blockfrei

Opening & Presentation of Condemned by Anita Karabašić @penakistiscope Temporary, Site-Specific Participatory Public Art Installation

by Anita Karabašić (Artist-in-Residency at STUDIO DAS WEISSE HAUS in cooperation with BLOCKFREI @blockfrei )
with pupils of BORG Hegelgasse 12, Vienna, Department for Kunst & Gestaltung   Opening: Thursday, 21.05.2026, 6 pm* Duration: 22.05. – 10.07.2026 
Location: On the facade of DAS WEISSE HAUS 
Address: Hegelgasse 14, 1010 Vienna, Austria  *following the event Timeout: Open Crochet & Reading Gathering in our Grätzloase Honey, from 4 – 6 pm  The installation Condemned brings together the material results of two workshops held with pupils from BORG Hegelgasse 12, Vienna and other participants. By utilizing collectively crocheted textiles, the project established  a co-creative space designed to open conversations regarding cultural heritage destruction and the weight of historical trauma, fostering vital dialogue around memory, war trauma, and collective authorship.  The methodology behind the work is rooted in the act of crocheting together, which creates a shared rhythm and a low-pressure environment where conversation can emerge naturally. Within this space, sharing is never forced; rather, the emphasis is placed on listening, physical proximity, and the simple possibility of dialogue. This subtle approach models how creative practices can hold space for difficult histories with care, avoiding the need for re-enactment or obligation, and instead focusing on the power of collective presence.  The artwork is a participatory effort, featuring contributions from the pupils of BORG Hegelgasse 12 through their participation in the crochet workshops, while the overarching idea and concept were developed by the artist Anita Karabašić during a 3-month residency.  The residency is realized within the framework of the project Responding to Trauma and Cultural Heritage Destruction, implemented by BLOCKFREI and hosted by STUDIO DAS WEISSE HAUS, and co-funded by the European Commission through the Creative Europe programme.  Read more about the artist and the residency on our website! Video: Lea-Maraike Sambale @leamaraike

A History at Risk - Protect Goli Otok and Sveti Grgur Goli Otok and Sveti Grgur are among the most important, but also most neglected, sites connected to the history of political repression in the former Yugoslavia. After the 1948 split between Yugoslavia and the Soviet Union, the islands were turned into prison camps for people accused of supporting Stalin or opposing the regime. Thousands of people passed through Goli Otok and Sveti Grgur, many exposed to violence, forced labour, isolation, and inhumane living conditions. Around 13,000 people were detained on Goli Otok alone between 1949 and 1956. Today, these places are still largely left without proper protection, interpretation, or a clear approach to memorialisation. At the same time, they are increasingly approached only as tourist attractions or abandoned landscapes, while the history they carry remains overlooked. Through this campaign, we want to open space for discussing why the protection of these sites matters, not only as a question of heritage, but also as a question of responsibility, memory, and human rights. Remembering places like Goli Otok and Sveti Grgur means recognising the experiences of former prisoners, preserving testimonies and historical traces, and creating opportunities for education and critical reflection for future generations. _______________ This is the first post in the online campaign “A History at Risk – Protect Goli Otok and Sveti Grgur”, through which we will continue opening questions about memory, protection, responsibility, and the future of these sites. _______________ The photographs were created as part of the 2024 youth photography workshop within the project “(In)Visible Traces”, led by Sandra Vitaljić and Saša Kralj, during which participants visited Goli Otok on July 9, 2024, on the occasion of the 75th anniversary of the arrival of the first prisoners to the camp. Photos by: Giovani Stella, Lovro Turalija, Oliver Erlbek, and Documenta. _______________ #GoliOtok #SvetiGrgur #ProtectMemory #DealingWithThePast #HumanRights

Challenges of European Remembrance Today: ''Rethinking Remembrance in Contemporary Europe'' The discussions in Dresden opened many important questions. One of them is about the challenges of the European policy of remembrance today. Different historical experiences continue to shape how societies understand the past, often producing competing narratives and selective forms of memory. What is remembered and how it is remembered vary across Europe, reflecting political contexts as much as historical realities. At the same time, current developments, social tensions, and the loss of direct witnesses make this work even more complex. What became clear is that remembrance is not a fixed or neutral process. It requires continuous engagement, openness to multiple perspectives, and a willingness to address uncomfortable histories. In the end, how we remember the past shapes how we understand the present and how we imagine the future. _____________ Foto: fLy Ralf Menzel @photographer_fly // Agentur ZERRLICHT _____________ This conference marked the final public activity of the project ''(In)Visible Traces'', co-funded by the European Union through the Creative Europe programme.

