Logo Kunst Museum Magdeburg



left: Martin Assig, Das ganze Leben lang, from the series St. Paul, Nr. 486, 2013, Tempera, Wachs auf Papier, Foto:  Martin Assig; right: Martin Assig, Wenn ich sterbe bin ich nicht tot, from the series St. Paul, Nr. 485, 2013, Tempera, Wachs auf Papier, Foto: Martin Assig

      Martin Assig | Weil ich geboren wurde 
      2019 may 21 - september 1 


The Magdeburg Art Museum is dedicating Martin Assig an extraordinarily extensive exhibition to this subject. In particular, new works from the St. Paul series will be shown. These include loans from important private collections. 


Still and bound in the mystery of her inventiveness, Martin Assig's unusual visual world opens many doors to subjective reflections in the viewer. The access is created by the simplicity, repetition and flatness of his motifs, combined with a highly sensitive sense of colour. As if the artist had the gift to sweep out the hidden inner life under the visible exterior, his works often seem like transcriptions in which we encounter an inner soul life in simple patterns or apt statements. Everything seems scooped from rich cultural depth. 

Martin Assig's floor painting for the monastery church completes this space and blends in aesthetically as if it had always been here. There have always been floors in this building which consist of gypsum screed and inlaid with pictures, which were typical of the Harz region at the time the monastery was built. Therefore the picture of Martin Assig was executed in this old complex technique by the company Huschenbeth, Mühlhausen. 

The exhibition opens the view to the extensive current work of Martin Assig and refers to the history of the creation of the floor painting in the church.




Christopher John Smith, Jenseits der Leere, 2018, Detail, Foto: Chr.J. Smith



2019 may 30 – september 1  




All the items that have become unnecessary, things that once occupied an important part of our everyday life, and out of which Christopher John Smith creates new sculptures.

Silent sounds are created through the consideration of what is invisible, the breeze that runs through the glass, the unheard that develops from the contradictions that the harsh rusty fan and the soft biomorphic form of cast jars leave with-in the viewer. The hard material of the glasses and the fan, the soft, bulgy form in space and the impact of the form, and therefore incorporates those traditions that English sculptors like Henry Moore, Anthony Caro and Tony Cragg engage with in his homeland.

When he talks with calmness and repose concerning the topic of time, about the freedom he takes to let a form develop and the 120 kilogram sculpture itself, after month of intensive engagement with the materials until a new object is formed, one senses the knowledge that the Leeds and Staffordshire trained sculptor has about the fundamental principles of sculptural concepts.



    TE North Pole – 24x the World 2016

Media installation

since January 23, 2016


Photo: Kunstmuseum Magdeburg


Thai artist Te, born 1968 in Utaradit, presents his digital world sundial consisting of 24 monitors in the museum foyer. The monitors, fastened to a round rack system, show webcam images from all over the world. Part of the screens remains dark when it is night in one region whereas life is pulsating in another part of the world.   


The visual round trip starts in Iceland, followed by Brazil (Rio de Janeiro, Copacabana), Aguiella (Puerto Rico), the Virgin Islands, New York and 10 further places in the US, incl. Hawaii, as well as Tokyo, Boracay (Thailand), Bali, Bangkok, Dubai, Qatar, Jerusalem, Hamburg and Dublin.