Feladó: Saprophyt ]
Küldve: 2013. március 3. 10:22
Címzett: Petra Csizek
Tárgy: Re: appointment > visiting Saprophyt Wien_5th of March

Dear Petra,

Nice to hear from you!
Saprophyt closed its physical space for an indefinite period but nonetheless we have an upcoming show by the artist axel stockburger, who will create an art in public space intervention for saprophyt.
We could meet tuesday around 4pm at either axel stockburgers studios or we could also meet for a coffee at some place in the city.

All the best,
barbara and stephan



19. 12. 2012

«We would like to learn, and we are working on a book... [this book is a classroom]»

Booklaunch mit Livebeiträgen von Lucie Kolb, Romy Rüegge, Elke Krasny, Miriam Kathrein, Barbara Kapusta, Stephan Lugbauer
Depot, Breitegasse 3,1070 Wien





Setting up Josef Dabernigs Black Box



Am 11.09.2012 um 20:00 schrieb Beatrix Curran:


I just realised that i should add the name of the singers in this section..

I. Verborgenheit, Hugo Wolf (Baritone, Thomas Allen)
II. Art Thou Troubled?, Georg Friedrich Händel (Contralto, Kathleen Ferrier)

Cheers! I listened in, all ran smoothly!




-------- Original-Nachricht --------
Betreff: Programm Vorschlag für Herbst
Datum: Tue, 26 Jun 2012 21:45:21 +0200
Von: Dabernig Josef
An: saprophyt

Liebe Barbara & Stephan,

mein Vorschlag für eine Veranstaltung im Herbst wäre der im attachment. Der Abend sollte so ablaufen, dass Markus Video läuft während die BesucherInnen kommen und sich noch unterhalten. Erst bei den beiden Filmen setzt man sich 'kinomäßig' hin.
Vielleicht kann man mit Constanze einen Doppelabend machen, mit einem gemeinsamen Gespräch? Etwa zum Thema 'Partnerschaften'. Ich kann Euch die 3 DVDs zur Ansicht schicken, oder wollen wir uns treffen?

Herzlich, Josef


Am 22.05.2012 um 08:15 schrieb saprophyt:

Hallo Josip,

am Donnerstag diese Woche werden wir in der Diele in Zürich Saprophyt präsentieren.

Dafür haben wir Fragmente aus deiner, Marko Lulics und Josef Dabernigs Projekten ausgewählt.

Es wird Infomaterial, sowie der Katalog zu Projects and Assignments aufliegen.

Liebe Grüße
Barbara und Stephan



Saprophyt at Die Diele

Opening: 24..5.2012
25.5. – 17.6.2012

Die Diele, Sihlhallenstrasse 4, 8004 Zürich


Saprophyt at Die Diele Zürich

Saprophyt at Die Diele Zürich


with excerpts from

Josef Dabernig
Initial Encounter 24.04.2012
Black box, Projection screen 16:9, Installation view, Saprophyt, 2012

Marko Lulić
Spatial Interruption 17.11.2011
Wood, Gaze, Projection screen 4:3, Installation view, Saprophyt, 2011

Josip Novosel, Robert Barry
Projects and Assignments 08.03. 2011
Das ist Alles, Crayon on paper, framed 30x40cm, 2011

Jakob Lena Knebl, Anton Vidokle
Projects and Assignments 14.12.2010
Freundschaftsrituale, Wood, Red velvet, 2010



Saprophyt at Die Diele Zürich

Saprophyt at Die Diele Zürich

Saprophyt at Die Diele Zürich



Saprophyt at Freies Museum Berlin

Opening: 28..4.2012
29.4. – 30.5.2012
Freies Museum Berlin, Potsdamer Straße 91, 10785 Berlin



with excerpts from

Neïl Beloufa
an archived causality, looped 04.10.2011
Safety glass, paint, 90 x 180 cm, 2011 Mixed Media, framed 50x60cm, 2011

Christian Egger, Scoli Acosta
Projects and Assignments 23.11.2010
Scoli Acosta, Revolutionary Letter #13, Assignment, framed 50x60cm, 2010 Transparent excerpt (from Revolutionary letter #13, Diane di Prima), 2010, Glue on safety glass, 2010 Upset pile (from Revolutionary letter #13, Diane di Prima), approx. 3000 copies of Revolutionary Letter #13, 2010

Sonia Leimer
To move in parallel, playing back from earlier 05. 05. 2009
Film crash glass, 90 x 180 cm, (fragments), 2009





Anfang der weitergeleiteten E-Mail:

Von: Kathrein Miriam
Datum: 23. April 2012 14:26:17 MESZ
An: <anneclaire.schmitz "Kapusta Barbara" saprophyt
Betreff: Berlin/Saprophyt

Hi Anne- Claire,
I hope you are fine. I've cd-ed Barbara and Stephan in this email so we are all up to date, hope that's ok with you.

Please find attached the english texts from Saprophyt's Project and Assignments Catalogue.

