Karamustafa’s Pencil Vending Machines—machines that spit out unpainted wooden pencils for 50 cents apiece—can be found in some of the corridors and lounges at Lakeside Park and the university. The artist brings a historicizing aspect to the contemporary future-oriented working world with her anachronistic-seeming devices and the simple, traditional writing utensils they produce. In a subtle way, Karamustafa’s work for Lakeside Park also poses questions about values, regarding for example the relationship between durability and innovation but also the role of tools, techniques, and technology in communication between people and the world around them.
Gülsün Karamustafa (b. Turkey, 1946) lives and works in Istanbul.
The Public Brands project is concerned with branding in the public sector. As states, regions, cities, and districts increasingly define themselves in entrepreneurial terms, the way they represent themselves visually is also changing. Logos, claims, and corporate design are coming to replace traditional insignia of state power such as coats of arms or flags. The tourism sector was the first to try to position geographical locations as brands, following the example of private companies. Fogarasi illustrates this development with the logo of Bordeaux, an emblem made up of three interwoven crescents, which has been a fixed part of the visual history of the city ever since the 1930s.
Andreas Fogarasi (b. Austria, 1977) lives and works in Vienna.
This commissioned work shows the sketch Anatomy of a Dwelling (1965) by Reyner Banham in collaboration with François Gallegret as visual material for Banham’s essay The Unhouse, a text about the connection between design, technology, and architecture. Specifically, it was about the design of an “anti-house,” a house that is defined exclusively by its functionality. The decision as to whether technology should be visible, whether it should be part of the aesthetic design or instead disappear in favor of another aesthetic solution applies in several respects to the Lakeside Park complex, on the one hand by virtue of the architectural design, and on the other because of the companies located there.
Dorit Margreiter (b. Austria, 1967) lives and works in Vienna and Los Angeles.
In the enameled wall panels conceived for Lakeside Park, Creischer/Siekmann draw on a historically significant model for visualizing economic and social conditions—the 1930 atlas Gesellschaft und Wirtschaft (Society and Economy) by Otto Neurath and Gerd Arntz. The authors of the atlas tied the development of statistical diagrams to a critique of economic conditions. For the wall panels, the artists collaborated with students of Prof. Paul Kellermann at the University of Klagenfurt to translate two pages from this atlas devoted to the monopolistic production in European and non-European countries into the current picture of a global economy in which national economies are being supplanted by the dominance of multinational corporations.
Alice Creischer (b. Germany, 1960) lives and works in Berlin.
Andreas Siekmann (b. Germany, 1961) lives and works in Berlin.
Kunstraum Lakeside opened in October 2005, the result of a two-year collaboration between the management of Lakeside Science & Technology Park and the curators Christian Kravagna and Hedwig Saxenhuber. The contract to develop an art-in-architecture concept was awarded prior to the actual construction of the technology park, making it possible to methodically adapt the content of the art program to the conditions of the specific location and its functions. Designed and furnished by Josef Dabernig, the art space became the focal point for continuous artistic and discursive programming. Conceived as a space for presentations, events, and exhibitions, and as a discussion platform, as well as for the study of project-related literature, the Kunstraum also sees itself as an open communication zone during working hours.
Josef Dabernig (b. Austria, 1956) lives and works in Vienna.
In July 2004, a closed competition was held for the artistic design of a kindergarten to be built on the grounds of Lakeside Park. Anna Jermolaewa’s and Manfred Grübl’s design was selected and then executed in 2005. The children’s playground takes its cue from the landscaping of the campus while relating to the special features of the park and its themes. A motorway for tricycles in the shape of a figure eight and a hilly landscape with slide, lounge, sand play areas, playhouses, water games, and playground equipment are not only tailored to the needs of the children but also fit in perfectly with the natural surroundings.
Anna Jemolaewa (b. Russia, 1970) lives and works in Vienna.
As part of the semester focus on Mobility and Control at Kunstraum Lakeside in the winter semester 2007/2008, the artists collaborated with the Research Seminar for Transportation Informatics, an institution of the University Institute for Intelligent System Technologies. In transdisciplinary research there, an autonomous, self-driving car was developed. The artists then dispatched the robot car, equipped with cameras and sensors, to the grounds between Lakeside Park and the university, where it made surveillance films from an unusual perspective. Some of the staged scenes were perplexing, such as the horse that was filmed among the buildings of Lakeside Park. Horsepower is considered a measure of speed, so in this case the appearance of the horse had the effect of contradicting the advances in the automotive industry.
Iris Andraschek (b. Austria, 1963) lives and works in Vienna.