Suzana Milevska: Dialogical and Participatory Methods in Artistic Research – The Reciprocal Relations Between Subjects, Objects, Images, and Stories in Transforming Long Kesh/Maze (2019) The artists involved in Transforming Long Kesh/Maze dedicate their project entirely to the eponymous prison that operated from 1971 until 2000, now abandoned, where most of the political prisoners from Northern Ireland’s “Troubles” were held. The project—developed by artists Martin Krenn and Aisling O’Beirn, primarily in Belfast between 2016 and 2018—is conceptualised as a collaborative social sculpture. [more]

Cornelia Offergeld: Mahnmal Friedenskreuz St. Lorenz (2016, Ger.) Am 3. April 2016 standen und saßen die Menschen bei der Präsentation des „Mahnmals Friedenskreuz St. Lorenz“ ruhig im Waldhang oberhalb von St. Lorenz in der Wachau zwischen den Bäumen. Ein bisschen erinnerten sie an einen Schwarm Vögel, der sich kurz niedergelassen hatte, um sich in der sanften Frühlingssonne zu wärmen. Über allem schien eine vereinende Friedlichkeit zu liegen. Ein trügerisches Bild, denn wir leben in vielen kleinen Parallelwelten. [more]

Ursula Maria Probst: Martin Krenn, Das Politische an politischer Kunst (2011, Ger.) Martin Krenn zählt zu den VertreterInnen einer politisch engagierten Kunst, die gegenüber einer Mythologisierung und Verunklärung des Demokratiebegriffs in unserer heutigen Medien-Kultur und deren Szenarien machtpolitisch dominierter Informationstransfers konkrete Gegenmodelle produzieren. [more]

Patricia Grzonka: Choi Yuen Village (2010) The material for the video Choi Yuen Village was shot during Krenn's visit to Hong Kong in September 2009. He also captured a series of colour photographs that show a different aspect: That of individual and personal protests. [more]

Alexia Weiss: Antisemit in Bronze (2010, Ger.) »Die Wahlkämpfe in Österreich zeigen, wie sehr Antisemitismus von Parteien und sozialen Gruppen politisch instrumentalisiert wird«, sagt der Initiator des Arbeitskreises, Martin Krenn. [more]

Michael Z. Wise: Toppling Hitler’s Role Model (2010) Vienna Belatedly Wrestles With the Legacy of its Antisemitic Mayor [more]

Courtenay Finn: On The Tectonics of History (2009) On The Tectonics of History makes its fifth and final stop at the International Studio and Curatorial Program (ISCP) in New York. Unlike a conventional touring exhibition, the last incarnation of this traveling show does not feature actual artwork but is a documentary reflection on the show as a whole. [more]

Ivana Marjanovic: ”Ensemble of Conditions” of Possibilities for Contemporary Art in Open Space, Vienna News & Analysis (2009) The exhibition presents five positions: Ljubomir Bratic, Lina Dokuzovic, Muzaffer Hasaltay, Ana Hoffner and Martin Krenn. [more]

Kristina Leko: About the Monument for a Just City, an action initiated by Martin Krenn (2008) Is the size of the artwork essential? Later we were talking with Vesna and Martin primarily about what should be done, and how, in order to build a larger social sculpture and to erect a larger monument. And then, is the performative equally forceful in the case of a small Monument for a Just City as it would be in the case of a large one? [more]

Jens Kastner: Don Espejo und der Widerstand (2007, Ger.) Über das Wortspiel der Aufzeichnung – auf Tonband, Film oder Papier – wird zwischen bürokratischen und künstlerischen Verfahren vermittelt. Dass dabei die Vermittlung historischer Fakten hinterfragt wird, führt weniger zu Relativismus als zu geschärften Blicken. [more]

Stephen Wright: Reversed Fictioneering (2006) If one wanted to make just one single gesture toward achieving social equality, there could be none more significant, nor more incisive, than to shut down all the prisons. It seems like a pretty jack-assed thing to say, but if such a radical gesture were accompanied by all the necessary associated measures, a huge step would be made toward equality. [more]

Rubia Salgado: Interview with Martin Krenn (2005) In a discussion carried out with Rubia Salgado, an activist and co-worker of MAIZ, Krenn positions himself on the theme of art as a socio-critical work and discusses the conditions and challenges - especially in terms of artistic practices - in the area of anti-racism. [more]

Christian Parenti & Jeff Derksen: A Private Riot Going On? (2004) By building a small walk-in container in the commercial and pedestrian center of Graz Martin Krenn and Oliver Ressler emphasize and warn, in European Corrections Corporation, of the movement in Europe from state-run prisons to “partially priviatized” prisons run by corporations such as Wackenhut and Corrections Corporation of America. [more]

Marina Gržinić: Interferences (2004) Krenn's project begins from a discrepancy between the photographic image, the construction and understanding of the city through images, and on the other hand, the city as a text spoken by its citizens. [more]

Gerald Raunig: Double Service: Border Crossing as Political Action and Art Practice (2002) In the gray zones between art and politics, it often occurs that the actors neither know what they are doing nor manage to achieve any effects. In these cases, “border crossing” remains a hollow phrase used to gain distinction and, paradoxically, conceal borders. This is not true of the project Border Crossing Services, in which Martin Krenn and Oliver Ressler take up strands of discussions relevant in both art and politics, and at the same time act relatively freely in both fields; art and politics. [more]

Jochen Becker: Im Gespräch mit Martin Krenn (2004, Ger.) Das Projekt "City Views" versteht sich als "work in progress" und wird von Martin Krenn in Zusammenarbeit mit MigrantInnen in europäischen Städten realisiert. Dabei werden emanzipatorische Orte, aber auch Orte des Ausschlusses migrantischer Öffentlichkeiten aufgesucht und in Form einer mit Text kommentierten und sich permanent ändernden Fotoserie verarbeitet. [more]

Gerald Raunig: Demonstrate! Mass, Power and a Radical-Individual Resistance (2000) Martin Krenn succeeds in conceiving this reality in contrast to the medial constructions, also beyond the current situation of the Thursday demonstrations ... [more]

On Power and Obedience - an art project questions structures of domination in the schools. Heide Korn (1999) Pupils feel like powerless objects over whom teachers wield authority whenever they want. Quotation from the Internet: "This degradation is an affront to our human dignity." This is something with which project's artist Martin Krenn can sympathize and he has made their resistance public. [more]

Harald Fricke: Rating System - Publicity - On the works by Martin Krenn and Oliver Ressler (1999) The criteria have shifted in contemporary art in the 1990s. The artwork is no longer autonomous or open (in the sense of being open for interpretation), but rather, a quite general component of a more broadly conceived cultural practice. [more]

Helmut Draxler: Institutional Racisms (1997) Krenn/Ressler set their sights in their work on an interlocking of informing and intervention. The posters on the cube in front of the Viennese Opera House show a typical Viennese facade, as is also to be seen on many of the houses in the immediate surroundings. [more]