Mechtild Widrich
former postdoc
You can read and download some of my texts here: Academia.edu
Participation in Art and Architecture: Spaces of Interaction and Occupation (ed. with Martino Stierli). I.B. Tauris, London, 2015.
Presence (ed. with Philip Ursprung and Jürg Berthold). In Preparation.
"Natur-Gewalt. Jonas Dahlbergs Entwurf für das 07/22 Mahnmal in Norwegen", Texte zur Kunst (September 2014)
“‘I’ll be Your Mirror.’ Transparency, Voyeurism and Glass Architecture,” in Henriette Steiner, Kristin Veel (eds.), Negotiating (In)visibilities (Peter Lang, forthcoming).
Translation of Karl Rosenkranz "Ästhetik des Hässlichen" (Aesthetics of Ugliness) into English (together with Andrei Pop). Bloomsbury, London, June 2015.
Performative Monuments. The Rematerialisation of Public Art (Manchester University Press, series: Rethinking Art's Histories, in production), 290 pages.
Ugliness. The Non-Beautiful in Art and Theory (London: I.B. Tauris, 2013, edited with Andrei Pop), and essay "The Ugliness of the Avant-Garde" (69-81), 300 pages. Ugliness. The Non Beautiful in Art and Theory
Krzysztof Wodiczko, A 9/11 Memorial (London: Black Dog, 2009). 117 pages. Introduction and essay “Memory in Action.” (edited with Mark Jarzombek) City of Refuge
“Microcosms.” special issue of thresholds, 30, 2/2005 (Cambridge, MA: Department of Architecture, MIT). Includes introduction “Wholly Partial”, 112 pages.
“Idyllic worlds.” Kursiv Magazine, (Linz, Austria, 2003). 143 pages, and essay “Mapping the Representative” pp. 19-30 (German and English, edited with Jeanette Pacher).
Wien II. Leopoldstadt. Die andere Heimatkunde (Vienna. 2nd District; Vienna: Brandstätter, 1999). 195 pages (German, edited with Werner Hanak)
"The Willed and the Unwilled Monument. Judenplatz Vienna and Riegl’s Denkmalpflege".Journal of the Society of Architectural Historians (September 2013), 382-398. French version in preparation ("Monuments intentionnels et non intentionnels. La Judenplatz de Vienne et le Denkmalpflege de Riegl", in "Le monument en débat").
"No Buildings + An Archive: The US Pavilion in Venice and 9+1 at MoMA". thresholds (No. 41, Spring 2013), 167-175.
"Spatial Implications of the Monument to Freedom and Unity in Leipzig".Log (no 27, spring 2013), 81-86.
"The Informative Public of Performance: A Study of Viennese Actionism, 1965-1970".TDR. The Drama Review, MIT Press, no. 217, spring 2013, 137-151.
"Process and Authority: Marina Abramović's Freeing the Horizon and Documentarity". Grey Room no. 47 (April 2012), 80-97.
"Locations and Dislocations. VALIE EXPORT's Media Performances". PAJ. A Journal of Performance and Art (no 99, September 2011), 53-59.
"Is the “Re” in Re-enactment the “Re” in Re-performance?" In Felicitas Thun and Carola Dertnig (eds.) Performing the Sentence (Berlin: Sternberg Press, 2014).
“Collecting ‘History in the Making’: The privatization of propaganda in National Socialist Cigarette cards,” in Kevin Moist and David Banash, eds., Collecting and Collections. Objects, Practices and the Fate of Things (Scarecrow Press, 2013), 207-235.
“Ge-Schichtete Präsenz und zeitgenössische Performance. Marina Abramovićs The Artist is Present.” In Uta Daur (Hg.) Authentizität und Wiederholung. Künstlerische und kulturelle Manifestationen eines Paradoxes (Bielefeld: Transcript, 2013), 147-67.
“Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT’S Genital Panic since 1969.” In Amelia Jones, Adrian Heathfiel (eds.), Perform, Repeat, Record: A Critical Anthology of Live Art in History (Bristol: Intellect, 2012), 89-103.
"Stellingen (Stellungnahme)," in Kunstwerken voor de publieke ruimte. Podium voor Architectuur Haarlemmermeer en Schiphol (Redaktion: Karin Christof, Mathias Lehner), 2009.
