Über die Wirklichkeit: Drei Gemälde von Rudolf de Crignis (1999) und Dorothee von Windheim, »Z« (1974)
Über die Wirklichkeit: Felix Droese, Konvolut »Der Grafenberg« (1971/72) und Gerhard Altenbourgs frühe Zeichnung »Ecce homo« (1949)
Über die Wirklichkeit: Kurt Bennings Videoarbeit »Hinterlassenschaft« (1999), »Landschaften« von Herbert Falken (1998) und das Hausaltärchen mit der Verkündigung an Maria (um 1440)
Über die Wirklichkeit: Olaf Eggers’ »Tasche« (2000) als Bubble-Jet-Laser-Print im Eingang
2000 About Reality
14 April to 25 October 2000
»About Reality«
Reencounter with the Unknown – Part 15
This exhibition deals with the questioning of reality through art. Art aims to create new perspectives of reality, thereby offering ample opportunity to understand reality and the world. It makes us become aware of interfaces between the intimate and the unexpected, the familiar and the forgotten, the imaginable and what has never been thought of before. And thus, in doing so, it expands the borders of previously experienced reality. It reveals breaches which may be recognised in the social structure as exclusions, taboos and isolation. Therefore, art itself independently creates reality and at the same time shows ways of experiencing it. Medieval art, both religious and secular, draws on hierarchical structures and finds in symbolism, allegory and typology a reliable and obliging metaphorical language for grasping reality, from which long-lasting iconographic traditions follow, as for example shown by many Gothic Madonna figures. Contemporary art is familiar with serial work for examining the reliability of concreteness as a constant of objective reality. When trying to capture familiar objects such as a Black Forest landscape, a water glass, a flowerpot, the colour blue, or the placing of several colours on a sheet of paper repeatedly, these are experienced as mirror-images of subjective conditions and changing determinants. Even in the detailed, impersonal and candid description of household items left behind, the objective binding character of everyday life slips away in the telltale detail of an individual tone of voice or subjective picture excerpt. Displaying artistic logic, the series cancels out the motif by mutating into an abstract ornament, sounding the paradigms of inevitability and intuition in creative work. The exhibition is therefore also concerned with the invention of reality through art, working inside art like an enzyme in an amalgamating continuum.
(Book publication)
»About Reality«
Reencounter with the Unknown – Part 15
This exhibition deals with the questioning of reality through art. Art aims to create new perspectives of reality, thereby offering ample opportunity to understand reality and the world. It makes us become aware of interfaces between the intimate and the unexpected, the familiar and the forgotten, the imaginable and what has never been thought of before. And thus, in doing so, it expands the borders of previously experienced reality. It reveals breaches which may be recognised in the social structure as exclusions, taboos and isolation. Therefore, art itself independently creates reality and at the same time shows ways of experiencing it. Medieval art, both religious and secular, draws on hierarchical structures and finds in symbolism, allegory and typology a reliable and obliging metaphorical language for grasping reality, from which long-lasting iconographic traditions follow, as for example shown by many Gothic Madonna figures. Contemporary art is familiar with serial work for examining the reliability of concreteness as a constant of objective reality. When trying to capture familiar objects such as a Black Forest landscape, a water glass, a flowerpot, the colour blue, or the placing of several colours on a sheet of paper repeatedly, these are experienced as mirror-images of subjective conditions and changing determinants. Even in the detailed, impersonal and candid description of household items left behind, the objective binding character of everyday life slips away in the telltale detail of an individual tone of voice or subjective picture excerpt. Displaying artistic logic, the series cancels out the motif by mutating into an abstract ornament, sounding the paradigms of inevitability and intuition in creative work. The exhibition is therefore also concerned with the invention of reality through art, working inside art like an enzyme in an amalgamating continuum.
(Book publication)