From Object to Concept:
"Dialog Skulptur" at the
Museum Kulturspeicher in Würzburg
An interesting interplay – the exhibition
"Dialog Skulptur" sheds light on the artistic dialogue between
plastic works and drawings. The show of around 100 works from the
Deutsche Bank Collection, curated by Dr. Ariane Grigoteit, attracted
considerable attention both at the
Kunstforum Seligenstadt and in a parallel exhibition at the
Mannheim and Ludwigshafen Kunstverein; now, it can be seen at the
Kulturspeicher in the Würzburg Museum.
Joseph Beuys, Filzplastik-Bronzeplastik, 1964,
Deutsche Bank Collection, © VG Bild-Kunst, Bonn 2006
For Joseph
Beuys, drawing was the "extension of a thought". The paper work
representing him in the exhibition "Dialog Skulptur" is titled
Felt Sculpture/Bronze Sculpture. A sketch of a concert piano emerges from
a tangle of broad, nervous brushstrokes – similar to the instrument the
artist was to cover in felt two years later. His "thought sketch" had
transformed into a three-dimensional sculpture.
Karl Hartung, Mittlerer Torso, 1948,
Deutsche Bank Collection
The exhibition "Dialog Skulptur" at the
Kulturspeicher in the Würzburg Museum investigates the fascinating
dialogue between media – the interplay between two-dimensional drawing and
three-dimensional space. The museum, which was awarded the
Bavarian Museum Prize last year, is showing around 100 sculptures and
works on paper from the Deutsche Bank Collection. The spectrum of the
works ranges from Max
Beckmann’s bronze sculpture Adam and Eve (1936) to
Andreas Slominski's abysmal Traps, commissioned by the
Deutsche Guggenheim in 1998.
Tobias Rehberger, Tout pour les Femmes, 2001
Deutsche Bank Collection
In their relationship to
plastic works, drawing has long since ceased to fulfill the sole function
of recording ideas in sketch form, preparing for the leap into the
three-dimensionality of sculpture. More than any other medium, works on
paper document the processes of artistic production. They record notes,
fleeting ideas, and initial compositions, but are also their autonomous
visual elaboration. In the sixties, sculpture went through a
transformation from object to concept. Since
Minimal Art,
Conceptual Art, and Beuys’ concept of the
"Social Sculpture," two-dimensional works, texts, music,
performances, and even social interaction can be considered sculpture as
well.
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Louise Nevelson,
Maquette for Sun Disc/Moon Shadow V, 1976-78
Deutsche Bank Collection, © VG Bild-Kunst, Bonn 2006
With Dieter Roth ,
Richard Artschwager, and
Inge Mahn, the exhibition introduces artistic positions that have been
radically expanding sculpture’s radius of action since the sixties, while
Stephan Balkenhol, Olafur Eliasson
, and Neo Rauch are
present in Würzburg as representatives of the younger generation. "Dialog
Skulptur" also casts a keener look at sculptors represented in the
Collection of the City of Würzburg and in the
Ruppert Collection, which have been concentrating on Concrete Art in
Europe since 1945 – for instance
Hans Arp,
Erwin Heerich, and
Ulrich Rückriem. One of the show’s special highlights is
Maquette for Sun Disc/Moon Shadow V, a steel sculpture by the
important American sculptress
Louise Nevelson, who has traveled from New York to Germany for the
occasion.
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Hans Arp, Ein Nabel, aus "Merz 2.",
1923,
Deutsche Bank
Collection, © VG Bild-Kunst, Bonn 2006
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Since its founding, the Deutsche Bank Collection, the
largest corporate collection worldwide, has been concentrating mainly on
works on paper that are presented in bank buildings around the world and
in international museum exhibitions. "Dialog Skulptur" enables the viewer
to follow art’s investigation into the themes of space and physicality; at
the same time, it offers insight into a lively part of collecting history.
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Renée Sintenis, Daphne, 1930,
Deutsche Bank Collection, © VG Bild-Kunst, Bonn 2006
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Dialog Skulptur
May 20 – August 20, 2006
Museum im Kulturspeicher
Würzburg, Germany
Opening times:
Tues.
1 – 6 pm
Wed., Fri., Sat., Sun. 11 am – 6 pm
Thurs 11 am
– 7 pm
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