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EXHIBITION
ELISABETH VON SAMSONOW
Elisabeth von Samsonow, Ausstellungsansicht „Elder Poem“, Kunstverein Graz © Die Künstlerin, Foto: Christine Winkler
Elisabeth von Samsonow, Foto: © R. Rünagl
Elisabeth von Samsonow, horse woman philosopher, 2023 © Die Künstlerin
Elisabeth von Samsonow, Momus, 2011, © Die Künstlerin
Elisabeth von Samsonow, Löss Untermarkersdorf, 2021 © Die Künstlerin, Foto: Maresa JungElisabeth von Samsonow, Geopsyche: Better Energy or the Return of the Swallows, 2022 © Die Künstlerin, Foto: Maresa Jung
Elisabeth von Samsonow, Elektra, 2006 © Die Künstlerin
Elisabeth von Samsonow, Skulpturenspiel mit Sasa Hanten-Schmidt, Foto: Maximilian Brucker
With Elisabeth von Samsonow, the Heidi Horten Collection is dedicating a major solo exhibition to an artistic and philosophical perspective that transcends narrow disciplinary boundaries. This is the first time that Elisabeth von Samsonow’s multifaceted body of work has been presented on this scale, showcasing its artistic breadth and intellectual depth.
The exhibition is conceived as a powerful, narrative-rich solo show—a dynamic journey that incorporates early works as well as recent series. Sculptures, paintings, drawings, films, and a site-specific installation bring to life an astonishing body of work characterized by performative thinking, formal diversity, and an interdisciplinary approach.
At the heart of Samsonow’s artistic practice lies an intensive engagement with the earth as the bearer of history, life, energy, and collective memory. Her works take up motifs from cultural history and translate them into a contemporary formal language. Movement—both physical and psychological—is a central element here: Samsonow’s work poetically and playfully transcends the boundaries drawn by rational orders and opens up spaces between art, philosophy, anthropology, and political thought.
Sculptural installations and series of images play a special role; they revolve narratively around the Gaia myth and explore fundamental questions of origin, the body, birth, value, and transformation. Many of her wooden sculptures are crafted from entire tree trunks, including works made from a thousand-year-old linden tree, whose materiality makes growth and time immediately tangible.
19 September, 2026 to 28 February, 2027
Samsonow’s visual worlds appeal to the collective unconscious, specifically where it intersects with nature. They draw on fragments of dreams and experimental patterns of perception that lie somewhere between diagrams and archetypal forms, inviting viewers to reconsider and reinterpret familiar images. Her works open up spaces of possibility for alternative interpretations of history, physicality, and community.
The exhibition also makes deliberate connections to the Heidi Horten Collection. Works by Egon Schiele and German Expressionists are integrated and placed in relation to Samsonow’s long-standing scholarly and artistic engagement with these movements. A specially designed area for creative activities by young and adult visitors is planned as an integral part of the exhibition and underscores the open, dialogic nature of the presentation.
A catalog will be published to accompany the exhibition.
Curated by: Rolf H. Johannsen and Hana O. O. Haas
CABINET EXHIBITION
TO SHOE OR NOT TO SHOE. Warhol and others
Andy Warhol, Á La Recherche du Shoe Perdu by Andy Warhol. Shoe Poems by Rolph Pomeray (Umschlagblatt) ca. 1955, Heidi Horten Collection © The Andy Warhol Foundation for Visual Arts/Bildrecht, Wien, 2026
Birgit Jürgenssen, Aschenbrödel, 1976, Heidi Horten Collection © Estate of Birgit Jürgenssen/Bildrecht, Wien, 2026
Gudrun Kampl, Vorwärtsschnitt, 2021 Courtesy Heidi Horten Collection © Die Künstlerin
20 October, 2026 - 18 April, 2027
Andy Warhol’s graphic series À la recherche du Shoe perdu was created in 1955 in the context of his commission to design weekly shoe advertisements for The New York Times. The project resulted in more than a dozen drawings, to which the poet Ralph Pomeroy added witty literary allusions; Warhol later compiled them into a portfolio.
Taking this series as its point of departure, the cabinet presentation is devoted to the women’s shoe as fetish object, projection surface, and site of feminist critique. Alongside Andy Warhol, artists such as Birgit Jürgenssen, Gudrun Kampl, and Lena Henke present their own interpretations of the shoe, interrogating it as a symbol of desire, discipline, and gender roles.
Curated by Rolf H. Johannsen.