Logo Kunst Museum Magdeburg


    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






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