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Julia Haugeneder (*1987 in Vienna) studied at the Academy of Fine Arts in Vienna and in London at Central Saint Martins, UAL graphics and printmaking techniques. Besides that, she has a degree in art history as well as philosophy, theatre, film and media studies, that she received at the University of Vienna and the Erasmus University Rotterdam.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.)

↱ Biography

↱ juliahaugender.com

↱ Exhibition dossier: Idylle blau, Innsbruck 2021

↱ Exhibition dossier: Abschied. Oder eine Person und ein Esel zusammen wissen mehr als eine Person alleine, Vienna 2023