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DTSTART;TZID=Europe/Berlin:20260312T180000
DTEND;TZID=Europe/Berlin:20260312T200000
DTSTAMP:20260515T185701
CREATED:20260130T154536Z
LAST-MODIFIED:20260219T160840Z
UID:51608-1773338400-1773345600@ludwigforum.de
SUMMARY:A Disembodied Future? Discussing the Relationship between Humans and Machines
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/a-disembodied-future-discussing-the-relationship-between-humans-and-machines/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/01/2511_KissKiss-5379-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20260305T191500
DTEND;TZID=Europe/Berlin:20260305T191500
DTSTAMP:20260515T185701
CREATED:20260206T093429Z
LAST-MODIFIED:20260213T115450Z
UID:51420-1772738100-1772738100@ludwigforum.de
SUMMARY:Fresh Kill – Film screening
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/fresh-kill-film-screening/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/02/Fresh-Kill-Poster-jpg_web-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20260305T180000
DTEND;TZID=Europe/Berlin:20260305T180000
DTSTAMP:20260515T185701
CREATED:20260122T131834Z
LAST-MODIFIED:20260206T105338Z
UID:51495-1772733600-1772733600@ludwigforum.de
SUMMARY:„Shu Lea Cheang. KI$$ KI$$“ – Guided tour Wiebke Wiesner
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/shu-lea-cheang-ki-ki-guided-tour-wiebke-wiesner/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event,Guided tour
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/01/LFA25_SLC_Foto_Mareike-Tocha_web_60.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20260219T150000
DTEND;TZID=Europe/Berlin:20260219T150000
DTSTAMP:20260515T185701
CREATED:20260113T160820Z
LAST-MODIFIED:20260219T154539Z
UID:51139-1771513200-1771513200@ludwigforum.de
SUMMARY:Art and AI: Artificial Intelligence and the Decoding of the Brain
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/art-and-ai-artificial-intelligence-and-the-decoding-of-the-brain/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/01/2025-02-06-Christian-Schiffer_BM.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20260209T150000
DTEND;TZID=Europe/Berlin:20260209T150000
DTSTAMP:20260515T185701
CREATED:20260113T093957Z
LAST-MODIFIED:20260120T121010Z
UID:51125-1770649200-1770649200@ludwigforum.de
SUMMARY:Expanded Tour: Supercomputing and AI
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/expanded-tour-supercomputing-and-ai/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/01/seecasino_copyright_Forschungszentrum_Juelich-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251127
DTEND;VALUE=DATE:20260316
DTSTAMP:20260515T185701
CREATED:20250909T092045Z
LAST-MODIFIED:20260219T155629Z
UID:49619-1764201600-1773619199@ludwigforum.de
SUMMARY:Shu Lea Cheang. KI$$ KI$$
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/shu-lea-cheang-ki-ki/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/png:https://ludwigforum.de/wp-content/uploads/2025/10/1337-SLC_KK_25-BannereFlux1440x900_v1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20251126T190000
DTEND;TZID=Europe/Berlin:20251126T190000
DTSTAMP:20260515T185701
CREATED:20251006T080202Z
LAST-MODIFIED:20251118T084848Z
UID:49859-1764183600-1764183600@ludwigforum.de
SUMMARY:Opening: Shu Lea Cheang. KI$$ KI$$
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/opening-shu-lea-cheang-ki-ki/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://ludwigforum.de/wp-content/uploads/2025/10/1337-SLC_KK_25-BannereFlux1440x900_v1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20251120T190000
DTEND;TZID=Europe/Berlin:20251120T210000
DTSTAMP:20260515T185701
CREATED:20251107T160622Z
LAST-MODIFIED:20251112T141633Z
UID:50463-1763665200-1763672400@ludwigforum.de
SUMMARY:Open Studios with Rachel Daniëls and Vika Prokopaviciute
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/open-studios-mit-rachel-daniels-und-vika-prokopaviciute/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/11/Ankuendigungsbild_VR_Web_1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250711T000000
DTEND;TZID=Europe/Berlin:20260201T000000
DTSTAMP:20260515T185701
CREATED:20250428T092738Z
LAST-MODIFIED:20251107T145915Z
UID:48043-1752192000-1769904000@ludwigforum.de
SUMMARY:Rochelle Feinstein. The Today Show
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/rochelle-feinstein-the-today-show/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/04/LFA25-RF-Image-e-flux_01-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250710T180000
DTEND;TZID=Europe/Berlin:20250710T220000
DTSTAMP:20260515T185701
CREATED:20250417T121805Z
LAST-MODIFIED:20250417T122734Z
UID:47924-1752170400-1752184800@ludwigforum.de
SUMMARY:Opening: Rochelle Feinstein. The Today Show
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/opening-rochelle-feinstein-the-today-show/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250629
DTEND;VALUE=DATE:20250825
DTSTAMP:20260515T185701
CREATED:20250520T102553Z
LAST-MODIFIED:20250521T085504Z
UID:48368-1751155200-1756079999@ludwigforum.de
SUMMARY:Durch die Blume – Happy Birthday\, Peter Ludwig!