“Re-Performance: Da Capo oder Zugabe?” In Gabriele Mackert (ed.), Blind Date. (Nürnberg: Institut für Moderne Kunst, 2008, German), 128-139.
“Several Outbreaks of Valie Export’s Genital Panic,” in Hilde van Gelder and Helen Weestgeest, eds., Photography between Poetry and Politics. (Leuven: University Press Leuven, 2008), 53-67.
Co-author, “A subject catalogue for material on contemporary art.” In basis wien (ed.), Archiving the Present – Gegenwart Dokumentieren. Manual on Cataloguing Modern and Contemporary Art in Archives and Databases. (Vienna, 2006, German and English).
“Was sonst noch passierte” (What else was up). In: Sommerakademie für bildende Kunst (ed.): Die Fünfte Dekade, (Salzburg, 2005, German).
“Vom Getöse des Verkehrs abgeschieden. Kunsträume in der Leopoldstadt” (Cloistered From the Noise of the City. Art Spaces in the Leopoldstadt). In: Werner Hanak, Mechtild Widrich (eds.): Wien II. Leopoldstadt (Vienna: Brandstätter, 1999, German), 97-109.
“Architektur der Küche. Zur Umwertung eines Wirtschaftsraumes in der europäischen Architektur des 20. Jahrhunderts” (with Ruth Hanisch). In: H. Lachmayer, E. Miklautz, Reinhard Eisendle (eds.): Die Küche (The Kitchen) (Vienna: Böhlau, 1999, German), 17-47.
“Die Gelassenheit des Verräters. Jochen Gerz' Foto/Text Arbeiten” (with Eleonora Louis). In: Jochen Gerz. Daran Denken (Dusseldorf: Richter, 1999, German), 9-29.
“Nancy Spero – Remembrance/Renewal”. In: Jewish Museum Vienna, 1996 (German and English, with Werner Hanak).
"Look on the Stream". Exh. cat. Nicole Six/Paul Petrisch, "View May be Denied by Cargo," Nuremberg, 2012, (n.p., 7 pages).
"Model, Moment, Monument." Exh. cat. Florian Graf, Zeppelinmuseum Friedrichshafen, 2012, 4-8.
"Ana Hoffner." In Where do we go from Here? (exh. cat. Wiener Secession, Vienna, 2010).
„Stars and Dilettantes. On the Voice in Video Art” In Sounding the Subject (Exh.Cat. LIST Visual Arts Center, Cambridge, MA, 2007), 24-32.
“Between the Document and the Monument.” In MEMOSPHERE. Rethinking Monuments (edited by Mihnea Mircan and Meta Haven). 52 Biennale di Venezia, Romanian Pavillion, 2007.
“Hubert Schmalix. The First Pictures of a Short Series.” In Hubert Schmalix (Salzburg: Jung & Jung, 2005, German and English).
“Welcome to the World of Milly, Molly and Mandy. Madeleine Berkhemers Staging of the Self.” In: Let’s Talk About Sex (exh. cat. Kunsthaus Dresden, 2002, German and English).
“Maybe you Will Lie on the Couch Forever. The Fictions of Birgit Brenner.” In: Let’s Talk About Sex (exh. cat. Kunsthaus Dresden, 2002, German and English).
“Work or Culture?” In: Work & Culture (exh. cat. Oberösterreichische Landesgalerie / State Gallery of Upper Austria, Linz, 1998, German).
“Ilse Haider.” In: Skulptur Figur Weiblich (Sculpture, Figure, Woman; exh. cat. Oberösterreichische Landesgalerie / State Gallery of Upper Austria, Linz, 1998, German and English).
“Nancy Spero.” In: Skulptur Figur Weiblich (Sculpture, Figure, Woman; exh. cat Oberösterreichische Landesgalerie / State Gallery of Upper Austria, Linz, 1998, German and English).
“Marrakech Suite.” (exh. cat. Lucas Horvath, Vienna, 1997, German and French).
"Gespräch mit Ilse Haider." In: Glaube Hoffnung Liebe Tod (exh. cat. Kunsthalle Wien, 1995, German).
