- Pop-Up
Funkhaus Pop-UpWe’re inviting artists, designers & creatives—from editions, fashion, ceramics to books & objects—to join our curated pop-up at Funkhaus on Dec 6 + 7, 2025.
The program includes a performance by Luca Bonamore and Paul Winkler as well as a curated food-popup & magazine release by POPCHOP.
Free Entry
Archived
- TalkCurators Talk: Yvannoé Kruger (Director of POUSH, Paris)
- PerformancesPOUSH × NeverAtHome
- PerformancesVienna Contemporary – Martina De Dominicis1/10
- ConcertSch:icht1/9
- ExhibitionInternational Residency – Elián Stolarsky1/4
- ExhibitionInternational Residency – Elena Rocabert1/9
- ExhibitionMy Body Is A Temple1/9
- ExhibitionInternational Residency – Arvida Byström1/5
- ExhibitionResonances – Exhibition1/7
- PerformancesResonances – Performances1/6
- ExhibitionIn-House Artist1/2
- ConcertKantarion Sound – Listening Session1/5
- ExhibitionKlima Biennale 20241/4
- ExhibitionA Cooperation with Kyiv Biennale 20231/6
- ExhibitionTransgression – Focus Days on Art & Crime1/9
- ExhibitionOpen Studio Days 20231/7
- ExhibitionInvisible Obvious / FILL1/4
- ExhibitionParallel Vienna – MEGAWORLD.XYZ1/2
- ExhibitionParallel Vienna – Sculpture garden1/5
- ExhibitionAn der schönen blauen Donau1/4
- ExhibitionUniversity of Applied Arts Vienna – Get It While You Can!1/3
- ExhibitionUniversity of Applied Arts Vienna – STONES IN A GLASS HOUSE1/3
- WorkshopNeverAtHome Kulturfestival 20221/5
POUSH (founded 2020) combines an art center with 270+ studios for artists from 30+ countries, based in Aubervilliers and expanding in late 2025 to Parc des Portes de Paris as an “archipelago” across Seine-Saint-Denis. Under Kruger’s direction, POUSH operates as a production site and experimental curatorial platform with public programming, mentorship, and support.
In dialogue with NeverAtHome’s practice of transforming vacant buildings into temporary sites for artistic production and dialogue, the conversation explores frameworks that enable exchange, collective creation, and shared learning.
Performance: Félix Touzalin, 16:00–20:00 (durational, drop-in/drop-out possible)
“Ecstatic Measure” explores a single movement repeated over four hours to Erik Satie’s Vexations (840 iterations of a 16-bar score), opening an experience of expanded time and transformed perception. The performer is gradually wrapped in aluminum strips, an embodied echo of the piano’s absent yet central strings. Presented as a homage on Satie’s death anniversary.
Curators Talk: Yvannoé Kruger (Director of POUSH, Paris), 20:00
The talk between Vera Grillmaier (NeverAtHome) and Yvannoé Kruger (POUSH) addresses site-specific curation and the structure of independent art spaces in Europe. POUSH (founded 2020) combines an art center with 270+ studios for artists from 30+ countries, based in Aubervilliers and expanding in late 2025 to Parc des Portes de Paris as an “archipelago” across Seine-Saint-Denis. Under Kruger’s direction, POUSH operates as a production site and experimental curatorial platform with public programming, mentorship, and support.
In dialogue with NeverAtHome’s practice of transforming vacant buildings into temporary sites for artistic production and dialogue, the conversation explores frameworks that enable exchange, collective creation, and shared learning.
Funkhaus, Argentinierstraße 30A, 1040 Vienna
RSVP: welcome@never-at-home.at
Special thanks to MA7 City of Vienna, Cultural Affairs for their support.
As part of this year’s edition of viennacontemporary, NeverAtHome presented a performance by Martina De Dominicis at the Funkhaus, Vienna. In Latente Minus, De Dominicis continued her recent work Latente, delving deeper into the materiality of absence and unfolding a spectral liturgy haunted by echoes of vanished gestures and unfinished caresses. The body extended across centuries, summoning ghostly presences from multiple pasts and unborn futures. Within the Funkhaus—an architecture dense with transmissions and histories—the performance became a site-specific ritual, the space itself transformed into an altar of frequencies. Martina De Dominicis is a Vienna-based performer and choreographer whose practice explores the tension between the somatic and the formal. Treating performance as a porous space, she allows memory, historical echoes, and intimacy to surface through movement. Trained as a neoclassical dancer, she has performed with Veza Maria Fernandez, Michikazu Matsune, Reut Shemesh, Cocoondance, and Alexander Gottfarb. Her recent work Latente was presented in the 8:tension series at ImPulsTanz 2025.
