New perspectives on the collection are developed in dialogue with contemporary artists, teachers and students of the university.
These projects question inclusions and exclusions within the modernist canon and discuss relations between applied and visual
art and their claims to autonomy. In dialogue with the art collection’s historical contexts we furthermore commission, produce
and acquire new works.
Display Case Collection and Archive
The display case in the main building of the university is a changing exhibition site providing an insight into projects of
Collection and Archive through commissioned work by contemporary artists.
Der Hausfreund
A rediscovery of the eccentric oeuvre of Friedrich von Berzeviczy-Pallavicini in dialogue with contemporary artists, curated
by Cosima Rainer & Robert Müller, Universitätsgalerie im Heiligenkreuzer Hof Wien, Österreichisches Kulturforum Berlin, 2019.
participating artists: Kamilla Bischof, Enzo Camacho, Verena Dengler, Julian Göthe, Josef Frank, Hans Hollein, Nico Ihlein
, Elisabeth Karlinsky, Lucy McKenzie, Amy Lien, Ilya Lipkin, Ulrike Müller, Oswald Oberhuber, Dagobert Peche, Yves Saint Laurent,
Jack Smith, Marianne My Ullmann, Eduard Wimmer-Wisgrill, Laura Welker, Amelie von Wulffen, Katharina Wulff, Min Yoon
Universitätsgalerie im Heiligenkreuzer Hof
Grashofgasse 3 oder Schönlaterngasse 5, 1010 Wien
May 2 to June 1, 2019
Österreichisches Kulturforum Berlin
Stauffenbergstraße 1, 10785 Berlin
September 13 to October 25, 2019
The exhibition Der Hausfreund presents the multifaceted artist Friedrich von Berzeviczy-
Pallavicini (1909–89) as a highly topical rediscovery. Within the milieu of the Vienna School
of Applied Arts, Berzeviczy-Pallavicini created works in an idiosyncratic and mannered formal
language that appears surprisingly contemporary today. Drawing on the extensive catalogue
of works in the university’s collection, the exhibition examines, contrasts, and reinterprets
relevant motifs from the artist’s oeuvre in dialogue with contemporary artists and historically
related works.
The exhibition, curated in 2019 by the head of collections Cosima Rainer and the
artist Robert Müller, was shown in two different versions at the University Gallery in
Heiligenkreuzer Hof in Vienna and at the Austrian Cultural Forum in Berlin.
The name of the exhibition, Der Hausfreund (literally “friend of the house”), is wellchosen
in view of the artist’s generous donation to the art collection in 1986 of over three
hundred works, which the then rector Oswald Oberhuber and head of collections Erika Patka
were delighted to accept. A few years previously, in 1982, Oberhuber had awarded Berzeviczy-
Pallavicini the recently introduced title of Honorary Member of the University of Applied Arts.
Kabarett Fledermaus
Recreation of the tile mosaic in the bar based on designs by Josef Hoffmann, Bertold Löffler and Michael Powolny (1907), 2019.
Concept and organisation: Cosima Rainer, Sofie Mathoi
Produktion / Production: Beate Seckauer – Neuzeughammer Keramik, Maria Wiala – ceramics studio University of Applied Arts
Vienna, Spadlinek und die Fliesenmacher
In 2019, Kunstsammlung und Archiv developed a blueprint for an exact stylistic reconstruction of the ceramic decor of the
famous bar room at Cabaret Fledermaus based on a single surviving black-and-white photograph. Fortunately, it was able to
realize that blueprint together with a broad range of experts and specialized artists in the framework of a collaboration
with the Barbican Center in London. Thanks to this exact reconstruction, the experimental spatial constellation and artistic
vision of this extraordinary establishment can now be experienced physically as well. It has already been exhibited as a walk-in
“inner world” at the Barbican Center in London in 2019 and at the Belvedere in Vienna in 2020 as part of an international
exhibition on trailblazing artists’ bars and establishments curated by Florence Ostende.
