Newsletter sculpture network
Newsletter December 2007
Table of Contents
A
Editorial
2
B
Preview
VII International Sculpture Symposium 2008 (UK)
3
Ralf Kirberg
Heinrich-Knote-Str. 13
D- 82343 Pöcking
Germany
Tel.: 08157 / 9979015
Fax: 08157 / 9979020
[email protected]
C Reports
Regional Members´ Meeting in Neumünster (Germany)
3
Germaine Richier in the Gerhard-Marcks-Haus,Bremen (Germany) 5
Contemporary Sculpture in Slovenia – an overview
7
A Sculpture-Foundation as new member:
Adolf-Luther-Stiftung, Krefeld (Germany)
9
Dr. Josephine Gabler new director of the MMK Passau (Germany) 10
Talk at the Sculpture-Museum in Hofberg, Landshut(Germany)
10
D
Exhibitions and Events
Germany
United Kingdom
Italy
Austria
Switzerland
Spain
USA
Concerning us
Hartmut Stielow
Gut Erichshof
D- 30989 Gehrden
Germany
Tel.: +49 5108 3489
Fax: +49 5108 7356
[email protected]
nonprofit organisation
Berlin
Chairman: Ralf Kirberg
11
12
12
13
13
14
14
Internet
http://www.sculpturenetwork.org
14
Newsletter Editors :
Bernd Stieghorst
Isabelle Henn
Gisela Gärtner
Newsletter Photos:
Bernd Stieghorst
Clockwise from the top left: Brigitte and Herbert Gerisch, our hosts in the Gerisch –
Sculpture Park in Neumünster | The two main speakers of the event in animated
conversation: Prof. Dr. Christa Lichtenstern and the owner of the Art-foundry Noack in
Berlin, Hermann Noack III | View of the Germaine Richier – Exhibition in the GerhardMarcks-Haus in Bremen | International visitors at our new member, the Adolf-LutherStiftung in Krefeld, Germany: Our members Eva Moosbrugger (Austria) and Peter
Lundberg (USA) with the foundation’s director, Dr. Magdalena Broska (left to right) |
1
Newsletter sculpture network
A Editorial
Dear Members,
Who does not know the queasy feeling when seeing only unfamiliar faces at the
opening of an exhibition at a museum or a gallery? I witnessed well-known people
appearing ill-at-ease in such a situation! The beginning can be a bit hard, out of
one’s territory, cross-regionally and especially internationally. If one meets an
acquaintance during mingling, or even better, a friend, the chain of conversations
gains momentum.
How very different is the situation when one meets in a circle of friends with
common interests. How much faster one meets new people! This enriches, opens
new perspectives, the conversations gain more substance.
It is such a delight to meet other members of sculpture network. This happens
increasingly often - cross-regionally and internationally – during the Tom Carr
opening in Geneva or ‘Blickachsen’ in Bad Homburg. Members plan to travel
together to important events; showing solidarity with the exhibiting artist or
curator.
To many of you, communication via the web must appear rather dry by
comparison. As a member of the older generation I freely admit that I prefer sitting
in a group of like-minded people having a glass of wine and talking. But one does
not exclude the other – as we saw above. The web is an unbeatably fast, effective
and cheap communication platform.
And so, I am grateful to you for making such vivid use of it. In particular, I thank
the survey-respondents. The 20% response rate delighted Isabelle Henn and
Steven Rieck, even if their analysis-workload was increased by it - the results will
more representative, I look forward to them!
Back to the personal encounters: sculpture network exceeded previous years with
7 large events and several smaller meetings. This quantitative information pales
by comparison with the special interaction style among members. It creates a
special atmosphere. Magdalena Abakanowicz told me in Bad Homburg – still under
the spell of Barcelona: “at sculpture network people are more open, unpretentious
and warm”.
All of you, dear members, contribute to this community for which the term
‘network’ seems almost dry.
In conclusion, I thank you for your loyalty to sculpture network and your help in
supporting the idea of sculpture. Talk about us! My special thanks go to my
colleagues on the board and the many who work with us.
I wish you a peaceful Christmas and good New Year. (in German: a good slide into
the new year!)
