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DTSTART:20110101T000000
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150920
DTEND;VALUE=DATE:20160502
DTSTAMP:20260504T221514
CREATED:20150603T104738Z
LAST-MODIFIED:20160810T111949Z
UID:4280-1442707200-1462147199@ludwigforum.de
SUMMARY:Videoarchive
DESCRIPTION:Since its beginnings in the mid-1960s\, Video has been intertwined with performance in a close and complex relationship. Artists immediately realized the potential of portable cameras to document and to disseminate both public and studio-bound performative actions. \nThe third exhibition in the Ludwig Forum series Video Archive explores how early video in relation to performance meant a medium of documentation and distribution\, but also a genuinely artistic medium. In certain circumstances an action in front of the camera becomes an action for and with the camera\, video as a tool becomes video as an artwork. Performance video becomes video performance. \nThe featured videos (among them well-known works by artists such as Joan Jonas and Bruce Nauman as well as rare documents from the archive) are part of the Ludwig Forum collection and the Video Archive research project\, a collaboration of the Ludwig Forum Aachen with the art history department of the University of Cologne and the ZKM Centre for Arts and Media Karlsruhe. The project is funded by the Volkswagen-Stiftung. \nCurated by Jenny Dirksen and Lou Jonas. \n \n  \nVideoarchive\, Installation Views \n \n  \n \n  \n \n  \n\nPhotos: Carl Brunn/ Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/videoarchive-facing-the-camera/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2015/06/Rosenbach-Tanz-um-einen-Baum-8.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150920
DTEND;VALUE=DATE:20160314
DTSTAMP:20260504T221514
CREATED:20150803T133505Z
LAST-MODIFIED:20160920T080134Z
UID:4731-1442707200-1457913599@ludwigforum.de
SUMMARY:Plattform Aachen
DESCRIPTION:A Fluxus-commotion at the lecture hall\, a burning knight’s castle at the Old Spa House: art\, is not always made for eternity. Beginning in the 1960s\, with performances and happenings\, artists create art forms that do not produce works of material worth\, but only exist for the moment of their performance. By means of rare original documents in the exhibition the research project Platform Aachen reconstructs certain examples that took place in Aachen. \nThe Fluxus-festival at the Technical University of Aachen acted like a starting signal after which Aachen advanced to a lively center for action art in Germany. Not uncommonly newspaper articles\, photos and assumed nondescript publications are the only trail\, reminding of the often provocative art events. But how much story telling is behind the former news coverage and how effektively does this inform our view on the events nowadays? Why have some activities nearly been forgotten by now and others have turned into art historical myths? \nOne of the exhibition’s focal points lies on the activities of the Neue Galerie\, which was since its foundation in 1970 completely committed to contemporary art and hereby – very up to date – also to action art. \nCurator: Benjamin Dodenhoff \nImage: Franz Erhard Walther during the Fluxus-festival\, 20th July 1964 in the Audimax at the TH Aachen\, Photo: Peter Thomann \nPlattform Aachen\, Installation Views \n \n  \n \n  \n \nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/platform-aachen/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2015/08/Plattform_ACTION_01_web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150717
DTEND;VALUE=DATE:20150831
DTSTAMP:20260504T221514
CREATED:20150629T092327Z
LAST-MODIFIED:20160810T111840Z
UID:4512-1437091200-1440979199@ludwigforum.de
SUMMARY:Le Musée imaginaire
