Selected Essays and Texts in Exhibition Catalogues and Books
Upcoming
“Learning from Dan Graham.” In: Dan Graham – Optics and Humor (ed. Meyer/Kainer), Vienna, 2024.
“The Beginnings of Videoart in Austria.” In A Factual History of the Emergence of Video Art Europe, Paris, 2024. https://videoarteurope.com/Information
Published
„A conversation between Sabine Breitwieser, David Lamelas, Andrea Viliani. On Office of Information about the Vietnam War at Three Levels: The Visual Image, Text and Audio, 1968.” Fondazione Antonio Dalle Nogare, Bolzano, 2024.
“Die Charaktere von Isa Genzken. Ein Werk inszeniert zwischen Persönlichem und Konstruktivität: ca. 1970 bis 1996” In Isa Genzken75/75 (eds. Daniel Buchholz Christopher Müller), Köln/Berlin: Verlag der Buchhandlung Walther und Franz König/Neue Nationalgalerie Berlin, 2024: 15–31.
ISBN 978-3-7533-0539-4
“Sabine Breitwieser interviewed by Karolina Majewska-Güde.” In East Central European Art Histories and Austria. Imperial Pasts – Neoliberal Presences – Decolonial Futures (eds. Julia Allerstorfer, Karolina Majewska-Güde and Monika Leisch-Kiesl), Bielefeld: transcript Verlag, 2024: 391–394.
Print-ISBN 978-3-8376-7363-0. PDF-ISBN 978-3-8394-7363-4
“Painting as a Metaphor for Travel and Exhibition as a Space of Experimentation.” Paulina Olowska in conversation with Sabine Breitwieser. In The Travel Bureau. Paulina Olowska selects from the Christen Sveaas Art Foundation (ed. Iwona Blazwick), London: Whitechapel Gallery/Thames & Hudson, 2022: 41–51.
ISBN 978-0-85488-301-1
“VALIE EXPORT Autohypnose (Autohypnosis), 1969–73.” In The Human Condition. Media Art from the Kramlich Collection I (Ed. Shannon Jackson), Thames & Hudson, 2022: 112–113.
ISBN 978-0-500-02563-5
“Images of Heroisation and Defamation: The Women of the 1848 Revolution in Austria“ / „Imágenes de la heroización y difamación: las mujeres del 1848 en Austria.“ In Altered Views. Miradas Alteradas. Voluspa Varpa (ed. Agustín Pérez Rubio), Exhibition catalogue, Chile pavilion, Biennale di Venezia 2019, Ediciones Puro Chile, Vitacura, Chile, 2020: 65–79.
ISBN 978-956-9016-11-0
“Museums, Repair and Discourse: On Contemporary Art’s The Planetary Future.” Kader Attia interviewed by Sabine Breitwieser. In Amanshauser, Hildegund and Bradley, Kimberly (eds.) Navigating the Planetary. A guide to the planetary art world–its past, present, and potentials. Nurenberg: Verlag für moderne Kunst, 2020: 227–340.
ISBN 978-3-903320-67-3
“(Montierte) Bilder einer losgelösten Apparate-Welt,” / “(Assembled) Pictures of a Detached World of Apparatuses.“ In Der montierte Mensch. Bildwelten eines technologischen Zeitalters. Exhibition catalogue, Museum Folkwang, Essen, 2019: 334–347.
“From the Modern to the Global Art Museum: Collecting Interdisciplinary and non-Object based Art.“ In https://walkerart.org/magazine/. Walker Art Center, 2019.
“Inszenierungen von Architektur und Kunst in der Wiedner Hauptstrasse 15/Frankenberggasse 9, 1040 Wien” / ”Staging Architecture and Art at Wiedner Hauptstrasse 15/Frankenberggasse 9, 1040 Vienna.“ In Jabornegg, Christian and Pálffy, András (eds.) Die Architektur der Generali Foundation in Wien. Vienna: Schlebrügge Publishing, 2019: 16–23/24–31.
