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   40 YEARS | 40 ARTISTS | 40 WORKS     

Anniversary exhibition with presentations of the collections

 

May 12, 2015 - May 29, 2016

 

Opening: May 10, 2015, 3 p.m.

 

Exhibition view.

 

 

Is 40 years a long time?  Well, there are older museums.  But when one considers how many generations of children have grown up during this time and have had their first contact with art here in this oft visited museum, then four decades is quite a long time.  Let’s broadly take the number of visitors and artists or the exhibitions and the artworks throughout all the years in Kunstmuseum Kloster Unser Lieben Frauen – the figures are immense. It speaks for the interest in art and tells us about this special place in the history and presence of Magdeburg.

 

It was 1975 when the city council decided to convert the monastery of Our Lady into the city’s art museum. From the beginning, the content-related aspirations of the exhibitions and art collections were aligned on a national scale.  That applied for the time before 1989 as well as after.  The permanent exhibition of international contemporary art, housed in the former refectory (the so-called upper barrel vault), clearly reflects this aspiration. 

 

We would like to take the past 40 years in review and emphasize what has helped the Kunstmuseum achieve its high status throughout the years. Today it is seen as one of the most renowned locations for the portrayal of contemporary art in Germany. Against the backdrop of the museum’s historical and modern room, it is first and foremost worth mentioning the names of numerous artists, from which this esteem derives from.

 

Participating artists:

 

Claudio Abate

Siegfried Anzinger

Johanna Bartl

Laura Bielau

Kurt Buchwald

Ernesto Burgos

Johan Creten

Hartwig Ebersbach

Wieland Förster

Ruth Francken

Hermann Glöckner

Sabina Grzimek

Friedrich B. Henkel

Irma Hünerfauth

Franz Johannknecht

Sven Johne

Rashid Johnson

Koji Kamoji

Max Lachnit

Reinhold Langner

Mario Lobedan

Lucebert

David Lynch

Maix Mayer

Bjørn Melhus

Jenny Mucchi-Wiegmann

Chris Newman

Jewyo Rhii

Michael Schmidt

Baldur Schönfelder

Jochen Seidel

Hito Steyerl

Werner Stötzer

Beat Streuli

Sean Snyder

Niele Toroni

Susan Turcot

Max Uhlig

Olaf Wegewitz

 

Tobias Zielony

 

 

 

 

DIETER LAHME Concentrates & all-around-images

painting & sculpture

December 10, 2015 – May 29, 2016

Opening: Wednesday, December 9, 2015, at 7 p.m.

Press date: Tuesday, December 8, 2015, at 11 a.m.

 

Dieter Lahme: 13.08.1970, dispersion on canvas

 

In the 1960ies Dieter Lahme (born 1938 in Emmerich, lives in Wanzleben) paints concentrates: geometric forms, black, white, usually on the format 1 x 1 m. A conflict leads to the emergence of the all-around-images: A buyer of his paintings hangs two of them against the direction intended by the artist and questions top and bottom, right and left. Lahme recognizes for himself: “That what is in the image is primary, ‘eternal’ art. The way the image is hung is secondary, momentary.” The ball as substrate provides the solution. The beholder can take it into his/her hands, turn it, look at it from different sides and sense it. As a continuation of this Dieter Lahme creates the Plastic Systems: variable sculptures consisting of several geometric bodies that can be altered by the beholder as she or he thinks fit by rearranging the single elements. Dieter Lahme’s art is based on this social idea of an open dialogue, its components are intellectually ambiguous and manually modifiable.

 

Homepage of the artist:  www.dieterlahme.de

 

 

   ALICIA PAZ The Garden of Follies

Painting & sculpture

November 29, 2015 - March 6, 2016

Opening: November 28, 2015, 4 p.m.

Press date: November 26, 2015, 11 a.m.

 

Alicia Paz: South of the River, 2007, Repro: Stephen White

 

A fantastical garden in full bloom, sumptuously filled with temptations of a feminine nature, bedazzles our senses. The beauty of women’s portraits, the opulence of varicoloured flora and materials attracts us. 

One can hardly stop looking at it. Faces are enveloped in lavish and colourful costumes, which entwine around their bodies like a multi-layered cocoon. Only their curiously dull expressions remain visible or peer through their masks. Are they benevolent nymphs, are they evil witches we are encountering here? Where does one draw the line between reality and artifice?