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/durch-die-blume-happy-birthday-peter-ludwig/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/05/IMAGE_12-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250621T140000
DTEND;TZID=Europe/Berlin:20250621T163000
DTSTAMP:20260515T185701
CREATED:20250610T115503Z
LAST-MODIFIED:20250617T123606Z
UID:48587-1750514400-1750523400@ludwigforum.de
SUMMARY:„Reading the Region“ in the Ludwig Forum park
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/reading-the-region-in-the-ludwig-forum-park/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/06/DSC02244.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250325T180000
DTEND;TZID=Europe/Berlin:20250325T180000
DTSTAMP:20260515T185701
CREATED:20250320T151527Z
LAST-MODIFIED:20250325T163202Z
UID:47567-1742925600-1742925600@ludwigforum.de
SUMMARY:Amy Sillman: Oh\, Clock! / Steve Reich: Music for Pieces of Wood (Claves) / Steve Reich: Drumming
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/amy-sillman-oh-clock-steve-reich-music-for-pieces-of-wood-claves-steve-reich-drumming/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/03/2025.03.18_Amy-Sillman_12.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250322T110000
DTEND;TZID=Europe/Berlin:20250322T110000
DTSTAMP:20260515T185701
CREATED:20250320T100655Z
LAST-MODIFIED:20250320T103254Z
UID:47519-1742641200-1742641200@ludwigforum.de
SUMMARY:Artist Talk: Amy Sillman with Monika Baer
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/artist-talk-amy-sillman-with-monika-baer/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/03/2025.03.18_Amy-Sillman_10.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250322T000000
DTEND;TZID=Europe/Berlin:20250831T000000
DTSTAMP:20260515T185701
CREATED:20241217T115124Z
LAST-MODIFIED:20250414T145541Z
UID:46560-1742601600-1756598400@ludwigforum.de
SUMMARY:Amy Sillman. Oh\, Clock!
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/amy-sillman-oh-clock/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/12/151_Ugh-For-2023-Torsos_ph_website_cropped-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250318T190000
DTEND;TZID=Europe/Berlin:20250318T190000
DTSTAMP:20260515T185701
CREATED:20250114T130253Z
LAST-MODIFIED:20250220T143454Z
UID:47172-1742324400-1742324400@ludwigforum.de
SUMMARY:Trajal Harrell – Judson Church is Ringing in Harlem (Made-to-Measure) / Twenty Looks or Paris is Burning at The Judson Church (M2M)
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/trajal-harrell-judson-church-is-ringing-in-harlem-made-to-measure-twenty-looks-or-paris-is-burning-at-the-judson-church-m2m/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/01/Ian-M2M-2_©-MoMA-PS1-Ian-Douglas-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250220T000000
DTEND;TZID=Europe/Berlin:20250316T000000
DTSTAMP:20260515T185701
CREATED:20250224T094430Z
LAST-MODIFIED:20250225T151809Z
UID:47365-1740009600-1742083200@ludwigforum.de
SUMMARY:Open call for curators – Currents 12
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/open-call-for-curators-currents-12/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/02/Currents_OpenCall_pinkPost-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250116T180000
DTEND;TZID=Europe/Berlin:20250116T180000
DTSTAMP:20260515T185701
CREATED:20250113T103310Z
LAST-MODIFIED:20250114T155527Z
UID:46953-1737050400-1737050400@ludwigforum.de
SUMMARY:European Reception of 20th century Japanese Avant-garde
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/european-reception-of-20th-century-japanese-avant-garde/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/01/B008_Avantgardes_image03.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241215T170000
DTEND;TZID=Europe/Berlin:20241215T170000
DTSTAMP:20260515T185701
CREATED:20241203T121931Z
LAST-MODIFIED:20241203T153720Z
UID:46470-1734282000-1734282000@ludwigforum.de
SUMMARY:Threnody for the KhoiSan
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/threnody-for-the-khoisan/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/12/Garth-front-screen.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241210T180000
DTEND;TZID=Europe/Berlin:20241210T180000
DTSTAMP:20260515T185701
CREATED:20241114T115215Z
LAST-MODIFIED:20241121T125809Z
UID:46181-1733853600-1733853600@ludwigforum.de
SUMMARY:Zeigekunst: KuratorInnen als Zauberlehrlinge
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/zeigekunst-kuratorinnen-als-zauberlehrlinge-wie-man-hinsieht-durchs-wegsehen-wie-man-aufs-ende-hin-beginnt-wie-man-auf-das-zeigt-was-nicht-gezeigt-wird/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://ludwigforum.de/wp-content/uploads/2024/11/Brock_Web.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241128T190000
DTEND;TZID=Europe/Berlin:20241128T190000
DTSTAMP:20260515T185701
CREATED:20241018T080946Z
LAST-MODIFIED:20241122T083255Z
UID:45926-1732820400-1732820400@ludwigforum.de
SUMMARY:Free Movement? Migration and Mobility in Eastern Europe through the lens of contemporary art.