With best wishes from Lake Starnberg
Yours Truly,
Ralf Kirberg
Email: [email protected]
Tel.: +49 8157 997 9010
30 November 2007
2
Newsletter sculpture network
B Preview
VII International Sculpture Symposium 2008 in Leeds (UK)
The date of our VII International Sculpture Symposium is set:
Thursday, 4 September until Sunday 7 September 2008 in Leeds (UK). The
local organization is lead by our UK-correspondent, Rob Ward, Sculpture Department
Chair in Bretton Hall at the University of Leeds. The theme will be “Sculpture Parks”,
among others we will visit the famous Yorkshire Sculpture Park (www.ysp.co.uk) .
We thought of something special for the symposium:
we will organize it as a ‘campus-symposium’, i.e., all
participants will stay together at ‘Bodington Hall’, the
University of Leeds’ conference center.
This
eliminates annoying searches and traveling back and
forth, and provides the unique opportunity for an
intensive ‘get together’. It is exactly the opportunity
to
engage
diverse
and
stimulating
personal
discussions that are a particular characteristic of
Our member Nigel Hall will have a show
YSP in the spring of 2008. This is his
Sculpture „Passage“ in the Park
sculpture network symposia.
More information to follow soon.
calendar!
Please mark your
C Reports
Regional Members’ Meeting in the Gerisch-Skulpturenpark in Neumünster
(Germany)
No doubt, our event at the Gerisch-Sculpture Park in Neumünster was a ‘Highlight’
in 2007. More than 50 members and guests from 5 countries attended on this
weekday to experience an exciting program and they were not disappointed.
Our hosts Brigitte und Herbert Gerisch welcomed us at
their home for an initial get-together.
The host
insisted on baking a cake for the guests herself – a
culinary delight.
Participants had thus a good
foundation and were able to follow the presentations
about the work and goals of sculpture network and the
introduction to the history of sculpture in public spaces
with suitable serenity. One was well prepared for the
subsequent tour of the sculpture-park belonging to the
largest private art foundation in Schleswig-Holstein.
Herbert
Gerisch
welcomes
participants at his home.
After more culinary refreshments and intensive sculpture talks it was time for the
first highlight of the day – the fireplace-talk of Bernd Stieghorst, our newsletter
editor, with legendary Hermann Noack III. He is the owner of the famous Artfoundry Noack with its rich tradition in Berlin, founded in 1897 – a year before
Henry Moore was born.
Unconcerned but very much present with typical Berlin cheekyness, Noack talked
about Moore, their cooperation and their friendship. When Moore visited Berlin, he
immediately went to his hotel to have a scotch – “because he was given a short
rein at home”, according to Noack. However, while working he always concentrated
fully – and dressed correctly – British, at most taking off the jacket.
3
Newsletter sculpture network
Their cooperation during application of the
patina was congenial. Noack was unbeatable
with it: “We applied patina in all colors available
– which Moore found great”, he told the
attentively listening audience.
And the
changing play of light and shadow was his
contribution as well, leading Henry Moore to
demand again and again: “Hermann, light
above and dark below!” Polishing the upper
areas allowed leaving the lower areas rough –
enlivening the sculpture.
Noack also told the story about the very
dilapidated sculpture he saw one time at
Moore’s country home “Much Hadham” – matt
without any life. Moore immediately hollered “Hermann, come over with your
secret pot!“ Of course, all participants wanted to know the ingredients of this
famous “pot” – but Hermann Noack did not reveal this secret.
Hermann Noack had to answer so many questions that the allotted time was
severely exceeded. When he summarized the talk and concluded “Henry Moore –
that is my life!” – he was thanked with a standing ovation.
During the fireplace talk, Bernd Stieghorst
showed the small pig-sculpture by August
Gaul, cast at Hermann Noack III’s foundry.
We thank him here for his fast promise that we may have a sculpture network
event in his foundry in the future.
It need not be emphasized that this exciting fireplace-talk was the beginning of
further very intensive conversations during which other contemporaries of Henry
Moore’s talked about their encounters with him.
The reason for the event at the Gerisch-Sculpture
Park was the current exhibition “Henry Moore.
