Linus Riepler

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no island is an island 2024
mixed media, 360 x 360 x 110cm
developed during a residency at HIAP Suomenlinna, Helsinki, Finland /
in cooperation withe the Austrian Cultural Ministry (bmkös)
photo credits: Elis Hannikainen

there are ghosts in the walls and they crawl in your head through your ear
(Jordan Dreyer/ La Dispute, ‘such small hands’)In my practice, my aim is not to address issues directly, but to express a sentiment that I feel and observe in my surroundings, and then making it tangible to the viewer. Being on Suomenlinna, I face a certain contradiction here: I am enjoying myself in this beautiful environment, while also aware that there are reminiscences of its difficult past represented in its very structure.
I feel privileged to be able to develop work undisturbed in a dreamlike environment. But the island's history is one of wars, occupation, and political tensions. Architectural elements of the past are preserved, they become reminders – and also tourist attractions. Today there is a beauty in these structures, even though they were once a fortress to protect the city of Helsinki.
My tool is reconstruction, such as this massive wooden wall. It is an ambiguous architectural element of this island. Many wooden houses here were built during the Russian occupation, others at other times. They speak of nostalgia without taking a clear position. For me, they symbolize a danger lurking behind our walls.
The lantern – a replica of Suomenlinna's streetlamps – is the protagonist of my installation. It doesn't refer to a specific place, as it is the most common form of street lighting on the island. It is a solitary figure placed in a landscape. The light it produces is like a silent monologue.
Like all the hidden spaces on this island, there is a hidden space within my wall construction. It is another scene that the viewer can experience. The video included in this small room is a recording that I made during my residency. From the outside, it operates as a soundtrack, the lapping of waves from the nearby coastline. Inside, there is a dreamy pier on a sunny afternoon, but it makes a horror movie-like sound as it creaks against the motion of the water.
We are all connected. No one is an island, or so it’s said. The same is true for this island, a place connecting everything that’s currently happening in our world with everything that’s happened in the past.Linus Riepler, 2024

in circles, 2023-2024
mixed media
250 x 280 x 430 cm
photo credits: 1 & 8: Carmen Alber; 4,5 & 7: Tina Natsvlishvili

In Linus Riepler’s exhibition, home appears as a highly unstable place. Among other things, the artist produced a stop-motion animation in which the apartment of a tousled clay character literally transforms into a carousel. In the two-minute clip, part of a larger spatial installation, everyday items such as a blanket, espresso maker, scooter, or cantilever chair gradually develop a life of their own. The household items eventually condense temporarily into a rotating tangle, briefly forming the protagonist’s head into the shape of a stone block. A modern nightmare. Faced with the continual entropy of things to be tamed, the strive of everyday repetitions becomes an image. “A face that toils so close to stones is already stone itself!” Albert Camus once wrote about the ancient mythic figure Sisyphus. During production, the artist read Camus’ essay on the “absurd hero” of ancient mythology, alongside Kafka’s “The Castle”, which became part of the material. The installation translates the video narrative into a real, walkable space. The carousel cuts into the architecture, its seats referencing the tangle of household goods. The corridor alludes to Kafka’s castle and simultaneously to an experienced consumerist labyrinth of an underground shopping street. A telephone receiver inside the work finally acoustically connects the viewers to the world of Sisyphus through Homer’s epic.Riepler himself names the “intricacy of space, its perception, and the question of how a narrative can be inscribed into a spatial setting” as the central focus of his artistic work. Because the art of storytelling has already produced a rich media history, references to film, theatre, theatre architecture, and various forms of display (such as showcases or dioramas in small vitrines) resonate more or less distinctly in Riepler’s art. The spaces function both as a frame and as part of the artist’s narratives. Riepler makes his working process comprehensible, for instance, when presenting an automat sculpture in the exhibition space, which is both an independent work and a reference for the larger installation. Elements of the environment, stage, set, and model converge into a place of artistic experience for the audience. This highlights the manifold encoded nature of architecture and its increasing hybridisation in a casual manner.In the early nineties, Californian architecture theorist Anthony Vidler worked on delineating the modern root of discomfort in architecture in his architectural history of the uncanny. According to Vidler, architecture has been closely linked with the concept of the uncanny since the late 18th century: “At one level, the house has provided a site for endless representations of haunting, doubling, dismembering, and other terrors in literature and art. At another level, the labyrinthine spaces of the modern city have been construed as the sources of modern anxiety, from revolution and epidemic to phobia and alienation […].”The transition between homely and uncanny has remained fluid to this day and has been very present in recent times. The experience of this alienation forms a part of modern urban existence. In Linus Riepler’s works, the latent unease finds a vivid form.Exhibition text by Kito Nedo, 2024

becoming stone, 2025
mixed media
123 x 75 x 66 cm
photo credits: 1-3: Lorenz Kunath, 4-5: Tina Natsvlishvili

