Mag.Phil., Art History Institute, 2005, University of Vienna; PhD, 2009, MIT, Cambridge, MA. Books: Performative Monuments: The Rematerialisation of Public Art (Manchester UP, 2014); Presence: A Conversation at Cabaret Voltaire (co-editor, Zurich: Lars Müller, 2014); Ugliness: The Non-Beautiful in Art and Theory (co-editor, London: I.B. Tauris, 2014), Krzysztof Wodiczko. City of Refuge: a 9/11 Memorial (co-editor, London: Black Dog, 2009). Publications: Articles in Grey Room, Journal of the Society of Architectural Historians, TDR, PAJ, Texte zur Kunst, Log, thresholds, Art Journal Awards: Postdoctoral Fellowship, ETH Zurich Department of Architecture; Curatorial Fellowship, National Gallery of Art, Washington, D.C.; Charlotte Newcombe Pre-doctoral Fellowship in Ethics and Religion (decl.); Max-Planck Institute for the History of Science, Berlin; Fulbright Scholarship; MIT Presidential Graduate Fellowship. Concurrent Positions: Advisory Board Member, Jewish Museum Vienna, 2013–15; Research Fellow at the Iconic Criticism Center (eikones), University of Basel; Founding Member, International Art and Architecture Network AAHA.
Most Publications can be downloaded on her academia.edu page.
- Performative Monuments: The Rematerialisation of Public Art. Manchester University Press, series: "Rethinking Art's Histories," 2014
- Presence (Zurich: Lars Müller, 2014, editor, with Philip Ursprung and Jürg Berthold)
- Ugliness: The Non-Beautiful in Art and Theory (London: I.B. Tauris, 2013, editor, with Andrei Pop)
- Krzysztof Wodiczko, A 9/11 Memorial (London: Black Dog, 2009, editor, with Mark Jarzombek)
- Wien II. Leopoldstadt. Die andere Heimatkunde (Vienna: Brandstätter, 1999, editor, with Werner Hanak)
Texts in Scholarly Periodicals
- "The Willed and the Unwilled Monument. Judenplatz Vienna and Riegl's Denkmalpflege," Journal of the Society of Architectural Historians (JSAH), Vol. 72, No. 3 (Sept. 2013), 382–98
- "Spatial Implications of the Monument to Freedom and Unity in Leipzig," Log, No. 27 (Spring 2013), 81–6
- "The Informative Public of Performance: A Study of Viennese Actionism, 1965–1970," TDR. The Drama Review, No. 217 (February 2013), 137–51
- "Process and Authority: Marina Abramovi?'s Freeing the Horizon and Documentarity," Grey Room, No. 47 (May 2012), 80–97
- "Locations and Dislocations. VALIE EXPORT's Media Performances," PAJ. A Journal of Performance and Art, No. 99 (September 2011), 53–9
- "Is the 'Re' in Reperformance the 'Re' in Reenactment?" in Carola Dertnig, Felicitas Thun-Hohenstein (eds.), Performing the Sentence. Mapping Research and Teaching in Times of Performative Fine Arts (Berlin: Sternberg Press, 2014), 138–47
- "'I'll be Your Mirror.' Transparency, Voyeurism and Glass Architecture," in Henriette Steiner, Kristin Veel (eds.), Negotiating (In)visibilities (Peter Lang, forthcoming)
- "Collecting 'History in the Making': The privatization of propaganda in National Socialist Cigarette cards," in Kevin Moist and David Banash (eds.), Collecting and Collections: Objects, Practices and the Fate of Things (Scarecrow Press, 2013), 151–72
- "Ge-Schichtete Präsenz und zeitgenössische Performance," in Uta Daur (ed.), Authentizität und Wiederholung (Bielefeld: transcript, 2013), 147–67
- "Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT'S Genital Panic since 1969," in Amelia Jones, Adrian Heathfield (eds.), Perform, Repeat, Record: A Critical Anthology of Live Art in History (Bristol: Intellect, 2012), 89–103
- "Re-Performance: Da Capo oder Zugabe?" in Gabriele Mackert (ed.), Blind Date
- Zeitgenossenschaft als Herausforderung (Nürnberg: Institut für Moderne Kunst, 2008) (German), 128–39
- "Several Outbreaks of Valie Export's Genital Panic," in Hilde van Gelder and Helen Weestgeest (eds.), Photography between Poetics and Politics (Leuven: UP Leuven, 2008), 53–67
Translation of Karl Rosenkranz, Ästhetik des Hässlichen [1853; Aesthetics of Ugliness] (under contract with Bloomsbury, London, for 2015, with Andrei Pop).
Review Articles, Texts in Exhibition Catalogues (selection)
- "Olympia's Revenge, or What Was Left of the Body In the Mirror. The 14 Rooms at Art Basel 2014," Terpentin.org (July 2014)
- "Natur-Gewalt. Jonas Dahlbergs Entwurf für das 07/22 Mahnmal in Norwegen," Texte zur Kunst (September 2014)
- Triangulating Ivekovi?. Sweet Violence at MoMA, curated by Roxana Marcoci and Sanja Ivekovi?, Triangle by Ruth Noack" Performance Research, summer 2014
- Book review, "Claire Bishop, Artificial Hells," caa.reviews, 2013
- "No Buildings + An Archive: The US Pavilion in Venice and 9+1 at MoMA," Thresholds, No. 41 (Spring 2013), 167–75
- Book review, "Lights, Camera, Action! Vienna Actionism. Art and Upheaval in 1960s' Vienna."Art Journal (Winter 2012), 124–6
- Book review, "Juliet Koss, Modernism After Wagner," EAHN newsletter (Spring 2012)
- "Stars and Dilettantes: On the Voice in Video Art," in Sounding the Subject (Cat. LIST Visual Arts Center, Cambridge, MA, 2007), 24–32
- Conference review, "The Feminist Future: Theory and Practice in the Visual Arts at MoMA, New York." SpringerIn, Nr. 2/2007 (Vienna, German)
- "Between the Document and the Monument," in MEMOSPHERE. Rethinking Monuments (ed. Mihnea Mircan and Meta Haven). 52 Biennale di Venezia, Romanian Pavilion, 2007, n.p
- 2010 Co-Curator, there is nothing to see here, Modern Lab, National Gallery of Art, Washington, D.C. (with Arpi Kovacs and Akili Tommasino)
- 2007–08 Co-Curator, Sounding the Subject: Selections from the Pamela and Richard Kramlich Collection and the New Art Trust, MIT List Visual Arts Center, Cambridge, MA (with Daniel Birnbaum)
- 2005 Co-Organizer, Spaces of the Cold War film series (MIT-Harvard University, with Olga Touloumi and Andrei Pop)
- 1997–2003 Commissioner for the county of Salzburg for the International Graphic Biennial Intergraf in Udine, Italy
- 1996 Co-Curator, Permanent Installation Remembrance by Nancy Spero, Jewish Museum Vienna (with Werner Hanak)
I work on the intersection of contemporary art and architecture, on performance art and its mediation, on art in public space and the question of the public sphere, on contemporary monuments, and on aesthetic theory. My current project deals with global art geographies in Washington, D.C., Bucharest, and Singapore—in particular the role of contemporary art in relationship to national or regional interests under global conditions. I am interested in the power and means of representation, in the broader institutional and political context of artistic production, in issues of "authentic" and "bodily" experience under mediated conditions, and in urban dynamics. Another interest is theory; I am currently (with Andrei Pop) translating the 1853 book Aesthetics of Ugliness by the German philosopher Karl Rosenkranz (forthcoming 2015).
Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.