenos Aires (1968). In Paris, she used laminated plastic and stainless steel to emphasize the highly up-to-date quality of the products on display. She also made use of her »Pipistrello« (1965) lamps – one of her most iconic objects, to this day manufactured by Martinelli Luce. In Buenos Aires, she used mirrored ceilings to achieve a kaleidoscopic effect enhanced by her »King Sun« (1967) lamps, designed especially for this showroom like many of her objects. The oversized dimensions of this lamp, which might be unexpected at first glance, are echoed in other designs, such as her »Ruspa« and »Oracolo« lamps (both 1968).

Gae Aulenti: A Creative Universe, 
Vitra Schaudepot
, Vitra Design Museum, Weil-am-RheinHer metamorphosis of the Gare d’Orsay in Paris from a train station into a museum between 1980 to 1986 is one of her best-known architectural projects, and it garnered her and her architectural practice international fame. This was followed by commissions to redesign the interior of the MNAM - Centre Georges Pompidou in Paris (1982–85), to renovate the Palazzo Grassi in Venice (1985/86), and to rebuild the Palau Nacional of Montjuïc in Barcelona between 1985 and 1992, which became the Museu Nacional d’Art de Catalunya. Her work on the Gare d’Orsay included items she designed and which later were adopted for home use, such as picture frames with accompanying supports. Aulenti’s furnishings for Palazzo Grassi derived from her set designs for Gioachino Rossini’s opera »Il viaggio a Reims« (1984/85), which drew on her’s long-standing work as a set and costume designer.

Thanks to additional loans from the Gae Aulenti Archive in Milan and other lenders, the exhibition »A Creative Universe« also includes a selection of the Italian designer’s lesser-known works, such as packaging designs for make-up products by the French company Rochas in 1978, vases for the Murano glass manufacturer Venini from 1995 to 2008, and »Toaster« (1996) and »Blender« (1998) for the electronics manufacturer Trabo. These works reveal Aulenti’s immense versatility and her great sensitivity to the unique needs of each situation. Aulenti was less interested in maintaining a homogenous style than in providing visionary solutions to problems. Nevertheless, almost all of her designs share a striking formal language and emblematic silhouettes. Her objects arrest the eye and remain unforgettable.
Josef Hoffmann
Josef Hoffman - Otto Prutscher, Brtnice (Czech Republic), Josef Hoffmann Museum, 1 july / 18 april 2021

Josef Hoffman, Otto Prutscher, Brtnice, Czech Republic, Josef Hoffmann MuseumThe 2019 annual exhibition in the Josef Hoffmann Museum in Brtnice, a joint exhibition of the Moravian Gallery, Brno, and the MAK, Vienna, is dedicated to Josef Hoffmann’s (1870–1956) association with Otto Prutscher (1880–1949). Like Hoffmann an architect and designer, Prutscher was master of all materials used in the applied arts. He was an exhibition designer, a teacher, and a member of the most important reform movements in art from the Secession to the Wiener Werkstätte and the Werkbund. On the occasion of the 70th anni- versary of Otto Prutscher’s death this year, the exhibition highlights the importance of his work for the development of Viennese Modernism.

Josef Hoffman, Otto Prutscher, Brtnice, Czech Republic, Josef Hoffmann MuseumStarting in the 1980s—together with the protagonists of the “Vienna Style” around 1900— Otto Prutscher started to gain wider recognition. Similar to Josef Hoffmann, the first comprehensive studies of whose works appeared in Italy after the Second World War, in Otto Prutscher’s case it was the Italian architectural journal Metamorfosi that, in 1994, issued his “Unpublished works from archives in Como and Vienna”.

Ten years younger than Josef Hoffmann and Adolf Loos, Otto Prutscher belonged to the first generation of Vienna Arts and Crafts School students to benefit from the curricular reforms directed by Felician von Mayrbach and from the teaching of young professors such as Josef Hoffmann and Koloman Moser. Prutscher mastered a range of materials in his father’s cabinetmaking workshop, as well as as in bricklaying and carpentry apprenticeships, completed in the summer vacations.

After his acceptance at the the Vienna Arts and Crafts School in 1897, Prutscher took a course with Willibald Schulmeister in ornamental drawing, and later for two semesters a specialist class in architecture with Josef Hoffmann. The training he received from the secessionist architect Hoffmann and the premodern painter Matsch was to leave its mark on Prutscher’s designs and completed works—in terms of both the graphic quality of his designs and his orientation towards current trends in architecture. From 1907 Prutscher began to work for the Wiener Werkstätte, and from 1909 he taught, like Hoffmann, at the Arts and Crafts School.

