BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Ludwig Forum - ECPv6.15.15//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://ludwigforum.de/en/ X-WR-CALDESC:Events for Ludwig Forum REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Berlin BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20200329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20201025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20210328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20211031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20220327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20221030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20230326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20231029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20240331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20241027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20250330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20251026T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20221115T000000 DTEND;TZID=Europe/Berlin:20230423T000000 DTSTAMP:20260504T142724 CREATED:20221021T152745Z LAST-MODIFIED:20230113T120848Z UID:32619-1668470400-1682208000@ludwigforum.de SUMMARY:Palmípeda DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/palmipeda-2/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/10/4147_MuseumPlus-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20221023T150000 DTEND;TZID=Europe/Berlin:20240205T160000 DTSTAMP:20260504T142724 CREATED:20221019T100153Z LAST-MODIFIED:20230102T121633Z UID:32486-1666537200-1707148800@ludwigforum.de SUMMARY:Öffentliche Führung DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/oeffentliche-fuehrung-3/ CATEGORIES:Guided tour END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20221022T120000 DTEND;TZID=Europe/Berlin:20221022T153000 DTSTAMP:20260504T142724 CREATED:20221019T142840Z LAST-MODIFIED:20230405T125812Z UID:32534-1666440000-1666452600@ludwigforum.de SUMMARY:Belkis Ayón. Matinée with Lectures by Cristina Vives and Yolanda Wood DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/belkis-ayon-matinee-with-lectures-by-cristina-vives-and-yolanda-woo/ CATEGORIES:Event ATTACH;FMTTYPE=image/png:https://ludwigforum.de/wp-content/uploads/2022/10/Martinica_-1994.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20221022 DTEND;VALUE=DATE:20230313 DTSTAMP:20260504T142724 CREATED:20220829T083034Z LAST-MODIFIED:20230317T095149Z UID:31266-1666396800-1678665599@ludwigforum.de SUMMARY:Belkis Ayón. Ya Estamos Aquí DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/belkis-ayon-ya-estamos-aqui/ LOCATION:Ludwig Forum für Internationale Kunst Aachen CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/04/09-Belkis-Ayon-Sin-titulo_klein.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20221021T000000 DTEND;TZID=Europe/Berlin:20221021T000000 DTSTAMP:20260504T142724 CREATED:20221024T114651Z LAST-MODIFIED:20221024T144638Z UID:32590-1666310400-1666310400@ludwigforum.de SUMMARY:Palmipeda DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/palmipeda/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20221015 DTEND;VALUE=DATE:20230227 DTSTAMP:20260504T142724 CREATED:20221007T092357Z LAST-MODIFIED:20240206T083503Z UID:32240-1665792000-1677455999@ludwigforum.de SUMMARY:Oil painting. Michel Majerus in dialogue with the Ludwig Collection DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/oil-paintings-michel-majerus-in-dialogue-with-the-ludwig-collection/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/10/4233_MuseumPlus-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20221011T100000 DTEND;TZID=Europe/Berlin:20221011T150000 DTSTAMP:20260504T142724 CREATED:20220902T074657Z LAST-MODIFIED:20220930T110452Z UID:31596-1665482400-1665500400@ludwigforum.de SUMMARY:Places to Peace DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/places-to-peace/ CATEGORIES:Workshop ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/05/Peace2-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220925T160000 DTEND;TZID=Europe/Berlin:20220925T170000 DTSTAMP:20260504T142724 CREATED:20220919T081249Z LAST-MODIFIED:20220919T083239Z UID:31789-1664121600-1664125200@ludwigforum.de SUMMARY:Finissage with test-film screening DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/finissage-with-test-film-screening/ CATEGORIES:Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220924T110000 DTEND;TZID=Europe/Berlin:20220924T110000 DTSTAMP:20260504T142724 CREATED:20220901T080116Z LAST-MODIFIED:20220919T151515Z UID:31320-1664017200-1664017200@ludwigforum.de SUMMARY:Book launch with conversational tour with Kerstin Brätsch\, Kerstin Stakemeier and Eva Birkenstock DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/booklaunch-with-conversational-tour-with-kerstin-braetsch-kerstin-stakemeier-and-eva-birkenstock/ LOCATION:Ludwig Forum für Internationale Kunst Aachen CATEGORIES:Event,Guided tour ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/09/website-cover.