Alicia Paz’ mysterious female figures playfully mimic glamorous identities through a mixture of stylistic devices and fragmented motifs. Such role-play simultaneously challenges the concept of identity itself. Paradoxes and illusory worlds taking place in the Garden of Follies do not conceal the ingredients of their making, as art-historical references collide with images of everyday life. Shrouded in drunken sensual exoticism, these women develop a multiple nature that allows them to change sides and to assimilate changing situations. Paz’ devil-may-care figures exude life, and yet they also play a psychological game of hide-and-seek, always standing at the thin line between illusion and abyss. Beneath their costumes, they give an impression of a subtle introspection. It is unclear whether they are in agreement with their own metamorphoses, playing tricks on us at a vanity’s fair, or if they are unwillingly forced into alterity.

It is obvious that Alicia Paz herewith puts her own role as an artist into play. The illustrative decors draw our attention and make it possible to experience the painter’s intellectual pleasure, accompanying the creation of her works while we contemplate her pictures. This is effective thanks to a seductive light-heartedness which speaks about art’s creative process, revealing and representing it in the same moment. Thus these artworks refer in an allegorical sense to the social processes of our own times.

The art museum Kloster Unser Lieben Frauen in Magdeburg shows Alicia’s first solo exhibition in a German museum in cooperation with Dukan Gallery. Many artworks stem from public and private collections in France, Switzerland and Great Britain. Alicia Paz will also present, beside paintings and paper reliefs, her sculptural cut-outs for the first time in a more comprehensive synopsis. The exhibition offers a multifaceted terrain of scenic tableaus. The exhibition is accompanied by a bilingual catalogue.

 

Alicia Paz: Madama Butterfly, 2013, Photo: Stephen White

 

Alicia Paz (b. 1967) has grown up in Mexico and studied in California, Paris and London. Her pictures seem full of the interplay between her experiences of different places and cultures. Her path of life as an artist is representative of the permeable boarders of our times and the accompanying cultural overlappings and reflections.

 

 

Homepage of the artist http://www.aliciapaz.co.uk/

 

Fig.: Alicia Paz: South of the River, 2007, Repro: Stephen White

Alicia Paz: Madama Butterfly, 2013, Foto: Stephen White

 

 

   ULRICH WÜST A set of photographs

   from Magdeburg between 1981 and 2000

 

 

September 2 - November 29, 2015

 

Ulrich Wüst: Ottersleben, 1981 | Ulrich Wüst: Ottersleben, 1998

 

Photographer Ulrich Wüst has been living in Berlin for a quite a long time but now and then he comes to Magdeburg, the city of his childhood, in order to take pictures. His first valid black and white photographs were taken in Magdeburg at the beginning of the 1980s. Many of them show older buildings. The calm clarity of the images suggests that what they show has always been the same. But comparing the photos reveals changes. The streets and façades of buildings provide information on the people living inside. The latter live with the course of time and weigh what to preserve or not. Parts of the photos were taken on behalf of urban planning. Ulrich Wüst’s characteristic photographic position, his ability to get façades to speak, bestows on them an artistic significance. With more than 130 photographs the exhibition opens up the view into Magdeburg’s recent history.

 

 

   LUCAS FOGLIA Frontcountry

Photography

September 10 - November 15, 2015

Opening: September 9, 2015, 7 p.m.

 

 

Breathtaking landscapes and destroyed nature – the photographs in the series Frontcountry by Lucas Foglia (born 1983 in New York) show both, at times even in one single shot. Between wilderness and apparently unbridled economy people live all the same. How do they manage to assert themselves? Are their life plans grinded down or does the (American) dream live on? Lucas Foglia’s first solo exhibition in Germany traces the myth of the American West.

Lucas Foglia created his series Frontcountry between 2006 and 2013 during a journey through the sparsely populated regions of Idaho, Montana, Nevada, New Mexico, Texas and Wyoming. He accompanied people in their search for the ideal way of life and virtuously staged his photographs in front of a stunning natural backdrop.

The alleged idyll bears, however, tears and cracks. The cowboys’ “Wild West” gives way to a deserted industrial landscape marked by overexploitation where dream and nightmare, pathos and poetry mingle.

The complete series Frontcountry is shown in Europe for the first time.

 

Biography

Lucas Foglia (b. 1983) grew up on a family farm in New York and is currently based in San Francisco. He graduated with a MFA in Photography from Yale University and with a BA in Art Semiotics from Brown University. His photographs are in the permanent collections of museums including the Denver Art Museum, Museum of Fine Arts Houston, Philadelphia Museum of Art, San Francisco Museum of Modern Art, and Victoria & Albert Museum, London.