So let's do the orga first:

Barbara and Stephan informed me the filming will take place on April Friday 27 instead of Saturday 28,
the opening of the show is now postponed to Saturday.

Ok, for the film/conversation. I briefly spoke to Barbara. She was saying that the film produced in Vienna is touching a lot of theoretical topics and she mentioned this time it would be good to talk about structural and practical issues of Art-Projects and smaller Art Institutions and Initiatives too. Which obstacles you encounter in setting up such projects and interventions, like where to find money etc. Also what (natural) institutional parameters emerge from the production of such spaces and projects.

It looks like the third person in the conversation will be Amer Abbas, he is founder of Kunstbüro in Vienna a gallery/art space that next to it has a bar future-garden as a social outlet/outreach of the art space. He is also the curator/organiser of the show Barbara and Stephan are invited to "stage" Saprophyt as a kind of remodeled space.

AC let me know what you are up to,

Looking forward to see you really really soon,

A hug,



Thursday, March 22, 2012
7pm - 9pm

Saprophyt video

Barbara Kapusta, Stephan Lugbauer request the pleasure of your company at the Saprophyt video shoot.

Webgasse 29/1st floor
1060 Vienna

Saprophyt Video






um 17:59 schrieb livio baumgartner:

Hallo Barbara und Stephan

Wir würden uns freuen, wenn ihr Zeit finden würdet.
Wie habt ihr euch vorgestellt etwas zumachen?
Persönlich oder als Repräsentation des Saprophyt?

Mai wäre sicher super für uns.
Wir werden die Künstler-liest-Künstler-Kette noch bis ende März laufen.

Hatten gerade die erste Gruppenausstellung:) und das noch bei Sturm hängen.
hat aber alles geklappt.

liebe grüsse






Saprophyt – Vienna, Austria
Besides the many really interesting large- and medium-scale projects and/or institutional programmes which I’ve been following through 2011, I would like to highlight a rather small and independent project space in Vienna called Saprophyt. Actually Saprophyt is an art project in itself, devised and organized by the cultural producers Barbara Kapusta and Stephan Lugbauer. Similar to a saprophyt, a fungus, that lives on dead matter, the project appropriates a vacant, unused urban space for a series of exhibitions and cultural contributions that converged and accumulated into something you might consider to take the form of a social experiment. It would be wrong and against the axioms of this project to pick a particular contribution and isolate it out of this enormously inspiring context: Saprophyt derives its quality from the spatial dialogue and literal confrontation of the respective interventions.

Søren Grammel
From 2006 until 2011 Søren Grammel held the post of a director at Grazer Kunstverein, Austria. In 2012 he will take over the position of a director at Kölnischer Kunstverein, Cologne

Neil Beloufa
Neïl Beloufa, installation view at Saprophyt, Vienna (2011)


Am 28.11.2011 um 22:42 schrieb Dabernig Josef:

Liebe Barbara und Stephan,

Anbei mein Entwurf für eine Projektionsbox bei Saprophyt. Sie ist so bemessen, dass sie gerade noch umgehbar ist, bis zur Decke reicht und streng in Euren Mauerelementen 'sitzt'. Falls das Einpassen zur Decke in der Fertigung Schwierigkeiten macht, kann die Box auch 10 cm niedriger sein, müsste dann aber einen Moltondeckel haben. Wäre vielleicht für die Akustik nicht schlecht. Die Öffnung vorne könnte man ev. auch zumachen.

Liebe Grüße Josef




Opening Neïl Beloufa



Am 01.03.2011 um 18:20 schrieb Neil Beloufa / gmail:

Dont send images

i saw them on the website.

you told me that the rule of the space was that nothing was going out of the exhibition from one exhibition to an other, how does that materialize itself as on the picture, each show look brand new and i m not sure i see re-uses of leftovers from previous events

all my




Am 07.06.2011 um 08:36 schrieb saprophyt:

Hallo Julie,

wir bereiten gerade die nächste Ausstellung vor und da wird ein Teil von Saprophyt ausgeräumt.
Das heißt deine Arbeit kann jetzt an dich zurückgegeben werden.



Am 20.05.2011 um 18:16 schrieb Ines Lechleitner:

Liebe Barbara , lieber Stephan,

Bin intensiv am arbeiten.

Meine drei Kategorien schauen momentan so aus:

Finished pieces: to be responded to

Pieces specifically concieved or extraced for the project
Pieces that can function as triggers, to be worked on in collaboration or to be reintegrated in a new form.

