Dorit Margreiter Choy
Dorit Margreiter Choy, Vienna, 29 April 2026
“Contemplating the conditions of exhibitability”
Though she originally became known as a “video artist,” Dorit Margreiter Choy has since developed her practice into a multi-level engagement within the tension between image, art, and space. Back when she projected a film about the Austrian Pavilion into the pavilion itself at the 2009 Venice Biennale, the discussions may still have been characterized more strongly by cinematographic terminology. But since then, Margreiter Choy’s visual language has continued to grow both richer and more reduced. Her installations, in their partly minimalist formal configurations and color accents, leave the viewers alone with their own readings and interpretations of questions such as: What do the people engaging with art here bring with them? What cultural formations, dispositives of gender and domination are being mobilized, here, often without being articulated? Why is—above all monetary—effort put into the peripheral apparatus rather than into new artworks? This conversation in her Viennese studio took place as she was working toward opening a small exhibition space in Innsbruck called “Prototyp.” But while she may seem to operate outside the mainstream, her works aim directly at the heart of today’s politics of art, culture, and power.
“Contemplating the conditions of exhibitability”
Though she originally became known as a “video artist,” Dorit Margreiter Choy has since developed her practice into a multi-level engagement within the tension between image, art, and space. Back when she projected a film about the Austrian Pavilion into the pavilion itself at the 2009 Venice Biennale, the discussions may still have been characterized more strongly by cinematographic terminology. But since then, Margreiter Choy’s visual language has continued to grow both richer and more reduced. Her installations, in their partly minimalist formal configurations and color accents, leave the viewers alone with their own readings and interpretations of questions such as: What do the people engaging with art here bring with them? What cultural formations, dispositives of gender and domination are being mobilized, here, often without being articulated? Why is—above all monetary—effort put into the peripheral apparatus rather than into new artworks? This conversation in her Viennese studio took place as she was working toward opening a small exhibition space in Innsbruck called “Prototyp.” But while she may seem to operate outside the mainstream, her works aim directly at the heart of today’s politics of art, culture, and power.