Discover Philipp Timischl's Exhibition: Artworks For All Age Groups at Secession

Philipp Timischl's exhibition 'Artworks For All Age Groups' features multimedia installations exploring themes of origin, exclusion, and queerness in relation to social class. The exhibition includes photographs, artworks, and sculptures that play with intimacy, self-reference, and power dynamics between art, artist, and audience.

Philipp Timischl develops narrative structures in his multimedia, space-filling installations using everyday records and collected or produced material, oscillating between documentation and fiction, private and public spheres, exploring intimacy and self-reference. Central themes include origin, exclusion, and queerness in relation to social classes, as well as the power dynamics between art, artist, and audience. The exhibition 'Artworks For All Age Groups,' created for the Secession, comprises photographs, artworks, and sculptures staged by Timischl. The photo series depicts the artist in drag as a stylized woman accompanied by a young man, traversing the Secession's empty exhibition spaces and offices. Her appearance suggests a misunderstanding of what is considered appropriate in this environment, employing exaggerated heteronormativity and humor to highlight a performative self-confidence born from insecurity, exclusion, and the tension between different social milieus and classes. The work references Didier Eribon's 'Returning to Reims,' questioning how familiarity with cultural practices like museum visits can be learned and examining social distinctions. The interplay with the aesthetic qualities of the artworks adds complexity, with Paul Clinton's catalog essay 'A Class Act' detailing the psychological and cultural barriers, educational differences, and taste formations that contribute to class distinctions, and how these manifest in Timischl's images of seduction and alienation. The essay notes the collision of fashion photography and Marxist art, where fashion photography typically promotes upward mobility but Timischl's images engage with Brechtian alienation, challenging the idea that art and culture themselves function as mechanisms of class differentiation. The tension between desire and inaccessibility is made palpable through the installation's physical arrangement, with overturned pedestals obstructing views and confusing the visitor's path. Two TV sculptures, hybrid towers of a flat-screen and a photograph, activate static and time-based digital images, featuring a backward-counting clock that resets after a fraction of a second, heightening anticipation and frustration.

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