Permanent Exhibition Urban History

The urban history exhibition showcases the political and economic path of Offenburg from the 1848 Revolution to the economic miracle of the 1950s and 60s.

With the beginning of the 1848 Revolution, the urban history exhibition also starts, taking the visitor through the times of upheaval and change in Offenburg and the region.

At the beginning of the 19th century, Offenburg is a small town with just under 2,400 inhabitants. 170 years later, there are already 33,000 citizens. During this period, the city experiences industrialization, two revolutions, three wars, two inflations, emigration and immigration, dictatorship, and democratic new beginnings.

Four main themes are focused on:

• History of democracy

• Migration

• Mobility

• Economic history

The exhibition showcases the political and economic path of Offenburg into modernity, from the 1848 Revolution to the economic miracle of the 1950s and 60s. It combines treasures from the collections with modern media and playful elements, such as an animation on emigration to North America, audio stations, and film sequences.



Photo: Karl Schlessmann

Closed on Mondays
Tue-Sun 10 am - 5 pm

Permanent Exhibition Nature and Geology

The sensory, colorful, exciting, and informative family exhibition awakens interest in nature in our surroundings and is a space for exploration for visitors both big and small.

Nature

In the natural history section, questions like "Is the deer the female of the stag?", "Why do birds have beaks?", or "Do ducks get cold feet?" are answered vividly and in detail. The exhibition welcomes its visitors in the large, atmospheric attic with open landscape scenarios on the themes of forest, land, and river.

A huge maple tree in autumn colors seems to grow out of the wall and overlooks the detailed forest landscape. Here, you can find animals such as badgers, deer, the shy wildcat, and a variety of forest birds.

The meadow also offers numerous discoveries: the hawk peeks through the grass, you can find crawling creatures under the stone, and even the mole has found its spot.

The river landscape is populated by local fish, mussels, and crabs, with ducks and other birds comfortably settled along the shore.

A large number of hands-on stations, games, and experiments invite participation: for instance, you can listen to bird songs, feel fur, or examine snail shells under a magnifying glass. If you're curious about how stuffed animals are made, you can learn about it at the taxidermist's worktable. You can relax and browse through a colorful selection of children's books in the cozy moss bed while listening to various forest sounds or just unwind.

Geology

In the geological section at the very top under the museum's roof, questions like "Can rocks glow?", "Is a pencil made of lead?", or "Is there a silver treasure in the Black Forest?" are answered vividly and in detail here as well.

Is time travel even possible? Yes, with us! With the time machine, you can journey to different geological eras. You step in, choose an era, and zoom off, for example, to the Carboniferous period. Upon arrival, you learn about the landscape, climate, and flora and fauna of that time.

Next up is the reconstructed gallery: here you'll learn that coal, iron ore, and even silver were mined in numerous pits near Offenburg.

Finally, you enter the exhibition's treasure trove, the mineral cabinet. Here, you can admire beautiful minerals with melodious names like agate, limonite, or psilomelane, shimmering in all colors and occurring in bizarre forms. Some of these minerals even glow under blacklight.

The permanent exhibition Forest - Land - River encourages exploring interesting connections and asking new questions. Sensory, colorful, exciting, and informative, the presentation offers a suitable platform for youthful curiosity and creates a stimulating and child-friendly space that adults will also enjoy. The exhibition answers all questions vividly and with lively texts, many of which can be heard on the audioguide, available for free at the information desk.

The exhibition is bilingual in German and French.

Closed on Mondays
Tue-Sun 10 am - 5 pm

With the redesign of the archaeological department, the third part of the museum's re-conception is completed. The exhibition "Verdammt lang her!" shows the archaeology of the region from the Stone Age to the time of the Alamanni, taking into account the latest research aspects.

Around 100 new loans from the Archaeological Fund Archive of Baden-Württemberg enrich the exhibition and illustrate important individual themes. For example, the gravestone of a Suebian prince found in Bühl in 2011 is shown for the first time. The stone bears the only inscription discovered so far in Baden-Württemberg, providing information about early Roman administration. Important finds from Offenburg and the surrounding area - bronzes, ceramics, jewelry - document the excavation activities of recent decades. But research gaps are also addressed.

The new presentation focuses on archaeological work: How do archaeologists work, how do they determine the age of something, and since when have archaeological finds been of interest to museums?

Hands-On stations, vivid life depictions, and a media station address various aspects of the exhibition and invite visitors to participate and try out.

Closed on Mondays
Tue-Sun 10 am - 5 pm

Welcome to the realm of knowledge in the Baroque era: Stepping onto creaking floorboards into the quiet grandeur of our historical library hall, one is immediately enveloped by the collective knowledge of the Early Modern period. Like stage sets in a Baroque theater, the original bookshelves jut into the space, housing around 50,000 books from all fields of knowledge. Behind unassuming book spines lie remarkable treasures, such as the first German Bible printed in America.

At the end of the 17th century, the orphanage's library was established as one of the first public libraries in Germany. Primarily through donations, book exchanges, and their own publications, the library grew so rapidly that within a few years, it was comparable to significant German university libraries. In 1728, it received its own building, which is considered the oldest surviving secular library structure in Germany. Not only in recent times has the library been visited by guests and researchers from around the world: Albrecht von Haller, Johann Joachim Winckelmann, and Johann Wolfgang von Goethe all admired its bibliophilic treasures. We present a selection of them for you in rotating cabinet exhibitions in the former reading room of the library.

10 am - 5 pm

Palace-like, the orphanage rises on Franckeplatz. Then as now, it is the centerpiece of the Francke Foundations. Erected in 1698 as the first building of the school city, it represents a new facet of European Baroque, combining confident representation without extravagant ornamentation and setting the tone for orphanage architecture.