''Rising Visibility of Neglected Cultural Heritage Sites – Art as an Answer'' One of the central questions of the conference was how artistic practice can engage with memory. Andreja Kulunčić, Patricia Morosan @patriciamorosan , and Ryts Monet @rytsmonet , in ''Panel 3: Rising Visibility of Neglected Cultural Heritage Sites – Art as an Answer'', moderated by Anamarija Batista @anamarija.batista , presented works that move beyond traditional forms of memorialization, approaching history through space, sound, absence, and personal experience. Their work and interventions do not simply represent the past - they activate it, creating new ways of encountering places marked by violence, repression, or loss. In this context, art becomes a tool for opening dialogue, questioning dominant narratives, and making visible what is often overlooked. At the same time, the discussions made clear that while art can initiate reflection, the long-term responsibility for remembrance cannot remain outside institutions. _____________ Foto: fLy Ralf Menzel @photographer_fly // Agentur ZERRLICHT Foto of the intervention: Manaf Halbouni @manafh _____________ This conference marked the final public activity of the project ''(In)Visible Traces'', co-funded by the European Union through the Creative Europe programme.

(In)Visible Traces - 20th Century Cultural Heritage in Danger From 3-6 March 2026 in Dresden @gedenkstaettebautznerstrasse , the conference ''(In)visible Traces'' brought together researchers, historians, and practitioners to reflect on one shared issue: ▪️ How to deal with places of difficult pasts that remain outside public memory? Through panels and discussions, participants addressed neglected sites connected to fascism, the Second World War, the Cold War, and dictatorship. Across different national contexts, similar patterns emerged - many of these places are poorly marked, politically contested, or simply ignored. The conversations showed that remembrance is not only about preserving the past, but about confronting the ways in which history is interpreted, reshaped, and sometimes silenced. _____________ Foto: fLy Ralf Menzel @photographer_fly // Agentur ZERRLICHT _____________ This conference marked the final public activity of the project ''(In)Visible Traces'', co-funded by the European Union through the Creative Europe programme.

Welcome Anita Karabašić AiR from March 01 until May 31, 2026 at STUDIO DAS WEISSE HAUS! We are pleased to welcome Anita Karabašić as the incoming artist-in-residence at STUDIO DAS WEISSE HAUS! She was selected through an international open call dedicated to artists based outside Austria whose practices engage with public space and community-based methodologies.   The residency is realized within the framework of the project ‚Responding to Trauma and Cultural Heritage Destruction‘, implemented by BLOCKFREI and hosted by STUDIO DAS WEISSE HAUS, and co-funded by the European Commission through the Creative Europe programme. The project is led by Documenta – Center for Dealing with the Past and implemented in partnership with Historical Museum of Bosnia and Herzegovina, Apoteka – Space for Contemporary Art, and STAN.  The project examines the political, social, and cultural dimensions of trauma resulting from the destruction of cultural heritage in war-affected societies, positioning artistic practice as a catalyst for reflection, dialogue, and collective healing. Through research, artistic production, and public engagement, it explores how artistic processes can transform experiences of loss into shared understanding.  Residency Focus During her stay in Vienna, Anita Karabašić will conduct two community-based public art workshops for youth, fostering dialogue around memory, war trauma, and collective authorship, and develop research and concepts for a temporary, site-specific, publicly accessible art installation. More info about the artist on our website! Photocredits: 1 – Anita Karabašić – © Katarina Bagaric 2 – Anita Karabašić , Nema nikog da ga bere, 2022/2023 – © Courtesy of the artist 3 – Anita Karabašić, OPASNOST!, 2025 – © Selma Maglic 4 – Anita Karabašić, A ko ce nama vjerovati, FOTODOK Utrecht, 2025 – © Nastya Vinogradova 5 – Anita Karabašić, Nema nikog da ga bere, Museumnacht Depot Verhalenhuis – © Courtesy of the artist