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220924 DTEND;VALUE=DATE:20230227 DTSTAMP:20260504T142724 CREATED:20220722T122000Z LAST-MODIFIED:20231123T115334Z UID:30935-1663977600-1677455999@ludwigforum.de SUMMARY:Die Sein: Para Psychics DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/die-sein-para-psychics/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/07/KB_178.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220625T180000 DTEND;TZID=Europe/Berlin:20220626T180000 DTSTAMP:20260504T142724 CREATED:20220518T094235Z LAST-MODIFIED:20220615T140112Z UID:29749-1656180000-1656266400@ludwigforum.de SUMMARY:Cold Summer DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/cold-summer/ CATEGORIES:Event ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/05/LFA22-Keren-Cytter_HP-Screen_1024x556px_Festival.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220625 DTEND;VALUE=DATE:20220926 DTSTAMP:20260504T142724 CREATED:20221007T072922Z LAST-MODIFIED:20221007T082610Z UID:32196-1656115200-1664150399@ludwigforum.de SUMMARY:Bad Words DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/bad-words-2/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/05/LFA22-Keren-Cytter_HP-Screen_1024x556px_RZ2.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220523 DTEND;VALUE=DATE:20220524 DTSTAMP:20260504T142724 CREATED:20220523T142306Z LAST-MODIFIED:20220523T145052Z UID:29835-1653264000-1653350399@ludwigforum.de SUMMARY:The Letters of Rosemary & Bernadette Mayer\, 1976-1980 DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/the-letters-of-rosemary-bernadette-mayer-1976-1980/ ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/05/IMG_20220523_152252-22-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220519T180000 DTEND;TZID=Europe/Berlin:20220519T180000 DTSTAMP:20260504T142724 CREATED:20220518T090551Z LAST-MODIFIED:20220518T090652Z UID:29721-1652983200-1652983200@ludwigforum.de SUMMARY:Ludwigs neue Köpfe DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/ludwigs-neue-koepfe/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220519T160000 DTEND;TZID=Europe/Berlin:20220519T160000 DTSTAMP:20260504T142724 CREATED:20220518T085851Z LAST-MODIFIED:20230321T163631Z UID:29720-1652976000-1652976000@ludwigforum.de SUMMARY:„Learning to look“ - Öffentliche Führung mit Eva Birkenstock\, Alexander Markschies und Max Kerner DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/learning-to-look-oeffentliche-fuehrung-mit-eva-birkenstock-alexander-markschies-und-max-kerner/ CATEGORIES:Guided tour END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220515T100000 DTEND;TZID=Europe/Berlin:20220515T170000 DTSTAMP:20260504T142724 CREATED:20220510T100247Z LAST-MODIFIED:20220512T074643Z UID:29690-1652608800-1652634000@ludwigforum.de SUMMARY:International Museum Day DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/international-museum-day/ CATEGORIES:Event,Guided tour,Workshop END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220507 DTEND;VALUE=DATE:20220509 DTSTAMP:20260504T142724 CREATED:20220420T090538Z LAST-MODIFIED:20220505T094322Z UID:29133-1651881600-1652054399@ludwigforum.de SUMMARY:„Asynchronicity – symposium-like-gathering" DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/asynchronicity-symposium-like-gathering/ CATEGORIES:Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220501T100000 DTEND;TZID=Europe/Berlin:20220501T170000 DTSTAMP:20260504T142724 CREATED:20220421T132030Z LAST-MODIFIED:20220421T133252Z UID:29251-1651399200-1651424400@ludwigforum.de SUMMARY:01.05. Sparda-Day: One Day in May DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/01-05-sparda-day/ CATEGORIES:Event,Guided tour,Workshop END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220501T100000 DTEND;TZID=Europe/Berlin:20220501T170000 DTSTAMP:20260504T142724 CREATED:20220414T141530Z LAST-MODIFIED:20220429T115634Z UID:29339-1651399200-1651424400@ludwigforum.de SUMMARY:Sparda Day DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/sparda-day/ CATEGORIES:Event ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/04/27_RosemaryMayer_SomeDaysInApril_Photo-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220428T183000 DTEND;TZID=Europe/Berlin:20220428T183000 DTSTAMP:20260504T142724 CREATED:20220420T110918Z LAST-MODIFIED:20221114T161014Z UID:29172-1651170600-1651170600@ludwigforum.de SUMMARY:“Rosemary Mayer and Donna Dennis: Beginnings on the Cusp of the 1970s New York City” DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/rosemary-mayer-and-donna-dennis-beginnings-on-the-cusp-of-the-1970s-new-york-city/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220421T100000 DTEND;TZID=Europe/Berlin:20221231T170000 DTSTAMP:20260504T142724 CREATED:20220506T100306Z LAST-MODIFIED:20230109T110455Z UID:29574-1650535200-1672506000@ludwigforum.de SUMMARY:Free admission DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/freier-eintritt/ CATEGORIES:Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220330T180000 DTEND;TZID=Europe/Berlin:20220330T200000 DTSTAMP:20260504T142724 CREATED:20220328T122224Z LAST-MODIFIED:20220328T124125Z UID:28916-1648663200-1648670400@ludwigforum.de SUMMARY:Mariana Valencia. Tulum\, New York DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/mariana-valencia-tulum-new-york/ CATEGORIES:Event ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/03/Mariana-Valencia_Tulum-NY.