Today, the orphanage is our museum and cultural center. Right from the start, two permanent exhibitions guide you through the history of the foundation and the global impact of Pietism. On the first floor, the former prayer and singing hall surprises with its bright architecture. Today, it enjoys an excellent reputation as a concert hall due to its fantastic acoustics. In the adjacent conference rooms, a photo exhibition showcases the impressive renovation work since the foundations were reestablished in 1991. The second floor is reserved for our changing special exhibitions, which provide insight into important themes of the foundation's history from both a historical and contemporary perspective. Passing through the art and natural history collections in the attic, you reach the balcony via a narrow wooden staircase. Here, a wide view opens up over the impressive ensemble with school buildings from three centuries. There is also a splendid panorama of the Old Town of Halle from here. In the basement, children can explore their own paths in the Krokoseum.

10:00 AM - 5:00 PM

What power does the word have? For Halleschen Pietismus, the word was of central importance. On the ground floor of the Historical Orphanage, we show you how August Hermann Francke's reform movement could spread around the world.

Francke developed central reformative goals of Martin Luther's with Halleschen Pietismus. His approach was as clear as it was revolutionary: Every person should find God through their own Bible reading. However, for this to happen, everyone - boys and girls alike - had to learn to read, everyone should be able to afford their own Bible and it should be printed in their own native language. Therefore, Francke established schools for all social classes, printed millions of German-language People's Bibles, and created an international network through which the Bible was translated into many other languages. His educational initiative allowed a broad population to engage with the word. In the 18th-century evangelical parsonages, the authors of the Romantic and Enlightenment periods were highly regarded. A culture of self-reflection spread in Pietism, which was reflected in diaries and personal testimonies, giving us remarkable insights into the spiritual life of people of that time. Symbolically, the power of the word is also evident in the meticulously restored pulpit from the Church of St. Ulrich in Halle, where Francke preached from 1715 and which you can admire in the exhibition.

10:00 am - 5:00 pm

Welcome to the realm of knowledge in the Baroque era: Stepping onto creaking floorboards into the quiet grandeur of our historical library hall, one is immediately enveloped by the collective knowledge of the Early Modern period. Like stage sets in a Baroque theater, the original bookshelves jut into the space, housing around 50,000 books from all fields of knowledge. Behind unassuming book spines lie remarkable treasures, such as the first German Bible printed in America.

At the end of the 17th century, the orphanage's library was established as one of the first public libraries in Germany. Primarily through donations, book exchanges, and their own publications, the library grew so rapidly that within a few years, it was comparable to significant German university libraries. In 1728, it received its own building, which is considered the oldest surviving secular library structure in Germany. Not only in recent times has the library been visited by guests and researchers from around the world: Albrecht von Haller, Johann Joachim Winckelmann, and Johann Wolfgang von Goethe all admired its bibliophilic treasures. We present a selection of them for you in rotating cabinet exhibitions in the former reading room of the library.

10 am - 5 pm

Welcome to the realm of knowledge in the Baroque era: Stepping onto creaking floorboards into the quiet grandeur of our historical library hall, one is immediately enveloped by the collective knowledge of the Early Modern period. Like stage sets in a Baroque theater, the original bookshelves jut into the space, housing around 50,000 books from all fields of knowledge. Behind unassuming book spines lie remarkable treasures, such as the first German Bible printed in America.

At the end of the 17th century, the orphanage's library was established as one of the first public libraries in Germany. Primarily through donations, book exchanges, and their own publications, the library grew so rapidly that within a few years, it was comparable to significant German university libraries. In 1728, it received its own building, which is considered the oldest surviving secular library structure in Germany. Not only in recent times has the library been visited by guests and researchers from around the world: Albrecht von Haller, Johann Joachim Winckelmann, and Johann Wolfgang von Goethe all admired its bibliophilic treasures. We present a selection of them for you in rotating cabinet exhibitions in the former reading room of the library.

10 am - 5 pm

Palace-like, the orphanage rises on Franckeplatz. Then as now, it is the centerpiece of the Francke Foundations. Erected in 1698 as the first building of the school city, it represents a new facet of European Baroque, combining confident representation without extravagant ornamentation and setting the tone for orphanage architecture.

Today, the orphanage is our museum and cultural center. Right from the start, two permanent exhibitions guide you through the history of the foundation and the global impact of Pietism. On the first floor, the former prayer and singing hall surprises with its bright architecture. Today, it enjoys an excellent reputation as a concert hall due to its fantastic acoustics. In the adjacent conference rooms, a photo exhibition showcases the impressive renovation work since the foundations were reestablished in 1991. The second floor is reserved for our changing special exhibitions, which provide insight into important themes of the foundation's history from both a historical and contemporary perspective. Passing through the art and natural history collections in the attic, you reach the balcony via a narrow wooden staircase. Here, a wide view opens up over the impressive ensemble with school buildings from three centuries. There is also a splendid panorama of the Old Town of Halle from here. In the basement, children can explore their own paths in the Krokoseum.

10:00 AM - 5:00 PM

4 talers and 16 groschen are considered the founding capital of the Francke Foundations. How an unparalleled school city grew from this unexpected donation to a simple pastor in Glaucha can be discovered on the ground floor of the Historical Orphanage. A multimedia installation and numerous extraordinary objects will transport you into the fascinating founding and impact history of Francke's work. Because what began with a school for the poor and an orphanage, developed in a few decades into a true reform project that was based on education: Over 2,000 students learned in various schools, specially constructed economic buildings, a hospital, and a pharmacy guaranteed the care of over 3,000 people on the premises, unique cultural-historical collections in the library and chamber of wonders were established, and Francke's ideas were spread within and outside Europe. August Hermann Francke wanted nothing less than a "world change through personal change." Discover everything he set in motion through this.

10:00 am - 5:00 pm

What power does the word have? For Halleschen Pietismus, the word was of central importance. On the ground floor of the Historical Orphanage, we show you how August Hermann Francke's reform movement could spread around the world.