DESCRIPTION:Der Gestalter als Kurator\, Sammler und Autor einer imaginären Ausstellung — das war der Inhalt eines Seminars von Prof. Ilka Helmig\, das an der FH Aachen im Fachbereich Gestaltung stattfand und in dem sich Studierende mit selbstgewählten Themen aus einem kulturellen\, wissenschaftlichen oder gesellschaftlichenKontext auseinandersetzen.Ziel war es die Inhalte in Form einer imaginären Ausstellung zwischen zwei Buchdeckeln zu entwerfen und zu inszenieren. Das Seminar nahm inhaltlich Bezug zum Gedanken des imaginären Museums von André Malraux und dem Atlas Mnemosyne von Aby Warburg\, die sich beide mit der Sammlung und Ordnung komplexer visueller Inhalte beschäftigt haben.Die entstandenen Bücher werden vom 17.07.–30.08.15 im Eingangsbereich des Ludwig Forum gezeigt\, Eröffnung mit Musik und Getränken ist am 16.07.15 um 18.30 Uhr. \nEröffnung mit LUFO Bar:\nDo 16.07.15\, 18.30 Uhr\nEintritt frei
URL:https://ludwigforum.de/en/event/le-musee-imaginaire-das-buch-als-ausstellungsort-2/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2015/06/imaginaire.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20150531T120000
DTEND;TZID=UTC:20150920T180000
DTSTAMP:20260504T221514
CREATED:20150304T060225Z
LAST-MODIFIED:20160920T082359Z
UID:3898-1433073600-1442772000@ludwigforum.de
SUMMARY:Paulina Olowska - Needle / Nadel
DESCRIPTION:Paulina Olowska is to receive the Aachen Art Prize for 2014. In celebration of the award Olowska will develop a site-specific exhibition project at the Ludwig Forum für Internationale Kunst. \nIn her artistic work Paulina Olowska trawls the historical sources of Modernism\, delves into art and design history\, and draws on fashion and advertising. Fascinated by the utopian promise articulated in the historical avant-garde\, Olowska adopts and makes use of their techniques. She thus works in a variety of media\, such as performance\, video\, sculpture\, painting\, and fashion\, while also curating exhibitions or organizing events. In the process\, forgotten women of bygone eras once again come under the spotlight\, reappraised by Olowska and repositioned historically. She raises the issue of how we read\, appraise and negotiate history\, and thus the present. \nExploring the idea of production\, both industrial and artistic\, the show Needle/Nadel addresses fragmented processes by which an artwork comes to be. Olowska combines disparate sources\, merging found material\, applied arts\, and cast-off or recycled elements from factory production together within her own painting and sculpture. Culling from high and low materiality\, sculptures may juxtapose marble\, metal and pieces of 1960s tapestry. The exhibition structures an interplay between positive and negative\, showing the gaps and by-products of artworks in formation. \nThe title Needle/Nadel plays with the history of the building and the crafts connected with it. Once the production facility for the world’s largest umbrella factory\, its central manufacturing hall filled with working women\, Ludwig Forum today displays international art. \nIn this industrial context of the past\, Olowska’s work negotiates ideas about craft\, labor and the fragile moment of an artwork’s creation. Thus\, the exhibition offers insight into several of Olowska’s emblematic themes like feminism\, fashion\, and a critical nostalgia. Thus\, the exhibition is following several of Olowska’s emblematic themes such as genderism\, fashion and critical nostalgia\, which revels in history while simultaneously questioning and negotiating the interpretation of history\, and thereby also the present. \nCurators: Dr. Brigitte Franzen and Julia Küchle \n  \nPaulina Olowska\, born in 1976 in Gdansk\, studied at the School of the Art Institute of Chicago and the Academy of Fine Arts\, Gdansk. She lives and works near Krakow. Olowska can look back at a series of solo shows in some of the most renowned museums for contemporary art worldwide\, most recently in the Kunsthalle Basel (2013)\, the Stedelijk Museum\, Amsterdam\, in MoMA\, New York (2012)\, and Munich’s Pinakothek der Moderne (2009). Her work has featured in a host of group exhibitions\, for example in the Museum of Modern Art\, Warsaw\, the Sammlung Goetz\, Munich\, in the Carnegie Museum of Art\, Pittsburgh\, and in the Museum Folkwang\, Essen. \nThe Aachen Art Prize is awarded biannually to an artist whose works have had a formative influence on the international art scene. The Aachen Art Prize is