In June 1908, 22-year-old Oskar Kokoschka was introduced to the public at the Internationale Kunstschau in Vienna. A student at the Academy of Applied Arts, he exhibited the illustrated book The Dreaming Youths, commissioned by the Viennese Workshops a year earlier (Fig. 1). The book was not well received – as the Wiener Zeitung suggested, one ‘could not see anything more ridiculous’ at the exhibition. It would take another year for Kokoschka to manifest his position as enfant terrible of pre-war Austrian art: at the Kunstschau in 1909, he presented Murder, Hope of Women (Fig. 2). An expressionist play based on the struggle for power between male and female archetypes (the conqueror and the femme fatale), the performance caused so much outrage that its creator only narrowly escaped arrest. For all the scandal it caused, the play traced a significant shift in the artistic trajectory of Vienna 1900: moving away from the flowery decadence of art nouveau towards raw expressionism, a new generation of artists challenged the ideals of their predecessors at the dawn of the Great War. Continue reading
Less than 100km east from the Tyrolean regional capital Innsbruck is Kitzbühel, a town with a reputation for expensive ski tourism in the Austrian alps and the related Hahnenkammrennen, an annual fixture in the men’s World Cup since 1931. Continue reading
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.
For eleven years, from 1928 to 1939, the School of Arts and Crafts in Bratislava (Škola umeleckých remesiel – ŠUR) was the hub of a budding Slovak modernism. Founded amid an economic crisis in a small city, the conditions for the ŠUR were not favourable – and yet, supported by the sheer determination of its director Jozef Vydra, it thrived as a public school that was, pronouncedly, not concerned with modern art but modern life. The first international exhibition about the ŠUR in the post-socialist era was shown at the city museums of Zwickau and Leverkusen and at the Bauhaus Dessau foundation in 1998, accompanied by a rich catalogue. While presenting an important initiative in unearthing the history of the ŠUR, the exhibition and catalogue, bearing the title Das Bauhaus im Osten (‘The Bauhaus in the East’), was conceptualised in close relation to Germany’s most legendary art school, over-emphasising the link between the two, at the cost of ignoring others. Twenty years on and in time for the ŠUR’s 90th birthday (as well as the Bauhaus centenary), the Slovak Design Museum puts a corrective lens on the school’s history with an exhibition in the spaces of the Historical Museum in Bratislava Castle.
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.