Klimt painting in Vienna attacked by climate activists

Building design
Climate activists poured a black, oily liquid over Gustav Klimt's painting "Death and Life" in Vienna's Leopold Museum yesterday. Photo: Still AFP Vienna / YouTube

Climate activists poured a black, oily liquid over Gustav Klimt's painting "Death and Life" in Vienna's Leopold Museum yesterday. Photo: Still AFP Vienna / YouTube

Since October 2022, climate activists have been attacking famous works of art in European museums. Yesterday, the painting “Death and Life” by Gustav Klimt in Vienna’s Leopold Museum was hit. The Austrian Museums Association responded with an open letter to the activists

Since October 2022, climate activists have been attacking famous works of art in European museums. Yesterday, the painting “Death and Life” by Gustav Klimt in Vienna’s Leopold Museum was hit. The Austrian Museums Association responded with an open letter to the activists

The climate activists of the “Last Generation” have been making headlines for weeks: They are not only sticking themselves to the pavement, but also to painting frames of prominent works of art in European museums. Following various attacks, such as on Vincent van Gogh’s “Sunflowers” (National Gallery, London), Johannes Vermeer’s “Girl with a Pearl Earring” (1665/1667) in the Dutch art museum Mauritshuis or Claude Monet’s “Grainstack” (1890, Museum Barberini, Potsdam), a major work by Gustav Klimt became the target of so-called climate activists yesterday: Two men threw a black liquid at the glass-protected painting “Death and Life” in Vienna’s Leopold Museum. One of the activists then stuck his hand to the glass covering the painting.

Protected with glass: The painting “Death and Life” by Gustav Klimt

“Fortunately, the artwork was not damaged,” explained Hans-Peter Wipplinger, Director of the Leopold Museum in Vienna since 2015, immediately after the attack. The restoration team gave the all-clear for damage to the artwork and Josef Hoffmann’s original frame after an initial assessment. However, the damage to the glass and the safety framing as well as to the wall and floor was evident and considerable. The activists will have to bear the costs of cleaning and the deployment of the police, among others – a five-figure sum is to be expected.

Museums safeguard cultural heritage for future generations

“The concerns of climate activists such as those of the ‘Last Generation’ are justified, but attacking works of art is definitely the wrong way to achieve the desired goal of preventing the predicted climate collapse,” continues museum director Hans-Peter Wipplinger. “Museums are preserving institutions and in this sense are a prime example of sustainability. Art creates identity; preserving, restoring, documenting and presenting art to an art-loving public is one of the essential tasks of museum institutions, which we are passionate about. Museums are places of encounter and discourse in order to communicate cultural heritage and safeguard it for future generations.”

With this oil attack, the activists are referring to the sponsor, the Austrian oil and gas company OMV, which yesterday supported an open day with free entry on the occasion of Leopoldi Day. “People who are still exploring and drilling for new oil and gas have blood on their hands – you can’t wash that off with sponsorship,” the activists explain on Twitter. “We’ve known about the problem for 50 years, we have to finally act, otherwise the planet will be destroyed,” the two men shouted during their action. “Stop the fossil destruction. We are racing into a climate hell.”

Emergency plan for the worst-case scenario

Despite stricter controls – for example, bags must be handed in at the Leopold Museum – the climate activists smuggled the liquid into the museum in a hot water bottle under their clothes. However, they had already rehearsed for an emergency, as Hans-Peter Wipplinger explained in an interview with the Viennese daily newspaper “Standard” yesterday: “We have had increased security in the halls for some time, and fortunately a supervisor was standing three meters away and intervened immediately. Everything then proceeded according to our emergency plan: We evacuated the hall first, then called the police and the paramedics, then the restoration team. I was then informed. We went through the emergency plan several times to avoid initial damage.” There was also an emergency kit on each floor. “We couldn’t glaze the damaged painting itself because it is an old, original Josef Hoffmann frame that was used by Klimt and still has traces of Klimt’s paint,” explains Hans-Peter Wipplinger. “That’s why we installed this glass, which weighs hundreds of kilograms, almost bulletproof glass. That was a good investment.”

