URBAN INSTRUCTIONS is a partecipative intervention in public space and consists in a series of stickers placed around the 20th district. These islands propose different ways of interacting with other people and with the surrounding environment. Passers-by are invited to do small actions, imagine new possibilities, consider other points of view, refocus on the sense of neighbourhood and living-together. This could change, even for a moment, the community we are living in.

a project by BUUUUUUUUU, backed by SHIFT in the 20th district of Vienna.
here a map of where you could find the islands

Satellite Interventions, workshops and projects by Karin Pauer, Ryts Monet, Andrea Habith and Marie Vermont, Gerald Straub, Michikazu Matsune and BUUUUUUUUU.

(at Muskovit Galerie, Brigittaplaz bus stop, 1200, map )


Workshop zum Thema corporate identity mit Ryts Monet

Empfohlen für Erwachsene und Kinder ab ca. 12 Jahren

Fr 10.09.21: 16.00 – 18.00
Sa 11.09.21.: 16.00 – 18.00



sound performance by MUSKOVIT/VERMONT

Fr 10.09.21, 18.00 Uhr
Sa 11.09.21, 18.00 Uhr
So 12.09.21, 18.00 Uhr

Marie Vermont (marievermont.world)
Muskovit A. (andreahabith.space)

is backed by


 'Project 22, 7 forms measuring 600 x 60 x 60 cm constructed to be held horizontal to a wall' by Santiago Sierra

The work creates a new variation of Santiago Sierra’s most poetic and elemental work, unifying sculpture and performance to create a physical portrait of the labour economy. Hired for the minimum wage, the employees hold monolithic structures on their shoulders for the duration of a working day. They recall the caryatid or atlas figures whose sculpted forms stand as pillars to support the weight of classical architecture.


'The Column' (trailer of the video installation) by Adrian Paci

The Column is a video installation by Albanian artist Adrian Paci, tracing the epic journey of an immense length of marble, extracted from the ground and taken to sea. En route from China to Italy and over the course of a grand voyage, workers toil to chisel and carve the block of marble into the shape of a classical column. “The concept for The Column was born from this exasperated economic strategy, whereby time must be condensed to the point in which delivery coincides with production… The Column has its roots in a poetic intuition: an idea in search of form will only be able to develop at a distance from its origins, much like commercial goods are increasingly conceived in one place and manufactured in another through the elaborate and methodical exploitation of cheap labour, seen, in this case, on-board sweatshop ships”. —Adrian Paci

'Eating Money – An Auction' by Cesare Pietroiusti and Paul Griffiths, 2005-2007

A public auction is held. Participants make offers in amounts of money corresponding to the sum of two bank-notes in euros. The successful bidder gives the two bank-notes to the artists who eat them publicly and promise that, once evacuated, they will be returned to the bidder.

KUNST = KAPITAL, by Joseph Beuys, 1979. 1000 lire banknotes with handwritten text

'Das Kapital' by Halil Altindere, 2009, Laser cut book, Gun

'Hammer and sickle | quarantaquattro valutazioni (44 evaluations in wood)' by Enzo Mari, 1973. The exhibition 'Enzo Mari Falce e martello. Tre dei modi con cui un artista può contribuire alla lotta di classe' is currently running at the Galleria Milano.

'Karl Marx light' by Hannes Langeder. Inflatable imitation of the 40 ton bust of Karl Marx.

'Inside Lenin's Head' by Kamen Stoyanov.
After standing on Lenin´s former pedestal in for the work Hello Lenin, in 2003, I visited the statue at its current place. Since people in my hometown in Russe, Bulgaria, don´t know, where to put these Communist monuments, Lenin lies down in the area of ones of the City´s plant nurseries.

'karl marx – das kapital/arbeit-geld' by Jochen Höller

a cut out collage of the words "work" and "money" from the Capital by Karl Marx 

'WORKS FALL TRUE!' by Ryts Monet, neon sculpture, electrical materials, metal structures, scaffolding,
neon size: 300 x 70 cm,  2020

Installed on scaffolding seven metres above from the ground, against the backdrop of the ruins of one of the circular ramparts of Faganga Castle, the red neon sign echoes the famous phrase by Karl Marx and Frederich Engels taken from the Communist Party poster: WORKERS FROM ALL THE WORLD, UNITE!

During the night or in low light conditions, only a few letters of the inscription light up and the slogan is transformed, bringing out a new meaning on two lines:
T     R   U   E!

This is the first artwork exhibited in a public space by the artist after the first European lock down period March-May 2020, due to COVID-19. The site-specific work was presented in August 2020 on the top of the hill in the medieval village of Fagagna (UD), in Northeast Italy, 50 km from the border with former Yugoslavia.

Food track 2 (Excerpt) by Leopold Kessler. Unauthorized Intervention, Vienna, 2019

Artist is operating as fake delivery rider in Vienna.

