Exhibitions and Projects 2017
Otto Dix – The Evil Eye
11 February – 14 May 2017
Otto Dix (1891 - 1969) – the celebrated painter and notorious enfant terrible – spent the intensively creative years 1922 - 1925 in Düsseldorf. During this period, as a member of the revolutionary artist’s group Das Junge Rheinland (Young Rhineland), he developed the critical handwriting that made him an unmistakable figure within 20th century art. The exhibition Otto Dix – The Evil Eye is devoted to this decisive phase of his career. On view will be approximately 200 paintings, watercolors, and prints from German and international collections.
When the destitute Dix left Dresden for Düsseldorf for the first time in October 1921, he hoped to be welcomed in the Rhineland with exhibition opportunities and lucrative portrait commissions. During the ensuing three years, driven by singular ambition and enormous perseverance, he evolved from an expressive-realist Dada artist into a portraitist who emblematized the Neue Sachlichkeit (New Objectivity). Mercilessly, he fixed his contemporaries’ features on canvas. In 1925, when he moved to Berlin, having matured now as a man and an artist, he was preceded by his reputation as a harsh critic of society. For the first time, the Kunstsammlung Nordrhein-Westfalen presents with the exhibition Otto Dix – The Evil Eye a monographic exhibition that focuses on these crucial years in Dix’s development. Afterwards the exhibition will be shown at Tate Liverpool.
04 March – 11 June 2017
Marcel Broodthaers. A retrospective presents an overview of the oeuvre of the Belgian artist Marcel Broodthaers (1924–1976), who formulated a critical and idiosyncratic position within the milieu of Pop Art, Minimalism, and Conceptual Art. Within a short time, Broodthaers received emphatic acclaim on the avant-garde art scene with the institution-critical, installation, and cinematographic works that have established him as a figure of fundamental importance for the visual art in the 20th and early 21st centuries.
Organized by The Museum of Modern Art, New York and the Museo Nacional Centro de Arte Reina Sofia, Madrid.
»OPEN FOR RENOVATIONS«
The Renegotiation of an Art Collection
January 2017 – August 2018
K20 Grabbeplatz, Labor
The impact of globalization and of the digitalization of society demands that art museums worldwide work to reposition themselves. What is necessary is the recognition that these upheavals have also transformed the interests and orientations of the art-loving public. Against this background, the project »OPEN FOR RENOVATIONS« inaugurates an experimental form of collaboration between the museum and its visitors. In an exhibition architecture designed especially for the project, visitor groups assemble in workshops to explore modern artworks and questions regarding the artist canon, but also the methods of presentation and communication that take place in the museum. The project will conclude with a jointly conceived exhibition. This undertaking offers visitors opportunities to grapple in new ways with the works of art and cultural forms that are embodied in the institution of the museum, and to put them to use for their own purposes.
Tomás Saraceno – in orbit
beginning in late February 2017
Beginning in 2013, the gigantic, accessible spatial installation entitled in orbit has been installed beneath the dome of the K21 Ständehaus. At a height of more than 25 m above the museum piazza, the artist Tomás Saraceno suspended a virtually transparent steel network structure within people can crawl or climb. Tomás Saraceno is a successor to Jules Verne and the American visionary architect Richard Buckminster Fuller. In the construction of cloud cities, he perceives a response to the increasingly uninhabitability of the earth. After renovation measures lasting a number of months, this internationally celebrated installation will reopen in late February.
beginning in March 2017
Since 2010, the K21 Ständehaus has served as a venue for international art and contemporary works from the permanent collection. Distributed throughout three levels, 22 continuously changing rooms offer encounters with site-specific approaches to art production. Selected artists are invited to show their works for a period of one year, at the same time engaging in dialogue with the architecture and the collection. The new installations emphasize stage-style scenarios and architectural extensions of the surrounding space: represented will be Alexandra Bircken, Ulla von Brandenburg, Gego, Eva Kot´átková, and Beuys student Inge Mahn.
Art et Liberté:
Rupture, War, and Surrealism in Egypt (1938 – 1948)
July 15 – September 15, 2017
Art et Liberté: Rupture, War, and Surrealism in Egypt (1938 – 1948) is the first comprehensive museum exhibition devoted to the group Art et Liberté (Art and Freedom) which was active in Cairo. Shortly before the outbreak of World War II this collective of Surrealist writers and fine artists engaged in a struggle against fascism, nationalism, and colonialism. With a new definition of Surrealism, the group established a contemporary pictorial idiom that was rooted more in international tendencies than local traditions.
Futur 3 – Annäherung an die ungekannte Zukunft
F3 Schmela Haus
Thursdays at 7 pm (except holidays)
With Futur 3, the Kunstsammlung Nordrhein-Westfalen invites everyone with an interest in art and culture to engage in dialogue, debate and discussion at the Schmela Haus. On Thursday evenings (except holidays), international guests explore questions concerning the future of the museum, the city, society, art and science in various constellations and with different thematic emphases.
April 14 – August 12 2018
With the exhibition Eccentric Modernism, the Kunstsammlung interrogates the grand narratives of Western modernism and the history of our own collection. On view will be artistic practices that emerged outside of Europe and North America, whether through interchange with so-called "classical modernism" or independently of it, and which have received minimal recognition within the traditional Western historiography of art.