Logo Kunst Museum Magdeburg

    Wieland Förster
    Describing life
    90th birthday exhibition

 

21 May - 30 August 2020

Wieland Förster, embrace II, 1973, photo: Thea Henkel

The sculptor Wieland Förster, born in Dresden and now living near Berlin, turned 90 at the beginning of this year. Only few sculptors in the second half of the 20th century managed to add new aspects to the long history of the human figure in art. Wieland Förster succeeded, because he did not reject the idea of modern sculpture and their endeavours not just to illustrate the visible world but to explore its order.

In the GDR, Wieland Förster avoided the official expectations of illustrating daily political events by focusing on and attaching his art to basic humanistic values, visible through his view of nature and landscape. He pointed out that all of his sculptural forms derive from the egg as a basic geometric form and as a symbol of life.  
This links with Wieland Förster's two main themes: love and death, embodied in women and men. Behind this polarisation lies the personal, sad experience of his generation that was too young be torn out of their lives and into war, and that had to deal with the question of war later on. This arc of suspense can be seen on the bronze door of the high-column chapel entitled "Joy and Suffering" at the Kloster Unser Lieben Frauen and runs through the pieces of art in the exhibition as well as his extensive literary work.

The exhibition shows a selection from the extensive collection of Förster’s work in the art museum. The majority of the exhibited works were created in the 1960s till 80s and shows how contemporary history merges into art history. Central sculptural pieces of art of Wieland Förster, such as the "Great Walking Man" from 1969, the "Portrait Stele Erich Arendt" or the "Great Neeberger Figurine" from 1974, are in the sculpture park of the Kunstmuseum.

 

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    Partituren

    Martin Assig · Horst Bartnig · Irma Blank ·  
    Eberhard Blum · Heinz Breloh · Ludwig Ehrler ·
    Ruth Francken · Günter Fruhtrunk · Hermann 
    Glöckner · Wieland Krause · Edda Renouf


21 May - 16 August 2020

The German word “Partitur” derived from the Italian word “Partitura”, meaning partition, devision. The word is usually used in music, where the individual voices of a composition are recorded in the respective scores (“Partitur”). In this exhibition, this, figuratively, stands for works of art that are similarly divided into compositions and created in a coordinated manner. This mode can be found in individual and compound works, often characterising image series and cycles.

The artists in this exhibition show a wide range of distinctive signatures and styles - between gestural open expressions and geometrically disciplined formations. However, despite the individual means of expression (e.g. through lines, colours, geometries, symbols etc.) they all have in common that they are subject to elementary order systems. In the 20th century, artists found new ways of combining art from elementary, often abstract forms, in a new and complex way in order to establish an unused visual language beyond existing traditions. The artists direct us less to what we perceive in a piece of art, but rather how we perceive.

The broad selection of these works has a common background. Almost all of them come from the collection of the Kunstmuseum Magdeburg and attest to the collection growth in recent years. Many of the works are donations, for example from Ingvilt Goetz, Munich, Eva-Maria Fruhtrunk, Paris, Ann Holyoke-Lehmann, Berlin, Jörn Merkert, Spatzenhausen, Gerlinde and Hans-Dieter Harig, Hanover, purchases by Freunde und Förderer des Kunstmuseums or permanent loans from the State of Saxony-Anhalt and the Stiftung Kunst und Kultur der Stadtsparkasse Magdeburg.

 


Martin Assig, Thinking, from the series "St. Paul", 2012, photo: Kunstmuseum Magdeburg

 

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    Michael Hofstetter
    emotions, abysses, coincidences, misfortunes

14 May - 30 June 2020

Michael Hofstetter‘s art seeks an exchange of ideas. He uses clothing, photography, interviews, films, objects, even rooms to question our usual view of art and life and reinforces this by using old materials that Hofstetter recycles and repurpose. Many of his pieces of art appear frisky and fleeting. They show smoke, blazing fire, neon lights, or words and invite us to enter into the art, to bath in the light, to hide in the smoke and to immerse into the meaning of written words and symbols, where we can get lost in their “feelings”, “abysses” and “coincidences”.

On the east facade of the art museum is Hofstetter‘s neon work “upcycling”. With this work, he describes the most important task of art: phrased by Theodor W. Adorno, it should always address and use all possibilities as opportunities for life.

Michael Hofstetter, born 1961 in Stuttgart, studied German studies, philosophy and art history in Tübingen, painting and graphics at the Akademie der Bildenden Künste, Munich, and photography at the School of Visual Arts New York. He lectures at the Akademie der Bildenden Künste, Munich.

 

Michael Hofstetter, upcycling, 2013/2019, photo: Kunstmuseum Magdeburg

 

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Modern.Iconography.Photography.
The Bauhaus and its Consequences 1919 to 2019 
September 22, 2019 to February 9, 2020

 

Photography is the image medium that, in addition to architecture and design, is still particularly associated with the Bauhaus in the perception of the viewer. Photography, with its technical flexibility, offered the best conditions for the central idea of the Bauhaus to shape real society through visionary thinking. The exploration of the world with the camera, the crossing of photographic boundaries, creative impulses, such as experiments with light and shadow, promoted a "new seeing" (Neues Sehen); that made the emergence of photography into modernity possible in the first place.

The photography at the Bauhaus between the two opposing positions of Lazlo Moholy-Nagy, who propagated a new exploration of photographic possibilities, and Walter Peterhans, who sought the change from "new seeing" to applied material photography, serves as the starting point for the exhibition, wich shows examples from 1920s to the present.

The exhibition shows the spotlight-like effects of one hundred years of Bauhaus on photography along the time axis to present day. How do influences, references, interpretations in the photographic visual language and comparisons over the decades up to the present day of photography look like? 

 

Artists (selection)

Bauhaus until 1945
Lucia Moholy, László Moholy-Nagy, Xanti Schawinsky, T. Lux Feininger, Herbert Bayer, Marianne Brandt, Hannes Meyer, Erich Consemüller, Florence Henri, Gyula Pap, Jaroslav Rössler, Alexander Rodtschenko, Albert Renger-Patzsch, Hans Finsler, Wols, Edward Weston, Itzak Kalter, Ré Soupault, Ruth Hallensleben, Irena Blühová

Since 1945
Heinrich Heidersberger, Otto Steinert, Harry Callahan, Aaron Siskind, Hilla and Bernd Becher, Ezra Stoller, Walter Funkat, Albert Hennig, Anthony Linck, Krimhild Becker, Gottfried Jäger, Brian Eno, Nicolas Nixon, Richard Misrach, Ed Ruscha, Evelyn Richter, Ulrich Wüst, Kurt Buchwald, Anna und Bernhard Blume, Hiroshi Sugimoto, Joachim Brohm, Matthias Hoch, Maix Mayer, Michael Wesely, Christof Klute, Laura Bielau, Ricarda Roggan 

Project with Students
Bernadette Keating, Mihai Sovaiala, Julius Schreiner, Valentina Plank, Dana Lorenz, Sophia Kesting, Johannes Ernst, Felix Bielmeier, Christoph Brückner, Isabell Hoffmann, Florian Merdes, Nicole Burnett , Alexander Rosenkranz, Nea Gumprecht, Florian Weber

 

Photo: top: Marianne Brandt, Self-Portrait, simultaneous, around 1927, © VG Bild Kunst; bottom: Joachim Brohm, Moholy-Nagy House, 2015, © VG Bild Kunst