As in Nature – Prints and Sculpture” which
includes high-quality works on loan. sculpture
network is proud to have recommended our
member Prof. Dr. Christa Lichtenstern, Professor
for Art History at the University of Saarbrücken
to give the keynote-address of the evening. She
is one of the great Moore-experts and has
published widely about him. Currently, she is
working on a large, 600 page-work “Henry Moore
– Work-Theory-Effect”. It will be published in
cooperation with the Royal Academy of London
and the Henry Moore Foundation, and is
scheduled to be introduced next year, during our
symposium in Leeds.
A full house during the address by Prof.
Dr.
Christa
Lichtenstern
from
Saarbrücken
To start, Prof. Lichtenstern recalled an amusing
story about her first meeting with Henry Moore
which required that she take the legendary
hurdle “Mrs. Tinsley“, Moore`s secretary. She
talked about other encounters with Moore and
created the image of a great artist and equally
great, well-educated humanist.
With a exceptional scientific foundation and
great aplomb Prof. Lichtenstern introduced Henry
Moore’s work. She pointed out his relationship to
After the talk, Prof. Dr. Lichtenstern had to
answer many questions
Surrealism, German literature and to nature, and
explained the development of his work using a
number of exemplary paintings. One of the focal
4
Newsletter sculpture network
points of the address was dedicated to the development of form of the “hole” and
the “punch-through” which influenced entire generations of sculptors. With the
creation of the large, wooden “Reclining Figures” she closed the circle to Moore’s
concept of nature and to his treatment of sculpture in the landscape. The audience
listened attentively and thanked Prof. Lichtenstern for this exciting and high-caliber
address with long applause.
The evening in Neumünster finished with a snack and drinks at the Harry-MaaszCafé – highly recommended. There was ample time for personal conversation and
interesting discussions about Moore, the goals of sculpture-parks and about
sculpture itself. The last group left the house around 2 am, a sign of very
engaging discussions – and had a productive result: this was not the last jointevent organized by sculpture network and Gerisch Sculpture-Park.
Germaine Richier at the Gerhard-Marcks-Haus in Bremen (Germany)
The Gerhard-Marcks-Haus in Bremen is the
Sculptor-museum northern Germany. Even
during his lifetime, in 1971, Bremen
dedicated this museum to Gerhard Marcks
(1889-1981) because he was one of the most
important German sculptors of the 20th
century.
His
sculptures
are
a
quintessentially modern language of form
firmly rooted in the classic tradition and
dedicated to the figurative. The GerhardMarcks-Haus maintains the extensive estate
and offers exemplary programs: the always
very carefully prepared exhibitions treat
interesting themes and always warrant a trip
to Bremen.
Happy about the successful exhibition: PRcoordinator Bettina Bergs, Curator Dr.
Veronika Wiegartz and Museumsdirector Dr.
Jürgen Fitschen with the exhibition catalog.
5
Newsletter sculpture network
The current exhibition, which opened recently, runs until 17 February 2008 is a good
example for the high-caliber program shown here:
“Germaine Richier – The Humane alone counts” („Germaine Richier - Allein das
Menschliche zählt“) shows an artist who is one of the important sculptors of the 20th
century and is perhaps the most important woman sculptor. She grew up in rural
southern France, lived in Paris since 1926, with the exception of the years 1939-1946.
She was internationally renowned even during her lifetime, and shocked the audience
with her emaciated hybrid figures that she created beginning in the 40s. Historical
distance puts these works solidly into the context of the post-World War II era and
confronts their exceptional qualities.
Richier’s sculptures are characterized by a peculiar individuality and multiple levels of
interpretation. Then contemporary concerns such existentialism and surrealism swing
in them without becoming the only determining elements. Germaine Richier’s creation
is based in intensive observation of nature and solid schooling. She learned early on
to appreciate the rich world of animals, insects and plants of the ‘Midi’, but also
developed a feeling for the destructive forces of nature. Educated by Louis-Jacques
Guiges, a student of Rodin’s, she acquired a sculptural base with Antoine Bourdelle,
based on exact analysis of form and space. As a result, the viewer is placed opposite
figures that, despite their apparent fragility and vulnerability, possess a boundless
vitality.