Francke developed central reformative goals of Martin Luther's with Halleschen Pietismus. His approach was as clear as it was revolutionary: Every person should find God through their own Bible reading. However, for this to happen, everyone - boys and girls alike - had to learn to read, everyone should be able to afford their own Bible and it should be printed in their own native language. Therefore, Francke established schools for all social classes, printed millions of German-language People's Bibles, and created an international network through which the Bible was translated into many other languages. His educational initiative allowed a broad population to engage with the word. In the 18th-century evangelical parsonages, the authors of the Romantic and Enlightenment periods were highly regarded. A culture of self-reflection spread in Pietism, which was reflected in diaries and personal testimonies, giving us remarkable insights into the spiritual life of people of that time. Symbolically, the power of the word is also evident in the meticulously restored pulpit from the Church of St. Ulrich in Halle, where Francke preached from 1715 and which you can admire in the exhibition.

10:00 am - 5:00 pm

Palace-like, the orphanage rises on Franckeplatz. Then as now, it is the centerpiece of the Francke Foundations. Erected in 1698 as the first building of the school city, it represents a new facet of European Baroque, combining confident representation without extravagant ornamentation and setting the tone for orphanage architecture.

Today, the orphanage is our museum and cultural center. Right from the start, two permanent exhibitions guide you through the history of the foundation and the global impact of Pietism. On the first floor, the former prayer and singing hall surprises with its bright architecture. Today, it enjoys an excellent reputation as a concert hall due to its fantastic acoustics. In the adjacent conference rooms, a photo exhibition showcases the impressive renovation work since the foundations were reestablished in 1991. The second floor is reserved for our changing special exhibitions, which provide insight into important themes of the foundation's history from both a historical and contemporary perspective. Passing through the art and natural history collections in the attic, you reach the balcony via a narrow wooden staircase. Here, a wide view opens up over the impressive ensemble with school buildings from three centuries. There is also a splendid panorama of the Old Town of Halle from here. In the basement, children can explore their own paths in the Krokoseum.

10:00 AM - 5:00 PM

What power does the word have? For Halleschen Pietismus, the word was of central importance. On the ground floor of the Historical Orphanage, we show you how August Hermann Francke's reform movement could spread around the world.

Francke developed central reformative goals of Martin Luther's with Halleschen Pietismus. His approach was as clear as it was revolutionary: Every person should find God through their own Bible reading. However, for this to happen, everyone - boys and girls alike - had to learn to read, everyone should be able to afford their own Bible and it should be printed in their own native language. Therefore, Francke established schools for all social classes, printed millions of German-language People's Bibles, and created an international network through which the Bible was translated into many other languages. His educational initiative allowed a broad population to engage with the word. In the 18th-century evangelical parsonages, the authors of the Romantic and Enlightenment periods were highly regarded. A culture of self-reflection spread in Pietism, which was reflected in diaries and personal testimonies, giving us remarkable insights into the spiritual life of people of that time. Symbolically, the power of the word is also evident in the meticulously restored pulpit from the Church of St. Ulrich in Halle, where Francke preached from 1715 and which you can admire in the exhibition.

10:00 am - 5:00 pm

4 talers and 16 groschen are considered the founding capital of the Francke Foundations. How an unparalleled school city grew from this unexpected donation to a simple pastor in Glaucha can be discovered on the ground floor of the Historical Orphanage. A multimedia installation and numerous extraordinary objects will transport you into the fascinating founding and impact history of Francke's work. Because what began with a school for the poor and an orphanage, developed in a few decades into a true reform project that was based on education: Over 2,000 students learned in various schools, specially constructed economic buildings, a hospital, and a pharmacy guaranteed the care of over 3,000 people on the premises, unique cultural-historical collections in the library and chamber of wonders were established, and Francke's ideas were spread within and outside Europe. August Hermann Francke wanted nothing less than a "world change through personal change." Discover everything he set in motion through this.

10:00 am - 5:00 pm

Welcome to the realm of knowledge in the Baroque era: Stepping onto creaking floorboards into the quiet grandeur of our historical library hall, one is immediately enveloped by the collective knowledge of the Early Modern period. Like stage sets in a Baroque theater, the original bookshelves jut into the space, housing around 50,000 books from all fields of knowledge. Behind unassuming book spines lie remarkable treasures, such as the first German Bible printed in America.

At the end of the 17th century, the orphanage's library was established as one of the first public libraries in Germany. Primarily through donations, book exchanges, and their own publications, the library grew so rapidly that within a few years, it was comparable to significant German university libraries. In 1728, it received its own building, which is considered the oldest surviving secular library structure in Germany. Not only in recent times has the library been visited by guests and researchers from around the world: Albrecht von Haller, Johann Joachim Winckelmann, and Johann Wolfgang von Goethe all admired its bibliophilic treasures. We present a selection of them for you in rotating cabinet exhibitions in the former reading room of the library.

10 am - 5 pm

Palace-like, the orphanage rises on Franckeplatz. Then as now, it is the centerpiece of the Francke Foundations. Erected in 1698 as the first building of the school city, it represents a new facet of European Baroque, combining confident representation without extravagant ornamentation and setting the tone for orphanage architecture.

Today, the orphanage is our museum and cultural center. Right from the start, two permanent exhibitions guide you through the history of the foundation and the global impact of Pietism. On the first floor, the former prayer and singing hall surprises with its bright architecture. Today, it enjoys an excellent reputation as a concert hall due to its fantastic acoustics. In the adjacent conference rooms, a photo exhibition showcases the impressive renovation work since the foundations were reestablished in 1991. The second floor is reserved for our changing special exhibitions, which provide insight into important themes of the foundation's history from both a historical and contemporary perspective. Passing through the art and natural history collections in the attic, you reach the balcony via a narrow wooden staircase. Here, a wide view opens up over the impressive ensemble with school buildings from three centuries. There is also a splendid panorama of the Old Town of Halle from here. In the basement, children can explore their own paths in the Krokoseum.

