Art Make Up
From Bruce Nauman to Gillian Wearing
Photography, Video, and Performance Works from the Collection
October 19, 2013 – January 19, 2014
Bruce Nauman’s multipart video edition Art Make Up (1967/68) illustrates the way in which the artist continually re-creates himself in the process of “art-making.” Featured in this presentation are both photography and video works, but also performative approaches to displaying art that have been influenced by music, film, dance, and theater.
Art Dealer of the Avant-Garde
October 08, 2013 – January, 12, 2014
The gallery owner Alfred Flechtheim (1878–1937) was a major protagonist in the art scene in the first third of the 20th century. His commitment to the ‘Rheinische Expressionisten’ group of artists, the French avant-garde and German Modernism, and his support of great artists such as Max Beckmann, George Grosz and Paul Klee, made him internationally famous even during his lifetime. The National Socialist regime, however, changed his life and that of his family drastically. Flechtheim had to leave Germany in October 1933. As an art dealer of Jewish extraction he suffered public defamation and, by 1935, his galleries in Düsseldorf and Berlin had been liquidated or were being managed by former business partners. Until March 2014 exhibitions in 15 museums and on the website www.alfredflechtheim.com will be showing works of art whose provenance (ownership history) has a connection with Alfred Flechtheim's galleries.
In 2008, Sarah Morris (* 1968) won a competition to install a project at Paul Klee Platz. The artist, who lives in New York City, used tiles in order to create an enormous image for the northern terminal wall of the plaza. With its complex geometric structures and luminous coloration, “Hornet” alludes to the vibrant textures of the metropolis.
Your natural yellow daylight
Danish-Icelandic artist Olafur Eliasson (born in 1967) was invited to work specifically with the entry situation of the K20, a corridor with a dimly-lit light well and water basins. Through the application of monofrequency lighting and mist, Eliasson has developed a work for the K20 which illuminates this long-neglected space, singling it out as a transitional zone between street and museum.
For the light-flooded space of the former Café Zwey into the second upper story of the K20, the Dutch artist Joep van Lieshout (*1963) and his Rotterdam studio have provided a total interior design: kitchen furnishings, a bar that projects far into the room, tables, chairs, lamps, a bookcase, even tableware.