“Andrea Fraser in conversation with Sabine Breitwieser.“ In Andrea Fraser. Collected Interviews, 1990–2018. Los Angeles: Art Resource Transfer/Hammer Museum, A.R.T. Press, 2019: 242–245.
“Die Allgegenwärtigkeit der Fotografie. Interdisziplinäre Ansätze zum Sammeln von Fotografie. Sabine Breitwieser im Gespräch mit Martha Fleming.“ In 25 Jahre. Gemeinsam Geschichten(n) Schreiben. Fotomuseum Winterthur. Winterthur: Fotomuseum Winterthur/Leipzig: Spector Books, 2018: 309–321.
“From the Fringe: Interdisciplinary Approaches to Collecting Photography. Sabine Breitwieser in conversation with Martha Fleming” (English edition) Fotomuseum Winterthur. Winterthur: Fotomuseum Winterthur/Leipzig: Spector Books, 2018: 309–321.
“Choreography,” “Collections.“ In http://intermsofperformance.site/contributors/
Hg. Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia 2016. Eds.: Shannon Jackson and Paula Marincola.
“Aufführung des Archivs von Geschichte in Kurzschrift” and “Performing the Archive of History in Shorthand.“ In William Kentridge. Thick Time. London: Whitechapel/ Salzburg: Museum der Moderne Salzburg/Munich: Hirmer, 2016: 225–231.
“Wie modern und antimodern sind wir in Europa (gewesen)?” and “How Modern or Anti-modern is (was) Europe?.“ In Anti:modern. Salzburg inmitten von Europa zwischen Tradition und Erneuerung. Salzburg: Museum der Moderne Salzburg/Munich: Hirmer Verlag, 2016: 9–25 (German) and 217–225 (English).
“Carolee Schneemann’s Media.” In Carolee Schneemann. Kinetische Malerei and Carolee Schneemann. Kinetic Painting. Salzburg: Museum der Moderne Salzburg, 2015: 12–25.
“Roundtable with Julie Martin, Robert Whitman, and Kathy Battista.“ In E.A.T.–Experiments in Art and Technology. Salzburg: Museum der Moderne Salzburg, 2015: 197–204 (German) and 205–212 (English).
“Statement.“ In Private View. Privat gesammelt–Öffentlich präsentiert. Stuttgart: Kunstmuseum Stuttgart, 2015, 8.
“Introduction.” In Kunst/Geschichten / Art/Histories. Salzburg: Museum der Moderne Salzburg, 2014: 12–19.
“The Workshop Process–Simone Forti in Conversation with Sabine Breitwieser.“ In Simone Forti. Mit dem Körper Denken / Thinking with the Body. Salzburg: Museum der Moderne Salzburg, 2014: 15–36.
“The Characters of Isa Genzken: Performed between the Personal and the Constructive: Works from c. 1970 until 1996.“ In Isa Genzken. Retrospective. New York: The Museum of Modern Art, 2013: 14–43.
“Performance without Curators–Art and the Public Sphere.“ In Timing–On the Temporal Dimension of Exhibiting, Leipzig: Academy of Visual Arts, 2014: 282 –299. ISBN 9783943365993.
“In Conversation. Martha Rosler with Sabine Breitwieser.“ In Garage Sale Courier. A Newspaper Project by Martha Rosler, Issue 1 and 2, New York 2012.
“From Female Creativity to Practices of Feminism–Several Women Initiatives in Austria.“ In Rangel, Gabriela (ed.), SITAC VIII. Blind–Spots Puntos ciegos. Mexico City, 2010: 36–45, 164–171.
“Occupying Spaces: The Politics of Curating Exhibitions and Directing Institutions” in Molina Climent, Angela (ed.), The Place(s) of Criticism. Pamplona: Universidad Pública de Navarre, 2010: 59–77 (Spanish). 179–197 (English).