The exhibition follows Germaine Richier’s sculptural
work in selected examples beginning in the late 30s
until the late 50s. In addition, two richly illustrated
books show her extensive work in printing that is
rarely on view. It is displayed very beautifully in a
user-friendly manner, under glass along the walls,
allowing intensive and detailed study.
The Gerhard-Marcks-Haus cannot complain about a lack of attention by the Art-World
and by the public – but can do so about a lack of political support. It receives stepchild treatment and the city does evidently not take its maintenance obligation
seriously: As one of the founders of the Gerhard-Marcks-Foundation who operates the
Sculpture Museum in northern Germany, the free Hanse-City Bremen committed itself
in 1969 to carry all costs resulting from fulfilling the goals of the foundation.
Effectively, the city fields roughly half of the budget. The city evidently does not take
its budgetary responsibilities seriously. Since 2003, the foundation had to go to
district court to receive its money – causing politicians to use the museum as a pawn
of political interests. It is a scandal that Bremen’s politicians prefes activities that
promise populism and media attention – forgetting their moral and legal obligations
towards one of the most important sculptors of the 20th century. Nevertheless,
Gerhard Marcks war the creator of the “Bremen City Musicians” sculpture in front of
City Hall, one of the few, modern hallmarks of a European major city.
For further information: http://www.marcks.de/aktuelle_ausstellung.htm
6
Newsletter sculpture network
A short presentation of contemporary sculpture in Slovenia
From Staša Kokot, Director, and our member Andrej Srakar, Program Coordinator
of the Slovenian Sculpture Association „Zavod za kiparstvo“
Despite its small size, Slovenia has a rich tradition of
fine art. Unfortunately, however, we are often not
proud enough of it. Many important authors, such as
members of the Slovenian impressionist school
(Jakopič, Sternen, Grohar, Jama, Ivana Kobilca),
Avgust Černigoj, Veno Pilon, Marij Pregelj, Božidar
Jakac, Jože Tisnikar, Zoran Mušič, the OHO and Irwin
groups, Marko Peljhan, and the architects Jože Plečnik,
Ivan Vurnik and Edvard Ravnikar, prove that fine art
on (as we like to say) "the sunny side of the Alps" is
very developed. There are also several well-known
exhibition places in Slovenia that are (or were)
important centres of artistic creation (Moderna
galerija, Narodna galerija, Equrna, Obalne galerije
Piran, ŠKUC, Kapelica, Gruberjeva kiparska galerija).
Mirsad
Dreams
Begić:
Preserving
The general zeitgeist is currently conservative and directed toward accumulation of
goods; therefore culture and fine art receive little public attention in Slovenia and
often face spatial and financial difficulties. This is true also for sculpture, which got
its first gallery no earlier than in the mid-1990s. Slightly better is the position of
public sculpture, which produced many public monuments in the communist
system, mostly for glorification. From the '60s on, when the regime was not so
involved anymore, a more abstract, modernist public sculpture by the artists Rotar,
Tihec, Tršar, Savinšek and Lenassi appeared. At the beginning of the '60s, the
latter two established the first Slovenian sculpture symposium, Forma Viva, based
on Karl Prantl's pioneering symposium in St Margarethan, Austria. Forma Viva still
takes place at two locations, in Portorož (stone works) and in Kostanjevica ob Krki
(wooden works). Particularly interesting among public exhibitions is the
international project "Grosuplje – city of sculptures". Each year, sculptors in
Grosuplje and its surroundings install four to five new sculptures made of karst
stone. This small place has become a real Slovenian sculpture town and managed
to revive the cultural and other life of its inhabitants in only a few years.
In the last few years, Slovenian fine art has
increasingly become more colourful and
dynamic. Several younger authors and
groups have appeared, such as V.S.S.D.,
Irwin, MI and Sestava. The Slovenian fine
art critic Andrej Medved wrote that
Slovenian sculpture from the '80s unites the
commitment to archetypal forms, sensual
flesh tone, the physical and the erotic in
sculpture (the works of Brdar, Begić,
Sambolec, Smerdu, Bezlaj and Vodopivec).
