2017 Pro­gram

Th­ese are our up­com­ing ex­hi­bi­tions in 2017.

Find out all about our pre­vi­ous ex­hi­bi­tions here.

Ex­hi­bi­tion

The Hu­mane Cam­era
Hein­rich Böll and Pho­tog­ra­phy

9/1/2017–1/7/2018

On the cen­te­nary of Hein­rich Böll’s birth, the Mu­se­um Lud­wig will ex­amine Boll’s re­la­tion­ship to pho­tog­ra­phy. The mu­se­um’s col­lec­tion in­cludes nu­mer­ous works that ei­ther show Böll or with which he was fa­miliar. His texts ap­peared in pho­tog­ra­phy books, and he him­self was al­so a sought-af­ter sub­ject for pho­to­g­ra­phers. Dur­ing his life­time, two vol­umes of por­traits of him pho­to­graphed by Heinz Held, among others, were pub­lished. In 1964 he wrote the text “The Hu­mane Cam­era,” in which he for­mu­lates a “mo­ral­i­ty of pho­tog­ra­phy."

Ex­hi­bi­tion

Wern­er Mantz:
Ar­chi­tec­tures and Peo­ple

10/14/2017–1/21/2018

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, F-111 (detail), installation view from Leo Castelli Gallery (1965), 1964–65, Museum of Modern Art, New York Oil on canvas und aluminum, 304.8 x 2621.3 cm, © VG Bild-Kunst, Bonn, 2017, Photo: Studio Rosenquist

Ex­hi­bi­tion

James Rosen­quist:
Paint­ing as Im­mer­sion

11/18/2017–3/4/2018

In a ma­jor ex­hi­bi­tion by James Rosen­quist (1933–2017), 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.