Sammlung mit losen Enden 06: Drei Seiten des Bildes – Zweiter Akt

In the organizer's words:

What is the relationship between the work of art and reality? Does it refer to an external reality or does it present us with an abstract event? What do we know about the circumstances of its creation? And last but not least: How does the image we form of a painting come about?

The 2024 collection presentation with works from 1912 to the present day continues the motto "three sides of the picture". While the front of a work is dedicated to questions of form and surface, the back - with information on the artist, previous owners or exhibition history - tells us something about the history of its creation. A third, immaterial aspect of the artwork is closely linked to the viewer's perception: it opens up a pictorial space into which the imaginary flows and an idea, a space of thought, is created. The tour through the exhibition follows a dramaturgy that interweaves the narrative of the three sides of the picture with art-historical developments towards abstraction.

In the second act of the exhibition, the focus is increasingly on contemporary art. A video work by Katja Davar (acquired in 2023) and a two-part installation by Pauline M'barek (acquired in 2022) will be on display for the first time. Two split-screen films by Magdalena von Rudy tell of the complications of growing up. Raising from 2010 shows three young members of an indie rock band dreaming of big fame together. In a second film (Picnic, 2008), the artist has five young female musicians recite existential lines of poetry as a response to their melancholy ideals and male search for identity. "Everyone looking for salvation by himself. Each like a coal drawn from the fire." Film and theater, reality and fiction intertwine to create moments of fragile intensity and vulnerability.