Linus Riepler

teatoru-san (2022)

this work was developed during the KUMANONISUMU artist in residence project in Kumano, Japan in 2022

more info:



mixed media
approx. 180 x 150 x 200 cm



untitled (2022)

Courtesy Galerie Krinzinger, Fotos Anna Lott Donadel



mixed media
240 x 180 x 180 cm



everything is happening at once (2021)




mixed media
250 x 125 x 500cm




Memory of a Bench (2021)




mixed media
250 x 250 x 420cm

music by Justin Lepard, aka Psychedelic Chello


video by Florian Lang

Noch immer Warten auf bessere Aussichten (2021)




mixed media
290 x 123 x 150 cm

music by Justin Lepard, aka Psychedelic Chello

video by Florian Lang


Wohnung Gfrornergasse (kurz vor dem Auszug) (2020)




mixed media
60 x 66 x 23cm

music by Justin Lepard, aka Psychedelic Chello

video by Florian Lang


It’s a Little Bit Over (2019)

Kamiyama, 2019

The work, “It’s a Little Bit Over” is an interactive sculpture in the shape of a room, which the viewers can enter.
In his artistic practice, Linus Riepler often builds rooms. This work, which was developed during the KAIR residency 2019, is his interpretation of a Japanese room. Its dimensions are the same, as the living room of his temporary home here in Kamiyama.Viewers can interact with the work. By pulling handles, the interior can be changed. Through the use of pulleys, different sceneries will appear. These sceneries will show different memories of Linus’ residency in Kamiyama. The movable parts are inspired by traditional Japanese Fusuma theatre. Their function is a direct reference, to the way Fusuma panels are moved. However, instead of use in a theatre context, the mechanisms are adapted into a room installation. Similar to theatre backdrops, different worlds are created, and narrations are indicated within a space.

“It’s a Little Bit Over” plays with different layers of memory. The room itself is an architectural interpretation of an existing room. That said, the interior is not just that specific room. It also depicts different places by using found objects, photos, and specific materials. The title of this work describes the act of producing a memory, by realising that something is ending. And it reflects the in-limbo situation this exhibition produces. It is the end point of a period of time, that is not completely over yet – but it’s already a little bit over.

This work was developed during an artist in residence program in Kamiyama, Japan in 2019.




mixed media
340 x 260 x 250 cm

all photos by: Keizo Konishi


25 places in one (2019)

Open Art Biennale, Örebro, Sweden, 2019

For the work 25 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.




mixed media
400 x 500 x 250 cm



mobile exile (2019)

Österreichisches Kulturforum Berlin, 2019








mixed media
250 x 250 x 200 cm

featuring the radio drama „das Kalkwerk“ by Christian Lerch, which can be heard inside the work.

photos: Julia Schlager

bench phone (2018)

  gefördert durch / sponsored by




mixed media
size variable

this work was a part of
Capturing SpacesViews on the In-Between, 

a project in the public space of Berlin. curated by stay hungry.

more info here

ruins of a house
(a chronology of events) (2017-2018)



mixed media
350 x 300 x 250 cm

Ausstellungsansicht /
exhibition view
Krinzinger Projekte 2018

Sperrstunde (2017)
(closing time)

mixed media
250 x 81 x 62 cm

Ausstellungsansicht /
exhibition view
Kunstforum Montafon, 2017



a small analog holodeck (2017)

this work was created during a residency at Laboratory Spokane

mein Aufenthalt wurde ermöglicht durch /
my residency was sponsored by








mixed media

permanent installation at:
Richmond Art Collective,
Spokane (WA), USA


documentation video by Ira Gardner (youtube)


text about this work














Beinbruch (2017)






mixed media
 100 x 60 x 50 cm

Ausstellungsansicht /
exhibition view
Galerie Krinzinger, 2017

Aussichten und Einsichten (2016)







mixed media
500 x 400 x 260 cm

Ausstellungsansicht /
exhibition view
Parallel Vienna 2016,
Krinzinger Projekte

Fotos/ photos: Jasha Greenberg


Atelier Dreyhausenstraße (kurz vor dem Auszug) (2016)






Atelier Dreyhausenstraße (kurz vor dem Auszug) / Dreyhausenstraße (shortly before moving out)

mixed media
ca. 185 x 65 x 30 cm (Gesamtgröße aller Einzelteile)

Atelier Dreyhausenstraße (kurz vor dem Auszug), zeigt den Moment, kurz vor meinem Atelierumzug.
Es ist eine Momentaufnahme, ähnlich einem fotografischen Schnappschuss, in Form eines Modells.

mixed media
app. 185 x 65 x 30 cm (all parts together)

„Studio Dreyhausenstraße (shortly before moving out)“ shows the moment, shortly before I left my former studio. Two small room-models show the interior of my studio. Similar to a photographic snapshot, this work preserves the memory of a certain moment in time.