The sculpture by Linus Riepler draws on the physical remnants of his own biography. Materials such as a piece of plasterboard from a recent bathroom renovation, parts of an old desk and shelving units, or a wooden element from his childhood bed form the architectural body of the installation. These are fragments of a personal life that resonate with the narrative and emotional atmosphere of the short video embedded inside the sculpture.
In the stop-motion-animation, the protagonist finds himself caught in a cyclical state of crisis. Surrounded by his possessions, which orbit him in endless rotation, the domestic space merges into a single mass – a stone. His personal home shifts into a kind of carousel, a closed system of repetition and inertia. In reference to Camus’ interpretation of contemporary Sisyphus, the protagonist does not simply roll the stone but becomes one with it.
The protagonist is not the only one caught in crisis. In Riepler’s work the myth of Sisyphus is a metaphor for the recurring confrontation with power dynamics in the art world – structures which the artist encounters again and again. Decisions made behind closed doors, the delicate balance between visibility and vulnerability, the rhythm of effort and uncertainty is familiar to many who navigate this field.
On a broader level, the work resonates beyond the individual. It taps into a collective condition: a social reality marked by cycles of repetition, unresolved tensions, and structural stasis. Riepler’s work opens a space in which personal and systemic crises overlap, revealing the existential weight of navigating a world that seems to resist transformation.

ruins of a house ( a chronology of events) 2017 - 2018,
mixed media
350 x 300 x 250 cmphoto credits: 1-3: Reinhard Gattinger, 4: Otto Saxinger, 5-17: Jasha Greenberg

ruins of a house (a chronology of events) tells a fictional story based on the real ruins of a village in Croatia. The dimensions and forms of the room-within-a-room construction correspond roughly to a true-to-scale reconstruction of one of the houses Linus Riepler lived very close to during an artist in residence stay. With the help of found fragments, the original mural was reconstructed. The interior consists of various overlapping levels. On the one hand, memories of real events are represented in the form of dioramas (for example, the first visit to the ruins); on the other hand, a fictional story about the past is told. The work experiments with space and a story told within this space. Various finds turn into the source material and the ruins are now the framework. An animated video shows a possible event from the past. Two different timelines are superimposed: the current events as seen by the protagonist, and a vision of the future, which was real at the time of the stay in Croatia. The figure on the outside of the construction is meant to be a real-estate speculator, who is inspecting the house.

everything is happening at once, 2020/2021
mixed media
250 x 125 x 500 cm
photo credits: 1,5-9: Rudolf Strobl, 2-4, 13: Eva Kelety

Nothing here is made up. It all happened just like that. Perhaps not everyone involved perceived it in exactly the same way, but that does not change the fact that it was experienced like this by someone.
If you do not drive a car for a long time, both the driver and the car may get a bit rusty. It can happen that you fail to get the correct position when changing gears, and then the car spurts or runs idle. A bit of idling is okay; in fact it’s well deserved after such a long time. And yet someone gets hurt again.
I admire people who can handle automatic transmission. For me the hand will try to shift up or down a gear anyway. If you want to drive automatic, you have to surrender to the vehicle. It takes trust in the unknown. It is something for cowboys and retirees.
In this exhibition we move through places. It was a long drive and the gearbox did endure its hard day’s work. In retrospect, almost nothing is memorable, the speed was just too rapid. Therefore every reconstruction of the path is only an approximation.
It was a year of many farewells. Whether a cowboy or not, the experienced driver is able to say goodbye. The view glides through the landscape, saying goodbye to it: to every tree, every house, every inconvenience. However, if you have to concentrate too much on the journey, you will miss the details.
The sandman didn‘t come today. Was he on vacation or was he hungover in bed? Or was he at home in lockdown? He didn‘t come. And now we are standing here again.

everything is happening at once is a walk-in room installation. The work is in the shape of a corridor that extends through the entire exhibition space. Inside the work there are several scenic depictions, including some interactive elements. These scenes tell stories based on both personal experiences and certain museum showcases and dioramas. As the visitor to the exhibit walks through the corridor, there is merely an indication of the narration, subtly enough that the viewers are invited to finish the storyline for themselves, and in reference to their own lives. The aim of the work is to take elements of the ineffable and make them tangible for the viewer when
entering the work. The starting point for Linus Riepler‘s work is often a reconstruction of places or memories. These are supplemented by fictitious elements. Many of the scenes shown are based on memories of a single year. It was a year marked by many farewells, but also by travels and new beginnings.
One showcase inside this installation depicts Sandman, a character from a well-known animated German TV program for children. Contrary to the typical youthful energy shown on television, the version here looks highly aged and tired. He is about to have a beer. He is too tired to do his normal work - perhaps also feeling stuck at home during a lockdown - and one wonders how he will go about his business of helping people fall asleep. As mentioned, some elements of the work are interactive, such as being able to change aspects of the lighting or trigger a mechanism to rotate a flower vase. A video projection completes the work. everything is happening at once is a raucous mix of the various art pieces, the corridor setting, the viewer interactivity, and footage of real external places combine into an immersive experience of rumination.
everything is happening at once was created through a cooperation between Traklhaus in Salzburg and Bildraum 1 in Vienna. The work has been shown in two solo exhibitions in both exhibition spaces.

25 places in one, 2019
mixed media,
400 x 500 x 250cm
Open Art Biennale Örebro, Sweden
photo credits: 1-2: Magnus Westerborn / Open Art Örebro

For the work25 places in one Linus Riepler visited all the streets in Austria that are named after Sweden.The installation - presented at the Open Art Biennale Örebro
- consists of reconstructed elements of each visited place, merged together into one fictional landscape. Visitors can interact with the
installation in various ways, from handling memorabilia, found objects, and photos collected during the journey to viewing accompanying video material on a mobile app. In addition to this hands on approach, the project includes research into the history behind the naming of each street. Historic facts and legends - most of them dating back to the Thirty Years‘ War - are attached to the objects.
In 25 places in one, we see how memories can affect places and how names can influence our memories. These streets were named because of memory of Sweden, and now this installation is a sort of tangible, amalgamated memory on top of that.
A memory that allows viewers to enter a world foreign to ours, yet connected to their own.

it's a little bit over, 2019
mixed media
340 x 260 x 250 cm
photo credits: all images of this work: Keizo Konishi

it’s a little bit over came into being during an artist-in-residence stay in the Japanese town of Kamiyama in 2019. The work’s form is an interpretation of a typical room in a Japanese house. The dimensions of the room are the same as those of the living room of the house in which Linus Riepler lived in Kamiyama.
Visitors looking at the room can interact with the work. When they pull on the pulleys, different kinds of landscapes appear showing the artist’s memories during his stay in Kamiyama. The movable parts are inspired by the traditional Japanese Fusuma theater. The function of the pulleys makes direct reference to the way that Fusuma sliding panels are operated. The parts have the same goal as theater backdrops, which is to create different kinds of worlds and allude to stories within a room. it’s a little bit over toys with the concept of memory on various levels. The room itself is an architectural interpretation of an existing room. Also, with the help of found objects, photos, and sculptures, different kinds of places are reconstructed. The materials used also refer to Kamiyama. The title of this artwork reflects the forming of a memory—the moment in which we realize that something is coming to an end. And it also reflects the state of the exhibition. It is like a state of limbo, the final ending of a period that is not completely over yet, but you can already feel the end approaching.

a tale of transformation, 2023
mixed media
310 x 124 x 200 cm
exhibition view: CCA Tbilisi
photo credits: all images of this work: Sandro Sulaberize

A tale of transformation is conceptually based on the historyof former Hotel Iveria in Tbilisi, with all its architectural and functional changes over time. As a prestigious hotel in Soviet Georgia accessible only to high-ranking officials, Iveria radically changed its function and appearance in the 90s when it became a shelter for war refugees from Apkhasia. Today as Radisson Blu Iveria the building embodies the modern and international Georgia. The political, ideological and social changes of the country are strongly reflected in the changing architectural history of Iveria. The interior of the room installation represents a typical Tbilisi house entrance. Some other elements of the work, such as wall structures and ceiling cracks refer to spatial situations I experienced in Tbilisi and reflect on the basic mood I felt in the city - a state of flux and continuous change, that gives shape to something alternative and new. The work was built mainly by using previously utilized or discarded materials and found objects, similar to the architecture of Tbilisi, where the elements are reused or added to buildings according to existing conditions, leading to an organic growth of the whole cityscape. The ceiling opening inside the work shows a view of the blue sky, referring to a new future emerging through differences and individuality coexisting between all the little gaps and cracks.
My research on this work is widely based on texts by architectural theorist Irina Kurtishvili, as well as experiences made my resideny stay in Tbilisi.