Introducing Curators’ Agenda intensive residency program — Nevena Janković in conversation with Anamarija Batista. Launched in 2015 by the Vienna-based association BLOCKFREI @blockfrei , Curators‘ Agenda is an annual residency that offers international curators the opportunity to expand their curatorial knowledge and engage with the Viennese art scene for eight weeks.In January 2024, BLOCKFREI Collective (Nevena Janković @nevena.jankovic , Eva Kovač @eva.kova.c , and Jana Dolečki @janadolecki ) assumed the leadership of DAS WEISSE HAUS, integrating this residency project under the umbrella of DAS WEISSE HAUS. Curators’ Agenda intensive residency program is realized in collaboration with the Academy of Fine Arts Vienna @akbild and under the supervision of curator and researcher Anamarija Batista @anamarija.batista Watch the full conversation on Vimeo! Link in bio! Video: Lea-Maraike Sambale @leamaraike Sound: GLORYTOTHEMACHINE by GloryToTheMachine, /s/845154/, License: Attribution 4.0

Interview with Ahmad Darkhabani participating curator of Curators’ Agenda: VIENNA 2025 intensive residency program. The exhibition piercing through presents the finalization of the intensive Curators’ Agenda: VIENNA 2025 residency program. It is realized in collaboration with the Academy of Fine Arts Vienna @akbild . The exhibition is part of the Special Projects & Independent Spaces program of VIENNA ART WEEK 2025 @viennaartweek . 𝙥𝙞𝙚𝙧𝙘𝙞𝙣𝙜 𝙩𝙝𝙧𝙤𝙪𝙜𝙝 𝗚𝗿𝗼𝘂𝗽 𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻 — 𝗖𝘂𝗿𝗮𝘁𝗼𝗿𝘀’ 𝗔𝗴𝗲𝗻𝗱𝗮: 𝗩𝗜𝗘𝗡𝗡𝗔 𝟮𝟬𝟮𝟱 With 𝗟𝗼𝘁𝘁𝗶 𝗕𝗿𝗼𝗰𝗸𝗺𝗮𝗻𝗻, 𝗖𝗹𝗲𝗺𝗲𝗻𝘀 𝗚𝗿ö𝗺𝗺𝗲𝗿, 𝗦𝗲𝗽𝗶𝗱𝗲𝗵 𝗛𝗮𝘀𝘀𝗮𝗻𝗶, 𝗡𝗮𝘁𝗮𝗹𝗶𝗮 𝗱𝗲𝗹 𝗠𝗮𝗿 𝗞𝗮š𝗶𝗸, 𝗔𝗹𝗹𝗲𝗴𝗿𝗮 𝗞𝗼𝗿𝘁𝗹𝗮𝗻𝗴, 𝗛𝗮𝗻𝗻𝗮 𝗞𝘂č𝗲𝗿𝗮, 𝗝𝗮𝗻𝗮 𝗩𝗮𝗻 𝗕𝗿𝘂𝘀𝘀𝗲𝗹, 𝗡𝗲ž𝗸𝗮 𝗭𝗮𝗺𝗮𝗿 Curated by 𝗔𝗵𝗺𝗮𝗱 𝗗𝗮𝗿𝗸𝗵𝗮𝗯𝗮𝗻𝗶 @ahmad.darkhabani , 𝗝𝗼ã𝗼 𝗩𝗶𝗰𝘁𝗼𝗿 𝗗𝗶ê𝗯 𝗗𝗶𝗮𝘀 @joaovictordieb , and 𝗧𝗿𝗶𝗻𝗶𝘁𝘆 𝗠𝗲𝘀𝗶𝗺é 𝗡𝗷𝘂𝗺𝗲-𝗘𝗯𝗼𝗻𝗴 @mother_dubber Curatorial Mentoring & Supervision: 𝗔𝗻𝗮𝗺𝗮𝗿𝗶𝗷𝗮 𝗕𝗮𝘁𝗶𝘀𝘁𝗮 @anamarija.batista 
Assistance & Coordination: 𝗘𝗹𝗲𝗻𝗮 𝗕𝗹𝘂𝗺 @byelenablum 𝗗𝘂𝗿𝗮𝘁𝗶𝗼𝗻: 𝗡𝗼𝘃𝗲𝗺𝗯𝗲𝗿 𝟭𝟭, 𝟮𝟬𝟮𝟱 – 𝗝𝗮𝗻𝘂𝗮𝗿𝘆 𝟮𝟰, 𝟮𝟬𝟮𝟲 𝗟𝗼𝗰𝗮𝘁𝗶𝗼𝗻: 𝗗𝗔𝗦 𝗪𝗘𝗜𝗦𝗦𝗘 𝗛𝗔𝗨𝗦, 𝗦𝗼𝘂𝘁𝗲𝗿𝗿𝗮𝗶𝗻 𝗔𝗱𝗱𝗿𝗲𝘀𝘀: 𝗛𝗲𝗴𝗲𝗹𝗴𝗮𝘀𝘀𝗲 𝟭𝟰, 𝟭𝟬𝟭𝟬 𝗩𝗶𝗲𝗻𝗻𝗮, 𝗔𝘂𝘀𝘁𝗿𝗶𝗮 Check out our website: the Call for Curator for the Curators’ Agenda: VIENNA 2026 intensiv residency program is open until February 28, 2026! Link in bio. Video: Lea-Maraike Sambale – DAS WEISSE HAUS @leamaraike Track: Oceans of Sand, music by