Endlageschalter (2010)

mixed media
300 x 300 x 250 cm


Cuddle the Mama (2016)







mixed media
155 x 93 x 80 cm

„Cuddle the Mama“ zeigt die Geschichte einer fiktive Band mit gleichem Namen.
Die Arbeit basiert auf einem Fundstück, einem Drum Stick, den ich in New York gefunden habe. Der genaue Fundort wird im Zentrum der Arbeit in Form eines Dioramas dargestellt. Darauf aufbauend wird mittels Zeichungen und skulpturalen Elementen die Geschichte erzählt, wie der Stick verloren ging. Ein Stop-Motion-Video zeigt einen Auftritt der Band.

„Cuddle the Mama“ tells the story of a fictitious band and how they lost a drum stick.
During a trip to New York in 2015 I found a drum stick on the street. Back in my studio, I made up a story around the found object.  Through drawings and sculptural elements the story is told. In the shape of a diorama, a three-dimensional model shows the exact place where the drumstick was found. A stop motion video shows one of the band‘s concerts.





Orte, Objekte, Geschichten (2015)








Orte, Objekte, Geschichten

Ausstellung in der Startgalerie im MUSA in Wien

Orte, Objekte, Geschichten

(Places, Objects, Stories)

exhibition at Startgalerie at MUSA in Vienna


more info





Bühnenbild Festspiele Stockerau (2015)

„Don Camillo und Peppone“


DSD_1102 Foto: Johannes Ehn

modell bühnenbild

Bühnenbild für die Festspiele Stockerau 2015

„Don Camillo und Peppone“

Regie: Zeno Stanek

alle Fotos: Johannes Ehn


stage set for Fetstspiele Stockerau 2015

„Don Camillo and Peppone“

director: Zeno Stanek

all photos: Johannes Ehn





Herr Kopfweh und der Mond (2015)

herr kopfweh und der mond web



Herr Kopfweh und der Mond

im Sightfenster,

Galerie Warhus Rittershaus,



Mr Headache and the moon

at sightfenster,

gallery Warhus Rittershaus,





Durchtauchen (2014)


09.10.2014 – 31.10.2014, der Schaukasten, Vienna

MuräneIMG_3567 IMG IMG_3824 IMG_3821 IMG_3802 IMG_3793 IMG_3568 IMG_3485_panorama IMG_3448 IMG_3436 IMG_3367 DSCN5219 DSCN5194 DSCN5183

Panoptikum (2014)

Kunstrasen, Straßen und Zugschienen bildeten eine Landschaft, welche den Ausstellungsraum füllte. Darauf platziert wurden unterschiedliche Objekte: einerseits neue Skulpturen, aber auch ältere Arbeiten und Fragmente anderer Rauminstallationen. Sie alle kreisten um ähnliche Themenfelder und bildeten so ein Exzerpt meiner Arbeit, aber auch eine einzige, in sich geschlossene Installation, die nur für den Ausstellungszeitraum existierte.


A landscape including streets, grass areas and railroad tracks was built into the exhibition space. This landscape was filled with different objects: new sculptures, but also older works and fragments of past room installations. All of them were dealing with similar topics. This way, an excerpt of my work was produced, but also one single room installation, which only existed during the exhibition period.

haushand selbstporträt als landschaft seebildschiene eröffnungblind date 2 bd2untenbd2linnen
gesamt3blind date3grundrisseröffnung2home telephonehome telephone2

Drawings (2014)




wasserstadtdrückerskizze zu durchtauchengoldfischplattenfischdurchtauchen

Blind Date #1 (2013)

blind detail


Holz, Metall, Polyester, Acrylfarbe, Spiegel, Lack, LED Lichter und elektrische Bauteile

ca. 250 x 60 x 80cm

wood, metal, polyester resin, acrylic paint, mirror, varnish, LED lights and electric components

250 x 60 x 80cm

blind date1

blind date einblickbesucherblinddate16_Linus_Riepler_15007IMG_1044IMG_1009IMG_1056 b.dIMG_1023

