Fotoeins Fotografie

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Posts tagged ‘sculpture’

Vienna Votive: “Infinity of Light” by Billi Thanner

By definition, a “votive” is an object offered in fulfillment of a solemn promise.

Having survived an assassination attempt in 1853, Austria’s Emperor Franz Joseph promised to construct a church in gratitude. That’s how Vienna’s Votive Church came to be in 1879 with the design by first-time architect Heinrich Ferstel.


Suspended Infinity

In mid-December 2025, Austrian artist Billi Thanner unveiled her light sculpture, “Unendlichkeit des Lichtes” (Infinity of Light), placed between the two towers of the Votive Church. The art work is a 28- by 6-metre aluminum loop weighing 800 kilograms, and includes almost 5000 lights. The sculpture wraps around both towers in a figure-eight; but sitting on its side, the visual is also the mathematical symbol for infinity (∞).

The significance for the number 8 is its representation of the time taken by light to travel from the Sun to the Earth. As for “infinity”, Thanner explains:

Licht ist fĂĽr mich das Leben. Und irgendwann kam der Impuls: die Unendlichkeit im Licht sichtbar machen. Nicht abstrakt, sondern real im Stadtraum — zwischen den beiden TĂĽrmen dieser Kirche

Light is life itself. The impulse came to me at some point: to make infinity visible in the light. Not in its abstract nature, but something real in the urban space — between the two towers of this church.)

What’s a little unusual is that this sculpture and its installation have been financed entirely through private sources: no public money and no church donations. Thanner also waived her commission fee, essentially making this years-long project one out of total independence and personal dedication.

While the sculpture’s attachment to a church building makes a direct association with religion or spirituality, I feel there’s something simpler and more fundamental. Billi Thanner’s sculpture reminds us to do better for and to be better with each other as people. That’s in part a promise I made after accompanying my parents to the end. I’m inspired by Thanner’s light to try a little more with every passing day, despite spectacular failure and disappointment.

The light sculpture will remain in place until May 2027.

Infinity of Light, Billi Thanner, Votivkirche, 9. Bezirk, Alsergrund, Wien, Vienna, Austria, Ă–sterreich, fotoeins.com

Votive Church from Sigmund-Freud-Park, 28 Jun 2026; image corrected for geometric distortion.

Infinity of Light, Billi Thanner, Votivkirche, 9. Bezirk, Alsergrund, Wien, Vienna, Austria, Ă–sterreich, fotoeins.com

Votive Church from Sigmund-Freud-Park, 18 Jul 2026.

7.5 minutes: light-display recorded 18 Jul 2026. The dynamic display appears to occur at the top of every hour at night, but I didn’t go out to check past midnight (heh).

Für mich war diese Skulptur nie nur eine Lichtinstallation. Sie ist eine Möglichkeit, Menschen für einen Moment an Hoffnung, Freude und ihre Verbundenheit zu erinnern. Gerade in einer Zeit, in der vieles trennt, kann Kunst Räume öffnen, die Menschen wieder miteinander in Verbindung bringen.

For me, this sculpture was never just a light installation. It’s a way to remind people, if only for a moment, of hope, joy, and their close connections. In these divisive times, art can open spaces that bring people together again.

– Billi Thanner.


I received neither pre-visit support nor post-visit compensation fot this entry. I made all media above on 28 June and 18 July 2026 with an iPhone15. This post appears on Fotoeins Fotografie at fotoeins DOT com as https://wp.me/p1BIdT-z2V.

Vienna Albertina: Brigitte Kowanz, light is what she saw

Above/featured: “Light is what we see”, 1994/2019. (A part of Speed of Light/4m with the digits 6-3 appears at the right edge.)

Austrian artist Brigitte Kowanz (1957–2022) held an enduring fascination for light. Light wasn’t simply the medium through which information propagated. Light itself was also a tool and mould for illumination, reflection, and even introspection. There’s something in her light-based artworks which allude not only to her philosophy and worldview, but also to her clear interest for science. Her works also anticipate and explore timely themes, including what it means to live in an information-rich society that fully embraces digital habitats and virtual spaces. There’s a spirit of fun and “lightness” mixed with a serious appreciation for the history of technology with her frequent use of Morse code. To me, Kowanz’s body of work is a wonderful manifestation of the 1964 statement by Canadian philosopher and media theorist Marshall McLuhan: “The medium is the message.”

