The Retz Art Group, a pioneering creative collective sponsored by Caritas in Lower Austria, is poised to establish its first permanent gallery on the town's main square in 2026, marking a significant milestone in its three-decade journey from modest beginnings to regional cultural prominence. Since 1992, this unique assembly of approximately thirteen artists has been creating remarkable works that challenge preconceptions about disability and artistic capability, focusing purely on the merit of the art itself rather than the circumstances of its creators. The upcoming gallery space, repurposed from an existing Caritas pop-up shop, will provide a dedicated venue for the group's prolific output during the quarter festival, making their work more accessible to regional audiences who have followed their development with growing admiration.
The group's philosophy centers on artistic autonomy and creative freedom, a principle that has attracted notable art world figures to its cause. Carl Aigner, former director of the Museum of Lower Austria, admitted with refreshing candor, 'I was director of the state museum for eighteen years; I'm ashamed that I didn't find my way here sooner, only in retirement.' Aigner's involvement brings professional curatorial expertise to the collective's archival efforts and exhibition planning. The artists themselves, all clients of Caritas with various disabilities, participate actively in decision-making processes regarding their work's presentation and future direction. This inclusive approach ensures that the Retz Art Group remains authentically representative of its members' visions rather than becoming a token showcase of therapeutic activity.
Thomas Gräser stands as a testament to the group's enduring spirit, having been a member since its founding in 1992. Known affectionately as 'the sir of the art group' by Aigner, Gräser specializes in vibrant depictions of musical instruments, preferring colored pencils and oil pastels to capture the essence of brass bands and orchestral arrangements. His dedication to the collective became evident when the Maria Gugging institution attempted to recruit him and another artist. After a trial period, Gräser returned to Retz with a simple declaration: 'I'm staying with you.' This loyalty reflects the supportive environment that Regional Manager Thomas Krottendorfer and current leader Claudia Posekany have cultivated. Posekany, who joined in October, experienced an immediate connection during her job interview, which uniquely included the artists themselves. 'I went through each artist's work image by image and got goosebumps,' she recalled, knowing instantly that this was where she belonged.
The creative synergy within the group extends beyond its core members to include established artists like Christa Hameseder, who began painting at forty-five and gifted herself a solo exhibition for her fiftieth birthday. Since discovering the Retz group in 2013, Hameseder hosts the collective annually in her Mühldorf studio in the Wachau region, where they spend intensive weeks creating together. 'I'm always thrilled by the intensity and creative joy,' she remarked, describing the infectious energy that permeates these sessions. This cross-pollination has resulted in joint exhibitions and a growing collector base, including a woman who purchased her fourth Gräser piece at a Christmas market, identifying herself as a dedicated collector of his work. Such recognition validates the group's artistic merit in the competitive contemporary art market.
Looking toward the future, the Retz Art Group is implementing ambitious plans to preserve and promote its extensive archive. Patrizia Feichter from Danube University Krems is developing a professional inventory system, documenting dimensions, titles, and provenance for each piece before systematically archiving them in a new dedicated depot facility. This scholarly approach to collection management will enable researchers and curators to engage seriously with the group's output. Meanwhile, the planned gallery on Retz's main square represents a crucial step in regional cultural development, providing visibility for artists who have traditionally worked in relative isolation at their Unternalb studio location. The initiative aligns with Caritas's broader mission of social integration through cultural participation.
The Retz Art Group's evolution from a small therapeutic workshop to what Aigner enthusiastically calls 'the birth of an art empire' demonstrates the transformative power of treating all artists with equal professional respect. By maintaining that 'here, no one has to produce because galleries call,' the collective preserves the pure creative impulse that often gets compromised in commercial art circuits. This freedom allows each member to develop a distinctive voice, whether through Gräser's instrument portraits or other artists' abstract explorations. As the 2026 gallery opening approaches, the Retz Art Group stands as a model for how disability services can foster genuine cultural contributions, challenging audiences to see beyond labels and appreciate the universal language of visual expression that transcends all barriers.