In the period immediately following there is,
according to his opinion, a strong influence
by installations presented at Documenta in
Jiri Kočica: „Standpunkt“ in der Gruber
Open Space Gallery, 2005
Kassel in 1987. The most prominent artists
among the eight he mentions are Mirko
Bratuša, Jože Barši, Marko A. Kovačič and Marjetica Potrč. Another interesting and
notable project took place in this period: the artistic renovation of the former
prison on Metelkova Street in the centre of Ljubljana, where the youth hostel Celica
is currently located. Several affirmed Slovenian and foreign architects and visual
artists participated in this project (among them Antony Gormley).
7
Newsletter sculpture network
The only Slovenian organisation dealing with sculpture is the Sculpture Association
of Ljubljana. The Sculpture Association, which continues the work of Latobia
Gallery from the '90s, manages the exhibition gallery of public sculpture on
Gruberjevo Nabrežje in Ljubljana and organises two significant yearly events: the
Slovenian sculpture exhibition, which is a review of Slovenian sculptural art, and
the aforementioned project "Grosuplje – city of sculptures". The Sculpture
Association is also active in research, and in the last few years it has produced
publications mostly in the field of public sculpture. The Sculpture Association has
also touched on the crucial topic of establishing a Slovenian sculpture museum,
receiving very positive feedback from the Slovenian artistic public, which has been
emphasising the need for such an institution for several years.
It is certainly hard to predict the future
directions of Slovenian sculpture. Lately,
the boundary between traditional sculpture
and contemporary tendencies, which mostly
include the so-called "new media", is being
analysed. More and more younger sculptors
are trying to find their place between the
two fields, which gives many new
possibilities to sculptural expression. In the
following years we expect a clearer
boundary to appear between sculpture and
other visual media, which may, although it
Lučka Koščak: »Engel«, Grosuplje 2004
might sound paradoxical, lead to a new,
different type of cooperation between the two fields. We hope that public sculpture,
which probably has the greatest potential of bringing sculpture closer to the wider
population, will take on a more vital role, considering the current attempts to
revive the urban area. But certainly the most important issue is to what extent
Slovenian sculpture can be made accessible to the domestic, European and global
public. Up until now we have missed this attention.
Staša Kokot, Andrej Srakar
The organization Zavod za kiparstvo and sculpture network are planning to
cooperate and organize joint-events.
For further information about the sculptor organization “Zavod za kiparstvo”:
http://www.kiparstvo-zavod.si/ (some texts are in English and/or German)
A Sculpture-Foundation as new member: Adolf-Luther-Stiftung, Krefeld,
Germany
The Light- and Object artist Adolf Luther from Krefeld (1912-1990) was one of the
main representatives of kinetic art and optical art.
The goal and purpose of the foundation, formed
in 1989, is the development and support of
research
investigating
the
conceptual
foundations of concrete art since the early
1950s. At the same time, the artistic creation
and the collection of the founder is to be
Adolf Luther: “The fascination of Light“
Exhibition, Museum Herakleidon, Athens, 2007
maintained. The foundation is located in the
artist’s former home and studio. It organizes
exhibitions with the theme of concrete art. In
8
Newsletter sculpture network
addition, it awards a Development Prize for young artists, which carries a 5000
Euro stipend, an exhibition in the Krefeld Museum of Art and the purchase of one of
the works.
Adolf Luther attempted to make the invisible visible
and to grasp a reality that eludes sculptural
capture and expression. As early as 1958, he
dedicated himself to the investigation of light and
its energetic-optical properties.
With refraction
and reflection they create a sort of immateriality.
In 1967 a room with focused light in smoke is
created, and beginning in 1970, he works with
laser beams. In Adolf Luther’s mind the term
‘concrete art’ is concerned with extra-image
phenomena such as light, space and motion.
Adolf Luther said:” The concrete is nature itself”.
„Flaschenzerschlagungsraum“,
(‚Bottledestructionroom’) 1961
Adolf Luther tried to make
materially visible.
light
Since its creation, the foundation is directed full-time and enthusiastically by Art
Historian Dr. Magdalena Broska. In addition to Adolf Luther’s life-work, she
maintains a collection of works by the Zero-Gruppe from Düsseldorf, by Nouveaux
Réalistes, works by Marcel Duchamp, Joseph Beuys, Tàpies, Ad Reinhardt and
Mario Merz. An additional collection focus is the geometric abstraction of the
1920s and 1930s – Ella Bergmann-Michel, Henrik Berlewi, Theo van Doesburg,
Lissitzky, Malewitsch, and Vordemberge-Gildewart.
