curated by Jakob Kolding

09.12. - 13.03.2021
"Fuckers" Einladungskarte
01 Dea Trier Mørch - Wolfgang Tillmans
02 Ariane Müller - Anders Clausen
03 Anders Clausen
04 "Fuckers" Raumansicht
05 Julius Koller - E.B. Itso
06 emanzipa t ss tionsfrugten
07 "Fuckers" Raumansicht
08 Klara Lidén
09 Anders Clausen
10 Ariane Müller
11 Karl Holmqvist
12 Julius Koller - Karl Holmqvist
13 Julius Koller - Karl Holmqvist
14 "Fuckers" Raumansicht
15 Henrik Olesen
16 Henriette Heise
17 Anders Clausen
18 "Fuckers" Raumansicht
19 Henriette Heise - Karl Holmqvist
20 "Fuckers" Raumansicht
21 Monica Bonvicini
22 Julius Koller
23 Søren Andreasen
24 Julius Koller
25 Henri Chopin
26 "Fuckers" Raumansicht
27 Jonathan Monk
28 "Fuckers" Raumansicht
29 Anna Pech - Anette Kelm
29 Anna Pech
31 "Fuckers" Raumansicht
32 Tania Pérez Córdova
33 Detail Gerry Bibby
34 Anders Clausen
35 Ulla Rossek

The exhibition starts with Schwaz and a series of events that had a defining impact on the town’s history. A history which in turn played a significant role in the making of a story so integral to the world today, that it does not seem possible to think outside of it. That story is capitalism.


For a period, during the Renaissance, Schwaz was, with 20.000 inhabitants, the second largest city of the Austrian empire. The main reason for this was the location in the surrounding area of the largest silver reserves in Europe, belonging to Tirol and Archduke Siegmund der Münzreiche. Siegmund was — as his name implies — fond of coins, and he was fond of spending them, which lead him to Renaissance merchant Jakob Fugger. With collateral in the silver mines Fugger was only too happy to extend the archduke loans to fund his lavish life style.


Siegmund became Fugger’s way in as banker and enabler of the Habsburgs — from Siegmund to Maximillian I and, later,  his grandson Charles V — helping the Habsburgs to a vast empire by funding the enormous outlays on bribes, wars and marriages needed in the family’s ascent to power. In return Fugger, along with significant political influence, got back his money’s worth, and then some, in rights to the wealth extracted from the empire’s natural resources, earning him the name Jakob der Reiche. His wealth enabled him to bestow lavish and generous gifts to the Vatican, and he eventually convinced Pope Leo X to cancel the Catholic church’s ban on loan interests, and thus Jakob der Reiche became the father of the modern banking system that facilitates today’s ultra-rich.


Fuckers is not a historical show. This is a story worth revisiting, because it is a story still being written.


The question posed by the exhibition is this: If we cannot imagine an outside to this story is it possible to think inside of it? Is it possible to propose practices and narratives that refuse the logic of the practices and narratives inside which they take place?


Images © Verena Nagl