In the unique ambience of the former paper mill; an impressive example of a highly successful revitalization of a former factory building, is the museum and event center "Alte Fabrik".
Where pulp and paper has been produced between 1868 and 1988 has now formed to an area of over 4000 m2, the Austrian paper maker museum, a printing museum, fire museum, an integrative art school, a modern convention center and the exhibition area for contemporary paper art.

The material "paper", in many different positions of international artists has become the central theme of the Austrian paper maker museum.

The works presented during the exhibition season experience its highlight during the summer months where they are intensely perceived by the public. In 2006 began the internationalization of the activities:

2006 Paper Road (Exhibition and Congress)
2007 Paper Art Factory Walter Weer / Josef Adam Moser
2008 dimension fragile (paper art from Europe and China)
2009 RIP ED-Ingrid Cerny / Angela Glajcar / Tilmann Zahn
2010 The breath of the paper - Ingrid Cerny / Christa Mayrhofer
2011 Built and cut-out - Alexandra German / Stefan Saffer
2012 Linear Systems - Regina Hadraba / Renate Lohrmann
2013 Just Paper - Silvia Schreiber / Reinhard Wöllmer
2014 Scratching, tearing, layering - Tone Fink / Jae Ko
2015 Paper Creatinons - Ernst Skricka.

Paper has always been the medium for artistic creations Skričkas. The tracks whether directly drawn with the pen or etched with brush and etching needle on the disk and printed in a further step on the handmade paper. The tightly compacted fibers take dye into itself. Skričkas line may seem on the one attacking, hurtful, sharp but soft-fail prancing on the other side. Oppositional scratchy encounters lyrical lightness.

The artist dedicated to the human figure since the beginning of his imagery. From the late 1960s until around 1980 determined physically stressed the Colossi Motivrepertoir, archaic rocky-meat lumpy hybrid mythologies of shadowy terror.
The artist dedicated his work to the human figure since the beginning of his imagery. From the late 1960s until around 1980 archaic rocky-meat chunky hybrids which are an outcome of mythologies of shadowy terror, define his motif repertoire.

Skrička measures the figure, blocks them into the original matter, exposes them to their fate. In the beginning of the 1980s there is a radical change. By means of freely drawn seismographic lines, the artist gets rid of the load of mythological colossus, leaving the human image to abstract graphic symbols and let them dance freely in screen space.