A grand finale to the 10th Viennacontemporary 2024

On September 15, the 10th edition of Viennacontemporary, the prestigious international contemporary art fair, closed its doors in Austria’s capital, Vienna, after bringing together leading artists, gallerists, curators, and collectors from around the globe. Held at Halle D in Messe Wien, the event attracted over 17,000 visitors in four days, reaffirming Vienna’s status as a key player in the world of modern art.

This year’s fair boasted a strong international atmosphere, featuring works from 98 galleries, including 18 new ones, and placed special emphasis on emerging talent from Eastern Europe and neighboring countries. The new artistic director, Francesca Gavin, set a dynamic tone for the event, highlighting fresh voices and lesser-known artistic spaces to an eager global audience.

Gavin shared her thoughts on her first outing as the fair’s director:
“The quality and energy this year exceeded all expectations. Our goal was to showcase the immense potential of the region’s artists and reaffirm Vienna’s commitment to contemporary art.”

Executive Director Markus Huber echoed this sentiment, underscoring the event’s regional importance:
“This year’s viennacontemporary wasn’t just a major moment for Vienna, but also for galleries and artists across Central and Eastern Europe.”

High-Profile Institutions and Events

Viennacontemporary 2024 drew participation from some of the most prestigious institutions worldwide, including Haus der Kunst in Munich, the Italian Pavilion of the Venice Biennale, Camden Art Centre in London, ARoS Aarhus Art Museum in Denmark, and Art Brussels in Belgium, among others. Collectors from Austria, Belgium, Switzerland, Germany, and the UK were also in attendance, eager to explore and invest in new works.

The Talks Program featured engaging discussions led by influential figures such as Irena Popiashvili, Dean of the School of Visual Arts in Tbilisi, and Katalin Erdődi, curator of the Prague Biennale, who offered fresh perspectives on contemporary art and culture.

Sales Highlight the Growing Importance of Vienna’s Art Scene

Interest translated into strong sales for many galleries. Charim Galerie sold several pieces by Xenia Hausner, each fetching €20,000, while works by Ulay attracted significant attention. CRONE gallery reported sales of works by Joseph Beuys and other artists in the five-figure range. JECZA gallery sold four paintings by Anita Schmid, with prices ranging from €2,800 to €7,000. Meanwhile, Galerie nächst St. Stephan successfully placed a large-format work by Herbert Brandl with a French collector.

Awards and Special Features

This year’s fair set a record for art awards, with eight artists recognized for their contributions to contemporary art. Among the honors were the new LUKOWA Acquisition Prize and accolades from the Queer Art Prize.

Notable curatorial sections included ZONE1, which showcased emerging Austrian artists; VCT STATEMENT: The Color of Energy, a bold exploration of energy and climate crisis; and the newly introduced CONTEXT section, featuring works from both renowned and lesser-known 20th-century artists.

This year’s viennacontemporary undeniably reinforced Vienna’s standing as a global hub for contemporary art, leaving a lasting impact on both local and international art communities.

Ukraine’s Presence at Viennacontemporary 2024

Ukrainian artists made a significant mark at the exhibition, with notable contributions like from the ones like Veronika Hapchenko. Her works revisited the mosaic panels of Ivan Lytovchenko, created for the city of Pripyat, alongside Soviet mega-projects of the 1930s.

In an interview for Bukvy, Hapchenko elaborated on her concept:
“I’m fascinated by the phenomenon of ‘distorted memory’ from this historical episode. I wanted to show our perception of the Soviet Union as a totalitarian machine that tried to ‘reform’ both people and the land.”

Hapchenko believes that Ukraine must revisit the legacy of those times and come to terms with the Soviet Union’s role in its history:
“We need to process and release these decades, and only then can we truly move forward.”