“Repräsentation und Selbstfindung. Jean Eggers Porträts.” (“Representation and Self-discovery. The portraits of Jean Egger”). In: Jean Egger (exh. cat. Österreichische Galerie Belvedere, 1995, German).
- "Triangulating Iveković: An Exhibition and Book Review", Performance Research, 19.3, special issue 'On Time' (Summer 2014).
Book review ‘Claire Bishop. Artificial Hells.’ caa.reviews"
Book review "Lights, Camera, Action! Vienna Actionism. Art and Upheaval in 1960s’ Vienna". Book Review. Art Journal (Winter 2012), 124-26.
Book review of Juliet Koss, "Modernism After Wagner", EAHN newsletter (Spring 2012)
“The Feminist Future: Theory and Practice in the Visual Arts.” Review. SpringerIn, Nr. 2/2007 (Vienna, German).
“Interview with Mark Jarzombek and Caroline Jones.” Kunsthistoriker Aktuell. Zeitschrift des österreichischen Kunsthistorikerverbandes (Journal of the Austrian Association of Art History), Fall 2005 (Vienna, German).
“Dependent Objects. Busch-Reisinger Museum, Harvard” Exhibition review. SpringerIn, Nr. 4/2004 (Vienna, German).
“Archiving the Present: the Vektor project for European Contemporary Art Archives.” Art Libraries Journal, Vol. 28, Number 4, 2003 (London).
“Eine barocke Figur wird frei. Uber die Lithographie ‘Vol” von Nancy Spero.” (“A Baroque Figure frees herself. On the lithograph ‘Vol’ by Nancy Spero”) Salzburger Nachrichten, August 11, 2001, (German).
“Kiki Kogelnik”. Exhibition review. ArtNEWS, September 2001 (New York).
“Marrakech Suite. L’Art marocain enrichit Horvath.” Le matin du sahara et du Maghreb, 1997 (French).
“PatchWork – Real.” Kunsthistoriker Aktuell. Zeitschrift des österreichischen Kunsthistorikerverbandes (Journal of the Austrian Association of Art History), nr. 2, 1998.
In Preparation
Participation in Art and Architecture: Spaces of Interaction and Occupation (ed. with Martino Stierli). I.B. Tauris, London, 2015.
Presence (ed. with Philip Ursprung and Jürg Berthold). In Preparation.
In Press
"Natur-Gewalt. Jonas Dahlbergs Entwurf für das 07/22 Mahnmal in Norwegen", Texte zur Kunst (September 2014)
“‘I’ll be Your Mirror.’ Transparency, Voyeurism and Glass Architecture,” in Henriette Steiner, Kristin Veel (eds.), Negotiating (In)visibilities (Peter Lang, forthcoming).
Books and Editorships
Translation of Karl Rosenkranz "Ästhetik des Hässlichen" (Aesthetics of Ugliness) into English (together with Andrei Pop). Bloomsbury, London, June 2015.
Performative Monuments. The Rematerialisation of Public Art (Manchester University Press, series: Rethinking Art's Histories, in production), 290 pages.
Ugliness. The Non-Beautiful in Art and Theory (London: I.B. Tauris, 2013, edited with Andrei Pop), and essay "The Ugliness of the Avant-Garde" (69-81), 300 pages. Ugliness. The Non Beautiful in Art and Theory
Krzysztof Wodiczko, A 9/11 Memorial (London: Black Dog, 2009). 117 pages. Introduction and essay “Memory in Action.” (edited with Mark Jarzombek) City of Refuge
“Microcosms.” special issue of thresholds, 30, 2/2005 (Cambridge, MA: Department of Architecture, MIT). Includes introduction “Wholly Partial”, 112 pages.
“Idyllic worlds.” Kursiv Magazine, (Linz, Austria, 2003). 143 pages, and essay “Mapping the Representative” pp. 19-30 (German and English, edited with Jeanette Pacher).
Wien II. Leopoldstadt. Die andere Heimatkunde (Vienna. 2nd District; Vienna: Brandstätter, 1999). 195 pages (German, edited with Werner Hanak)
Texts in Periodicals
"The Willed and the Unwilled Monument. Judenplatz Vienna and Riegl’s Denkmalpflege".Journal of the Society of Architectural Historians (September 2013), 382-398. French version in preparation ("Monuments intentionnels et non intentionnels. La Judenplatz de Vienne et le Denkmalpflege de Riegl", in "Le monument en débat").
