Vienna: A Socialist Haven for Artists and Galleries
By Sofia Hallström / Issue 1 / November 14, 2024
The policies underpinning this support were introduced by the Austrian socialist government in the early 20th century. Rent controls dating from the 1920s contribute to Vienna being one of the most affordable cities in Europe, with those earning less than €70,000 annually qualifying for social housing. Even if their income increases, residents are never forced to leave these homes.
This support extends beyond housing; Austria has consistently maintained a steady stream of public funding for its cultural institutions. As artist Livia Avianus observes, the city's affordability is one of its greatest strengths: "There is no shortage of real estate, and rents are absolutely affordable. Vienna also works hard to maintain an interesting cultural landscape, with many opportunities for financial support from the state, the city, or other parties." Unlike countries such as Scotland, which recently faced severe cuts to arts funding, the Austrian government continues to uphold its commitment to supporting galleries, artists, and cultural producers. Vienna's affordability enables galleries and artists to flourish without the intense pressure for commercial success that characterises cities like London or New York. Francesca Gavin, artistic director of viennacontemporary's 10th edition, highlights this unique cultural environment: "A third of the population in Vienna is Balkan, creating a rich cultural tapestry." As a geographical and cultural bridge between Western and Eastern Europe, Vienna serves as an ideal setting for exploring new ideas and identities that may not align with Western commercial art trends.
Mokross, who curated the ZONE1 section at viennacontemporary, emphasises the freedom this system provides artists, particularly regarding experimentation. "There might exist an uncommon scope of ways to 'make it work,' but being an artist in Vienna can be as precarious as it is elsewhere," he cautions. While Vienna's affordability allows galleries and artists to thrive, Mokross notes that "grand gestures can be met with suspicion, and things can take a while to find resonance." This slower, more thoughtful pace of artistic development aligns with Vienna's broader ethos, where art is nurtured rather than rushed. This model extends to galleries like Sophie Tappeiner and Gianni Manhattan, which support emerging talent from Austria and the broader Central and Eastern European region. However, challenges remain. "There's an emphasis on 'getting people out into the world,'" Mokross reflects on the gaps in international visibility that Viennese artists often face. While Vienna offers stability, he warns that this relative security is not a remedy for the global challenges confronting artists today, from market fluctuations to rising inequality.
Fish, an artist who engages with radical, media-diverse practices that critique societal norms, highlights the benefits of Vienna's infrastructure, shaped by its Social Democratic governance: "Vienna has a vibrant art culture, largely due to its affordable rents. Small groups of artists can rent centrally located spaces that often double as studios and exhibition spaces. The funding landscape in Austria is robust, though it requires navigating bureaucracy."
Viennacontemporary reflects how deeply the city's socialist foundations are intertwined with its cultural life. The fair's focus on the Central and Eastern European region highlights artists whose work often reflects the shifting dynamics of post-socialist Europe. "There is an incredible sense of nuance in the work," Gavin notes, contrasting it with a period of didactic politics. These artists are not constrained by the commercial expectations of Western galleries, allowing for fresh approaches to themes such as identity, gender, and capitalism. In a city where even modest galleries can rent prime spaces, Vienna becomes a sanctuary for experimental art practices that might struggle to survive elsewhere.
However, despite its strengths, artists agree that Vienna's art scene can feel somewhat insular. "The city — and its art scene — is quite insular," Avianus acknowledges, noting that while the support system is strong, the city's small size can feel limiting: "The biggest challenge for me as an artist in Vienna is that the scene is so small, and the city feels so cut off from the rest of the world." Luca Mussnig echoes this sentiment, sharing his experience of moving to London for more stimulation: "Vienna's excellent infrastructure creates a very comfortable environment, but it can also feel too slow-paced for those seeking constant challenges. I moved to London because I felt the city's faster pace would push me further."
Even within this seemingly ideal ecosystem, Vienna's artists and galleries are not immune to the broader challenges facing the arts in Europe. While state funding is robust, it may not fully shield the art community from the economic pressures and austerity measures that have affected other countries. Vienna's model offers a glimpse of what a more equitable art world could look like, but it also raises questions about the sustainability of reliance on state support.
The situation in London paints a stark contrast. Despite efforts to protect artists from the city's exorbitant living costs, many are being pushed out, unable to sustain their practices amid skyrocketing rents and limited support. Metroland Cultures, a grassroots initiative in Brent, provides a rare glimmer of hope by offering free studio spaces to artists in one of the capital's most deprived boroughs. Situated in a repurposed NHS clinic, Metroland provides studio space without strings attached, fostering a community of artists who host the Brent Biennial and run a cinema, publishing house, and radio station, offering a platform for creation and engagement. Artists like Adam Farah-Saad, who comes from a working-class background, credit Metroland with enabling them to continue their practices without the constant pressure of financial survival. Other notable alumni include Abbas Zahedi, Zeinab Saleh, and Shenece Oretha.
Yet can this isolated effort truly compare to Vienna's wide-reaching support system? The ongoing rent crisis in UK cities has particularly ravaged London's artistic community. In 2014, Mayor Sadiq Khan launched emergency plans to protect affordable studio spaces for artists, yet a decade later, those promises remain largely unfulfilled. A 2023 report titled Structurally Fcked painted a dire picture: London artists earn an average of just £2.60 per hour, with many leaving the city entirely due to the gentrification-driven collapse of affordable spaces. Increasingly, class and financial means dictate who can sustain an artistic practice, reshaping the landscape of British culture.
As Austria approaches elections, concerns mount about the potential impact of shifting political powers on the arts. Mussnig expresses worry about the rise of the far-right FPÖ and its effects on cultural funding: "The upcoming elections could see significant cuts to cultural funding, especially given their expressed antagonism towards existing institutions." This political uncertainty underscores the importance of Vienna's current infrastructure, which has allowed its art scene to flourish, albeit within certain confines.
Despite these challenges, Avianus remains optimistic about Vienna's future, particularly regarding its grassroots spaces. "Artist-run and independent spaces in Vienna offer genuinely interesting programs," she asserts, emphasising their role in providing opportunities for experimentation without commercial pressure. Mussnig agrees: "These grassroots spaces are crucial as they allow artists to create art for its own sake rather than for commercial purposes." Both view these independent initiatives as essential to maintaining Vienna's unique, supportive atmosphere, even as the city continues to evolve within a global context.
Vienna's combination of social housing, cultural funding, and a focus on emerging artists fosters an environment where art not only survives but can continue to thrive. With the ongoing success of events like viennacontemporary and the steady growth of its gallery scene, Vienna is demonstrating that a city grounded in socialist ideals can lead Europe's contemporary art world into the future. The challenge remains: can this model be replicated in other cities, and how can artists bridge the inevitable gaps left by fluctuating public support? As cultural funding across Europe faces decline, Vienna's approach offers a potential blueprint. The question now is whether this progressive framework can endure and inspire broader systemic change across the continent.