Memories
A feature article by Gabriele Berger and Petra Moiser from the institute’s newspaper, Vol. 1979, No. 1: “At the start of 1976, the rumour was confirmed true: the Mozarteum was to have a new department. This was the start signal for many who had been waiting. Over a hundred eager prospective students turned up for the entrance examination at the end of April 1976. The result was equally exciting for the professors and students alike, as everyone was keen to see how the first collaboration at this newly founded school would develop. The prospects looked promising, as we came from different universities, professions and countries. The fact that many people of different ages came together was also advantageous. We had two months – the length of our first semester – to get to know one another. The new department was doing real pioneering work, not only in terms of the new school situation, but there was many a heated discussion over a beer!"
"For those engaged in the visual arts, the finest annual report consists of a pile of drawings and sketches, a roll of prints, paintings or sculptures that demonstrate a progression, and works of art and textile pieces that bear witness to a growing understanding of the challenges faced and progress made in the endeavour to overcome them." Prof. Ruedi Arnold, Yearbook 1982/83
"Legendary art studies at the Mozarteum: the studios on Dopplerstraße remain unforgettable!!! Getting together with lecturers and fellow students for projects, exhibition openings, print fairs, regular get-togethers with Italian food hosted by Prof. Stejskal, open-house parties, Prof. Ruedi’s St Nicholas Day performances, work excursions, art experiments and collaboration have had a profound impact on who I am. A small MOZ family emerged – spanning generations – and it remains to this day.” Ulli Gollesch, on the 2000s
"Every year, some time around 6 December, Prof. Ruedi Arnold would appear dressed as St Nicholas and, in the form of well-crafted rhyming couplets, bestow praise and criticism on his students in the sculpture class: this memorable ritual was an integral part of a convivial evening.” Furthermore … “During week-long cycling trips organised by the sculpture class through the Austrian countryside, I got to know wonderful regions such as south-eastern Styria and the Waldviertel in greater depth.” Our cycling professor, Ruedi Arnold – with his pipe in his mouth, tousled hair and Swiss dialect – was the much-admired centre of attention with his group of students, and the one who opened the door to some wonderful experiences: on one occasion, instead of pitching tents in the pouring rain, we were treated to a midnight guided tour of Altenburg Abbey led by the abbot himself, followed by a night spent in sleeping bags – with men and women strictly separated – in the monastery’s rooms; early in the morning, looking out of our tent in St. Florian, we were astonished to find a breakfast specially prepared for our group at the house opposite; from one wine tavern to the next little church, to the next wine tavern, to the next church, and so on … friendly, warm-hearted people in the countryside … magnificent landscapes … a wonderful sense of togetherness! Sport, cuisine, culture and community.” And … “Even in the 1980s, Salzburg wasn’t a ‘student town’.” So Michael Ziegler and I would organise a student party every now and then, for which, on the top floor of the labyrinthine Wörle Building on Mirabellplatz, right next to the painting department, the life-drawing studio took on a sparse charm of its own as a dance hall: the atmosphere was particularly electrified by my favourite music, the ‘Talking Heads’. Bernhard Gwiggner, on the 1980s
“I felt it was a real stroke of luck to have two painting professors during my studies: Peter Prandstetter in the first phase and Dieter Kleinpeter in the second. As the Department of Painting, we were initially based above the rooftops of the Mozarteum, with a view from the roof terrace over the Mirabell Gardens. The workstations were, admittedly, all already occupied by my predecessors and their accumulated stock of all manner of art supplies in the broadest sense – clearing them out certainly took some doing. I remember that period as a time of particular renewal for the departments of Painting, Graphic Art and Sculpture. The practical disciplines had now been given their own building, which helped to forge their identity. I have very fond memories of the weekly plenary meetings and the discussions – particularly those with our new professor of painting, Dieter Kleinpeter – as stimulating, critical, friendly and appreciative exchanges of ideas, which were also frequently enriched by philosophical reflections. The impression and shared learning experience I took away from this was that painting is about so much – about what is essential, about life, and ultimately, indeed, about everything. I was fortunate enough to study art and music side by side at the Mozarteum for several years, and I am particularly grateful for that. For several years, I was able to pursue these two personal interests in a particularly wide-ranging manner, all under one roof. Both fields remain very close to my heart. Looking back now, I feel grateful and enriched by my 30-year career as an art teacher following my studies at the Mozarteum. In solidarity with all those who established the Art Education programme at the Mozarteum before me, with all those I have known as companions and mentors, and with all those who have followed this path after me, further developed it and are now forging new paths: 50 years unite us! A reason to celebrate! Thank you!” Johannes Weilbuchner, a reflection on the first half of the 1990s
