The exhibition covers more than one hundred years of art from the Netherlands. It starts with the De Stijl movement from the beginning of the twentieth century, along with the same-named periodical of Theo van Doesburg, which was dedicated to the renewal not only of art, but also of architecture, design, typography, and poetry. The concluding focus is on Boekie Woekie – bookstore run by artists and publishers Jan Voss, Henriette van Egten and Rúna Thorkelsdóttir in Amsterdam – which can already be considered to be legendary. The majority of the exhibited works are part of the Brokken Zijp Foundation of Art (BFA).

The collective exhibition Lacuna - inside a dumpling takes the production of dumplings as its central point of departure. Like the empty space surrounded by a dumpling, the project itself also functions as a lacuna. It offers a site for encounters that will become filled with narrations, animations, ceramics and objects. Beginning at noon on four Sundays during the exhibition period, the artists will activate this space with workshops and performances while simultaneously serving freshly prepared dumplings from different regions.

The Swiss artist Hannah Villiger (1951-1997) was a trained sculptor who used the Polaroid camera to cartographically scan her own body and her immediate spatial surroundings, examining them for their sculptural qualities in large-scale image formats and expansive blocks. In her work, questioning of one’s own being by means of body, nature or urban architecture meets the experimental mixing of classical genres. Using these themes, her work formulates a clarity, a courage, and a poetry that are more relevant today than ever.

With a total of over 200 works by 100 artists and groups from different times and contexts, there are plenty of discoveries to be made in the collection exhibition The Way We Are. Thematic areas extending over 2,500 square meters formulate a multiplicity of different statements from the 1960s to the present day.

The Weserburg Museum für moderne Kunst is presenting the first institutional solo exhibition of Kay Rosen in Europe. Ever since the 1970s, the American artist (*1943 in Corpus Christi, Texas; lives in New York City and Gary, Indiana) has been using language as artistic material. She is internationally known above all for wall works which render individual words, sentences or series of letters, often in massive dimensions. Coming together here in an impressive manner are minimalist form, aesthetic impact and intelligent contents.