Eduard Freudmann
works as a visual artist in
various formats and media.

A Stone Stands Here. Formations of Remembrance, 1949–

Spatial installation by Zsuzsi Flohr and Eduard Freudmann, music by Benjy Fox-Rosen (2016)

The spatial installation was developed for the exhibition "Uncanny Materials, Founding Moments of Art Education". It considers the spatial, aesthetic and political dynamics between self-organized interventions and the official culture of commemoration that have unfolded at Vienna’s Morzinplatz, the former site of the Gestapo headquarters.

The White Elephant Archive

Performance series (2012-2015)

In his performance “The White Elephant Archive, Setting No. 3”, Eduard Freudmann traces stories from a family archive founded in 1979 by his grandmother. He links contents of the archive with historical events and current political issues by means of documentary and object theatre.

“Was sie unterließ, haben wir getan.”

Performance and intervention in public space by Zsuzsi Flohr, Benjy Fox-Rosen, Eduard Freudmann, Eva Reinold, Luisa Ziaja (2015)

The project dealt with commemoration culture in public space in Vienna. It linked the elements of ritual, discourse and intervention in a performative setting. It consisted of a panel discussion, a choir, an actress and an crew of workers who illegally erected a monument dedicated to those who had illegally erected a monument on that spot in 1951.

The Monument May Be A Forest

By Gabu Heindl and Eduard Freudmann (2015)

The Monument May Be A Forest was the winner of the international competition From Those You Saved, to erect a monument dedicated to Poles who saved Jews during the Shoah.

Weinheber ausgehoben – Unearthing a Nazi Poet

Intervention in public space by Plattform Geschichtspolitik (2013)

This work deals with a memorial to Austrian poet and Nazi Josef Weinheber, which stands at the Schillerpark in Vienna’s city centre. A temporary intervention aimed at exposing its conflicted history and leading to a permanent artistic reconfiguration and contextualization of the monument.

1st general assembly of the committee for the commemoration of the word that designates the genocide of Roma and Sinti

Two-sided poster, A2 format (2013)

This work was created for the exhibition To One’s Name at Kunsthalle Exnergasse Vienna. It deals with the aesthetics of commemoration as well as with its institutionalization and the relationship of one to the other. The original German title is “1. Hauptversammlung des Komitees zur Erinnerung an das Wort mit dem der Völkermord an Roma und Sinti bezeichnet wird”.

Seder 1942

Graphic Novel (2012)

This work was created for the art magazine A5. It is based on a series of letters that my great-grandparents wrote to my grandfather in 1942/43. The graphic novel consists of stills from a video I recorded in 2009 after having read those letters for the first time. It reflects on Jewish resistance, the Diaspora and Zionism and relates Passover stories from the Warsaw Ghetto uprising, the Survivors’ Haggadah and my very personal rituals of Passover’s Seder Evening.

Bezirksamt L-Stadt

Intervention in public space, temporary installation (2011)

The work was created as part of the exhibition Widersprüche. Critical Agency and the Difference Within at Open Space Gallery Vienna. It consisted of kidnapping an anti-Semitic information plaque from a district administration office, substituting it with the reproduction of a survivor’s art work called Jewish Bravery and installing it in the gallery. It only remained there for a couple of minutes though; the police confiscated it and brought it back to the administration office.

a work that can’t shake off what it reflects.

Exhibition project by Petja Dimitrova, Lina Dokuzović, Eduard Freudmann, Can Gülcü and Ivan Jurica (2011)

Departing from Austria’s involvement in colonial practices, in both the present and the past, as well as its crossovers to imperial and fascist policies of expansion, the exhibition collects artistic positions that examine these practices and oppose them through resistant strategies. Multi-dimensional perspectives on interwoven pasts should thereby challenge existing competitions of memory and open up spaces of action for contemporary processes of political and anti- racist self-empowerment.

Monument of the Demand for Provenance Research and Restitution

Spatial intervention by Plattform Geschichtspoltitk (2010)

The intervention started in the anteroom of two offices at the Academy. A massive antique table standing in the room was rumoured to have been aryanized. Due to the given state of knowledge, it could not be assessed whether that rumor was true or false. However, the fact that the Academy Rector’s Office was aware of the rumor and despite this did not initiate the appropriate investigation, turned the table into a symbol for the institution’s general refusal to do provenance research.