Hoffmann worked with Prutscher for decades on projects such as the Vienna Kunstschau of 1908 and the Cologne Werkbund exhibition of 1914, sharing with him an unbounded creative drive. Today Prutscher’s recorded oeuvre includes over 50 buildings (villas, apartment houses, and portals), nearly 50 exhibitions organized and designed alone or with others, some 170 installations, over 300 designs for installations, and over 200 suites and individual pieces of furniture.

Prutscher’s designs were implemented by more than 200 enterprises, principally the Wiener Werkstätte but also important manufactories such as Backhausen, Klinkosch, Augarten, Meyr’s Neffe, Schappel and Melzer & Neuhardt, and the Deutsche Werkstätten in Dresden. In addition he was artistic advisor to Thonet, Loetz Witwe, and Wienerberger. Twenty years after the first monograph on and exhibition of his work (Otto Prutscher. 1880–1949. Architektur, Interieur, Design [Otto Perutscher, 1880–1949: Architecture, Interior, Design], University of Applied Arts Vienna, 1997), the exhibition JOSEF HOFFMANN – OTTO PRUTSCHER discusses Prutscher’s complex achievement against the background of Hoffmann’s oeuvre. Both spatially and thematically, it is a continuation of the permanent exhibition JOSEF HOFFMANN: Inspirations, that since 2009 has been tracing the roots Hoffmann’s artistic inspiration in his birthplace Brtnice. Starting on 20 November 2019, the MAK will be presenting a comprehensive solo exhibition: OTTO PRUTSCHER. Allgestalter der Wiener Moderne [Otto Prutscher: Universal Designer of Viennese Modernism].
Henry Moore
Henry Moore in Toscana, Firenze (Italy), Museo Novecento di Firenze, 18 january / 30 may 2021
Henry Moore
Henry Moore. Il disegno dello scultore, Firenze (Italy), Museo Novecento di Firenze, 18 january / 18 july 2021
Aldo Rossi
Aldo Rossi. L’architetto e le città / The Architect and the Cities, Roma (Italy), MAXXI Museo nazionale delle arti del XXI secolo, 16 december 2020 / 29 august 2021
Adolf Loos
Adolf Loos – Nachleben. Schaufenster zum Hof, Vienna [Wien], Im Hof des Az W / Ausstellungshalle 1 (In the Az W Courtyard / Exhibition hall 1), 3 september 2020 / 30 september 2021
Heikki Sirén
Kaikki ja ei mitään. Arkkitehdit Kaija + Heikki Siren / Everything and Nothing. Architects Kaija + Heikki Siren, Espoo (Finland), KAMU. Espoon kaupunginmuseo / Espoo City Museum, 23 october 2020 / 9 january 2022
Kaija Sirén
Kaikki ja ei mitään. Arkkitehdit Kaija + Heikki Siren / Everything and Nothing. Architects Kaija + Heikki Siren, Espoo (Finland), KAMU. Espoon kaupunginmuseo / Espoo City Museum, 23 october 2020 / 9 january 2022
Jeff Koons
Shine, Firenze (Italy), Palazzo Strozzi, autumn 2021
Josef Hoffmann
Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaJosef Hoffmann: Fortschritt durch Schönheit / Progress by Beauty, Vienna [Wien], MAK - Österreichisches Museum für angewandte Kunst - Gegenwartskunst / Austrian Museum of Applied Arts / Contemporary Art, MAK Exhibition Hall, 15 december 2021 / 19 june 2022


To celebrate his 150th birthday the MAK is honoring the architect, designer, teacher, exhibition organizer, and cofounder of the Wiener Werkstätte Josef Hoffmann (1870– 1956) with the most comprehensive retrospective of his entire oeuvre ever shown. Hoffmann cultivated an exemplary modern lifestyle model and focused on aesthetics and beauty as the central parameters of modern design. The exhibition JOSEF HOFFMANN: Progress Through Beauty revisits every facet of the almost 60-year creative output produced by this influential global pioneer in architecture and design around 1900 and enriches the systematic research into and dissemination of his legacy.

Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaWith an initially puristic design vocabulary, Josef Hoffmann carved out his position as one of the protagonists of Viennese Modernism. His ideal of the Gesamtkunstwerk—or total work of art—and his outstanding buildings like Stoclet House in Brussels (1905– 1911), now a UNESCO World Heritage Site, left a mark on the architectural and artistic landscape both nationally and internationally. Although this all-round designer has featured in every important exhibition on Viennese Modernism, only sections of his oeuvre have been analyzed in full.

To mark this year’s anniversary the exhibition’s team of curators—Matthias Boeckl, Rainald Franz, and Christian Witt-Dörring—set themselves the task of closing the gaps that still exist in the research by using at times unknown sources and by updating his catalogue raisonné. According to the curators, the perception of Hoffmann’s creative work as an architect and designer is incomplete in terms of the sources used, oversimplified in terms of design aspects, and limited in terms of his geographical and historical sphere of influence.