Raw material: to be used as such




Am 18.01.2011 um 12:47 schrieb ines

Eine Frage wegen Beitrag von Saprophyt für mein Projekt. Wäre es vielleicht möglich, dass ihr mir eine ungefähre liste erstellt mit den Objekten, die tatsächlich im Raum sind? Von jeder ausstellung bleibt ja nur ein oder mehrer Elemente im Raum.
z.B: grauestoffrolle (ca 180cm breit, 5m lang), Metallbank (ca 1.50m breit 60cm hoch) etc... Wir könnten die ja dann auch gemeinsam im Raum nochmal überarbeiten, wenn ich komme.
Eilt gar nicht - aber wäre super, damit ich die Objekte gleich von anfang an auch mit einbeziehen kann, wenn ich an den Elementen arbeite.





setting up Christian Philipp Müllers and Sofía Táboas work



28.März 2011

Von: Sofía Táboas
Gesendet: Sonntag, 27. März 2011 05:55
An: Koger, Nathalie
Betreff: Re: WG: instructions/proposal

Dear Nathalie,

I am really glad you liked the project. You are right, the mesh is perfect, but it should be silver. You should be able make a straight plane as opposed to a curved plane with it.

I meant to say that the mesh should be fixed to the three walls and be kept tense and motionless in order to make a horizontal plane, as perfect as reasonably possible. If it doesnt need to be held from the ceiling on the side opposite the windows, so much the better.

The mesh can be attached with hooks or screws to the wall.
You can use silver wire to form a wide grid and then set the rectangular mesh on top of it, if the mesh itself is rigid.

I´ll send the CV right after this message. Can you send the info, invite, etc. so that the gallery put it on its "news" section?

Thank you very much,

All the best,




20. Februar 2011

Josip Novosel


Von: Sofía Táboas []
Gesendet: Montag, 14. Februar 2011 04:46
An: Koger, Nathalie
Betreff: Re: Sofia Taboas & Katalog Projects & Assignments

Hello Nathalie,

I hope you are doing well. Here are the answers to your questions. Let me know if this is ok:
one question in regard to your work

"Silvestre (2002). Natural flowers 100m2":

Could you tell us a little bit about the exhibition context?

This was shown in a 100m2 called SAPS (Siqueiros Public Art Hall). It was owned by the famous Mexican muralist. The idea was to use flowers (they were arranged to look like wild flowers, but they were actually cultivated). These were arranged to occupy most of the project room at SAPS leaving only a narrow hall so that people could cross over to the other side one person at a time. They could not access the field. The spectator was metaphorically pushed against the wall by a sign of nature. A feeling of aggression was perceived with this field of flowers. An interesting piece of information is that there used to be a garden in that space in the original house.

Is natural flowers be meant in contrast to artificial flowers?

The idea of using natural flowers came up because for me they are a mutant material. They transform beyond my control and that in a way gives an independently generated order to the work. Constant change is a fundamental part of the work.
The flowers were arranged vertically over a structure of branches which I found on the street. They had no water, so they eventually dried up.

Did you use flowers which grow in the public or are taken from the green house? Is this important?

It was very difficult, almost impossible to get such a great number of flowers outside of a greenhouse (I used almost 10,000 flowers. I chose the ones that had wild appearance.

also the symbol of the flowers in your context, e.g. clavel ...

In my view they were flowers that looked simple, unpretentious.

If we would recreate this work in Vienna, how should I approach it? What do you suggest ...

The first step would be to see photographs of possible sites for the work. The best adaptation can emerge as a function of the site.

In the relation to John Baldessari, do you have a preference on your side what to do in Vienna (via instructions).
And I am the person executing them ...

Option number 5 is perfect!

Thank you so much for your proposal, I look forward to your response.

With kind regards,





Am 11.01.2011 um 12:03 schrieb ines lechleitner:

Liebe Barbara, lieber Stephan,

War gut mit Euch zu sprechen. Jetzt ist alles viel klarer. Ein interessanter Aspekt ist mir eben auch noch aufgefallen - der Kontrast zwischen der materiellen 'Ansammlung' von Objekten in Euren Räumen und der Immaterialität 'meiner' Sammlung aus Ideen, die ja aus Texten, Zeichnungen und Tönen bestehen wird. Könnte mir gut vorstellen, zwischen einzelnen Elementen der beiden 'Sammlungen' Verbindungen herzustellen; eine Art Cross-breeding der Archive und diese dann jeweils zu vertonen. Ist jetzt nur so eine Idee, aber wollte sie Euch gerne kurz schreiben.

liebe Grüsse und bis bald,



14. 12.2010


Christian Egger & Scoli Acosta Christian Egger & Scoli Acosta

Christian Egger & Scoli Acosta Christian Egger & Scoli Acosta

Christian Egger & Scoli Acosta Christian Egger & Scoli Acosta

Opening Christian Egger & Scoli Acosta, 23.11.2010



On Dec 11, 2010, at 11:07 AM, saprophyt wrote:

Dear Anton,

finally we contact you!
Next tuesday is the opening of Jakob Lena Knebl and your assignment.
We keep you updated with the documentation and the process of the project.

You can see the projects realized so far on our website: http://www.saprophyt.net/past.html
the most recent exhibition of Christian Egger & Scoli Acosta will be online in the next days.

Thank you for being part of the project!

