Austrian Sculpture Park

“The garden is
the last luxury
of our time, it
requires what
has become
most precious in
our society:
time, attention
and space.”
(Dieter Kienast)
Austrian Sculpture Park
Thalerhofstr. 85, 8141 Unterpremstätten
Postal Address: Mariahilferstr. 4, 8020 Graz
T +43–316/8017–9704, –9265
F +43–316/8017–9676
sculpturepark@museum-joanneum.at
www.skulpturenpark.at
www.museum-joanneum.at
www.museum-joanneum.at
Austrian
Sculpture Park
English

The History of the Austrian Sculpture Park
Emil Breisach sustained the notion that contemporary
sculptures and viewers need to be granted a lieu of interaction
in public space and not only in museums. In 1981 he
began to show works on the grounds of the Styrian ORF
studio which were the starting point for the idea
of creating an adequate placement for Austrian sculpture
in correspondence with international art. The ideal site
for a generously laid-out sculpture park was found in the 7
ha covering park designed by the well-known Swiss landscape
architect Dieter Kienast for the International Garden
Show held in 2000 in Unterpremstätten 7 km South of
Graz. The Austrian Sculpture Park Private Foundation was
founded in cooperation with the PORR GmbH and the Province
of Styria; its Board of Trustees consisting of Nikolaus
Breisach, Hermann Eisenköck and Ralph Schilcher.
It served as a basis for the concept of an international
sculpture park co-initiated by Christa Steinle and devised
by Peter Weibel which in 2003 could be presented to the
public. To protect the park which to date contains more
than 60 sculptures and to put it in a well founded scientific
context as well as place it in a wide spread art-culture
environment and at the same time make it accessible to an
even broader public, Kurt Flecker, Styria’s Cultural Consultant,
in accordance with the Private Foundation facilitated
the Sculpture Park’s takeover by the Landesmuseum
Joanneum under the management of Elisabeth Fiedler.
In addition to building up the collection and intensify the
accompanying scientific discourse, the Sculpture Park
intends to engage in an intense public relations dialogue,
offer specific guided tours as well as diverse special
events.
Elisabeth Fiedler, Head of the Austrian Sculpture Park
A9
Salzburg
Linz/D
B76
A2
Klagenfurt/I
B70
Graz
A9
�
Arrival
→ Car: A9 Exit Schachenwald, parking spaces for cars and
coaches available, 10 min. drive from Graz Airport
→ Bicycle (Cycle Track): R2 Murradweg, R9 Erzherzog-Johann-
Radweg, R30 Kürbisradweg
→ Public transport: bus line 630 and 671 from the City Center
Graz (Jakominiplatz) directly to the Austrian Sculpture Park
(bus stop Schwarzl See / Lake Schwarzl IBC/Skulpturen-
park, walking distance 3 min.)
Timetable information T +43–316/820606
Accommodation
Hotel Courtyard by Marriott, T +43–316/8077–0,
www.courtyard.com/grzcy (walking distance 10 min.)
Urdlwirt Hotel Reif, T +43–3136/53 185,
www.urdlwirt.at (10 min. ride)
Education
Guided tours and workshops, booking required
(T +43–316/8017–9265), group and package offers on request.
Events
The Austrian Sculpture Park is a multifunctional venue available
for cultural organizers as well as individuals on request
(veranstaltungen@museum-joanneum.at).
Catalogue
garten der kunst – art garden
Publishers: Österreichischer Skulpturenpark Privatstiftung,
Hatje Cantz Verlag, 256 pages, 247 photos, order via E-Mail
(sculpturepark@museum-joanneum.at).
R2
B67a
Austrian
Sculpture Park
SLO
R9 B67 R2
A2
Wien
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Infodesk
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Lotus Blossom Pond
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Berggartencafé
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bus
station
Thalerhof Street
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→
A9

