MALER. MENTOR. MAGIER. Otto Mueller und sein Netzwerk in Breslau, Hambuger Bahnhof, Berlin

 PAINTER. MENTOR. MAGICIAN. Otto Mueller and his Network in Wrocław

12.10.2018 to 03.03.2019
Hamburger Bahnhof - Museum für Gegenwart - Berlin

The exhibition PAINTER. MENTOR. MAGICIAN. is the first to spotlight the enormous influence of the former Brücke artist and expressionist Otto Mueller (1874–1930): for over ten years the artist was engaged as a teacher at the State Academy of Arts and Crafts in Wrocław, which at that time was one of the most progressive schools of art in Europe. Particularly from the 1920s onwards, the Wrocław Academy had a reputation for cosmopolitanism and liberality, thanks to the numerous new appointments made by the director at that time, Oskar Moll. This was a place where the many-faceted movements in modern art stood side by side as equals: Expressionism with Otto Mueller, French Peinture of the Académie Matisse with Oskar Moll, New Objectivity (Neue Sachlichkeit) with Alexander Kanoldt and Carlo Mense and Bauhaus with Oskar Schlemmer, Georg Muche or Johannes Molzahn.

The main focus of the exhibition is on modernist painting: Otto Mueller and his network experienced a creative phase in Wrocław which they described as highly productive and a direct result of their exchanges and reciprocal influence. The ways in which the artist colleagues influenced each other become apparent through thematic similarities and other cross-references: in paintings, works on paper, written statements or photographs. And it was the charismatic Otto Mueller, driven by longing and a thirst for freedom, who had the greatest influence on the Breslau art scene. From the comments of his closest associates, including art critics and writers, he seems to have been a ‘romantic’ and even a ‘magician’. He had already been immortalised by Carl Hauptmann in his biography of an artist “Einhart der Lächler” (1907) – and with this the Silesian poet laid an important foundation stone for the myth later to surround the artist.

Mueller’s striking appearance and his anti-bourgeois way of living held an enormous fascination for his students at the Academy, men and women alike. They loved his total commitment to art, his unconventional teaching methods and his humor. Some of his students – such as Alexander Camaro or Horst Strempel – went on from Wrocław to Berlin and experienced here the zeniths of their artistic careers.

One special feature of the curatorial concept of PAINTER. MENTOR. MAGICIAN. is the ‘guest exhibit’ principle: what is meant by this are selected works that spotlight the intercultural similarities and differences over the epochs, particularly in the German-Polish context. The inclusion of ‘Polish Expressionists’ provides unique visual com-parisons and new correlations and at the same time underlines the German-Polish orientation of the exhibition.

The immense appreciation for Otto Mueller’s work – from the perspective of his artist network – extends into post-war modernism: an important chapter of German-Polish art history is retold in special consideration of the interaction between the cities of Berlin and Wrocław.

This reflects the relations between the Nationalgalerie in Berlin and the former Silesian Museum of Fine Arts in Wrocław (today Muzeum Narodowe in Wrocław) which were characterized by intensive exchange and collaboration. One paradigmatic example of this was the Otto Mueller Memorial Exhibition initiated by Director Erich Wiese in Wrocław in 1931 – shortly after the death of the celebrated expressionist – which was adopted that same year by Ludwig Justi, Director of the Nationalgalerie as a commemorative exhibition in Berlin.

The present exhibition PAINTER. MENTOR. MAGICIAN. follows the opposite route. It has been developed in Berlin and will go on to be shown in Wrocław in a modified form. In Berlin the exhibition continues the sequence of presentations on Classic Modernism that have been shown during the renovation of the Neue Nationalgalerie at Hamburger Bahnhof – Museum für Gegenwart – Berlin: “The Black Years. Histories of a Collection: 1933–1945”, “Ernst Ludwig Kirchner: Hieroglyphs” and “Rudolf Belling. Sculptures and Architectures”.

