Ends of the Earth — Land Art to 1974
EXHIBITION 11.10.12 – 20.01.13
As the first major museum exhibition on Land Art, "Ends of the Earth" provides the most comprehensive historical overview of this art movement to date. Land Art used the earth as its material and the land as its medium, thereby creating works beyond the familiar spatial framework of the art system.
The exhibition presents nearly 200 works by more than 100 artists from all over the world. Even before the emergence of the movement in the 1960s, artists from the most varied locations around the globe were increasingly moved to use land as an artistic medium. In a basic sense, this also included the examination of the nature of the earth as a planet. Yves Klein, for instance, wondered what the earth looked like from space. In 1961, he transformed his vision that the dominant color from this perspective would be blue, and that all man-made boundaries could be overcome with this color, into his series "Planetary Reliefs."
The artists often worked under the open sky, making productive use of the fact that the great outdoors posed other conditions for a work's lifespan than enclosed spaces did. Some works only existed for the short time of their creation, like Judy Chicago's ephemeral works consisting of colored flames and smoke. For ten weeks, the cliffs along Little Bay, Sydney, were packed in synthetic fabric and rope for Christo and Jeanne-Claude's "Wrapped Coast – One Million Square Feet", which, like many other works of Land Art, was enormous in scale. Another famous work of similar proportions was "Spiral Jetty" by Robert Smithson; on the Great Salt Lake in Utah, USA, the artist built a 1,500-foot long spiral-shaped jetty made of material found on site.
Land Art artists were fascinated by remote locations like deserts or transported the conditions of specific places into exhibition spaces: The Japanese artist group "i" moved four truckloads of gravel on a conveyor belt into an exhibition space and arranged it into a pile there. Alice Aycock fills a minimalistic grid with wet clay. With "Hog Pasture: Survival Piece #1", not only will new material – in this case a green pasture – make on selected occasions its way into the museum but a live domestic pig as well, which will pasture on the meadow from time to time.
Language, film, and photography played a central role in Land Art's creation and development. Magazines and television stations commissioned art works and were the first to publish these. For eight consecutive days in October 1969, the WDR television network interrupted its regularly scheduled programs for a few seconds and presented the eight photographs of Keith Arnatt's "Self-Burial", which depicted the artist gradually sinking into the ground.
Following the presentation of Tinguely's self-destructing sculpture "Hommage à New York", the NBC television network commissioned the artist to create a work. In collaboration with Niki de Saint-Phalle, Tinguely made a large-scale kinetic sculpture out of waste that was used in choreographed explosions taking place south-west of Las Vegas near a nuclear test site.
Many other works touched on the subject of the “tortured earth", as Isamu Noguchi described it. The artists examined the wounds and scars that humans inflict on the planet earth, whether by the war machinery (Robert Barry, Isamu Noguchi), dictatorships (Artur Barrio), nuclear testing (Heinz Mack, Jean Tinguely, Adrian Piper) or colonization (Yitzhak Danziger). The media's intensive coverage of Land Art activities led to unusual and complex contributions. Receptive to Land Art's demand for a sensitive consciousness regarding the conditions of production, presentation and dissemination of art, they also gave expression to the technological, social and political conditions of the time. The time period covered in "Ends of the Earth" spans the 1960s to 1974, when, in the context of Land Art, movements such as Conceptual Art, Minimal Art, Happenings, Performance Art, and Arte povera, became more distinct and began to diverge.
The exhibition was organized in collaboration with the Museum of Contemporary Art in Los Angeles (MOCA).
Stretch your view
Stretch your view
Ends of the Earth — Land Art to 1974
With a foreword by Okwui Enwezor (Haus der Kunst) and Jeffrey Deitch (The Museum of Contemporary Art, Los Angeles). MORE
Ends of the Earth - DER SPIEGEL - Interview
Interview with curator Philipp Kaiser on the exhibition “Ends of the Earth – Land Art to 1974” MORE
Ends of the Earth and Back
Essay by Philipp Kaiser and Miwon Kwon "Ends of the Earth and Back" MORE
29.06 – 25.09.05
Robert Adams is one of the twentieth century's most style-defining photographers. For the past four decades he has documented the constant change of the persistently myth-laden American West from a natural to a cultural landscape. MORE
Cardiff & Miller — Works from the Goetz Collection
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
21.05.10 – 31.03.11
"Strampelde Bäumf/Mirrortrees" shows trees that have been torn from the earth by the roots, turned upside down and poured in concrete – trees toppled and kicking wildly, an image that reflects the story of Metzger's life. MORE
19.09.08 – 11.01.09
In his film "Opera Jawa" (2006) Indonesian director Garin Nugroho re-interprets the Indian national epic "Ramayana". Nugroho combines traditional forms of Gamelan music, rod-puppet theater, Javanese dance and song with contemporary choreography; the projection is staged as a theatrical installation in the central Middle Hall of the museum. 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
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
Resistance — Thought Pictures for the Future
11.12.93 – 20.02.94
"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
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. As the artist's first major retrospective, the exhibition presents all the major phases of his work. 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