 

Homepage of the artist: http://lucasfoglia.com

 

 

 Lucas Foglia: Tommy Trying to Shoot CoyotesBig Springs Ranch, Oasis, Nevada 2012, from the series Frontcountry, 2006-2013

 

Lucas Foglia: George Chasing Wildfires, Eureka, Nevada 2012, from the series Frontcountry, 2006-2013

 

 

 

 

 

 

 

 

    ff. about the love of art

 

A ff. friends and supporters of Kunstmuseum Kloster Unser Lieben Frauen Magdeburg exhibition

July 5 – October 25, 2015

 

Exhibition view with Upright Figur No. 8 (1971) by René Graetz 

 

Via their love art – that is how the members of the association of friends became supporters and sponsors of the Magdeburg art museum.

 

In an exhibition about this subject the friends have chosen – from a very personal point of view and on the occasion of the museum’s 40th anniversary – works of art from the museum’s collections. Additionally to the permanent exhibition and the exhibition 40 YEARS | 40 ARTISTS | 40 WORKS, these works had still been waiting to be presented. Many of them are works on paper that can only rarely be displayed for conservation reasons, sometimes they are new in the collections and shown for the first time, but there are also those that have not been on view in a while because museums can always only show a small part of their collections.

 

The friends’ very personal texts provide immediate access to the works of art by outlining in a very stimulating way why the respective work of art in particular became part of the exhibition.

 

The exhibitions includes works by

 

Theodor Balden                              

Ian Hamilton Finlay                    

René Graetz                                                   

Frieder Heinze 

Eugen Hoffmann

Wieland Krause                                                           

Hans-Wulf Kunze                                               

Max Lachnit 

Bruce McLean                                                          

Jenny Mucchi-Wiegmann

Emerita Pansowovà                 

A. R. Penck                                         

Gabi Rets

Ingrid Roscheck

Franziska Schwarzbach                                                    

Laurie Simmons 

Hans Steinbrenner

Werner Stötzer                                       

Dagmar Varady                                                                   

Auke de Vries                         

Olaf Wegewitz                                                  

 

Andreas von Weizsäcker 

 

 

 

 

 

LORE KRÜGER A Suitcase Full of Pictures.

Photography 1934-1944 

 

June 10 - August 23, 2015

Opening: June 9, 2015, 7 p.m.

 

       

Lore Krüger: without title (reading man on bricks), Paris 1935, © C/O Berlin Foundation

 

„To turn color and form into light and shadow, to capture the picture, floating in front of me, in film or on a palette” – Lore Krüger (born in 1914 as Lore Heinemann in Magdeburg) describing at the end of her life the intention of her photographic creations, which covered over 70 years.  The photographs were produced between 1934 and 1944, a time in which Lore Krüger experienced and survived persecution, emigration, internment, fleeing, and resistance.  In this time, she was able to simultaneous become a photographer.  “My camera never was at peace”, wrote Krüger later.  It became her constant companion in many stations of her exile: London, Mallorca, Barcelona, Paris, Marseille, Trinidad, New York.  With it, she created one-of-a-kind, historical documents between private photographs, contract work, social studies, war photography, and abstract experimental photography.     

As photographer Loré she was emancipated, working, politically active and cultivated close contacts with artists and intellectuals in Paris.  In her exile in New York, Lore became a co-founder of the expatriate magazine, The German American, in which many well-known authors published their works, Heinrich Mann among.   

 

From 1946 on she lived with her husband, the anti-fascist and communist Ernst Krüger in the GDR, worked as a translator, and became a steady admonisher of fascism as a contemporary witness.  She no longer took photographs.  Her rediscovered photography was first found success and critical acclaim in the exhibition house for photography C/O Berlin and now is to be seen in the Kunstmuseum Magdeburg.  

  

 

See also http://www.co-berlin.org/en/lore-krueger-suitcase-full-pictures

 

 

 

    Figure & Vessel

Exhibition on the occasion of the 100th anniversary of Burg Giebichenstein University of Art and Design Halle

Ceramics & sculpture

March 12, 2015 - May 3, 2015

Opening: March 11, 7 p.m.


It is one of the characteristics of BURG, that in the course of its shifting history, seldom meant a parting of ways for the there trained and teaching artists – a fork between Fine Arts and Applied Arts. Instead, interdisciplinarity and an open work atmosphere between all genres made it possible to oscillate between artistic works in the fields of Fine Arts and Design, whereas other places strove for a strict dissociation between the two. The cabinet exhibition Figure & Vessel is dedicated to this oscillation between these spheres whose division has been especially characteristic in German-speaking areas.

