Dieter Roth actually acted anti-museum and refused any form of permanence, he questioned the prevailing concept of art. His work was, is, and remains disorderly, unauthoritarian, individualistic, chaotic, oppositional, and operates in all fields - not necessarily only on the marked terrains of art. Roth is averse to any kind of appropriation. And yet his once rebellious anti-art is exemplified in one of the most impressive private collections of its kind at the Weserburg, of all places.

After guest appearances at the museums of the China Academy of Art in Hangzhou, the China Central Academy of Fine Arts in Beijing, and the renowned Shanghai Art Museum, the exhibition "Farbraumkörper und Arbeiten auf Papier 1984-2004" (Color Space Bodies and Works on Paper 1984-2004) will also be shown at the Neues Museum Weserburg Bremen, where it was conceived, beginning March 5, 2006. Graubner's painting relies entirely on the mental illuminating power of colors. For Graubner, the painting represents an organism that emerges in the artistic condensation of color matter and, as the equivalent of the real, opens up the field of concentrated

Operating in different genres and with contrasting materials, including painting (action), sculpture, video, photography, drawing, text and spatial installation, eight artistic languages are presented. Each of the shown positions represents an artistic world draft in the colorfully rearranged rooms of the second floor, forms a coherent cosmos in itself, in which the respective artistic attitude can be expressed most intensively. In this way, a multifaceted play of the most contrasting artistic ways of speaking and forms unfolds on the exhibition's parcours.

The exhibition Jan Fabre - Le temps emprunté shows works by important photographers who immortalized the theatrical work of the Belgian artist in their pictures. They are accompanied by numerous drawings and sketches that Jan Fabre made during the development phase of his choreographies and plays. The path from the idea to the performance can thus be experienced in the exhibition as a multi-layered process.

Over a period of about two years, Jakob Mattner worked with astrophysicists at the Einstein Tower in Potsdam. Together they approached the aesthetic phenomena of their different images of the same object: the source of light and vision - the sun. The exhibition "Looking into the Sun" now presents the results of this impressive dialogue between art and science: imaginary and observed images of an insurmountable distance, the source of which is the staging of the artistic gaze on the one hand and the construction of scientific observation on the other.

The artists Gregor Schneider and Thomas Demand are represented in the Olbricht Collection with important works. Demand works with the medium of photography. He constructs spaces and situations, which have already been disseminated as images by newspapers or television, into precise scenarios of cardboard and paper, in order to finally photograph them once again. These photographs have something in common with Gregor Schneider's sculptures and spaces in that they equally suggest something that is not (yet) visible. In this way, the works of both artists become localizations of hunches, memories, and assumptions.

Gerhard Richter, one of the most important contemporary artists, is represented in the Böckmann Collection with an outstanding group of works. A selection of twenty works from the years 1960 to 2003 will henceforth form a new focal point in the Neues Museum Weserburg Bremen. Even at first glance, it becomes clear that Richter is a painter whose formal diversity surprises us time and again. In his oeuvre, "representational," "abstract," and "monochrome" pictorial approaches constantly alternate. This juxtaposition of different painterly approaches stands for a unique artistic attitude.

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