History-Political Intervention at Schillerplatz

Intervention in public space by Plattform Geschichtspolitik (2010)

The intervention was carried out as part of a history-political tour through the Academy of Fine arts Vienna within the symposium Regime – Wie Dominanz organisiert und Ausdruck formalisiert wird. It consisted of two parts, both dealing with the history of Schllerplatz, the square at which the Academy of Fine Arts Vienna is located.


Film by Eduard Freudmann and Ivana Marjanović (2010)

This film is a critical analysis of the interrelation of racism (i.e. anti-Romaism) and capitalism in socalled New Europe (Europe after 1989), but also an analysis of strategies of resistance to it. The starting point for the film was the partial demolition and fencing of a Roma slum next to Belville, a residential area erected to accommodate guests of the international sports event Universiade Belgrade 2009.


Spatial intervention by Plattform Geschichtspolitik (2010)

Two Austrian emperors are being honored in a relief at the assembly hall of the Academy of Fine Arts Vienna. The relief is framed by two inscriptions: “To Kaiser Leopold I, founder of the Academy” and “To Franz Joseph I, erector of this building.” Plattform Geschichtspolitik tried to evoke a discussion about the memorial by adding two appendixes: “To Kaiser Leopold I, who expelled the Jews from Vienna” and “To Franz Joseph I, who triggered WWI.” These additional appendixes remain alongside the original descriptions to this day.

An dieser Stelle
war bis 2010

Spatial intervention by Plattform Geschichtspolitik (2010)

The intervention was carried out at the assembly hall of the Academy of Fine Arts Vienna in January 2010. It shows a cuboid made of yellow wooden sheathings that is installed on one of the walls with construction timber, on one side a bronze knob sticks out. Next to the sheathing stand a concrete mixer and a pile of cement bags. Text, inscribed on the cuboid and the wall right next to it, look at the covered object from four perspectives.

The State of Exception Proved to be the Rule

Documentary by Eduard Freudmann and Jelena Radić (2008)

The film deals with the events around an exhibition of Albanian artists from Kosovo in Belgrade’s Kontekst Galerija. On February 7th, 2008, the opening of the exhibition was prevented by Serbian right-wingers. The film connects the incidents in Kontekst Galerija with the national and international political situation, the production of public opinion by media in Serbia and a theoretical analysis and interpretation of the situation.

Beograd Gazela – Travel Guide To A Slum

Book by Lorenz Aggermann, Eduard Freudmann, Can Gülcü (2008/2009)

This book provides documentation of a Roma slum in Belgrade, packed in the format of a travel guide book. It was published in Serbian, Romani and German language, received large attention by international media and is sold in the travel guide sections of book stores. The book is based on extensive research carried out between 2005 and 2007 during several longer stays in Belgrade. It provides essential information about the social and economic structures of a slum, about the inhabitants and their daily lives and exposes the complex mechanisms of marginalization and discrimination against Roma.

Basistunnel Loiblpass

Intervention in public space by Eduard Freudmann and Can Gülcü (2005)

This intervention was carried out in October 2005. During that year a number of anniversaries were celebrated in Austria and the government launched a number of dubious art projects in public space. Austrian artists and cultural workers initiated a series of counter-projects; Basistunnel Loiblpass was one of them.

Airport Praterstern

Intervention in public space by Michael Fleischner, Eduard Freudmann, Can Gülcü (2005)

In the name of the Republic of Austria the project announced the launch of the initiative Niemals Vergessen (Never Forget), which combined a utopian construction project and a shift of paradigm in terms of how the Republic deals with the Jews expelled from Vienna during Nazism. The construction project was a new airport at Vienna’s railway station Praterstern and it was presented to the public through the information booth, radio shows, newspaper articles, a website and an online discussion forum.

Perception of War

Film by Eduard Freudmann and Ramon Grendene (2003)

The short-film is based on six parts that relate to each other. The topic of war holds an unmanageable multitude of questions, and, in the truest sense of the word, is incomprehensible. The film uses different genres/disciplines: animation, montage, agitprop, found footage, documentary, digital montage. However, it does not try to give solutions but offer approaches to be understood as a fragmented process of an endless ensemble.