Im Rahmen der Wiener Festwochen lud NeverAtHome das Projekt sch:cht zu einer gemeinsamen Erkundung künstlerischer Zwischenräume ein. Im Zentrum stand die Frage, wie Vergänglichkeit das Kollektive und unsere Formen des Begegnens beeinflusst. Residents von NeverAtHome gaben in Studioses-
sions Einblick in ihre Arbeitsprozesse, während die Ausstellung My Body Is A Temple postnatürliche Körperbilder im digitalen Zeitalter verhandelte. In der Festivalzentrale eröffnete ELIS NOA mit eindringlichen Songs über das Bleiben und Loslassen. Farce dekonstruiert anschließend die Grenzen von Hyperpop und Elektronik, bevor DJ Ebhardy den Resonanzraum der Nacht gestaltete. No Love Lost blieb das unausgesprochene Versprechen – eine Annäherung an das Flüchtige in Musik, Kunst und Raum.
Performances by:
ELSA, Teresa Rotschopf, Michael Stark, ELIS NOA, FARCE, Paul Ebhart
As part of NeverAtHome’s International Residency Programme, Elián Stolarsky (b. Montevideo, 1990) spent four weeks at the Funkhaus, Vienna. Selected
through the programme’s first public Open Call, her residency culminated in a public presentation, featuring a studio visit and artist talk on the work develo-
ped during her stay. Elián Stolarsky is a visual artist whose work explores the intersections of memory, migration, and inherited trauma. Rooted in installation, printmaking, and digital media, her practice reinterprets archival materials to build poetic narratives that confront the silent echoes of historical violence. In 2018, she became the youngest artist to hold a solo exhibition at Uruguay’s
National Museum of Visual Arts.
We extend our sincere thanks to the jury: Heike Eipeldauer (Curator, mumok), Günther Oberhollenzer (Artistic Director, Künstlerhaus), Eva Maria Stadler (Pro-
fessor, University of Applied Arts Vienna), and Karin Sorger (SHE KNOWS).
In June 2025, Elena Rocabert (b. Madrid, 1994) developed an installation inside the ceramic studio of the Funkhaus, Vienna. The intervention was curated by and developed in dialogue with Carmen Lael Hines. Throughout her residency, Rocabert undertook a close reading of the building and its acoustic infrastructure, engaging with histories of espionage, surveillance, and the technical mechanics of sound transmission. The resulting work is a spatial gesture that materializes the building’s dense and often hidden media history. At the heart of the installation are radio antennas—relics of surveillance and information control—sourced from digital marketplaces. These objects bridge historical and contemporary systems of communication, invoking a quiet dystopia in their obsolescence. During her four-week stay, Rocabert was provided with studio and living space in Vienna, where she conducted site specific research into the building’s layered histories of sound, communication, and material transformation. The residency supported both artistic production and cross-cultural dialogue, culminating in a public presentation at the Funkhaus.
My Body Is A Temple was an exhibition conceived at the intersection of arts and critical technology studies. Works by Arvida Byström (Stockholm), 2050+ (Milan), and the Institute for Postnatural Studies (Madrid) took histories of biomedical visualization as a broad starting point to propose speculative visions of how technology shapes visual and spatial conceptions of internal bodies. In this exhibition, three bodies were entered via three installations. These bodies were not necessarily fully human, nor necessarily related to internal medicine as a science. Each work, conceived in response to the architectural design of the Funkhaus, explored speculative and critical views on the technologized-flesh continuum. Binaries designating human/machine/animal were dissolved, and internal flesh was understood as something technologically rendered and expanded through speculative spatial experimentation Explored topics included automated sex doll organs, whale sounds, and synthetic meat production.
All artists were present for talks, Arvida Byström held a four-week residency in our space ahead of the show, and the program concluded with a workshop by curator Carmen Lael Hines, writer and researcher based in Madrid/Vienna, curator at The Ryder Projects, guest lecturer at CuratorLab (Konstfack, Stockholm), and PhD candidate at the Academy of Fine Arts, Vienna. In collaboration with Vienna Festival (Wiener Festwochen), with the support of Vienna Business Agency, Embajada de España, and Istituto Italiano di Cultura.
