Logo Kunst Museum Magdeburg

New works by Alicia Paz and Nathan Coley in the 
     sculpture park of Kunstmuseum Magdeburg

      Opening Ceremony on Sunday, August 27, 2017, at 5 pm

Speakers:

Prof Dr Matthias Puhle, Deputy Mayor for Culture, Education and Sports, Capital City of Magdeburg

HE Mr Rogelio Granguillhome , Mexican Ambassador to Germany
State minister Rainer Robra, Head of the State Chancellery Saxony-Anhalt and Minister of Culture

Dr Annegret Laabs, Museum Director

Uwe Gellner, Collection Curator


Programme: STEPS Dance Center Magdeburg

 

The artists will be present.

 

 

Nathan Coley’s concrete sculpture For Other People, and Other Work in the sculpture park of Kunstmuseum Magdeburg. Photo: Hans-Wulf Kunze

 

The sculptures by Mexican-US-American-French artist Alicia Paz and Scottish artist Nathan Coley are the first two projects that could have been realized after proposals had been made within an ideas competition presented in an exhibition in 2016. The renewals aim to bring the sculpture park into the present without taking away its history.

 

Nathan Coley’s site-specific sculpture For Other People, and Other Work consists of a concrete plinth that – inserted between trees and remnants of walls – seems to be floating above the lawn. With his revolutionary concept of a “stage sculpture” Nathan Coley (*1967 in Glasgow, lives in Glasgow) explicitly refers to the public space. Two rectangulars, joint together into a single surface, define a geometric construction that reflects the character of the park as a whole: as a place for art reception and a place for people to rest as well as a place for other works of art. Art becomes usable, the distance to art we are used to disappears in a conceptual and real way.

 

 

Enamel faces and leaves by Alicia Paz for her steel and concrete sculpture Island of Dolls. Photo: Hans-Wulf Kunze

 

 

With her first large exterior sculpture Island of Dolls Alicia Paz (*1967 in Mexico City, lives in London) takes the tree as a central motive of her paintings back into the garden and the landscape but not as a natural element but as a sign of itself. Like two joint canvases, surfaces intertwine. Their two-dimensional female faces refer to one another but do not detach into the space. The tree’s fruits are existing images of women from all times periods and all media that Paz has interpreted in new ways. The women are not meant to be particular individuals, rather they remain anonymous. Through these portraits, certain archetypes can be explored. Thus, they are open to associations and narratives. 

 

 

 

 

 "BEHOLD THE MAN"

Part II

May 21 - November 5, 2017

An exhibition by Kunstmuseum Magdeburg at the occasion of the 100th German Katholikentag Leipzig 2016 and the 500th anniversary of the Reformation in Magdeburg 2017

 

Lucas Foglia: Andrew and Taurin Drinking Raw Goat's Milk, Tennessee, 2009, from the series A Natural Order, 2006-2010

 

Behold, thus are human beings: weak, fearful, doubting, handed over; but, behold, thus too are human beings: kind, loving and always hopeful. The image of this complex man of our time, who is always different, never the same, who has many facets, who is sometimes vulnerable and sometimes violent, who another time astonishingly and perceptively does good: That is the image of man that today’s artists are showing. This exhibition, which combines the motto of the Katholikentag 2016 with the anniversary of the Reformation in 2017, will look at contemporary artists’ views of human beings in our time. In the course of several chapters, dedicated to different aspects of being, people’s sensitivities, the unspeakable, the unutterable of their existence and their actions will be shown by means of photography, painting, sculpture, videos and installations.

 

There are images of ourselves that we do not like to look at; there are those that we see again and again and that insert themselves into human lives from birth to death. These are images that are emotional and moving, that accuse and reconcile, that keep asking the same question: what makes us human?

 

Francis Alÿs | Kader Attia | Jean-Charles Blais | Matthias Böhler & Christian Orendt | Nathan Coley | Lucas Foglia | Douglas Gordon | Tim Eitel | Binelde Hyrcan | Gülsün Karamustafa | Hans-Wulf Kunze | Jitka Hanzlová | Robert Metzkes | Santu Mofokeng | Roman Opalka | Elizabeth Peyton | Julian Röder | Phillip Toledano | Ginan Seidl | Alexander Tinei | Sandra Vásquez de la Horra | Bill Viola | Gillian Wearing | Veronika Witte | Miriam Yammad

 

see also THE MAN

 

                      

   supported by the Federal Government Commissioner for Culture and 
   the Media on the basis of a decision of the German Bundestag


                                 

 

 

further supporters:

Diocese Dresden-Meißen, diocese Görlitz, diocese Magdeburg, diocese Berlin and diocese Erfurt

 

 

 

 

 

 

  OLIVER SCHNELLER Telemann Sphere

Sound installation in the course of Telemania 2017 marking the 250th anniversary of the death of Baroque composer Georg Philipp Telemann

April 28 - August 27, 2017

Opening: April 27, 2017

 

Konzeptuelle Darstellung Telemann Sphere © Oliver Schneller

 

In a sort of acoustic architecture composer Oliver Schneller (born 1966 in Cologne) makes up to 12 compositions by Georg Philipp Telemann (born 1681 in Magdeburg) audible at the same time. All important genres for which Telemann composed are represented: instrumental works, sacred as well as secular vocal compositions. The visitor enters the installation and hears at first a sound cloud that circles around him. From this cloud single compositions by Telemann emerge one by one. Like details in the zoom of a camera they suddenly become clearly detectable. Oliver Schneller uses the mechanics of the human ear that creates a hierarchical order of sound objects based on volume and spatial arrangement. Telemann's creative power and width manifested in his more than 1000 compositions can be experienced in a totally new way.

