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Exhibition |

May 23, 2025 to April 6, 2026

The World of Tomorrow Will Have Been Another Present

The World of Tomorrow Will Have Been Another Present

The World of Tomorrow Will Have Been Another Present stakes out moments in the mumok Collection of classical modernism that resonate to the present day—beyond mere chronology and style histories, beyond supposedly linear narratives. Who, if not the artists from a collection of the twentieth and twenty-first centuries like that of mumok, no matter when they may have been active, would understand more about such a form of nonlinear thinking? A thinking backward and forward at the same time, a thinking in interwoven and intricately enmeshed particles and strands. One that is aware of itself, of its art historiography, and is borne by doubt and criticism of conventional truth and knowledge regimes. Seen historically and from a contemporary perspective, the exhibition presents artistic practices as a blue-print for circular temporalities: as a budding potential, as an exercise in networked thinking, a sequence of events with an open beginning and end.

The World of Tomorrow Will Have Been Another Present features five large-scale installations. Five exhibitions in one exhibition, linked together by the participating artists’ shared interest in temporal matters. Nikita Kadan, Barbara Kapusta, Frida Orupabo, Lisl Ponger, and Anita Witek were invited to select works of classical modernism from the mumok Collection and enter into a dialogue with them. Departing from their own artworks, which are also among the museum’s acquisitions, and complemented by works that the artists have created or re-contextualized specifically for this occasion, these contemporaries not only form part of the history of the museum: by localizing themselves in art history, they participate in a discourse on contemporary art. Current artistic questions find their historical counterparts. Questions from a past now, from today’s perspective, posed to a future not yet perfect. Might this be the present?


Curated by Franz Thalmair
in collaboration with Nikita Kadan, Barbara Kapusta, Frida Orupabo, Lisl Ponger, and Anita Witek
Exhibition design: Studio Kehrer

 

 

Artists: Alexander Archipenko, Hans Arp, Giacomo Balla, Willi Baumeister, Rudolf Belling, Hans Bellmer, Herbert Bayer, Karl Blossfeldt, Louise Bourgeois, Constantin Brâncuşi, Victor Brauner, André Derain, Friedl Dicker-Brandeis, Marcel Duchamp, Raymond Duchamp Villon, Max Ernst, Alberto Giacometti, Julio González, Juan Gris, George Grosz, Albert Paris Gütersloh, Raoul Hausmann, Florence Henri, Johannes Itten, Nikita Kadan, Barbara Kapusta, Friedrich Kiesler, Ernst Ludwig Kirchner, Henri Laurens, Fernand Léger, René Magritte, Kazimir Malevich, André Masson, Vladimir W. Mayakovsky, László Moholy-Nagy, František Muzika, Frida Orupabo, Alicia Penalba, Antoine Pevsner, Franz Pomassl, Lisl Ponger, Man Ray, Germaine Richier, Aleksander Mikhailovich Rodchenko, August Sander, Oskar Schlemmer, Karl Schmidt-Rottluff, Victor Servranckx, Edward J. Steichen, Alexander Stern, Nikola Vučo, Anita Witek, Fritz Wotruba, Ossip Zadkine

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Exhibition View The World of Tomorrow Will Have Been Another Present
1/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
2/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
3/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
4/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok
 

Exhibition View The World of Tomorrow Will Have Been Another Present
5/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
6/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
7/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
8/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
9/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
10/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok
 

Nikita Kadan, On Protection of the Monuments, 2023–2025
11/16

Nikita Kadan, On Protection of the Monuments, 2023–2025
Photo: Klaus Pichler © mumok

Nikita Kadan, On Protection of the Monuments, 2023–2025
12/16

Nikita Kadan, On Protection of the Monuments, 2023–2025
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
13/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Exhibition View The World of Tomorrow Will Have Been Another Present
14/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok
 

Exhibition View The World of Tomorrow Will Have Been Another Present
15/16

Exhibition View
The World of Tomorrow Will Have Been Another Present
Photo: Klaus Pichler © mumok

Willi Baumeister Mauerbild Schwarz-Rosa, Wallpiece Black-Pink
16/16

Willi Baumeister
Mauerbild Schwarz-Rosa, 1923–1929
mumok – Museum moderner Kunst Stiftung Ludwig Wien, accquired in 1967
© Bildrecht, Wien 2025

