Everything feels hyper-politicized right now. This is true in the real world, of course … and, increasingly, in the art world. Lately, at least in Central Europe, fake (or “fake”?) Occupy camps are cropping up at nearly every major contemporary art event. The recent Berlin Biennale’s camp-as-university is probably the most notorious example, but there was also the ragtag tent encampment in front of the Fridericianum at Documenta 13. Even at last week’s ViennaFair (September 20–23, 2012), a rotating group of artist-activists blogged, DJed, and performed in an enclosed area at the edge of the exhibition hall, irritating gallerists with booths nearby with their raucousness. Sigh. Considering this often contrived, too-obvious appropriation of “politics” makes this year’s “curated by” in Vienna all the more refreshing. “Kunst or Leben: Ästhetik und Biopolitik (Art or Life: Aesthetics and Biopolitics)” is the overriding theme of a citywide event generously funded by the city of Vienna’s creative agency, Departure, since 2009. (Amazing but true: some cities have agencies to financially support creative endeavors and industries—residents of those without can keep dreaming). We can thank curator Eva Maria Stadler for adding the “bio” to the “politics”: this edition of “curated by” is meant to re-address—through the …