All the best,
Barbara & Stephan



Am 07.12.2010 um 10:01 schrieb Ines Lechleitner:

Hallo Barbara,
Hast du schon eine ungefähre Idee, wann wir meine Ausstellung machen werden? Du sagtest etwas von März? Da ich ja verschiedene Leute um einen Beitrag bitte, wär’s hilfreich wegen timing.
Das Projekt hat sich ziemlich verändert :-)
Wirst die nächsten Tag einen Brief erhalten diesbezüglich.
Alles Liebe,




Anfang der weitergeleiteten E-Mail:

On Mon, Nov 8, 2010 at 10:08 AM, tasche wrote:
hi andrew,
good to hear from you. would you be able to send me some picts or other forms of documentation?


On Thu, Sep 9, 2010 at 10:14 AM, andrew Berardini wrote:
Dear Natascha,

Thank you for you very thoughtful reply. I suppose some of thoughts you have about bringing work (finished product) into the capital flow through an exhibition relate to why I imagined it as I did in the first place. My impetus to begin was to try and solve the problem of international dialogue through experiences that weren't based on capital but more on exchange, one that doesn't work through any official channels. The space is an artist's space of limited resources, thus shipping and travel for a group of farflung artists becomes difficult for venture with limited resources to achieve. The evidence of the actions and their physical materiality in the space for me is some way of saying that the human touch does still matter as does people coming together. It was a twofold problem, how to achieve an international dialogue whilst still maintaining the human touch.

I agree that it could easily slough into the common occurrence of artwork floating as commodities often realized by hirelings, but I hope that the participants could still come together in this alternative sphere and make something happen as a free exchange. The gift of the artist is the experience, the gift of the audience is their participation. The strength of any exhibition is on the strength of the gestures contained within it (whether they may succeed or fail) and their ability to engage with an audience however elliptically. However idealistically it may be in a moment of widespread poverty and struggle (following of course a period of careerism and bruising gush of money), that outside of concerns for pure money and advancement, art (and the practice of its distribution) could still be about spreading aesthetic ideas through free gestures.

Perhaps as well, thoughit had not occurred to me until you pointed it out, it can also be about making apparent, showing the bones, of how art is normally distributed, but here without the normal flow of money, which in America is largely through wealthy patrons (sometimes of dubious moral and political backgrounds) laundering their support through institutions. In Europe, it's more statist, both can be benign and often necessary, but I'd like to carve out a little space where government and wealth aren't the defining support.

Part of it as well is how one could use the existing infrastructure (mail) without merely echoing actions of the past (mail art). Askevold's class in its openness, though very much a part of the dematerialization of the art object of its time, provided a platform that felt sufficiently open to a new generation of artist's to engage with, though not limited by the specific actions of the past.

As a final note, I expect some of these actions from the contributing artists to not work, and that will also be a part of the process I hope. I've always been an adherent of Samuel Beckett's expression: "Try. Fail. Try again. Fail again. Fail better."

Thank you again for this dialogue, for me it has been really fruitful in giving shape, shadow, and definition to some of my thoughts.

Please let me know if this conceivable for you, and of course if I can be responsive to any further questions of any kind. Thank you again for this rich dialogue, I hope it was fruitful for you as well.
I look forward to your contribution!
My Bests,


On Thu, Sep 9, 2010 at 2:55 AM, tasche wrote:
dear andrew,
thanks for answering all my questions. I think I got a clearer impression now and I share your enthusiasm about askevolds participatory teaching methods. I'm still not quite sure whether I understand why you want to turn an idea for this group workshop into an exhibtion though. I think this creates a series of questions around production, representation and authorship that the original idea does not imply. it seems to move askevolds idea in the proximity of the common workflow in most art institutions, i.e. that the artists send instructions which are carried out by installers, volonteers and assistants. please correct me if I'm mistaken, but the creation of exhibtions ourdays mostly rely on these kinds of participatory modells, but they are often not thematized or apparent to the visitor who comes and looks at the artwork. is this something you are planning to adress?

the educational turn has had very interesting and inspiring effects on the practive of art institutions and opened up knowledge to a broader group of people (as you say without tution fees etc) but also raised some question in terms of the continous capitalisation of all spheres of live. turning educational processes into exhibtions can have a really exciting effect but on the other hand there is a danger of dragging 'unproductive' or 'aimless' processes of learning and collective experience (which are both so precious) into 'result oriented thinking' 'art works' 'products' and 'representational formats'. 

these are questions that have been important to me and I would be interested to hear you opinion on them.

that aside I would like to participate in the project and it would be great if you could tell me again what the deadlines are etc.
best wishes

On Sat, Aug 28, 2010 at 6:59 PM, andrew Berardini wrote:
Dear Natascha,

I'm delighted to hear from you! Your questions are all very good ones and I'll do my best to answer them. The people are realizing the work are students from the lcoal university, friends of the gallery, and basically anyone who wishes to. There will be a poster campaign accompanying the exhibition. Their motivation I think will be manifold: partly I imagine as friends, partly as an interest in the set of artists, partly as students interested in participating in new models (or in this case a renewed model) outside of the normal churn of the system,and partly I hope to be credited (as all participants will be given due credit) and proud for being a part of a good project.