Part of the collection is on permanent loan in
museums and thus accessible to the public.
Purchases of works by young recipients of prizes and
awards expand the collection, such as works by
Andreas Slominski, Michel Verjux, Bethan Huws,
Stephen Craig and Katja Strunz.
The foundation is responsible for restoration of the
light – mirror works by Adolf Luthers.
Adolf Luther, untitled, 1971,
Mirrorwall, Cafeteria, RuhrUniversity,Bochum, Germany
Address: Adolf-Luther-Stiftung, Viktoriastrasse 112, 47799 Krefeld, Germany
Director: Dr. Magdalena Broska
E-Mail: [email protected]
For further information: http://www.adolf-luther-stiftung.de
Dr. Josephine Gabler new director of the MMK Passau (Germany)
Dr. Josephine Gabler, Art Historian from Berlin will become the new Director of
Museum Moderner Kunst – Stiftung Wörlen – (MMK) in Passau on 1 January 2008.
Gabler has been a member of sculpture network since 2005 and has worked
primarily on sculptural topics in recent years. After studying Art History, History
and Library Sciences at the Free University of Berlin she wrote her doctoral
dissertation about “Sculpture in Germany in the Exhibitions between 1939 and
1945”. In 1999, she worked at the Georg-Kolbe-Museum in Berlin and from 1999
9
Newsletter sculpture network
until 2004 as managing director at the “Stiftung für Bilhauerei” (‘Sculpture
Foundation’) also in Berlin.
Josephine Gabler curated several exhibitions, among
them: „Berliner Köpfe“ (‘Berlin Heads’) and „Ewald Mataré
Skulpturen
und
Holzschnitte“
(Sculptures
and
Woodcuts’) at the Georg-Kolbe-Museum; „Sabine Flir Plastik und Zeichnung“ (‘Sculpture and Drawings’) and
„Joachim Dunkel - Tod am Nachmittag“ (‘Death in the
Afternoon’) for the Sculpture Foundation.
She has
published books and essays about Käthe Kollwitz, Henry
Moore, Georg Kolbe, August Gaul, Wilhelm Lehmbruck,
Gerson Fehrenbach, Walter Schott and Michael Croissant.
At a reception in Saarbrücken:
Dr. Josephine Gabler with
sculptor Dietrich Klinge
The MMK is not only an important exhibition space for
changing presentations of 20th and 21st century Art, but is
also an important historic building complex. The building
complex dating to the 16th century has been extensively
renovated and is one of Passau’s best kept historic
monuments. It has been repeatedly named as one of
Germany’s most beautiful museums.
On Saturday, 19 January 2008 at 7 pm, Gabler begins her reign with a ‘bang’ –
the exhibition “Light Image and Sculpture – Sculptures by Bernhard Heiliger viewed
by Photographers”. ("Licht Bild und Skulptur – Skulpturen von Bernhard Heiliger im
Blick der Fotografen") It is inescapable, sculpture network is expanding, because
the Bernhard-Heiliger-Stiftung is a member and cooperates vigorously. Not least,
it was the indefatigable work of Sabine Heiliger that was instrumental in bringing
Hermann Noack to Neumünster (please see pp. 3)
And so we invite all our members to join us on 19.January in Passau to celebrate
with Josephine Gabler and her new post.
„Memorial and Memoria. About public sculpture from Beuys to Zobernig“ –
Talk at the Sculpture Museum in Hofberg, Landshut(Germany)
About 100 guests came in the evening of 7
November to Sculpture-Museum in Hofberg, to
listen to Father Friedhelm Mennekes SJ, who is
not only known for the Art-Station (KunstStation) St. Peter he founded in Cologne. Our
member
and
museum
director
Stefanje
Weinmayr organized the talk to continue a loose
cycle of events concerned with the theme of
memory and homage in the work of sculptor Fritz
Koenig and contemporary art.
Museum-founder Prof. Fritz Koenig (left)
talking with Father Friedhelm Mennekes SJ.