"No Buildings + An Archive: The US Pavilion in Venice and 9+1 at MoMA". thresholds (No. 41, Spring 2013), 167-175.
"Spatial Implications of the Monument to Freedom and Unity in Leipzig".Log (no 27, spring 2013), 81-86.
"The Informative Public of Performance: A Study of Viennese Actionism, 1965-1970".TDR. The Drama Review, MIT Press, no. 217, spring 2013, 137-151.
"Process and Authority: Marina Abramović's Freeing the Horizon and Documentarity". Grey Room no. 47 (April 2012), 80-97.
"Locations and Dislocations. VALIE EXPORT's Media Performances". PAJ. A Journal of Performance and Art (no 99, September 2011), 53-59.
Texts in Books
"Is the “Re” in Re-enactment the “Re” in Re-performance?" In Felicitas Thun and Carola Dertnig (eds.) Performing the Sentence (Berlin: Sternberg Press, 2014).
“Collecting ‘History in the Making’: The privatization of propaganda in National Socialist Cigarette cards,” in Kevin Moist and David Banash, eds., Collecting and Collections. Objects, Practices and the Fate of Things (Scarecrow Press, 2013), 207-235.
“Ge-Schichtete Präsenz und zeitgenössische Performance. Marina Abramovićs The Artist is Present.” In Uta Daur (Hg.) Authentizität und Wiederholung. Künstlerische und kulturelle Manifestationen eines Paradoxes (Bielefeld: Transcript, 2013), 147-67.
“Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT’S Genital Panic since 1969.” In Amelia Jones, Adrian Heathfiel (eds.), Perform, Repeat, Record: A Critical Anthology of Live Art in History (Bristol: Intellect, 2012), 89-103.
"Stellingen (Stellungnahme)," in Kunstwerken voor de publieke ruimte. Podium voor Architectuur Haarlemmermeer en Schiphol (Redaktion: Karin Christof, Mathias Lehner), 2009.
“Re-Performance: Da Capo oder Zugabe?” In Gabriele Mackert (ed.), Blind Date. (Nürnberg: Institut für Moderne Kunst, 2008, German), 128-139.
“Several Outbreaks of Valie Export’s Genital Panic,” in Hilde van Gelder and Helen Weestgeest, eds., Photography between Poetry and Politics. (Leuven: University Press Leuven, 2008), 53-67.
Co-author, “A subject catalogue for material on contemporary art.” In basis wien (ed.), Archiving the Present – Gegenwart Dokumentieren. Manual on Cataloguing Modern and Contemporary Art in Archives and Databases. (Vienna, 2006, German and English).
“Was sonst noch passierte” (What else was up). In: Sommerakademie für bildende Kunst (ed.): Die Fünfte Dekade, (Salzburg, 2005, German).
“Vom Getöse des Verkehrs abgeschieden. Kunsträume in der Leopoldstadt” (Cloistered From the Noise of the City. Art Spaces in the Leopoldstadt). In: Werner Hanak, Mechtild Widrich (eds.): Wien II. Leopoldstadt (Vienna: Brandstätter, 1999, German), 97-109.
“Architektur der Küche. Zur Umwertung eines Wirtschaftsraumes in der europäischen Architektur des 20. Jahrhunderts” (with Ruth Hanisch). In: H. Lachmayer, E. Miklautz, Reinhard Eisendle (eds.): Die Küche (The Kitchen) (Vienna: Böhlau, 1999, German), 17-47.
“Die Gelassenheit des Verräters. Jochen Gerz' Foto/Text Arbeiten” (with Eleonora Louis). In: Jochen Gerz. Daran Denken (Dusseldorf: Richter, 1999, German), 9-29.
“Nancy Spero – Remembrance/Renewal”. In: Jewish Museum Vienna, 1996 (German and English, with Werner Hanak).
Texts in Exhibition Catalogues
"Look on the Stream". Exh. cat. Nicole Six/Paul Petrisch, "View May be Denied by Cargo," Nuremberg, 2012, (n.p., 7 pages).
