1. Born 1979 in Vienna, Austria
  2. Lives and works in Vienna


  1. Hätte ich doch lieber bei Amazon bestellt, Über das Neue, Belvedere 21, Vienna 2019
  2. EVERYTHING IS FINE - Oberfläche Mit Gefühl, 365 Festival, Dessous, Vienna 2018
  3. God is a Waiter, Fluc, Vienna 2017
  4. Passierschein K2, Kunstraum Super, Vienna 2017
  5. Lightness and Matter, Kunstraum Niederösterreich, Vienna 2017
  6. OMG Armory Safety Solutions, OMG Gallery, Parallel Vienna, 2016
  7. OMG WTF, OMG Gallery, Vienna 2016
  8. Look at me now, Inoperable Gallery, Vienna 2015
  9. Pink Aussen, OMG Gallery, Parallel Vienna, 2015
  10. Im Dunklen Fahrrad fahren, Tobias Pilz/Anna Reisenbichler, Ubik Space, Vienna, 2014
  11. Heuriges 014, Kunsthalle m3, Berlin, Ausstellungsraum, Vienna 2014
  12. Fotografie-Objekt-Bild(Raum), Fotogalerie Vienna, 2013
  13. Interstate, Kubatur des Kabinetts, Fluc, Vienna, 2013
  14. Heuriges 013, Ausstellungsraum, Vienna 2013, Kunsthalle m3, Berlin 2013
  15. The Baltimore Crime Scene, Studios Lenikus, Vienna, 2012
  16. Studio shows, Bauernmarkt 9, Vienna, 2012
  17. Blossoms of Multitude, Künstlerhaus Palais Thurn & Taxis, Bregenz, 2011
  18. Les nuits blanches, Das weisse Haus, Vienna, 2010
  19. Repurpose, mo.ë, Vienna, 2010
  20. Zwischenspiel, Vertikale Galerie - Verbund, Vienna 2009
  21. The Essence, Die Angewandte, Vienna 2009
  22. Warten, Soho Ottakring, Ragnahof, Vienna, 2009
  23. ca. 2 yo, Coded Cultures Fesitval, Vienna, 2009
  24. A Piece of Water, Künstlerhaus, Vienna, 2009
  25. Luring Into, Die Angewandte - Heiligenkreuzerhof, Vienna, 2008
  26. The Plan B, 44 sic, Antwerp, 2008



    One Mess Gallery

  1. are Florian Botka, Lisa-Maria Ernst, Lisa Jäger, Tobias Pilz and Julia Riederer
  2. www.onemessgallery.com

  1. One Mess Gallery was initiated in 2015, it is characterized by collaborative and performative formats.

  2. The art collective One Mess Gallery participated for example in the show "On the new" at Belvedere 21 incorporating artworks into the structure of a dinosaur, installed a booth for security concepts, the “OMG Armory Safety Solutions” at the art fair Parallel Vienna, built the bureaucratic-performative Installation “Passierschein K2 - Organisation du Melangement Gouvernmental” at the Kunstraum Super and placed touchable sculptures on bathing towels in their exhibition “Oberfläche Mit Gefühl” during the 365 art festival.

  3. The Off-Space One Mess Gallery is located in the garbage room of the Palais Montenuovo, opposite of the Federal Chancellery.
    During exhibitions the waste bins are positioned outside the entrance on the side walk, thereby raising questions on elitism, usage, appropriation and ownership.

    Wait – just a little bit longer
    On the works of Tobias Pilz

  1. Veronika Hauer, in Bilder, Fotografie/Objekt/Bild(Raum), Fotogalerie Wien 272/2013, 2013
  2. Translation by Charlotte Allen

  1. At first I consider a photo like this* to be one that was captured in a moment, composed by chance. I perceive it as a snapshot, the elements of which have been brought together by unconnected authors over a long period of time. Doesn’t every site exist mainly as an outcome of an endless stream of (un)intentional human action? But maybe we don’t look at these interventions in detail until one element vehemently makes its mark in the wrong place. In this case I’m referring to cardboard boxes, of the sort that are used in our daily lives as transport or archive containers for the goods that we possess (or would like to have). In Tobias Pilz’s photographic work these casings appear as objects, positioned in homogeneous groups in the centre of the picture. Take ‘Bahnhofsstrasse’, for example, in which Tobias Pilz changes the boxes’ arrangement, their format, and by using a subtle aesthetic trick, such as a white cross in the corner, their composition too. Pilz uses this same aesthetic gimmick or staging intervention in the discreet composition of the pictorial layers in which these clamorous elements are placed. Photographed in various settings, indoors and out, these objects always appear in the absence of a deliveryman or recipient. The object is thereby released from its narrative context and given an existence beyond its commodity status and an independence from ownership. This existence as an autonomous object will not last for long but it is captured here.

    At first I take an object like this** to be a found one. I assume it to be a bizarre object that fell of a truck and was then run over by another truck. Or an implosion broke through the form, turned it inside out and sucked the product print through to the inside. The counterintuitive approach. Tobias Pilz has convoluted the blueprint of a functionally efficient cuboid that serves as a basis for many systems of stackable (lightweight) packaging, by adding another side. This form has defied the limits of its functionality.

    * Bauernmarkt, 2012
    ** Dole, Fyffies, Fairtrade, 2011

    Nina Schedlmayer in Ephemeral Space

  1. Verlag für Moderne Kunst, Vienna 2018

  1. Tobias Pilz’s untitled object of 2012 may at first appear like a sculpture from the classic repertoire of Minimal Art. Yet this sculpture, with its sideways bulge, is covered in a special material called Tolex - a type of practical and reasonably priced artificial leather used mainly for guitar amplifiers. The sculpture’s form reflects this as it is based specifically on a mass-produced amp from the company Marshall. Pilz describes how such amplifiers are ‘linked to many dreams and emotions’ for guitar players.(1) Popular culture, with its background of (often unrealized) hopes, thus collides with Minimal Art in this piece. Its predecessors are the cardboard boxes that Pilz extended and transformed into objects that are neither open nor closed - again playing with a minimal form that has been made more complex.

    Although Pilz frequently constructs or choreographs sculptures and photographs, his photo piece Baño, is a ‘found photograph’.(2) Its harmonious colour scheme seems to indicate that it illustrates a model although it actually depicts the bathroom facilities at a youth hostel, described by the artist as being somewhere in Guatemala. It is a puzzling setting, simultaneously personal and anonymous. While you can clearly appreciate the careful positioning of the decorative tiles on the wall, there are no personal objects in this apparently intimate situation - after all, nobody leaves their toothbrush in the communal bathroom. The image also contains references to abstraction: the blue mirrors could equally be monochrome paintings. And narrative elements are implied in the background where we can see an array of objects, probably cleaning equipment, on a type of pedestal. Stage set and still life are combined here into a composition that is full of mysteries but at the same time remains unspectacular.

    1 In conversation with the author, Atelier Tobias Pilz, Vienna, 25 November 2016.
    2 Ibid.