JOHANNA PICHLBAUER
develops objects, concepts, installations.
Poetic Strategies
+Social Design
+Speculative Design & Design Fiction
+Interior Design
+Curation
+Creative Consultancy
develops objects, concepts, installations.
Poetic Strategies
Tales of emerging technology
Messy futures, lighthearted
+Social Design
+Speculative Design & Design Fiction
+Interior Design
+Curation
+Creative Consultancy
WORK
DATE-DING 06—23
Bijeljinale 06—23
Supermodels! 05—23
Glass Mountain 05—23
Ding! Dong! 09—22
Mounted Ceramics 09—22
South Pointing Fish 06—22
Beautification 04—16
There will be! People! On the sun! Soon! 12—21
DIN2121 08—21
willhaben // Suchagent: Desing 09—21
King GAFA 07—16
Stadt der Temperamente 07—19
Bad News Bot 08—16
A Play of Dependencies 06—16
Nostalgia—Posthuman 06—18
Our New Dining Server 03—18
DIDN’T WORK
Vienna Glitches
Interior Postsparkasse
DATE-DING 06—23
Bijeljinale 06—23
Supermodels! 05—23
Glass Mountain 05—23
Ding! Dong! 09—22
Mounted Ceramics 09—22
South Pointing Fish 06—22
Beautification 04—16
There will be! People! On the sun! Soon! 12—21
DIN2121 08—21
willhaben // Suchagent: Desing 09—21
King GAFA 07—16
Stadt der Temperamente 07—19
Bad News Bot 08—16
A Play of Dependencies 06—16
Nostalgia—Posthuman 06—18
Our New Dining Server 03—18
DIDN’T WORK
Vienna Glitches
Interior Postsparkasse
CONTACT
happy to meet in Vienna:
Engerthstraße 124
1200 Wien
else:
studio@johannapichlbauer.com
+436781218197
happy to meet in Vienna:
Engerthstraße 124
1200 Wien
else:
studio@johannapichlbauer.com
+436781218197
GLASS MOUNTAIN
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.
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.
ON NOW!

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.


STADT DER TEMPERAMENTE
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
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


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.




MOUNTED CERAMIC
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.
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
UNIQUES

***16.–25.9.2022, 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.
EXHIBITION
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SOUTH POINTING FISH
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
SCHLOSS HOLLENEGG 2022
(c) LippZahnschirm
SCHLOSS HOLLENEGG 2022
OBJECT DESIGN

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
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

RUIN (BRIO)
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 info@supersuper.at)
Adresse: Kunstraum SUPER, Schönbrunnerstrasse 10, 1050 Wien.
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 info@supersuper.at)
Adresse: Kunstraum SUPER, Schönbrunnerstrasse 10, 1050 Wien.