The Nature of the Austrian Sculpture Park
When sculpture and design get in touch they undergo a reaction
and develop an inter-relation; in the course of time the
story they tell is subject to constant changes. The garden as
a creation by humans but at the same time picture of the ever
growing nature corresponds with the sculptures which are
exposed to weather, embedded in the landscape to which in
turn they respond. The terminology of contemporary sculpture
ranges from abstract sculpture to common household objects,
from anthropomorphic figurations to objects of utility.
The dialogue between sculpture and its location is to render
this terminology visible, i.e. make statements about art,
society, its conflicts and dreams, and at the same time create
a space for encounter.
Timm Ulrich’s Tanzende Bäume (dancing trees) and Mario
Terzic’s Arche aus lebenden Bäumen (ark made of living
trees) – the start of the project – are the most recent projects
of park sculptures. Oswald Oberhuber’s sculpture mounted on
a wall relegates to the fact that since minimal art a sculpture
cannot only stand on the floor, but can also be mounted on
a wall and thus enters a dialogue with paintings. The dialogue
inherent in art, as between painting and space, can also be
enlarged by a dialogue between the forms of art and nature,
as in the sculptures by Fritz Hartlauer and Jörg Schlick.
Standing opposed to one another, they are dealing with the
rules of form, algorithms and growth. To this same category
belong sculptures by Christa Sommerer and Michael Kienzer.
Works of so-called old masters are placed on the landscape
of stairs, facing the sky, representing the pantheon.
The might of this place also heightens Heimo Zobernig’s
tower at the entrance of the sculpture park or the Bicycle
sculpture by Susana Solano. The same goes for a sculpture
by Werner Reiterer, inflating and deflating in its dell, and the
cushion by Hans Kupelwieser placed between hedges as well
as Peter Weibel’s work, where the globe can be experienced as
a suitcase.
Machines of motion like cars (Erwin Wurm), ships (Michael
Schuster), sails (Martin Walde) and aeroplanes (Nancy Rubins)
talk to us about the fate of apparatuses, their failure and
downtime, dreams of perfect society and technology and turn
the landscape into a see or an airport. In corres-pondence
with the afore mentioned are Heinz Gappmayr’s cues to not
yet visible and no longer visible depending on the viewer’s
position; in Yoko Ono’s cross into which a nail can be hammered
and Jeppe Hein’s water sculpture the interaction
between visitor and work of art is once more enhanced.
Thus the Sculpture Park is used as a platform to initiate the
dialogue with contemporary sculpture and make its language
more easily understandable.
Elisabeth Fiedler, Head of the Austrian Sculpture Park
Peter Weibel, Chief Curator of the Austrian Sculpture Park

Mobile Tagging in the Austrian Sculpture Park
Mobile tagging involves taking a picture of a mobile tag –
a 2D barcode or a QR code*- using a camera mobile phone
with internet access. The barcode is read with a reader.
The user can then open the internet address connected
to the corresponding code. Mobile tagging in the Austrian
Sculpture Park provides the user with important details
about the sculpture in question which can be read on the
mobile phone display. By means of these tags, everyone
with the brochure at hand will be able to access information
about all the sculptures in the Park anytime and anywhere.
In order to access information, a camera mobile phone with
internet access and a software for decoding QR codes, a
so-called barcode reader, is required.
Installation of the barcode reader:
It is possible to download the barcode reader either through
a browser or a SMS.
1) Open the browser of your mobile phone, enter one of the
following addresses, then follow the instructions:
http://i-nigma.mobi
http://get.tagnition.de
http://get.beetagg.com
http://reader.kaywa.com
2) Send an SMS with the text “TAG READER” to 0676/800
92 022 or “BEE” to 0044 762 480 24 86, then follow the
instructions.
*Specifications:
All content is copyright protected.
Your network provider may charge additional costs for the mobile data
transmission.
01 Hans Aeschbacher
Figur II, 1955
02 Joannis Avramidis
Figur III, 1963
03 Herbert Boeckl
Atlantis, 1940–1944
04 Erwin Bohatsch
Wand, 1992
05 Tom Carr
Open, 1991

06 Manfred Erjautz
The Silent Cell, 1992/94
07 Eva & Adele
Watermusic, 2003/04
08 Richard Fleissner
Körperteil-Hürden, 1994
09 Heinz Gappmayr
NOCH NICHT SICHTBAR -
NICHT MEHR SICHTBAR, 2003
10 Bruno Gironcoli
o.T., 1995/96
11 Fritz Hartlauer
Senkrechter Auszug aus der Urzelle,
1982/84
12 Karin Hazelwander
Perambulator, 1993
13 Jeppe Hein
Did I miss something,
Exemplar 1/3, 2002
14 Oskar Höfinger
Jetzt, 1986
15 Sabina Hörtner
o.T., 1993

16 Bryan Hunt
Charioteer, 1982
17 Michael Kienzer
o.T., 1992/94
18 Othmar Krenn
Teilummantelung, 1995
19 Hans Kupelwieser
Badezimmer, 1995/2003
20 Hans Kupelwieser
Gonflable 6, 2002
21 Heinz Leinfellner
Die große Ruhende, 1964/65
22 Christoph Lissy
Figur mit eingeschlossenen
Steinstücken, 1988
23 Tony Long
Natalexos, 1987
24 Marianne Maderna
Zukommender, 1984
25 Rudi Molacek
Rose, 1999