For me, my motivation began with my interest in David Askevold as an artist, he had a particular kind of grace and play in his work that was really appealing to my own aesthetic and research. I knew him briefly toward the end of his life and helped to raise some money for his healthcare in his last days.

Besides my personal connections to the artist, I've been very interested in my research of how artists spaces and other alternative venues with minimal resources could have a larger international conversation with artists from diverse places. David's class seemed one of the models that was most appealing to me in the sense that he brought some of the best artists of his time to Nova Scotia in a way that he would have been unable to do otherwise. I want people to interact with an array of artists from farflung places in a way that might be difficult for a small venue to do otherwise. Also in a small way to connect to a moment of history that might otherwise be easily forgotten.

In terms of the normal way that art is deployed globally, I bristle at the full systemization of art's ability to be international and I really wanted to find a way outside of the biennial with national pavilions and corporate sponsors and the power politics of museums that could, with hope, be meaningful. Sounds a little idealistic as I write it, but I believe this moment is a good one in which to recreate some kind of conversation outside the traditional channels. I imagined it as an exhibition instead of a class for one to have a space that was open, permeable, and without restriction (enrollment and tuition for example) for involvement, but also as a way to underline that materiality and presence (even with a project in the throws of the dematerialization of art) still matters, people gathering in a space to realize an idea, with others being able to participate however passively by coming to the exhibition.

As for what happens to the artwork that is made afterwards, I suppose that's up to you. If it's something that can be inexpensively shipped, I'd be happy to accommodate that, if it were an action for example we would simple return to you your idea through the post. I suppose it depends on the project.

As I begun my email, I truly am delighted you wrote me back. I pray I didn't ramble on too long with my answers.

I dearly hope that you'll be able to participate.

Thank you!

All my bests,
Andrew Berardini


On Sat, Aug 28, 2010 at 10:29 AM, tasche wrote:
dear andrew,
thanks for your email and for the invitation to the project. I'm not yet quite sure if I understand the concept so I thought I bother you with some questions:
who are the people realizing the work? with what motivation are they participating in the project.
what motivated you to turn this workshop idea into an exhibtion?
what will happen to the works afterwards?

all the best,



7.11. 2010


working in the new space



Am 03.11.2010 um 19:51 schrieb Roberta Lima:

thank you!

yes, I think it is a good idea to add in all 3.
Can and I discussed and decided to embrace Liz's assignment as our work, so I think it is very important that her text appears. Later on people will see how we appropriated from the assignment (if we twisted or not is now not a relevant information). In the end, our work is what we will produce on sunday: the video and the interference in the space.

I am really looking forward for some cutting and debating on sunday :)

lets keep in touch regarding the monitor and let me know if you need my help.





thank you Christina!!!







Am 16.10.2010 um 14:31 schrieb saprophyt:

Liebe Nathalie,

du bist herzlich zu einem Treffen aller an Projects & Assignments Beteiligten am Montag den 18.10.2010 um 19.00 in den Saprophyt Space eingeladen.
Bitte um Rückmeldung ob du kommen kannst.

Liebe Grüße,
Barbara & Stephan

Im Anhang findest du das Assignment von Liz Glynn, mit dem Can Gülcü & Roberta Lima arbeiten.
<Assignment Liz Glynn.pdf>



Am 11.10.2010 um 15:44 schrieb Roberta Lima:

Dear Barbara, dear Stefan,

As I spoke on the phone with Barbara earlier today, Can and I will be working together on a piece that kicks off with the dinner assignment.

First, we would like to invite all people involved with the show (that are in Vienna), the artists, you, the curator from LA to have dinner on the evening before the opening. During the dinner we would like to discuss the some topics we will be dealing with in our collaborative installation later on.
We propose to discuss the assignments, including the dinner's itself, as well as the function of the artists (in their individual interventions and all as a group) in appropriating from the work sent from abroad and the space self (as art gallery, as off-space, as public space, as passive of interferences, etc). This discussion will be documented. We would also like to interview people during the opening and gather material we will use later on in our work.

It would be really nice if we could talk about dates, confirm the dinner for the evening before the opening and for our intervention (Barbara mentioned something like 9th Nov?).

Looking forward to hearing back from you.




Am 14.10.2010 um 12:42 schrieb saprophyt:

Hallo Can und Roberta,
hier der Plan des Obergeschoss.

