Collectors Agenda

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Collectors Agenda

Collectors Agenda is a digital art platform, a printed magazine that runs by the title The Collectors Chronicle, and a project space downtown Vienna, Austria.

Collectors Agenda is a cross-medial art platform and the publisher of the printed journal The Collectors Chronicle that is available for free at major art fairs and other events of the cultural scene. Very much like a perpetual calendar, our editorial contains timeless and insightful stories of our meetings with much-discussed artists and other actors of the art world. Our reader base is composed

of the entire spectrum of the art world, including artists, art critics, gallery and museum professionals, journalists, stablished and aspiring collectors, and art enthusiasts from the creative industries. We bring a fresh approach to the landscape of art journalism by avoiding the typical ‘art speak’ in our copy and thus help broaden the appeal of art discussions, beyond the inner circles of the art scene, reaching out to a new generation of future collectors. Subscribers to our newsletter are informed when we publish new stories or release new limited editions and work series in collaboration with international artists. Our artist collaborations – exclusive editions in low numbers and limited work series – are exhibited in our project space downtown Vienna, typically as solo shows. You also find us at international art fairs such as Art Cologne or viennacontemporary.

05/02/2026

VIENNA—𝗦𝗸𝗶𝗻 𝘁𝗼 𝗦𝗸𝗶𝗻 by is at , and can be seen UNTIL 31 MAY 2026.

At the heart of the installation stands a mysterious group of 55 identical, larger-than-life figures—ghostly, hybrid beings that resemble avatars, deep-sea creatures, or apparitions from another dimension. They embody both protection and kinship, fragility and power. Drawing on animal survival strategies such as camouflage and nocturnality, as well as ideas from science fiction, Afrofuturism, and posthumanism, Sandra Mujinga creates an atmosphere where multiplication becomes a strategy for disappearance.

With her work, Mujinga poses fundamental questions about visibility, identity, and transformation, guided by her keen interest in bodies and skin. Mirrored objects heighten visual multiplication and sensory stimulation, while an electronic soundtrack adds an acoustic dimension to this seemingly speculative world. Inspired by Naomi Klein’s concept of the doppelgänger, Skin to Skin explores how repetition and abstraction allow bodies to resist clear interpretation—opening up new spaces for speculative resistance amid (digital) control and surveillance. Skin to Skin invites us to imagine fluid, hybrid, and defiant forms of existence beyond conventional categories—poetic, political, and radically contemporary.

nstallation views, Sandra Mujinga – Skin to Skin, Belvedere 21, 2026
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02/02/2026

BASEL—𝗕𝗲𝗲𝘀 𝗯𝗲𝗶𝗻𝗴𝘀 𝗯𝗲𝗮𝗻𝘀 by is at , and can be seen UNTIL 12 APR 2026.

Diambe (b. 1993) develops an artistic language between sculpture, painting, and film in which nature, ritual, and movement form hybrid narratives. Working with living, organic materials such as fabrics, bronze, textiles, foodstuffs, egg tempera, plant dyes, and beeswax, Diambe choreographs fragile, sensual landscapes poised between ephemerality and resistance. The works negotiate themes of body, territory, and cultural memory, probing colonial archives as well as ecological crises. For Diambe’s largest institutional solo exhibition to date, at Kunsthalle Basel, new sculptures, paintings, and a new film will be produced that together offer a choreographic description of bees, oscillating between loss and rebirth.

Diambe, Bees beings beans, exhibition view, Kunsthalle Basel, 2026, photo: Philipp Hänger / Kunsthalle Basel

29/01/2026

VIENNA—𝗢𝗰𝘁𝗼𝗴𝗼𝗻𝗲 by is at , and can be seen UNTIL 6 APR 2026.

Kunsthalle Wien presents the first solo exhibition outside France by the French-Iranian artist Chalisée Naamani (b. 1995, Paris). Entitled Octogone, the exhibition includes a series of new commissions alongside recent sculpture, print and textile works. Naamani describes her sculpture as ‘image-garments’, produced via a process of layering and collaging images, fabrics and text from diverse sources. While her objects often resemble items of clothing or refer to the history of fashion, they are never intended to be worn. Instead, her sculpture positions fashion as inherently political, drawing upon the applied arts to reveal how questions of form, function and aesthetics are bound to power and cultural meaning. Informed by a wide range of sources, Naamani’s works bring together ornamental traditions from the decorative and fine arts, Persian and Christian iconographies, quotations from popular culture and the internet as well as personal photographs and archival material.