donated by the Freunde des Ludwig Forums für Internationale Kunst e.V. and is enabled by cooperation with the City of Aachen and Aachen trade and industry. The award includes prize money of 10.000 Euros and is connected with a solo exhibition in the Ludwig Forum. In 2014 it is supported by Culture.pl\, BMW Group Munich\, Rhein-Nadel Automation GmbH\, Sparkasse Aachen and others. \nJury of the Aachen Art Prize 2014: Dr. Sabine Breitwieser\, director Museum der Moderne\, Salzburg; Dr. Ulrike Groos\, director Kunstmuseum Stuttgart; Dr. Brigitte Franzen\, director Ludwig Forum\, Aachen; Ernst Höhler\, chairman of the Verein der Freunde des Ludwig Forums e.V.. \nPast winners of the Aachen Art Prize: Phyllida Barlow (2012)\, Pawel Althamer (2010)\, Aernout Mik (2008)\, Roman Signer (2006)\, Andreas Slominski (2004)\, Tacita Dean (2002)\, Michael Asher (2000)\, Richard Tuttle (1998)\, Katharina Fritsch (1996)\, Christian Boltanski (1994)\, On Kawara (1992)\, Ilya Kabakov (1990)\, Richard Long (1988)\, A.R. Penck (1985)\, and Luciano Fabro (1983). \n  \nPaulina Olowska – Needle / Nadel\, Installation Views \n \n  \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/needle-nadel-paulina-olowska-2/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2015/03/PO_Web-Titel.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20150510T120000
DTEND;TZID=UTC:20150531T180000
DTSTAMP:20260504T221514
CREATED:20150325T130459Z
LAST-MODIFIED:20150630T113058Z
UID:3954-1431259200-1433095200@ludwigforum.de
SUMMARY:6. Promotion Award for Children in ART
DESCRIPTION:More than 200 children from Aachen and the city region have collected ideas in the last few months\, experimenting with found objects\, gathering images. All that generated on the subject of “collecting” in the Primary school courses of the “Aachen Model” will be presented in a separate exhibition. As every year\, five children will be selected from all the contributions and will receive the Promotion Award for Children in ART. With the kind support of the Community Foundation of the Sparkasse Aachen and Lindt Sprüngli.
URL:https://ludwigforum.de/en/event/6-kinder-foerderpreis-kunst-2/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2015/03/IMG_0158.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150510
DTEND;VALUE=DATE:20160822
DTSTAMP:20260504T221514
CREATED:20150325T125239Z
LAST-MODIFIED:20170331T102415Z
UID:3952-1431216000-1471823999@ludwigforum.de
SUMMARY:LUFONAUTS
DESCRIPTION:Children on a discovery tour in the Ludwig Forum \nAstronauts investigate space – Lufonaut explore the Ludwig Forum: All children are invited to go on a great expedition and discover the museum and the works of art. For example\, the hollowed-out tree trunk by the sculptor Thomas Virnich. Is there a secret inside? And why are there two of the same tree trunks\, the second one\, however\, out of clay? Looking at the story of yet another tree\, it gets even stranger. Here a tree plays an important role in a film by Roderick Hietbrink\, where it seriously rustles through the midst of a peaceful living room! \nAbout 30 works of art from the Ludwig Collection invite all visitors\, young and old\, to explore their environment with imagination and impartiality and to engage in new perspectives. To be curious\, to look at things from the other side\, to be surprised especially by the everyday: that is the Lufonauts’ challenge. And the interesting thing is that they thus provide the same challenge as artists do in their work. For both children and artists things can be very important where normal adults do not see anything out of the ordinary\, because they can become starting points for fantastic trips\, ideas and stories. \nCurated by Karoline Schröder and Holger Otten \n  \nLUFONAUTS\, Installation Views \n \n  \n \n  \n \nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/lufonauten-expedition-museum-3/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2015/03/1504_Lufonauten-2188.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150510
DTEND;VALUE=DATE:20160201
DTSTAMP:20260504T221514
CREATED:20160419T100506Z
LAST-MODIFIED:20160920T081458Z