10:00 AM - 5:00 PM

The main building of the State Kunsthalle Karlsruhe is closed for extensive renovation. However, significant parts of the collection are now visible to the public again – as guests at the ZKM | Karlsruhe.

The Kunsthalle showcases paintings and sculptures spanning from the late Middle Ages to the present on around 2000 sqm – a cross-section of the collection featuring popular masterpieces by Matthias Grünewald and Hans Baldung Grien, by Rembrandt, Rubens, and Chardin, by Cézanne, Gauguin, and Beckmann, Max Ernst, René Magritte, and Joan Miró, as well as works by Gerhard Richter, Pia Fries, and Karin Sander.

„Fly with me! Fly with me!“, calls Albi, the Alpine swift, who nests under the roof of the Linden Museum during the summer months. On your flight through the permanent exhibitions, you will encounter the transparent kangaroo, hear about an extinct bird, and can listen to the conversation with Seraa, the elephant. Whether in pictures or clothing, made from wood, ceramics, and stone – the animals and their representations tell of the coexistence of humans and animals. This relationship is not always straightforward. On one hand, many animals are admired, revered, and appreciated as companions or domestic and farm animals, while on the other hand, their habitats are also destroyed and they are hunted or displaced.

In the exhibition, illustrator Promina Shrestha brings the animals on the objects to life through her images. During the listening and stamping rally, you will discover together with Albi what the animals have to say, solve puzzles, and collect stamps.

€ 4/3 including permanent exhibitions
Children up to 18 years free

Tue to Sat 10 AM - 5 PM / Sun and holidays 10 AM - 6 PM / Closed on Dec 24, 25, and 31

In performative video works, some of them community productions with Tiago Mata Machado, the Brazilian artist Cinthia Marcelle isolates everyday, routine movements and work processes from their functional and production-oriented context. The mostly collaboratively participatory situations are transformed into poetic, metaphorical images that put established routines of social interaction and a performance-oriented logic of modern societies into question.

The exhibition Bodies in Motion – Form in the Making contextualizes the performative, mostly based on simple action instructions performance-based video works of Cinthia Marcelle for the first time with icons of the American post-minimalist dance and performance practice of the 1960s/70s such as Yvonne Rainer, Bruce Nauman, Suzanne Harris, and the performative-participatory approach of the minimalist sculptures of the German artist Charlotte Posenenske.

The exhibition is curated by Anna Roberta Goetz.

With »Fellow Travellers«, we open a multi-voiced and dynamic exhibition space at ZKM, where artists, scientists, communities, and citizens can collaborate and learn from each other. Together, we want to find new, concrete ways to shape our planetary coexistence. 

Human history bears witness to our ability to cooperate and achieve remarkable things. However, we have also succeeded in establishing economic and power structures that have drastically thrown the Earth out of balance today. It seems that we are on the brink of collapse, triggered by the consequences of rapid technological advancement. The problems in the areas of climate, economy, regional conflicts, cultural identity, migration flows, and resource scarcity must be urgently addressed. Artificial intelligence, quantum computers, biosciences, robotics, and technology also pose enormous challenges.

So far, we have not succeeded in realizing an alternative form of society that could restore balance to our world. However, even though large alternative utopias like communism have failed, most people share the ideals of a just society. These intellectual travel companions or „Fellow Travellers“, as they were called in the 20th century, still exist today. However, this type of community is no longer based on a political doctrine but on the goal of creating a livable culture and environment. All over the world, artists and activists use technological tools in their daily lives and at the local level to change the world around them. The geographical location plays less and less of a role in collective action. It should now be possible to build a growing network of these diverse projects that exchange, generate, and implement ideas beyond traditional power centers.

The art of modernity was based on the desire to change the world, but the influences of markets and museums have repeatedly reduced it to "art for art's sake." While socially and politically engaged art has often been critical and challenging, we should now address actual practical change.

The exhibition »Fellow Travellers« at ZKM aims to capture and continue this spirit. The artistic projects presented do not only convey ideas or highlight problems. They all strive to overcome the traditions of representation and take action by actively shaping their environment. In a time when we fear for the future, these projects and their stories give us hope and inspiration.  The exhibition is not designed as a static presentation but is also intended to operate outside the museum – as a laboratory where ideas and tools are exchanged and new projects can grow and be supplemented: a hive of tactics and techniques for changing the world.

The centerpiece of the exhibition is the »Useum«: a place that can be utilized by people to connect these ideas and projects and develop new solutions. A place where we can address the issues that affect us locally in exchange with other active communities around the globe. It is a place of joint creation and action.

Mon to Fri 10:00 AM – 6:00 PM; Sat to Sun 11:00 AM – 6:00 PM

Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

The rose is a fascinating flower. Not only is it an ornament for any garden and wonderfully fragrant – no, it has also influenced wide parts of life with its symbolic power, such as love, politics, art, mythology, religion, and much more. Furthermore, rose oil and rose water are used in the cosmetics and food industries, and 42 percent of all cut flowers sold are roses, with cultivation in non-European countries and trade being problematic.

As particularly beautiful flowering plants and an indispensable part of the ecosystem, roses can also raise awareness of the pressing issues of the present, such as biodiversity and conservation, and thus the climate problem. All of this is at the center of the exhibition on the cultural history of the rose, while of course the plant and its role in garden culture will not be overlooked.
Interesting objects from the fields of fashion, design, art, as well as everyday life, are meant to convey a sense of the allure that the rose has exerted and continues to exert – even with its dark side.

Scent stations promise an experience for the senses, and several interactive stations make the exhibition an experience for the whole family.

Sponsored by the MWK and the Lüneburg Landscape Association, the VR Foundation of the Volksbanken and Raiffeisenbanken in Northern Germany, Volksbank Celle, branch of the Hannoversche Volksbank, and the Museumsverein Celle e.V.