Die Bereiche hinter den roten Linien sind keine Ausstellungsflächen.
Raumhöhe ist 2m50cm, die schwarzen Blöcke sind Säulen.
In die Träger und Säulen darf nicht gebohrt werden, die sind irgendwie speziell.

bis morgen!

lg, barbara

<Pläne Webgasse.jpeg>



Am 24.09.2010 um 14:18 schrieb alexander nikolic:

ja ich finde eure arbeit lobenswert, nur bewege ich mich teilweise in
konzepten und theoriezirkeln, welche den austausch aus dem
vermeintlichen zentrum kritisch gegenüberstehen. Also der
wissenstransfer welcher iniziert ist, verhält sich wie das zentrum zur
pheripherie, und weil ich jahrelang in solchen zusammenhängen kunst
und theorie produziert habe, erachte ich es als problematisch, weil
ich in verschiedensten zusammenhängen kulturellen imperialismus, auch
von vordergründig 'linken' projekten erlebt habe.

Ich könnte natürlich auf diese Problematik innerhalb der Ausstellung
reagieren, in dem ich aus den Handlungsanweisungen, fuck you...
schreibe, installierte ...aber diese Kritik würde den oder die falsche
Person treffen. Wenn du magst kannst ja unsere Konversation als
Arbeit ausstellen.




19. September 2010


Liebe Freunde von Saprophyt,

OPEN CALL für unsere nächste Ausstellung im Okbober 2010, kuratiert vom us-amerikanischen Kurator Andrew Berardini.
Fünf internationale Künstler_innen wurden von ihm eingeladen Handlungsanweisungen nach Wien zu schicken, die von Wiener Künstler_innen bearbeitet, kommentiert, appropriiert werden.
Im Anhang findet ihr die gesamte Beschreibung des Projekts.

Bei Interesse Email mit CV und Kurz-Portfolio an mail (at) saprophyt (dot) net. (bis 1. Oktober 2010)

Barbara Kapusta & Stephan Lugbauer


Dear friends of Saprophyt,

OPEN CALL for our next exhibiton in October 2010, that will be curated by the us- american curator Andrew Berardini.
Five international artists were invited to send instructions for artworks to Vienna, which will be adapted, appropriated and commented by Viennese artists.
Attached you find the entire project description.

If you are interested please send an email with CV and a short portfolio to mail (at) saprophyt (dot) net. (until the 1st of Oktober 2010)

Barbara Kapusta & Stephan Lugbauer





Aufbau Screening Spiral Jetty


SpiralJetty SpiralJetty

SpiralJetty SpiralJetty


Am 08.04.2010 um 09:48 schrieb Marlies Pöschl:

hej barbara,
ich hab einen text geschrieben. es soll ein zurückgesendeter liebesbrief sein, der vorgelesen wird. malikha (eine bekannte von mir, die schauspielerin ist) würde gern mitmachen, aber weiß noch nicht sicher, ob sie zeit hat. ich frag noch jemand anderen, um sicher zu gehen, und ansonsten muss ich ihn wohl selber lesen.aaah.

liebe grüße


20. 03. 2010




A talk A talk

Am 27.02.2010 um 15:47 schrieb Jenni Tischer:

das dunkelblaue ist mein part und ich habe auch noch ein bisschen was ausgebessert und eine frage gestellt an sonja.
viel spaß dabei!
bis morgen, jenni



Am 27. Februar 2010 12:49 schrieb barbarakapusta

Ich habe meine Parts bearbeitet und noch was hinzugefügt.
Vielleicht könnt ihr das schon berücksichtigen für eure Überarbeitung.
Meine ausgebesserten Stellen sind blau unterlegt - bei der gelben weiß ich noch nicht genau.




A talk

Umbau Archive&Storage

Danke Viktoria!



Erstellt am 2010-02-11 20:07:44.

Chatprotokoll mit elpenker | hallo elisabeth - hast du kurz zeit zum schreiben (#frau_barbara/$elpenker;fc85da53d434656a)
Erstellt am 2010-02-11 20:07:44.

frau_barbara:hallo elisabeth - hast du kurz zeit zum schreiben
frau_barbara:gehts gut?im sonnigen rom
frau_barbara:ich fange nächste woche mit dem umbau an
frau_barbara:bzw. wir und am 2. märz ist eröffnung
elpenker:hat die Datei "lager.docx" gesendet<files alt=""><file size="10272" index="0">lager.docx</file></files>
frau_barbara:hab das dokument schon aufgemacht
frau_barbara:sind das die drei rigipsplatten
elpenker:ganz rechts-ist die tür für das lager
frau_barbara:oke also bei der tür
elpenker:so wie ich mir das angeschaut habe-müsste alles durch diese tür gehen-was denkst du
frau_barbara:ja das geht sich aus






Saprophyt Radio

Part One

Saprophyt Radio





Fiona Rukschcio

Zwischenpräsentation von 123 Fiona-Fotografien





Florian Reither zeigt Dias

Florian Reither+++Octavian Trauttmansdroff

Octavian Trauttmansdroff+++Florian Reither

Florian Reither+++Florian Reither

Octavian Trauttmansdroff


04.10. 2009

Octavian Trauttmansdroff +++Octavian Trauttmansdroff

Aufbau Octavian Trauttmansdorff - Danke Randolf!



