After eleven years of dedicated service and sixty-five exhibitions, Ulli Obrecht has resigned from her role coordinating art exhibitions at the Community Center in Au, bringing an era of visual arts programming to an unexpected close. The decision, announced on December 30, 2025, stems from what Obrecht describes as mounting frustration with insufficient municipal support and a pervasive lack of interest from local government officials. Her departure means the immediate cessation of all future art exhibitions at the venue, as no successor has stepped forward to continue the cultural initiative that has become a cornerstone of the community's creative life.

The Bürgerhaus Au, which translates to Au Community Center, had established itself as a vital platform for regional and emerging artists under Obrecht's leadership since 2014. The exhibition series showcased a diverse range of artistic disciplines, from traditional painting and sculpture to contemporary multimedia installations, drawing visitors from across the Baden region. Local artists credit the program with providing essential exposure and professional development opportunities in an area with limited commercial gallery spaces. The center's commitment to accessible art made it particularly valuable for residents who might not otherwise engage with contemporary creative work.

According to sources familiar with the situation, Obrecht's decision was not made lightly but followed years of escalating challenges. Funding requests for basic exhibition needs were repeatedly denied or delayed, while administrative support dwindled to nearly non-existent levels. The municipality's apparent disinterest manifested in missed meetings, unreturned communications, and a failure to promote the cultural offerings to broader audiences. These obstacles, combined with the increasing bureaucratic burden placed on volunteer organizers, created an unsustainable working environment for Obrecht and her small team of supporters.

The impact of this closure extends beyond the immediate loss of exhibition space. Local art educators express concern that students will lose a crucial venue for showcasing their work, while established artists face one fewer platform for reaching collectors and critics. The cancellation also affects the town's cultural tourism, as the exhibitions had begun attracting visitors from neighboring communities who contributed to local businesses during exhibition openings and events. Several artists who had secured future dates at the center now must find alternative venues on short notice.

Community members have begun organizing in hopes of reversing the decision or finding a compromise solution. A petition circulating among residents calls for municipal officials to meet with Obrecht and negotiate terms for continuing the program. However, Obrecht has stated publicly that she will not return to her role without concrete commitments to sustained funding and administrative support. She emphasizes that volunteer burnout and the emotional toll of fighting for basic resources have made her position untenable, regardless of community goodwill.

This development reflects broader challenges facing small-town cultural institutions across Germany, where budget constraints and shifting political priorities often place arts programming at risk. Experts note that community centers serve as essential incubators for local culture but require consistent institutional backing to thrive. The situation in Au may serve as a cautionary tale for other municipalities about the consequences of neglecting grassroots cultural initiatives that, while requiring modest investment, provide significant social and economic returns to their communities.