As part of NeverAtHome’s International Residency Programme, Arvida Byström (b. 1991, Stockholm) spent four weeks in Vienna in May 2025. Her residency culminated in the presentation of new work as part of the exhibition My Body Is A Temple. Byström is a digital native with an intrinsic relationship to pink. Her practice examines the internet’s social, aesthetic, and commercial implications, employing a hyper-feminine visual language to question ideals of beauty, gender, and authenticity. Working across photography, performance, and sculpture, she constructs worlds that merge intimacy and artifice, resistance and play. Previously based in London and Los Angeles, Byström now lives in Paris, and her work has been shown internationally, including at the V&A, Tate, and otherinstitutions worldwide. Arvida was invited by Carmen Lael Hines through her curatorial work with the NeverAtHome Residency, a part of her ongoing commitment to supporting artists and collectives working at the intersection of art and technology.
Sound is not merely ephemeral - it is in constant interaction with its surroundings, engaging in an ongoing exchange between material and immaterial dimensions, thereby leaving perceptible traces. The exhibition Resonances described the interplay of sound, space, time and body. It explored its textures, the way it transformed into movement and physical experience. Here, sound became both material and memory. Archival recordings gathered with contemporary perspectives, creating a dialogue between past, present and future. The direct encounter of these works reflected the variety of approaches to the shifting role of sound as a medium—how it shaped and was shaped by the places it inhabited.
Participating artists:
Attila Manfredi (International Resident April), Elisabeth Molin, Francesca Romana Audretsch, Hyeji Nam, Jiun-You Ou, Miriam Stoney, Paul Ebhart, Friedrich Engl and Ursula Gaisbauer (MINING Kollektiv),
Karo Preuschl and Tony Wagner (Tender Matter)
Curated by Clara Grillmaier (NeverAtHome), Vera Grillmaier (NeverAtHome), Anaïs Nyffeler, Sara Karimi and Melissa Antunes de Menezes
Supported by BMKÖS, Kulturbezirk Wieden & MA7 Kultur
As part of the exhibition program and as a further means of cultural mediation, a performance program was realized. It expanded Resonances through live works and discussion. The performances took place on two occasions, during the opening and on a designated performance day, and were free and open to the public.
Participating performers:
Francesca Romana Audretsch — DORMIVEGLIA
Elisabeth Molin — Some Seams, or so, Crows
Miriam Stoney — Serve Us, Vienna
Alireza Khosroabadi and Sara Karimi with Lotti Müller
and Bita Bell — Marriage of Immigrant Artist’s Parents
Tony Wagner — Electric Violin
With the move into the Funkhaus, NeverAtHome has significantly expanded its community, hosting over 100 artists from more than 15 countries. The exhibition
Funkhaus Residents presented a selection of artistic practices currently active within the building. The exhibition highlighted the diversity of material and conceptual approaches shaping contemporary young art, featuring works in cast glass, hand-tufted textiles, latex, oil painting, and video collage. Together, these works revealed the tactile and experimental richness defining the creative activity within the Funkhaus. The exhibition was curated and produced by the NeverAtHome team, accompanied by studio tours that offered visitors insight into the full creative range present at the Funkhaus, including musicians, designers, photographers, and composers.
Participating artists:
Beáta Hechtová, Carmen Thomas, Egor Lovki, Helen Ifeagwu, Isabella Andrea Pacher, Zula Tuvshinbat, Mariya Vasilyeva, Natalia Domínguez Rangel, Polina Sokolova, Spencer Chalk-Levy, Natalia Bakula, Gabriel Rózsa, Irene Hopfgartner
Once a broadcasting center, the Funkhaus was designed with sound in mind, its architecture built to capture, contain, and transmit audio. The hum of live broadcasts once filled its rooms, and even now, the walls carry the resonance of collective listening. In January 2025, Kantarion reimagined these in-between spaces, foyers, stairways, and hallways, transforming areas of passage into places to pause and listen. Their four-way sound system stretched across three floors, creating a fluid installation that invited both movement and stillness. Visitors could drift through the building, catching fragments of sound, or linger as music gathered around them. The evening featured music by Andrea Ida, Little Star, Mitra (live), Tonedeaf, and Thesosung, curated by Paul Ebhart and Kantarion Sound. The event formed part of NeverAtHome’s ongoing programme exploring sound, architecture, and collective experience.
The exhibition "All surfaces clean at all times" opened on June 19, 2024, in a vacant building in Vienna’s 16th district, at Römergasse 57.
The interdisciplinary exhibition explored the moral and political assumptions attached to hygiene, cleanliness, and sterility as communicated through architecture and design. Taking the basement of a currently vacant building as both site and subject, All surfaces clean at all times used the exhibition format to reflect on how spaces are “imagined” through design and how notions of clean and dirty are inscribed in the built environment. Through a series of site-sensitive works, the project examined the binary logic of purity and contamination, order and disorder, maintenance and decay.