Johanna Unzueta


13 .07 .2009

Aufbau Johanna Unzueta

Johanna Unzueta

Johanna Unzueta

Johanna Unzueta






Am 10.07.2009 um 00:22 schrieb Johanna Unzueta:

images found on the internet

Johanna Unzueta Johanna Unzueta

Johanna Unzueta Johanna Unzueta

Johanna Unzueta Johanna Unzueta

Johanna Unzueta Johanna Unzueta

Johanna Unzueta


Am 10.07.2009 um 00:22 schrieb Johanna Unzueta:

I still don't decide about the title. hopefully tomorrow morning.

Johanna Unzueta


09. 07. 2009

Fotos Eröffnung - Jenni Tischer - Alle eure Farben - 16.06.2009

Jenni Tischer Jenni Tischer

Jenni Tischer Jenni Tischer

Danke für die Musik, Astrid und Nora!


30.06.2009 um 03:54 schrieb Johanna Unzueta:

hi barbara

my project with you so far is to work with the fabric panels and i am thinking about different type of constructions and other materials I might need. I guess everything will be finally decided on site. the drawings I am still interested but i also have to try them out. I think you might have the wrong impression from the last email I sent you...

abrazos johanna

Johanna Unzueta



um 04:30 schrieb Felipe Mujica:

Hello stephan and barbara

I don’t know if I ever told you but before moving to New York I ran an artist space in Chile called “Galeria Chilena”. I founded the space with two of my best friends and colleagues some months out of art school (end of 1997) and for about 2 and 1/2 years, in Santiago, we organized exhibitions, talks, parties and music events… later in New York we did some projects but the most interesting part of the project happened in Chile. The special thing about it was that we had no exhibition space, just an office and storage. So we basically moved around the city creating events in which our gallery will temporary appear and later disappear again. Our “gallery” was also an official business; we decided we wanted to represent artists, a young generation that had no gallery representation because basically in Chile at that time no galleries did that, in which we included ourselves. So where were both a nomadic and critical project and also a commercial gallery (with all the legal paper work to be able to sell works and pay taxes as a business etc). This in between state of acting as a curatorial experiment and as entrepreneurs became also a work of art, a collective work that had its own agenda separated from the work of its “directors”. Therefore our projects always had and contained this in between state too, there was the work of the artist or artists and also the gallery as an artistic act it self, and it was hard for all of us, directors, artists and public to distinguish or even separate what was what, what layer managed or dictated the other, etc. Many times we where told that the art of the artists was in a secondary layer, that in every exhibition the gallery as a project was stronger. I believe this reading had to do with the fact that we changed place with every event but also because as artists we where very involved in what was being exhibited, we thought of this process as a collaboration, a constant one, in which the invited artist in a way had to loose its own aura or individuality to become part of a bigger and more important ‘whole”. Although we had this moment of collaboration between gallery and artist we learned, in the process, that at the end the work of the artist was his or her gift to the project, and we accepted them with honor. All this was very weird too because apart from this collectivity state of mind (closer to a socialist agenda) we where also business men trying to sell a product, some of us even used a jacket, shirt and tie to meet with the real estate companies so to convince them to let us use their spaces for free, in exchange of “visibility”. We also designed all our invitations and brochures and created a “design department” an “accounting department” a “press release department”… etc., all very real and very fictional, a play, sort of. Finally we did many shows, and almost all of our young artists became adult artists with respected carriers in Chile and abroad. We had very good critical attention and till today Galeria Chilena is seen as the gallery that helped develop the alternative gallery scene of the 90’s, and therfore the artistic scene of the 90’s (the first important generation after la “Escena de Avanzada”, a group that worked in the 70’s and 80’s which is the milestone of Chilean political and conceptual art, look for Nelly Richard, she wrote many good texts about this movement).

Un abrazo grande


Johanna Unzueta



18. 06. 2009

Jenni Tischer

Jenni Tischer

Jenni Tischer



Am 12.05.2009 um 16:55 schrieb Jenni Tischer:

Liebe Barbara!

Eine Rückmeldung mit meinen Bezugspunkten und der Konstruktion:

Der Titel steht schonmal fest: Alle eure Farben.

Liebe Grüße, Jenni

Jenni Tischer




Sonia Leimer

Sonia Leimer

Aufbau Sonia Leimer


Am 26.03.2009

um 04:46 schrieb Johanna Unzueta:

hi barbara and stephan

here some images of my new work. I am using a studio for a month, to prepare for my show at the queens museum.

many kisses johanna

Johanna Unzueta



24. März. 2009

Am 24.03.2009 um 02:45 schrieb Johanna Unzueta:

hey barbara

i just thought that maybe the letter does not get here on time... I more or less need to send this thing this week. so. maybe it would be good if you send me a pdf version so I have it, just in case.

tomorrow I move into my one month studio, I'll take some pictures there of what I am working on and my ideas for saprophyt.

many kisses j.



17. März. 2009

Am 17.03.2009 um 11:01 schrieb Jenni Tischer:

Hallo Barbara,

Ich wollte einfach schon immer mal eine "Wandmalerei" machen, eben auf jener Wand, die entweder schon weg ist...? oder irgendwann verschwinden wird...



