Jörg Immendorff, Der Maleraffe (Dogmatiker), 1990
Exhibition | 13.06.2007 EXTENDED UNTIL 30.12.2007

Jörg Immendorff

Works from Bremen Collections and Sculptures in Public Space
As we were beginning to realize this exhibition, on Whit Monday, May 28, 2007, we received the news. Jörg Immendorff has died. Jörg Immendorff is dead. No longer among us. A shock. Despite having been aware of the situation. One wants to follow him. “I won’t tolerate your leaving me alone.” A sentence that echoes. Now we are alone. Immendorff is gone. He leaves a gaping hole behind. An abysmal chasm. A deep space. The space of art that gets down to the business of reality. It has to be refilled. The game goes on. And not without him. His presence was so powerful that he remains. At present. And in his works, and beyond. Alive. Glowing . . .

The exhibition project at the Weserburg—it is now unintentionally the first posthumous presentation of these works—had been planned for a long time. An agreement was made between the Weserburg and two private collections, both closely associated with the museum but who wish to remain unnamed, to arrange a comprehensive exhibition in Bremen of the works by Jörg Immendorff in their possession. The background of this idea was the dream of placing a large sculpture by Immendorff in Bremen’s public space and taking this outstanding occasion to accompany it with a comprehensive exhibition. This dream has now become reality. On permanent loan, a large Affentor (Monkey Gate) by Jörg Immendorff will be placed in front of the Sparkasse Bremen, Am Brill, in the immediate vicinity of the Weserburg. In addition, another of the artist’s sculptures will be positioned in the areaway of the train station for the duration of the exhibition. Bremen once again shows that art in public space is afforded a great deal of importance in this city.

With drawings, paintings, and sculptures from private Bremen collections, the exhibition at the Weserburg presents Immendorff as an artist who like hardly another kept awake the dream of the transmutability of the world in his art. Jörg Immendorff sought the public, which he understood as a discussion forum, as a site for criticism, in everything he did. The artist battled for art with overwhelming energy—even during the years of his grave illness—and steadfastly believed in its power to continue to follow humanity’s dream of another world. His territory was art as an alternative concept to everything that existed, and he staked off his territory time and again using an inexhaustible wealth of forms. The project in Bremen honors one of the great artists of our time.

The setting up of the sculptures, the exhibition in the Weserburg, and the accompanying catalogue were significantly supported by the Senator of Culture of the Free Hanseatic City of Bremen, the Sparkasse Bremen, and the Stiftung Wohnliche Stadt.

The exhibition is being generously funded by the Sparkasse Bremen, the Stiftung Wohnliche Stadt, and the Senator of Culture.


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