Father Friedhelm Mennekes SJ, born 1940,
became a Jesuit in 1961. In 1987, Friedhelm
Mennekes founded the Art-Station (Kunst-Station) Saint Peter as a center for
contemporary art and music. Since then exhibitions of contemporary art and
concerts of new music take place there. For nearly twenty years, he stands at a
crossroads of Art and Church. With a view of history he pursues a natural path: he
places works of art of his time in old and new churches – and initiates a broad
discussion.
10
Newsletter sculpture network
Exhibitions with works by artists such as Francis
Bacon, Joseph Beuys, James Lee Byars, Eduardo
Chillida, Jenny Holzer, Anish Kapoor, David Salle,
Antonio Saura, Cindy Sherman and Rosemarie
Trockel are proof of the fruitfulness of such
superpositions of modern foreignness.
Father Friedhelm Mennekes, SJ, who is a teaching
Professor, found a perceptive way of approaching the
theme of memorials in recent history.
The
examples he chose, demonstrate the large span of
artistic treatment of this sensitive topic, particularly
in Germany’s recent history.
Museum director Stefanje Weinmayr
with Prof. Fritz Koenig and Ewald
Schneider,
Senior-CEO
of
the
Logistics and Transport Company
Hasenkamp
D Exhibitions and Events
GERMANY
Berlin
Sonia Boyce: Crop Over
Axellappprojects*, Invalidenstraße 161 (Remise), D-10115 Berlin
09 November 2007 - 26 January 2008
For further information: http://www.axellapp.de/
Robert Schmidt-Matt*: Gehemmte Bewegung (‘ Stunted Motion’)
werk-raum Prinzenallee 58, 3.Hof, Kolonie Wedding, 13359 Berlin
30 November – 02 December 2007
For further information: http://www.schmidt-matt.de/
Nils-R. Schultze*: Lichtobjekte für Berlin 2007 (‘Lightobjects for Berlin
2007’)
Aquarium, Lützowplatz, Prenzlauer Allee und Molkenmarkt
30 November – 26 December 2007
For further information: http://www.schultze-krause.de/presse.htm
Matthäus Thoma*: 3 SKULPTUREN
(‘3 SCULPTURES’)
berlin art scouts, Sophienstraße 25, 10178 Berlin
15 November 2007 - 20 March 2008
For further information: http://www.berlinartscouts.de
Bremen
Inger Seemann*: FigurenGruppen - Stahlplastik und Malerei
(‘Groups of Figures – Steel Sculptures and Paintings’)
Foyer der Hauptverwaltung ArcelorMittal Bremen GmbH.; Carl-Benz-Str.
30, 28237 Bremen
21 November 2007 - 04 January 2008
Germaine Richier - Allein das Menschliche zählt
(‘The Humane alone counts’)
Gerhard-Marcks-Haus*, Am Wall 208, 28195 Bremen
25 November 2007 - 17 February 2008
For further information: http://www.marcks.de/
11
Newsletter sculpture network
Düsseldorf
Gia Edzgveradze: Who is afraid of tennis, sex or other entertainments?
