current: NATIONALITY IS LOST, HOMELAND IS LETHAL, WHERE TO LAND - 16.10.20 - 27.11.20, Verein Kollektiv, Bregenz, AUT      

nationality is lost, homeland is lethal, where to land

16. October - 27 November 2020
Verein Kollektiv, Maurachgasse 10, Bregenz

The exhibition nationality is lost, homeland is lethal, where to land reflects experiences and missteps of the work heumat, which was presented in vienna in 2019. in a performative and exploratory way, the artist set off on a journey through vienna with pressed today. the focus was on the fundamental criticism of a retrotopia, a nationalistic and nostalgic idea of homeland - and today, as an ad-absurdum guided symbolisation of its burden.

nationality is lost, homeland is lethal, where to land is a cross-spatial concept that attempts to dissect the nostalgic idea of heimat with performative and installative elements - in order to cool down, to detach from it and to ground itself.

Exhibition Views, Bregenz 2020 / Miro Kuzmanovic


Eternity by reiterer weithas

by reiterer weithas
in collaboration with Selina Reiterer

Eternity wants eternal fame, eternal glory, eternal wealth. Eternity is celebrating leadership and self-advertisement and the free market. Eternity wants to express the desire of marking individualism in life as well as in afterlife. Becoming more yourself forever and everywhere. Self-Promotion is the way to live eternal power and presence.

As critical statement on the idea of self-promotion in the free economy, eternity is trying to analyze mechanisms of marketing in the arts. Merchandising articles are used to reflect on the wish of success and the urgent need of self-presentation and individualized object cultism.

Screen-printed Sweatshirts & T-Shirts, May 2020 / reiterer weithas


WHY by reiterer weithas

by reiterer weithas
in collaboration with Selina Reiterer

landscape intervention / shortmovie (21.50’) / sculpture

„People know what they do; frequently they know why they do what they do; but what they don‘t know is what they do does.“
(Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason)

WHY is a performative and sculptural work by the artist duo reiterer weithas. The first part of the work consists of a performance in public space with video documentation. The sculpture consists out of two red bars and a stone; a QR Code visible on the sculpture leads the video documentation of the public performance. The bar symbolizes structural caesura and sets of rules; the color red has always signaled prohibitions, restrictions and warnings in public space.

The dialectic and the tension between security and comfort, which are provided by rule constructions for a society, as well as the closing mechanisms of self-determination, self-development and degrees of freedom are dealt with. Social demands and expectations are contrasted with individualism and empowerment. In the formal structure of suits, a symbol of generally accepted and respected uniforms, the burden and constriction that these mechanisms of control and the exercise of power can entail was made tangible in a processional form in the performance, while maintaining social conformity. Crises, exceptional and extreme situations, but also their staging, have always opened up the existentialist questioning and reflection of previously lived values, norms and constructions of rules. They generate a space of possibility and contingency.  Are implicit values of rules even negotiable for society? And according to which rules do we want or do I want to live at all? The title WHY refers to the question of why we impose certain rules on ourselves in the sense of self-management, but also allow them to be imposed on us, and always requires an explanation and explanation of our own reality to a counterpart. The convenience of rule-led reality must be questioned in a society in order to counteract tendencies of power-led authoritarianism with a force. The performance was realized in a harsh nature, which humanity tries to dominate and to stand out from. It builds culture as a humane substitute for nature as well as a comfort zone out of a threat to nature and wraps this externalized nature in a socio-structural coating in order to absorb the borderline experiences still possible in nature. In these original, natural spaces, most of the social rules and structures are now abolished; we are then thrown back onto an independent and mature self, but as part of nature.

WHY sculpture, July 2020 / reiterer weithas

Video stills, May 2020 / reiterer weithas


Lockdown Seven

15.05.20 - 28.05.20
DWDS (Die Wiedergeburt des Schaufensters), Jahnstraße 13-15, 6900 Bregenz 

“In Bregenz hat sich das Straßenbild/Stadtbild in den letzten Wochen radikal verändert. Bedingt durch die COVID-19 Krise gehörten leer gefegte Straßen, geschlossene Geschäfte - Restaurants und Kultureinrichtungen zu unserem neuen Alltag. Die Krise brachte das öffentliche Leben praktisch zum erliegen. Sogar einige Horrorstories von verwaisten Schaufenstern ereilten uns. Aber das DWDS wehrt sich gegen den Verfall des öffentlichen Lebens! Aus diesem Anlass arbeitet der Künstler Lukas Weithas seit dem Lockdown im DWDS. In diesem Zeitraum wurde die identitätsstiftende Rauminstallation des DWDS von Haemmerle | Klamm abgetragen und zu den Skulpturen Lockdown Seven transformiert. Während den Arbeiten im Schaufenster entstanden Audio-Aufnahmen dieses Transformationsprozesses, die in Kombination mit den neu inszenierten Altbaufenstern zu einer atmosphärischen Sound-Installationen werden. Mit diesen persönlichen Aufnahmen möchte der Künstler eine Stimmung festhalten, die nach überstandener Krise vielen Menschen unwirklich erscheinen wird. Dieses Lebenszeichen kann als Akt der (Neu-)Öffnung verstanden werden. Es ist ein Versuch zu zeigen, dass trotz Virus und den damit verbundenen massiven Einschränkungen, der geschlossene aber auch öffentliche Räume als Kommunikations-plattformen weiter verwendet werden können und müssen. Bregenz ist nicht tot!” (Jan Klammer)

Lockdown Seven, window-sculptures & sound-installation, mixed media, May 2020 / Sarah Mistura


Bregenz ist tot.

12.04.20 - 28.05.20
DWDS (Die Wiedergeburt des Schaufensters), Jahnstraße 13-15, 6900 Bregenz w/ dairy staff

The exhibition is based on founding ideas of the exhibition space DWDS. It is an ambitious initiative to question a new use of space and spatial quality in Bregenz. As part a commercial area for a specific purpose a low-threshold accessible place was created without compulsion to consume - a possibility of  artistic expression and critical discourse. 

"Bregenz ist tot." as a metaphorical statement, has been part of conversations in, around and about bregenz for several years. It is not clearly addressed and is an atmospheric designation and description. The installations "Bregenz ist nicht tot 1" and "Bregenz ist nicht tot 2" are markings of a continuous and moving return of a content-empty, undescribed medium; they symbolically show the return of nothing. this nothing becomes a factual something: an atmosphere of the inertia of movement. time produces consequences in the installation's own medium in a constantly changing dynamic form. Its expression cannot be traced back to an inner reduce logic and what happens and is depicted. Meaning and sense only arise in a certain environment and its specific context. the works are paradoxes and (anti-) statements of moving standstill. Free spaces for progressive and courageous discourses are their surroundings. These spaces are content and living environment at the same time. (dairy staff)

 Bregenz ist nicht tot 1+2, sound-installations, mixed media, March-June 2020 / Sarah Mistura

dairy staff is an interdisciplinary art-collective, founded 2019 in vienna by the lucas schmid, sebastian von der thannen and lukas weithas. Their work is characterized by a site-specific reference, conceptual as well as cross-media character. They combine the topics of design, technology and art with socio-critical reflection.