OBJECT
Eckenschutz
As a mother I’ve become sensitive to sharp edges and corners in the height of my child’s head, and like many other adults, I’ve developped a reflex to cover them with my hands to avert accidents. I decided to translate these little acts of care into table accessories. The many stages of this project have seen a series of sketches, two archive tables showcasing existing corner protections and two desks produced for the exhibition “Projekt Berggasse 19” in collaboration with cabinetmaker Clemens Schmidberger, which feature hands in brass and in silver.
![]()
![]()
![]()
![]()
Eckenschutz
As a mother I’ve become sensitive to sharp edges and corners in the height of my child’s head, and like many other adults, I’ve developped a reflex to cover them with my hands to avert accidents. I decided to translate these little acts of care into table accessories. The many stages of this project have seen a series of sketches, two archive tables showcasing existing corner protections and two desks produced for the exhibition “Projekt Berggasse 19” in collaboration with cabinetmaker Clemens Schmidberger, which feature hands in brass and in silver.
Image: Philipp Podesser for 24th Arts
The Archive Table
CURATION
A contemporary interior concept for a historical client
an exhibition by Alice Stori Liechtenstein and Johanna Pichlbauer commissioned by 74th Arts
Conscious of how furniture and interiors reflect a period and a state of mind, we have selected a number of contemporary pieces by Austrian and international designers to inspire a new reading of Freud and his oeuvre.
We chose the furniture and decorative objects intuitively, guided by their inherent ambiguity as objects and the diverse narratives they encapsulate. Whether rooted in historical context, echoing Freudian principles, or evoking a subtle resonance with his work, every piece invites a deeper exploration through psychoanalysis.
Against the backdrop of Freud's office, steeped in symbolism and meaning, these chosen pieces serve as catalysts for inspiration and critique. Whether one idolises Freud like Hilda Doolittle or sees him, his work, and ultimately his interior choices as a product of his time, they are a fascinating thread in the rich narrative texture of Vienna and thus worth examining through the lens of contemporary art and design.
Foto: Philipp Podesser for 74th Arts
Projekt Berggasse 19
A contemporary interior concept for a historical client
an exhibition by Alice Stori Liechtenstein and Johanna Pichlbauer commissioned by 74th Arts
Conscious of how furniture and interiors reflect a period and a state of mind, we have selected a number of contemporary pieces by Austrian and international designers to inspire a new reading of Freud and his oeuvre.
We chose the furniture and decorative objects intuitively, guided by their inherent ambiguity as objects and the diverse narratives they encapsulate. Whether rooted in historical context, echoing Freudian principles, or evoking a subtle resonance with his work, every piece invites a deeper exploration through psychoanalysis.
Against the backdrop of Freud's office, steeped in symbolism and meaning, these chosen pieces serve as catalysts for inspiration and critique. Whether one idolises Freud like Hilda Doolittle or sees him, his work, and ultimately his interior choices as a product of his time, they are a fascinating thread in the rich narrative texture of Vienna and thus worth examining through the lens of contemporary art and design.
Foto: Philipp Podesser for 74th Arts
“In the heart of Vienna, nestled within the grandeur of Berggasse 19, lies the sanctum of the mind, the inner sanctum of Sigmund Freud. Stepping into his study is like stepping into the labyrinth of the human psyche itself. The room is an embodiment of both chaos and order, a reflection of Freud's relentless quest to unravel the mysteries of the unconscious. […] In this hallowed space, Freud sits, his penetrating gaze fixed upon the mysteries of the human soul. His study is not merely a room, but a temple of the mind, a place where the boundaries between reality and illusion blur, and the true nature of existence is laid bare.”
from H.D. (Hilda Doolittle)
"Tribute to Freud”, 1956
from H.D. (Hilda Doolittle)
"Tribute to Freud”, 1956
SERIES
A series of prints for the exhibition All Watched Over By Machines Of Loving with Julia Haugeneder
They are round or angular or lemon squeezer shaped or oval or pyramid-shaped. Little precious gems in the suburban wasteland where every house looks like the next. If you own such a house, you might have a radio key to electronically start the motor of the large fence gate. And if you have such a fence gate, you also have a light guard. It starts (because it has to, by law, and because it wants to, by design) to rotate its light, and rejoices in your coming home. If no one else does, this might comfort you. ALL WATCHED OVER BY MACHINES OF LOVING GRACE.
Photos: Rea Djurovic
Exhibited: Stiege 1zwei3, October 2024
Vorstadtkobolde 1-9
A series of prints for the exhibition All Watched Over By Machines Of Loving with Julia Haugeneder
They are round or angular or lemon squeezer shaped or oval or pyramid-shaped. Little precious gems in the suburban wasteland where every house looks like the next. If you own such a house, you might have a radio key to electronically start the motor of the large fence gate. And if you have such a fence gate, you also have a light guard. It starts (because it has to, by law, and because it wants to, by design) to rotate its light, and rejoices in your coming home. If no one else does, this might comfort you. ALL WATCHED OVER BY MACHINES OF LOVING GRACE.
Photos: Rea Djurovic
Exhibited: Stiege 1zwei3, October 2024
RESEARCH & STUDY
"In diese Bauernkalender wurde die Dreieckkerbe als Zeichen für die fortlaufenden Tage im Jahr aufgenommen. In frühen Ausgaben erscheint das Dreieck für die Wochentage in schwarzer Farbe und mit roter Farbe für die Sonn- und Feiertage. Später wird die schwarze Farbe der Dreiecke für die Werktage beibehalten, die Feiertage erscheinen rot und etwas tiefer gesetzt." aus: Der Steirische Mandlkalender, Seine Zeichen und Bilder.
Mandlkalender
"In diese Bauernkalender wurde die Dreieckkerbe als Zeichen für die fortlaufenden Tage im Jahr aufgenommen. In frühen Ausgaben erscheint das Dreieck für die Wochentage in schwarzer Farbe und mit roter Farbe für die Sonn- und Feiertage. Später wird die schwarze Farbe der Dreiecke für die Werktage beibehalten, die Feiertage erscheinen rot und etwas tiefer gesetzt." aus: Der Steirische Mandlkalender, Seine Zeichen und Bilder.
FAIRYTALEKing GAFA and the Magical 0-1 Crop
King GAFA and the Magical 0-1 Crop is a modern fairy tale about privacy in the digital age. Charming yet unsparing, it shows who makes the rules and how different groups, from politicians — the elders — to the simple farmer, from the hermit in the Dark Forest to the data broker, are entangled with each other. The fairy tale questions our online habits and invites us to participate in the discourse around “digital sovereignty”. The project aims to explore the great potential of design as a tool for promoting more democracy, making complex content accessible and exciting for a broad target group, and empowering enlightened, informed citizens to stand up for their rights.
The book is based on the project and animated fairy tale by: Johanna Pichlbauer, Fabio Hofer, Felix Lenz, Jekaterina Shipilenko
Author and editor of the book: Johanna Pichlbauer
Illustration: Johanna Pichlbauer, Jekaterina Shipilenko
Art direction and design: Maša Poljanec, Ivana Borovnjak
Print: Kerschoffset
August 2024, English
17 x 23,5 cm, 124 pages, 300 copies
Offset, soft cover
ISBN 978-953-8369-23-0
︎ Karla Jurić
︎ King GAFA – The Book is out! Send me a note if you would like to buy it or buy it online here: http://oazabooks.com/
