The Dom Museum Wien’s latest exhibition “Sterblich sein” (being mortal) is a poignant exploration of mortality, art, and the human condition. This thought-provoking showcase delves into the intricate interplay between life and death, offering a visual narrative that transcends time and cultural boundaries. From contemporary responses to the pandemic, such as Günter Brus’ “Young Death,” to historical reflections on the art of dying well, this exhibition draws on a diverse range of artworks to convey the ever-evolving perspectives on mortality. With a compelling mix of striking visual elements, including video installations, poignant poetry, and powerful relics, “Mortality” invites visitors to contemplate the eternal questions surrounding our finite existence.
I had the opportunity to attend the well-attended opening, at which we were invited to not only contemplate, but also talk about death — a theme that in our culture we often try to ban from our thoughts. Well, death has found its place into art ever since art has been practiced, and is now featuring prominently at the Dom Museum. This exhibitions shows artworks of both ancient and modern art treasures that provide a unique perspective on death and human mortality. (It leaves out completely the mortality of other living beings.)
According to the museum’s director, Johanna Schwanberg, practically everything from the museum’s permanent collection seamlessly complements the current exhibition. Among the noteworthy artworks, selected as the exhibition´s cover image, is Günter Brus’ watercolor piece “Young Death,” painted in 2020 during the pandemic.
The exhibition is packed with artistic explorations from many centuries. Right at the entrance (see cover photo), visitors encounter the work “Stiller Abtrag” (quiet departure) by Sybille Loew, which through hand-embroidered signs commemorates the silent passing of individuals, reminding us that every day, people depart this world without relatives or friends by their side, those who bear witness to their final moments, those who remember them. These individuals, whether known by name or remembered anonymously, are laid to rest in a process called “quiet departure,” without any ceremony.
The central segment is dedicated to death through violence, given particular current relevance with a poem rendered on fabric by Ukrainian artist Olia Fedorova, created during the siege of Kharkiv using limited materials.
A photographic series that touched me deeply are those in a series by Khaled Barakeh, “aus der Serie “The Untitled Images” 2014 (two of them above), where he shows the grief over the death of loved ones who have died under terrible circumstances in war and torture – with the individuals painted over in white, for me symbolic of turning into ghosts. Khaled Barakeh is a contemporary artist known for his multimedia works that often address themes related to conflict, displacement, and migration. The pain in these all too real images of death is palpable.
The exhibition highlights a stark contrast in historical attitudes toward death. The portrayal of death and dying in art has evolved remarkably across the ages, offering profound insights into the changing tapestry of human beliefs, culture, and artistic expression. In antiquity, prehistoric cave paintings hinted at a fascination with the afterlife, while ancient Egyptian art glorified the journey to eternity. Classical Greece and Rome romanticized heroic deaths in their mythological narratives. The Middle Ages ushered in Christian depictions of heaven, hell, and judgment, while the Renaissance merged realism with themes of mortality. Baroque artists employed symbols of transience, like skulls and hourglasses, in their vanitas paintings. The Romantic era explored the darker facets of death, influenced by gothic literature. In the 20th century, art responded to the horrors of war, fostering existentialism and abstract introspection, and more recently, it has tackled global crises and personal experiences. In every era, the depiction of death has served as a mirror to cultural beliefs and human introspection, offering a poignant and ever-evolving reflection on the human experience.
Death is a universal human experience, and it is no surprise that it has been a popular subject in art throughout history. Artists use death as a way to explore a wide range of human emotions, including fear, grief, hope, and acceptance.
Among the many drawings one that most impressed me is “Epidemic” by Austrian artist Alfred Kubin. Kubin was known for his distinctive and often macabre works. His drawings often depicted the darker aspects of human existence, and he was known for his skillful use of ink and detailed, intricate compositions that conveyed a sense of unease and psychological tension. This drawing from around 1900 is no exception and especially poignant in view of the recent Covid-19 pandemic. In it at the center of a dark winter landscape scene looms a colossal skeleton, pouring a bag of misfortune over a farmhouse. From the bag flow black germs that spread over the buildings and people. As so often, the picture really speaks louder than words.
In the section called “What Remains,” the exhibition juxtaposes a monumental wooden sculpture, “The Descent from the Cross” by Baroque artist Giovanni Giuliani (circa 1730) from Heiligenkreuz Monastery, to various contemporary exhibits including small framed photographs, letters, and documents.
Death is something we all related to in one way or another, and most have some experience of losing someone close. Johanna Schwanberg, not only the curator but also the director of the museum, carried a profound personal connection to the exhibition’s theme of mortality. Her heartfelt introduction speech on the opening night resonated deeply as she shared with the audience about the very recent loss of her father. In that poignant moment, she bridged the gap between the artistic exploration of life and death and her own lived experience, blurring the boundaries between curator, director, and grieving daughter. Having lost my own mother in late 2021, and having gone through all the things she left behind, I felt a very special connection to those exhibits that deal with what is left behind.
I was very saddened by Ramesch Daha ´s series that explores her step-great-grandfather’s fate. He was murdered by the Nazis, and her work “Unlimited History-Sigmund Klein” (2019) has family photographs, but also a matter of fact list of the possessions left behind, including “used clothing”. What remains… (row 1 above, left).
Tina Ruisinger´s artwork “Traces” is a photography project thatdelves into the deeply emotional and intimate aspects of objects left behind by the deceased. These objects, despite their material simplicity, carry profound emotional value for the survivors and serve as tangible connections to the memories of their loved ones. Ruisinger’s photographs, in turn, capture not only the physicality of these objects but also evoke the more personal and poignant images and memories associated with the departed.
The exhibition features works by Kurt Absolon, Khaled Barakeh, Max Beckmann, Renate Bertlmann, Margret Bilger, Nomin Bold, Jan Brueghel the Younger, Günter Brus, Maria Bussmann, Lovis Corinth, Ramesch Daha, Stefano della Bella, Alexandre Diop, Otto Dix, Albin Egger-Lienz, Ameh Egwuh, James Ensor, Manfred Erjautz, Olia Fedorova, Hans Fronius, Ernst Fuchs, María Galindo & Danitza Luna, Nikolaus Gansterer, Domenico Gargiulo, gen. Micco Spadaro, Giovanni Giuliani, Ferdinand Hodler, Sam Jinks, Alfred Kubin, Maria Lassnig, Sybille Loew, Teresa Margolles, Master of the Zvíkov Lamentation (?), Master of the Albrecht Altar, Kurt Moldovan, ORLAN, Dan Perjovschi, Arnulf Rainer, Johann Elias Ridinger, Christian Rohlfs, Anton Romako, Anja Ronacher, Tina Ruisinger, Walter Schels & Beate Lakotta, Eva Schlegel, Tom Schmelzer, Lena Ilay Schwingshandl, Phil Solomon, Petra Sterry, Timm Ulrichs, Francesca Woodman, Herwig Zens, and historical artists whose names have not been passed down.
Curator: Johanna Schwanberg
Co-Curator: Klaus Speidel
Curatorial Assistant: Anke Wiedmann
Where:
Dom Museum Wien, Stefansplatz, 1010 Vienna
When:
October 6, 2023 to August 25, 2024
EXHIBITION PHOTOS © KARIN SVADLENAK-GOMEZ
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