Installation view Chalisée Naamani: Octogone, Kunsthalle Wien 2026
Courtesy the artist, photo: Markus Wörgötter

28/01/2026

In the Studio with 🤩

Italian artist Davide Allieri works with sculptural and installation-based forms that explore what remains once human function has disappeared. Drawing on technical and architectural vocabularies, his practice examines states of abandonment, suspension, and post-human temporality. Influenced by science fiction, cinema, and critical theory, Allieri creates environments that feel both familiar and subtly displaced. Through materials such as fiberglass, he produces hollow, resilient structures that function as containers of memory and potential, inviting reflection on time, technology, and the contemporary condition – a future that already feels present.

»I’m interested in representing an idea of extended time, a present without a clear past or future.«

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26/01/2026

ST. GALLEN—𝗢𝗻𝗲 𝗧𝗵𝗶𝗻𝗴 𝗔𝗳𝘁𝗲𝗿 𝗔𝗻𝗼𝘁𝗵𝗲𝗿 (𝗗𝗿𝗮𝘄𝗶𝗻𝗴𝘀 𝟮𝟬𝟬𝟱–𝟮𝟬𝟮𝟱) by is at , and can be seen UNTIL 15 FEB 2026.

«What are we doing here? And why should we care?» Sam Porritt’s work is characterised by an interest in both conceptual and social questions, which he explores through the act of drawing. At its core lies a finely tuned sensitivity to the paradoxes of human existence. In his daily drawing practice, Porritt processes everyday observations, anecdotes or headlines that capture his attention. Yet for him, drawing is far more than a mere depiction of reality. In seeking an immediate connection between hand, eye and mind, it becomes a field for experimentation, a link between the individual and their environment, an embodiment of pure information. Spontaneity and speed, but also repetition, play a decisive role here: intention meets coincidence – every sketch is also a lucky draw.

Sam Porritt, «One Thing After Another (Drawings 2005–2025)», exhibition view, 2025.
Photo: Kunst Halle Sankt Gallen, E. Sommer.

22/01/2026

PRAGUE—𝗧𝗵𝗲 𝗙𝗼𝗼𝗱 𝗼𝗳 𝗟𝗶𝗳𝗲 by , curated by is at , and can be seen UNTIL 31 JAN 2026.

Man was created of the Earth, and lives by virtue of the Aire; for there is in the Aire a secret food of life, which in the night we call dew; and in the day rarified water, whose invisible, congealed spirit is better than the whole Earth. (Michał Sędziwój)

Although the letter O and the number 8 are just arbitrary symbols for oxygen, they represent a graceful symbolic harmony between nature and human thought. We perceive both the closed circle and the horizontal eight as symbols of eternal cycle and wholeness, whether it be inhalation and exhalation, burning or photosynthesis, growth or decay. This life-giving substance – the „food of life“ – was described as a component of air by the Polish scholar Michał Sędziwój in his text Novum Lumen Chymicum (1604). His pioneering findings on the chemical origin of oxygen served more than a century later to identify this essential element. And it is no surprise that Sędziwój was staying at the Prague court of Rudolf II at the time, which was (and still is) often mentioned in connection with alchemical explorations.

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21/01/2026

MUMBAI—𝗨𝗡𝗗𝗘𝗥 𝗧𝗛𝗘 𝗦𝗨𝗡 by is at .india, and can be seen UNTIL 22 FEB 2026.

What does it mean to be human in an age of constant change? ‘UNDER THE SUN’ by Doug Aitken invites you to step into a landscape of light, sound, and material — a three-part journey that traces our relationship with nature, technology, and time itself.

Spread across three floors, the exhibit unfolds through tactile sculptures, mirrored film environments, and radiant light installations. The Past evokes elemental terrains through wood, glass, and textiles. The Present immerses viewers in Aitken’s six-screen video installation NEW ERA, where shifting reflections and voices explore how technology reshapes connection and identity. The Future culminates in a vast, glowing orb of light — a hypnotic, ever-changing symbol of evolution and possibility.

Doug Aitken, NMACC Floor 1, 2025; Installation view at NMACC, Mumbai, India, 2025, Courtesy of
the artist; Photograph by Dhrupad Shukla/Floating Home Studio

19/01/2026

VIENNA—𝗣𝘀𝘆𝗰𝗵𝗲 𝗼𝗳 𝗙𝗮𝗲 𝗢 by is at , and can be seen UNTIL 10 APR 2026.

The bo***ir is literally a room for sulking, a female retreat and refuge for dressing, un******ng, and transformation. The Marquis de Sade transformed it into a libertarian cabinet for his fantasies, while Anaïs Nin made it the setting for her erotic stories. Today, the term primarily refers to a genre of photography that commercializes posing in lingerie as an act of self-empowerment. Sofia Mitsola, by contrast, turns it into the atmospheric backdrop for her images and thus a linchpin of a reflection on how (n**e) painting, with its myriad art-historical references, can be given a contemporary perspective once again.

