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From Object to Concept:
"Dialog Skulptur" at the Museum Kulturspeicher in Würzburg

An interesting interplay – the exhibition "Dialog Skulptur" sheds light on the artistic dialogue between plastic works and drawings. The show of around 100 works from the Deutsche Bank Collection, curated by Dr. Ariane Grigoteit, attracted considerable attention both at the Kunstforum Seligenstadt and in a parallel exhibition at the Mannheim and Ludwigshafen Kunstverein; now, it can be seen at the Kulturspeicher in the Würzburg Museum.

Joseph Beuys, Filzplastik-Bronzeplastik, 1964,
Deutsche Bank Collection, © VG Bild-Kunst, Bonn 2006

For Joseph Beuys, drawing was the "extension of a thought". The paper work representing him in the exhibition "Dialog Skulptur" is titled Felt Sculpture/Bronze Sculpture. A sketch of a concert piano emerges from a tangle of broad, nervous brushstrokes – similar to the instrument the artist was to cover in felt two years later. His "thought sketch" had transformed into a three-dimensional sculpture.

Karl Hartung, Mittlerer Torso, 1948,
Deutsche Bank Collection
©Nachlass K. Hartung

The exhibition "Dialog Skulptur" at the Kulturspeicher in the Würzburg Museum investigates the fascinating dialogue between media – the interplay between two-dimensional drawing and three-dimensional space. The museum, which was awarded the Bavarian Museum Prize last year, is showing around 100 sculptures and works on paper from the Deutsche Bank Collection. The spectrum of the works ranges from Max Beckmann’s bronze sculpture Adam and Eve (1936) to Andreas Slominski's abysmal Traps, commissioned by the Deutsche Guggenheim in 1998.

Tobias Rehberger, Tout pour les Femmes, 2001
Deutsche Bank Collection

In their relationship to plastic works, drawing has long since ceased to fulfill the sole function of recording ideas in sketch form, preparing for the leap into the three-dimensionality of sculpture. More than any other medium, works on paper document the processes of artistic production. They record notes, fleeting ideas, and initial compositions, but are also their autonomous visual elaboration. In the sixties, sculpture went through a transformation from object to concept. Since Minimal Art, Conceptual Art, and Beuys’ concept of the "Social Sculpture," two-dimensional works, texts, music, performances, and even social interaction can be considered sculpture as well.

Louise Nevelson,
Maquette for Sun Disc/Moon Shadow V, 1976-78
Deutsche Bank Collection, © VG Bild-Kunst, Bonn 2006

With Dieter Roth , Richard Artschwager, and Inge Mahn, the exhibition introduces artistic positions that have been radically expanding sculpture’s radius of action since the sixties, while Stephan Balkenhol, Olafur Eliasson , and Neo Rauch are present in Würzburg as representatives of the younger generation. "Dialog Skulptur" also casts a keener look at sculptors represented in the Collection of the City of Würzburg and in the Ruppert Collection, which have been concentrating on Concrete Art in Europe since 1945 – for instance Hans Arp, Erwin Heerich, and Ulrich Rückriem. One of the show’s special highlights is Maquette for Sun Disc/Moon Shadow V, a steel sculpture by the important American sculptress Louise Nevelson, who has traveled from New York to Germany for the occasion.

Hans Arp, Ein Nabel, aus "Merz 2.", 1923,
Deutsche Bank Collection, © VG Bild-Kunst, Bonn 2006

Since its founding, the Deutsche Bank Collection, the largest corporate collection worldwide, has been concentrating mainly on works on paper that are presented in bank buildings around the world and in international museum exhibitions. "Dialog Skulptur" enables the viewer to follow art’s investigation into the themes of space and physicality; at the same time, it offers insight into a lively part of collecting history.

Renée Sintenis, Daphne, 1930,
Deutsche Bank Collection, © VG Bild-Kunst, Bonn 2006

Dialog Skulptur
May 20 – August 20, 2006

Museum im Kulturspeicher
Würzburg, Germany
Opening times:
Tues. 1 – 6 pm
Wed., Fri., Sat., Sun. 11 am – 6 pm
Thurs 11 am – 7 pm