cuddle the mama, 2016
mixed media
155 x 93 x 80 cm
photo credits: 1-2, 4-5, 9: Gianmaria Gava, 3: Haruna Honcoop
The last two photos show the exact location where it was found and the item itself.
Image 6 shows a video still of the stop-motion animation

cuddle the mama tells the fictional story of a hardcore band of the same name. The starting point of the sculptural work is a drumstick that Linus Riepler found in New York. A diorama shows the exact location of where, and the exact moment when, he found the drumstick. Building on this, the story is told of how the drumstick was lost, using drawings and sculptural elements. Another component of the narrative is a video clip showing the band performing in a short animation. All components of cuddle the mama are installed onto two flight cases, thus turning the work into a single sculpture. Originally, the transport boxes for musical instruments were used by two existing bands before they were reincarnated as a sculpture.

Sperrstunde, 2017
mixed media
250 x 60 x 80 cm
photo credits: 1,2, 4, 5: Gianmaria Gava

Sperrstunde (closing time) is part of a series of works (blind date) that you can access only with your head. The series originated from the search for possibilities of realizing smaller-scale space installations.
The blind date series is a kind of analogue version of Virtual Reality. VR glasses roughly have the same goal. As soon as you put them on, they simulate a different reality. In both cases you have the sensation of entering a room. The bar scene on the inside of the work represents a given moment; it is the reconstruction of a certain bar at a certain time. The work shows the end of an evening, and a moment in which we often become aware of our surroundings and our personal situation. A specially recorded soundtrack deepens this experience on an acoustic level.

off-season, 2025
mixed media, 70 x 110 x 10 cm

This work was developed during a residency at CCA Andratx in Mallorca, in January 2025. Being there during off-season I became especially interested how places have been influenced by foreign architecture to attract tourist. About a year ago, I read a book by Anthony Vidler discussing the concept of the uncanny in modern architecture. Vidler explains how architecture has been intertwined with the uncanny since the late 18th century. One of his key references is the work of Italian artist Piranesi, whose prints depict labyrinthine spaces filled with staircases leading nowhere and extreme perspectives. These evoke a sense of entrapment, of being confined to an inescapable situation. When I visited Magaluf (a town filled with British bars), the emptiness struck me. !e town, with its winding roads leading up hills and endless streets of shuttered bars - even along the side alleys - felt like a Piranesi-style labyrinth. However, instead of being trapped in a room, this was an infinite, empty bar scene. My work captures spaces from Magaluf and Ballermann, incorporating found objects from both locations. The drawings directly reference Piranesi as well as the overall composition.The vibrant background reflects the characteristic colours of Mallorca, while found objects from Andratx are included to highlight the local aesthetic.

endlageschalter (end switch), 2010
mixed media
300 x 300 x 250cm
photo credits: all images of this work: Angelika Krinzinger

Endlageschalter (end switch) is a walk-in show or performance, the beginning and ending of which is decided by the viewers. There are two rooms on the inside, one showing a cloakroom setting with a ceiling height of 1.5 meters and the other showing a spatial overlapping of the most diverse elements. These elements include parts of a theater, the reconstruction of a studio window, and scenes of an artist-in-residence stay in Hungary. A specially designed soundtrack is played on the inside of the work. By using pulleys, visitors can monitor the soundtrack and the lighting of the work.

image 1-4:
house of cards, 2023
mixed media, 120 x 50 x 60 cm
photo credits: Carmen Alberimage 5-10:
house of cards 2, 2024
mixed media, size variable
exhibition view: Ada, Vienna
photo credits: Tina Natsvlishvili

a small analog holodeck, 2017
mixed media, size forgotten
exhibition view: Richmond Art Collective, Spokane (WA), USA
photo credits: 1-4,6,9: Ira Gardner