 


            
                Nikita Kadan Victory (Small White Shelf) / Sieg (kleines weißes Regal), Rekonstruktion des Modells für das Denkmal „Die drei russischen Revolutionen: 1825, 1905 und 1917“ von Wassili Jermilow, 1922– 925 / Reconstruction of the model for the monument “The Three Russian Revolutions: 1825, 1905 and 1917“, by Vasyl Yermylov, 1922–1925, 2017

Nikita Kadan

As a Ukrainian artist, Nikita Kadan confronts his own reality with abstract representations of violence and war from the past. Against the backdrop of the loss of a coherent historical narrative in art (and also beyond), his selection of works of classical modernism and the formal and thematic analogies in his own works draw parallels to past and present memory politics. At the forefront: the monument, often strategically placed in public space to commemorate a historical event or figure. However, besides their original purpose, from today’s perspective monuments bear witness to more than just what they represent. They also speak about the conditions under which they were erected as a collective memory aid. Nikita Kadan’s installation reveals the mechanisms of forgetting and remembering as well as historiographical breaks and continuities. Not only history enters the picture, but also the monument’s own history of reception.

Barbara Kapusta

Barbara Kapusta’s gender-neutral, aluminum sculptures, so-called “giants,” explore the resilience of future bodies from the perspective of present-day society. In a friendly dialogue and kinship with selected works from the collection, the giants rambling in the space seem to ask whether moments of fragility and weakness were also important for the body images of their predecessors. These contemporary “technobodies”—queer bodies that defy clear classification and are in a state of simultaneous dissolving and emerging—encounter their historical bronze antecedents yet never redeem the visionary promises that were associated with them in the past. This Is the Space We Inhabit As Neighbors is the title of Kapusta’s large-format text installation in flaming letters: wishful thinking about temporal and spatial coexistence—and its concrete manifestation.


            
                Barbara Kapusta Hand (Upright), 2018: Skulptur einer Hand, silbern glänzend

            
                Frida Orupabo Untitled / Ohne Titel, 2020 

Frida Orupabo

In her artistic practice, Frida Orupabo approaches the human body with a retrospective take on history. The artist juxtaposes the female, sexualized, and racialized bodies in her imagery and collages of found visual material, whether from the Internet or historical archives, with artistic works from the first half of the twentieth century. Often made by European white men—“masters” such as Constantin Brâncuși, André Derain, or Alberto Giacometti—the sculptures enter into a dialogue with the deconstructed representations of Black women from former colonies: historical female figures cast in dark bronze, a stand-ing woman, a mother, mingle with contemporary depictons. In a reversal of perspectives, Orupabo exposes the complexity of prevailing conditions in society and their inherent discrepancies.

 

Lisl Ponger

Lisl Ponger’s photographs exemplify how viewing habits are historically engrained in us, how objects and  images incessantly produce and perpetuate stereotypes. The museum—a place that virtually cultivates the act of viewing—is no exception. Under the title Work on Progress, the artist presents elements from her own photographic productions, “props” as it were, as apparent museum objects on a pedestal and links them with the artifacts of classical modernism she selected from the mumok Collection. In this way, she not only reveals underlying parallels with historical artistic concerns: her self-reflexive approach also frames the methods and practices of the “museum” institution, including its historical and contemporary gestures of exhibiting. By turning her props from previous works into the protagonists of her exhibition section, she shifts the attention, as in the photographs themselves, from the overall impression to the details—and back again.


            
                 Lisl Ponger Wild Places, 2000

            
                Anita Witek Reflex Of Freedom / Reflexe der Freiheit, 2022 

Anita Witek

Anita Witek’s artistic work revolves around the reproduction and fragmentation of existing photographs from mass media contexts. In a meticulous cutting process, the artist extracts abstract color gradients and shadow plays from prints and inserts them into her pictorial compositions. But unlike conventional collages, in which objects or bodies are removed from their photographic context and transformed into new images, Witek focuses on what remains. The geometric backgrounds that emerge once the subjects have been excised by knife serve as her material to build new worlds. Utopian architectures from a decomposing, unstable world—a not yet or perhaps never realized potential. With the modernist tools of collage and montage, Witek draws on the visual repository of historical and current presents to (re)construct a parallel archive from the ruins of modernity—as its counter proposal.

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