Planned by Josef Hoffmann, Cabaret Fledermaus is regarded as one of the preeminent projects of the Wiener Werkstätte alongside
Palais Stoclet in Brussels and Sanatorium Purkersdorf. It was elaborately conceived and designed by the group’s major figures,
most of whom were also teachers at the Wiener Kunstgewerbeschule (Vienna School of Arts and Crafts). Cabaret Fledermaus experienced
its heyday from 1907 to 1909. The tile decor in the bar room was designed by artists Michael Powolny and Bertold Löffler,
who worked together with various ceramicists. Many of the tiles came from the production of their company “Wiener Keramik,”
of which they were the founders. The psychedelic effect of the bar area with its explosion of colors and fantastic motifs
conveys the Fledermaus’s program as a site of transformation and metamorphosis in the medium of architecture. Unfortunately,
the venue’s former impact can only be appreciated today through documentary material, since the building itself, at the corner
of Johannesgasse and Kärntnerstraße, was completely destroyed in 1945.
Supported by:
NEURAUM, Spadlinek und die Fliesenmacher, Neuzeughammer Keramik, Ardex Baustoff, Agrob Buchtal, Wedi
Decor tiles (main part):
Beate Seckauer - Neuzeughammer Keramik
Decor tiles (bar):
Maria Wiala – University of Applied Arts Vienna
Tiling:
Technical College for Ceramics and Oven Manufacture Stoob
Planning and sketches:
Sofie Mathoi, Filip Charchaci, Robert Müller, Maria Wiala und Lucy.D Design
Thanks tot he Teachers and Students of the University of Applied Arts Vienna and of the Technical College for Ceramics and
Oven Manufacture Stoob:
Martina Zwölfer, Sandra Gigerl, Doris Grossi, Christian Ruschitzka
Diana Barbosa Gil, Anita Bauer, Veronika Beringer, Felix Eselböck, Christina Fiorenza, Twan Geissberger, Petra Holländer,
Kyung Ran Koch, Caro Laa, Jisun Lee, Dolores Mery Freire, Roxana Minoueipour, Jannis Neumann, Jens Ostengaard, Elisabeth Panholzer,
Nika Petrovic, Pablo Pacios Prado, Benjamin Risavy, Shaya Safaisini, Siggi Sekira, Ea Stjernholm, Annalena Stocker, Susanna
Strasser, Karoline Taisser, Chin Tsao, Sarah Vogels, Olga Wukounig.
Josef Johann Koth
Olivia Berger, Marie-Christin Ebner, Lea Kienreich, Elisabeth Mayrhofer, Sarah Wilcek, Vinzenz Zwölfer
Thanks for important advice to:
Gerd Pichler, Elisabeth Frottier, Rainald Franz
Special Thanks to:
Alexander Spadlinek, Christa Pichler, Roman Kundic, Sascha Eselböck
Ciphers of Regression
Painting Department, Henning Bohl in collaboration with Collection and Archive, festival angewandte, 2019.
Ciphers of Regression (June 25 to 28, 2019) was a project by the Painting Department in collaboration with the Collection
of the University of Applied Arts Vienna. It consisted of an auction (June 25, 2019) conducted by Marei Buhmann and Sofie
Fatouretchi; musical interludes by Jutta Maris & Reena King, Angst, Die Süsen Mäuse, and In My Talons; an adaption of the
exhibition Der Hausfreund, previously on view at Heiligenkreuzer Hof (May 2 to June 1, 2019); and an exhibition of hoodies.
Pairs of hoodies were reworked, of which auction attendees acquired one. The counterpart was donated to the university’s collection.
Contributors: Henning Bohl, Wolfgang Breuer, Marei Buhmann, Pit Christ,
Daisy, Viktoria Dopler, Amanda Du, Sofie Fatouretchi, Christian Gailer, Ana Gurashvili,
Luna-Mae Heflin, Suzuka Hisamatsu, Demian Kern, Martina Lajczak, Yoon A Lee,
Hannes Loichinger, Alex Macedo, Sebastian Mittl, David Peschka, Florian Pfaffenberger,
Leonie Plattner, Vika Prokopaviciute, Kathrin Isabell Rhomberg, Milena-Marie Rohde, Ulla Rossek,
Vanessa Schmidt, Niclas Schöler, Pol Summer, Sebastian Supanz, Till Weinhold, Kathrin Wojtowicz,
Moka Sheung Yan, Takeshi Yoshida, Malte Zander
Organization: Alex Macedo, Vanessa Schmidt, Marielena Stark, Malte Zander
Oskar Kokoschka – New insights and prospects
International conference conceived by Bernadette Reinhold (Oskar Kokoschka Zentrum) and Régine Bonnefoit (Université de Neuchâtel),
2020.
Conference: February 27th, 2020
Angewandte, Auditorium, Vordere Zollamtsstraße 7, 1030 Wien
