The Way We Are 2.0
The Way We Are 2.0 brings together on 2,500 square metres more than 180 works from more than 100 artists from various times and contexts in a wide-ranging investigation of content and form. Thematic spaces arise from such perspectives as artistic approaches to identity or traditions of landscape, a varied play with everyday life or aspects of urban life, the meaning of coincidence or of the body, minimalist tendencies or social resistance.
For example, Marie Lund’s sun-bleached curtain canvasses from 2017 are complemented by Hans Haacke’s Kondensationsboden (condensation cube) from 1971so as to achieve a generation-transcending insight into chance occurrence as an artistic producer. The combination of a photograph by Wim Wenders with Kaari Upson’s floor installation consisting of emptied Pepsi cans gives rise to a critical picture of the American Dream. The film Into A Space Of Love by Wu Tsang creates together with works by Yoan Capote, Abdoulaye Konaté or Kaucyila Brooke a questioning of human identity that is as topical as it is diverse. Or works by Braco Dimitrijević, Agnieszka Polska, Ahmet Ögüt and others play through forms of aesthetic objection from the 1970s to the present day – as in the case of Michael Sailstorfer, for example, who disassembles a police car and turns it into a drum kit.
At the same time, artists‘ spaces present the painterly work of Wade Guyton and the conceptual approach of Kapwani Kiwanga. At the end of June 2020, rooms by Mateo Maté and Jeff Wall will be added.
A further focus is the establishment of a permanent space for the work of Norbert Schwontkowski. Beginning in February 2020, the Weserburg will now offer a permanent and representative cross-section of the painterly and graphic oeuvre of this Bremen artist.
The exhibition format The Way We Are is designed as a multi-part series, which is brought to life once a year in an extensive variation. Works migrate from one thematic space to another, disappear for a certain time or make their first appearance. Constellations of works are shuffled; thematic assertions are reworked and artists’ spaces are installed. The result is an unexpected manner of reading contemporary art from the 1960s to today across all the media. It is fed by a large number of private collections, by our own holdings and by loans from artists.
The Way We Are 2.0 is curated by Ingo Clauß and Janneke de Vries.
Friday, February 14th at 19 p.m.
Ingo Clauß and Janneke de Vries, Curators of the exhibition
Im Anschluss feiern wir gemeinsam im TAU, dem benachbarten
Restaurant, bei Getränken, Chili und Musik.
Exhibition on floors 1 and 2
Carl Andre, Arman, Katja Aufleger, Monika Baer, Viktoria Binschtok, Louise Bourgeois, Ulla von Brandenburg, George Brecht, Kaucyila Brooke, Elina Brotherus, Sophie Calle, Yoan Capote, Anetta Mona Chişa & Lucia Tkáčová, Christo, Claudia Christoffel, Louisa Clement, Anne Collier, Andrea Crespo, Chris Curreri, Björn Dahlem, Thomas Demand, Braco Dimitrijević, Claire Fontaine, FORT, Robert Filliou, Bernard Frize, Patrycja German, Jochen Gerz, Rachel Goodyear, Henriette Grahnert, Katharina Grosse, Wade Guyton, Hans Haacke, Dan Halter, Raymond Hains, David Hepp, Georg Herold, Ane Mette Hol, Judith Hopf, Sabine Hornig, Marguerite Humeau, Leiko Ikemura, Christian Jankowski, Sven Johne, Donald Judd, Šejla Kamerić, Franziska Keller, Ellsworth Kelly, Felix Kiessling, Kapwani Kiwanga, Ola Kolehmainen, Abdoulaye Konaté, Karsten Konrad, Kitty Kraus, Alicja Kwade, Thomas Lehnerer, Simon Lewis, Thomas Locher, Richard Long, Marie Lund, Daniel Maier-Reimer, Achim Manz, Christian Marclay, Mateo Maté, Justin Matherly, Gordon Matta-Clark, John McCracken, Olaf Metzel, Horst Müller, Jussi Niva, Ahmet Ögüt, Catherine Opie, Tatsumi Orimoto, Peter Piller, Agnieszka Polska, Charlotte Posenenske, Puppies Puppies, Julian Röder, Reiner Ruthenbeck, Michael Sailstorfer, Takako Saito, Fred Sandback, Karin Sander, Norbert Schwontkowski, Richard Serra, Chiharu Shiota, Santiago Sierra & Julius von Bismarck, Daniel Spoerri, Walter Swennen, André Thomkins, Jean Tinguely, Barthélémy Toguo, Wu Tsang, Günter Umberg, Kaari Upson, Marianna Uutinen, Jorinde Voigt, Jeff Wall, Wim Wenders, Guido van der Werve, Stefan Wissel, Erwin Wurm, Nil Yalter und Tobias Zielony
Art Collection Telekom, Art’Us Collectors’ Collective, Nachlass Irmgard Gaertner-Fichtner, Sammlung Karl Gerstner, Sammlung Haus N, Sammlung Karin und Uwe Hollweg, Collection of R F Jefferies, Sammlung von Kelterborn, Sammlung Lafrenz, Miettinen Collection, Sammlung der Niedersächsischen Sparkassenstiftung, Sammlung Norddeutsche Landesbank, Sammlung Ridder, Sammlung Maria und Walter Schnepel, Sammlung Wolfgang Schoppmann, Sammlung Alexander Schröder, Sammlung Gaby und Wilhelm Schürmann, Sammlung Christian Kaspar Schwarm, Sammlung Brigitte und Udo Seinsoth, Sammlung Dominic und Cordula Sohst-Brennenstuhl, Spiegelberger Stiftung, Sammlung Reydan Weiss, Sammlung Weserburg Museum für moderne Kunst und Zentrum für Künstlerpublikationen, Sammlung Ivo Wessel as well as loans by various artists
Canada focus: Kapwani Kiwanga
With “Glow” and “Greenbook” the Weserburg presents two work groups by the Canadian artist Kapwani Kiwanga (born 1978 in Hamilton, Canada, lives in Paris). Her sculptures, made of black marble and lights, refer to New York’s “Lantern Law” of 1713. It required black or indigenous slaves to carry a lantern or to be accompanied when walking the streets after dark – a disturbingly sensual art.
The different sheets from the “Greenbook” series are from the 1961-edition of the Negro Motorist Green Book – a travel guide which appeared annually between 1936 and 1966 and listed places in the USA which were considered safe for colored motorists. Kiwanga deletes all names from the historical lists and reduces them to the addresses and states, thus revealing a navigation system which opposes the structural oppression of people of color with a self-determined, subversive alternative.
The presentation is part of the exhibition “The Way We Are 2.0”.
The project is part of Canada’s cultural programme as Guest of Honour at the Frankfurt Book Fair 2020 and is supported by the Canada Council for the Arts and the Government of Canada.
A cooperation project of the jazzahead! Festvials (April 17 – 26, 2020) with the partner country Canada. Further information: jazzahead.de
40,- Euro,- 60 minutes
60,- Euro, 90 minutes with practice part
There is an special guides tour developed for school classes. The tours can be booked in advance with a different detailed offer:
1. Ich, Du, Wir. Körper und Identität
2. Das Flüstern der Dinge. Alltag und Poesie in der Kunst
3. Landschaft im Blick. Stadt, Natur und andere Ansichten
4. Objekt oder Malerei? Gegenständlich oder abstrakt?
Admission for school classes and daycare centres is free. Guided tours can be booked at extra cost.
Registration is required.
For further informations and registration please contact 0421-59839-0, email@example.com