Elisabeth von Samsonow 

La Femme Habitable
How to squat on a woman

jurte 400(12‘, A 2020)

Produced by THE DISSIDENT GODDESSES‘ NETWORK (Academy of Fine Arts Vienna) in cooperation with THE LAND OF THE GODDESSES (Alberndorf and Haugsdorf, Lower Austria) for the Collateral Project INFINITE VILLAGES/ MANIFESTA 13

curated by Francisca Viudes

The performance video LA FEMME HABITABLE unfolds the registers of dwelling, on a site within the LAND OF THE GODDESSES (Alberndorf im Pulkautal, Lower Austria) which was purchased and founded by a group of artists and cultural workers in 2020.

Founding the LAND OF THE GODDESSES was motivated by the large number of prehistoric Venuses which were discovered in Lower Austria, among them the reknowned Venus of Willendorf. A Mongolian yurt designed as the in-situ-parliament of THE LAND OF THE GODDESSSES provides the stage set for a series of gestures by which the performer and co-performers scan ecologically relevant intertwinements of bodies: the large body of Gaia, mother earth, the landscape, the surrounding horizons, the woods, the humans and other beings, plants and fruits.

The mongolian tent, built upon a paleolithic mammouth hunterer site from the time of he Venus of Willendorf, acts like a hot spot or trigger point in this setting, like a portal for entering the fairy tale dimensions of the land. The agencement of mother earth, the milieu and the bodies of the performers unveil to which extent the „body producing body“, namely the female body, serves as an origin to all forms of habitat..

script and set design: Elisabeth von Samsonow
performer: Elisabeth von Samsonow, Evelyn Plaschg and Florian Holzer, Karl Koran, Elisabeth Koran, Gerda Schaludek, Luna
camera: Mira Kluge
postproduction: Elisabeth von Samsonow and Mira Kluge
sound and vocals: David Sanderson Austria

Austria, 2020, 13‘10

Photo Credit: Elisabeth von Samsonow 

Elisabeth von Samsonow 

Loess. A Woman in the Landscape


Elisabeth von Samsonow works focus on the material loess in which the Venus figurines had been well packed until the were excavated. Her approach is characterized by a highly attentive form of encounter and sensitive mapping of the loess landscape of Lower Austria. It is this attitude that Deborah Bird Rose defines as ecological humanity. 

A Woman in the Landscape

Curator: Felicitas Thun-Hohenstein

Photo credit: Leo Pluschkowitz 

In cooperation with THE DISSIDENT GODDESSES‘ NETWORK logo tdgn mobile

and the Academy of Fine Arts Vienna
ak wien


Landesgalerie Niederösterreich Krems

The Parents' Bedroom Show


IMG 3995
The video installation addresses the relationship between the parents and the (art)proles, in an intertwinement of media such as video, objets, drawings and a photograph.  
Photo (c) Landesgalerie Krems

The Parents' Bedroom Show, a film by Elisabeth von Samsonow, performance photography by Juergen Teller, Spazio Ridotto Venice.
A project paralleling the Venice Biennale 2019

The Parents' Bedroom Show

Parents Bedroom

The project THE PARENTS‘ BEDROOM SHOW deals with an architecture of time gravitating around „intensive time“ that is claimed by performance as its specific time quality. Elisabeth von Samsonow’s performance „The Parents‘ Bedroom Show“ adresses the Freudian fantasy of a „primal scene“ ever sought after. The parents‘ bedroom appears as a crossroad for individual and collective histories/ biographies.

Under the auspice of „infantile“ (preoedipal) curiosity as will for knowledge this project correlates performance, photography and video as forms of investigation. Juergen Teller in this project is not a photographer archiving the performance but a partner in crime employing chronomanipulations as a means inverting the life-death-vector.

Elisabeth von Samsonow
Galerie Andrea Jünger Wien

Euphoric Presence/ Collective Blessings

Euphoric en


In her performance project „Euphoric Presence“ Elisabeth von Samsonow engages intensive time in order to make it explode in EU ontology – i.e. in the proper meaning of the greek prefix EU// VERY GOOD. This surrection in being is directly connected to intensive time and matching space, i.e. with high time and truth. The search für truth ends up at the beginning which is nothing but NOW, like an explosion. The New Vienna Actionism comes out as a firework of the Goddess. The Goddess‘ epiphany takes place as a shower of blessing allover, as an optimistically automatized feast.  


Photo credit: Theres Cassini

Penn Book Center Philadelphia, Penn State University
Institute für Contemporary Art Philadelphia

The Alien Ally

Anti Electra . The Radical Totem of the Girl

alien allyIn this lecture-performance Elisabeth von Samsonow presents the key ideas of her eponymous book in a self-commenting hysterical attack. She shows how the figure of the girl represents not just the left-out, ephemeral, powerless neutrum in the family romance but turns out to be the core player in totemic transavantgarde. Mirroring and critizing concepts from the Deleuzian/ Guattarian Anti-Oedipus, Elisabeth von Samsonow's book Anti Electra unfolds how the substance of the girl - far beyond the reality of girlisms - fires contemporary  media culture, gender concepts and today’s revisions of ontological positionalities.

Photo credit: Jeff Bark

PARALLEL 2019/ artist statement



pretzel2The Brezel Goddess’ Lounge by Elisabeth von Samsonow shows two sculptures and drawings. The pretzel is present as an overarching mathematical form by which its inner relationships of forces become tangible. The Brezel Goddess herself proves to be a liminal figure between a banal everyday world (having pretzels every day) and a radical metaphysics of the production of bodies. The pretzel is the primary signature (a double helix in a crescent moon) of the kind of plasticity that must be taken as a requisite when dealing with the body. The pretzel is the favorite object of sculptors and theorists who explore bodies producing bodies (also: mother, the future of bodies). The exercise machine repurposed as a Doe Bride (created for the 1972 Summer Olympics in Munich) serves as a contemporary meditation machine in this context. A little prayer book with pretzel mantras will be published in conjunction with this event.

