███████

On Refusal, Infiltration, and the Gift

Upon being invited to exhibit at Kunsthaus Bregenz in autumn 2025, the artist decided to withdraw their identity. Not as a retreat but as a method: an intentional refusal of the economies of authorship, legacy, and visibility.

While anonymity can be used as a tool for the dissemination of ideas without censorship or repercussions on a position of “dissent”; anonymity here questions the motivations of authorship and its subsequent economies. If there is no distinguishable entity or person(s) for the work to be ascribed to, then the impetus for creating the work must revise the mode of production, aesthetic sensibilities, and lines of inquiry related to previous work. What remains is an anti-capitalist proposition that infiltrates the infrastructure that identity offers in an art-historical and cultural landscape.

Installed on the museum’s top floor is a 7.2-by-7.2-meter modular house. Constructed from 249 pieces of aluminum and two panes of glass, it is fully inhabitable with sleeping quarters, a kitchen, a bathroom, and a retractable table. It connects directly to the museum’s electricity, water, and wastewater system, parasiting the building.

Parasitic architecture is the practice of attaching a new structure to an existing one. While benefitting from its host’s infrastructures, in Bregenz, the parasite and host enter into a symbiosis.

Visitors to the exhibition are invited to inhabit the space—to sit, lie down, use the bathroom. After the exhibition, it will continue to exist as a movable artists’ residence: a living, working structure built to be disassembled, moved, and reassembled elsewhere. It offers itself as a tool—unfinished by design—that is preserved through utility.

On the floors below, architectural skins echo the blueprint of the house above. These flexible membranes are designed to adapt the structure for different climates. A manual accompanies the house, with step-by-step instructions for its reassembly.

The dwelling cannot be bought, archived, or owned. It exists to be lived in, passed on, altered, repurposed. It resists the afterlife of art as a commodity, thereby undoing the logic that equates value with permanence or visibility with truth.

The house uses the exhibition’s financial resources to build itself. Privileging flexibility not as an aesthetic gesture but as a political stance, it adapts out of necessity: to climate, context, and use. It is architecture without fidelity—a form designed to outlive the systems it survives through.

The prototype will be gifted to ______________.

███████ is facilitated by a group of unnamed person(s). The internal team at Kunsthaus Bregenz have signed a nondisclosure agreement to protect the identities of those involved.

List of Components

16 levelers made of 50 × 50 × 3 mm tubes with M-20 stainless steel threads and a 120 mm diameter plate
8 units of 150 x 50 x 3 mm tubes with a length of 4,800 mm, connecting pieces
5 mm thick aluminum interior angles screwed with M-8 screws
8 units measuring 2,400 mm to achieve a total length of 19,200 mm
8 crosses made of 150 × 50 × 3 mm tubes for interior frames, screwed together
16 frames made of 60 × 30 × 3 mm tubes with fixing holes and holes for fixing floor plates with M-5 rivet nuts
108 aluminum plates measuring 1,200 × 600 × 4 mm with fixing holes
4 hydraulic pistons for opening front and rear doors
1 tray for table storage with a hydraulic piston
1 bathroom structure lined with interior aluminum
1 sloping shower tray
1 aluminum kitchen structure
8 150 × 50 × 3 mm tube stand with 5 mm thick connecting plates bolted to the internal structure and its members
12 2,400 × 2,400 mm frames made of 60 × 30 mm tubes for fixing sheets
48 600 × 2,400 × 3 mm sheets with holes for fixing M-5 
2+2 400 × 400 glass panes with 5+5 mm butyral fixed glass (doors)
8 150 × 50 × 3 mm aluminum tubes with connectors to achieve a total length of 1,200 mm

Call for Proposals:

Artistic Reuse of the “House”

As of today, Kunsthaus Bregenz is holding an open call for proposals (CFP) presenting projects for the reuse of the “house.” The future usage can be performative, installation-based, participatory, discursive, or research-oriented. This CFP offers the opportunity for artistic, conceptual, or social use of this object.

Proposals may be submitted to Kunsthaus Bregenz until December 23, 2025. A jury led by KUB Director Thomas D. Trummer and the artist will select an appropriate project.

Deadline: All application documents should be submitted digitally by December 23 to: 
opencall@~@kunsthaus-bregenz.at

Details about the Call for Proposals