 

www.telemann2017.de


 

 

 

    AUGUST SANDER. 

    Photographs from People of the 20th Century 

An exhibition of Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg, in collaboration with Photographische Sammlung/SK Stiftung Kultur, Cologne

 

April 11 - June 15, 2017 - extended until June 25, 2017

Opening: Sunday, April 9, 2017

 

August Sander: Young Farmers, 1914; Bourgeois Children, 1925; Circus artist, 1926-32 © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn, 2017


August Sander is hailed as a major pioneer of what was at his time a new movement in the evolving medium of photography – a movement that still lives on today under the banner of factual documentary and conceptual photography. Born in 1876 in Herdorf (Siegerland), August Sander became renowned for the photographic work People of the 20th Century, realized around 1924, in which he put together hundreds of portraits of people from different levels of society and occupational groups in a series of portfolios developed in a project spanning decades. Parts of that work were shown for the first time in an exhibition at the Kölnischer Kunstverein in 1927 and published in Sander's first book, Antlitz der Zeit (Face of Our Time), in 1929. In that book of 60 portrait photographs, Sander succeeded in creating a portrait of contemporary society that highlighted both human individuality and the typical traits of social and occupational groups as well as examining the reciprocal influence of man and society. Comparative photography and direct observation are expressions that aptly describe Sander's methodological approach. With more than 100 photographs – some of them on show for the first time – the exhibition provides a representative insight of People of the 20th Century which became a standard work in the history of art and photography.

 

Text: Photographische Sammlung/SK Stiftung Kultur, Cologne


                                                                                       

 

 

 

    HORST BARTNIG concrete:interruptions

February 21 - May 7, 2017

Opening: February 19, 2017, 3 pm

 

Horst Bartnig: 280 interruptions in white, stripes in black, 280 interruptions in black, stripes in white, 2010, acrylic on canva, 200 x 800 cm

 

Only two structural principles allow Horst Bartnig (born 1936 in Militsch/Silesia) to expand his painting into a cosmos of barely unimaginable variety: the variations and the interruptions developed from the former. Whereas it is geometry - to which our perception tries to find the key and is in that way drawn into the aesthetics of its clear changes of colour and its geometrical order - that counts in the single picture, it is exactly the other way round when encountering several pictures: The system that is easy to mutually explain itself multiplies its visual possibilities into the vast. In painting, colour perception can hardly be more sharpened, rhythm hardly be applied in a more structured way, aleatory hardly stem from more unpredictable ground. Although all pictures by Horst Bartnig derive from strictly regularly abstract principles of design and their action patterns his paintings are sensual showers for the eyes that make us blink.

 

Horst Bartnig: interruptions 5 in groups of nine, 2013

 

Horst Bartnig is an artistic exception. Not only has he developed and represented his practice following mathematical systems in complete autonomy, also today his work proves how geometrical basics, put into system and play – ignoring all trends and developments in art – do not leave any longing for vivid freshness unfulfilled. Bartnig learned stage design at the School for Applied Arts in Magdeburg in the 1950ies, worked for the stage in Berlin for many years and has developed his artistic position of concrete painting from the 1960ies on. His experiments in computer art and the systematics of his colour-geometrical painting have been unique in the former GDR.

The exhibition presents an overall installation of paintings and drawings of interruptions. A catalogue will be published on the occasion of the exhibition.


 

 

 

     Peter Herrmann: 
     Painter's Greetings from Berlin

Oct 31, 2016 - Mar 12, 2017 extended until April 17, 2017

Opening: Sunday, Oct 30, 2016, at 3 pm

 

Peter Herrmann: Russian Green, 2016, oil on canvas

 

"Painting is my only language" – there are artists to whom this statement candidly applies. Among them is the painter Herrmann, born in Großschönau, Saxony, in 1937, who spent many years in Dresden and now lives in Berlin. For the first time in a long time, the exhibition shows a large amount of large-format paintings from after 2000 as well as drawings from the last decades.

 

Peter Herrmann draws figures, urban scenes and everyday occurrences, approaches in that the young Ernst Ludwig Kirchner and Henri Rousseau, appears to be playful just as the “young savages” and still remains completely independent. Because he admires painting he is so serious about it himself. With a rare ease, his paintings manage to involve very different events and times into the present. Thereby, longing to be modern is not the artist’s paramount idea – the light of Piero della Francesca’s colours and the mysterious shadows of the paintings by Arnold Böcklin would deny that to him – however, the texture of his paintings allows them to be current and timeless. They are often described as dream images. “I have only started to artistically free myself. I don’t know if I will ever become abstract”, Peter Herrmann said in 2001 when he was awarded the Fred Thieler Prize that is awarded to painters, “whose artistic development has not yet been completed”. Peter Herrmann does not defend himself against this. “The process goes on and on” – he said then and this still holds true today.

 

 

      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.