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    JOHN SMITH Dad's Stick

in the media lounge from February 8 to March 26, 2017


John Smith: Dad's Stick, 2012, HD video, 5 min (still)


The video by John Smith (born 1962 in London) takes us on a journey in to the past that centers around the artist’s father. It is about memory and about what it adheres to. We learn that his father had a favour for certain colours that he painted with. The film successively shows his favourite colours and the inserted text tells us that his preferences changed over the years. The first impression of being confronted with an abstract painter is unexpectedly questioned when John Smith shows us the wooden stick that his father had used all these years to stir up the paint for the walls in his flat. Like the annual rings of a tree the different layers of paint cover this stick as a chronology of the changing wall colours in the flat in which John Smith grew up.

How similarly unclear words or pictures describe a certain object is the subject that can be found in all of Smith’s videos. The artist always builds the bridge towards the similarly fragile relationship between film and reality that is shown by the former. Every new layer covers all times that lie below it just like film transfers everything into construction and therefore also into fiction. In the course of the video the cut-open layers of paint around the stick uncover the personal memory that delivers us the subtle description of the character of a person with fixed norms and a strong fundamental understanding of the social. In that way, the film tbecomes a loving description of a person by penetrating the layers of paint until the very first one like separate glimpses into the past.


In 2003, John Smith had his first museum exhibition at Kunstmuseum Kloster Unser Lieben Frauen Magdeburg.




    ars viva 2017:

    Jan Paul Evers, Leon Kahane and Jumana Manna 

Exhibition presenting this year's winners of ars viva award for visual art by Kulturkreis der deutschen Wirtschaft (Association of Arts and Culture of the German Economy at the Federation of German Industries)


Oct 9, 2016 - Jan 29, 2017

Opening: Saturday, Oct 8, 2016, 7:30pm



Jan Paul Evers: After Lissitzky, 2016 (left) The Moon and His Brother, 2016 (rechts), Copyright: Jan Paul Evers


Since 1953, the Kulturkreis‘ Fine Arts Committee yearly awards the ars viva Prize for Fine Arts to young artists living in Germany whose works point the way for new tendencies in contemporary art. Connected to the ars viva Award which is endowed with 5000 Euro are two exhibitions that are shown at Kunstmuseum Kloster Unser Lieben Frauen Magdeburg and Kölnischer Kunstverein as well as the participation in the Fogo Islands Arts Residency Program. A detailed bilingual catalogue and a limited edition are published as part of the exhibition.


Leon Kahane: Europe After 1945, 2016, 4K-Video on Curved Monitor, 16:9, 46 min (still) Copyright: Leon Kahane


Jumana Manna: General Dealer, 2015, Courtesy of the artist and CRG Gallery, New York.






     From the Bauhaus Into the World

June 21 - September 25, 2016

Opening: Sunday, June 19, 2016, 3 pm



Xanti Schawinsky: stage design for Faust II, 1929, Copyright: The Xanti Schawinsky Estate



Xanti Schawinsky – From the Bauhaus Into the World combines works from all creative periods of the painter, photographer, scenographer, graphic and exhibition designer (1904-1979) deriving from the artist’s estate. Based on the Bauhaus’ avant-gardist ideas his oeuvre illustrates the encounter with a multi-talent who served as a stimulator for major developments of pre- and post-war modernism in Europe and North America. The exhibition focuses on Schawinsky’s time at the Bauhaus and at Black-Mountain-College and includes furthermore the later painterly oeuvre. A choice of photographs that shed light on Schawinsky’s time at the public building department of the city of Magdeburg between 1929 and 1931 adds to the exhibition. More information about the photographs taken in Magdeburg around 1930 on photography-now.com


Supported by:


The Xanti Schawinsky Estate


An exhibition within the framework of

Big Plans! Applied Modernism in Saxony-Anhalt 1919–1933

A project of Bauhaus Dessau Foundation in association with exhibitions in Dessau, Halle (Saale), Magdeburg, Merseburg, Leuna, Elbingerode and Quedlinburg.








   from the project TRANSIT_TOKYO 2008/2010

July 5 - Sept 25, 2016


Wieland Krause: (Stills from) windows_01/_02/_03, from the projekt TRANSIT_TOKYO, 2008/2010, 3-channel video installation, ca. 5 min



The noise of the day has faded, it has become late, darkness lies upon the city. The few lit windows within the black wall open the view towards faces, illuminated by flat-screen TVs, the eyes still searching for a distant point of orientation. There is an underlying touch of agony that stems from the daily fatigue of the human racing against everything. The approaching sleep is already isolating the scenes, people and their emotions.  