Hinterm Hügel (2013)

Die Installation Hinterm Hügel entstand für die Ausstellung Hotel International, welche 2013 im Hotel marsil in Köln stattfand und von der Galerie Warhus Rittershaus organisiert wurde. Dem Ausstellungskonzept folgend, wurden auch das Hotelzimmer und dessen Einrichtung Teil der Installation. Meine Skulpturen waren Besucher in diesem Hotel. Nun, nach Ende des Projekts, müssen sie nicht als eine Arbeit zusammenbleiben, sondern können in einem Kontext weiter verwendet werden oder alleine stehen. Die Skulptur bergauf und bergab und bergab und bergab existierte bereits vor der Ausstellung.

The installation Hinterm Hügel was built for the exhibition Hotel International, which took place at hotel marsil in Cologne, 2013. It was a project by Galerie Warhus Rittershaus. Following the concept of the whole exhibiton, also the hotel room and it’s furniture became a part of the installation. My sculptures where visitors in that hotel. Now, after the project has ended they don’t have to stay together as one single work, but can appear in another context or stand on their own. The sculpture bergauf und bergab und bergab und bergab already existed before Hotel International.

welle2 Auto auto 2 hotel international7 hotel international5 hinterm hügel lanschaft hinterm hügel bergauf hinterm hügel gesamt

Das beliebte Format (2013)



Holz, Metall, Polyester, Acrylharz, Acrylfarbe, Lack, Spiegel, Schnur, Dose, PVC Rohr, Gitarrensaite, Stimmwirbel,

Umlenkrollen, Halogenlicht, Modellbaugras

ca.265 x 36 x 10cm

the popular format

wood, metal, polyester resin, acrylic resin, varnish, mirror, rope, can, PVC pipe, guitar string, tuning peg, 

winches, halogen lamp, modelling grass, electric components

265 x 36 x 10cm

dbflink IMG_1111 dbfDSC06056 DSC06063 beliebtes format gesamt DSC06054

Drawings (2013)


wimmelbildautos in einer landschaft

bergauf und bergab und bergab und bergab (2012 / 2013)

diverse Materialien

140 x 130 x 140 cm (Pedale mitgerechnet)

Die BetrachterInnen können mit Hilfe der Pedale mit der Abreit spielen. Das blaue Pedal bedient das Auto, das grüne Pedal läßt den Lift zwischen den Stockwerken auf und ab fahren. Durch die Betätigung eines Trittschalters kann die Beleuchtung des Objekt ein oder ausgeschaltet und so zwischen zwei Lichtsituationen gewählt werden.

(uphill and downhill and downhill and downhill)

mixed media

140 x 130 x 140 cm (pedals included)

Through pressing the foot pedals, viewers can play with the sculpture. The blue one makes the car drive around the corner and the green one lets the elevator go up and down. Through a foot switch lights can be switched on and off, to see the sculpture in two different light situations.

IMG_0324 IMG_0314 IMG_0261 DSCN3902 DSCN3901 DSCN3894 DSCN3880 DSCN3868 bergauf hotel

Warten auf bessere Aussichten (2011 / 2012)


diverse Materialien
Größe des Hauses:
ca.210 x 137 x 202 cm

waiting for better weather

mixed media
size of the house:
210 x 137 x 202 cm


Drawings ( 2012)die sonderfahrt






o.T.auf dem weg der besserungden versuch wars wertafter the excitemtn5

We only have what we remember (2011)

Zusammenarbeit mit Klára Petra Szabó

diverse Materialien

490 x 317 x 345 cm

Bratsche und Audioproduktion: Diego Mosca

Collaboration with Klára Petra Szabó

mixed media

490 x 317 x 345 cm

Viola and audio production: Diego Mosca

After the excitement (2011 / 2012)

diverse Materialien

109,5 x 50,5 x 106,5 cm

mixed media

109,5 x 50,5 x 106,5 cm


My neighbour is my clock (2011)

mixed media
300 x 350 x 320 cm
dimensions variable

So Nahe (Erste version: 2009, zweite Version: 2011)

diverse Materialien

Größe des Quaders: 280 x 280 x 200 cm

2009: 1.Version

2011: 2.Version

So Close

mixed media

size of the cabin: 280 x 280 x 200 cm

2009: first version

2011 second version

Ein Montag im August (2009)

Diverse Materialien

600 x 250 x 280 cm

A monday in august

mixed media

600 x 250 x 280 cm