THE HANDKE COLLECTION (1999 — ongoing)

ARTIST BOOK (edi­tion of 500, 2001)

The Handke Col­lec­tion is an unfin­ished self por­trait con­sist­ing of count­less objects, memor­ies, remains and works by Amina Handke and oth­er people.

The artist book pub­lic­a­tion of the Handke Col­lec­tion assembles texts and repro­duc­tions of artist­ic works, cor­res­pond­ences, pho­to­graphs, news­pa­per clip­pings, video stills and notes which join in a pic­ture story that recounts life and work of the artist, stage design­er, ex- tv sta­tion
co-own­er and DJ Amina Handke.

Includ­ing texts, frag­ments, pic­tures, cor­res­pond­ences and find­ings by and with Andrea Pesen­dorfer, Annette Mes­sager, Erich Joham, Max Goldt, Tobi­as Urb­an, kat­sey, Thomas Rot­ten­berg, Her­mes Phettberg, Peter Handke, Ruth Ehr­mann, Paul Divjak, Wolfgang Kop­per, Yves Chaudou­et, H. M. Enzens­ber­ger, Maria Ziegel­böck, Maja Stefan­ovic and many oth­ers.

AAA! (2018 — ongoing)

Actionist collective

AAA! (Almost Aged Action­ists Anonym­ous) is an artist­ic self-help group with the aim of exchan­ging and devel­op­ing inter­ven­tion ideas that can eas­ily be con­ver­ted into prac­tice by single per­sons. The inter­ven­tions and actions deal with real­it­ies of women over 40 on the bor­ders of pub­lic and private spaces, of leg­al­ity and with role con­struc­tions and clichés.

AAA! was star­ted in the con­text of the fest­iv­al Wien­woche in 2018. Action­ist ideas and oth­er inspir­a­tions from inform­al meet­ings have been col­lec­ted on the AAA! web­site since then as work-in-pro­cess.

DIE VORSPIELSERVICE (2009 — ongoing)

The corrupt record fair show

Where should all the vinyl records go that DJs and record col­lect­ors do not want or need any more? They just auc­tion them at a min­im­al prize. And because they have some­thing to say about them that is usu­ally unheard, DIE VORSPIELSERVICE is a very enter­tain­ing show with mostly unex­pec­ted crazy com­ments, singing along and enthu­si­ast­ic audi­ence par­ti­cip­a­tion.

DIE VORSPIELSERVICE is a female:pressure pro­ject

ACADEMY ALBUM (2017 – 2018)

The Academy Album is an artist­ic video por­trait of the Academy of Fine Arts Vienna high­light­ing its his­tory and present in fifty-two short epis­odes. The epis­odes explore con­cepts of art, sci­ence, and teach­ing, inter­pret­ing
them in dif­fer­ent ways by pur­su­ing an exper­i­ment­al, inform­at­ive, absurd and/​or doc­u­ment­ary line.

Watch the Academy Album on the Academy’s web­site


In situ performance at the Festival Of Regions

A woman is stand­ing alone at the side of the road – is she a hitch­hiker, a pros­ti­tute, seek­ing help, flee­ing, dis­placed, lost or deranged? Her looks, any­way, are incon­spicu­ous: appar­ently loc­al, con­ven­tion­ally dressed, no lug­gage oth­er than a hand­bag, aged around 40. She is try­ing to wave down cars.

Once a cars stops she does not get in but rather tells short excerpts from first-per­son accounts by women driv­en into vari­ous kinds of depend­ency through the opened win­dow. The texts are based on the film script of “It Happened Just Before” (Anja Salomonow­itz, 2006).




22 photographic prints (40x60 cm)

additional material, overall sizes variable

In the “Fasching” (car­ni­val) sea­son people dis­guise and often hide their faces. A cus­tom that allows dif­fer­ent inter­pret­a­tions, depend­ing on the point of view. Thus also an occa­sion to reflect on dress reg­u­la­tions and con­ven­tions, on con­form­ity and role mod­els; about what is famil­i­ar or strange /​exot­ic, espe­cially con­cern­ing the own “cul­tur­al back­ground”.

