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"If you always do what you have always done, then you will always get what you have always gotten.
 If you want to have something different, you have to do something different! 
And if what you do does not bring you further, then do something completely different, 
instead of more of the same wrong things!”

Paul Watzlawick

Fire & flame for the arts | positioning

Following in the footsteps of the Vienna Secession, BURN-IN stands for a breakthrough in the art business and places artistic quality before famous names.  
The entire BURN-IN team “burns” for art.  We are passionate art lovers and advocates and know the diverse facets, heights and depths of the art market, which is in serious turmoil at present.

The needs and desires of collectors are always changing. Unlike those market monopolies which concentrate on only a few prominent artists, the digitalization of art with its complete commercial transparency and fast-paced international scope stands the old guard on its head and offers special opportunities for BURN-IN. BURN-IN is well-positioned in the contemporary global environment. Following in the footsteps of the Vienna Secession, BURN-IN represents a real breakthrough in the art business and places high-quality art itself ahead of big names.  

BURN-IN burns
for art

In its monthly exhibitions BURN-IN deals with essential topics and constantly experiments with promising and successful artistic methods and state-of-the-art technologies, while relying on presentation formats that speak to the public emotionally, offer lively conversation, and transform the gallery into a private place for the contemplation of art and an exciting spot for the exchange of ideas outside the mainstream.

BURN-IN is an exquisite art salon, a space for the enjoyment, brokering, and promotion of art. BURN-IN views valuable dialogue with customers, interested parties, and artists as the most important, intangible role of the gallery. The distinctive feature – or “unique selling proposition” – of the gallery consists in a combination of traditional gallery and think tank. We call it the “Think and Do” Tank.

Since its beginning the BURN-IN gallery has offered 50 exhibitions of  1.000 works from 70 nationally and internationally established artists. 


Background | Location

The owner-operated marketing agency Linzer Dolzer & Partner (founded in 1995), which created the brand “BURN-IN” in 2009, expanded in March 2014 to Vienna and established the BURN-IN Gallery & Think Tank in Vienna's embassy district. Belvedere Palace, 21er Haus, St. Charles Church, the State Opera, St. Stephen's Cathedral, and Albertina & Co are just a stone's throw away. "The Wieden", the 4th district of Vienna, is a beautiful, middle-class and yet very international neighborhood with plenty of charm and personality, and is one of the highest income areas in Austria.

The BURN-IN art gallery is housed in a building representing the work of the architect Carl Jagersberger from 1911.  It stands out with its exclusive, atmospheric ambience, providing an impressive backdrop for the adjacent historical and contemporary dwellings. The purist, highly tech-savvy interior constitutes a strong counterpoint to the historic exterior.  Innovative, networked presentation capabilities and advanced lighting technology play a critical role in the overall impact of the gallery for visitors.

History | Architecture

Born in Styria architect Carl Jagersberger (1877-1943) belonged to the generation of architects trained in the tradition of late historicism yet whose sensibilities were already influenced by the advent of modernity and whose focus was exclusively on housing.  His earliest projects and buildings already show influences of the Vienna Secession,  particularly those of his teacher Friedrich Ohmann.  Jagersberger, whose work emphasized mostly the construction of rental housing, used in the buildout of his construction details such as round gables and bay windows.  In House 53 the Secessionist details can be seen distinctively: half-traversing, oval metal grating on the balconies preserve decorative gilded spherical shapes, while the various smooth parapets stress simplicity.  


In order to understand not only style, but the philosophy of the Vienna Secession, some historical facts are critical:

On May 22, 1897 Gustav Klimt and his colleagues left the Assembly of the Artists' Association, because they were angry at its discriminatory exhibition policy and the personal insults they had received. They wanted to define their personal identity as well as that of their art in starting the movement.  Klimt and his colleagues Josef Hoffmann, Koloman Moser and other artists banded together under the name of the newly founded Secession as a group of very different individuals who were only loosely connected by style. Their unity was not defined primarily by their style, but by their philosophy.

Until its forced dissolution in 1939 during Nazi times, the Secession attempted to solve the problems of continuity and change in a period of political unrest. They preferred exhibiting art of great originality, which did not seem like a carbon copy of past styles. The Secession’s first exhibition in 1898 at the Horticultural Society showed consciously artistic works of recent history and non-Austrian art in order to document their candor and outspokenness.

Openness towards new and international affairs

This openness toward all things new and international is today obvious, but there are other issues for artists. High quality is an important consideration and should actually be regarded important than having a big name. In today's art industry, however, other priorities persist.

BURN-IN innovatively pursues new pathways in the art world with a platform that is tailored for, and supports, artists themselves in their own their challenging way. BURN-IN’s highly personalized, professional backing in the marketing and management areas, together with its interdisciplinary networks connecting industry with the arts, allows professionals to show their work in an historically compelling exhibit space.