What Happens When Art Becomes Belief? Susanne Wenger at Halle für Kunst Graz

Susanne Wenger Àdùnní Olórìṣà returns to Graz at Halle für Kunst Steiermark. A quiet, overdue rediscovery of art, belief, and a life shaped beyond Europe.
halle für Kunst Graz presents susanne Wenger , artist portrait Osun-Osogbo Sacred Grove , exhibition preview
Halle für Kunst, Steiermark preview exhibition Susanne Wenger -> The artist standing at the entrance to the Ilé Alájere and Ọbàtálá shrine within the sacred grove of Osun-Osogbo Sacred Grove, Nigeria. -> Photo Gerhard Merzeder / Susanne Wenger Foundation - Press Halle für Kunst, Steiermark

Susanne Wenger returns to Graz, and it feels overdue.

There is something quietly exciting about discovering an artist you should have known already. Someone from your own country, whose work somehow stayed at the edge of your field of vision. This exhibition is one of those moments for me.

The Halle für Kunst Steiermark brings Susanne Wenger back to Graz with Àdùnní Olórìṣà, an exhibition that feels less like a rediscovery and more like a necessary correction.

Wenger left Europe in 1950 and spent nearly six decades in Nigeria, where she became a Yoruba priestess and created one of the most radical Gesamtkunstwerke of the 20th century. The Osun-Osogbo Sacred Grove, shaped over decades, is now a UNESCO World Heritage site.

The exhibition is structured around large batik textiles as its central works, establishing a material and visual gravity. Indigo and earth tones recur throughout these compositions, intersected by flowing lines and mythological figures that resist illustration or narrative closure. Rather than offering explanations, the works suggest a slow unfolding, positioned somewhere between ritual, abstraction, and lived experience. They appear carefully composed, yet never rigid or didactic.

halle für kunst, Steiermark exhibition artist susanne Wenger, textile and painting Das große Fest des Ajagẹmọ, 1958 - àdìrẹ Kassavastärkebatik figurative naive art
Susanne WengerDas große Fest des Ajagẹmọ, 1958. Àdìrẹ cassava starch batik, 200 × 391 cm. Courtesy of the Susanne Wenger Foundation, Krems. Photo © Martin Bilinovac.
Susanne Wenger, Ọbàtálá fängt Ṣàngós Pferd, halle für Kunst, Steiermark, exhibition catapult munchies art club
Susanne WengerỌbàtálá fängt Ṣàngós Pferd, 1958. Àdìrẹ cassava starch batik, diptych, each 216 × 84 cm. Courtesy of the Susanne Wenger Foundation, Krems. Photo © Martin Bilinovac.
susanne Wenger at halle für Kunst Steiermark current exhibition , Mọrèmi, Odùduwà steigt vom Himmel, 1959
Susanne WengerMọrèmi, Odùduwà steigt vom Himmel, 1959. Àdìrẹ cassava starch batik, 142 × 160 cm. Courtesy of the Susanne Wenger Foundation, Krems. Photo © Martin Bilinovac.

Alongside the textiles, early drawings from the 1940s and later paintings open another layer. You sense the weight of history, war, displacement, and an ongoing attempt to transform reality rather than describe it. Nothing here feels nostalgic. It feels present.

Wenger was known in Nigeria as Àdùnní Olórìṣà, a name that speaks of closeness, devotion, and responsibility. Seeing her work return to this building in Graz, where she was honored during her lifetime, carries a quiet gravity.

It also raises a question about how slowly some legacies are absorbed at home.


Susanne Wenger: Àdùnní Olórìṣà

📍 Where: Halle für Kunst Steiermark, Burgring 2, 8010 Graz
📅 When: 7.2.–19.4.2026
🔗 More: Halle für Kunst Steiermark
📱 Instagram: Halle für Kunst Steiermark

Curated by Sandro Droschl

HALLE FÜR KUNST Steiermark
Eröffnung am 22. April 2021 in Graz, Österreich

Halle für Kunst Steiermark


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