The Lentos Kunstmuseum in Linz, founded in 2003 in the Upper Austrian regional capital, is closely tied to its home city: the name Lentos, coming from the celtic and meaning ‘close by the river’, was the linguistic predecessor to the city’s name ‘Lentia’ during Roman times. The museum’s location by the Danube, housed in a modern building designed by Zurich architects Weber+Hofer, faces and mirrors the city’s Ars Electronica Centre (AEC), a museum dedicated to the electronic arts, on the other side of the river. Together, the Lentos and the AEC buildings have not only served to transform Linz’s industrial riverside into a location of culture, they also visually shift attention away from the Nibelungen bridge connecting the city core to the suburb Urfahr and the Upper Austrian North, leading on to the Czech Republic. Built between 1938 and 1940, the bridge was part of a large national socialist redevelopment project, building on plans Adolf Hitler had first sketched out in the mid-1920s. Today, the Nibelungen bridge still counts as one of the main connectors between Linz and northern Upper Austria – serving as an uneasy reminder of the country’s national socialist past, which the Lentos is now confronting head-on.
On 25th January 2019 the Belvedere Museum formally opened its exhibition City of Women: Female Artists in Vienna, 1900-1938. The exhibition continues until 19th May. Presenting the work of no fewer than 53 women artists, it is an ambitious project that builds on and extends earlier exhibitions by the Belvedere; despite the unpromising title, The Women of Klimt, Schiele and Kokoschka (2015-16), for example, was a serious examination of the painters’ oeuvre in the context of changing gender identities and discourses of femininity.