The omnipresent power of attraction that emanates from artistic work is woven into a complex politic of viewing, accompanied by a considerable amount of temptation / danger of losing oneself in the objects. The transition from bait to the baited is fluid. But what is this pull, this allure to supposedly beautiful things, and what potential does it hold in the exhibition context or for the reception of topics oriented towards daily politics? Does an art production geared towards market-relevant luxury objects neglect its own potential? Does it take itself and its entanglements in the social context seriously? These are the questions Thomas Hitchcock addresses in the exhibition “luuuure” at the Wien Museum MUSA Startgalerie. The introductory scenario of the exhibition is dominated by the question of agency, which is situated between art production and contemplation and flows back into its environs.
Thomas Hitchcock (*1989, Austria) is a visual artist living and working in Vienna, although recent projects have led him to extended working periods in Lisbon and Berlin. Through his sculptural objects, he explores the multi-layered political implications of the involved gaze in stage-like settings. His works move at the intersection between artistic work and curatorial concept.