Installation views, Sofia Mitsola, Psyche of Fae O, Galerie Eva Presenhuber, Vienna, 2026
Photos: (c) Jorit Aust

14/01/2026

SINDELFINGEN—𝗢𝗳 𝗢𝘁𝗵𝗲𝗿 𝗣𝗹𝗮𝗰𝗲𝘀, with works by , .Cenci, , , , ,
is at , and can be seen UNTIL 22 MAR 2026.

Michel Foucault describes heterotopias as ‘other places’, as real and effective places that are drawn into the fabric of society: counter-places or counterpoints, utopias that have actually been realised, in which the real places within culture can be represented, contested and reversed, as it were. For they deviate from the social order, are spaces of transition, of otherness or subversion. However, Foucault’s heterotopias are never utopian in the classical sense, because they are real, but ‘outside all places’.

In Of Other Places, Mike Bourscheid, Giulia Cenci, Alex Da Corte, Stine Deja, Flaka Haliti, Monika Michalko and Tobias Spichtig create their artistic universes in their own exhibition rooms. These rooms are understood in Foucault’s sense as places of ‘another order’. As real counter-places that open up alternative realities. Each artistic creation represents a self-contained cosmos with its own rules, atmospheres and contexts beyond familiar parameters. They exist side by side and form a network of parallel realities that mirror, contrast or overwrite the world as we know it – condensed, fragmentary, poetic or even disturbing.

Photos: Wolfgang Günzel / Kai Knoerzer

13/01/2026

DRESDEN— to 𝗧𝗵𝗲 𝗔𝗰𝗰𝗼𝘂𝗻𝘁𝗮𝗻𝘁 by Tobias Izsó (), curated by at .

In his installation for Kunstverein Dresden, Tobias Izsó (1997, Vienna) creates a sculptural environment that oscillates between material contradiction and social construction. Assamblages and objects are displayed throughout the exhibition space as if they had slipped out of someone’s diary – enigmatic items of personal inventory, some deeply private, others very public. They complement each other, contradict each other, mirror each other, and mock each other, but they always form a visual, narrative, and contextual network of relationships that have yet to be discovered by the viewer. With their silent presence, the sculptures seem to act as witnesses to the events of Herman Melville’s short story Bartleby, the Scrivener (1853) – an atmosphere in which we feel someone’s presence even though we are not communicating with them directly, as if Bartleby was around every corner of his office. This ambivalent situation can be summed up in the narrator’s words: „I never feel so private as when I know you are here.“

12/01/2026

VIENNA—𝗜𝗻 & 𝗢𝘂𝘁 𝗼𝗳 𝗣𝗮𝗶𝗻𝘁𝗶𝗻𝗴* by is at , and can be seen UNTIL 1 FEB 2026.

Ashley Hans Scheirl’s extensive retrospective at Belvedere 21 spans the 1970s to the present and features new works created specifically for this exhibition.

Since the late 1970s, Ashley Hans Scheirl has developed a remarkably diverse body of work. Their movies, many of which were filmed using the Super8 format, have established the artist as an internationally recognized pioneer in queer-feminist and transgender counterculture. Scheirl’s twenty years of practice in film, performance, and sound production have culminated in two experimental feature films, Rote Ohren fetzen durch Asche / Flaming Ears (1992) and Dandy Dust (1998).

In the 1990s, the focus shifted to painting as a medium for exploring questions of identity through an engagement with art history and the incorporation of various genres. Abstract Expressionism meets Photorealism, dark Romanticism meets Pop Art, and Bad Painting meets Surrealism. Important references include the splatter film genre, Viennese Actionism, Donna Haraway, and the literary po*******hy of Georges Bataille.

Scheirl views their work as a satirical take on the increasingly surreal nature of the neoliberal economic system, using cutting humor to address the social constructs of gender, sexuality, and power.

Exhibition view „Ashley Hans Scheirl“, Belvedere 21
Photo: Johannes Stoll / Belvedere, Wien

07/01/2026

In the Studio with 🤩

No matter how far he travels or where his work is shown, Slovak artist Andrej Dúbravský always stays connected to his roots — nature and countryside life. With the curiosity of a scientist, he dives into the exploration of living things like bees, caterpillars, ladybugs, pets, and n**e men. Dúbravský’s works depict the diversity of the biological and the human forms. His depictions of chubby men have shocked and outraged politicians. So what? The artist is determined to challenge perceptions of the human body—but also just to have fun.

»There are many different ways to depict the human body.«

Read the full interview on our website!

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