Viennacontemporary2024 curator Francesca Gavin on politically charged art

On September 12, Vienna (Austria) welcomed the opening of Viennacontemporary 2024, the annual international contemporary art fair. This year’s event takes place at Kursalon Vienna and features exhibitions addressing the powerful role of art in contemporary global processes. The fair will unveil a special project called “The Color of Energy,” which focuses on themes of energy, change, and the connections between art and the surrounding world.

Bukvy had a chance to speak with Francesca Gavin, the curator of Viennacontemporary 2024, on the main concept of this year’s fair, the role of art in times of war, and the world’s growing interest in politically charged art.

How would you describe this year’s new vision or concept for the Vienna Contemporary event? What are the main themes and social issues expected to draw focus this year?

I envisioned the fair as a beacon of artistic freedom of speech and aesthetic experimentation. It’s a regional fair, showcasing work primarily from Central and Eastern Europe, introducing new voices and lesser-known spaces to an international audience. Vienna Contemporary remains at the heart of Austria’s art scene, but with a global outlook. We’re aiming to create a fair that serves as the centerpiece of a week full of art events across the city.

The theme of this year’s VCT Statement — our on-site exhibition and talks program, supported by the ERSTE Foundation — is ENERGY. It’s a fascinating topic that touches on political and climate issues, but also explores the emotional and spiritual dimensions of energy. Mirela Baciak’s show will be at the core of the fair, followed by its continuation at the Salzburger Kunstverein, where she serves as director.

Geopolitics, technology, and people are the main conceptual threads of the exhibition. How do you combine these, and how do you want the audience to experience them through the art pieces?

Contemporary art is one of the few remaining spaces that still values the fusion of a wide range of subjects and mediums. The central part of the fair is, of course, the galleries’ booths featuring artists they’ve chosen. Supporting their choices is key for us. However, the emphasis on galleries from 20 countries, with a strong focus on Europe, is itself a creative statement. Vienna Contemporary aims to unite a region and showcase how innovative and exciting art is outside of the global capitals of speculation. While technology plays a smaller role this year, we intend to highlight it in future collateral projects.

How do you see the importance of art during times of crisis and war? Can it become a tool for change, especially given this year’s theme at Vienna Contemporary?

Absolutely. There’s a utopian element inherent in the legacy of modernism and in art itself. In the face of increasingly restrictive governments and the rise of culture wars, creating spaces where artists can freely express themselves is a political act. I believe that simply shining a light on the quality of artwork being produced today can be a catalyst for change.

Which projects or works at the exhibition best reflect contemporary global wars, conflicts, and challenges?

Many of the works on display don’t directly tackle political issues, and I think the trend for overtly political art has faded somewhat. Artists and audiences seem eager for a respite from the weight of conflict, seeking instead to explore these issues more subtly — or even to address entirely different topics. Making abstract art, for instance, can be a political act in itself.

How have the pandemic and war affected the artistic process, and what changes or trends have they brought to art globally?

That’s a huge question. Of course, the pandemic and subsequent wars have had a dramatic impact on global economies, and that has inevitably echoed in contemporary art. However, in terms of process, I think artists have been the least affected — studio practice is often solitary and continuous. The real issues revolve around the rising costs of maintaining a studio and surviving financially in a challenging climate. It’s something many people can relate to, and art’s role is to reflect the emotions and thinking of our time.

Is there a growing interest in politically charged art at Vienna Contemporary? How is this reflected in the selection of artists?

Vienna has been somewhat slower in addressing issues of race and identity that dominated much of the art world after Black Lives Matter. You can see the decolonization conversation gaining traction. For example, MUMOK has a great show on avant-garde and decolonization right now. WHW’s recent programming at Kunsthalle has also been quite political. In emerging Austrian art, topics like identity, class, and capitalism are present, though perhaps in more nuanced and layered forms, rather than the brash, didactic approaches some might expect. The art of protest is far from dead; it’s simply evolving into more complex expressions.