The exhibition focuses on aging and design – a product culture in transformation that aims to help change conventional notions of the later years of life. Age is positioned as a generational issue that has the same relevance for all age groups. The exhibition is oriented along disciplines such as inclusive design, which calls for products to be designed in such a way that they are equally attractive to people of all ages.
As part of its design-focused program, WAGNER:WERK Museum Postsparkasse presents the exhibition “SECOND LIFE. Upcycling Glass Design from Finland” from October 1 to November 8, 2013. With this show, which has been prepared together with the Finnish Glass Museum in Riihimäki, WAGNER:WERK Museum Postsparkasse participates in the Vienna Design Week for the fifth time.
For the 200th anniversary of the birthday of the Danish-Austrian Ringstrasse architect Theophil Hansen, WAGNER:WERK Museum Postsparkasse presents, from May 14 to August 17, 2013, an exhibition entitled "THEOPHIL HANSEN 1813–2013. A Star Architect and His Residential Buildings on the Vienna Ringstrasse." On display in the exhibition will be sketches and design drawings, plans, photos, furniture, and arts-and-crafts objects from numerous Austrian and international lenders.
All over the world Danish furniture design stands as a synonym for timeless elegance and perfect craftmanship. Simplicity, functionality, lightness, material appropriateness, and comfort may be attributed to the tradition of originally small joineries often handed down over several generations. The image of Danish design is mostly based on achievements of the 1950s and 1960s – many of which – manifestations of the postwar period’s organic forms and the possibilities resulting from new techniques and materials – have become icons of modern design.
After World War I, the company Schott in Jena developed an entirely new heat-resistant glass to be used in households. However, potential buyers encountered the undecorated glassware, which seemed to belong into a laboratory rather than into a kitchen, with skepticism. Schott recognized that such modern products could not be sold successfully without design and advertising. The company therefore commissioned artists who had taught or studied at the Bauhaus in the neighboring town of Weimar to give shape to this yet unknown product and invent an appropriate image for it.
Ethnic objects of daily use - from Africa, Oceania, and pre-Columbian America - were largely ignored by the European world over a considerable period of time. The artisans created true works of art from seemingly unspectacular materials, which served as seats and beds, as storage containers and drinking vessels, or as instruments for miscellaneous purposes.
Consistent, elementary, and radical: today’s designers have recourse to such anonymous designs when they are looking for fundamental solutions for an everyday problem. The exhibition GLOBAL VILLAGE presents a juxtaposition of the origins and results of Modernism, of ethnic objects of daily use and European design classics, or of primitive designs and their contemporary variations, thus pointing out the influences of anonymous designers from Africa, Asia, and Latin America on Modern Art in Europe.
Price € 18.00
The display collects some 200 exhibits from several private collections offering an impressive insight into the great diversity of products manufactured by the Werkstätten Hagenauer (1898–1987), the majority of which can be assigned to the field of metalwork, yet which also include several items made of wood. These objects are now made accessible to the public for the first time in forty years. The presentation concentrates on decorative and design objects dating back to the 1920s on the one hand, and on Franz Hagenauer’s sculptural work, which the artist pursued until the 1980s, on the other.
Price € 35.00
Finnish design and designers have become internationally famous during the last 50 years and occupies a much admired part within Scandinavian design. As of the 1950ies, numerous design classics were created that are in production until today. Tapio Wirkkala and Timo Sarpaneva are regarded as some of the most influential and important designers, their ephemeral glasswork now being presented in the exhibition "Fire and Ice. Finnish Glass Design made in Murano".
In the 1920s, the Social Democrats’ municipal government of “Red Vienna” realized a tremendous amount of building projects comprising more than 65,000 tenements and housing complexes. The graduates from Otto Wagner’s School of Architecture at the Vienna Academy of Fine Arts played a significant role in the implementation of the City Government’s public housing program. Their architectural solutions still inform our idea of Vienna social housing in the 1920s.
Price € 29.00
During the postwar period Women were assigned new role models: after years of independence they were forced back into their traditional roles as housewives. How did the women of the 1950s cope with this role model? How did they handle their own and their families’ lives? And what were the moral values they passed down to their daughters? The world of the Wirtschaftswunder women is visualized by decorative objects, everyday utensils, fashion, photographs, various brochures, movie programs and women’s magazines.
