June 1993 to September 1995
Tápies, Thek, Beuys, Saura, Opalka, Marioni u.a.
Reencounter with the Unknown – Part 1 to 5

The title of the exhibition series »Reencounter with the Unknown«, which began in June 1993 and continued until 2001, embodies the concept of a “living museum”, which – apart from few constants – is in perpetual movement. Four cornerstones have been established: 1. Specific comparisons of a few medieval and contemporary works. 2. Setting up temporary exhibitions using the museum’s own collection (the museum as a collection) 3. Foregoing labels on objects in order to achieve a sensible sequence of viewing and knowing (an up-to-date list of the works is supplied on a separate sheet). 4. Conversations about the works and viewing them together rather than guided tours (the result of these conversations depends on the active participation of the visitors). The exhibition series is enhanced by numerous concerts with the title »Listening/Looking« in cooperation with the Cologne Society of New Music as well as readings in cooperation with the Cologne Theatre. 5. Towards the end of 1994 the series »… in the Window« was established in the window room with contemporary works by Carola Bauckholt, Thomas Kemper, Olaf Eggers and Horst Antes. As of September 1995 the first five exhibitions of the series “Reencounter” had taken place. Since they have not yet been promoted on leaflets, a short summary follows:

Part 1 (June to September 1993): In a constellation that remained unchanged until 1997, an untitled work by Joseph Beuys (permanent loan) confronted a Romanesque crucifix from Erp and the painting »Traces on a White Ground« by Antoni Tàpies. In the hall are works by Dario Villalba. In the window room there are works by Paul Thek as well as a late medieval Man of Sorrows.

Part 2 (February to August 1994): In the hall are the paintings »Brunhilde« and »Multitude« (loan) by Antonio Saura. In the window room are painting No. 9.1988 by Agnes Martin and three paintings by Roman Opalka (loans).

Part 3 (September 1994 to February 1995): In the hall the paintings »Crucifixion« and »Cura« by Antonio Saura are placed in contrast with the late medieval Man of Sorrows. In the middle room is Richard Tuttle’s cycle of drawings “40 days” as well as the tapestry with the mystic hunt in the Enclosed Garden and two books of hours with scenes of the Annunciation and the Birth of Christ. In the window room there is Alexej von Jawlensky’s »Big Meditation – Man is Darker than the Night« and the painting by Agnes Martin mentioned in Part 2.

Part 4 (March to May 1995): In the hall is Joseph Marioni’s »Painting No. 1.1982« and the medieval Man of Sorrows. As a temporary comparison to the small Gothic house altar we have Paul Thek’s “Portable Ocean”. In the middle room are Rune Mields’ complete series of drawings »Stone Age Geometry« as well as the tapestry with the mystic hunt in the Enclosed Garden. In the window room the painting by Agnes Martin is now contrasted with the painting »Serration in Blue« by Václav Bostik.

Part 5 (June to September 1995): In the hall we find Paul Thek’s blackboard »Feathered Snake« compared to the sequence of photographs »The Journey of the Spirit after Death« by Duane Michals and a medieval crucifix torso. In the middle room there is a large format »Landscape with Women« by Herbert Falken as well as an alabaster relief with the Lamentation of Christ by Leonhard Kern.

Art museum of the
Archdiocese of Cologne