The exhibition presented works by The Institute for Postnatural Studies, Maximilian Seegert, Janina Weißengruber, The Dusts Institute, Diskursiv, Thomas Waidhofer, Studio z00, and Michael Stark. It was curated by Clara Grillmaier, Carmen Lael Hines, and Stefan Perez Altenriederer, produced by Nina Zips, with music by Titi Calor, graphic design by Liza Borovskaya–Brodskaya and Stefanie Wurnitsch, and riso printing by Vieprint Coop.
A food concept by Studio z00 accompanied the opening, featuring ceramic pieces by Vera Grillmaier and Stefan Zeisler. The exhibition took place in collaboration with the Klima Biennale Wien and with the support of WohnArt. Additional support came from MA7 Stadt Wien and Kulturbezirk Ottakring. Further partners included Das Weisse Haus, Super Cattivo, Schremser Bier, Andert-Wein, and Weingut Strohschneider.
The fifth edition of the Kyiv Biennale took place in 2023 as an international solidarity project in Kyiv, Ivano-Frankivsk, Uzhhorod, Berlin, Warsaw, Lublin, Ant-
werp, and Vienna. The Biennale in Vienna presented works by over 60 artists at multiple locations throughout the city, including Augarten Contemporary, NeverAtHome, and Neuer Kunstverein Wien. The Vienna exhibition was curated by Serge Klymko (Visual Culture Research Center, Kyiv), Hedwig Saxenhuber, and Georg Schöllhammer, with a solidarity contribution from the tranzit.org network.
Participating artists:
Anton Shebetko, Kateryna Lysovenko, Cockerel, Nicole Six & Paul Petritsch, Ksenia Hnylytska, Ashley Hans Scheirl, Bogdan Tomashevsky, Abdul Sharif
Oluwafemi Baruwa The Laundry Collective, Vladislav Plisetskyi, Alina Kleytman, Yarema Malashchuk and Roman Khimei
The exhibition brought together over 18 local and in-ternational artists who explored the connection between art and crime. Some works looked beyond law,
order, and transgression. Others engaged with topics such as current environmental challenges, while a few proposals provided evidence of public historical events - social, political crimes. On the 22nd of September, NeverAtHome opened the floor for discussion and invited speakers who, among
the aforementioned themes, dealt with authenticity and frauds that could be considered ‘art crimes’. The guests, including Andrea Jungmann (Sotheby's), Constanza Trofainer (Belvedere), and Thomas Höhne (Maur & Partner Rechtsanwälte), brought their unique perspectives to this discussion. The curators of this exhibition were Vera & Clara Grillmaier, Nyusta Ruckendorfer, and Nina Zips. The exhibition was supported by funding from the city of Vienna and was created in collaboration with 'museum in progress'.
Participating artists:
Anetta Fitz, Brooklyn J. Pakathi, Christian Robert-Tissot, Christoph Schlingensief, Fabian Knecht, Josepha Edbauer, Kata Oelschlägel, Mischa Leinkauf, Nan Goldin, Nancy Spero, Pablo Chiereghin, Sanja Iveković, Šejla Kamerić, Susan Schuppli, Ulrich Formann, Xenia Snapiro
The Open Studio Days gave visitors the opportunity to gain an insight into the workspaces of in-house artists. They had the opportunity to enter into a di-
alog with the artists, ask questions and learn more about their processes, techniques and inspirations. Throughout this five-day event, a total of over 40 studios were open for viewing. Additionally, a selection of the works created in-house was displayed in the exhibition halls.
The exhibition "Invisible Obvious" offered a photographic reflection on the concept of (in)transparency in urban systems. The space itself served a distinct purpose, highlighting the curatorial focus on vacant buildings. In addition to examining the demolition and vacancy of real estate and their implications for the city and sustainability, the handling of resources in personal and urban contexts was also explored. In the concurrently held exhibition "FILL," an in-
stallative "Painting Object" by Robert Pawliczek was presented, expanding the dialogue on vacancy on an associative-abstract level. The curators of this exhibition were Vera & Clara Grillmaier from the NeverAtHome team.
Invisible Obvious / FILL
Participating artists:
Alessandro Albrecht
Mafalda Rakoš
Kurt Prinz
Zara Pfeifer
Robert Pawliczek
NeverAtHome rethinks the concept of display. The project does not operate in whitecubes, but transforms vacant properties into spaces for artistic creation and discussion. Through a collaboration with MEGAWORLD.XYZ, the available space at Parallel Vienna 2022 was extended virtually. Following the concept of the MEGAWORLD.XYZ FESTIVAL, which combines green screen and 360° streaming, a group of selected artists experimented in the extended
digital space. NeverAtHome displayed analog works by Julian Lee-Harather, Albin Bergström, and Alina Sokolova. They were also present in the digital space created by MEGAWORLD.XYZ, thus breaking the boundary between virtual reality and reality.