Within the framework of the Creative Europe project „(In)Visible Traces. Artistic memories of the Cold War“, realized by BLOCKFREI in cooperation with @dasweissehaus , this series of upcoming posts seeks to draw attention to the less visible Cold War legacies inscribed in Vienna’s urban landscape— with a particular focus on Palais Epstein and its layered Cold War history. On the façade of Palais Epstein, memory is present—but easily overlooked. The commemorative plaques marking Jewish remembrance, democratic reform, and the years of Soviet military command are embedded into the architecture rather than foregrounded. They do not demand attention; they require it. This quiet mode of inscription reflects how Austria has often approached difficult chapters of its past—through restrained acknowledgment rather than public confrontation. The Cold War presence of the Soviet headquarters is recorded in stone, yet remains largely invisible within everyday urban perception. Moreover, the Latin phrase “Sunt lacrimae rerum”—“There are tears in things”—suggests that suffering is inscribed in history and in the material world itself. Its use of Latin at Palais Epstein signals distance and universality, framing loss as timeless rather than specific to a single actor or moment. This choice softens political responsibility while still acknowledging historical trauma. In this way, the phrase mirrors how difficult pasts in Austria are often remembered: present, but deliberately muted. 📷Credits: BLOCKFREI #PalaisEpstein #(In)visibleTraces #ColdWarMemories #ColdWarHeritage #UrbanMemory #HiddenHistories #InvisibleTraces #ColdWarMemories #ColdWarHeritage #UrbanMemory #HiddenHistories #MemoryInTheCity #DifficultHeritageMemoryInTheCity #difficultheritage #CreativeEurope #eucommission