An open letter to the climate activists of the “last generation”

The Austrian Museums Association has now addressed an open letter to the members of the “last generation”: Museums are available as discussion and cooperation partners for climate protection concerns and strive to “make an effective public contribution to the discourse on changes to our planet and our livelihoods caused by human intervention and their negative effects on the climate, nature and their diversity”. At the same time, the Austrian Museums Association appealed to climate activists to refrain from doing anything “that endangers the preservation of our natural and cultural heritage and the role of museums as a place of education and learning”. Visitors should also be able to visit museums in the future “without major access restrictions and without general suspicion”.

ICOM also condemns the action due to the risk of damage

The Austrian National Committee of the International Council of Museums, ICOM-Austria, also condemned the action “in the strongest terms” due to the risk of damage: “Museums are places of dialog where socio-political issues are negotiated. However, the current impression is that the protest actions are primarily using the resonance space of museums to generate maximum attention”. Museums would generally support the concerns of the climate movement. ICOM is also asking for talks “to put what we have in common before what divides us”.

Yesterday, climate activists attacked a painting by Gustav Klimt in Vienna’s Leopold Museum with oil. You can see the attack by the “Last Generation” group, which is also active in Germany, in the video:

Last week, two activists from the “Last Generation” group glued themselves to a plinth in the Dinosaur Hall at the Natural History Museum (NHM) in Vienna. They were protesting “against the Austrian federal government’s fossil-fuel policy”. Activists had already wanted to stick themselves to the Natural History Museum in September, but were prevented from doing so.

Read more about art and vandalism: The marble statue of Michelangelo’s “David” in front of the Palazzo Vecchio in Florence was severely damaged on March 6, 2022, the birthday of the famous Italian artist. The restoration of the burn marks on the replica (Luigi Arrighetti, 1910) is expected to cost 15,000 euros.

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Building design
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The 2019 ASLA conference questioned US identity in troubled times. A Congressional Report The term “elephant in the room” has a nice double meaning. On the one hand, it describes something important that is known to everyone but not explicitly addressed. On the other hand, it also describes a huge, trampled something that can dismantle given structures without much sensitivity. In this […]

The 2019 ASLA conference questioned US identity in troubled times. A conference report

The term “elephant in the room” has a nice double meaning. On the one hand, it describes something important that is known to everyone but not explicitly addressed. On the other hand, however, it also describes a huge hitchhiking something that can dismantle given structures without much sensitivity. In this ambiguity, the current US President Trump was precisely the elephant at this year’s annual conference of the ASLA, the American Society of Landscape Architects, in San Diego. There was little explicit mention of The Donald and his sometimes elephantine policies. But their consequences for the American present played an implicit role again and again.

Of course, this applied most directly to the many panels and presentations dealing with the consequences of climate change. The environmental politician and researcher Gina McCarthy laid the atmospheric foundation for this, so to speak. In her rhetorically brilliant presentation, she made it clear that the Obama administration has launched many concrete legislative initiatives. Not all of these have yet been revised – and it is unlikely that they can all be withdrawn. “The train is running”, was her ultimately optimistic message. The audience acknowledged this with standing ovations, but as a fact-oriented European, it took some getting used to McCarthy’s mass preaching style.

A kind of moderate basic ecological optimism almost inevitably emanates from events such as the ASLA conference, because they deal with concrete steps towards improvement. One field session, for example, presented the regeneration of the San Diego River ecosystem. Other panels presented solutions for areas in the hot and dry southwest of the USA, some of which are becoming uninhabitable due to global warming, or landscape architecture approaches for better air quality. The impression is that landscape architecture is aware of its responsibility and accepts it even in a harsh political climate.

However, this political and social climate also played another role. Many discussions addressed the identity-shaping and negotiating role of spatial planning. The USA (and not only the USA) appears today as a country in search of its “identity”. There is a kind of existential insecurity in society as a whole. The space in which we live can take on an orientation function – for entire societies, for smaller cultural units, but also for individuals and their immediate social environment. In this context, a panel on US post-war squares was very exciting.