Science fiction often reflects our current culture back at us, and helps us look at our world in a different light. We draw inspiration from it in everything from the devices we use to the artwork we create. Laboratory artist-in-residence Linus Riepler draws from the Star Trek holodeck in his work to explore how artwork and installation transforms the traditionally blank gallery space. If you‘re not familiar with the ins and outs of the starship Enterprise, the holodeck in Star Trek is a room which simulates any place or situation the viewer can imagine, providing the crew with an escape into a new landscape, historic event, or exotic world just by issuing a voice command. In his work a small analog holodeck, Linus Riepler transfers this idea into the real world. Using simple mechanics, ropes, and pulleys, viewers of this art installation can change the scene to their liking, exploring different images and collections of the memories of Spokane the artist has made during his time in residence there. In giving the viewer control of their experience, it shows us how art exhibitions function as these sort of holodeck-style spaces – how a blank room becomes another world through an artist‘s practice, and how space can serve as a vessel for memory. The simulated places are influenced by memories made during the residency period at Laboratory Spokane. And also the outer appearance of this project follows site-specific rules, as it is situated in the Richmond Art Collective’s hallway.(Alan Chatham, 2017)The interior of the work appears as an empty, white space. Different scenes can be created by operating the mechanism using various handles connected to the pulley system. The background can be changed using one of the handles. The painting depicts Spokane's Palisades Park. Appearing on all the walls inside it creates the illusion of a journey to this place. Another handle makes the city of Spokane appear. A third handle creates a shadow projection. All elements can be combined with each other as desired.

Nomad Spirit 2025 - Mongolia - 11 June - 29 June 2025solo exhibition: CAS, Osaka, opening: 23 August 2025More information on these projects will follow soon!

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CV
1984 born in Vöcklabruck
2004 – 2009 Academy of Fine Arts Vienna
(with Manfred Pernice and Gunter Damisch)
2008 Royal Academy of Fine Arts Antwerp (Belgium)
2009 Graduation

solo exhibitions:2025 CAS, Osaka, Japan (August 2025)2024 “in circles“, Galerie Krinzinger, Vienna2022 “everything is happening at once“, Bildraum1, Vienna2021 “everything is happening at once“, Traklhaus, Salzburg2020 „Nach dem Taifun“, Ada, Vienna2017 “Left Behind”, Galerie Krinzinger, Vienna
“a small analog holodeck”, Richmond Art Collective, Spokane, USA2016 “Aussichten und Einsichten”, Galerie Krinzinger, Parallel Vienna, Alte Post, Vienna2015 “Orte, Objekte, Geschichten” Startgalerie, MUSA, Vienna
“Herr Kopfweh und der Mond”, Sightfenster, Galerie Warhus Rittershaus, Cologen2014 “Durchtauchen”, der Schaukasten, Vienna (curated by Daniela Hahn, Andrea Lehsiak)
“Panoptikum”, Oberösterreichischer Kunstverein, Linz2012 “Warten auf bessere Aussichten“, Die Tür im Boden 3, Salzamt, Linz (curated by Birgit Petri)2011 “my neighbour is my clock“, Galerie Krinzinger, Vienna