Within the framework of the Creative Europe project „(In)Visible Traces. Artistic memories of the Cold War“, realized by BLOCKFREI in cooperation with @dasweissehaus , this series of upcoming posts seeks to draw attention to the less visible Cold War legacies inscribed in Vienna’s urban landscape— with a particular focus on Palais Epstein and its layered Cold War history. Remembering the Cold War in Austria is inseparable from the country’s postwar self-understanding as neutral and victimized. Memory scholar Heidemarie Uhl has emphasized that Austria long relied on narratives that framed the period after 1945 as one of external occupation rather than internal responsibility. This perspective shaped how everyday experiences of control, adaptation, and compromise were absorbed into collective memory. The presence of Soviet headquarters in central Vienna was normalized through routine, even as it structured daily life. As Uhl notes, memory in Austria has often been marked by “selective remembering and strategic forgetting,” particularly when political continuity was at stake. Remembering this period today therefore means confronting not only geopolitical pressure, but also how neutrality became a stabilizing—and silencing—framework for historical interpretation. 📷Credits: BLOCKFREI #PalaisEpstein #(In)visibleTraces #ColdWarMemories #ColdWarHeritage #UrbanMemory #HiddenHistories #InvisibleTraces #ColdWarMemories #ColdWarHeritage #UrbanMemory #HiddenHistories #MemoryInTheCity #DifficultHeritageMemoryInTheCity #difficultheritage #CreativeEurope #eucommission

(closed) Call for Curators: Curators’ Agenda: VIENNA 2026 INTENSIVE RESIDENCY PROGRAM FOR EMERGING INTERNATIONAL CURATORS ORGANIZED BY DAS WEISSE HAUS IN PARTNERSHIP WITH THE ACADEMY OF FINE ARTS VIENNA.
 Application deadline: February 28, 2026 (23:59 CET)
Program duration: September 15 – November 10, 2026
Program location: Vienna, Austria (DAS WEISSE HAUS, Academy of Fine Arts Vienna, different locations around Vienna)
 Are you an emerging curator seeking to deepen your curatorial practice within an international, research-driven context? 

Curators’ Agenda (C’A) offers an intensive residency in Vienna that combines theory, hands-on exhibition making, sustained professional exchange and collaborative learning within an international peer group. Launched in Vienna in 2015 by the Vienna-based organization BLOCKFREI @blockfrei , Curators’ Agenda has been realized since 2024 within the annual program of DAS WEISSE HAUS, in partnership with the Academy of Fine Arts Vienna @akbild . Building on the excellent outcomes of its 2024 and 2025 editions, we are pleased to announce the open call for Curators’ Agenda: VIENNA 2026. For whom is C’A designed? C’A is designed for emerging curators from all around the world who seek to engage with Vienna’s contemporary art scene and are eager to immerse themselves in its diverse narratives and practices, while deepening their knowledge of exhibition-making through both theoretical reflection and hands-on curatorial experience. C’A 2026 program costs are covered by the program partners. Further program details can be found on our website. Link in bio. We are looking forward to your applications! DAS WEISSE HAUS Team & BLOCKFREI Collective Photography: Exhibition Visit YOSHINORI NIWA | PETER MOOSGAARD, Galerie Zimmermann Kratochwill, Graz, 2025 – © Lea-Maraike Sambale – DAS WEISSE HAUS @leamaraike

Within the framework of the Creative Europe project „(In)Visible Traces. Artistic memories of the Cold War“, realized by BLOCKFREI in cooperation with @dasweissehaus , this series of upcoming posts seeks to draw attention to the less visible Cold War legacies inscribed in Vienna’s urban landscape. Palais Epstein, located in the very centre of Vienna - next to the Austrian parliament - is not only an architectural landmark but a site deeply embedded in Austria’s political history. Built in the late 19th century, the palace has served key institutional functions connected to parliamentary life and state administration. After 1945, during the Allied occupation of Austria, Palais Epstein was used as the headquarters of the Soviet occupying forces in Vienna, until 1955. During this period, the building became part of the everyday machinery of occupation, control, and negotiation in a divided Europe. Its walls bear witness to a moment when Vienna stood at the intersection of competing geopolitical systems. 📷 Credits: Lessing / Bildarchiv der Österreichischen Nationalbibliothek. #InvisibleTraces #ColdWarMemories #ColdWarHeritage #UrbanMemory #HiddenHistories #InvisibleTraces #ColdWarMemories #ColdWarHeritage #UrbanMemory #HiddenHistories #MemoryInTheCity #DifficultHeritageMemoryInTheCity #difficultheritage #CreativeEurope #eucommission