Slavs and Tatars, Friendship of Nations – Polish Shi’ite Showbiz , 2011 (Detail), Sammlung Christian Kaspar Schwarm, Foto: Wolfgang Stahr
Exhibition | 22.09.2017 - 17.02.2018

Young Collections 04

The Vague Space. Sammlung Christian Kaspar Schwarm
Christian Kaspar Schwarm is a strategy consultant and co-founder of the online platform "Independent Collectors." His constantly growing and freshly contoured collection consists primarily of young international art from thinkers outside the box. Upon reading the names of the artists who up to now have found a place in the collection of the Berlin resident-by-choice, one discovers media-transcending positions with high political and intellectual aspirations. At the same time, there are installations and video works filling entire rooms and directly impacting upon the senses. Schwarm considers the collection of art and his constant exchanges with artists above all as an experiential resource and an opportunity to expand his understanding of the world. This already resonates in the title of the exhibition: in a figurative sense, The Vague Space means a still undefined space which must be conquered and filled with questions by opening oneself with openness and curiosity to the art that is being presented. Within the exhibition, the visitor can linger in an area into which selected volumes from the interdisciplinary library of the collector have been integrated. They not only convey insights into the world view of the collector and his sphere of interests, but also establish cross-references to the artworks on display.
Slavs and Tatars, Friendship of Nations – Polish Shi’ite Showbiz (2011), Detail, Sammlung Christian Kaspar Schwarm, Foto: Wolfgang Stahr
Slavs and Tatars, Friendship of Nations – Polish Shi’ite Showbiz (2011), Detail, Sammlung Christian Kaspar Schwarm, Foto: Wolfgang Stahr

In the central space of the exhibition the visitor encounters an impressive reception from "Slavs and Tatars" where they introduce to the museum colorful banners with disturbing political messages; their patterns are reminiscent of Muslim rugs and quote Arabic lettering. Already through this context, the work "Friendship of Nations - Polish Shi’ite Showbiz" proves to be up-to-date and politically relevant. Among other things, it stages the surprising connection between the Polish Solidarity movement of the 1980s and 1990s and the Iranian Revolution. Mythological figures become emblems of the union; political slogans switch language and referentiality—political art reconceived.

Peter Piller, Umschläge #26, 2011/2012, Sammlung Christian Kaspar Schwarm, Foto: Wolfgang Stahr, © VG Bild-Kunst, Bonn 2017
Peter Piller, Umschläge #26, 2011/2012, Sammlung Christian Kaspar Schwarm, Foto: Wolfgang Stahr, © VG Bild-Kunst, Bonn 2017

Peter Piller’s photographic series, on the other hand, is a result from an archiving of items from everyday life. Among other things, he combines found images with constantly recurring motifs which seem strange through the systematic registration of their normalcy and familiarity. Whether it is Schießende Mädchen or Bauerwartungsflächen (shooting girls or expected development areas): fascination arises from the artistically motivated agglomeration of these basically banal, sometimes oppressive motifs that can occasionally even cause laughter.

In an impressive three-channel video, Mario Pfeifer shows images and scenes from Patagonia. The past and present of the Yaghan tribe that lives there constitute the basis for this work. Tradition and modernity, technologization and colonial heritage are ushered into experience through fascinating pictorial sequences repeatedly accompanied by electronic music.

Mario Pfeifer, Approximation in the digital age to a humanity condemned to disappear, 2014-2015 © VG Bild-Kunst Bonn, 2017, Sammlung Christian Kaspar Schwarm
Mario Pfeifer, Approximation in the digital age to a humanity condemned to disappear, 2014-2015 © VG Bild-Kunst Bonn, 2017, Sammlung Christian Kaspar Schwarm

In addition to her large-format textual work War Porn, with Some Strange Birds and All the World’s Fighter Planes Fiona Banner brings into the museum the names and illustrations of fighter jets from all around the world. The artistic-analytical appropriation becomes the taking of a critical inventory.

David Horvitz, Mail Nothing to the Tate Modern (2010), Sammlung Christian Kaspar Schwarm, Foto: Wolfgang Stahr
David Horvitz, Mail Nothing to the Tate Modern (2010), Sammlung Christian Kaspar Schwarm, Foto: Wolfgang Stahr

Although Christian Kaspar Schwarm is presenting his collection to a broader audience for the first time, he has a skeptical attitude towards the traditional form of collecting art, which in his opinion is in need of revision. With the presentation in Bremen, he endeavors to allow visitors to experience this perspective in a striking manner. At the same time, The Vague Space is intended to provide impulses and create the foundation for a new discussion about the collecting of contemporary art and thereby about the identity of the collectors’ museum in the future.

"For me, the world of art has opened up horizons and possibilities that extend far past the act of purchasing and owning works of art. What I actually collect: unexpected encounters, foreign places, perplexing moments, enduring friendships, sudden and gradual insights, growing knowledge, ongoing confrontations." Christian Kaspar Schwarm

Participating Artists

Fiona Banner, Beni Bischof, Nina Canell, Marcel van Eeden, Tom Ellis, Guan Xiao, Diango Hernández, David Horvitz, Jonathan Monk, Mario Pfeifer, Peter Piller, Karin Sander, Slavs and Tatars, Michael E. Smith, Simon Starling, Fiete Stolte, Lukas Stopczynski und Haegue Yang. 

With generous support from the BLB and the Museumsfreunde Weserburg

New Exhibition Format

In 2014 with the series “Young Collections,” the Weserburg initiated a new exhibition format. On display are art works from a young private collection which up to now have not been shown in this form to the public. The museum allows its visitors to participate in real-time trends in international art and its complex relationship to the present. Now in the very process of being created, these collections guarantee the Weserburg the chance to convey exciting insights into the impulses animating a younger generation. At the same time, as a "collectors’ museum," the institution is providing itself with a new profile for the future. The first flourishing of this promising sequence came in 2014 with the Hamburg collection of Dominic und Cordula Sohst-Brennenstuhl with the exhibition "Young Collections 01,"  followed by the Collection von Kelterborn from Frankfurt am Main with "Young Collections 02. Komm und Sieh" and the Berlin collector Ivo Wessel mit "Young Collections 03. Der Raum zwischen den Personen kann die Decke tragen."


Eröffnung

22. September 2017, 19 Uhr.
Der Sammler wie auch mehrere Künstlerinnen und Künstler der Ausstellung sind anwesend.

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