Pre­view 2017

This is our pre­view of the pro­gram for 2017.


Ger­hard Richter:
New Paint­ings

02/09/2017 - 05/01/2017

For over fif­ty years, Ger­hard Richter has worked on a daz­zling re­ne­w­al of paint­ing. The wide-rang­ing oeu­vre of­per­haps the most fa­mous artist of our time pre­sents a fas­ci­nat­ing ten­sion be­tween fig­u­ra­tion and ab­s­trac­tion, sig­ni­f­i­can­ceand ba­nal­i­ty. Since the late 1970s, ab­s­tract pic­tures have­dom­i­nat­ed Richter’s work.This ex­hi­bi­tion fea­tures new paint­in­gs cre­at­ed in 2016. Along­side the ex­hi­bi­tion, pi­oneer­ing works by Ger­hard Richter­from the col­lec­tion of the Mu­se­um Lud­wig will be pre­sent­ed in the per­ma­nent ex­hi­bi­tion.


Ot­to Fre­undlich:
Cos­mic Com­mu­nism

02/18/2017 - 05/14/2017

He is one of the most orig­i­nal ab­s­tract artists of the twen­ti­eth cen­tu­ry. Near­ly for­ty years af­ter his last ret­ro­spec­tive with a ca­t­a­logue rai­son­né, the Mu­se­um Lud­wig is pre­sent­ing the work of the sculp­tor and pain­ter Ot­to Fre­undlich. Fre­undlich came to ab­s­trac­tion through the ap­plied arts. In car­pets, mo­saics, and stained-glass win­dows, he took up a col­lec­tive art of the past and brought it in­to the fu­ture. He al­ways linked the col­ors and move­ments he de­vel­oped in his work toa larg­er con­text. The com­mu­nism for which he fought sought to abol­ish all boun­daries. While the art world elite paid their re­spects to him in 1938, the Nazis de­nounced him in their “En­tartete Kunst (“de­gen­er­ate art”) ex­hi­bi­tion. In 1943 Fre­undlich was mur­dered in a con­cen­tra­tion camp. Many of his works were de­stroyed. His sculp­tures and mo­saics as well as his lu­mi­nous paint­in­gs and gouach­es now gathered in the ex­hi­bi­tion are thus all the more im­pres­sive.


2017 Wolf­gang Hahn Prize: Tr­isha Don­nel­ly

04/25/2017 - 07/30/2017

In 2017 the Ge­sellschaft für Mod­erne Kunst will award the Wolf­gang Hahn Prize to Tr­isha Don­nel­ly in hon­or of her pi­oneer­ing oeu­vre. In her videos, draw­in­gs, sculp­tures, sound in­s­tal­la­tions, and per­for­mances, Don­nel­ly re­peat­ed­ly ex­plores the con­cept of the art­work to­day. She up­ends as­so­ci­at­ed mean­in­gs, plays with con­text, and with­draws her works from view. Vis­i­tors must thus re­ly on their own per­cep­tion and aes­thet­ic judge­ment.


at Mu­se­um Lud­wig:
Ree­na Spaul­ings

06/03/2017 - 08/27/2017

Since 2004 Ree­na Spaul­in­gs has ap­peared as an artist, gal­lerist, and lit­erary char­ac­ter. The roles in which she – and the artist col­lec­tive be­hind her name – acts are in­ter­twined. With this strat­e­gy, Spaul­in­gs un­der­mines the art sys­tem’s di­vi­sion of la­bor and blurs con­ven­tio­n­al hi­erarchies. Her work­ing method in­volves an en­gage­ment with vari­ous as­pects (in­sti­tu­tio­n­al and eco­nom­ic, but above all art-his­tor­i­cal, lit­erary, and pop-cul­tu­r­al) as­so­ci­at­ed with the lo­ca­tion and time of each ex­hi­bi­tion. This is the foun­da­tion from which she de­vel­ops the top­ics of her works and ex­plores un­dog­mat­ic forms of pre­sen­ta­tion.


Bring Art In­to Life!
The Col­lec­tor Wolf­gang Hahn and the 60s

06/24/2017 - 09/24/2017

In the 1960s the Rhine­land was an im­por­tant cen­ter of a rev­o­lu­tio­nary de­vel­op­ment in art: a new, in­ter­na­tio­n­al­ly con­nect­ed gen­er­a­tion of artists re­belled against tra­di­tio­n­al art. They used ev­ery­day life as a source of in­spi­ra­tion and ev­ery­day ob­jects as the ma­te­rials for their works. They went out in­to the ur­ban en­vi­ron­ment. They broke down the boun­daries of art dis­ci­p­lines and worked with mu­si­cians, writ­ers, film­mak­ers, and dancers. At the epi­cen­ter of this exc­it­ing time, the Cologne re­s­tor­er Wolf­gang Hahn (1924–1987) be­gan to ac­quire new art­works and as­sem­ble them in­to a mul­ti­lay­ered col­lec­tion with ex­am­ples of Nou­veau Réal­isme, Fluxus, Hap­pen­in­gs, Pop Art, and Con­cep­tu­al Art.


Wern­er Mantz:
Ar­chi­tec­tures and Peo­ple

10/14/2017 – 01/21/2018

He is known as a pho­to­g­ra­pher of the Neues Bauen move­ment of mod­er­nist ar­chi­tec­ture in Ger­many: while Wil­helm Riphah­nand other ar­chi­tects car­ried out Kon­rad Ade­nauer’s hous­ing pol­i­cy as part of the mod­ern­iza­tion of Cologne, Wern­er Mantz (1901–1983) was com­mis­sioned to pho­to­graph their build­in­gs. In their black-and-white aus­ter­i­ty, the de­sert­ed build­in­gs, rooms, and streets in his pic­tures seem like a scen­ery and monu­men­tal. It was th­ese im­ages that made Cologne’s mod­er­nist ar­chi­tec­ture renowned be­yond the boun­daries of the ci­ty.


James Rosen­quist:
Paint­ing as Im­mer­sion

11/18/2017 – 03/04/2018

In a ma­jor ex­hi­bi­tion by James Rosen­quist (*1933), for the first time ev­er the Mu­se­um Lud­wig will pre­sent works by this renowned rep­re­sen­ta­tive of Amer­i­can Pop Art in the con­text of their cul­tu­r­al, so­cial, and po­lit­i­cal di­men­sions. Along with archive ma­te­rials and doc­u­ments de­sig­nat­ed by the artist as source ma­te­rials, some of which have not pre­vi­ous­ly been ex­hi­b­it­ed, the show will re­veal a his­tor­i­cal cos­mos. Af­ter all, James Rosen­quist’s com­po­si­tions are to a large ex­tent the re­sult of his marked in­ter­est in the po­lit­i­cal events of his time.