I arranged my 2025 stay in Vienna to coincide with the final week of the Francesca Woodman exhibition and the beginning of an exhibition on Brigitte Kowanz, both held at the Albertina gallery-museum. Since Kowanz’s passing in 2022, the first major solo exhibition was a retrospective of her work titled “Light is what we see”. The Albertina has fast become a favourite, having seen an exhibition of photographer Gregory Crewdson’s work in the summer of 2024.


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Iris Andraschek in Vienna: telling the city who they are

For me, landmarks – a series of art works, for example – provide a network of “pins” for exploring and discovering parts of a city. That’s been my approach to Vienna’s 23 districts over the last 4 consecutive summers. Adding to the growing mind-map of memories, I’m restored by the excitement of the chase-and-find, among increasingly familiar surroundings and the frequency of new personal encounters.

Austrian artist Iris Andraschek works with photography, drawings. spatial installations, and video to explore and communicate ideas regarding cultural and societal relationships. Throughout Vienna, a number of Andraschek’s works are “visual interventions”, calling direct attention to the under-representation of women in the city’s public spaces.


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Vienna Judenplatz: centuries & memories of the Jewish community

Above/featured: Judenplatz at night. The Holocaust memorial is in the foreground at centre. In the background are “To the little trinity” at centre and Misrachi House (Museum Judenplatz) at right. Photo, 10 Jun 2022.

At Judenplatz are clear visual reminders of the city’s first Jewish community in medieval times.

The first Jewish community in Vienna settled around present-day Judenplatz in the Middle Ages with mention in written documents dated mid- to late-13th century AD/CE. Daily Jewish life thrived around the Or-Sarua Synagogue, the Jewish School, and the Mikveh ritual bath. The community along with the surrounding Jewish neighbourhood came to an end with the Pogrom of 1421. Catholic Habsburg Duke Albrecht II rolled out a decree (Wiener Geserah, Vienna Gesera) which legitimatized the expulsion, incarceration, torture, and murder of some 800 Jewish residents; accompanied by destruction and forced takeover of buildings and property.

Below I highlight remnants and traces to the medieval Jewish community at this square in central Vienna.

Judenplatz, Vienna, Wien, Oesterreich, Austria, fotoeins.com

Facing northwest: B, Bohemian Chancellery; H, Holocaust Memorial; L, Lessing monument; M, Misrachi House; T, To the little Trinity. Photo, 20 May 2018.

Judenplatz, Vienna, Wien, Oesterreich, Austria, fotoeins.com

Facing southeast: B, Bohemian Chancellery; J, Jordan House; H, Holocaust memorial; L, Lessing monument. Photo, 20 May 2018.


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My Berlin: Alicja Kwade, bridging art & science

Above/featured: Alicja Kwade exhibition, at the Berlinische Galerie. HL:X70.

In mid-2021, the world slowly climbs out of the worst of the pandemic. Later that autumn, I watch DW Culture’s Arts.21 feature on Polish-German artist Alicja Kwade whose work strikes a personal resonance. I have to go see her work and exhibition in person, but would it even be possible? My answer arrives six weeks later with a quick jump home to Berlin.

All of Kwade’s sculptural pieces in her exhibition, “In Abwesenheit” (In Absence)”, are “self-portraits.” But none of them show her face; the pieces aren’t necessarily simple, nor are they “selfies” characterized by the present vernacular. She is not physically present, and yet, every piece provides the visitor a glimpse into her mindset including questions she raises about the volatility of the human condition and about where we fit within a very large universe.

As former scientist, I love and recognize the influences on her art. She is clearly very interested in mathematics, physics, astrophysics, biology, genetics; but she’d be the first to admit she’d need multiple lives to completely fulfill all of her interests. The deconstruction of “self” into precise scientific elements is another way of expressing those (dreaded) “selfies” or self-portraits. I admire the clever play: it’s the breakdown into those elements that tell us what she is, and it’s the measured synthesis of those elements into the broad strokes of her sculptures that tell us who she is.

We’re all playing this game. Everyday things seem so important. But then you zoom out and realize that you’re standing with another billion [people] on a spinning sphere. With that perspective, you’re reminded to just be glad you’re here at all.

– Alicia Kwade about her rooftop commission at New York City’s Metropolitan Museum of Art: Artnet News, 16 April 2019.


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