Carinthia (Aus­tria) as my fam­ily’s ori­gin region is the set­ting for an exper­i­ment that incon­spicu­ously con­fuses stig­mat­iz­ing tend­en­cies in con­tem­por­ary image pro­duc­tion, involving the loc­al pho­to­graph­er Fran­ziska Dav­id who usu­ally works for region­al media: The woman dressed in black is a stranger adapt­ing to this and that cus­tom and stands out even more by doing so, her veiled face being a con­ces­sion to seem­ingly dif­fer­ent, con­tra­dict­ory con­ven­tions.


7′, HD, colour, sound

In Fer­mata might be pidgin Itali­an for “at the stop” or “closed in”. The cam­era is locked inside a room (“cam­era”) look­ing out. There are bars. The inside is invis­ible, it is excluded, but still enclosed — as opposed to a part of the seem­ingly wide and free out­side. A motif of many films, since the begin­ning: Are pass­ers-by look­ing at the cam­era, the room or the per­son behind it? Is the cam­era look­ing back or is it us? Are the people play­ing or being authen­t­ic – and is there a dif­fer­ence and where? Is a view from a room still the pre­de­cessor and inspir­a­tion of theatre and cinema, even before there was mobil­ity, car and train rides?


Talk Show (30′) + Web Serial (5x3’)

HD, colour, sound

The talk show Wish­ing Cast, pro­duced in the frame­work of Pixels, Bytes and Film*, invites pro­fes­sion­al per­formers of dif­fer­ent ori­gins and dis­cip­lines (a dan­cer, an act­ress, a comedi­an, an enter­tain­er, a cab­aret artist and a bur­lesque per­former) to a con­ver­sa­tion about their dream role. The guests tell tales of super her­oes, revenge fantas­ies, escape adven­tures, war his­tor­ies and boat tax­is. Of sex, viol­ence, humour, self-determ­in­a­tion, authen­ti­city, manip­u­la­tion and a happy life. Wish­ing Cast devel­ops into a poly­phon­ic tale about role per­cep­tions and life goals. The bor­ders between real­ity, desire and fic­tion blur, per­haps they nev­er even exis­ted. Just as the format Wish­ing Cast itself.

*cooper­a­tion of the TV Sta­tion ORFIII, the Aus­tri­an Fed­er­al Chan­cellery and the Academy of Fine Arts Vienna



Denice Bour­bon, Per­former

Nadja Maleh, Cab­aret Artist

Michi­kazu Mat­sune, Dan­cer

Sim­plice Mugir­aneza (Soso), Comedi­an

Anat Stain­berg, Act­or

Dirk Ster­mann, Enter­tain­er


Amina Handke



19′ 46″, HD, colour, sound

I asked my moth­er – an act­ress – to reen­act her moth­er who I barely knew. But she remem­bers very little.

Moth­er of Moth­er recounts of scrappy memor­ies and brittle fam­ily rela­tion­ships of three gen­er­a­tions, marked by absences and sep­ar­a­tions. Also by the effects of a war or – more gen­er­ally – the influ­ence of ideo­lo­gies and con­ven­tions on con­cep­tions of women’s and moth­ers’ roles, and how these are being passed on and reflec­ted. Daily life thus coined is so unspec­tac­tu­lar that it is per­ceived as nor­mal­ity.


13 video portraits (13 x 3′, HD, colour, sound)

Quoten­pub­likum is a series of 13 Por­traits: 16 renowned Aus­tri­an experts with dif­fer­ent pro­fes­sion­al rela­tions to media cul­ture are por­trayed watch­ing TV. They rep­res­ent a sub­ject­ively selec­ted, diverse cross sec­tion of a pro­fes­sion­al audi­ence and seem­ingly imper­son­ate the abstract notion of the “Quote” (Ger­man term for audi­ence rat­ing), whose rep­res­ent­ativ­ity and eli­cit­a­tion meth­ods are addressed and ques­tioned.

The pro­duc­tion of Quoten­pub­likum was fun­ded and first broad­cast by Aus­tri­an pub­lic tele­vi­sion ORFIII in 2014.

HYSTERIA 2.0.0 v01 (2014)

Video (DV PAL, colour, sound), 2′ 34″

A selec­tion of emo­tion­al face­book statuses about ser­i­ous mat­ters is recited by oth­er per­sons than the authors and recor­ded with mobile tele­phone or com­puter micro­phone, in a qual­ity match­ing the medi­um. The video mater­i­al is com­posed of allegedly sen­sa­tion­al (instead of inform­at­ive) record­ings that cor­res­pond only in part to the top­ics on the sound track. Their selec­tion is inten­tion­allly determ­ined by obscur­ity and unas­signab­il­ity.


