18 Aug - 20 Aug 2022 FM4 Frequency Festival Green Park 18 Aug - 14 Sep 2022 Klangwelle im Schlosspark Laxenburg Schloss Laxenburg 19 Aug 2022 Neustifter Kirtag Neustift im Walde 19 Aug - 21 Aug 2022 Linzer Krone Fest 2022 4020 Linz Was ist los in Wien? Was ist los in Wien? Zurück Zur Was ist los in Wien? Übersichtsseite Wien entdecken Sommerkino in Wien Insidertipps für Wien Fortgehen in Wien Essen gehen in Wien Ausstellungen in Wien Kabarett in Wien Theateraufführungen in Wien Flohmärkte Wien & NÖ Messen in Wien Neues aus Wien Wir lieben den Herbst in Wien ... Neuer Escape Room in Wien: Entkomme aus der U-Bahn! 10 Tipps für Schlechtwetter-Ausflüge in Wien mit Kindern Makery: Selberkochen in einem Restaurant? Was ist los in Österreich? Was ist los in Österreich? Zurück Zur Was ist los in Österreich? Übersichtsseite Österreich entdecken Was ist los in Graz? Was ist los in Niederösterreich? Was ist los in Oberösterreich? Was ist los in Salzburg? Was ist los in Innsbruck? Was ist los in Vorarlberg? Was ist los in der Steiermark? Was ist los in Kärnten? Was ist los im Burgenland? Nicht verpassen! 03 Aug - 08 Sep 2022 Daria Koltsova: Theory of Protection Künstlerhaus Wien 05 Aug - 11 Sep 2022 Andrea Lüth - Chimo Museum Krems 05 Aug - 24 Sep 2022 Elfie Semotan - All personal Fotohof 08 Aug - 17 Sep 2022 Metropolitain Art x Skulpturengarten Palais Auersperg Palais Auersperg Eventkalender Jetzt Event eintragen! Toggle menu Suche Kunstausstellung Olivia Coeln / Lenora de Barros Teilen Showtimes Vergangene Showtimes 14 May - 02 Jul 2022 10:00 - 18:00 Georg Kargl 14 May - 02 Jul 2022 In her new series Knot of Toads, Olivia Coeln offers us not piles of toads as suggested in the title, but similarly arranged clusters of psilocybin mushrooms, fused together, multi-headed and no longer identifiable as individual plant or fungi. Embedded in everyday ecologies, these allude to the potentials of imaging, imaginary spaces, and their social and material dimensions. Referring to ecologies in this context offers us a way to stop distinguishing between human influence and natural growth, and instead consider their mutual interplay. A popular meme over the past two years, which has haunted me and others on the various media platforms we use, depicts a man sitting in a little pond, who in posture and countenance resembles a Buddha statue. The bent knees, bare torso and head are visible above the surface of the water and simultaneously fill it, green plants dangle over the edge of the pond as well as over the man in the image, framing both, and assorted water features and decorative elements suggest a private space designed according to specific preferences. “Unbothered. Moisturized. Happy. In My Lane. Focused. Flourishing” reads the caption (borrowed from a slightly older, text-only tweet by someone else entirely). Before long, the inevitable iterations of the image substituted the thriving bather with other creatures in the water: reptiles, crocodiles on pool mattresses, fantasy creatures with glistening skin, each similarly adapted to their habitat in some unusual way and seemingly content therein. If we think of this habitat as a fungal network where human and non-human actors participate in an exchange of nutrients, knowledge and resources, we challenge both the image of nature as a passive, mechanical backdrop for human activity, as well as the idea of the human actor in front of this backdrop. This actor, whose familiarity with non-human agents extends only to the ways they have enabled him to have experiences he desires – i.e. ayahuasca rituals, as opposed to the limits of his abilities – was recently confronted with the global spread of a virus to which his highly conscious body was as susceptible as anyone else’s, a reality that not all breath practitioners and asana healers have overcome. The special bodies of the influencers, which always seemed to need food from the other side of the world in order to be detoxified and at full potential, well-regulated and self-determined, turned out to be fanciful monads, the kind that wanted to thrive primarily as individuals. Whereas the meme, its list of priorities, but also the fungal cultures in Olivia Coeln’s photographs thrive in interstitial spaces, alongside others, evolving in an environment which depends on them, and they on it.