Tue - Sun 11 AM - 5 PM

The rose is a fascinating flower. Not only is it an ornament for any garden and wonderfully fragrant – no, it has also influenced wide parts of life with its symbolic power, such as love, politics, art, mythology, religion, and much more. Furthermore, rose oil and rose water are used in the cosmetics and food industries, and 42 percent of all cut flowers sold are roses, with cultivation in non-European countries and trade being problematic.

As particularly beautiful flowering plants and an indispensable part of the ecosystem, roses can also raise awareness of the pressing issues of the present, such as biodiversity and conservation, and thus the climate problem. All of this is at the center of the exhibition on the cultural history of the rose, while of course the plant and its role in garden culture will not be overlooked.
Interesting objects from the fields of fashion, design, art, as well as everyday life, are meant to convey a sense of the allure that the rose has exerted and continues to exert – even with its dark side.

Scent stations promise an experience for the senses, and several interactive stations make the exhibition an experience for the whole family.

Sponsored by the MWK and the Lüneburg Landscape Association, the VR Foundation of the Volksbanken and Raiffeisenbanken in Northern Germany, Volksbank Celle, branch of the Hannoversche Volksbank, and the Museumsverein Celle e.V.

Tue - Sun 11 AM - 5 PM

The rose is a fascinating flower. Not only is it an ornament for any garden and wonderfully fragrant – no, it has also influenced wide parts of life with its symbolic power, such as love, politics, art, mythology, religion, and much more. Furthermore, rose oil and rose water are used in the cosmetics and food industries, and 42 percent of all cut flowers sold are roses, with cultivation in non-European countries and trade being problematic.

As particularly beautiful flowering plants and an indispensable part of the ecosystem, roses can also raise awareness of the pressing issues of the present, such as biodiversity and conservation, and thus the climate problem. All of this is at the center of the exhibition on the cultural history of the rose, while of course the plant and its role in garden culture will not be overlooked.
Interesting objects from the fields of fashion, design, art, as well as everyday life, are meant to convey a sense of the allure that the rose has exerted and continues to exert – even with its dark side.

Scent stations promise an experience for the senses, and several interactive stations make the exhibition an experience for the whole family.

Sponsored by the MWK and the Lüneburg Landscape Association, the VR Foundation of the Volksbanken and Raiffeisenbanken in Northern Germany, Volksbank Celle, branch of the Hannoversche Volksbank, and the Museumsverein Celle e.V.

Tue - Sun 11 AM - 5 PM

The rose is a fascinating flower. Not only is it an ornament for any garden and wonderfully fragrant – no, it has also influenced wide parts of life with its symbolic power, such as love, politics, art, mythology, religion, and much more. Furthermore, rose oil and rose water are used in the cosmetics and food industries, and 42 percent of all cut flowers sold are roses, with cultivation in non-European countries and trade being problematic.

As particularly beautiful flowering plants and an indispensable part of the ecosystem, roses can also raise awareness of the pressing issues of the present, such as biodiversity and conservation, and thus the climate problem. All of this is at the center of the exhibition on the cultural history of the rose, while of course the plant and its role in garden culture will not be overlooked.
Interesting objects from the fields of fashion, design, art, as well as everyday life, are meant to convey a sense of the allure that the rose has exerted and continues to exert – even with its dark side.

Scent stations promise an experience for the senses, and several interactive stations make the exhibition an experience for the whole family.

Sponsored by the MWK and the Lüneburg Landscape Association, the VR Foundation of the Volksbanken and Raiffeisenbanken in Northern Germany, Volksbank Celle, branch of the Hannoversche Volksbank, and the Museumsverein Celle e.V.

Tue - Sun 11 AM - 5 PM

We all access the internet daily through web browsers. The question of how browsers determine what we experience online has fascinated artists early on. Based on a research project by the KIT Institute for Art and Architectural History on browser art, the exhibition »Choose Your Filter!« provides insights into 30 years of browser development. Here, you can discover and try out browser visions through interactive installations. 

Wed to Fri from 10:00 AM to 6:00 PM, Sat and Sun 11:00 AM to 6:00 PM

We all access the internet daily through web browsers. The question of how browsers determine what we experience online has fascinated artists early on. Based on a research project by the KIT Institute for Art and Architectural History on browser art, the exhibition »Choose Your Filter!« provides insights into 30 years of browser development. Here, you can discover and try out browser visions through interactive installations. 

Wed to Fri from 10:00 AM to 6:00 PM, Sat and Sun 11:00 AM to 6:00 PM

We all access the internet daily through web browsers. The question of how browsers determine what we experience online has fascinated artists early on. Based on a research project by the KIT Institute for Art and Architectural History on browser art, the exhibition »Choose Your Filter!« provides insights into 30 years of browser development. Here, you can discover and try out browser visions through interactive installations. 

Wed to Fri from 10:00 AM to 6:00 PM, Sat and Sun 11:00 AM to 6:00 PM

We all access the internet daily through web browsers. The question of how browsers determine what we experience online has fascinated artists early on. Based on a research project by the KIT Institute for Art and Architectural History on browser art, the exhibition »Choose Your Filter!« provides insights into 30 years of browser development. Here, you can discover and try out browser visions through interactive installations. 

Wed to Fri from 10:00 AM to 6:00 PM, Sat and Sun 11:00 AM to 6:00 PM

The sculptor Christiane Löhr, born in Wiesbaden in 1965, who now lives in Cologne and in Prato, Italy, creates an impressive sculptural and installative cosmos. For this, she uses various materials from nature, which she spatially and architecturally places in a new context. Organic elements such as flying seeds, plant stems, burrs, tree blossoms, or horsehair are used by her as construction material for her unique work. The sculptor rather casually finds all the shaping natural formations to then bring them into a new order and make conscious placements in the space.