Group Exhibition, Kunstraum Niederösterreich

(17. 01. — 15. 03. 2014)

Cur­at­or: Amina Handke

The title of this exhib­i­tion quotes the film Copie Con­forme by Abbas Kiarostami, in which an art expert plays the lead­ing female role. Copy­ing, imit­a­tion and ref­er­en­cing are not just the basis of artist­ic pro­duc­tion but also of all cul­tur­al sys­tems. Against the back­ground of time­less and cur­rent dis­courses on copy­right and the free­dom of art, this exhib­i­tion pro­ject seeks to offer an insight into con­tem­por­ary artist­ic pos­i­tions that link meth­ods of cre­at­ive appro­pri­ation or ref­er­en­ti­al­ity with soci­opol­it­ic­al state­ments or expli­citly to use them as instru­ments.

Par­ti­cip­at­ing Artists:

Jami­ka Aja­lon and Mari­on Porten

Dara Birn­baum

Amina Handke

simon INOU and Mara Niang

Annja Kraut­gass­er

Lena Lapschina

Marko Lulić

Fiona Ruk­schcio

Stefanie Seibold

Peer Siev­ers

Anat Stain­berg

Hito Stey­erl

Statt Wien

100+ (2014)

Multidisciplinary performance evening

Curated by Gerda Lampalzer & Amina Handke

26.04.2014, Garage X, Vienna

With con­tri­bu­tions by:

Thomas Ball­hausen
Xaver Bay­er
Gust­av Deutsch & Hanna Schimek
Rain­er Mandl
Man­fred Neuwirth
Man­fred Opper­mann
Chrono Popp & Diane Shooman
Libgart Schwarz
Michaela Schwentner
Scuola Music­anti Dilet­tanti
Anat Stain­berg
Nives Widauer

Present­a­tion by Marc Car­nal and Max Horejs


Seven channel video installation (HD, colour, sound)

Nine per­sons – partly per­formers, partly beg­gars in real life – por­tray beg­gars, them­selves or them­selves as beg­gars. The defin­i­tions of pro­fes­sion­al por­tray­al and authen­t­ic situ­ations blur facing the impossib­il­ity of recog­niz­ing “real” adversity by obser­va­tion. How must beg­gars – com­par­able to the demands of oth­er work­ing envir­on­ments, not just in per­form­ing arts – por­tray poverty in order to ful­fill the expect­a­tions attached to their role? Is the authen­ti­city of the por­tray­al more rel­ev­ant than the authen­ti­city of the adversity?

Restrict­ive deal­ing with beg­gars and poverty determ­ines pub­lic dis­cus­sions in the media and polit­ics. Here a ten­or toward symp­tom elim­in­a­tion and con­spir­acy the­or­ies (“Beg­gar mafia”) appears to mark a cli­max in the help­less­ness regard­ing con­sequences of world­wide injustice.

Emo­tions evoked by the adversity or help­less­ness of the “oth­er” can be observed and reflec­ted in a “pro­tec­ted space” – that is, time- and space­wise shif­ted – as we do not have to react imme­di­ately to encoun­ters with present per­sons.

This work, based on Kutlug Ataman’s video install­a­tion Beg­gars, is an homage to the artist and can also be regarded as an ambigu­ous com­ment­ary on the con­tro­ver­sial and com­plex dis­cus­sions about copy­right law and art. Incon­sist­en­cies between rules pro­tect­ing intel­lec­tu­al prop­erty and the ref­er­en­ti­al­ity based art pro­duc­tion sys­tem are made clear by delib­er­ately refer­ring to the idea as jur­ist­ic­ally not pro­tect­able basis of artist­ic work.

In this work, ref­er­en­ti­al­ity as a basis of cul­tur­al devel­op­ments is being con­cat­en­ated with pat­terns of social phe­nom­ena and struc­tur­al con­di­tions of artist­ic pro­duc­tion.


Stage design, Akademietheater (Vienna) and Theatre de l’Odéon (Paris)

The Play by Peter Handke, set in a mid­sum­mer garden, was trans­posed into a back­stage set­ting where two act­ors meet amidst dec­or­a­tion remains after their per­form­ance of „Don Car­los“ and speak about love and their past lives, before the cur­tain opens to infin­ity.