Please find further information here:
www.smb.museum/en/museums-institutions/hamburger-bahnhof/exhibitions/detail/maler-mentor-magier.html

Franz Gertsch- Looking at you, Museum Franz Gertsch, Burgdorf, Schweiz

Franz Gertsch- Looking at you, Museum Franz Gertsch, Burgdorf, Schweiz

Kirchners Kosmos: DER TANZ,Kirchner Haus Aschaffenburg

Gariele Münter - Malen ohne Umschweife, Museum Ludwig, Köln

Gabriele Münter - Painting to the Point, Museum Ludwig, Cologne

Gabriele Mün­ter (1877–1962) was a cen­tral fig­ure of Ger­man Ex­pres­sion­ism and the Blue Rid­er artist group, which was found­ed at Mün­ter’s house in Mur­nau. Her role as a ded­i­cat­ed pro­po­nent, me­di­a­tor, and long­time com­panion of Wass­i­ly Kandin­sky is well known and rec­og­nized. This ex­hi­bi­tion de­mon­s­trates Gabriele Mün­ter’s im­por­tance and in­de­pen­dence as a pain­ter: with more than one hun­dred paint­ings, in­clud­ing works from her es­tate that will be pre­sent­ed to the public for the first time, it will of­fer a new look at this strong artist.

Mün­ter is one of the few wo­m­en who played an ear­ly role in de­vel­op­ing mod­er­nism. Her open­ness and willing­ness to ex­per­i­ment as a pain­ter, pho­to­g­ra­pher, and graph­ic artist will now be pre­sent­ed in de­tail for the first time. Her well-known paint­ings in­clude por­traits of fig­ures such as Marianne von Were­fkin and Kandin­sky as well as ro­man­tic land­s­capes of her adopt­ed home in Ba­varia. The ex­hi­bi­tion be­gins with rare pho­to­graphs tak­en by Mün­ter around 1900 dur­ing a mul­ti-year trip through the Unit­ed States. It will fo­cus on her paint­ings, which, in ad­di­tion to col­or­ful por­traits and land­s­capes, al­so in­clude in­te­ri­ors, ab­s­tract works, and “prim­i­tivis­tic pic­tures.”

Thanks in par­tic­u­lar to the Haubrich Col­lec­tion, the Mu­se­um Lud­wig holds paint­ings by Ernst Lud­wig Kirch­n­er, Max Pech­stein, as well as artists from the Blue Rid­er group, such as Wass­i­ly Kandin­sky, Franz Marc, Au­gust Macke, and Alex­ei Jawlen­sky. Sur­pris­ing­ly, the col­lec­tion does not in­clude any of Gabriele Mün­ter’s paint­ings. On the oc­ca­sion of the ex­hi­bi­tion, the Mu­se­um Lud­wig is plan­n­ing to ac­quire the work Kn­abenkopf (Wil­li Blab) by Gabriele Mün­ter, which is on view as a loan in the ex­hi­bi­tion. To this end, the Fre­unde des Wall­raf-Richartz-Mu­se­um und des Mu­se­um Lud­wig e.V. start­ed a ma­jor do­na­tion cam­paign that has al­ready re­ceived a great re­sponse.

A large num­ber of the works in the ex­hi­bi­tion come from the Gabriele Mün­ter and Jo­hannes Eich­n­er Foun­da­tion and from the Len­bach­haus in Mu­nich, which is or­ganiz­ing the ex­hi­bi­tion, as well as in­ter­na­tio­n­al col­lec­tions such as the Des Moines Art Cen­ter in Iowa, the Cen­ter Pompi­dou in Paris, and the Is­rael Mu­se­um in Jerusalem.

Please find further information here:
www.museum-ludwig.de/en/exhibitions/gabriele-muenter.html

Gotthard Graubner- Mit den Bildern atmen

Gotthard Graubner- Mit den Bildern atmen, Arp Museum Bahnhof Rolandseck

The Arp Museum Bahnhof Rolandseck is dedicating a major exhibition to Gotthard Graubner (1930–2013), one of the most important abstract painters of our age.

Gotthard Graubner maintained close ties to the Bahnhof Rolandseck from the 1970s onwards. Like numerous other artists, he valued, breathed life into and left his mark on this special location.The show's point of departure is ten extraordinary black-and-white photographs of dancing monks from the Whangdue Phodrang monastery that he took while in Bhutan in 1976 and that are now part of the museum's collection.

Following Graubner's interest in Buddhism, the atmosphere of the exhibition is permeated by this theme. Such formal elements as transparence, lightness and penetration as well as color surface as a living organism all play a role. This is evident not only in the impressive Farbraumkörper [Color Space Bodies] but also in the artist's print works. Biographical notes, such as the body prints in the portfolio Simulacrum from 1978, bring Graubner's authorship vividly to light.

The approximately 50 works allow visitors to trace his development from a muted palette to a veritable ecstasy of colors, to silently immerse themselves in the color spaces, and to – as intended by the artist himself – "breath together with the pictures".

Please find further information here:
arpmuseum.org/en/exhibitions/temporary-exhibitions/current/gotthard-graubner.html