Price € 20.00
Good design is mostly anonymous, irrespective of its aesthetic quality. Objects connected with a designer’s name are the exception to the rule. Shortcomings, demands, and difficulties often bear names, though: lemon squeezers by Starck let juice and pips end up in the same glass. Lilienporzellan tableware or Thonet’s café chair No. 14, however, are indestructible and functional – yet their designers have disappeared in the mists of design history.
Price € 15.00
In cooperation with the Museum of Decorative Arts in Prague, WAGNER:WERK Museum Postsparkasse presents the exhibition “cubiCZm! Prague’s Deconstruction of Modernism” as its contribution to the cross-border cultural projects realized by the Czech Republic and Austria in 2009. Confronting Wagner’s Modernism and the Czech Cubism responding to it, the presentation visualizes a thesis and an antithesis of early twentieth century architecture.
Price € 25.00
To this day, metal design has been determined by the discovery of new materials and the continuous dedication to form and function. Formally, the works presented in the exhibition “German Silver after Bauhaus” evince the reduced and emphatically austere language of the Bauhaus, whose design principles – based on the elementary stereometric forms of the sphere, the circle, the cone, the cylinder, the square, and the cube – remained decisive for the generation of artists after its closure in 1933.
The extensive and diverse oeuvre of Charles (1907-1978) and Ray Eames (1912-1988) is grounded in the quality and breadth of their work and demonstrates the unique historical importance of the Eameses. This is the result of an extraordinarily productive collaboration of two personalities that complemented one another in a perfect way. Many designs were and are still realized by Vitra.
The company history of Portois & Fix spans from the building of the Ringstraße Boulevard to the late twentieth century. The exhibition focuses on the years before 1900 and the beginnings of the new century, when Portois & Fix, writing design history, congenially executed furniture designs by Otto Wagner, Max Fabiani, Koloman Moser, and Josef Hoffmann. With more than 700 employees, Portois & Fix numbered among the biggest companies in Vienna around the turn to the twentieth century.
Price € 25.00
During the last third of the 19th century, the cutting of precious and composite stones, which had existed in Turnov for centuries, had turned into an important industry, whose companies employed dozens of wageworkers and hundreds of homeworkers. Therefore, initiated by the Austro-Hungarian monarchy’s Ministry of Culture and Education in 1884, the Applied Arts School for Gem Cutting and Mounting Precious Stones at Turnov was founded.
Price € 15.00
When the Postal Savings Bank was built from 1904 to 1906, Otto Wagner had already had some experience with aluminum. Because of its rareness at that time, aluminum was regarded as extraordinarily valuable. In addition, the noble impression conveyed by the mat sheen of polished aluminum was clearly superior to silver and its many imitations. It is the venue of the exhibition where the history of aluminum design commences, with lamp sockets and their naked bulbs or technoid heating columns ventilating the Large Banking Hall.
Price € 20.00
The exhibition centers on the Austrian architect Joseph Maria Olbrich’s two chief works: the Vienna Secession and the Artists’ Colony Mathildenhöhe in Darmstadt. Architectural models, exemplary sketches and drafts, as well as historical photographs of the buildings and interiors designed by Olbrich in his brief creative period between 1897 and 1908 illustrate Olbrich’s importance in European Art nouveau.
For the very first time, the legendary archives of the Viennese silversmith Alexander Sturm are presented to the public. The exhibition presents original designs, sketches and drafts by famous artists like Josef Hoffmann, Oswald Haerdtl, Otto Prutscher or Kolo Moser. These and additional drawings dating from the 1930ies to the 1950ies are still in the posession of the manufactory, including all tools, models and the extensive archives.
Price € 12.00
In 1919 the School of Arts and Crafts and the Academy of Fine Arts Weimar were brought together to the Federal Bauhaus Weimar. The Bauhaus set itself the target to reform the artistic education for the purpose of uniting fine arts and applied arts and crafts to a combined contemporary working environment. The exhibition is dedicated to the work of Wolfgang Tümpel (1903-1978), his creations in jewellery designs and his ideas as an industrial designer.
Billions of them were sent out, they were cheap and within two days they made their way through the whole of Europe: About 130 years ago, the picture postcard was the fastest of all means of communication. Architects discovered and established the picture postcard as an instrument for advertising their buildings. The most extensive archive of the European Avantgarde in photography and architecture originates rather accidentally and unperceived from that spreading of images during the time between the two world wars and leaves back the greatest treasure of the Modern Age in Germany.