Imi Knoebel — Retrospective 1968–1996
EXHIBITION 23.08 – 20.10.96
Born in 1940 in Dessau Imi Knoebel is one of the most important German painters of the generation after Joseph Beuys. Spanning three decades, Knoebel's work can be attributed to Minimalism, although the limited art-historical term cannot full express his variety of genres, the work's simultaneously geometric and gestural elements, and the richness of its colors and materials. As the artist's first major retrospective, the exhibition presents all the major phases of his work.
Knoebel's oeuvre is influenced by Russian avant-garde art, Neo-Constructivism and "monochromism". In the early 1960s at the school of applied arts in Darmstadt, Knoebel and his artist friend Rainer Giese (1942–1974) adopted the pseudonyms Imi, a mixture of a Dadaist logo and ironic pop gesture: the eponymous common East German laundry detergent – "a guarantee for uncompromising purity" – served the artist duo Imi + Imi as a motto for the radical claim of their artistic ideas.
In 1964 Knoebel entered Joseph Beuys's class at the Düsseldorf Art Academy. Knoebel’s notion of art, like that of his friends and fellow artists Gerhard Richter, Sigmar Polke, and Blinky Palermo, was influenced by the political optimism of the time. One of his first works was "Raum 19" (Room 19) (1968), named after his studio at the academy. This central work was a spatial installation made out of hardboard and stretchers, a kind of three-dimensional painting that contradicted the usual ideas of a painting and sculpture, and attested to Knoebel's interest in the production process and de-limitations of the painted image. Here, the idea of Kazimir Malevich's radically reduced pictorial language intersect with Beuys's procedural-sculptural ideas.
In the 1970s Knoebel disassociated himself from his earlier work's right-angled and primarily colorless purism. Furthermore, in search of a synthesis of all visual forces, he transcended genre boundaries between painting, sculpture, and spatial installations. His wall objects' polygonal color forms seem to float in a limitless pictorial space on the white wall. This, too, represents a continuation of ideas of the Russian avant-garde.
In "Genter Raum" (Room in Ghent) (1980) Knoebel combines the idea of "Room 19" with that of his free color form elements. Here, 461 colored and non-colored pieces of irregularly cut wood produce stacked and layered building blocks of a both complete and completing visual arrangement, and consolidate into a metaphor for "making art".
The 1980s were marked by an intense examination of the primary colors red, yellow, and blue, plus white. The artist's studio resembled a laboratory for color in which he explored the endless possibilities of their combinations with near-scientific precision. There was always room for free associations, which characterized the pastel colored portrait series of the 1990s. In the series dedicated to Grace Kelly, calculation and randomness, severity and tenderness join to create compositions of perfect beauty.
Stretch your view
Stretch your view
Gerhard Richter — Audioguide, 2009
The exhibition presented a comprehensive selection of Gerhard Richter’s abstract paintings that he created since the mid-1970s and that dominate his opus today. The audio guide provides descriptions of selected works in the exhibition, such as the work series "Cage" or the colorful painting "Claudius." MORE
10.02 – 01.05.00
Beauty was long not a category in modern art – fashion, advertising and mass media had claimed it for their own. In recent years, however, a return of beauty in contemporary art has been evident. MORE
27.02 – 17.05.09
For the first time this exhibition shows a comprehensive selection of Gerhard Richter's abstract paintings that he created since the mid-1970s and that dominate his opus today. These large format pictures usually form a series and testify to the artist's continued examination of the conditions of painting: its principles, limits and possibilities. MORE
Cardiff & Miller — Works from Sammlung Goetz
13.04 – 08.07.12
The exhibition presents eight works by the Canadian artist duo Janet Cardiff and George Bures Miller, who, by combining image and tone and replicated spaces, activate as many of the viewer's senses as possible in order to make the depicted events as real as possible. Cardiff/Miller participated in dOCUMENTA (13), 2012. MORE
10.01 – 11.02.97
Like Francis Bacon before him, Hughie O'Donoghue concentrates on the human body, its carnality, vulnerability and sensual power. MORE
The Second Face
14.02 – 27.04.97
As a collection of African sculpture, the Barbier-Mueller Collection documents the Dark Continent in all its creative richness as hardly any other museum does. MORE
"The world is too dangerous for anything that is not utopia." – Buckminster Fuller MORE
24.10.97 – 18.01.98
Julião Sarmento is regarded as one of the most important contemporary Portuguese artists. With close to 80 paintings, the exhibition at Haus der Kunst offers an overview of his work to date. MORE
15.05 – 27.06.99
On the occasion of poet Johann Wolfgang von Goethe's 250th birthday in 1998, the photographer Ute Klophaus walked around Weimar in the poet's tracks and created a portrait of the city. MORE
Made in Munich
21.11.08 – 22.02.09
Since the beginning of the 1970s, Munich along with New York and London, was leading with regards to editions and multiples. The exhibition shows works from 1968 to today, which were initiated and produced by a.o. dedicated Munich galleries and "editeurs". MORE
Sigmar Polke — Bulletproof Holidays
17.11.95 – 21.01.96
To coincide with the publication of "Süddeutsche Zeitung Magazin" issue No. 46, Haus der Kunst presented the original works on paper from the photo story, supplementing them with recent works on paper. MORE
Jenny Holzer. Where women are dying, I am wide awake.
16.11 – 12.12.93
Haus der Kunst presents the works on paper from the series "Where Women Are Dying I Am Wide Awake" by the American conceptual artist created for edition No. 46 of "Süddeutsche Zeitung Magazin". MORE
02.12.00 – 18.03.01
Under the ambiguous title "Hand-Work", the exhibition focuses on the part the hand plays in painting and sculpture. MORE
08.12.00 – 18.02.01
The works of the American artist Robert Ryman belong to classic twentieth-century painting. With spaces by Ariane Epars, Clay Ketter, Albert Weis, and Beat Zoderer MORE
09.03 – 27.05.01
The exhibition is a overview of the work of the artist and anti-artist, the revolutionary and traditionalist, the enfant terrible of the middle class and the petty bourgeois Kurt Schwitters. MORE
14.06 – 16.09.01
The exhibition in Haus der Kunst, which includes close to 100 paintings, pastels, watercolors and photographs, focuses on Sean Scully's work from the 1990s. MORE
28.03 – 23.06.02
People learn through stories, define themselves through stories and think in stories. Telling stories through pictures has been one of art's most important tasks for centuries. MORE
21.06 – 22.09.02
Jana Sterbak's objects prevail in the intersection of installation, performance, video and film. Haus der Kunst is staging a retrospective of Jana Sterbak's works created between 1974 and 2001. MORE
15.12.00 – 04.03.01
With the exhibition title "La Plante en Nous – The Plant Within Us", borrowed from Carlos Castaneda, the Belgian artist Michel François alludes to Castaneda's experiences with mind-altering hallucinogens. MORE
Neo Rauch — Randgebiet
16.03 – 27.05.01
The exhibition – named after an eponymous work from 1999 – unites about 40 major works from the seven years preceding the exhibition, thereby providing an overview of Rauch's artistic oeuvre for the first time. MORE