“Under what circumstances are aesthetic experiences political? / Unter welchen Bedingungen sind ästhetische Erfahrungen politische?.“ In Pichler, Cathrin; Berka, Roman (eds.) TransAct. Transnational Activities in the Cultural Field / Interventionen zur Lage in Österreich. museum in progress. Dt./English. Edition Transfer/Christian Reder, Wien-New York: Springer Verlag 2010: 136–137.
“Edward Krasinski: Les mises en scène.” In Switek, Gabriela (ed.), Awangarda w bloku / Avant-garde in the Bloc. Polish/English edition. Warsaw: Fundacja Galerii Foksal/Zurich: JRP Ringier, 2010: 52–73.
“Modernologies–Or What Makes Contemporary Artists Investigate Modernity and Modernism.“ In Modernologies. English edition. Barcelona: MACBA/Actar, 2009: 11–23.
“Modernologías o por qué los artistas contemporaneous investigan la modernidad y el modernismo.“ In Modernologías. Span. edition. Barcelona: MACBA/Actar, 2009: 13–24.
“RE-PLAY. Frühe Medienkunst in Österreich und was daraus geworden ist.“ In Schubiger, Irene (ed.), Schweizer Videokunst der 1970er und 1980er Jahre. Eine Reonstruktion. German edition. Zurich: JRP Ringier, 2009: 178–185.
“RE-PLAY. Early Media Art in Austria: a history.“ In Schubiger, Irene (ed.), Reconstructing Swiss Video Art from the 1970s and 1980s. English edition (summary of essay), Zurich: JRP Ringier, 2009: 153.
“Gedanken zum Kunsthaus Graz–nach fünf Jahren Praxis. Ein Gespräch zwischen Sabine Breitwieser, Heimo Zobernig und Peter Pakesch” (Thoughts on the Kunsthaus Graz–after five years of practise. A conversation between Sabine Breitwieser, Heimo Zobernig and Peter Pakesch) in 2003-2008. Graz: Kunsthaus Graz/Cologne: Walther König, 2008.
“Sabine Breitwieser in conversation with Sabeth Buchmann.” In Ausstellungen. Generali Foundation. Exhibitions 1989–2008. Vienna: Generali Foundation/Cologne: Walther König, 2008: 571–580.
ISBN 9783901107542. ISBN 9783865604132“Generali Foundation.” In Displayer 02. Karlsruhe, 2007: 74–79.
“Is a private art institution more independent than a muncipial or state one?.” In The Question of the Day in www.kunsthalle.eu. Cologne/Berlin 2007.
Interview with Florian Pumhösl in How to live together, 27. Bienal de São Paulo, exhibition guide, English/Port. edition. São Paulo, 2006: 76.
“Two Times Four: Isa Genzken’s Hi-Fi Series.“ In Isa Genzken, Engl., English. London-New York: Phaidon, 2006: 107–113.
“Art and Artists: Please wait for a Commission.“ In International 04. Liverpool Biennial, English. Liverpool, 2004: 35–38.
“Privatmuseum mit öffentlichem Auftrag,” interview with Marius Babias in Ich war dabei, als … Interviews 1980-2000. German. Frankfurt am Main, 2001.
“A Career and a Calling among Entertainment, Market and Science.“ In Words of Wisdom. A Curator’s ‘Vade Mecum’ on Contemporary Art. English. Kuoni, Carin (ed.), New York: Independent Curators International, 2001: 37.
“Reorganizing Structure by Drawing Through It.” In Corbeira, Dario (ed.), Gordon Matta-Clark. Construir… o deconstruir?. Textos sobre Gordon Matta-Clark. Span., Salamanca: Ediciones Universidad de Salamanca, 2000.
“Die EA-Generali Foundation.“ In Weibel, Peter (ed.), Quantum Daemon. Institutionen der Kunstgemeinschaft. German. Vienna–New York: Passagen Verlag 1996.