group shows (selected):2025 “why am I soft in the middle”, Halfsister Berlin (curated by Tina Natsvlishvili)
“open studio day”, CCA Andratx, Mallorca, Spain
Ada is … covfefe“, Ada, Vienna
„25 2“, art space L201, Studenzen, Austria (curated by Alfred Lenz)
Nomad Spirit, Mongolia (June 2025)
Tbilisi Triennale, Georgia (TBA)2024 “looking elsewhere being there", CerModern Arts Center, Ankara, Turkey (curated by Marcello Farabegoli, co-curators: Pablo Chiereghin, Charlotte Aurich)
“open studio day”, HIAP, Helsinki, Finland
“Danke, Wien”, WUK, Vienna (curated by Hisa Enomoto)
“10 minutes shift”, Glockengasse 8, Vienna (curated by Pablo Chiereghin/Miriam Laussegger)
“take two, one to send and one for you”, Stadtgalerie raumimpuls, Waidhofen/Ybbs2023 “A place to live. Reimagining Tbilisi”, CCA Tbilisi, Georgia (curated by Tina Natsvlishvili)
“Avanti Dilettanti“, MUSA, Vienna (curated by: the Dodo Project)
“Istra Kao Drvo Života” Muzej Moslavine, Kutina, Croatia2022 „kumanonisumu“, Kamikawa, Kumano, Japan
40. Terra Symposium, annual exhibition, Galeriji Terra, Kikinda, Serbia
Solo booth at Spark Art Fair, Galerie Krinzinger, Vienna
„Stein im Glashaus“, Glaskasten Brigittenau, Vienna (curated by Andrea Habith and Pablo Chiereghin)2021 „Six Solo Shows“, Krinzinger Projekte, Vienna
„Apeiron – Why Austrians Now?”, Radvila Palace Museum of Art, Vilnius, Lithuania
„House of losing control”, Vienna Art Week, Vienna
„That’s new and needed II“, Brückengalerie, Upper Austrian art collection, Linz
„Kardinal König Kunstpreis – Nominations“ Kunstraum St. Virgil, Salzburg2019 KAIR, Kamiyama, Japan
„OpenArt Biennale“, Örebro, Sweden
„10. Međunarodni festival vizualnih umjetnosti“, Museum Lapidarium, Novigrad, Coratia
„LA Boomerang“,One Mess Gallery, Vienna (curated by Daniela Hahn and Andrea Lehsiak)
„AVE Magazine #4“, Kunstraum Super, Vienna
„Preise und Talente“, Power Tower, EVN and Offenes Kulturhaus, Linz
„Thomas Bernhard“, Austrian Cultural Forum Berlin (curated by von Julia Schlager)
„26 Relaxercises“, stay hungry, Kleinwalsertal (public space), Austria
„Foto“, Glockengasse 8A, Vienna2018 „Capturing Spaces – Views on the In-Between“, public space project in Berlin, curated by Stay Hungry, Berlin
“AiR” Krinzinger Projekte, Vienna
“Luna Park”, duo exhibition with Raphaela Riepl, Raumschiff, Linz
“Fishbowl”, Raumstation, Vienna
“Erde.Erde”, Zoom Kindermuseum, Vienna
“A Recollection of Resonances - bb15’s 10 Years Anniversary Show”, BB15, Linz2017 „Spielraum. Kunst, die sich verändern lässt“, OÖ Landesmuseum, Linz
(curated by Frederik Schikowski)
„AiR Kuberton“, Rigo Gallery, Novigrad, Croatia
„8th International Festival of Visual Art“,Muzej Lapidarium, Novigrad, Croatia
„Brot und Spiele“ Kunstforum Montafon, Schruns
„Where we meet“, Palmenhaus, Vienna2016 „Tentoone“, Kunstraum Super, Wien
(curated by: Katharina Brandl, Daniela Hahn, Andrea Lehsiak)
„Auf einem schönen grünen Platze...“, Oberösterreichischer Kunstverein, Linz
„Česko-rakouské hvězdy”, Miroslava Kubika Gallery, Litomyšl, Czech Republic
(curated by Marcello Farabegoli and Richard Adam)2015 „Perpetuum Mobile”, Kunst Haus Wien, Marcello Farabegoli Projects, Vienna Art Week,
„we gave our best (...) to the hope chest“, Penelope, New York City, USA
„we gave our best (...) to the hope chest“, Austrian Culture Forum DC, Washington D.C, USA
„we gave our best (...) to the hope chest“, ESXLA, Los Angeles, USA
„Konfluenz“, Alfred Kubin Haus, Zwickledt
nominierte Werke - Walter Koschatzky Preis, MuMok Hofstallungen, Vienna2014 UAMO Festival, Munich
„Relating to...“, OÖ Kunstverein, Linz
„Arsenale“, Sonnenhaus, Arsenal, Vienna
„Café Draschan“, Kunstraum Draschan, Vienna2013 „Hotel International”, Galerie Warhus Rittershaus im Hotel marsil, Cologne
„Parallel Vienna“, Altes Telegrafenamt, Vienna
„Die Chic Boutique“, SWDZ, Wien (curated by Johanna Braun)2012 „Bauer auf E4“, der Schaukasten, Vienna (curated by Daniela Hahn and Andrea Lehsiak)2011 15. Biennale de la Mediterranée, Thessaloniki
„Artist in Residence Hungary 2010“, Krinzinger Projekte, Vienna
„We only have what we remember“ (mit Klara Petra Szabó), Viltin Galéria, Budapest
Approaching Thessaloniki, Semper Depot Vienna2010 Präsentation AIR Programm der Galerie Krinzinger in Petömihályfa
“Artmart”, Künstlerhaus, Vienna
„Lokalaugenschein“, Off Space Projekt, Vienna2009 "...a chain of development, that may eventually find some form", BB 15, Linz2008 „Zelle“, off space projekt Vienna
„kunstakt08 – Raw Law“ Fellner, Wratzfeld and Partner, Vienna2007 „Im Zentrum am Rand", touring exhibition, Nö-Art, Krems, Primmersdorf, Langenlois, Ziersdorf, Kirchschlag i.d.B.W.2006 Sculpture Triennale „Sensitivity“, Poznan, Poland
„Faktum Flakturm“ former anti-aircraft defense tower Arenbergpark in Vienna

