Boris Becker, Piranha Kokainpaste Kolumbien, 2001, Photograph
Kunsthalle Bremen – Der Kunstverein in Bremen. © VG-Bild-Kunst, Bonn 2013
The collection of the Kunsthalle Bremen features first-class works by international artists such as James Turrell, John Cage, Wolfgang Tillmans, Nam June Paik, Thomas Ruff, Cindy Sherman, Norbert Schwontkowski, Simon Starling and many others.
With her first exhibition as the new Kunsthalle’s curator of modern and contemporary art, Dr. Sabine Maria Schmidt focuses primarily on photography. She investigates the interface of the medium of photographic and the image in motion, its expansion and its reference to other creative genres. The selection shows works of the last 30 years as well as new acquisitions and selected loans.
left: Carl Wagner (1796–1867), Hochgebirgssee, Aquarell, Bleistift
Kunsthalle Bremen – Der Kunstverein in Bremen, Kupferstichkabinett
right: Ulrike Heydenreich (born 1975), Panoramaring 4, 2010, Objekt mit Bleistiftzeichnung
© VG Bild-Kunst, Bonn 2013
A quotation from Ludwig Tieck’s famous artist novel “Franz Sternbalds Wanderings” (1798) is the source of the title of the exhibition. It paraphrases Romantic landscape art’s true concern: to meet nature subjectively.
The exhibition presents a representative selection of about 100 master drawings and 40 oil sketches from the first half of the 19th century, taken from the rich holdings of the Kunsthalle’s prints and drawings department. Amongst them are works by Caspar David Friedrich, Franz Catel, Johann Christoph Erhard, Friedrich Nerly and many others. These are shown in an exciting dialogue with the landscape drawings by contemporary artists, including Bettina Blohm, Manfred Holtfrerich, Nanne Meyer, Ugo Rondinone and Malte Spohr.
A presentation of works in 15 museums
Max Beckmann, Stillleben mit Kirschwasserflasche, 1928, Oil on canvas
Kunsthalle Bremen – Der Kunstverein in Bremen. © VG Bild-Kunst, Bonn 2013
The gallery owner Alfred Flechtheim (1878-1937) belongs to the most fascinating and influential figures of modern art in the 20th century. The successful art dealer championed the cause of Expressionism and promoted important artist personalities, such as Max Beckmann, George Grosz and Paul Klee. Already in 1933 he unerringly interpreted the massive anti-Semitic attacks against him and his artists and left Germany. In London he continued in his occupation as an art dealer. He died there in 1937 as the result of an accident. His widow returned to Germany where, upon receipt in 1941 of a deportation order, she took her life. Her possessions, amongst them many works of art, fell to the German Reich.
To this day traces of Alfred Flechtheim’s activities as an art dealer can be found in many museums. He was actively involved in shaping museum collections of modern art in Germany and beyond between 1913 and his death in 1937. Fifteen prestigious German museums, including the Bayerische Staatsgemäldesammlungen in Munich, the Staatsgalerie Stuttgart and the Städel in Frankfurt am Main are participating in a collaborative research project, following these traces and presenting them in exhibitions. The results will also be made public on a website, making an important contribution to the history of the art trade, the reception of modern art in Germany and collecting strategies of the participating institutions. The Kunsthalle Bremen is also taking part and, with 40 works from its collection, is making an important contribution to the project.
Sarah Morris, Endeavor, 2005, Palais de Tokyo, Paris
© Courtesy Sarah Morris
The American artist Sarah Morris (born 1967) has been commissioned to create a large-scale mural in the Kunsthalle Bremen, responding to the museum’s architecture. The spectacular room-filling installation engages the viewers through its dazzling optical effects, produced by a rigorous geometrical composition and intense colour contrasts.
Morris works in the tradition of geometrical painting of modernism as well as of the 1960s with marked references to the oeuvre of Piet Mondrian, the American color field painters, Op Art and Victor Vasarely. She continues this tradition creatively into the future and instils new life into a reduced formal language through her dynamic, intensively colourful compositions. But with the shiny colours of her striking paintings and murals the artist also reflects critically on the illusionary world of Hollywood film and the surface aesthetics of glossy magazines, fashion and advertising.
Subject to modifications!