Wed to Fri from 2 to 5 PM, Sat/Sun from 11 AM to 5 PM

Again and again, there have been countermodels to the prevailing canon and the crisis-ridden state of affairs in the history of art. Even today, artists call for breaking rigid thought patterns and expanding consciousness in order to create future visions that lie beyond the limitations of the present.
In the dream state, different realities interact with each other. Compared to what one allows in the conscious waking state, a freer form of perception and knowledge production takes place. There are time jumps, connections between different places – through the power of the subconscious and imagination, alternative realities and utopian future spaces emerge. Engaging with our dreams reveals our joys, fears, and hopes.
In the exhibition What is the dream that makes you dream? dreaming is examined as a path to deeper levels of consciousness. Amid multiple global crises and disturbing news that we receive every day, What is the dream that makes you dream? consciously focuses on optimistic counterpoints that suggest hope, resilience, and healing.

With the exhibition of Peter Buggenhout, the Waldfrieden Sculpture Park in Wuppertal is launching its new exhibition season on March 8, 2025: The Belgian sculptor presents a total of seven spatially expansive objects from different groups of works in two of the exhibition halls and in the outdoor area of the park. Buggenhout is internationally known for his sculptures, which he forms from discarded materials and which take on shape in space as sprawling bodily forms. The artist refers to his sculptures as "abject things" – as objects that evade familiar cognitive connections and demand more than just a perspective of observation.

The sculptures of Peter Buggenhout, born in 1963 in Dendermonde, Belgium, and living and working in Ghent, consist of things that have been deprived of the use of their original functionality: Waste and artifacts equally form the materials that the artist uses as his working material and from which he composes his objects. Used plastic films, tarpaulins, textile fabrics, newspapers, scrap metal, wood fragments, or organic substances like cow stomachs, horse hair, and dust become components of his works. Buggenhout creates massive forms from these abandoned remnants, which embody the emergence and decay in the immediate presence of the material and its rugged shapes.

Peter Buggenhout, who turned away from painting around 1990 to transition to sculptural designs, has been working for several years in groups of works with different material focuses and overarching themes. The pre-existing, the cyclical, and the temporality of things are fundamental themes that he formulates as diverse sculptural inventories in his groups of works.

His sculptures possess no single view direction; the multi-facetedness of his works is as essential as the significance of the equivalence and simultaneity of their elements. The discarded is always an important part of the foundation of his creation.

Peter Buggenhout about his work:
“The materials I use all have one thing in common: I did not choose them because I liked their shape or appearance. All objects that I find have in common that they do not really refer to a meaning in terms of their formal identity. For example, instead of an old chair, I might use a piece from the chair in such a way that it’s not noticeable what kind of object it was before. This is the quality of waste, so to speak. Dust also possesses this quality. All my working materials are 'abject,' that is, discarded or disgusting… taken from their original state, have lost their form and meaning.”

11 AM - 6 PM, open on all holidays

With the exhibition of Peter Buggenhout, the Waldfrieden Sculpture Park in Wuppertal is launching its new exhibition season on March 8, 2025: The Belgian sculptor presents a total of seven spatially expansive objects from different groups of works in two of the exhibition halls and in the outdoor area of the park. Buggenhout is internationally known for his sculptures, which he forms from discarded materials and which take on shape in space as sprawling bodily forms. The artist refers to his sculptures as "abject things" – as objects that evade familiar cognitive connections and demand more than just a perspective of observation.

The sculptures of Peter Buggenhout, born in 1963 in Dendermonde, Belgium, and living and working in Ghent, consist of things that have been deprived of the use of their original functionality: Waste and artifacts equally form the materials that the artist uses as his working material and from which he composes his objects. Used plastic films, tarpaulins, textile fabrics, newspapers, scrap metal, wood fragments, or organic substances like cow stomachs, horse hair, and dust become components of his works. Buggenhout creates massive forms from these abandoned remnants, which embody the emergence and decay in the immediate presence of the material and its rugged shapes.

Peter Buggenhout, who turned away from painting around 1990 to transition to sculptural designs, has been working for several years in groups of works with different material focuses and overarching themes. The pre-existing, the cyclical, and the temporality of things are fundamental themes that he formulates as diverse sculptural inventories in his groups of works.

His sculptures possess no single view direction; the multi-facetedness of his works is as essential as the significance of the equivalence and simultaneity of their elements. The discarded is always an important part of the foundation of his creation.

Peter Buggenhout about his work:
“The materials I use all have one thing in common: I did not choose them because I liked their shape or appearance. All objects that I find have in common that they do not really refer to a meaning in terms of their formal identity. For example, instead of an old chair, I might use a piece from the chair in such a way that it’s not noticeable what kind of object it was before. This is the quality of waste, so to speak. Dust also possesses this quality. All my working materials are 'abject,' that is, discarded or disgusting… taken from their original state, have lost their form and meaning.”

11 AM - 6 PM, open on all holidays

With the exhibition of Peter Buggenhout, the Waldfrieden Sculpture Park in Wuppertal is launching its new exhibition season on March 8, 2025: The Belgian sculptor presents a total of seven spatially expansive objects from different groups of works in two of the exhibition halls and in the outdoor area of the park. Buggenhout is internationally known for his sculptures, which he forms from discarded materials and which take on shape in space as sprawling bodily forms. The artist refers to his sculptures as "abject things" – as objects that evade familiar cognitive connections and demand more than just a perspective of observation.

The sculptures of Peter Buggenhout, born in 1963 in Dendermonde, Belgium, and living and working in Ghent, consist of things that have been deprived of the use of their original functionality: Waste and artifacts equally form the materials that the artist uses as his working material and from which he composes his objects. Used plastic films, tarpaulins, textile fabrics, newspapers, scrap metal, wood fragments, or organic substances like cow stomachs, horse hair, and dust become components of his works. Buggenhout creates massive forms from these abandoned remnants, which embody the emergence and decay in the immediate presence of the material and its rugged shapes.