UID:5955-1431216000-1454284799@ludwigforum.de
SUMMARY:LUFONAUTS - Expedition Aachen North
DESCRIPTION:Expedition Aachen North – Become a Lufonaut! \nWe cordially invite you to expand your explorations and reflections to the museum’s neighbourhood. Often\, the most exciting observations can be made off the known path\, on trails or back ways. Familiar or unknown\, draft a new portrayal of Aachen North with us. \nStart a photo expedition through the district Aachen North and upload your most interesting discoveries on google maps. So\, there will be a wall of photos\, on which all observations are gathered. The photos map and document the visitor’s view of the quarter. All who are interested are asked to form their own idea of Aachen North and participate directly in the exhibition. \nCurated by Karoline Schröder and Holger Otten \nWith the kind support of: \n \n  \nIn cooperation with: \n 
URL:https://ludwigforum.de/en/event/lufonauts-expedition-aachen-north/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2015/07/1510_Lufo-6600.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150322
DTEND;VALUE=DATE:20160201
DTSTAMP:20260504T221514
CREATED:20151227T134827Z
LAST-MODIFIED:20160725T092903Z
UID:3579-1426982400-1454284799@ludwigforum.de
SUMMARY:Le Souffleur
DESCRIPTION:Where Peter and Irene Ludwig say “Jeff Koons”\, Gaby and Wilhelm Schürmann answer “Mike Kelley” or “Christopher Williams”. The major currents in art followed by the Ludwigs were counteracted by the Schürmanns who were drawn to context oriented positions informed by Institutional Critique and political art. In Le Souffleur these two different attitudes walk a path together: Wilhelm Schürmann was invited to \ncurate an exhibition with the Ludwig collection in mind. The result is an open and agile conception of art spaces in which works from both collections meet on level footing\, an arrangement full of subtleties and interactive comments. Together both collections provide an unusually precise and comprehensive view of contemporary art since 1960. Into the early 1990s Peter and Irene Ludwig continually expanded their collection\, guided by an inquiring spirit that seems absolutely unique today. In \nparticular the upheavals impacting on global society in the late 1980s and early 1990s resonated in their collection. And it is precisely here that the collection of Gaby and Wilhelm Schürmann sets a turning point\, considering the history of art from the perspective of the collector. \nThe collection Gaby and Wilhelm Schürmann have assembled since the mid-1980s\, is today one of the finest of contemporary art worldwide. Their focus is completely different\, reflecting that they belong to a younger generation; along with the enormous political and social developments\, their interest is how the art of their own and a younger generation have responded to such changes. The notion of world art needs to be explained in their view\, and it is in any case very much shaped by its political implications. \nArtists featured in the exhibition (selection): Monika Baer\, Fiona Banner\, Alice Creischer\, Lygia Clark\, Guerilla Girls\, Richard Hamilton\, Lee Lozano\, Jewyo Rhii\, Joëlle Tuerlinckx\, Franz West\, Heimo Zobernig\, Heinrich Dunst\, Anna Oppermann\, Chuck Close\, Valie Export\, and many more. \nDirector: Dr. Brigitte Franzen\nCurator: Wilhelm Schürmann\nCuratorial Assistence: Josephine Mengedoht \nHave a look at the fascinating frame program. \nBehind the Scenes: Installation of the exhibition \nLe Souffleur – Schürmann meets Ludwig\, Installation Views \n \n  \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/le-souffleur-2/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2015/01/Felix-Oehmann.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150201
DTEND;VALUE=DATE:20150518
DTSTAMP:20260504T221514
CREATED:20150122T110859Z
LAST-MODIFIED:20160725T065254Z
UID:3557-1422748800-1431907199@ludwigforum.de
SUMMARY:Plattform Aachen – Peter Lacroix
