Markus Sixay gives particularly tangible expression to what is almost always the primary focus of life today; he fills a space with American dollar bills. This heap of money awakens in the viewer a desire to touch it or, just like Uncle Scrooge, to dive right into it. But in ironical exaggeration, it simultaneously emphasizes that wealth consists only of paper and requires a good bit of imagination in order to appear glamorous especially since, upon closer inspection, the bills turn out to be artistic counterfeits.
Gregor Gaida brings three dogs into the museum. His lifelike sculptures are disturbing at a first glance. They render the size, physical characteristics and movement of the animals with naturalistic precision but simultaneously, through divided sections and incomplete limbs, undermine the viewer’s expectations. It takes a few minutes to realize how the sculptures impart dynamism to the act of observation and direct attention to both their material nature and the process of creation.
A direct contrast is offered by the works of the British artist Fiona Banner. Ever since the 1990s in various contexts and groups of works, she has repeatedly made reference to literary texts, films and historical constellations in particular. Form and material, object and language, surface and visual character are thereby brought into fascinating relationship with each other. On display at the Weserburg, for example, are a larger-than-life drawing of Marlon Brando in his role as Colonel Kurtz in “Apocalypse Now” and the shape of a fighter plane as a work in neon light.
A further space is dedicated to the recently deceased artist Reiner Ruthenbeck. His sculptures are reduced to essentials and are often related to the space around them; they achieve an entirely individual status even if, in their conceptual severity and material composition, they are near to Minimal Art and Arte Povera. A group of early works including “Hängende Glasplatte 1” and “Weißes Banddreick und Metallstab” conducts a fascinating investigation of fundamental aspects of sculptural work and gives striking proof of the relevance and ongoing contemporaneity of Ruthenbeck’s artistic oeuvre.
The space of Secundino Hernàndez offers a new painting created for the exhibition at the Weserburg. The Spanish artist works on large surfaces but handles the paintbrush delicately. Whereas his works from the early 2010s evince vivid effects of coloration and an almost dialogical proximity to models such as Albert Oehlen, his most recent works are stagings of reduced abstraction in shades of white, black and gray.
Eröffnet werden die Künstlerräume 2017 zusammen mit der Ausstellung "Dreamaholic. Kunst aus Finnland. Miettinen Collection" am Freitag, 3. Februar, um 19 Uhr.
Tuesday to Sunday 11:00 a.m.–6:00 p.m.
Thursday 11:00 a.m.–8:00 p.m.
Closed on Monday
Families (2 adults/4 children): €16.00
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