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/free-movement-migration-and-mobility-in-eastern-europe-through-the-lens-of-contemporary-art/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/10/Eleonore-de-montesquiou-Eksperiment-Katya-still-2020.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241125T193000
DTEND;TZID=Europe/Berlin:20241125T193000
DTSTAMP:20260515T185701
CREATED:20241113T114558Z
LAST-MODIFIED:20241121T095047Z
UID:46139-1732563000-1732563000@ludwigforum.de
SUMMARY:‘Monday Evening Talk’ with Tim Ingold (Anthropologist\, Aberdeen)
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/monday-evening-talk-with-timothy-ingold-anthropologist-aberdeen/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/11/MAG-2024_Tim-Ingold_04_sm-Kopie.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241119T180000
DTEND;TZID=Europe/Berlin:20241119T180000
DTSTAMP:20260515T185701
CREATED:20241113T102051Z
LAST-MODIFIED:20241113T133934Z
UID:46143-1732039200-1732039200@ludwigforum.de
SUMMARY:Studio visit with Ayo Akingbade and Apparatus 22
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/studio-visit-with-ayo-akingbade-and-apparatus-22/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/07/BorderlandResidents_web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241105T190000
DTEND;TZID=Europe/Berlin:20241105T190000
DTSTAMP:20260515T185701
CREATED:20240930T092435Z
LAST-MODIFIED:20241028T102615Z
UID:45430-1730833200-1730833200@ludwigforum.de
SUMMARY:Forum Literatur: Die Projektoren. Reading with Clemens Meyer
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/forum-literatur-die-projektoren-reading-with-clemens-meyer/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/10/LF_ForumLiteratur_CM_Digital_S1519-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241028
DTEND;VALUE=DATE:20250303
DTSTAMP:20260515T185701
CREATED:20240726T063909Z
LAST-MODIFIED:20250204T120140Z
UID:44740-1730073600-1740959999@ludwigforum.de
SUMMARY:Rune Mields. Der unendliche Raum – dehnt sich aus
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/rune-mields-der-unendliche-raum-dehnt-sich-aus/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/07/IMAGE_13-e1730112680337.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241027T120000
DTEND;TZID=Europe/Berlin:20241027T180000
DTSTAMP:20260515T185701
CREATED:20240930T091733Z
LAST-MODIFIED:20241008T164305Z
UID:45419-1730030400-1730052000@ludwigforum.de
SUMMARY:Opening: Rune Mields. Der unendliche Raum – dehnt sich aus
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/opening-rune-mields-der-unendliche-raum-dehnt-sich-aus/
CATEGORIES:Event
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241027T000000
DTEND;TZID=Europe/Berlin:20251109T000000
DTSTAMP:20260515T185701
CREATED:20250502T125234Z
LAST-MODIFIED:20250502T130507Z
UID:48065-1729987200-1762646400@ludwigforum.de
SUMMARY:Kunstverein Gegenverkehr – Zentrum für aktuelle Kunst e.V.