Works from the collections of the Art Museum and the Museum of Cultural History Magdeburg that are closely related to BURG exemplarily come together because their creators either were trained or taught themselves at this university. Works by the sculptors Gustav Weidanz, Wilfried Fitzenreiter, Johann-Peter Hinz and Lutz Holland encounter ceramics by Gertraud Möhwald, Antje Scharfe, Ute Brade and Hans-Joachim Schirrmeister. These works from the genres of sculpture, ceramics and medals came into Magdeburg’s museum collections between the 1960s and the 1990s. The look into art collections of museums is always a look back into history; and in this case, the valid proof of the Burg’s influence for many decades. 

 

More information on the BURG anniversary: http://100.burg-halle.de/

 

 

   Douglas Henderson
Music for 100 Carpenters | IN ORDER

Video sound installation | Kinetic sound sculpture

Oct 24, 2014 – March 11, 2015

Opening: Friday, October 24, 2014

in cooperation with SinusTon-Festival

 

The building reveberates with hammer blows. Incessantly, the ear-battering tumult swells through the rooms, wandering along the walls, developing a voluminous resonance body whose vibrations and sounds turn the room into a sculpture.

100 people hammer according to a score with a length of 30 minutes. For this sound sculpture Douglas Henderson showed as a performance in 2009 some 10.000 nails were hammered into blocks of wood. The sound tilts the architecture and undulates right through it. The precisely orchestrated hammer blows overlap arhythmically. A sound cloud sculptures the room.

 

IN ORDER, the work presented in the so-called high-column chapel, studies a poem composed and read by slam poet MC Jabber. Jabber’s lightning delivery is in itself almost literally super-human, and opens the mind to the extraordinary potential of a text that is profound and deeply sensitive read in a way and at a velocity that hardly allow the listener to discern the actual words spoken. Only the phonetic ghost, which is also a macro-structure, is continuously perceptible, and Henderson has used this residue of phonemes to structure the composition, as space, as location and as movement. The motion of the copper funnels is driven only by the sounds of Jabber’s voice and low frequency tones.

 

http://douglashenderson.org/index.html

 

 Douglas Henderson: Music for 100 Carpenters, 2009, video installation

 

   Daily memories

Painting, photography, sculpture, installation, video

Nov 16, 2014 - March 1, 2015

Opening: Nov 15, 4 p.m.

 

Do you remember? Memory might be the most important method of our orientation in life. Such an immediate part of our personality and social beings are memories, so intangible do they seem to appear in the everyday function of our memory. Our memories can deceive us, haunt us, they select what really happened and they leave us – maybe especially in our time of today that is characterized by an unknown measure of technical storage capacity. Is our capacity of remembering losing its hitherto existing degree of insight and are the parameters of reality already shifting into the perspective of keywords looked up on the internet? Art’s steady and maybe most important idea has always been to capture what has been in order to be able to tell about it later and elsewhere. The artistic form is both an instrument and a place for storing memories.

 

The works of 17 different international artists reveal many different methods that show the function of memory. There are, for example, the recalled images collectively anchored by mass media that Michael Schirner explores in his manipulated photographs, there is the fear of forgetting and being forgotten in the faceless portraits of painter Gideon Rubin, while Edgar Arceneaux’s video deals with the memory of his father.

Anahita Razmi’s photograph reminds us of pictures taken of Micheline Bernardini in the year 1946. Louis Réard, a designer, sent a mannequin on a catwalk in a two-piece swimsuit that was printed with press photos of the nuclear testing on Bikini Atoll.

Hans-Peter Feldmann explores typologies in everyday life. His photographic cycle “100 years” consists of 100 photos starting with a picture taken shortly after birth. Every following picture stands for one year of life. Ever so often does photography serve as a storage medium for memories in life.

 

The word “daily” points to our remembering in everyday life that is often triggered by unconscious stimuli like a sound, a smell – or when looking at art.

 

Thus the exhibition creates a complex horizon of images and meanings, providing a mirror for the visitor’s own experiences and memory.  

 

  

 

Artists:

 

EDGAR ARCENEAUX 

JEREMY DELLER 

MARKUS DRAPER 

HANS-PETER FELDMANN 

RUTH FRANCKEN 

DIETER FROELICH

MICHAEL HOFSTETTER 

SVEN JOHNE 

RASHID JOHNSON

JOEP VAN LIEFLAND

NICHOLAS NIXON

ANAHITA RAZMI

REALITIES:UNITED

GIDEON RUBIN

MICHAEL SCHIRNER

NANAÉ SUZUKI

YIN XIUZHEN 

 

 Hans-Peter Feldmann: from the series 100 years, 1996-2000, black and white photography, loan from Federal Republic of Germany - Contemporary Art Collection

 

Markus Draper: 0:08:45 from the series Demotape, 2012-13, oil on canvas