residencies/symposiums:2025 CCA Andratx, Mallorca, Spain (January 2025)
2024 HIAP Helsinki (in collaboration with the Austrian Cultural Ministry), Finland
2023 artist in residence program, interact projects and CCA Tbilisi, Georgia
2023 Residency by the Upper Austrian government in Paliano, Italy
2022 kumanonisumu, Artist in Residence Programm, Kumano, Japan
2021 40. Terra Symposium, Kikinda, Serbia
2019 Kamiyama Artist in Residence Programm, Kamiyama, Japan
2017 artist in residence program Laboratory Spokane, Spokane, Washington, USA
2017 artist in residence program Kuberton (Museum Lapidarium + Galerie Krinzinger), Croatia
2016 5. Symposium Litomyšl, Litomyšl, Czech Republic
2010 artist in residence program by Galerie Krinzinger in Petömihályfa, Hungary

awards:
2021 nomination Kardinal König Kunstpreis
2017 Klemens Brosch-Award
2014 Heinrich Gleißner Sponsorship-Award
2013 Theodor Körner Award
2013 Anni und Heinrich Sussmann Grant
2011 Startstipendium by the Austrian Cultural Ministry
2011 Talentförderungsprämie by the Upper Austrian government

works in collections:
Artothek des Bundes – Austrian state collection / MUSA, City of Vienna / Lentos Museum, Linz / OÖ Landes Kultur GmbH / die Kunstsammlung – collection of the Upper Austrian government / Yuan Art Collection, Switzerland / Museum Lapidarium, Novigrad, Coratia / Kupferstichkabinett / private collections

stage sets:
2015 “Don Camillo and Peppone” Festspiele Stockerau
2010 „Nach der Krise“ im Kabarett Simpl, Vienna

publications:
2021 “Everything is happening at once”, Kunst im Traklhaus, Salzburg
2020 “Linus Riepler - After the Excitement”, monography, Kerber Verlag, Bielefeld/Berlin, Germany

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Visual Artist
Studio: Graf-Starhemberg-Gasse 3
1040 Vienna
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If you contact me via email, the data you provide will be stored for the purpose of processing your request and for potential follow-up questions. This data will not be shared without your consent.Server Log Files
The hosting provider of this website (Carrd Inc. or its sub-providers) automatically collects and stores information in so-called server log files, which your browser transmits automatically. These may include:+ Browser type and version+ Operating system used+ Referrer URL+ Host name of the accessing computer+ Time of the server request+ IP addressThis data cannot be directly associated with specific individuals and is not combined with data from other sources. However, I reserve the right to retrospectively check this data if there is concrete evidence of unlawful use.Cookies / Embedded Content
This website contains embedded videos from Vimeo. When you access a page that includes such a video, a connection to Vimeo’s servers is established. In this process, certain data — such as your IP address and technical browser details — may be transmitted to Vimeo.Vimeo may also place cookies or similar technologies on your device, even if you do not interact with the video, in order to collect data about your visit.The legal basis for this data processing is your consent (Article 6(1)(a) GDPR). You can grant or withdraw this consent via the cookie banner presented when you first visit the site.For more information, please refer to Vimeo’s Privacy Policy.Web Analytics
Currently, this website does not use any analytics or tracking tools (e.g., Google Analytics or similar services).Please note, however, that Carrd — the platform hosting this website — may collect general usage data (e.g., page views) in accordance with their own privacy practices. This data is not personally identifiable and is not used by me for tracking or marketing purposes.Your Rights
You have the right to access, rectify, delete, restrict, or transfer your personal data, as well as the right to object to or withdraw consent at any time. If you believe that the processing of your data violates data protection laws, you may file a complaint with the relevant supervisory authority.In Austria, this is the Data Protection Authority: www.dsb.gv.at© Linus Riepler 2025