26 Gerhardt Moswitzer
Skulptur, 1961
27 Matt Mullican
o.T., 2003
28 Oswald Oberhuber
Korb, 1989
29 Franz Xaver Ölzant
Fu mit dem schönen Mandarin,
1993
30 Yoko Ono
Painting to Hammer a Nail In/
Cross Version, 2005 (1990, 1999,
2000)
31 Carmen Perrin
o.T., 1990
32 Franz Pichler
o.T., 1991/92
33 Josef Pillhofer
Hammurabi, 1970
34 Tobias Pils
Zog den Helfer unterm Teppich
hervor, 2004
35 Tobias Pils, Patrick Pulsinger
Leiter, murmelnde Identität, 2005

36 Michael Pinter
SUB/DC, 2003
37 Boris Podrecca
EU & YOU, Objekt anlässlich der
Erweiterung der Europäischen Union
2004, 2004
38 Tobias Rehberger
Asoziale Tochter, 2004
39 Werner Reiterer
gesture, 2003/04
40 Nancy Rubins
Airplane Parts & Hills, 2003
41 Peter Sandbichler
Tiger Stealth, 2009
42 Jörg Schlick
Made in Italy, 2003
43 Martin Schnur
o.T., 1995
44 Michael Schuster
Betonboot, 2003
45 Hartmut Skerbisch
3D Fraktal 03/H/dd, 2003

46 Hartmut Skerbisch
Sphäre 315, 2005
47 Susana Solano
Ajuste en el Vacio, 1995/1996
48 Christa Sommerer
Phyllologia, 1991
49 Ilija Šoškić
Sole d´acciaio, 1989
50 Thomas Stimm
Terranian Platform, 2003
51 Ingeborg Strobl
o.T., 1989/90
52 Mario Terzic
Arche aus lebenden Bäumen,
1998/2010–2011
53 Gustav Troger
Materialprobe: Sieg über die Sonne,
Kunst sich über die Natur lustig zu
machen, 2004
54 Timm Ulrichs
Tanzende Bäume, 1997/2010
55 Giuseppe Uncini
Unità Cellulare, 1967/2008

56 Matta Wagnest
Labyrinth, 2005
57 Martin Walde
Siamese Shadow, 2003
(work in progress), 2008
58 Peter Weibel
Die Erdkugel als Koffer, 2004
59 Lois Weinberger
Mauer, 1992
60 Franz West, Otto Zitko
Who’s Who, 1992
61 Markus Wilfling
– 3m Brett, 2004
62 Fritz Wotruba
Große Figur für Luzern, 1966/67
63 Erwin Wurm
Bunker, 1987
64 Erwin Wurm
Fat Car, 2000/2001
65 Heimo Zobernig
o.T., 2003

Opening hours daily
April 1 – May 31, 10 am to 6 pm
June 1 – August 31, 10 am to 8 pm
September 1 – October 31, 10 am to 6 pm
→ Access for disabled people
→ No pets, cycles, cars allowed
→ Please follow the Park Rules published at the entrance
Thanks to sponsors and promoters
Republik Österreich
Kultur Steiermark
Jöbstl Group Art Trans
Porr Technobau und Umwelt AG
Alpenschild Gebell
NPU Elektrotechnik – Haustechnik
HERWA MULTICLEAN – Gebäudereinigung GmbH
Text
Elisabeth Fiedler, Peter Weibel
Translation
Y‘plus
Graphic Concept
Lichtwitz – Büro für visuelle Gestaltung
Layout
Chiara Pucher, Andrea Weishaupt
Coverillustration
Nancy Rubins, Airplane Parts & Hills, 2003
Photo: Michael Schuster
List of illustrations
Andrew Bush: 4, 8, 9, 12, 18, 21, 25, 28, 31, 32, 34, 35, 36, 38, 45, 53, 56, 59, 64
UMJ: 14, 26, 27, 29, 30, 33, 37, 41, 46, 47, 55, 60, 61, 62, Martin Schnur, o.T., 1995 and kids
Karin Appollonia Müller: 15
Werner Reiterer: 39
Michael Schuster: 1–3, 5–7, 10, 11, 13, 16, 17, 19, 20, 22–24, 29, 40, 42, 44, 48,
49, 50, 51, 58, 63, 65, Photo Lotus Blossom Pond
Martin Walde: 57
Mario Terzic: 52
Roland Schmidt: 54
© VBK, Vienna 2010: 6–8, 12, 16, 21–23, 32, 33, 47, 50, 51, 53, 54, 61, 63–65
Concept for Mobile Tagging
Birgit Flesch