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/kunstverein-gegenverkehr-zentrum-fuer-aktuelle-kunst-e-v/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/05/2024.10.28_Ludwig-Forum-121.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240929T130000
DTEND;TZID=Europe/Berlin:20240929T203000
DTSTAMP:20260515T185701
CREATED:20240924T154134Z
LAST-MODIFIED:20240924T155204Z
UID:45365-1727614800-1727641800@ludwigforum.de
SUMMARY:Soft Illusion x Inner Fields @ Ludwig Forum Aachen
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/soft-illusion-x-inner-fields-ludwig-forum-aachen/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/09/DRUCK-VERSION-FINAL-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240928
DTEND;VALUE=DATE:20240930
DTSTAMP:20260515T185701
CREATED:20240717T142722Z
LAST-MODIFIED:20240926T103557Z
UID:44622-1727481600-1727654399@ludwigforum.de
SUMMARY:Aachener Kunstroute 2024
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/aachener-kunstroute-2024/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/07/logo-2024_neu-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240922T140000
DTEND;TZID=Europe/Berlin:20240922T140000
DTSTAMP:20260515T185701
CREATED:20240629T055653Z
LAST-MODIFIED:20240913T094236Z
UID:44439-1727013600-1727013600@ludwigforum.de
SUMMARY:Walk through Manheim with Silke Schatz
DESCRIPTION:The murals Paper Body (ghost)\, and Paper Body (pointer) by artist Ulrike Müller (both 2023) are temporary monumentalizations of two small-scale collages\, which\, enlarged in keeping with the scale of the architecture\, were transferred to the wall as colored surfaces. In the process\, the individual ‘scraps of paper’ of the collages became abstract\, sometimes multi-tiered layers of paint\, sometimes applied using a sponge technique. Ulrike Müller has integrated a group of six collages from the series Instrumentarium (2021) into the lower area of the mural on the right\, Paper Body (pointer). Like the templates for the murals\, they evolved during the Covid-19 pandemic\, to interrogate\, in a time of displaced realities\, her own instruments—and thus the forms\, colors\, and methods of her artistic ‘paper body\,’ setting them out on individual sheets of paper as tools. The Miniatures (2014) a group of 13 small enamel works at the front wall of the staircase\, and the pattern for the bench’s cushion fabric\, especially printed for the exhibition\, extend this play with scale relationships and translations of material. Since 2013\, Ulrike Müller has been using painted walls for the architecturally staged and site-specific installations of her exhibitions. With The Conference of the Animals (A Mural)\, 2020\, at the Queens Museum in New York\, the mural itself shifted to the forefront. While drawings and prints were installed on the painted walls\, these and the subsequent murals increasingly took on the status of independent works. In her process\, Müller deploys varying strategies of estrangement: in the wall paintings for The Animal Within\, 2022\, a collection exhibition curated jointly with Manuela Ammer at mumok in Vienna\, the distortion of cast shadows provided the motifs; in In Pieces (Traklhaus Salzburg\, 2023)\, it was fragmentation and the scaling up and repetition of individual pieces culled from a small collage on the walls of the exhibition rooms. In the monumental space of the Ludwig Forum\, Müller harks back to this strategy of enlargement\, and downright blows up her work. By exhibiting the model of the Ludwig Forum in its center\, she opens up questions about scale\, context\, and relations—not only within her work\, but expanding into an interrogation of the institutional and spatial conditions of the museum itself. Beyond questions about the distribution of scale and value between a sheet of paper on the one hand and the largest wall in a museum on the other\, the work also activates the relationship of drawing and painting\, the status of painting in the collection of Peter and Irene Ludwig\, the ties between the collection and architecture\, between visitors and the institution. Ulrike Müller has developed a presentation for Ludwig Forum’s Light Tower that\, rather than using the walls as mere display surfaces\, deploys central elements of her work in the space—the only one in the museum extending over four floors—to obliquely query the instruments of collecting and exhibiting. On the occasion of the solo exhibition Monument to My Paper Body by Ulrike Müller (December 9\, 2023 – August 18\, 2024)\, the Double Wall Projects series (2004–08)\, initiated by Harald Kunde\, was revived. In this series\, artists were invited annually to activate the two monumental walls of the museum as a space for artistic intervention. Since December 2023\, the series has once again become a regular part of the exhibition program at the Ludwig Forum Aachen.   Photo: Mareike Tocha
URL:https://ludwigforum.de/en/event/walk-through-manheim-with-silke-schatz/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/06/Silke-Schatz_Ann_Manheim-Calling_Foto-Silke-Schatz-scaled.jpg
END:VEVENT
END:VCALENDAR