See-through but unsurmountable, it is a place of transformation in many tales and legends. Johanna Pichlbauer’s glass mountain has been moved to the Grotto of Schloss Hollenegg from the landscape of shards glittering white, green and brown in the backyard of the Stoelzle Oberglas glass factory. This mountain of shards is also very much a place of transformation: glass becomes glass becomes glass. In between, it waits, fragmented and sorted by color, for its next form. The designer dedicates her installation to this intermediate state and its humble protagonist: the shard. In an antique but also newly restored understanding of our relationship with our planet, appreciating the object also means appreciating the broken object. And so it is with great attention to detail that Johanna Pichlbauer has put together what was broken and used poetic means to unfold abstract value chains in global systems. The project was made possible by Stölzle Oberglas, producer of all sorts of glass for everyday use and highly committed to climate action and recycling.
Ashes and Sand 
6.5.2023 - 28.5.2023 im Schloss Hollenegg, Stmk, geöffnet immer am Wochenende.

Mit Arbeiten von Antrei Hartikainen, Christian & Jade, Germans Ermics, Tadeas Podracky, Tamara Barrage, Aleksandra Fixl + Sidonie Devienne, Alissa Volchkova, Anna Jozova, Barry Llewellyn, Clara Schweers, Hanna-Kaisa Korolainen, Johanna Pichlbauer, Julia Körner, Katie Stout, Laura Affinito, Lenn Gerlach, Luca Gruber, Lucia Massari, mischer’traxler, Natalie Weinberger, Nives Widauer, Philipp Weber, Sarah Roseman, Seungjoon Song, Stories of Italy, Studio Groovido and Ursula Futura.


for MAK Wien and wien 3420

A smart building in Wien Aspern accomodates four very different characters - conflict inevitable. Scenes from a smart neighbourhood, in a play written for Vienna Biennale 2019.

with Mia Meus

︎ Current Exhibition
showroom 3420 aspern
"Everything could be oh so simple if people were to behave a bit more like I expect them to. But this house is just unpredictable..." Mrs. Volt, private power plant owner, prioritises prognosis over people and loves graphs and figures. She’s one of four characters of “Stadt der Temperamente”.

Building a new city part out of nowhere is a huge chance – to think about the ways inhabitants interact with their city and each other, to critically reflect on the effects new technology has on the quality of living, and to observe how people use, misuse and refuse smart home systems. In order to make the extensive research conducted by ASCR in Aspern publically accessible to a broader audience, we decided to wrap it in a story – a story that everybody could relate to, because we’ve all been through neighbourly troubles and have maybe even had a little crush on the new tenant on floor 1.

Loosely based on Nestroy's farce "Das Haus der Temperamente", in which four families with different temperaments inhabit an apartment building, "Stadt der Temperamente" (City of Temperaments) tells the story of four inhabitants of a smart building in aspern Seestadt, who get caught up in conflicts due to their different habits and expectations about what it means to live “smart”. In four colours and on four floors, the designers play with the absurd, they charge artificial intelligence with passion, driving it to extremes and thus into the chaos of tomorrow’s smart togetherness. The play was performed on July 5 and 6 at the Flederhaus in Vienna Aspern, Seestadt, as part of the MAK Biennale 2019.


As early as the 16th and 17th centuries, there was a practice of setting Asian porcelain objects in gold bronze or silver to make them more attractive to Western collectors. Vases became candleholders, were given lids or decorative handles. An act of ignorance or successful mediation between East and West? In the context of my research of Heinrich von Liechtenstein's world travels, I took up the tradition and brought old vases from Schloss Hollenegg's Rumpelkammer to life with new functions, materials and accessories. The result is a collection of contemporary mounted porcelain.

(c) LippZahnschirm


, 11–20 Uhr
Festivalzentrale im GEWÖLBE6., Rahlgasse 8 (Rahlstiege)


(c) Kollektiv Fischka/Philipp Podesser

W111.5.3. Lazy man asked direction only points with his foot.



A castle is a beautiful habitat for objects of all sorts: some are mundane and for everyday use, others are trophies, many have slept in dust for decades, a few are used seasonally. Many objects have lost their purpose, displaced in time but also in space. South Pointing Fish is a playful selection of found objects collected in the many corners of the castle and brought together in an imaginative discourse.

(c) LippZahnschirm


Use the magnetic needle to lead your school of fish towards the south –or let them swim towards an island of your yearning...

This silver compass was designed by Johanna Pichlbauer and produced by the famous silver smith Jarosinski & Gaugoin as a present to all supporters of Schloss Hollenegg.

It pays tribute to the first compasses, which are documented to have been invented 2000 years ago during the Han dynasty in China. Naturally magnetized stone of iron was shaped into a fish floating in a bowl of water, aligning itself to the south.

(c) Marlene Mautner

Foto: (c) Bianca Pedrina

When Bianca Pedrina asked if I had a model to contribute to her exhibition SUPERMODELS featuring little pieces from designers and artists, I thought about the many models covering the floors I share with a 2-year-old. Many of their toys are little representations of what we adults care about. These models are often prosaic, the objects insensitive to the workings of time or weather. So this ruin of a pedestrian crossing is my little intervention along my child’s rail tracks.

At the same time, it’s a tribute to an association that was founded by Bianca and two colleagues, and whose work I’ve appreciated a lot since its launch last autumn: The Handrail Awareness Group. Every week, a newsletter with a special handrail lands in my emailaccount and reminds me to appreciate this little piece of infrastructure mediating between our bodies and our surrounding.

Dauer: 6. – 26. Mai  2023
(geöffnet jeweils an den Freitage 16 bis 18 Uhr sowie auf Anfrage

Adresse: Kunstraum SUPER, Schönbrunnerstrasse 10, 1050 Wien.

©Johanna Pichlbauer