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DTSTART;VALUE=DATE:20231209
DTEND;VALUE=DATE:20270101
DTSTAMP:20260427T162742
CREATED:20260413T071125Z
LAST-MODIFIED:20260413T083141Z
UID:52140-1702080000-1798761599@ludwigforum.de
SUMMARY:Double Wall Project: Ulrike Müller
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/double-wall-project-ulrike-mueller/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/04/2023.12.11_Ludwig-Forum-66.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250322
DTEND;VALUE=DATE:20260525
DTSTAMP:20260427T162742
CREATED:20250902T113056Z
LAST-MODIFIED:20260313T142551Z
UID:49456-1742601600-1779667199@ludwigforum.de
SUMMARY:Amy Sillman. Oh\, Clock! – Collection presentation
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-collection-presentation/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/09/2025.03.18_Amy-Sillman_126.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20250711T000000
DTEND;TZID=Europe/Berlin:20260712T000000
DTSTAMP:20260427T162742
CREATED:20250708T163118Z
LAST-MODIFIED:20260114T113928Z
UID:48792-1752192000-1783814400@ludwigforum.de
SUMMARY:Zeitbild\, Provokation\, Kunst [Image of Time\, Provocation\, Art]: Peter Ludwig on his 100th Birthday
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/zeitbild-provokation-kunst-image-of-time-provocation-art-peter-ludwig-on-his-100th-birthday/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/10/2025.07.14_Ludwig-Forum_Peter-Ludwig-08_website.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260317
DTEND;VALUE=DATE:20260706
DTSTAMP:20260427T162742
CREATED:20260224T114221Z
LAST-MODIFIED:20260317T120932Z
UID:51688-1773705600-1783295999@ludwigforum.de
SUMMARY:Body Matters. Physicality in the Video Art of the 1970s
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/body-matters-physicality-in-the-video-and-film-art-of-the-1970s/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/02/LuFo_100_Bruce-Nauman-Wall-Floor-Positions-1968_2_web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260317
DTEND;VALUE=DATE:20260706
DTSTAMP:20260427T162742
CREATED:20260224T122214Z
LAST-MODIFIED:20260224T133754Z
UID:51703-1773705600-1783295999@ludwigforum.de
SUMMARY:Struck by an Image
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/struck-by-an-image/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/02/2114_Herbert-Albert-Formentera-1979-Gelatinesilberabzug-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260401
DTEND;VALUE=DATE:20270101
DTSTAMP:20260427T162742
CREATED:20260413T064435Z
LAST-MODIFIED:20260413T103041Z
UID:52137-1775001600-1798761599@ludwigforum.de
SUMMARY:Nam June Paik. Earth\, Moon\, Sun
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/nam-june-paik-earth-moon-sun/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/04/20260313_photo-studio-pramudiya_NPI_LUDWIG-FORUM-AACHEN_Nam-June-Paik_earth-moon-sun_installationviews_004-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260517
DTEND;VALUE=DATE:20260824
DTSTAMP:20260427T162742
CREATED:20260130T152956Z
LAST-MODIFIED:20260320T102255Z
UID:51404-1778976000-1787529599@ludwigforum.de
SUMMARY:Centaur – Human and Horse
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/centaur-human-and-horse/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/01/Yalda-Afsah-Centaur-2020_3-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20260517T150000
DTEND;TZID=Europe/Berlin:20260517T150000
DTSTAMP:20260427T162742
CREATED:20260316T093618Z
LAST-MODIFIED:20260320T102136Z
UID:51918-1779030000-1779030000@ludwigforum.de
SUMMARY:Centaur – Artist Talk with Yalda Afsah\, Marianne Halter & Mario Marchisella
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/centaur-artist-talk-with-yalda-afsah-marianne-halter-mario-marchisella/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/03/Yalda-Afsah-Centaur-2020_2-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260524
DTEND;VALUE=DATE:20260921
DTSTAMP:20260427T162742
CREATED:20260130T094601Z
LAST-MODIFIED:20260305T105529Z
UID:51295-1779580800-1789948799@ludwigforum.de
SUMMARY:Christina Kubisch. The Emergence of Sound
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/christina-kubisch-the-emergence-of-sound/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2026/01/003_072_web.jpg
END:VEVENT
END:VCALENDAR