Unstoppable Yesterdays, 2025

The Show brings together Jurij Hartmann and Philipp Hölzgen for the first time in a collaborative project.

The exhibition brings together Jurij Hartmann and Philipp Hölzgen for the first time. The exhibition explores the past and its traces in objects and materials. Some things gain value as they change, while others fall apart and lose worth. The gallery acts as a large display window, presenting these transformations as a reflection on how we measure value and remember what has passed. The works show that memory and materiality are never fixed but always evolving.

23 October – 21 November 2025, periscope, Salzburg with Jurij Hartmann

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Substrates of old Gardens, 2025

The exhibition at Kunstraum St. Virgil presents ceramic works by Linda Luse and photographic sculptures by Philipp Hoelzgen, created during the 2024 Artist in Residence program and exploring ecological and social transformations.

The exhibition at Kunstraum St. Virgil presents ceramic works by Linda Luse and photographic sculptures by Philipp Hoelzgen, created during the 2024 Artist in Residence program and exploring ecological and social transformations. Luse focuses on soil as a fragile yet vital foundation of life, while Hoelzgen reflects on Alpine shingle architecture to show how human construction reshapes both environment and social reality.

17 September –9 November 2025, Kunstraum St. Virgil, Salzburg with Linda Luse
curated by Andrea Lehner-Hagwood

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Morphologies of Becoming, 2025

The performative Event with Daniel Hill, presented as part of Foto Wien 2025, unfolded over four days as a shifting interplay of fashion, ritual and performance.

The performative Event, presented as part of Foto Wien 2025, unfolded over four days as a shifting interplay of fashion, ritual and performance. Developed through the collaboration of Daniel Hill and Philipp Hoelzgen, the project activated the space as a site of continuous transformation. Photographic materials were worn, shed and reshaped; cicada like sounds and accumulations of exuviae marked each phase. Visitors became part of the process, shaping gestures and spatial interventions instead of observing from the outside. A pole performance introduced moments of suspension and rotation as the environment changed each day. What emerged in the end was not a conclusion but a collective composition, the visible sediment of shared actions, rhythms and transformations.

15 October – 18 October 2025, Kunstverein Kombinage, Vienna with Daniel Hill as part of Foto Wien Biennale

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Silhouettes of Terraforming, 2025

The series of works titled 'Silhouettes of Terraforming' explores how humans shape their environment and social reality through architectural interventions. The series of works titled 'Silhouettes of Terraforming' explores how humans shape their environment and social reality through architectural interventions. Starting with alpine shingle houses, whose wooden façades turn silvery over time, a series of photographic sculptures and 'costume-like' objects was created. These works address the transition between humans and spaces, interiors and exteriors, and the relationship between individuals and their environments.

16 September–6 November 2025, Kunstraum St. Virgil, Salzburg with Linda Luse
curated by Andrea Lehner-Hagwood

24 October–28 November 2025, Periscope, Salzburg with Jurij Hartman
curated by Stefan Heinzinger

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Scales on the Weather Side, 2025

This project presents analogue face masks in baryta paper, from monumental wall-mounted pieces to smaller wearable forms. They transform paper into skin and shingles into ornamentation, turning the ritual of the cosmetic mask into tactile interfaces between body, object, and ageing.
This project presents analogue face masks made of baryta paper, ranging in size from monumental wall-mounted pieces to smaller wearable objects. The starting point is the concept of the cosmetic face mask – a familiar item intended to protect, revitalise or improve the appearance of the skin. This ritual is translated into a tangible experience where paper becomes skin and shingles become ornamentation, with the mask functioning as an interface between body and environment

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Caliber 12, 2022 - 2025

Subject, shot, image. The series 'Caliber 12' radically questions the photographic process. 4x5-inch sheet films were shot with a shotgun.

Subject, shot, image. The series 'Caliber 12' radically questions the photographic process. 4x5-inch sheet films were shot with a shotgun. The projectiles pierce the light-sensitive film and expose it at the moment of impact. What remains is a luminous silhouette. In this work, photography is not a representation, but the result of an action. This series examines the imaging process as something that is constructed subjectively. Photography is tied to reality by an invisible thread like no other medium. But how 'real' are these small glowing dots on the sheet film, and which of the images is the 'right' one? Fragments of time are amalgamated into a speculative moment.

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How to Dress for a Planet, ongoing

This ongoing project explores performative objects that blur the boundaries between clothing, fashion and materials. This ongoing project explores performative objects that blur the boundaries between clothing, fashion and materials. In a world where humans gather their clothing from plants and animals, garments provide protection and camouflage, as well as marking the boundary between private and public spaces. Every choice of what to wear is an anticipation of encounters and situations, and positions the body within space. Clothing can consolidate a sense of belonging or open up new perspectives; it creates spaces where positions are negotiated, solidified, or kept flexible.

Photo: Hoelzgen, Fibre Punk, 2023, Hernals_Vienna

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Ancient Masks and other Interfaces, 2025
Research Stay Athens
Between 2024 and 2025, I completed a six-month research residency in Athens, focusing on the ancient mask as a transformational object. This artistic research project was supervised by Nikos Arvanitis of the Athens School of Fine Arts.
As part of a residency at K23 Artspace, I developed an exhibition titled Mining the Roots of Planets, which explored the concept of inhabiting a planet. For this exhibition, I collaborated with the performance artist Theodora Vasileiadou and the sound artist Vasilia Georgiou, creating two performances.

Photo: Theodora Vasileiadou @ K23_artstudio, Athens

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Mining Roots of Planets, 2025
Research Stay Athens
How do we figure out what itʼs like to live on a planet? By now, we should know weʼve been practicing for thousands of years. The Stone Age, antiquity, the Middle Ages, and modern times feel like Pokémon evolution stages to me. And now, weʼre in the future. We have artificial intelligence, self-driving cars and drone warfare. But somehow it also feels like our inventories are beginning to turn against us. Gaia, once green and thriving, no longer seems to be on our side?

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Projects in public space

In my public space projects, I use advertising surfaces and private façades as experimental platforms through which to explore new artistic perspectives. In my public space projects, I use advertising surfaces and private façades as experimental platforms through which to explore new artistic perspectives. These interventions introduce philosophical ideas into the urban landscape, setting large and small issues in direct opposition to the consumerist logic of advertising.

Photos:
Fibre Punk, 2023, Hernals, Vienna
This Side up, 2024, Whitechapel, London
Shoplifters will be Prosecuted, 2025, Turkovunia, Athens
WE CAME TO AN AGREEMENT, 2023, Innere Stadt, Vienna (Group Project)

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Fragmented Futures Build No Nests, ongoing

This body of work explores the planet as an experimental space where nothing grows in a linear fashion. Species behave like subcultural figures, adopting collective styles in response to evolutionary pressures. This body of work explores the planet as an experimental space where nothing grows in a linear fashion. Species behave like subcultural figures, adopting collective styles in response to evolutionary pressures.

I work with botanical fragments, technological remnants and found materials from natural and synthetic landscapes. In my assemblages, these components serve as both remnants of lost systems and fashion codes that signal belonging, distinction and transformation across ecological and technological boundaries.

Botanical features appear as accessories. In turn, technological inventions act as camouflage strategies, concealing and protecting against external conditions.

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