Wade Guyton, Untitled, 2019
Exhibition | 29.03.2019 - 4.01.2020

The Way We Are 1.0

Starting at the end of March 2019, the collection presentation “The Way We Are 1.0” will be featured on two floors constituting more than half of the overall exhibition space of the Weserburg. The exhibition includes works from a large number of collections, some of which have enjoyed a long association with the institution while others are new additions; also on display will be works from the Weserburg’s own collection as well as loans by artists who will be participating in a show at the Weserburg for the first time. The Way We Are 1.0 investigates more than one hundred and forty works by eighty artists from various contexts and times with regard to both their contents and their form. This focus gives rise to a succession of spaces which identify the thread connecting works of art from the 1960s all the way to today and which approach the themes of these works from various perspectives. The exhibition tracks down images of nature or special aspects of daily life; it explores such themes as the body, time or memory; it turns its attention to urban spaces or characteristics of language; and it presents fundamental positions of painterly abstraction or minimalist formal language.
Agnieszka Polska, What the Sun has Seen, 2017, Miettinen Collection (Videostill)
Agnieszka Polska, What the Sun has Seen, 2017, Miettinen Collection (Videostill)

For example, Daniel Spoerri imbues everyday objects such as beer bottles and ashtrays with an energy that is both mysterious and humorous. The artistic duo FORT discovers magical, even uncanny aspects in apparently banal situations, while Peter Piller offers a graphic rendition of the laconic element in a typical day at the office. In 1961, Raymond Hains recognizes the painterly potential in walls of posters; in 2013, Klara Liden comes up with a contemporary response. Or Richard Long goes out into nature and stacks the material he finds there into energized circular shapes, while Olafur Eliasson uses a spotlight to stage an indoor sunrise or sunset, Till Krause draws charts of his conceptual walks, and Elina Brotherus bumps up against romantic landscape depictions.

Kitty Kraus, Ohne Titel, 2005-2009, Sammlung Lafrenz, Courtesy Galerie Neu
Kitty Kraus, Ohne Titel, 2005-2009, Sammlung Lafrenz, Courtesy Galerie Neu

Avant-gardist movements such as Fluxus, Réalisme, Concrete Art, Sound, Minimal Art and Conceptual Art, for all of which the Weserburg has long been known, will continue to constitute central focuses in the future. They will be expanded by groups of works and important individual works by artists with national and international reputations, as well as by surprising new discoveries which trace the path from the 1980s and 1990s into the immediate present. Moreover, the diverse thematic statements will be augmented by two concentrated spaces dedicated to Wolfgang Tillmans and Mariana Vassileva. 

Olafur Eliasson, Yellow Door Semicircle, 2008, Erling Kagge Collection, Foto: Astrup Fearnley Museum © Olafur Eliasson, courtesy the artist and Neugerriemschneider, Berlin
Olafur Eliasson, Yellow Door Semicircle, 2008, Erling Kagge Collection, Foto: Astrup Fearnley Museum © Olafur Eliasson, courtesy the artist and Neugerriemschneider, Berlin

Artists

Etel Adnan, Carl Andre, Arman, Robert Barry, Ross Bleckner, Christian Boltanski, Viktoria Binschtok, Louise Bourgeois, Ulla von Brandenburg, George Brecht, Elina Brotherus, Erik Bünger, Peggy Buth, Anetta Mona Chisa & Lucia Tkacova, Christo, Chris Curreri, Die Tödliche Doris, Peter Doig, Henrik Eiben, Olafur Eliasson, Robert Filliou, Berta Fischer, Urs Fischer, Ceal Floyer, FORT, Dani Gal, Isa Genzken, Liam Gillick, Katharina Grosse, Wade Guyton, Hans Haacke, Raymond Hains, Ane Mette Hol, Judith Hopf, Rebecca Horn, Leiko Ikemura, Sergej Jensen, Donald Judd, Šejla Kamerić, Emese Kazár, Ellsworth Kelly, Myong-Hee Ki, Willi Kopf, Kitty Kraus, Till Krause, Adriana Lara, Thomas Lehnerer, Klara Lidén, Richard Long, Christian Marclay, Achim Manz, John McCracken, Tracey Moffatt, Horst Müller, Henrike Naumann, Hermann Nitsch, Giulio Paolini, Giuseppe Penone, Peter Piller, Agnieszka Polska, Larry Poons, Charlotte Posenenske, Margaret Loy Pula, James Reineking, Daniel Rossi, Dieter Roth, Reiner Ruthenbeck, Takako Saito, Karin Sander, Chiharu Shiota, Florian Slotawa, Kathrin Sonntag, Daniel Spoerri, Fiete Stolte, Hiroshi Sugito, Wolfgang Tillmans, Jan Timme, Jean Tinguely, Barthélémy Toguo, Marianna Uutinen, Mariana Vassileva, Jorinde Voigt, Corinne Wasmuht

Participating Collections

Art’Us Collectors’ Collective (neu), Sammlung Böckmann, Nachlass Irmgard Gaertner-Fichtner, Sammlung Gerstner, Kagge Collection (neu), Sammlung von Kelterborn, Sammlung Lafrenz, Miettinen Collection, Sammlung der Niedersächsischen Sparkassenstiftung, Sammlung Norddeutsche Landesbank, Sammlung Volker Schmidt, Sammlung Maria und Walter Schnepel, Sammlung Christian Kaspar Schwarm, Sammlung Sohst-Brennenstuhl, Sammlung Reydan Weiss, Sammlung Weserburg Museum für moderne Kunst, Sammlung Ivo Wessel, Sammlung Zentrum für Künstlerpublikationen as well as loans by various artists.

A Serial Exhibition Format

The exhibition format of The Way We Are 1.0 is structured as a multipartite series. One time each year, a variation and replacement of individual works or entire rooms will facilitate new readings of the overall presentation and thereby maintain its vitality over the long term. Some works will acquire new neighbors, disappear for a while or reemerge to view. The Way We Are 1.0 constitutes a new conceptual orientation for the Weserburg I Museum for Modern Art and simultaneously sets the tone for what will, in the future as well, fundamentally characterize the structure and work of this institution as Europe’s first collectors’ museum: a close partnership between private and corporate collections.


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Friday, March 29th at 7pm. Admission is free.

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