With digital works by:
Ganaël Dumreicher
Rudolf Fröch
Aaron Nora Scherer
Julian Lee-Harather
Hanna Besenhard
Paul Janisch
Ruben Stadler
NeverAtHome and Parallel Vienna presented sculptures in the garden of Palais Auersperg in Vienna in the summer of 2022. The historical background of the palace was disrupted by contemporary positions, opening up a contrasting dialogue. Special emphasis was placed on involving both young and established local artists. Cooperation with Parallel Vienna 2/2
Participating artists:
Julia Belova
Judith Fegerl
Eva Schlegel
Esther Stocker
Anna Paul
Alessandro Albrecht
Adrian Hall
The exhibition was curated by Cameron Ugbodu, Tonica Hunter and Darryl Oswald. NeverAtHome was responsible for the production and public relations of the exhibition and also provided the exhibition space free of charge. „The exhibition AN DER SCHÖNEN BLAUEN DONAU showcases Vienna-based artists inspired by the ubiquitous presence of the Danube River. The Danube is the leitmotif of this show and runs through the works and highlights the artists’ plight for unapologetic, unfiltered, unmitigated expression.“ - Tonica Hunter
Participating artists:
Cameron Ugbodu, Darryl Oswald, Tyron Egbowon,
Belinda Kazeem-Kaminski, Jojo Gronostay,
Helen Ifeaqwu, Eric Asamoah, Lauréne Southe,
Adrian Hall, Daliah Touré, VitoZoé,
The exhibition 'Get It While You Can!' presented collaborative works by students of the class for Transmedia Art / Jakob Lena Knebl. With a focus on current, personal, and global crises, they were invited to question the underlying sense of urgency as a form of psychological, market-related, and interpersonal interaction with reality. The curation of the exhibition was undertaken by the students of the class, while NeverAtHome handled the production and press work for the exhibition.
Participating artists:
Aaron Amar Bhamra, Vito Baumüller, Maria Belova, Julius Biswurm, Juliana Nozomi, Luca Büchler, Ganaël Dumreicher, Francesca Centonze, Patrícia Chamrazová, Kirils Ēcis, Aleksandar Gabrovski, Sarah Glück, Eliška Jahelková, Elias Jocher, Marlena Jonane, Sjeng Kessels, Isolar Mesec, Kashi Meyer, Anna Mutschlechner-Dean, Jona Lingitz, Jaiyun Lee, Shahrzad Nazarpour, Kristina Deska Nikolić, Brooklyn J. Pakathi, Simon Popp, Marlene Posch, Sara Röth, Felix Schellhorn, Michi Schmidl, Marlene Stahl, Daniel Stolzlederer, Iris Writze
The students of the photography class under the direction of Gabriele Rothemann presented STONES IN A GLASS HOUSE at NeverAtHome as part of Foto Wien 2022. Before the opening of the exhibition, the association collaborated closely with the curatorial team of the university to implement a comprehensive redesign of the premises. This included the temporary covering of the windows facing the street and a redesign of the interior.
Participating artists:
Tamina Balthasar Almasy, Sami Ciftci, Sebastian Karim Eder, Jennifer Fasching, Adriana Finghis, Felix Frühauf, Caroline
Haberl, Philipp Hölzgen, Tobias Izso, Kaja Clara Joo, Noah Kolb, Paula Kreuzer, Fritz Lichtenwagner, Johnny Linder, Louise Valeria Lotzing, Isabella Pacher, Ismael Picker-Schiebel, Roman Prostejovsky, Julia Reichmayr, Gabriel Rozsa, Anna Carina Roth, Sama Saadatfard, Jahan Saber-Zaimian, Ludovico Scalmani,
As part of the Kulturfestival 2022, art and culture enthusiasts were given the opportunity to experience NeverAtHome in person, connect with the community, and discuss the value of creative spaces and the activation of vacant properties. The program for this three-day event was curated by the NeverAtHome team.
Panel discussion: "Relevance of vacan-
cy activation" with Angela Stief (Albertina Modern), Veronica Kaup-Hasler (Stadt Wien) und Ulrich Fries (Kreative Räume). A discussion about initiatives that connect artistic creation, theoretical discourse, art management, and exhibition practices. The focus was primarily on the relationship with major institutions and political conditions.
Exhibition: „CONS U ME“
An exhibition curated by Sydney Ogidan (Helmuts
Art Club) Workshop: "Darkroom & film develop- ment" This workshop introduced the basics of analog photography.