The handling and enduring of cultural and individual differences, of tradition and modernism is a fundamental theme of the exhibition. Examples of this are changing photographic identities of Cindy Sherman, exceedingly strange shapes by Charles Fréger, and the not only initially threatening figure of Mircea Suciu concealed in a burka. But also issues such as life and death, beauty and old-age resonate in a convincing manner in many of the works on display. Mat Collishaw's photographic series “Last Meal on Death Row” shows composed still lifes that turn out to be prisoners' final meals before execution. Manabu Yamanaka presents photographs of naked, extremely old women who have been deeply marked by life. Through his death portrait, Andres Serrano is able to convey insights into the normally closed-off area of pathology.This collection includes some surprises never seen before in northwestern Germany.
The large number of outstanding, in some cases abstract paintings is remarkable. If one examines the pictures a considerable cross-section emerges of what is relevant and valid as painting in the 20th and 21st centuries. In addition to works by Gerhard Richter and Anselm Kiefer, as well as by Jonas Burgert, Norbert Schwontkowski, and the Lebanese artist Etel Adnan, there are works by the Australian painter Warlimpirrnga Tjapaltjarri, who up to now is not so well-known in Europe. His works are hung coequally alongside those of Bernard Frize and Peter Halley; precisely in spite of their contextuality and direct connection to the aboriginal culture of Australia, they are able to assert themselves in juxtaposition to many works marked by the European-American tradition. In other words: Tjapaltjarri is not assigned any “ethnologically” influenced special status, but takes his place in this collection as an international artist alongside many others whose works are on display here.
The focus is repeatedly on the question of how the diversity, sometimes even the exclusivity of intellectual claims and manners of thinking can continue to exist alongside and among each other. Transferred into the sphere of art, this means: whether and in which way an interconnection between aesthetics and ethics exists and can be experienced in the work of art. It is a matter of learning processes within the framework of an international exchange which are relevant to a broader and younger audience. It is also a matter of attaining another and new perspective onto a world that to some extent has become unhinged, of revising fixed concepts, and of attaining one's own standpoint in the world, alongside and together with other persons.
Etel Adnan, Helene Appel, Emma Bennett, Bertozzi & Casoni, Nicole Bianchet, Jeremy Blake, Katharina Bosse, Ulla von Brandenburg, GL Brierley, Daniele Buetti, Jelena Bulajic, Jonas Burgert, Yoan Capote, Shen Chen, Patrick van Caeckenbergh, Mat Collishaw, Johan Creten, Tony Cragg, Keren Cytter, Nathalie Djurberg, Slawomir Elsner, Elger Esser, Inci Eviner, Paul Fägerskiöld, Famed, Claire Fontaine, Charles Fréger, Bernard Frize, Patrycja German, Rachel Goodyear, Paul Graham, Henriette Grahnert, Sigurdur Gudmundsson, Peter Halley, Dan Halter, Mark Handforth, Flora Hauser, Julie Heffernan, Evelyn Hofer, Linde Ivimey, Du Jie, Bharti Kher, Anselm Kiefer, Joanna Kirk, Ragnar Kjartansson, Imi Knoebel, Shio Kusaka, Alicja Kwade, Thomas Lerooy, Graham Little, Robert Longo, Rosa Loy, Rosilene Luduvico, Alastair Mackie, Kate MccGwire, Alex McQuilkin, Olaf Metzel, Marilyn Minter, Mohau Modisakeng, Jean-Luc Moerman, Yasumasa Morimura, Wangechi Mutu, Shirin Neshat, Julie Nord, Saskia Olde Wolbers, Jacco Olivier, Catherine Opie, Claire Partington, Elodie Pong, Shannon Plumb, Ged Quinn, Till Rabus, Bettina Rheims, Gerhard Richter, Daniela Rossell, Dennis Scholl, Thomas Schütte, Grace Schwindt, Norbert Schwontkowski, Sigga Björg Sigurðardóttir, Andres Serrano, Cindy Sherman, Laurie Simmons, Lorna Simpson, Andreas Slominski, Carolein Smit, Kiki Smith, Martina Steckholzer, Anett Stuth, Mircea Suciu, Warlimpirrnga Tjapaltjarri, Sandra Vàsques de la Horra, Nil Yalter, Manabu Yamanaka, Zhou Yangming, Young-Jae Lee.
With the generous support of the Waldemar Koch Stiftung and the Museumsfreunde Weserburg.
The media partner is Nordwestradio.
In its 25th year, the Weserburg is giving itself a present: With the Reydan Weiss Collection, Europe's first collectors' museum is enriching its already extensive partnerships with an illustrious collection of international contemporary art. Ever since 1991, important works of art from private collections have been displayed in the old warehouses on an island in the Weser River. Painting, sculpture, photography and video art from 1960 to today are on display on five floors. With their new discoveries, young collectors offer insights into current developments in art.
In the past as well, the Weserburg has received international attention for its special exhibitions conceived in Bremen. Among others, mention should be made of “Die Kunst und das schöne Ding” (1995) as well as “Minimal Maximal” (1998-2001), an exhibition that subsequently traveled to Spain, Japan, and Korea. Further highlights were “The Fondation Maeght” (2003), “Jörg Immendorff” (2007), “Farbe im Fluss” (2011), and most recently “Land in Sicht” (2015). Exhibition formats such as “Junge Sammlungen,” “Künstlerräume,” and “Meisterschüler der HfK” constantly expand and rejuvenate the ambitious program.
The Center for Artist Publications, also housed in the buildings, is an archive and research center. Its exhibitions present an internationally unique collection ranging from artist's books to radio art.
Further dates will be announced soon.
Information, registration and booking of guided tours:
Free Admission for School Classes
The offer is valid during the anniversary exhibition “I Prefer Life”. It has been made possible through the Waldemar Koch Foundation. Registration is required!
Gesprächszeit "2 nach 1"
Tuesday to Sunday 11:00 a.m.–6:00 p.m.
Thursday 11:00 a.m.–8:00 p.m.
Closed on Monday
Families (2 adults/4 children): €16.00
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