The head of the “Parks Conservancy” of the city of Pittsburgh presented the careful redesign of Mellow Square in Pittsburgh. Ken Smith, a well-known landscape architect in the USA, presented three different redesigns from New York and San Francisco, including the outdoor space in front of Mies van der Rohe’s iconic Seagram Building in Manhattan. It was clear from all the plaza projects presented that US-American collective memory is being negotiated here. Post-war modernism was formative for US culture – and must be treated with corresponding care. “It’s about spatial integrity, but also historical integrity,” says Charles Birnbaum, head of the Cultural Landscape Foundation.

The elephant “La Frontera”

The question naturally arises as to who ascribes integrity or to whom it applies. After all, the idea of society as a homogeneous unit is disintegrating, and not just in the USA. Accordingly, it is important to unite different perspectives in landscape planning or at least allow them to have their say. Allowing heterogeneity was the overarching theme of many panels. “Landscapes with an edge” could be created, was the tenor of a discussion on the importance of subculture in planning. “Allow provocation, create spaces for subversion”, was the plea of planner and podcaster Michael Todoran (he runs the podcast “LArchitect”). The question is where subculture, where provocation ends and where mere commercialization begins. Whether, for example, the eScooters that are also filling the streets in the USA can be considered a subculture, as suggested in the panel, is open to debate.

Nevertheless, the cultural sensitivity of this year’s ASLA conference was high. However, one culturally charged topic that would have been obvious given the San Diego venue was unfortunately largely left out: Mexico and the planning challenge of the border. A (quickly booked out) field trip to Tijuana did take place. But the border was hardly mentioned in the content panels. And this despite the fact that the new ASLA President Wendy Miller told Garten + Landschaft in an interview that the planners had the planning dimensions of “La Frontera” in mind (you can read the interview in full at www.topos-magazine.com). But perhaps that border also represents a kind of elephant in the mental room of US culture. It’s there, it’s huge, but it’s being hidden as much as possible.

Big Stuff community launches webinar series

Building design
The machine hall at the Zollern colliery in Dortmund was renovated over a period of nine years. Photo: Wikimedia Commons/Rainer Halama

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On April 12, 2021, the first webinar of the Big Stuff community for technology preservation starts. Big Stuff restorer Eva Wentland will introduce the topic of coatings for industrial heritage The Big Stuff community for technology preservation is launching a series of webinars. The community brings together people from different backgrounds to share their knowledge and passion for the preservation of […]

On April 12, 2021, the first webinar of the Big Stuff community for technology preservation will begin. Big Stuff restorer Eva Wentland will introduce the topic of coatings for industrial heritage

The Big Stuff community for technology preservation is launching a series of webinars. The community brings together people from diverse backgrounds to share their knowledge and passion for big tech preservation. Big tech heritage is valued, recognized and preserved as an asset that promotes well-being, generates economic value and supports community cohesion and growth. Big Stuff encourages interdisciplinary and cross-group thinking and action and welcomes ideas from academics, professionals, volunteers and private owners. While the core areas include material conservation and science, engineering, mechanical crafts, curatorial studies, architecture and urban planning, Big Stuff also welcomes the inclusion of people and ideas from other disciplines and communities.

The first of two webinars per year will start on April 12 at 1:00 pm. To kick off this first seminar, Eva Wentland, an aspiring Big Stuff conservator, will introduce the controversial topic of coatings for industrial heritage, with a focus on heritage exposed outdoors. The basis for this session is the goal of preserving historic coatings as primary sources of information and connection, either visibly through the use of transparent coatings or invisibly by overcoating with pigmented systems – all while providing corrosion protection.

As always, there is never one right way, especially in heritage conservation, where we always have to develop individual solutions for each property. However, we can learn from past case studies and from the behavior and (in)stability of the materials that are applied to objects for conservation purposes. The aim is to exchange experiences: Which coatings are used? How can their performance be assessed after long-term exposure? How costly are subsequent maintenance measures, and are they even possible?

Registration

These webinars are designed to get interested parties talking. Short presentations introduce the current topic of the webinar. Participants then have the opportunity to share their thoughts and experiences. The webinar is open to all interested parties. To participate, please register here using the contact form. The language is English.