Peter Buggenhout, who turned away from painting around 1990 to transition to sculptural designs, has been working for several years in groups of works with different material focuses and overarching themes. The pre-existing, the cyclical, and the temporality of things are fundamental themes that he formulates as diverse sculptural inventories in his groups of works.

His sculptures possess no single view direction; the multi-facetedness of his works is as essential as the significance of the equivalence and simultaneity of their elements. The discarded is always an important part of the foundation of his creation.

Peter Buggenhout about his work:
“The materials I use all have one thing in common: I did not choose them because I liked their shape or appearance. All objects that I find have in common that they do not really refer to a meaning in terms of their formal identity. For example, instead of an old chair, I might use a piece from the chair in such a way that it’s not noticeable what kind of object it was before. This is the quality of waste, so to speak. Dust also possesses this quality. All my working materials are 'abject,' that is, discarded or disgusting… taken from their original state, have lost their form and meaning.”

11 AM - 6 PM, open on all holidays

20 years after the artist, author, and performer Vaginal Davis moved from Los Angeles to Berlin, the Gropius Bau presents the first comprehensive solo exhibition of her work in Germany. In her groundbreaking creation, punk and glamour, queer activism and Black counterculture, as well as resistance and desire, intertwine. Vaginal Davis: Fabelhaftes Produkt unites large-scale installations, paintings, video and film works, zines, texts, music, and performance, offering a comprehensive overview of Davis' multifaceted practice and her artistic collaborations. As part of the exhibition, the art collective CHEAP presents the installation Choose Mutation with photographs by Annette Frick. Fabelhaftes Produkt invites you into the universe of Vaginal Davis, populated by literary heroines, mythical figures, and real icons.
Initiated by the Moderna Museet, Stockholm, in collaboration with the Gropius Bau, Berlin, and MoMA PS1, New York
 
 
 
 

Objects AUS EINER ANDEREN WELT populate the first exhibition in 2025: Mysterious root beings by Anne Carnein, life-sized wolves by Irmela Maier, creatures from water and air by Angelika Brackrock, and bizarre fairy tale animals by Ingrid Butschek transport you to unknown spheres. Special guest is the Ukrainian artist Aljoscha. 

Tuesday to Sunday and on public holidays 11:00 AM - 5:00 PM
Thursday 11:00 AM - 7:00 PM

Ten Years of Meissen Porcelain Foundation
Exhibition at the Museum of the Meissen Porcelain Foundation, March 21, 2025 to February 22, 2026

Collecting fascinates. The Meissen Porcelain Foundation was founded at the end of 2014, and it began its work in 2015. It preserves the cultural heritage of Meissen porcelain. One of the foundation's tasks is the care of the historical collection of the Meissen porcelain manufactory.

Manufacturer founder Augustus the Strong referred to his passion for porcelain as “Maladie.” This literally means “disease,” but stands for his boundless longing for the precious white gold. This fascination is shared to this day by generations of collectors – and artists. Their porcelains showcase the invention, production, and collection of the white treasures. Porcelain craftsmen provide insight into their art. Happy collectors cherish their treasures. Artists play with the term porcelain and transform centuries-old tools into contemporary porcelain art.

The exhibition provides insight into the work of the foundation and showcases Meissen porcelains around the theme of collecting.

20 years after the artist, author, and performer Vaginal Davis moved from Los Angeles to Berlin, the Gropius Bau presents the first comprehensive solo exhibition of her work in Germany. In her groundbreaking creation, punk and glamour, queer activism and Black counterculture, as well as resistance and desire, intertwine. Vaginal Davis: Fabelhaftes Produkt unites large-scale installations, paintings, video and film works, zines, texts, music, and performance, offering a comprehensive overview of Davis' multifaceted practice and her artistic collaborations. As part of the exhibition, the art collective CHEAP presents the installation Choose Mutation with photographs by Annette Frick. Fabelhaftes Produkt invites you into the universe of Vaginal Davis, populated by literary heroines, mythical figures, and real icons.
Initiated by the Moderna Museet, Stockholm, in collaboration with the Gropius Bau, Berlin, and MoMA PS1, New York
 
 
 
 

20 years after the artist, author, and performer Vaginal Davis moved from Los Angeles to Berlin, the Gropius Bau presents the first comprehensive solo exhibition of her work in Germany. In her groundbreaking creation, punk and glamour, queer activism and Black counterculture, as well as resistance and desire, intertwine. Vaginal Davis: Fabelhaftes Produkt unites large-scale installations, paintings, video and film works, zines, texts, music, and performance, offering a comprehensive overview of Davis' multifaceted practice and her artistic collaborations. As part of the exhibition, the art collective CHEAP presents the installation Choose Mutation with photographs by Annette Frick. Fabelhaftes Produkt invites you into the universe of Vaginal Davis, populated by literary heroines, mythical figures, and real icons.
Initiated by the Moderna Museet, Stockholm, in collaboration with the Gropius Bau, Berlin, and MoMA PS1, New York
 
 
 
 

The traveling exhibition illustrates the biographies of eight exemplary selected Jewish children and adolescents who were deported in April 1945 with the "Lost Transport" from the Bergen-Belsen concentration camp and were liberated near the mining village of Tröbitz in Lusatia.

The focus is on the life stories of the Jewish Child Survivors. The exhibition, consisting of eleven stelae, showcases the lives of Jewish families in the occupied countries through mostly unknown private photographs and illustrations, the deportation to the transit and concentration camps of the "Third Reich," as well as the diverse life paths after liberation in Tröbitz. The emphasis is on the lasting impressions of Jewish children shaped by the terrible experiences of persecution and the loss of close family members.

