Her works have most recently been shown at Museum Liaunig (2022), DOK Niederösterreich (2022), Landesgalerie Krems (2022), Museum der Moderne Salzburg (2022), Post Headquarter Vienna (2021), new now art space Frankfurt (2021), 5020 Salzburg (2021), Kunstverein Baden (duo, 2021), Galerie Elisabeth & Klaus Thoman Innsbruck (solo, 2021), Galerie Sophia Vonier (solo, 2020), MUSA Vienna (solo, 2019), Kunstverein Baden (2018), Galerie 5020 Salzburg (2017), and in connection with her diploma presentation (2019) at xposit Vienna.
For 2023 Haugeneder received the London residency stipend by the Austrian Chancellery. In 2020 she was nominated for the Austrian Dagmar Chobot Skulpturenpreis. In 2019 she received the Chicago residency stipend by AIR Lower Austria.
Her works are represented in numerous Austrian private and public collections, p.e. Academy of Fine Arts Vienna, Museum Liaunig, Museum of Modern Art Salzburg, Artothek and Collection of the Austrian Confederation, City of Vienna, Austrian Post Office, Austrian National Bank, Tiroler Landesmuseum Ferdinandeum, Collection of Lower Austria, Sammlung Liesenfeld, Vienna Insurance Group.
“The basis
of Haugeneder’s objects is a mixture of plaster, bookbinding glue and pigment,
which she pours onto the floor and lets dry. This creates a thin, rubbery layer
that she folds into objects. The process traces that are inscribed in the
material during the drying process are quite desirable and part of the surface
structure. A net-like grid structure, the plaster grid, is woven into the
folded objects. It stabilises the glue layer and plays a more or less important
role as a constructive element. The material itself becomes a compact object
through the foldings. “If they were huge, you could live in them – you
wouldn’t need windows and doors because the skin is able to mediate between
inside and outside,” says Julia Haugeneder. Even though the material is
the starting point and, of course, ultimately shapes the characteristics of the
folded objects, it does not immediately play itself into the foreground. Shape
and above all colour determine the primary effect. From the white, initially
preferred both in the foldings and in the linocut, the palette of pigments currently
used by Julia Haugeneder comprises mainly pastel colours through to pink, red
and orange.
Working
with the various materials and exploring the possibilities of shaping and
processing them is an essential factor in her work and is visibly inscribed in
the objects. The fold itself is not only an art-historical motif, but folding
is a natural action in our everyday lives. In addition, Julia Haugeneder likes
to set her work in dialogue with the Brazilian movement of neo-concretism, or
in the tradition of Minimal Art, sometimes with a direct reference to works by
Donald Judd, here especially to his systems of order, or Carl Andre. Within
these parameters and the constant interrogation of which possibilities the
material provides during the working process, Julia Haugeneder has already
developed a characteristic formal language.” (excerpt from Silvie Aigner, in: Black&White. And everything in between, 2020, p. 18-19.)