The Brezel Goddess, linden wood, varnish, wheels, height: 230, 2019

Wild Ride, material collage, height: 180, width: 165, depth: 190, 2019

Drawings 45 × 70

Hemp, dried



Thors Hans Hansson receiving the Nobel Prize in Physics in Stockholm 2016

Special Edition available at Galerie Jünger, Vienna

sam editionA special edition is brought out by Gallery Andrea Juenger Vienna on the occasion of the exhibition „Th Parents‘ Bedroom Show“ by Elisabeth von Samsonow and Juergen Teller at Spazio Ridotto/ Zuecca Project Space Venice 2019.

The edition comprises a number of seventeen photographs by Elisabeth von Samsonow. The photographs show the still lifes Samsonow has arranged for her film „The Parents‘ Bedroom Show“. She uses footage of exactly these still lifes for the „psycho slots“ that open up in the film introducing another narrative. These photographs form a sentimental album, an infantile eroticist table theater, written in hieroglyphic, in a psychic esperanto.

  • Edition 40/ 30 for sale
  • 17 high end digital prints on Munken Polar rough paper format A4 plus cover
  • Each portfolio has a original drawing/ water color by Elisabeth Samsonow
  • Signed, stamped, numbered



ARTIST TALK about new tendencies in feminist art and the iconography in Elisabeth von Samsonows’ work

+ 43 664 1114771
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sam parents1

The Parents' Bedroom Show


Taxispalais - Kunsthalle Tirol


Sarah Decristoforo, Fabiana Faleiros, Alex Martinis Roe, Elisabeth von Samsonow, Ashley Hans Scheirl

5.10.2018 - 27.1.2019 - Thursday, 4th of October 2018, 7pm

Sex coincides with our being. The sex act is regarded as intimate, but causes the public sphere to culminate in personal space at the same time – as a singular expression and actualization of politics, as communication, as an arena of pleasure and fantasy, reproduction and violence. Just like sex, art is also paradoxical; both act within contradictions, in in-between-zones and opposites. They are accomplices of knowledge and at once producers of a sensual surplus that is resistant to the categories of knowledge.
Does the alliance of art and sex allow us to re-weave the customary infrastructures of excitement, withdrawal, pleasure and its discharge? Can we fantasize a grammar of future sex in which the aggression of pleasure does not serve to consolidate power relationships? 

The works by Sarah Decristoforo, Fabiana Faleiros, Alex Martinis Roe, Elisabeth von Samsonow and Ashley Hans Scheirl, most of which were realized specifically for this exhibition, generate non-normative experiments of sex in drawing, sculpture, video, sound and installation. What kind of visualizations, embodiments, apparatuses, settings, texts and tutorials permit us to anticipate a sexual economy that is based on excessive exchange and radical solidarity? How could we effectively edit the scripts of our sexual identities? What roles are played by prosthetic devices and hormones, citations and yoga, over-expenditure and waste, the clitoris and digital interfaces in this process?

Curated by Nina Tabassomi

Sketch "Staatsdildo", basswood, sockets, base, perspex, 195cm high, 2018

Leopold Museum, Vienna

Schiele reloaded

Louise Bourgeois, Tadaski Kawamata, Jürgen Klauke, Sarah Lucas, Chloe Piene, Rudolf Polanszky, Maximilian Prüfer, Elisabeth von Samsonow, Fiona Tan


Friday, 28th of September 2018, 7pm


Idol III, basswood, Lacquer, marker, tulle,
base, wheels, 205cm high, 2018

Vienna Contemporary 27.-30. September 2018


Marx Halle, Karl-Farkas-Gasse 19, 1030 Vienna

Galerie Lisi Haemmerle, booth G2

PARALLEL VIENNA 25.-30. September 2018

Lassallstraße 1, 1020 Vienna

fAN Archive

Elisabeth von Samsonow shows a picture from her Performance


by Juergen Teller, 2018


Galerie Lisi Haemmerle

Marvels of Everyday Life 

14.7. – 19.8.2018

The exhibition at Galerie Lisi Hämmerle (opening on Saturday, 14 July 2018) presents sculptures, paintings, drawings, and photographs. Connecting these works is the theme of the "everyday marvels"—those things that have grown inconspicuous through (practical) use, though they contain plenty that is incendiary. Take the pretzel, for example. Artfully looped, it is not only a welcome snack, it also represents a mathematically highly sophisticated topos that could well serve as a model world. The same applies to braids. Or to wood, which is the real everyday mystery, at least for the sculptor, who prefers to work in basswood.

This exhibition is guided by the hypothesis that the household is the camouflage archive of  metaphysical objects that discretely inspire speculation about the world (such as clotheslines, clothespins, washcloths, bread in the form of rolls or pretzels or loaves, sausages, electric mixers and kettles, knives, forks, tongs and scissors, brooms, sweepers and vacuum cleaners, linens and other cloths, carpet beaters and plates, etc.). It may be suggested that the (female) knowledge achieved by being exiled to the household—going against the grain— represents intimacy with the basic elements of the world, since the household  manifests cosmology and solid state physics (disguised in banal functions, which applies above all to the furniture) at every turn. Meaning emerges from bodies like sound, light, voice.