University of Applied Arts Gallery at HeiligenkreuzerhofCurated by
Cosima Rainer and Robert Müller, the exhibition looks at the seminal and multilayered practice of Oswald Oberhuber, its impact
on the University of Applied Arts Vienna through the 1970s to the 1990s, and an art-political discourse which remains relevant
to this day.
As an artist, exhibition organizer, critic and university rector, Oswald
Oberhuber (1931-2020) embraced the idea of “permanent change”. His design concepts cut across all areas of the university,
including the founding of an art collection. The critical engagement with “Austrian art history”, the university’s past as
well as the effects of the Nazi regime on art and culture is pivotal to Oberhuber’s practice.
The
exhibition Schule Oberhuber uses the holdings of Collection and Archive to examine the potential
of a university collection to critically interrogate art historical narratives. At the former Imperial and Royal School of
Arts and Crafts female students were admitted as early as 1867. Their art works within the collection allow a kind of alternative
narrative to the prevailing art canon. Questioning the hierarchical separation of fine and applied arts was central to the
pedagogical program, which offers new perspectives on art production. Drawing on his exhibition Österreichische Avantgarde
1900-1938. Ein unbekannter Aspekt (1976/77) (Austrian Avant-Garde 1900-1938. An Unknown Aspect), his large-scale
sculpture Museum im Museum (1978), as well as other publications and projects, the exhibition reflects and expounds
Oswald Oberhuber’s efforts for a revision of the prevailing canon of modernist art history and his proclamation for an alternative
“art school”.
Works by numerous students and artists from the collection exemplify the progressive
teaching approach at the former School of Arts and Crafts around 1900 and trace connections to the European avant-gardes as
well as fundamentally debating matters of artistic form.
The exhibition locates Oswald Oberhuber’s commitment to
a broader view of modernism far beyond fantasies of purity. The exhibition is a “school within the school”, that gives Oberhuber's
work a new accessibility while continuing to address contemporary issues.
Including works
a.o. by: Georg Adams-Teltscher, Rudolf Baschant, Eduard Bäumer, Ilse Bernheimer, Camilla Birke, Eugenie Blöch,
Sándor Bortnyk, Alfred Buchta, Department Franz Čižek, Friedl Dicker-Brandeis, Oskar Donau, Anny Dollschein, Elsa Engel-Mainfelden,
Mathilde Flögl, Helene Gschliesser-Cornaro, Albert Paris Gütersloh, Oswald Haerdtl, Franz Hagenauer, Margarete Hamerschlag,
Gerta Hammerschmied, Carry Hauser, Josef Hoffmann, Franz Joseph Howanietz, Lilly Jacobsen, Hilde Jesser-Schmid, Lajos Kassák,
Elisabeth Karlinsky, Paul Kirnig, Erika Giovanna Klien, Elisabeth Kudisch-Zuba, Maria Likarz-Strauss, Richard Loederer, Oskar
Kokoschka, Broncia Koller-Pinell, Silvia Koller, František Kupka, Erich Mallina, Arnold Nechansky, Oswald Oberhuber, Dagobert
Peche, Elisabeth Pfanhauser, Otto Prutscher, Gertrude Neuwirth-König, Johanna Reismayer-Fritsche, Felice Rix, L.W. Rochowanski,
Otto Rudolf Schatz, Hugó Scheiber, Anna Schlechta-Truxa, Albert Schneck, Arnold Schönberg, Max Snischek, Karl Steiner, Frieda
Stökl, Oskar Strnad, Hans Strohofer, Marianne My Ullmann, Maria von Uchatius, Franz von Zülow, Otto Erich, Wagner Trude
Waehner, Vally Wieselthier, Eduard Wimmer-Wisgrill, Bruno Zuckermann, Emmy Zweybrück
Curated
by: Cosima Rainer und Robert Müller
Project Team Collection and Archive: Judith Burger,
Silvia Herkt, Stefanie Kitzberger, Laura Egger-Karlegger, Eva Marie Klimpel, Bernadette Reinhold
Exhibition
design: Robert Müller
In September - November 2022, as a follow up to the exhibition,
the University Gallery will present an exhibition focusing on works from the collection by the artist Friedl Dicker-Brandeis
(1898 - 1944). Comprehensive publications will accompany both exhibitions.
Opening hours:
Wednesday – Saturday: 2 pm – 6 pm
