May 17, 2015 at Clemens-Sels-Museum, Neuss
"Dream: I have an exhibition with a class photo from my primary school days. I am in the picture twice. Still hanging on the walls are the works from the last exhibition (this is part of my concept). Green geometric-abstract prints. In the room tables with installations made of different materials.
May 12, 2015
Artist talk: Barbara Breitenfellner with Claudia Dichter, journalist, Cologne
For the reopening of Kaiser-Wilhelm-Museum
Annette Kelm, Kunstmuseen Krefeld
Otobong Nkanga at Museum Folkwang, Essen
Till May 18, 2015
On Thursday, January 22, 2015 at 7 p.m., Museum Folkwang at Essen presented a new work by artist Otobong Nkanga. "Tracing Confessions”. Nkanga is putting together a multi-layered project for the Museum Folkwang that engages with the museum’s collection. The artist poses the questions: Where are the museum’s exhibits from? What stories do they tell? The artist has taken pictures of museum staff next to exhibits of their choice. One of these photographs will be displayed on large public billboards in the city of Essen from 23 January to 12 February. In addition, Nkanga contextualizes an exhibit using drawings, fabrics and photographs in an installation at the Museum Folkwang.Otobong Nkanga and Dr. Marcel Schumacher, curator at Museum Folkwang, talked about Nkanga’s work in an artist talk in the frame of the opening.
Ken Okiishi at Museum Ludwig, Cologne
Since October 21, 2014
Ken Okiishi’s work for the Museum Ludwig in Cologne is presented since Tuesday, 21 October, at 7 p.m. at the Museum Ludwig Cinema. Okiishi has produced an installation entitled "Screen Presence” for the museum, consisting of four LED monitors positioned at various spots amid the museum collection. The screens show cinematographic reproductions of specific works from the collection. The monitor surfaces have been manually treated to convey the underlying aesthetic of each artwork. Using these monitors, Okiishi draws invisible connections between the various works in the museum’s collection. In an interview with art historian and author Michael Sanchez, Okiishi will talk about his work. The artist talk is part of "KunstBewusst” a series of the "Freunde des Wallraf Richartz Museum und des Museum Ludwig” in association with the Fritz Thyssen Foundation. Simultaneously with the opening on October 21 the poster will be put up in the City of Cologne till November 10.
Calla Henkel & Max Pitegoff at Museum Morsbroich, Leverkusen
Since November 30, 2014
In their Apartment II exhibition, Max Pitegoff and Calla Henkel have placed a group of sculptures on the museum’s ground floor - in the hall of mirrors, the hunting room and the garden room. The shape of the sculptures, tiled knee-high blocks, lures the viewer into using them as benches – and in fact the artist duo are interested in precisely this social aspect of sculpture. They expect their works to be appropriated by the viewing public, albeit without any overt invitation to take a seat. The benches serve here as the focal point of social interaction: visitors sit down next to each other, gazing at the room around them and striking up a conversation. "Apartment II" is, in short, about the museum as a social arena. For the inauguration of Henkel and Pitegoff’s work, Paolo Thorsen-Nagel will transform the museum’s piano and their tiled benches into a series of speakers. Thorsen-Nagel will bridge their physical properties with wires and activate them through the vibrations of transducer speakers. The piano's strings, metal, and wood, and the bench's tile, mortar and MDF, are coupled through various sounds that fill the museum's Spiegelsaal. Their concurrence explores the instrument and the room's inherent acoustic qualities while directly involving the listener.
Ingrid Luche at Von der Heydt-Museum
Since August 23, 2014
The French artist Ingrid Luche (b. 1971) is working on an intervention in the entrance area to the Von der Heydt-Museum in Wuppertal. Opening onto the lobby on the main floor, where the reception and museum shop are located, is a big room without any pre-ordained function. Luche is highlighting this space with a shiny golden curtain, creating the visual impression of a stage in the theatre. The gleaming surface of the fabric catches the sunlight streaming down from the upper level, injecting a touch of disco glamour into the dignified halls of the museum.
This artistic intervention in the architectural layout and interior decoration of the museum – replacing the old curtain with a glittery new one – is a subtle gesture, which, however, produces a highly conspicuous effect. Luche’s reaction to the given context is always a mix of personal, social and structural questions and concerns that she finds and addresses in situ in each institution. In "The Gold, The Night & The Noon", the artist comes to grips with the context in which a representative selection of masterpieces by Emil Nolde, James Ensor, Max Beckmann and Edward Munch are displayed in the museum. The intervention involves an interplay between subordination to the given context and domination thereof through a strategy of mise-en-scène: rather than producing a "work” in the conventional sense, Ingrid Luche grapples instead with the museum appointments, adding a curtain that literally turns the museum foyer into a stage. In "The Gold, The Night & The Noon" Luche ever so slightly and suggestively displaces place and time: the glamorously shimmering curtain of a nighttime theatre strews sparkle and shine on the sober daytime ambiance of the museum.