Hans Schabus
Hans Schabus, Vienna, 14 February 2023
“Sculpture burns and space extinguishes.”
For his KONTAKT portrait, the artist Hans Schabus selected quite the idiosyncratic location: a car of the Wiener Riesenrad, the famous Ferris wheel whose rotations jump through time and space in this interview’s edited version. It is the same Hans Schabus who put up a mountain at the Venice Biennale, dug a tunnel from his studio towards the Vienna Succession in ASTRONAUT (KOMME GLEICH), set up CAFE HANSI in the basement of the MUMOK as a subversive art-historical footnote, and traveled 5,590 kilometers by bicycle together with a poodle on his TOUR D’EUROPE: he tells of his beginnings in the sculpture class of Bruno Gironcoli, of collective movements in the public sphere and attempts to order it, of memorably interlocked processes of teaching and learning—and, finally, of just what all that might entail for a present-day perspective on the understanding of space and time.
“Sculpture burns and space extinguishes.”
For his KONTAKT portrait, the artist Hans Schabus selected quite the idiosyncratic location: a car of the Wiener Riesenrad, the famous Ferris wheel whose rotations jump through time and space in this interview’s edited version. It is the same Hans Schabus who put up a mountain at the Venice Biennale, dug a tunnel from his studio towards the Vienna Succession in ASTRONAUT (KOMME GLEICH), set up CAFE HANSI in the basement of the MUMOK as a subversive art-historical footnote, and traveled 5,590 kilometers by bicycle together with a poodle on his TOUR D’EUROPE: he tells of his beginnings in the sculpture class of Bruno Gironcoli, of collective movements in the public sphere and attempts to order it, of memorably interlocked processes of teaching and learning—and, finally, of just what all that might entail for a present-day perspective on the understanding of space and time.