Collection and Archive

Head: Sen. Sc. Mag. phil. Cosima Rainer

Introduction:
 
Major art collections are like icebergs: only a fraction of their mass is visible, while quite often the larger part of it remains hidden. This is even more true of the art collections of the University of Applied Arts Vienna: because the institution neither has a permanent exhibition space nor a significant advertising budget, and its treasures are only sporadically presented in public. Its holdings nevertheless harbor great potential for discursive reinterpretations and reassessments: the richness of underappreciated or repressed positions in art and design history within the collections is enormous. Their very pivotal raison d’être is to provide the occasion to question the established canons through “counter-re-discoveries”. Now comprising some 65,000 works, the collection of the University of Applied Arts Vienna was established in the 1980s at the initiative of the former rector Oswald Oberhuber, with a focus on important developments and protagonists at the Imperial and Royal School of Applied Arts. Indeed, since its inception, the school has been pioneering in many respects: Early on, it advocated for pedagogical concepts and approaches to design that were later adopted in the preparatory courses of the Bauhaus in Weimar. The same applies to the concept of the “moderne Raumkunst” (literally: “modern spatial art”) as developed by the protagonists of the Wiener Werkstätte, who regarded the design of exhibition spaces as an artistic task in ist own right. Unlike other universities, at the School of Applied Arts, women were eligible for admission right from
its establishment in 1867. The university’s Collection and Archive seek to highlight these aspects in exhibitions, presentations, and discussions. Oswald Oberhuber understood art as a reflection of both politics and society. He thus was eager to tackle history from a contemporary perspective and to develop alternative aesthetic narratives, i. e. to pluralize the arthistorical canon. Those artists who had been killed or expelled by the Nazi regime in Austria were given special attention, not least through exhibitions and publications such as Die Vertreibung des Geistigen aus Österreich: zur Kulturpolitik des Nationalsozialismus (1986) and early solo presentations of “forgotten” artists, which Oberhuber conceived together with Erika Patka, head of collections at the time.

Holdings:
 
Collection and Archive is made up of the following departments:
 
Art and Design Collection: Director Sen.Sc. Mag.phil Cosima Rainer
 
Based on major donations and artist estates, focuses of the collection include:
→ Fred Adlmüller
→ Friedrich Berzeviczy-Pallavicini
→ Friedl Dicker-Brandeis
→ Josef Hoffmann
→ Gertrud Höchsmann
→ Adele List
→ Bertold Löffler
→ Elly Niebuhr
→ Otto Niedermoser
→ Oswald Oberhuber
→ Franz Schuster
→ Margarete Schütte-Lihotzky
→ Peter Weibel
→ Emmy Zweybrück
→ Viennese Modernism and the Wiener Werkstätte
→ Viennese Kineticism, an avant-garde movement founded at the School of Applied Arts
→ Twentieth-century applied and fine art: graphic art, posters, furniture, textiles, photography, ceramics, painting, objects, and Austrian Modernist architecture models
→ Rare garments from the early fashion collections of the School of Applied Arts and designs by the artists Mileva Roller and Rosalia Rothansl

unter flaschen. Die Fledermaus in der Bar du Bois
An exhibition by Bar du Bois in collaboration with Sculpture and Space, Department Hans Schabus, Concept: Cosima Rainer, Director Collection and Archive
 
participating artists: Chiara Bals, Diana Barbosa Gil, Katrine Bobek, Eva Engelbert, Daniel Fonatti, Johannes Frauenschuh, Andreas Harrer, Anna Hostek, Anastasia Jermolaewa, Gea Kalkhof, Selma Klima, Leena Lübbe, Felizitas Moroder, Ann Muller, Florian Pfaffenberger, Raphael Pohl, Carolina Rotter, Lisa Sifkovits, Julia Steinbach, Stefan Thater, Julian Turner, Astrid Wagner, Maria VMier, Johanna Odersky, Bartholomaeus Wächter, Laura Welker
 
Duration: 13.5. - 24.10.2020
Summer Break: 28.6.- 15.9.2020
Re-Opening: 16.9.2020, 14 - 18 Uhr
Opening Hours: Mittwoch - Samstag, 14 - 18 Uhr
 