Also published in Museumsmodelle, Graz: Neue Galerie Graz, 1994, see also: Neue Räume für Kunst, Hannover: Kestner Gesellschaft, 1994.
Selected Articles and Interviews in Magazines
“Dan Graham 1942–1922.“ In Texte zur Kunst Heft Nr. 126 Juni 2022. 219–244.
“We are going to work together. In Memoriam Carolee Schneemann.” In Artforum International, Volume 57, No. 9 (May 2019): 47.
“Years without Gustav Metzger. In Memoriam Gustav Metzger (1926–2017).“ In Texte zur Kunst, Heft 106, 2017.
“Taking Part in the Museum.” In Afterall 34, 2013: 4–15.
“Cultural Translations in a Global Age.“ In Journal of The Latin American and Caribbean Fund (Spring 2011), New York: The Museum of Modern Art.
“Best of 2009.“ In Artforum International, Volume XLVIII, No. 4 (December 2009): 200–201.
“Some thoughts, remarks, and doubts on a few artists, building institutions, and collecting, including specific conditions in the former Eastern Europe” Conversation with Joanna Mytkowska. Newsletter Museum of Contemporary Art Warsaw, 2009/05.
“In the Interest of the Public: Semi-Public, Semi-Private Cultural and Art Institutions.” In Naoshima News 2009.03. 2009.
“Top 10 2008.“ In Artforum International, Volume XLVII, No. 4 (December 2008): 280–281.
“Revisions–Constellations–Inspirations,” interview by André Rottmann in Texte zur Kunst, Heft 71 (September 2008): 95-104 (German), 165–170 (English).
“Fragen, was das Haus will,” Dieter Bogner, Sabine Breitwieser and Martin Fritz, about the „museum reform.“ In Die Furche. Nr. 14, Wien (3. April 2008): 23.
“Private-Public-Partnerships: Kultureinrichtigungen zwischen öffentlich und privat.” In Die Furche. Nr. 14, Wien (3. April 2008): 24.
“Vom Anfang und vom Ende: Warum ich gehe.“ In Texte zur Kunst, Heft 68, (December 2007): 254–257.
“Autonomie muss gelebt werden,” interview with Matthias Dusini in Falter, Nr. 38, (21. –27. September 2007)
Interview with P. Pirona und R Vidali in Juliet n.133. art magazine, Trieste (June 2007): 46–47.
“Zeitgenössische Institutionen im Spätkapitalismus. CIMAM Jahreskonferenz 2007, vom 20. bis 22. August in Wien.“ In Kunstgeschichte aktuell 3/07, Wien 2007.
Interview with Ángela Molina in El País/Babelia, Madrid (4 Feb. 2006): 7–8.
“Muzeul privat în serviciul public” (Private Museum for Public Service). Interview with Marius Babias in IDEA artâ + societate # 18, 2004, Cluij, Rumania.
“The Museum as a Provocateur Pole.“ In CIMAM/ICOM newsletter (Spring 2003).
“Die Kunst, die wir sammeln ist prozess-orientiert und kritisch,” interview with Ursula Probst in Kunstforum, Bd. 167 (November–December 2003): 392–393.
“’Wenn der Walzer beginnt, können wir uns hinsetzen’. Anfänge der Medienkunst in Österreich.” In Parnass, Vienna 2001.
“Het Produceren can Collecties.“ In B-Sites, Brüssel 2000.
“Shortcuts Rosemarie Trockel.“ In Texte zur Kunst, 9. Jahrgang, Heft 35 (Sept. 1999).
“Die Skulptur des Sponsoring” interview with Marius Babias. In Jungle World, Berlin, Nr. 11 (March 1999).
“Privatmuseum mit öffentlichem Auftrag” Interview with Marius Babias. In Kunstforum, Bd. 145 (May–June 1999): 420–424.