"Model, Moment, Monument." Exh. cat. Florian Graf, Zeppelinmuseum Friedrichshafen, 2012, 4-8.
"Ana Hoffner." In Where do we go from Here? (exh. cat. Wiener Secession, Vienna, 2010).
„Stars and Dilettantes. On the Voice in Video Art” In Sounding the Subject (Exh.Cat. LIST Visual Arts Center, Cambridge, MA, 2007), 24-32.
“Between the Document and the Monument.” In MEMOSPHERE. Rethinking Monuments (edited by Mihnea Mircan and Meta Haven). 52 Biennale di Venezia, Romanian Pavillion, 2007.
“Hubert Schmalix. The First Pictures of a Short Series.” In Hubert Schmalix (Salzburg: Jung & Jung, 2005, German and English).
“Welcome to the World of Milly, Molly and Mandy. Madeleine Berkhemers Staging of the Self.” In: Let’s Talk About Sex (exh. cat. Kunsthaus Dresden, 2002, German and English).
“Maybe you Will Lie on the Couch Forever. The Fictions of Birgit Brenner.” In: Let’s Talk About Sex (exh. cat. Kunsthaus Dresden, 2002, German and English).
“Work or Culture?” In: Work & Culture (exh. cat. Oberösterreichische Landesgalerie / State Gallery of Upper Austria, Linz, 1998, German).
“Ilse Haider.” In: Skulptur Figur Weiblich (Sculpture, Figure, Woman; exh. cat. Oberösterreichische Landesgalerie / State Gallery of Upper Austria, Linz, 1998, German and English).
“Nancy Spero.” In: Skulptur Figur Weiblich (Sculpture, Figure, Woman; exh. cat Oberösterreichische Landesgalerie / State Gallery of Upper Austria, Linz, 1998, German and English).
“Marrakech Suite.” (exh. cat. Lucas Horvath, Vienna, 1997, German and French).
"Gespräch mit Ilse Haider." In: Glaube Hoffnung Liebe Tod (exh. cat. Kunsthalle Wien, 1995, German).
“Repräsentation und Selbstfindung. Jean Eggers Porträts.” (“Representation and Self-discovery. The portraits of Jean Egger”). In: Jean Egger (exh. cat. Österreichische Galerie Belvedere, 1995, German).
Reviews and newspaper articles
- "Triangulating Iveković: An Exhibition and Book Review", Performance Research, 19.3, special issue 'On Time' (Summer 2014).
Book review ‘Claire Bishop. Artificial Hells.’ caa.reviews"
Book review "Lights, Camera, Action! Vienna Actionism. Art and Upheaval in 1960s’ Vienna". Book Review. Art Journal (Winter 2012), 124-26.
Book review of Juliet Koss, "Modernism After Wagner", EAHN newsletter (Spring 2012)
“The Feminist Future: Theory and Practice in the Visual Arts.” Review. SpringerIn, Nr. 2/2007 (Vienna, German).
“Interview with Mark Jarzombek and Caroline Jones.” Kunsthistoriker Aktuell. Zeitschrift des österreichischen Kunsthistorikerverbandes (Journal of the Austrian Association of Art History), Fall 2005 (Vienna, German).
“Dependent Objects. Busch-Reisinger Museum, Harvard” Exhibition review. SpringerIn, Nr. 4/2004 (Vienna, German).
“Archiving the Present: the Vektor project for European Contemporary Art Archives.” Art Libraries Journal, Vol. 28, Number 4, 2003 (London).
“Eine barocke Figur wird frei. Uber die Lithographie ‘Vol” von Nancy Spero.” (“A Baroque Figure frees herself. On the lithograph ‘Vol’ by Nancy Spero”) Salzburger Nachrichten, August 11, 2001, (German).
“Kiki Kogelnik”. Exhibition review. ArtNEWS, September 2001 (New York).
“Marrakech Suite. L’Art marocain enrichit Horvath.” Le matin du sahara et du Maghreb, 1997 (French).
“PatchWork – Real.” Kunsthistoriker Aktuell. Zeitschrift des österreichischen Kunsthistorikerverbandes (Journal of the Austrian Association of Art History), nr. 2, 1998.
