When studying the history of the avant-garde movement during the interwar period, the Slovak avant-garde remains relatively unexplored and in need of further investigation. Omitted from international works and under-represented in its own country, this key moment in Slovak modernity has recently become a priority area of research at the Slovak Design Museum in Bratislava.  A key resource in this context has been the archives of Iva Mojžišová (1939–2014), an art historian who devoted much time and energy to studying, collecting and preserving materials relating the School of Design in Bratislava (ŠUR, Škola umeleckých remesiel).  The school, around which the Slovak avant-garde was structured, no longer exists, and it is thanks to Mojžišová that documentation related to many of the designers who worked there are now to be found in the Slovak Design Museum. Other archives have also recently been opened to researchers, such as that of Ladislav (László) Csáder (1909–1975), a graphic designer whose rich oeuvre has yet to be fully discovered. Images like the one we will study more closely here testify to the merit of granting him a place in the international avant-garde movement.
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.