‘Social decay‘ by Andrei Lacatusu, 2016

Buuuuuuuuu curated by Lorenzo Balbi

Lorenzo Balbi is director of the MAMBO in Bologna. After his graduation in Cultural Heritage at Ca' Foscari in Venice, he specializes in Contemporary Art at the University of Turin. He collaborates with Il Giornale dell'Arte and Il Giornale dell'Architettura and he was the Artistic Director of Verso Artecontemporanea Gallery, Turin. Since 2007 at Fondazione Sandretto Re Rebaudengo he has been dealing with the organisation and development of exhibition projects. He was one of the coordinator of CAMPO, the young Italian curators program.

"A Monument to Failure" by Pleurad Xhafa, 2015

 The artist Pleurad Xhafa in his first collaboration with MAPS - Museum of art in public space, donates Tirana a monument dedicated to one of the most controversial events in Albanian modern history. The “Gerdec” suit. The Albanian government in cooperation with the United States of America and some private companies, were responsible for the dismantling of Russian-Chinese ammunition from the communist era inside the expressly dedicated factory in Gerdec a village in the municipality of Vora, Albania. In breach of contract and through false documents by the parties, at the factory, the ammunition were removed in miserable conditions by the inhabitants of Gerdec, unqualified people, women and children who lived near the factory.
As a consequence of all this at noon local time on Saturday, March 15, 2008, 14 kilometers from the city center, a large explosion caused the death of 26 people and injuring over 300 people. Nearly five years later, the Supreme Court of Albania classified the case of the explosion in the factory in Gerdec as a “technological accident”. It was indeed a technological accident considering the conditions in which it was carried out the dismantling of ammunition? Or maybe the problem exceeds the authority of a fragile justice?! Following in the footsteps of this accident the work “Monument to failure”, embodied on the basis of a cut tree, in itself a dead object with long roots hidden under the asphalt of the Deshmoret e Kombit Boulevard, 15 km from the crater of Gerdec. Pleurad Xhafa brings attention back on the avenue where the most important institutions of the Country are located and where are consumed some of the most emblematic events of the Albanian history. Only raised a few centimeters from the sidewalk in front of the Presidency Building, the trunk, once witness of the past, with the addition of the bronze plaque turns into a monument, a symbol of the failure. In front of this monument the viewer is unprepared as unprepared were the families of Gerdec victims, facing the final blow of the hammer of justice.

"Democracies" by Artur Zmijewski (video still), 2009

Presented on a row of monitors, this cacophonic video installation could also be understood as a series of individual, documentary videos. Zmijewski is exploring the free, public expression of opinion in the form of gatherings and crowds in different places in Europe. With this project, Zmijewski moves his work out of his typical sphere of staged social experiments into a more public realm of events.
For the “Democracies” (2009) project at the daadgalerie, Zmijewski departs from his work using recruited volunteers. In a series of short documentary films, he looks into the different symbols of nationalist and other movements visible in a variety of public spaces. All the clips depict public (and political) fervour in different places around Europe, Israel and the Westbank, like demonstrations, parades or re-enactments of historical battles. They include for example material from the European Football Championships in Berlin and Jörg Haider’s funeral in Klagenfurt. As in all of his work, also in these images of ordered and disordered crowds, Zmijewski places the human body at the focal point of his observations.

"Young Dictator's Village" by Paolo Chiasera, 2004

Nine guys decided to change their behavoir, their way of dressing and their houses, to undo the distance that keep them and their ideology apart. They decided to spit into groups - according to thir political creed - and found a village in disused countryside, where their need of emulation is perpetrated by looting, fighting and destroying. YDV is about fanaticism, loss of control, irrationality, destruction. Fanaticism relegated them to the fringe of society and of system, putting them into a condition based on violence and anarchy.

"Shadow for a while" by Mircea Cantor, 2007

The 16mm film Shadow For A While (2007), which shows the shadow of a slowly burning flag, could be read as a farewell to political symbols. The black rectangle on a white ground is gradually broken down by invisible flames, creating a mood that is more elegiac than revolutionary. As a shadow, it is impossible to identify the symbols or colours of any particular state on the flag; it could equally be a white flag of peace.

"3bisbis" by Xuanhe Wang, 2010

An installation based on a sick Plane Tree in wich the artist create a place with a post box in order to provoke the mail system and its rules. The artist sent mails to this address from all over the world without receiving any of his letters. Before the tree was cut by the municipality he received a letter from a passer by address to the "inhabitant of the Plane tree".

Buuuuuuuuu curated by Astrid Peterle

As a curator these days I am actually at a loss how one can react to the humanitarian crisis we are currently facing. Nevertheless I still believe in the political strength and energy artistic practice can unleash not only in the field of art. I am most interested in those moments where art penetrates into other social fields, where it shakes people up from their daily routine, if only for a second, or where it works to empower people who cannot or do not want to be part of the artistic field (which in many ways often still is very elite and disconnected from those who do not posses the knowledge/education/resources to engage with it). I picked a few projects that either directly react to the current situations or which I discovered a longer time ago but fit into a reflection of the many things going wrong theses days.