Beck + Eggeling* - New Quarters, Bilker Strasse 4-6
16 November 2007 - 26 January 2008
For further information: http://www.beck-eggeling.de/
Hannover
Monika und Klaus Müller-Klug*: Skulpturen und Zeichnungen
(“Sculptures and Drawings’)
Galerie "Vom Zufall und vom Glück", Kubus in Hannover
18 November - 16 December 2007
Arvid Boecker: Studio La Ciotat
Galerie Robert Drees*, Weidendamm 15, 30167 Hannover
01 December 2007 - 02 February 2008
For further information: http://www.galerie-robert-drees.de
Marl
GWK-Förderpreisausstellung, Skulpturenmuseum Glaskasten Marl*
25 November 2007 - 10 February 2008
For further information: http://www.marl.de/skulpturenmuseum
Schnaitsee-Waldhausen
Georg Mayerhanser*: Künstler Dult
Mühldorferstraße 44 - 83530 Schnaitsee-Waldhausen
1/2, 8/9, 15/16 and 22/23 December 2007
For further information: http://www.mayerhanser.de
UNITED KINGDOM
London
Hans Kotter: Colour Rush - Installation, light boxes and photographs
Patrick Heide Contemporary Art*, 11 Church Street, London NW8 8EE, UK
08 November 2007 - 12 January 2008
For further information: http://www.patrickheide.com
ITALY
Perugia
Lilli Schulz* u.a.: Donne: I Colori della Pace
Ponte San Giovanni, Bibliotheka Comunale
02 December - 16 December 2007
12
Newsletter sculpture network
AUSTRIA
Graz
Bernhard Leitner: Moving Heads
10 November 2007 - 24 February 2008
Michael Gumhold
30 November 2007 - 20 January 2008
Neue Galerie, Sackstraße 16, 8010 Graz
For further information: http://www.neuegalerie.at
SWITZERLAND
Kirchberg near Bern
Adrian Bütikofer*: Holz- und Eisenskulpturen (‘Wood and Iron Sculpture’)
Gemeinde Kirchberg, Solothurnstrasse 2, 3422 Kirchberg,
25 November - 28 December 2007
For further information: http://www.adrian-buetikofer.ch
Langenthal
u.a. mit Carlo Borer*: Regionale 8
Kunsthaus Langenthal, Marktgasse 13, 4900 Langenthal
29 November 2007 - 27 January 2008
For further information: http://www.kunsthauslangenthal.ch/
Lausanne
Bernard Garo*: peintures récentes ‘(Recent Paintings’)
Galerie Synopsis m, Rue de Genève 21, 1003 Lausanne
17 November 20087 - 19 January 2008
For further information: http://www.synopsism.com/
Küsnacht
Renata Schalcher*: Flash to the Future
art felchlin. im Goldbach Center, Seestrasse 39, 8700 Küsnacht
15 November 2007 - 11 January 2008
For further information: http://www.artfelchlin.ch
Solothurn
u.a. mit Carlo Borer*: Malerei und Skulptur (‘Paintings and Sculpture’)
Haus der Kunst St. Josef, Baselstrasse 27 CH-4500 Solothurn
15 December - 30 December 2007
For further information: http://www.hausderkunst.ch/
Winterthur
Hans Bach: Skulpturen, Linolschnitte (‘Sculpture, Linocuts’)
Atelier Alexander, Wülfingerstr. 258, CH-8408 Winterthur
24 November - 22 December 2007
For further information: http://www.sikart.ch , http://www.marmo.ch
13
Newsletter sculpture network
SPAIN
Pamplona
Carlos Ciriza*: Construcción de espacios y puntos de encuentro
Galería Uno2tres, Pamplona
13 December 2007 - 24 February 2008
For further information: http://www.uno2tres.es/
USA
Miami, Florida
Patrick Heide Contemporary Art*: Aqua Art Miami Wynwood
42 NE 25th Street, Miami, Wynwood District, Stand 35
04 December - 09 December 2007
For further information: http://www.patrickheide.com
Concerning us
Missed Opportunities
There are always good news: increasingly often we receive inquiries from curators
– especially international ones – for information about artists. A typical example
was the inquiry from the Italian Sculpture Biennial. We were asked to recommend
artist-members who met certain criteria, such as age.
Enthusiastically, I began, but – oh boy – quickly saw that many artists had not
given their date of birth. Now what? Of course, search the web… there too, no
luck, no info!
As a result, I could forward “only” 16 names who met the age-criterium – but
would have liked to send 30 or more. The punchline? Don’t forget to list your date
of birth!
Unfortunately, this concerns other types of information as well – hence the urgent
reminder – please enter all your data correctly. It is sad when small oversights
result in missed opportunities – thank you very much for your help.
--------------------------------------------------------------------------------------------If you enjoyed reading the newsletter (and if you are not already a paid sculpture
network member) we would be very happy for any small contribution you might be
able to make to our nonprofit organization. You would directly support our efforts
for the Idea of sculpture. We are all volunteers.
Sincere Thanks, Ralf Kirberg
Bank Information: Postbank München, BLZ: 700 100 80, Account Nr.: 981819805
--------------------------------------------------------------------------------------------To obtain more information about sculpture network or to apply for membership
please contact Isabelle Henn, Tel: 49+ (0)8157-997-9010,
[email protected]
--------------------------------------------------------------------------------------------Your News-Team, [email protected]
14