Surely, you see the Wohnen seit 1919 Sculpture before us. What appears to be a simple artistic statement holds a deeper meaning. It celebrates Vienna’s social housing policies. It also expresses hope for the future.
The Wohnen seit 1919 Sculpture is more than just an art piece. It is a contemporary monument. Viennese artist Marko Lulić created this thought-provoking installation. Lulić often explores public spaces and language in his work.
This location was carefully chosen. The Wohnen seit 1919 Sculpture stands on a green space. It sits between lanes of traffic on the Gürtel. The Metzleinstaler Hof is within sight. This creates a deliberate contrast. The sculpture competes with the busy surroundings.
Marko Lulić’s artwork honors Vienna’s first social housing project. That project is the Metzleinstaler Hof. The Wohnen seit 1919 Sculpture acknowledges the past. It celebrates the present. It expresses hope for Vienna’s social housing future. Vienna wants to be known for its social housing.
The official unveiling of the Wohnen seit 1919 Sculpture was on May 9, 2019. You will find it directly in front of the Metzleinstalerhof. The address is Margaretengürtel 90-98, 1050 Vienna.
Marko Lulić was born in Vienna in 1972. He focuses on architecture, ideology, and aesthetics. He examines how our bodies relate to representation in different political contexts. His art includes large installations and sculptures. He also creates videos and posters. Lulić uses writing and public space interventions too.
Lulić analyzes and questions utopian ideas from the 20th century. Architecture and display are central themes in his work. He uses them to explore these concepts.
Lulić chose the Metzleinstaler Hof carefully. The social housing complex is historically significant. It represents the architectural style of “Red Vienna”. It is considered the first typical Gemeindebau.
After the 1919 elections, the Social Democrats won a majority. Architect Hubert Gessner was commissioned. He completed the Metzleinstaler Hof as a true Gemeindebau. Part of the complex was finished in 1920. Gessner expanded it in 1923 and 1924.
The completed building had 252 apartments. It also featured amenities. There was a bathhouse and a central laundry. A kindergarten and a workers’ library were included. Club rooms and a apprentice workshop completed the project.
The Wohnen seit 1919 Sculpture uses aesthetics from advertising. It also incorporates urban lettering. This creates a very modern form of memorial. The artist invites viewers to reflect on the city’s history. He wants them to consider the ongoing importance of social housing. This blend of art and social commentary makes the Wohnen seit 1919 Sculpture particularly relevant.