At CRAACE, we analyse the transformations and continuities in Central European art and architecture after 1918. Bearing a similar title, a current exhibition at Vienna’s Imperial Furniture Collection makes a related effort. It focuses on imperial property and its history after the collapse of the Habsburg Empire. Who owned which parts of Habsburg property? What happened to the imperial household after 1918? And what is its legacy? These are the big questions that Rupture and Continuity, an exhibition organised at the Imperial Furniture Collection in Vienna aims to answer.
In November 2018, to celebrate the centenary of the founding of the Austrian Republic, a new museum was installed, the House of Austrian History, in spaces formerly occupied by the Kunsthistorisches Museum.
When it first opened there was considerable interest in the British press in the venture, above all in the events leading up to its creation. As the Economist noted, the museum neatly encapsulates Austria’s often fraught political life. The project was initiated with the support of the Social Democrats – and its reading of history is certainly more aligned with the social democratic view of Austria’s past – but with the People’s Party and the Freedom Party now in government, the longer-term future of the institute is still not certain.
On 6 May 1928 the ceremonial unveiling took place of a monument to Ferdinand Lasalle in Vienna. Located in the north-eastern suburb of Brigittenau, and placed in front of the recently built Winarsky Hof, a communal housing project built by the municipality, the monument commemorated Ferdinand Lassalle (1825-1864). A native of the German city of Breslau (now Wrocław, Poland), Lassalle had no obvious connection to Austria. He was, however, a leading figure in Socialist politics in the 1840s and 1850s, having been imprisoned for his support for the 1848 revolution. It was in recognition of his commitment to socialist politics that in 1863 he was appointed the first president of the General German Worker’s Association, forerunner of the Social Democratic Party of Germany (SPD). It was for this reason that the monument was erected to him in Vienna some 60 years later, for Vienna city council was dominated by Social Democrats, whose social and cultural policies earned the capital the name of ‘Red Vienna.’
2019’s first ‘Artwork of the Month’ focuses on one example of how a ‘nostalgic modernism’ could look in interwar Austria. What it also stands for upon closer analysis is the malleability of the photographic image in turbulent social and political times. Not least, it also helps to introduce a trend of photography in 1930s Central Europe, which seemed to stand in diametrical opposition to the avant-garde experiments of the time: Heimat photography (‘homeland photography’). As it will turn out, the classically composed The Mother could be many things and fit within a series of developments that continued from the fin de siècle to the Second World War.
The Royal Academy of Arts commemorates the centenary of the deaths of Egon Schiele and Gustav Klimt with an exhibition of their drawings from Vienna’s Albertina Museum, which emphasises their close artistic relationship as the ‘father and son’ of Viennese modernism (Schiele was 28 years Klimt’s junior). Their untimely deaths in 1918, by extension, have long been construed as the symbolic end of Viennese modernism – an interpretation that CRAACE aims to challenge.