DESCRIPTION:Parallel to the exhibition Pure\, the Platform Aachen provides insights into the working approach taken by the artist Peter Lacroix (1924-2010). \nMany of the handwritten notes from the artist’s estate are shown for the first time publicly. On unremarkable slips of paper Lacroix noted his thoughts\, for example: I consider painting in the old way no longer suitable for expressing the feelings of our present\, or I’ve always fought against habits. They are self-reflections on an artistic and political stance that Lacroix preferred to articulate through his work instead of grand proclamations. \nUsing historical newspaper articles\, letters\, and photos from the Platform Aachen archive\, it is possible to retrace the history of some of the projects Lacroix had planned for public urban space. The realization often ran aground on its long journey across the desks and through the conference rooms of municipal decision-makers. The plans testify to an artistic conception however that sought nothing less than to extend the reach of art into everyday life. \nThis presentation also marks the opening of the new exhibition room on the first floor designed by Lars Breuer; it will now feature regularly as a venue for exhibitions and events related to the Platform Aachen. \nCurator: Benjamin Dodenhoff \nPlattform Aachen – Peter Lacroix\, Installtion Views \n \n  \n\nPhotos: Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/plattform-aachen-peter-lacroix/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2015/01/Lacroix-Plattform.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150201
DTEND;VALUE=DATE:20150420
DTSTAMP:20260504T221514
CREATED:20150113T110156Z
LAST-MODIFIED:20160725T080853Z
UID:3498-1422748800-1429487999@ludwigforum.de
SUMMARY:Pure
DESCRIPTION:Peter Lacroix devoted his work to exploring various facets of non-representational art. The oeuvre begins with early works from the 1950s in the Informel style. From 1968 Peter Lacroix created geometric constructions in bright primary colors and black-white contrasts\, very much in the tradition of Concrete Art. The artist translated the affinity to Bauhaus and the signal-like appearance of the works to plans for artistically revitalizing Aachen’s urban profile. In the mid-1970s Peter Lacroix embarked on a conceptual work phase. Based on numerical and color codes\, he let the random principle – in the form of a throw of a dice – determine their arrangement. At the end of the 1980s Peter Lacroix developed an innovative system: from numerical codes based on key personal details and overlapping diagrams he created unusual polygonal forms. Similar to in his last glucose profile images\, abstract formulas and personal portrait come together to form an intriguing unity. \nThe exhibition is generously supported by Andreas Petzold\, the trustee of Peter Lacroix’s artistic estate\, and extensive loans from Reyhane Nematollahi-Lacroix. If not otherwise noted\, all exhibits are from the estate of Peter Lacroix. \nA catalogue will accompany the exhibition with 191 pages\, and approximately 210 colour images. \nCurator: Dr. Annette Lagler \nPure – Peter Lacroix (1924-2010)\, Installation Views \n \n  \n \n  \n\nPhotos: Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/pure/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2014/12/peter_lacroix_wuerfel_gold-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20141116
DTEND;VALUE=DATE:20150223
DTSTAMP:20260504T221514
CREATED:20141103T121339Z
LAST-MODIFIED:20160725T102832Z
UID:3340-1416096000-1424649599@ludwigforum.de
SUMMARY:Michael Dean
DESCRIPTION:As part of the large-scale decentralized exhibition initiative 25/25/25\, the Kunststiftung NRW is marking the 25th year of its existence by bringing together 25 international artists with 25 of the federal state’s municipal museums. Selected by a group of renowned experts\, the artists have been requested to develop a new work of art out of their encounter with the collection of the respective museum. This portrait shall then pass into the collection of the museum. The Ludwig Forum Aachen is one of the selected museums. \nThe British artist Michael Dean has created the installation HA HA HA HA HA HA for the Ludwig Forum. He lined the floor of a room with light-colored MDF panels and positioned a chair in the middle. On the chair is a book and on the book stands a sculpture. The book shows a graphic representation of a tongue in an infinite sequence. Correspondingly\, 24 tongues cast in concrete and painted black are fixed to the walls. Michael Dean’s works seek to establish a direct connection to the human body. They often emerge out an extensive preoccupation with language and its translation into pictorial form and sculpture. Visitors are able to walk through the installation\, touch the sculpture on the chair\, and even tear out pages from the book and take them with them. \nDr. Barbara Könches (Idee und Leitung 25/25/25)\, Kunststiftung NRW\nStephanie Seidel (Curator 25/25/25)\, Kunststiftung NRW\nEsther Boehle (Curator)\, Ludwig Forum Aachen \nMichael Dean\, Installation Views \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen 
URL:https://ludwigforum.de/en/event/michael-dean-2/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2014/11/Michael-Dean_2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20141116
DTEND;VALUE=DATE:20150223
DTSTAMP:20260504T221514
CREATED:20140922T113119Z
LAST-MODIFIED:20170731T122844Z
UID:2594-1416096000-1424649599@ludwigforum.de
SUMMARY:Eastwards
DESCRIPTION:On occasion of the 25th anniversary of the Fall of the Wall\, the Ludwig Forum Aachen and the initiative Europäische Horizonte look eastwards. The exhibition inhabits art from the 1930s to the 1990s of the former Soviet Union and the sister states. Representatives of Socialist Realism\, Soz Art and Russian Non-Conformism\, thereunder Ilya Kabakov\, Vadim Zacharov\, such as the Romanian artist Dan Perjovschi\, the Slovenian artist group Irwin and portraits of the collectors Peter and Irene Ludwig from the Soviet era are juxtaposed. The Videozone contributes a contemporary position with the Kazakh artist Almagul Menlibayeva (*1969). \nAlready in the 1960s the collectors Ludwig gave an account of the fascinating “pluralist state\, whose panorama needed to be shown to the west\, as a mirror of historical and societal circumstances”. Aroused by a distinct art-geographical interest and the wish to investigate Eastern European art\, at the end of the 1970s the Ludwigs began to explore this territory. Due to good business relations and connections to Vladimir Semjonow\, the Soviet ambassador in Bonn\, the collectors acquired their first mixed lot in 1982. The exhibition Eastwards brings remarkable works of art to the fore\, drawing from this repository. \nThe exhibition is accompanied by an extensive  program with films such as Chantal Akerman’s From the East and Janek Miroslav’s Citizen Havel\, talks on The Ludwigs in the East and Europe invents the Gypsies\, debating contemporary politics and cultural history. \nArtists: Janis Avotins\, Georg Baselitz\, Isaak Brodskij\, Werner Büttner\, Ivan Chuykov\, Sven Gundlach\, Jan Kryzevskij\, Andrej Filipov\, Konstantin Finogenov\, Irwin\, Ilya Kabakov\, Jurij Korolev\, Wolfgang Mattheuer\, Sergej Mironenko\, Natalja Nesterova\, Boris Orlov\, A.R. Penck\, Dan Perjovschi\, Viktor Pivovarov\, Dimitrij Prigov\, Willi Sitte\, Eduard Stejnberg\, Rein Tammik\, Vadim Zacharov and many more. \nCurated by Dr. Brigitte Franzen\, Josephine Mengedoht \n  \nEastwards: Freedom\, Borders\, Projections\, Installation Views \n \n  \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen \n  \n\nImage: Sowjetkunst nach Aachen\, Richter Archive\, 1982\, Ludwig Forum\, 2014
URL:https://ludwigforum.de/en/event/eastwards/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2014/09/Rein-Tammik2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20141116
DTEND;VALUE=DATE:20150223
DTSTAMP:20260504T221514
CREATED:20140921T161631Z
LAST-MODIFIED:20160810T112938Z
UID:2851-1416096000-1424649599@ludwigforum.de
SUMMARY:Videozone: Almagul Menlibayeva
