What Things Dream
February 4 – June 19, 2016
K20 Grabbeplatz, Labor
Wiebke Siem, who was awarded the Kaiserring Goslar in 2014, explores modernism through ironic breaks. In the past, her work focused on forms of collection and display, and she presented her objects in rows and on shelves in the fashion of a museum archive or a store showcase.
Letters to an Unknown Person
The written word plays an essential role in Günther Uecker’s oeuvre. In the artist’s eyes, writing is just as important as his visual artworks. Like many of Uecker’s “letters,” the Installation Brief an Peking (Letter to Beijing) from 1994 inhabits a special place within his work. Brief an Peking expresses the artist’s view on China in the form of 19 linen sheets that have been painted, written on, and hung on clotheslines like laundry.
The artist Katharina Hinsberg (born 1967 in Karlsruhe, lives and works in the Raketenstation Hombroich near Neuss) creates room-filling installations that explore different aspects of painting. These installations are often in the form of clear, dynamic structures that combine the spatial situation with the conditions created by the artist as well as the audience’s actions. The results are spatial concepts that fundamentally change our perception of the exhibition space while also frequently offsetting the impermanent and fragile qualities of the materials she employs.
In collaboration with the Kunstsammlung and in direct reference to the exhibition "Kandinsky, Malevich, Mondrian: The Infinite White Abyss," (ended on 6 July 2014) Olafur Eliasson has developed an unusual project that prepares visitors for the presentation in astonishing ways. Through his fusion of large-scale installation and digital app, Eliasson opens up a space of experience – an exploratorium that strives to counteract the progressive mummification of our senses by a ceaseless daily flood of images and information.
Especially for the Kunstsammlung Nordrhein-Westfalen, Kempinas has created a new installation that allows objects and structures – now bathed in red light – to appear as images in the darkroom of an old photographer. This association alludes to a condition that is suspended between dissolution in light and materialization at a secret location. The clarity of these forms, assembled from aluminum and video strips, also evoke experiences of irritation or confusion.
Tactile Sculptures in the Laboratory
"… Just as painting is perceived by the eye, sculpture should be perceived by the hand, as something tactile," claimed Ewald Mataré in 1928. The laboratory, the exhibition space of the Department of Education, embraces this challenge in a presentation that parallels the exhibition Sculpture at the Düsseldorf Art Academy from 1945 to the Present. Visitors are invited to touch and to probe selected sculptures by Hede Bühl, Tony Cragg, Hubert Kiecol, Ewald Mataré, Wilhelm Mundt, and Leunora Salihu.
The "realizable utopias" of Tomás Saraceno defy common conceptions of space, time, and gravity. A glimpse into his world of thoughts and the complex process involved in creating the artwork for the exhibition In den Umlaufbahnen (In Orbit) at K21 in 2013 can be seen in the education space, Labor.
in collaboration with Frank Bungarten
In collaboration with guitarist Frank Bungarten, Thomas Struth presented Musik in the Labor, the exhibition space of the Department of Education. This project ran parallel to the exhibition and provided a striking acoustic counterpoint to the varied visual impressions encountered in the exhibition. Musik promoted a heightened experience of the works in the permanent collection. Audible was a selection of music chosen by Struth and Bungarten which united pieces from a variety of cultures and genres.
Museumsbesucher 1:8 (Museum Visitor 1:8)
3D body scans of living individuals
Launched to coincide with the museum’s reopening and set in the Labor, the new presentation space of the Department of Education, will be an exhibition series featuring contemporary artists who seek to come to terms with the museum context and with the role of the visitor. Exhibitions will choreograph the participatory interplay – even to the point of role reversal – between beholder, work, and artist.