An exhibition by the Freundeskreis Technisches Denkmal Brikettfabrik LOUISE e.V., Domsdorf.
The Bomann Museum presents the exhibition in cooperation with the Stiftung Niedersächsische Gedenkstätten.

Tue - Sun 11 AM - 5 PM

The exhibition at the Erich Maria Remarque Peace Center begins with the attack on the old town on September 13, 1944, refers to the only fourteen-minute long, yet devastating air raid on Palm Sunday, March 25, 1945, and ends with the rebuilt town hall in 1948, 300 years after the Peace of Westphalia.

Documents from the first council meetings will be displayed. They illustrate the hopes associated with democratic reconstruction. In parallel, notes from Erich Maria Remarque's novels, interviews, and diaries show that and how the Osnabrück-born author of the anti-war classic All Quiet on the Western Front and Time to Live and Time to Die followed the events.

Also starting April 4, a photo exhibition in St. Mary’s Church titled Double Exposures. The Marien Church Then and Now will be shown, documenting its destruction on September 13, 1944, and depicting the reconstruction of this over 700-year-old Gothic hall church.

Tue-Fri 10-13, 14-17 hours; Sat+Sun 11-17 hours
Entry free

With works by:
Akkela Dienstbier, Veronika Dobers, Sulme & Jea-Nder Fluid, Nathalie Gebert, Alberto Harres, Sascha Kregel, Veronika Maier, Atsushi Mannami, Ulrike Möhle, Jana Piotrowski, Tine Pockels, Pio Rahner, Sabine Schellhorn, Marina Schulze, Hassan Sheidaei, Annemarie Strümpfler, Behshad Tajammol, Jiawen Uffline

Curated by Clara Kramer

Whether hat, bag or jewelry, completely extravagant, fashionable or classically simple: The desire to adorn oneself has been present since time immemorial. Accessories seem to have no limits. They are subject to constantly changing fashion trends, and many items are worn differently today than in the past or not at all. However, for people in the past centuries, there were indispensable items that complemented clothing and were part of everyday attire.
The exhibition „alltagsschick & sonntagsfein“ in the Bergfried „Dicker Wilhelm“ therefore focuses on various accessories from old to new. It mainly presents objects from the museum's collection. These primarily date from the 19th and early 20th centuries and also reflect the daily life of the people in the region. Many of the pieces are donations from Freyburg and the surrounding area. This is complemented by selected loans.

For certain occasions, corresponding accessories were worn, and rules determined the type of personal decoration. However, they all share the intention of emphasizing both the individuality and the social belonging of their wearers. Whether for the dance ball, theater, or the Sunday stroll, such as to Neuenburg and its charming surroundings.
As early as the 19th century, Neuenburg Castle was a travel destination for interested visitors from near and far. This is evidenced by the oldest surviving guestbook from 1840, which was available in the Bergfried. However, the oldest entry in the guestbook dates back to October 5, 1828: none other than the father of gymnastics, Friedrich Ludwig Jahn (1778–1852), described his view from the „Dicker Wilhelm“ 197 years ago. But what accessories did he wear when he dared to make the ascent? At the very least, he must have been dressed either alltagschick or sonntagsfein.

Tuesday to Sunday from 10 am to 6 pm; last admission at 5:30 pm

The Cologne artist Suscha Korte is known for her plates, which are painted in a perfect illusion of trompe l'œil. By using concrete, building materials, and partially neon writing, unusual and exciting artworks are created that leave the viewer in awe. Right at the entrance of the Bad Nauheim Kurpark lies the charming showroom of the Galerie am Dom. We are very much looking forward to toasting with you to the wonderful works of Suscha Korte.

Preview: Friday, April 25, 2025 ∙ 6 - 9 PM
Greeting: Mayor Klaus Kreß around 6:15 PM 
Vernissage: Saturday, April 26, 2025 ∙ 2 - 6 PM
Art on Sunday: April 27, 2025 ∙ 2 - 6 PM

Location: SHOWROOM - Galerie am Dom, Bad Nauheim
The artist will be present at all three events!

Exhibition period: April 25 to June 1, 2025.

The exhibition  „Margot und die anderen – Forced Sterilization in National Socialism“ focuses on the cruel practice of forced sterilizations of people who did not fit into the racist, inhumane system of the Nazi regime, and writes a local history of Wiesbaden that has so far received little attention – the story of the so-called Rhineland children, who were sterilized on oral order in „Secret Reich Affair“, simply because they looked different, because they had the „wrong“ fathers, because they were not „German“ enough. The exhibition places particular emphasis on writing the individual stories of the Wiesbaden children while also illuminating the issue of forced sterilization in Nazi unjust legislation. Last but not least, the exhibition project raises the question of what it means to live here and now, and what responsibility we all bear for this „here“ and „now“.

12:00 to 17:00

Humans are the central theme in the artistic work of Richild Holt (*1941, Einöde near Villach, Austria). A combination of realistic accuracy in figurative representation and an expressive style characterizes the sensitive, honest (self-)portraits of the artist.

The faces and bodies are modeled in strong light-dark and color contrasts. The figures are set against a reduced and highly abstracted background. Emotional intensity, tense dynamics, and great intimacy characterize the portraits.

The painting process is accompanied by a close exchange between the portrayed and the artist, during which a likeness is created that captures the personality of the subject and translates it onto the canvas. Richild Holt describes these joint portrait sessions as "the most intense conversation one could imagine."

Her nudes are subtle portraits in which she achieves authenticity instead of idealized representation. In the tradition and aspiration of portrait painting since the High Renaissance, Richild Holt's works express appearance and personality. Viewers encounter an intense physicality and vulnerability. In its immediate presence, the body simultaneously represents a carrier and visible expression of experiences, emotions, and social connotations, of identity. Just like in the blue hour of the evening twilight with its melancholic atmosphere, the outer and inner aspects of the portrayed shine equally bright.

12:00 to 17:00