'Weaponise the internet'  by One of My Kind (OOMK)
A feminist project that deals with self empowerment of young Muslim women, promoting a positive feeling of their identities in opposition to the negative definition of being Muslim which is constantly constructed by media and right wing politics in Europe and the USA.

The MigrationLab is a project that is active all across Europe to bring together migrants, refugees and host communities with means of art and non-formal education. One form of events they initiate was also established in Vienna during the last Vienna Design Week in 2015:

Welcome to The Living Room is a public living room co-created by migrants, refugees and locals in cities across Europe, where these communities share stories and reflections on migration using artistic expression.

'True Finn – Tosi suomalainen', by Yael Bartana, 2014

One artist whose work I admire a lot is Yael Bartana. For the Finnish IHMW Art Festival Bartana created a kind of utopian community of people living in Finland with different religious, ethical and political backgrounds, thus questioning what a national identity, in this case Finnishness, actually constitutes.

  'My Name Is Janez Janša' by Janez Janša, 2013

I have followed Janez Janša’s work for many years, dating back from when he worked as a choreographer and director under the name of Emil Hrvatin. Together with two fellow artists from Slovenia and Italy he created a politically very challenging project by officially renaming themselves with the name of the then ruling Slovenian prime minister Janez Janša. To this day I find it thought-provoking in regard to the issues of identity, nationality, and the relation between the individual human being and society.

The Austrian performance art collective God’s Entertainment has recently produced a project for Kampnagel in Hamburg that they had previously developed for Wiener Festwochen in 2012. The term “Intergrationsfähigkeit” (ability/skill to integrate) is now more topical as ever and all around us in the media and especially in right winged political debates. After the collective had inquired the Austrians passing by their “camp” about their will to integrate, they now asked similar questions in Hamburg. 


"Overexposed" by Paolo Cirio, 2015

 Appropriated social media photos of U.S. intelligence officials posted to public walls

Buuuuuuuuu curated by Gerald Straub

Gerald Straub is an applied cultural theorist/ artist/ curator/ cultural producer. 
His work interconnects spatial settings and site-specific behaviours – examining how certain real or staged situations relate to one another under various socio-political conditions. Performative interventions as artistic pratctice are applied in order to explore in/formal knowledge productions.
 Lives and works again in Vienna

"The Jean-Monnet-Bridge" by the Center for Political Beauty.

A bridge from North Africa to Europe in cooperation with construction company STRABAG and the Center for Political Beauty.

 "Intelexit" by Peng!

An online exit  platform for secret service employees.

Hervé Falciani is responsible for one of the largest leaks of banking data

Example for future artistic intervention and performative productions of space

"Places"  by Alba Zari, 2015.

"NEXT OPENING", Istanbul, by Elfo and  BR1, 2014

In a Mediterranean geopolitical perspective, the positions of the Turkish Government are unclear on the Islamic terrorism conflict, although Turkey plays an important role due to its geographical position. This is not the right and proper place to discuss these topics. However, the interest of the artists focused on the new communication strategies of terrorist movements, especially IS’ communication, which increasingly make use of social networks, of viral videos, the hacked computer systems, film techniques and so on. The intervention of artists, probably the most provocative, is titled “Next opening,” as if the terrorist cell expansion into new territories was paradoxically announced through advertisements on billboards. In this case the two elements, the orange t-shirt - also used by guantanamo prisoners- and the knife, are the two symbols of the victim and the victimizer.
"Confession" Regina Jose Galindo, 2007
"Guantanamo Bay Souvenirs" by Penny Byrne, 2007

"Drone Strikes"  by Forensic Architecture, 2013

On October 4, 2010, a US drone struck a home in the town of Mir Ali, North Waziristan, in Pakistan, killing five people. One of the surviving witnesses to this attack is a German woman, who lived in the house at the time with her two-year-old boy and her husband. Together with Forensic Architecture, this witness built a digital model of her home, which no longer exists. During a day-long process of computer modeling, the witness slowly reconstructed every architectural element of her house. Placed virtually within the space and time of the attack, the witness was able to recollect and recount the events around the strike.
"Beyond the ideal cage. A perfect sculpture" by Heike Mutter, Ulrich Genth, 2001.
"Heavy Weight History" by Christian Jankowski, 2013.

Jankowski invited a group of burly weightlifters to try and pick up a number of massive public sculptures in the Polish capital of Warsaw, including more than one Communist-era memorial, a statue of Ronald Reagan and the figure of Syrenka the Mermaid, a famous, often vandalised symbol of the city,

"Statue of Lord Napier wrapped in red tape" by Eleonora Aguiari, 2004

From the series “On Vacation”, 2004 – ongoing. By Luchezar Boyadjiev

"Survival", 2008 an installation with oceanic life jackets on 16 monuments throughout the city of São Paulo by Eduardo Srur

Vandalization of the Soviet Army monument Sofia, Bulgaria
"1700" is an online game based on Pizza Punks scandal in Vienna in wich 1700 Policemen "set free" a building occupied by 30 people. (read more on this)
"Riot simulator" a game project to be released on 2014