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Blind Dates and a Sea of Numbers
Exhibition Highlights of Deutsche Bank's Art Program

Tokyo, Buenos Aires, Seligenstadt – this year, Deutsche Bank is not merely presenting sections of its extensive collection in major international cities. In 2006, the company will also be supporting numerous exhibitions around the globe. From contemporary German art photography to the explosive installations of Cai Guo Qiang – Achim Drucks introduces this year's exhibition highlights.

Andreas Gursky, Singapur Börse I, 1997,
Deutsche Bank Collection
© Courtesy: Monika Sprüth Galerie, Köln/VG Bild-Kunst, Bonn 2006

There are screens everywhere, a confusion of people and computers amid rows of numbers blinking across huge displays. Andreas Gursky's photographic work Singapore Stock Exchange I from 1997 has frozen the everyday drama unfolding on capitalism's control boards into a large-scale tableau. Indeed, More than Meets the Eye, the title of the show with Gursky's work that will be touring throughout Latin America starting this spring, offers a plethora of details. After traveling exhibitions such as Return of the Giants presented primarily painting and drawing from the Deutsche Bank Collection, More than Meets the Eye is the first show dedicated solely to photography. Ranging from Dieter Appelt to Wolfgang Tillmans, works by over 50 art photographers will be shown. Following its debut in the Mexican city of Monterrey, the selection of works will tour important museums in major South American cities such as Bogota, Sao Paulo, and Buenos Aires.

Candida Höfer, Zoologischer Garten Stuttgart I, 1993
Deutsche Bank Collection
© VG Bild-Kunst, Bonn 2006

There's much to expect from the first opening on February 17 in the renowned MARCO Museum in Monterrey: the range of large formats and series shown extends from modern "classics" like the Dusseldorf School surrounding Bernd and Hilla Becher to the younger protagonists on the German photography scene. Candida Höfer's sober images of zoos are contrasted with Gotthard Graubner's mystical impressions of a Himalayan cloister and Jürgen Klauke's absurdly staged Sunday Neuroses from 2001.

Delia Keller
Die Bauhaustreppe, 2000, Deutsche Bank Collection, © VG Bild-Kunst, Bonn 2006

Alongside Günther Förg's interiors of the Villa Wittgenstein (1987) are Delia Keller's Bauhaus Stairs, inspired by Oskar Schlemmer, as well as Stephan Huber's series Shining from 2001 – images of a lonely house in a rugged winter landscape, staged in his studio as an homage to Stanley Kubrick's horror film of the same name.
Ice floes to cherry blossoms in Tokyo. Following the huge success of the anniversary exhibition 25, which drew record crowds last spring at the Deutsche Guggenheim in Berlin, the exhibition can be seen starting on March 24 at the renowned Hara Museum in the Japanese capital. Once again, star architect Zaha Hadid is providing the spectacular exhibition design; this time, however, it's of a completely different kind, as the exhibition title Tokyo Blossoms already suggests. The series of movable, larger than life "blossoms" that Hadid has designed for the museum garden were inspired by the Japanese cherry blossom festival of Hanami, which is being celebrated at the time of the exhibition's opening.

Peter Fischli & David Weiss, Ohne Titel, 1991
Deutsche Bank Collection

Looking at blossoms, looking at art: surrounded by an skillfully arranged landscape design, Hadid's works enter into a multilayered dialogue with the cool modernist architecture of the villa that today houses the museum, built in 1938 in the Bauhaus style. The shimmering metallic pink sculptures are continued into the building's interior in the form of contours.

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