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220305T120000 DTEND;TZID=Europe/Berlin:20220305T130000 DTSTAMP:20260504T142724 CREATED:20220304T162209Z LAST-MODIFIED:20220304T162855Z UID:28641-1646481600-1646485200@ludwigforum.de SUMMARY:Curatorial Guided Tour DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/curatorial-guided-tour/ CATEGORIES:Guided tour END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220305 DTEND;VALUE=DATE:20221001 DTSTAMP:20260504T142724 CREATED:20220222T080055Z LAST-MODIFIED:20220525T153855Z UID:28558-1646438400-1664582399@ludwigforum.de SUMMARY:reboot: responsiveness DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/reboot-responsiveness/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/05/IMAGE-1.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220305 DTEND;VALUE=DATE:20220829 DTSTAMP:20260504T142724 CREATED:20220302T112332Z LAST-MODIFIED:20221214T152514Z UID:28600-1646438400-1661731199@ludwigforum.de SUMMARY:Geometry and Flowers DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/geometry-and-flowers/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/05/Kim-MacConnel_Watermelons_Foto-Carl-Brunn.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220305 DTEND;VALUE=DATE:20220523 DTSTAMP:20260504T142724 CREATED:20220110T084453Z LAST-MODIFIED:20230125T143658Z UID:28495-1646438400-1653263999@ludwigforum.de SUMMARY:Rosemary Mayer DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/rosemary-mayer-2/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/01/RM_WoA_WEB_1024x556px_20220110.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220304T190000 DTEND;TZID=Europe/Berlin:20220304T220000 DTSTAMP:20260504T142724 CREATED:20220131T151138Z LAST-MODIFIED:20220201T161935Z UID:28223-1646420400-1646431200@ludwigforum.de SUMMARY:Opening DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/opening/ CATEGORIES:Event ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/01/RM_WoA_WEB_1024x556px_20220110.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220131 DTEND;VALUE=DATE:20220305 DTSTAMP:20260504T142724 CREATED:20220118T092820Z LAST-MODIFIED:20220201T090143Z UID:28096-1643587200-1646438399@ludwigforum.de SUMMARY:Alterations DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/alterations/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2022/01/tc-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Berlin:20220101T180000 DTEND;TZID=Europe/Berlin:20220101T210000 DTSTAMP:20260504T142724 CREATED:20211216T101735Z LAST-MODIFIED:20211216T103601Z UID:27905-1641060000-1641070800@ludwigforum.de SUMMARY:New Year Concert 2022 DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/new-year-concert/ CATEGORIES:Event ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/12/02_ASO_26.1.2020-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20211009 DTEND;VALUE=DATE:20220131 DTSTAMP:20260504T142724 CREATED:20210907T133248Z LAST-MODIFIED:20220222T141213Z UID:23389-1633737600-1643587199@ludwigforum.de SUMMARY:Beat the System! DESCRIPTION:With Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer and\, selected by the artists\, a rehanging of works from the collections at the Ludwig Forum Aachen of Vincent Desiderio\, Jann Haworth\, Domenico Gnoli\, Renato Guttuso\, Jörg Immendorff\, Magdalena Jetelová\, Lev Kerbel\, Konrad Klapheck\, Jeff Koons\, Thomas Lanigan-Schmidt\, Lee Lorzano\, Wolfgang Mattheuer\, Klaus Paier\, Tõnis Vint\, and Andy Warhol The disintegration of the liberal-capitalist post-war order which seemed firmly established after 1989 also left its mark on the art of this society. This is precisely where Illiberal Lives\, the current exhibition at the Ludwig Forum Aachen\, inserts itself. It probes how\, with the dissolution of the liberal promise of progress\, the unfree\, illiberal core of modern freedoms inevitably surfaces\, and the liberal fiction of art as a space of expression for bourgeois freedom also comes under increasing pressure. Where art is not just defending these properties\, or making itself subservient to the invocation of national communities\, it is increasingly crystallising at present as a practical scene of social conflicts and exclusions. The works by Pauline Curnier Jardin\, Johanna Hedva\, Ho Rui An\, Blaise Kirschner\, Jota Mombaça\, Henrike Naumann\, Melika Ngombe Kolongo\, Bassem Saad\, Mikołaj Sobczak\, and Jordan Strafer break with the constraints and