Universitätsgalerie im Heiligenkreuzer Hof Vienna
Heiligenkreuzer Hof Stiege 8, 1st floor
entrance via Schönlaterngasse 5
or Grashofgasse 3
1010 Vienna
 
 


Oskar Kokoschka. A Journey to Ancient Greece
An exhibition of the Oskar Kokoschka Documentation Pöchlarn in cooperation with the University of Applied Arts Vienna / Oskar Kokoschka Centre
Curated by Anna Stuhlpfarrer
 
Duration: June 27 to October 4, 2020
daily 10 am to 5 pm
 
Oskar Kokoschka Haus (Birth House)
Regensburgerstraße 29
3380 Pöchlarn
 
 
Oskar Kokoschka in Griechenland, 1961. © Oskar Kokoschka Zentrum, Kunstsammlung und Archiv, Universität für angewandte Kunst Wien
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
 
 
 
Der Hausfreund. A Rediscovery of the Eccentric Work of Friedrich von Berzeviczy-Pallavicini
 
Edited by Cosima Rainer und Robert Müller
Authors: Manuela Ammer, Gerald Bast, Anke Dyes, Brigitte Felderer,
Michael Franz, Anette Freudenberger, Yuki Higashino, Tonio Kröner, Sofie Mathoi, Inka Meißner, Robert Müller, Cosima Rainer, Anne-Katrin Rossberg, Inga Charlotte Thiele
Verlag der Buchhandlung Walther König
University of Applied Arts Vienna, Collection and Archive
 
 
Drawing on the comprehensive holdings of the artist’s work in the collection of the Vienna University of Applied Arts, the exhibition highlights Friedrich von Berzeviczy-Pallavicini (1909–1989), once a colorful personality in the milieu of the Vienna School of Arts and Crafts, as a contemporary and
highly topical rediscovery. In contrast to the disciplined aesthetics of the Wiener Werkstätte, the works Berzeviczy-Pallavicini left behind are characterized by a mannerist and original language of forms. Although hardly shown to date, they constitute a rediscovery for today’s world of art.
Opening a dialogue with works by contemporary international artists as well as related historical positions, the exhibition Der Hausfreund takes up, reflects, and reinterprets important motifs of the artist’s production.
 
192 pages
60 b/w and 104 coloured images
Soft cover
German / English
ISBN 978-3-96098-713-0
EUR 29.80
July 2020
 
 
Margarete Schütte-Lihotzky, Architecture. Politics. Gender. New perspectives on life and work.
 
Edited by Marcel Bois and Bernadette Reinhold
Authors: Carla Aßmann, Gerald Bast (prologue), David Baum, Elisabeth Boeckl-Klamper, Marcel Bois, Helen Chang, Marie-Theres Deutsch, Burcu Dogramaci, Sebastian Engelmann, Thomas Flierl, Christoph Freyer, Sophie Hochhäusl, Manfred Mugrauer, Sabine Plakom- Forsthuber, Monika Platzer, Claudia Quiring, Bernadette Reinhold, Günther Sandner, Karin Schneider, Antje Senarclens de Grancy, Änne Söll, Karin Zogmayer, Christine Zwingl
Edition Angewandte - Book series of the University of Applied Arts Vienna
Birkhäuser Verlag
 
 
Margarete Schütte-Lihotzky (1897 - 2000) is widely known as Austria's first female architect, as a pioneer of social architecture, as the inventor of the Frankfurt kitchen, as an activist in the women's movement and, last but not least, as a heroine of resistance against the Nazi dictatorship.
Recent research in the fields of art history, contemporary history, pedagogy and gender studies presents a more differentiated picture of the architect, whose estate is located at the University of Applied Arts Vienna. Her rich architectural oeuvre, her transnational experiences and professional networks, her political career as a communist and last but not least her current reception will be examined.
This volume presents Margarete Schütte-Lihotzky, the icon of architectural history, beyond all myths.
 
German
ISBN 978-3-0356-1959-1
EUR 39.95
November 2019
 
General archival requests:
 
exhibition and archive requests:
 
permanent loan:
 
reproduction requests:
 
FORMS:
  
  
  
 
 
The online database is constantly being expanded as required. 
Up to now, areas of the database have been available online:
- Painting collection (total stock)
- Furniture collection (total stock)
- Costume and fashion collection (partial stock)
- Photography, graphics, objects and posters (partial stock)