Wieland Krause (born 1956 in Halle/Saale, lives in Halle) has pointed his camera towards a row of houses. The randomly captured situations behind windows and on balconies show private scenes. We watch the moment before the outer world disappears and people completely immerse in their inner world. This 3-channel video installation creates a conscious counter image to the boastful opulence of today’s media world. With subtle caution, the camera gives views into privacy and witnesses the author’s role and his responsibility but also the scope he has: His short, watching sequences, taken in a residential area in Tokyo, transform anonymity and create narratives. A slow turn of the head, a cautious movement of a hand, a pensive glance into the night sky, a phone call, a cigarette, a feeling of security can only be found in the Now and means closeness.

In 2008, at the occasion of a scholarship by Kunststiftung Sachsen-Anhalt (Art Foundation Saxony-Anhalt), Wieland Krause spends some weeks in Japan. He encounters the foreign culture in TRANSIT. His camera gets incredibly close to the unknown, not by discovering but by recording and poeticizing normality.

The project was further supported by Werkleitz Gesellschaft e.V. (Werkleitz society), among others with a project scholarship, and Lotto Saxony-Anhalt.


windows_01/_02/_03 from the project TRANSIT_TOKYO 2008/2010 by Wieland Krause is part of the museum collections thanks to the donation by the artist.


September 14, 2016, 7pm: artist talk with Wieland Krause (in German) 




     Rethinking the Sculpture Park


January 27 -  June 19, 2016


Nathan Coley (UK)

Sven Johne (D)

Bjørn Melhus (D)

Robin Minard (CDN)

Alicia Paz (MEX | FR)

Jenny Perlin (USA)

Tilo Schulz (D)


Tilo Schulz: Model for 10 Portraits in the Back of Your Head, 2015


As expected, the artists who had been invited in spring 2015 surprised in autumn with their first ideas and proposals for the Kunstmuseum Kloster Unser Lieben Frauen’s sculpture park. The exhibition presents the now complete drafts and models for possible new works of arts for the park established in 1989 to the public for the first time. In remarkably intensive ways, the participating artists refer to the cultural-historical particularities of the given situation and formulate statements that bind the sculpture park after more than 25 years of existence into the present day with new artistic questions and methods.


The fact that instead of figural bronzes, that have been dominating among the existing works, now sound (Robin Minard), film (Jenny Perlin), light (Bjørn Melhus), painting (Alicia Paz), photography and language prevail, is most striking. It is not the sculpted form made of a certain material that carries the expression, it is more a container storing the artistic effect. In general, self-experience, memory (Sven Johne) or usability (Nathan Coley) and change (Tilo Schulz) are components of a new concept of sculpture, understood as social and textual, encouraging discovery and play at the same time. Sculpture thinks itself opener in its material and more diverse in its effect. That exceeds physical or traditional body-space-relations just as our everyday life has moved itself into so many medial spaces, to find information, orientation and entertainment.  


In order to gain a more significant characteristic for this unique urban experience space, landscape architect Axel Lohrer (Munich/Magdeburg) suggests changes in design in two places of the sculpture park that offer specific spaces for the integration of present works of art. He adds a square and a garden creating a stronger clarity within the urban presence of the complex of medieval architecture, present and future works of art and inner-urban landscape.


It is clear that by realising such projects this and next year, the sculpture park will develop from a place of contemplating art more to a place for sensing and experiencing, inviting us to stay. 






    JOACHIM BROHM State of M.



March 22 - June 12, 2016

Opening: Sunday, March 20, 2016, 3 p.m.


An exhibition within the framework of

Big Plans! Applied modernism in Saxony-Anhalt 1919–1933


A project of Bauhaus Dessau Foundation in association with exhibitions in Dessau, Halle (Saale), Magdeburg, Merseburg, Leuna, Elbingerode and Quedlinburg.


Joachim Brohm: Mies Model Study (Golfclub) B W III, 2014, © Joachim Brohm | VG Bild-Kunst



With his project “State of M.“ that turns towards modernism and Bauhaus architecture, photographer Joachim Brohm points with his camera into history. The letter “M” in the title alludes to modernism, to Magdeburg and to the name Mies, referring to a villa that was planned by Ludwig Mies van der Rohe for Magdeburg but has never been realized.


Brohm’s view strives for a connection to the past without denying the temporal distance. Within his photographic evaluation of selected buildings worldwide he seeks to track down the modern impulse and to capture it in his photographs. Conceptually, he encounters the myth of modernism that has been persisting for decades with the means of his own generation, with the photography and the architecture of the Bauhaus provoking as much as accompanying his camera’s gaze. The groundbreaking innovations, especially for the development of photography and particularly by the Bauhaus, become a foil for the discussion of the same medium.


Joachim Brohm: R. Schindler, Morgan Cam., Los Angeles 2015 (Detail) © Joachim Brohm | VG Bild-Kunst 








Supported by: