BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Ludwig Forum - ECPv6.16.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Ludwig Forum
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:20190331T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20191027T010000
END:STANDARD
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
END:VTIMEZONE
BEGIN:VTIMEZONE
TZID:UTC
BEGIN:STANDARD
TZOFFSETFROM:+0000
TZOFFSETTO:+0000
TZNAME:UTC
DTSTART:20190101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220519T160000
DTEND;TZID=Europe/Berlin:20220519T160000
DTSTAMP:20260701T082248
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:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220510T100247Z
LAST-MODIFIED:20220512T074643Z
UID:29690-1652608800-1652634000@ludwigforum.de
SUMMARY:International Museum Day
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220420T090538Z
LAST-MODIFIED:20220505T094322Z
UID:29133-1651881600-1652054399@ludwigforum.de
SUMMARY:„Asynchronicity – symposium-like-gathering"
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220421T132030Z
LAST-MODIFIED:20220421T133252Z
UID:29251-1651399200-1651424400@ludwigforum.de
SUMMARY:01.05. Sparda-Day: One Day in May
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220414T141530Z
LAST-MODIFIED:20220429T115634Z
UID:29339-1651399200-1651424400@ludwigforum.de
SUMMARY:Sparda Day
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
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:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220506T100306Z
LAST-MODIFIED:20230109T110455Z
UID:29574-1650535200-1672506000@ludwigforum.de
SUMMARY:Free admission
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220328T122224Z
LAST-MODIFIED:20220328T124125Z
UID:28916-1648663200-1648670400@ludwigforum.de
SUMMARY:Mariana Valencia. Tulum\, New York
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220304T162209Z
LAST-MODIFIED:20220304T162855Z
UID:28641-1646481600-1646485200@ludwigforum.de
SUMMARY:Curatorial Guided Tour
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220222T080055Z
LAST-MODIFIED:20220525T153855Z
UID:28558-1646438400-1664582399@ludwigforum.de
SUMMARY:reboot: responsiveness
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220302T112332Z
LAST-MODIFIED:20221214T152514Z
UID:28600-1646438400-1661731199@ludwigforum.de
SUMMARY:Geometry and Flowers
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220110T084453Z
LAST-MODIFIED:20230125T143658Z
UID:28495-1646438400-1653263999@ludwigforum.de
SUMMARY:Rosemary Mayer
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220131T151138Z
LAST-MODIFIED:20220201T161935Z
UID:28223-1646420400-1646431200@ludwigforum.de
SUMMARY:Opening
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20220118T092820Z
LAST-MODIFIED:20220201T090143Z
UID:28096-1643587200-1646438399@ludwigforum.de
SUMMARY:Alterations
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20211216T101735Z
LAST-MODIFIED:20211216T103601Z
UID:27905-1641060000-1641070800@ludwigforum.de
SUMMARY:New Year Concert 2022
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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:20260701T082248
CREATED:20210907T133248Z
LAST-MODIFIED:20220222T141213Z
UID:23389-1633737600-1643587199@ludwigforum.de
SUMMARY:Beat the System!
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
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
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20211008T190000
DTEND;TZID=Europe/Berlin:20211008T190000
DTSTAMP:20260701T082248
CREATED:20210916T084701Z
LAST-MODIFIED:20211002T183341Z
UID:23820-1633719600-1633719600@ludwigforum.de
SUMMARY:Beat the System! Provocation in Art
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/opening-beat-the-system/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/09/webacc-48.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210924
DTEND;VALUE=DATE:20220110
DTSTAMP:20260701T082248
CREATED:20210907T132533Z
LAST-MODIFIED:20211122T113733Z
UID:23391-1632441600-1641772799@ludwigforum.de
SUMMARY:Loredana Nemes
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/loredana-nemes/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/09/Loredana-Nemes_Lenuta_im_Spiegel_2006_klein-768x512-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210923T190000
DTEND;TZID=Europe/Berlin:20210923T190000
DTSTAMP:20260701T082248
CREATED:20210916T084102Z
LAST-MODIFIED:20210916T085241Z
UID:23821-1632423600-1632423600@ludwigforum.de
SUMMARY:Loredana Nemes. beautiful
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/opening-loredana-nemes/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/09/Loredana-Nemes_Lenuta_im_Spiegel_2006_klein-768x512-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210911
DTEND;VALUE=DATE:20220901
DTSTAMP:20260701T082248
CREATED:20210907T132057Z
LAST-MODIFIED:20221006T091205Z
UID:23394-1631318400-1661990399@ludwigforum.de
SUMMARY:The Uncanny on Paper
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/the-uncanny/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/09/Uncanny_Teaser.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210810
DTEND;VALUE=DATE:20220131
DTSTAMP:20260701T082248
CREATED:20210805T123057Z
LAST-MODIFIED:20221006T091413Z
UID:23385-1628553600-1643587199@ludwigforum.de
SUMMARY:Bodies and Politics
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/bodies-and-politics/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/08/556_Foto-LuFo-scaled-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210621
DTEND;VALUE=DATE:20210913
DTSTAMP:20260701T082248
CREATED:20210805T122451Z
LAST-MODIFIED:20211115T100913Z
UID:22751-1624233600-1631491199@ludwigforum.de
SUMMARY:Lovely Creatures
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/lovely-creatures/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/07/webacc-37-700x380-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210619
DTEND;VALUE=DATE:20210913
DTSTAMP:20260701T082248
CREATED:20210805T131943Z
LAST-MODIFIED:20211115T114416Z
UID:22745-1624060800-1631491199@ludwigforum.de
SUMMARY:Sweet Lies
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/sweet-lies/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/07/webacc-38-700x380-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210311
DTEND;VALUE=DATE:20210607
DTSTAMP:20260701T082248
CREATED:20210225T112035Z
LAST-MODIFIED:20210426T133209Z
UID:18389-1615420800-1623023999@ludwigforum.de
SUMMARY:Dan Perjovschi
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/dan-perjovschi/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2021/02/dan.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201113
DTEND;VALUE=DATE:20210628
DTSTAMP:20260701T082248
CREATED:20201102T110019Z
LAST-MODIFIED:20201102T131103Z
UID:17591-1605225600-1624838399@ludwigforum.de
SUMMARY:The travel agency
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/travel-agency/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2020/11/Reisebüro-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201113
DTEND;VALUE=DATE:20210517
DTSTAMP:20260701T082248
CREATED:20191008T092038Z
LAST-MODIFIED:20210422T082538Z
UID:15859-1605225600-1621209599@ludwigforum.de
SUMMARY:Bon Voyage!
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/bon-voyage-2-2/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2019/10/AKW_S-547-1_ret_querformat_01-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201102
DTEND;VALUE=DATE:20210311
DTSTAMP:20260701T082248
CREATED:20201105T100119Z
LAST-MODIFIED:20210415T103547Z
UID:17672-1604275200-1615420799@ludwigforum.de
SUMMARY:Reopening
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/reopening/
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2019/03/Preisverleihung_Ludwig-Forum-für-Internationale-Kunst-Aachen.-Foto-Carl-Brunn.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200827
DTEND;VALUE=DATE:20210517
DTSTAMP:20260701T082248
CREATED:20200625T051527Z
LAST-MODIFIED:20200730T084429Z
UID:17282-1598486400-1621209599@ludwigforum.de
SUMMARY:Matters of Mind
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/matters-of-mind/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2020/06/Christoph-Mueller-The-Mighty-Millborough-Les-choses-de-la-vie_Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200827
DTEND;VALUE=DATE:20210201
DTSTAMP:20260701T082248
CREATED:20200806T092918Z
LAST-MODIFIED:20201210T131357Z
UID:17361-1598486400-1612137599@ludwigforum.de
SUMMARY:Highlights of the Collection
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/highlights-alternating-dependencies/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2020/08/Basquiat_Blue-Gyp-Stock_beschnitten-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200314
DTEND;VALUE=DATE:20201012
DTSTAMP:20260701T082248
CREATED:20200108T145915Z
LAST-MODIFIED:20200228T101420Z
UID:16226-1584144000-1602460799@ludwigforum.de
SUMMARY:Flower Blast
DESCRIPTION:The Ludwig Forum für Internationale Kunst is presenting Michel Majerus’s large-format Ölbild (Oil Painting\, 1994) for the first time in dialogue with artistic positions from the Peter and Irene Ludwig Collection. Seeing it vis-à-vis selected works by Georg Baselitz\, Jean-Michel Basquiat\, Jasper Johns\, Martin Kippenberger\, Roy Lichtenstein\, Kenneth Noland\, James Rosenquist\, Andy Warhol and others\, provides deeper insight into the formal-aesthetic discourses that Majerus conducted in his artistic development. These echo in both his works and his notebooks\, which served as a basis to select the works. The list of artists shows the large range across what at first glance seem to be contradictory influences on Majerus. It also reflects\, however\, the sad truth that in the 1990s the art world was still absolutely male-dominated. Majerus’s skilful sampling of quotations from pop culture\, comics\, advertising and motifs of other artists and the new lightness in his painting in comparison with the 1980s made him internationally well-known. He treats the popular iconography of the 1990s just as freely as he does artistic stylistic devices\, whereby he trims his found objects in such a way that they undergo a change from an illustrative pictorial element to one that comes across as ornamental or abstract. Here\, stylistically confident composing with cut-outs is not his sole interest\, as the models used form a reference system of their own. For Ölbild\, one can name Jean-Michel Basquiat and Rolf Kauka\, illustrator of the Fix & Foxi comic books\, among others. The motifs here are – as always in Pop Art – sensations of the new\, and thus have short half-lives. As illustrated in the draft of Ölbild\, which is also in the Ludwig Collection\, the painterly gestures with which Majerus expressed himself are not a direct impulse\, but rather carefully thought out. They serve the compositional balance that determines the quality of his works.   Michel Majerus (1967–2002) studied painting from 1986 to 1992 at the State Academy of Fine Arts Stuttgart\, with\, among others\, K.R.H. Sonderborg and Joseph Kosuth. Even the choice of his professors – a painter who worked expressively and gesturally and an internationally renowned conceptual artist –shows the freedom in which Majerus developed his artistic way of working. After his studies he moved to Berlin\, where he then lived and worked\, apart from a one-year stay in Los Angeles in 2001. Majerus had his international breakthrough in 1998 with his contributions to Manifesta 2 in Luxembourg. In 1999\, Harald Szeemann invited him to design the external facade of the Italian pavilion for the Venice Biennale. He created a collage of text and images entitled Sun in 10 different directions. With his work if we are dead\, so it is\, a half pipe 455 qm in size\, painted in the year 2000 for an exhibition at Kölnischer Kunstverein\, Majerus succeeded in stepping into three-dimensionality. Michel Majerus died in a plane crash on November 6\, 2002\, aged 35.   Twenty years after his death\, numerous institutions\, including Kunstwerke (KW) Berlin\, Kunstverein in Hamburg\, Sprengel Museum Hannover\, Kunstmuseum Wolfsburg\, Museum Folkwang Essen\, Museum Ludwig in Cologne\, Mudam Luxemburg\, Kunsthalle Mannheim\, Staatsgalerie Stuttgart and Lenbachhaus in Munich have dedicated the exhibition series Michel Majerus 2022 to the various phases and aspects of the artist’s extraordinary oeuvre (www.michelmajerus2022.com).   Curated by Holger Otten   As part of:  In cooperation with: Michel Majerus Estate\, Berlin
URL:https://ludwigforum.de/en/event/flower-blast/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2020/01/Wehrmann_4512_Hanisch.jpg
END:VEVENT
END:VCALENDAR