1972

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This year, a scandal was caused by an experiment by the pool group, for which recreational clubs from Graz’s industrial firms were supposed to design a poster for steirischer herbst. The design selected by the photo club of the Puch plant showed a corpulent test driver in a leather jacket from behind, in the process of straightening his trousers. In connection with the slogan “Auf, zum steirischen herbst!” (Off to steirischer herbst!), the gesture was, however, reinterpreted as an act of exposure by opponents of steirischer herbst and the press and even provoked actual attacks, which once again aimed to denounce the event as a whole.

The fifth edition of musikprotokoll was coupled with the fiftieth Weltmusikfest der Internationalen Gesellschaft für Neue Musik (World Music Festival of the International Society for Contemporary Music, or IGNM)—an “honor” that was not uncontroversial, since musikprotokoll had intentionally set itself apart from customary music festivals from the very beginning with the choice of its name. The exhibition Österreichische Malerei 1972 (Austrian Painting 1972), with a total of seventy artists (including ten women), curated by Wilfried Skreiner, took place at the Künstlerhaus (following Österreichische Kunst 1970). However, rather than exploring issues such as a broader concept of painting, it focused on the discourse of the 1950s: figuration versus abstraction.

Program