violence of liberal freedoms and let artistic forms of an illiberal life take their place. The rehangings of the works from the collections at the Ludwig Forum Aachen selected by the artists\, which make up part of Illiberal Lives\, add seminal intensifications of the relations pasts and presents enter into the exhibition. In their engagement with works by\, for instance\, Renato Guttuso\, Konrad Klapheck\, and Jeff Koons\, works like those by Vincent Desiderio and Magdalena Jetelová that are shown more rarely also come into view. The invited artists are always also re-situating the post-fascist history of an institution whose collections are intractably associated with the rhetoric of the bloc confrontation between East and West in the post-war period\, and the liberal narrative of “free” and “unfree” art. The presentation of five installations by Henrike Naumann in the museum’s spacious hall\, into which works such as Magdalena Jetelová’s sculpture Der Setzung andere Seite and a bust of Peter Ludwig by Lev Kerbel are integrated\, forms the centre of the exhibition: Naumann’s installations\, in which furniture ensembles\, accessories and design objects become sculptural\, with video and sound works running within them\, inescapably contextualise Illiberal Lives within post-fascist Germany.  The exhibition’s other invited artists juxtapose Naumann’s embedding of central works of the Ludwig Forum in her artistic assembly of German political violence after 1989 against aesthetic formulations of communizing perspectives. They are leading into forms of perception in which artistic forms of action divest themselves from national notions of the political. Mikołaj Sobczak’s depictions of protagonists of LGBTQI+-based organisation\, for instance\, of queer\, counter-cultural milieus and resistance movements from vastly different epochs coalesce with the revolutionary gestures of the Aachen muralist Klaus Paier\, with the communist Realism of Renato Guttuso’s Maggio 1968 – Giornale Murale\, with Jann Haworth’s The Surfer\, one of her rare life-size figurines\, sewn together out of silk stockings\, and with Iconostasis\, a wall of icons put together out of cellophane and painted silver foil by the artist Thomas Lanigan-Schmidt\, a well–documented participant in New York’s Stonewall Riots in 1969. The artists in Illiberal Lives are pursuing communal horizons\, collective forms of perception and of political spontaneities\, which are erupting nowadays from the cracks in the disintegrating present. Once hierarchising the art-work above the artistic “life-work” (Lu Märten) is upended\, the view of modern art history shifts\, too\, and extra-artistic historical continuities start to gain shape. Where Immendorff’s bronze sculpture Naht (Brandenburger Tor – Weltfrage)\, weighing tons\, is embedded in Naumann’s work Das Reich\, the question disappears about whether Immendorff’s work is a formal achievement: its monumentality\, selection of material and excessive symbolics become the document of an artistically national self-staging symptomatic of its time\, of a West German Formalism. Thus\, in Illiberal Lives the institution of art is understood not as an authentic achievement of liberal modernity\, but rather as a historical form of restriction – as a containing and isolating of artistic life-works emerging from forms of lived communality that extract its surplus value. Curated by Eva Birkenstock\, Anselm Franke\, Holger Otten and Kerstin Stakemeier\, Illiberal Lives is a continuation of the exhibition Illiberal Arts\, which was curated by Anselm Franke and Kerstin Stakemeier at the Haus der Kulturen der Welt in Berlin in 2021. The exhibition will be accompanied by the production of a publication. \n \n \n \n \n \n \n \n \n \n \n \n Download exhibition booklet \n \n \n \n \n \n \n \n \n \n \n \n EventsSat\, April 22\, 2023\, 11 amConversation with the curators and the artists (English / German) Sun\, May 21\, 2023\, 11 amCurator’s tour with Holger Otten (in German)International Museum Day\, Admission free Thu\, July 13\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, July 13\, 2023\, 6:30 pmArtist talk with Mikołaj Sobczak\, artist of the exhibition Illiberal Lives (in German) Thu\, August 10\, 2023\, 5 pmCurator’s tour with Holger Otten (in German) Thu\, August 24\, 2023\, 5 pmCurator’s Tour with Eva Birkenstock and Holger Otten\, Co-Curators of the Exhibitions Illiberal Lives (in German) Thu\, August 24\, 2023\, 6:30 pmLecture by Bassem Saad about his contribution to the exhibition “Illiberal Lives” (in English) Sun\, September 10\, 2023\, 10am-5pmFinissage & Day of the open monument – Free entrance \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sponsors \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Installation views URL:https://ludwigforum.de/en/event/beat-the-system/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/09/webacc-48.jpeg END:VEVENT END:VCALENDAR