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Linus Riepler

a tale of transformation (2023)

mixed media,
310 x 124 x 200cm

This work was developed during an artist in residence project in Tbilisi for the exhibition „a place to live. Reimagining Tbilisi “ curated by Tina Natsvlishvili (interact projects) presented at CCA Tbilisi

„A tale of transformation“ is conceptually based on the history of former Hotel lveria 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. The political, ideological and social changes of the country are strongly reflected in the changing architectural history of Iveria. The stop motion video inside the room shows all its reincarnations. Major influence for this installation is the theoretic work of Irina Kurtishvili.

all photos: Sandro Sulaberidze

everything is happening at once, 2021

photo: Eva Kelety 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

It’s a Little Bit Over (2019)


mixed media 340 x 260 x 250 cm all photos by: Keizo Konishi

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.

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 (the big ending), 2022

mixed media 240 x 180 x 180 cm  


moms, 2022

ink, acrylic paint, pencil, colored pencil, wallpaper, fabric on paper 49 x 67cm

der Sessel, 2021 (the chair)


mixed media 125 x 100 x 100 cm

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

„Noch immer warten auf bessere Aussichten (= still waiting for better prospects)“ was created in 2020/2021 and shows a fragment of the artist‘s old apartment, from which he moved out after ten years: The window is a reference to the window niche, the radiator a cast of the original and the white wood paneling a true-to-scale reconstruction. Developed during the lockdown phases, the installation not only addresses the departure from the apartment, but also a „feeling of isolation and contemplation on one‘s own four walls“ (Riepler). What is memorable is the fragmentary, sketchy nature of the sculpture. It‘s not about a lifelike reconstruction, but rather the creation of a mood in which the past reality reflects. At the same time, the work has something theatrical and creates a backdrop for the viewer‘s own story. „It creates tension. Since the past year has left so few opportunities to gather impressions and to experience something new, something different than our own four walls, it has reminded us what it literally and figuratively means to ‚be inside‘. And it‘s an invitation to rethink the situation for yourself,“ Riepler says. The dead tree is a reference to the tree that grew in front of the artist‘s former living room window, but it is also an art-historical quote from the myth of Apollo and Daphne. (original text: Silvie Aigner, translated by Linus Riepler)

„noch immer warten auf bessere Aussichten“ entstand 2020/2021 und zeigt einen Ausschnitt der Wohnung des Künstlers, aus der er nach zehn Jahren auszog: Das Fenster ist ein Zitat der Fensternische, der Heizkörper ein Abguss des Originals und die weiße eine maßstabsgetreue Rekonstruktion. Entstanden während der Lockdown-Phasen, thematisiert die Installation nicht nur den Abschied aus der Wohnung, sondern auch ein „Gefühl der Isolation und der Beschäftigung mit den eigenen vier Wänden“ (Riepler). Einprägsam ist die fragmentarische, skizzenhafte Beschaffenheit der Skulptur. So geht es nicht um eine getreue Rekonstruktion, sondern vielmehr um das Erzeugen einer Stimmung, in der sich auch die vergangene Lebensrealität spiegelt. Gleichzeitig hat die Arbeit etwas Bühnenhaftes und schafft eine Kulisse für die eigene Geschichte der Betrachter*in. „Sie erzeugt eine Spannung. Da das vergangene Jahr so wenig Möglichkeiten gelassen hat, Eindrücke zu sammeln und etwas Neues zu erleben, etwas anderes als die eigenen vier Wände, hat es uns auch daran erinnert, was es im wörtlichen und übertragenen Sinne bedeutet, ,drinnen zu sein‘. Und es ist eine Einladung, die Situation selbst zu durchdenken“, hält Riepler fest. Der abgestorbene Baum ist eine Referenz an den Baum, der sich vor dem ehemaligen Wohnzimmerfenster des Künstlers befand, wie auch ein kunstgeschichtliches Zitat aus dem Mythos von Apollo und Daphne. (Text: Silvie Aigner)

25 places in one, 2019

mixed media 400 x 500 x 250 cm 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.


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

mixed media 350 x 300 x 250 cm Ausstellungsansicht / exhibition view Krinzinger Projekte 2018 Vienna

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



a small analog holodeck, 2017

    mixed media permanent installation at: Richmond Art Collective, Spokane (WA), USA   documentation video by Ira Gardner (youtube)   text about this work this work was created during a residency at Laboratory Spokane mein Aufenthalt wurde ermöglicht durch / my residency was sponsored by

Sperrstunde, 2017 (closing time)


mixed media 250 x 81 x 62 cm Ausstellungsansicht / exhibition view Kunstforum Montafon, 2017 Schruns

Beinbruch, 2017

mixed media  100 x 60 x 50 cm Ausstellungsansicht / exhibition view Galerie Krinzinger, 2017 Vienna

Aussichten und Einsichten, 2016

mixed media 500 x 400 x 260 cm Ausstellungsansicht / exhibition view Parallel Vienna 2016, Krinzinger Projekte Fotos/ photos: Jasha Greenberg

Endlageschalter, 2010

mixed media 300 x 300 x 250 cm    

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.

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“

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 im Sightfenster, Galerie Warhus Rittershaus, Köln   Mr Headache and the moon at sightfenster, gallery Warhus Rittershaus, Cologne  

Durchtauchen , 2014


09.10.2014 – 31.10.2014, der Schaukasten, Vienna

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.

My neighbour is my clock, 2011

mixed media 300 x 350 x 320 cm dimensions variable         

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

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.

Blind Date #1, 2013

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