In 20 chapters and with over 800 exhibits, the exhibition JOSEF HOFFMANN: Progress Through Beauty introduces visitors to his prodigious lifework, which covers every single aspect of daily life, including architecture, interior design, fashion, and practical objects. Originally from a wealthy middle-class family in Brtnice, now in the Czech Republic, Hoffmann lived through five different political regimes, from the Habsburg Monarchy to the Second Austrian Republic. He was considered a creator of taste and identity and lived an exemplary modern lifestyle as a teacher of many years, as an influential designer in the decorative arts, and as cofounder of the Vienna Secession, the Wiener Werkstätte, and the Werkbund. In his groundbreaking mindset he united an artistically ambitious architectural approach with an artisanally inspired product culture.

Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaThe exhibition covers every stage of his life from his youth and studies at the Academy of Fine Arts Vienna to his death in 1956. The focus of the exhibition is his work’s lasting impact on architecture, the decorative arts, and design, starting with his most prominent projects and buildings: Sanatorium Westend in Purkersdorf (1904/05), Stoclet House in Brussels (1905–1911), the Kunstschau in Vienna (1908), the Austrian pavilion for the Werkbund exhibition in Cologne (1914), the pavilion for the International Exposition of Modern Decorative and Industrial Arts in Paris (1925), the Werkbundsiedlung [Werkbund Estate] in Vienna (1931), and the pavilion for the Venice Biennale (1934). A multimedia timeline guides visitors through Hoffmann’s life and draws attention to forgotten projects and texts.

A reconstruction of the Boudoir d’une grande vedette [Boudoir for a Big Star] (1937), designed by Josef Hoffmann for the Paris World’s Fair, makes it possible to instantly experience Hoffmann’s sense of space. Furnishings like furniture and light fixtures for Árpád Lengyel’s villa in Bratislava (1929) will be on public display for the very first time, as will other never-before-seen furnishings from the villa for Sonja Knips (1924) and a variety of Josef Hoffmann’s designs that were previously hidden in archives like that of the company J. & L. Lobmeyr.

With this exhibition and its accompanying catalog, the MAK is helping to paint a much richer and more detailed picture of Josef Hoffmann as a creator and teacher and to show his role—from Modernism to the present day—in a different light. As a competence center of Viennese Modernism, the MAK is home to the world’s most comprehensive holdings of furniture, objects, and designs by Hoffmann. The MAK and the Moravian Gallery in Brno run a joint branch in the house where Josef Hoffmann was born in Brtnice, Czech Republic.


December 2020

Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaOriginally intended to open in December 2020 to coincide with Josef Hoffmann’s 150th birthday, the exhibition JOSEF HOFFMANN: Progress Through Beauty has been post- poned for one year. The most comprehensive retrospective ever mounted on the lifework of Josef Hoffmann (1870–1956) will now be on display in the MAK Exhibition Hall from 15 December 2021 to 19 June 2022. In 20 chapters and with over 800 exhibits, the team of curators—Matthias Boeckl, Rainald Franz, and Christian Witt-Dörring—aims to revisit the entire 60-year oeuvre of this architect, designer, teacher, exhibition organizer, and cofounder of the Wiener Werkstätte. In light of the show’s conceptual and organizational dimensions and associated expense, the MAK is hoping for considerably more favorable circumstances come the opening of the exhibition late next year in order to have the broadest possible impact—not only within Austria, but also internationally.

Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaThese challenging times during the pandemic have significantly impeded the presentation of rarely shown objects from international collections, which are able to spotlight new facets of Josef Hoffmann’s oeuvre. Furthermore, the later opening date for the exhibition makes it possible to extend the duration of this MAK project: instead of being on display for four months as originally planned, the exhibition can now be shown for half a year.

Initial insights into the exhibition JOSEF HOFFMANN: Progress Through Beauty are afforded by a discussion event to be held at the MAK on Josef Hoffmann’s 150th birthday, 15 December 2020.

The publication to accompany the exhibition, entitled JOSEF HOFFMANN 1870–1956: Progress Through Beauty. The Guide to His Oeuvre, edited by Christoph Thun- Hohenstein, Matthias Boeckl, Rainald Franz, and Christian Witt-Dörring, will be released as a German and an English edition in spring 2021 by the Birkhäuser Verlag, Basel. In 40 essays renowned international experts analyze Hoffmann’s most important buildings, interiors, and exhibitions, as well as decorative art designs and objects. Drawing on the latest research, the guide conveys the multimedia approach and wide-ranging international reception of Hoffmann’s artistic vision and is set to become a new standard reference work on Viennese Modernism in an international context.
 
 
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