Angewandte Interdisciplinary Lab

Come see the spatial installation Shaken Grounds: Gleaning from the Rifts (2026) by
Nikolaus Gansterer, Mariella Greil, Victor Jaschke, Peter Kozek, Werner Moebius, Lucie Strecker – at AIL till 26 May 2026.

'Shaken Grounds: Gleaning from the Rifts’ ­unfolds as an open studio installation.
It brings together materials from the research in a continuous arrangement, making processes of working visible. Film fragments, interviews, filmstills, drawings, paintings, objects, costumes and performative actions appear alongside moments of editing, display and filming.
Elements from the three-channel film 'Shaken Grounds: Hell is Empty’ (to see at the second exhibition space of AIL) reappear here in altered form: as physical objects, as fragments, or from another point of view. What is seen in the film returns as material, and what is handled in the studio may reenter the moving image.
The title refers to gleaning, understood not as harvesting but as collecting what has fallen apart. Fragments, traces and residues are gathered and set into relation. The reference to Agnès Varda’s 'Les Glaneurs et la Glaneuse’ points to gleaning as a practice of attention and recomposition.

AIL, Otto Wagner-Postsparkasse / Georg-Coch-Platz 2, 1010 Vienna

Shaken Grounds. Seismography of Precarious Presences is a transdisciplinary artistic research project that explores the interconnections between geological, social, and psychological upheavals. Starting point is the observation that not only natural processes but also human interventions such as climate change and technological interventions influence seismic dynamics and alter the stability of our environment.

All photos: Lea Dörl

Currently at AIL: Bjarki Bragason’s ’Ten Thousand and One Years’ . Chrystals apparent in the basaltic core from a depth of 449.5 meters under the Hellisheiði heath in Iceland bear testament to the success of carbon mineralisation by the injection of CO₂ into the bedrock, turning it into solid form. The work shows a large photograph of a drill core from the carbon storage project Carbfix in Iceland.
The Carbfix process utilises a natural process which is part of the natural carbon cycle, where rain captures athmospheric CO₂ and brings it into the subsurface where it reacts with the bedrock and forms stable carbonate minerals. This is a process of mineralisation that the Carbfix method accelerates from thousunds of years in nature to about one year.

In his process, Bjarki was in dialogue with geologist Dr. Sandra Ósk Snæbjörnsdóttir, then geoscientist at Reykjavik Energy and later Carbfix Chief Scientist who through extended conversation facilitated the creation of the work and informed its process which lead to the realisation of a large scale photograph of one of the project‘s drill cores. The scale and form of the work reflects on the intersection of human and geological time in the Anthropocene, a time where these disperate measures of time on Earth interact in new ways.

Shaken Grounds. Seismography of Precarious Presences is a transdisciplinary artistic research project that explores the interconnections between geological, social, and psychological upheavals. Starting point is the observation that not only natural processes but also human interventions such as climate change and technological interventions influence seismic dynamics and alter the stability of our environment.

Ten Thousand and One Years, Bjarki Bragason
Installation, 2016 (Collection of Gerðarsafn – Kópavogur Art Museum, Iceland / Courtesy of Gerðarsafn), part of the exhibition Shaken Grounds. Seismography of Precarious Presences, to see till 26 May 2026.

AIL, Otto Wagner-Postsparkasse / Georg-Coch-Platz 2, 1010 Vienna

Photo: Lea Dörl

beauty in ugliness, uncanny reality of human life.
against the supposed order of the body
something closer to truth, rawness and complexity.
silent performance of transformation.
nature seems synthetic
and art is instinctively honest.
reconstruct the inherited identity.
it makes you uncomfortable
thinking everything is a lie for a moment.
it’s also about humans,
everything we have done and can do and we have to live with.
Iconic drama – rage mode is on.

Together with Claudia Holzinger’s Photographic Narration in Publication Formats course AIL created a new series of DIN A6-format postcards. Following the principle of silent mail, students developed ideas and subjects through dialogue to create a ­coherent series together. Presented as an installation at Café Exchange in the former cashier’s hall of the Postsparkasse, postcards can be taken and sent. In this place of exchange, we ­encourage you to stay ­connected.

Photographies and text:
Pavle Banović
Amina Ben Hassen
Francis Grill
Yevheniia Kriuk
Yaroslava Melnychenko
Mihaly Mundruczo
Darryl Oswald
Almut Rist
Dunja Savić
Yuliia Sudarchykova
Zinaida Tsyhliuk
Daniel Wendt

Full disclosure: this edition is already out since last summer, but there are some postcards left, so come by and pick one (or two) up. Next edition is already in the making and will launch this spring.

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