10. März. 2009

hallo stephan, hallo barbara

habt ihr einen plan vom raum - würde gern ein modell bauen.


07. März. 2009

julia seyr

Julia Seyr

julia seyr




13. Februar 2009

Am 12.02.2009 um 19:18 schrieb julia seyr:

hi babsi und steve!

hier eine impression aus meinen skizzen für euch.

viel spass ...


julia seyr



26.Jänner 2009

Nora Stephens

Nora Stephens

Nora Stephens

Paola Picazo, Nora Stephens und Deborah Hazler

Danke Christina und Karl, again!


23. Dezember 2008

Am 23.12.2008 um 19:48 schrieb bkapusta:

Nora Stephens



29. November 2008

Rahel Jaeggi: "Aneignung Braucht Fremdheit"

(In: Texte zur Kunst Heft Nr. 46 / Juni 2002 "Appropriation Now!)

download text



20. November 2008

hola chingones

here goes a first drawing what I would like to do in Saprophyt. basically it would be a pipe installation. My idea of using mostly white felt has to do with the idea of making an installation that would in a way disappear in space. if not white it could be on the other side of color, something extremely visible, like a bright strong orange or red.

I would need soon a floor plan of the space with the measurements, distances between the columns, the hight of the space,
for example.

un abrazo grande


Johanna Unzueta


18. November 2008

Am 18.11.2008 um 20:13 schrieb nora stephens:

babsi!so, can we work on something together when i am there?? i have imaginings of live performance in your Saprophyt with video projections....i know a week isn't very long but it would be cool if we could work on something together....perhaps start generating ideas over email?

let me know what you think about this when you have a moment. It would be really cool if we could even do a "work-in-progress" showing in Saprophyt while i'm there? Perhaps i'm going too fast just getting excited and throwing ideas out there.

do sleep & eat, xo nora


06. November 2008

Von: Adriana Lara
Datum: 06. November 2008 16:37:31 GMT+01:00
An: stephan lugbauer
Betreff: Re: off space

Hi Stefan
The idea sounds interesting.
I was thinking though about someone who you could do a swap here. Here name is monsterrat albores and has a little space (storefront) in avery nice neighborhood San Miguel Chapultepec, called PETRA. She might be interested.
HEre is her email
Let me know what you think



01. November 2008

Von: simonemail
Betreff: Nachfrage
Datum: 01. November 2008 12:42:12 GMT+01:00

Hallo Stephan und Barbara,

Hab da eine Installation die ich schon laenger geplant habe und gerne prasentiern wuerde und ich denke in den Raum passt.Wenn dies interssant fuer euch ist koennen wir uns vielleicht kurtz treffen oder per telefon besprechen?



29. Oktober 2008






Danke Christina und Karl!



26. Oktober 2008

Umbau **Umbau

Umbau **Umbau



22. Oktober 2008

Von: tosterwinter
Datum: 22. Oktober 2008 19:54:31 GMT+02:00
An: "stephan lugbauer"
Betreff: Re: einladung


anbei ein bild _ a.jpg
hoffe es ist gross genug
vielleicht mit farbigem hintergrund
siehe _ test.jpg

bis dann

Thomas Osterwinter


Thomas Osterwinter



20. Oktober 2008


Thomas Osterwinter

Thomas Osterwinter

Thomas Osterwinter



10. Oktober 2008

Von: "kerstin"
Datum: 10. Oktober 2008 13:03:41 GMT+02:00
Betreff: Re: ++november++

Hello Barbara,

also falls ihr noch was braucht, lass es mich wissen

lg kerstin


kerstin von gabain



09. Oktober 2008

ya está





07. Oktober 2008

dear barbarita

My first idea I like because i can improvise in the space and also it is pretty economical to do, I just have to transport small rolls of felt and it is more or less easy to make them. I'll keep thinking.

I am sending you a text that a curator/friend wrote for an exhibition I had early 2008 in vancouver, in a space called Or Gallery. it is short but concise.

let me know if you need anything else.





06. Oktober 2008

anbei eine auswahl ...
bis dann

Thomas Osterwinter Thomas Osterwinter Thomas Osterwinter


29. September 2008

Betreff: AW: Saprophyt

Sehr geehrter Herr Mag. Lugbauer,
danke für Ihr Schreiben, ich kann mich erinnern, dass ich das Mail bekommen habe, finde jetzt leider nicht mehr in meinem Ordner, könnten Sie es mir noch einmal schicken? Das wäre super.
Mit besten Grüßen
Mag. Rick


28. September 2008

the space looks great and it is quite big. I am already thinking WHAT TO DO!

muchos besos




22. September 2008 10:11:24

anbei erst bilder ...
version e _ einfach & effektiv ...
bis dann

Thomas OsterwinterThomas Osterwinter


11. August 2008

Betreff: Plan TOP 1




05. August. 2008





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