DESCRIPTION:Shamans\, nomads\, and socialism: Kazakhstan\, onetime Soviet federated state lying between Europe and Asia\, is a country of contrasts. The Kazak artist Almagul Menlibayeva explores these contrasts in her video works\, alternating between documentary film and mythological storytelling. Her poetically-charged images\, which she combines with a realistic view on desolate landscapes\, give an impression of both the ongoing traditions and dramatic disintegration in her homeland. \nTransoxiana Dreams (2011) looks at the social and ecological changes\, the result of large-scale misguided communist projects\, impacting on the region around the Aral Sea\, once the fourth largest inland sea in the world. Almagul Menlibayeva immerses us in the dream world of a fisherman’s young daughter\, letting us take part in her father’s search for the lake in the dried-out steppe. In visually stunning shots\, centaur-like female figures keep appearing in the barren landscape\, evoking the local nomadic tradition in the inhospitable post-Soviet environment. \nIntriguingly strange female figures also play a role in the two other films. In Kissing Totems (2008) we encounter them on the grounds of a derelict factory\, while in Exodus (2009) they are present as the nomads of the steppe break camp. \nIn all three works we see Kazakhstan’s desolate landscapes and ruins through the eyes of young girls. Alternating between dream and reality\, they show us a picture of their homeland attempting to find its place between past and present. \nCourtesy American-Eurasian Art Advisors LLC\nCurator: Miriam Lowack \nVideozone: Almagul Menlibayeva\, Installation Views \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/almagul-menlibayeva-transoxiana-dreams/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2014/09/S8-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20140601T120000
DTEND;TZID=UTC:20140921T180000
DTSTAMP:20260504T221514
CREATED:20140523T221917Z
LAST-MODIFIED:20190513T053739Z
UID:2165-1401624000-1411322400@ludwigforum.de
SUMMARY:A Children's Kingdom
DESCRIPTION:Program A Children’s Kingdom:\nAll Dates from 2014\, June to September \nThis summer the Polish artist Paweł Althamer is to undertake a diverse\, subtle\, and experimental art project. For four months\, from June 1 through to September 21\, he and his friends from the artist group Reactor – Sculpture Lab based in Warsaw will move into the Ludwig Forum and seek to shed light on themes such as power\, authority\, and freedom from a completely different perspective: from the standpoint of children. The motivation to try something so different and daring is the 1200th anniversary of the death of Charlemagne\, one of the most powerful rulers in the Middle Ages. \nTogether with hundreds of children and youths a Children’s Kingdom will be established that shall extend from the garden and courtyard of the Ludwig Forum\, out across public space\, and finally annex St Elisabeth’s Church opposite. In workshops and performance actions these locations will be regenerated and transformed: the Church occupied\, the surrounds changed\, stories fabricated and told\, costumes designed\, a monument created. The motor propelling these artistic transformations is the candid naivety and creativity of children\, which opens up new perspectives for adults as well. \nA Draftsmen’s Congress will take place in the heart of the museum. Here walls and floors may be used for drawings – an open invitation to everyone to enter dis-cussions via drawn images. In addition\, an Open Academy will provide a platform to create their own works\, and these will then be shown in an exhibition. \nThe proposed highlight will be a festival and parade in fantasy uniforms on the main road in front of the museum – should the children go along with the proposal. They have namely the freedom to carry out the projects in line with their own visions. Althamer and his artist friends\, who will be frequently in Aachen for the duration of the project\, will lend their support to the young artists and performers\, acting as catalysts in the artistic process. \nIt is part of Paweł Althamer’s strategy to undermine existing systems of rules and evoke new models of action. Whether sculpture\, film\, or the four months of a Children’s Kingdom: his works are critical of institutions\, committed to exploring social issues\, and self-reflective. And as results of a process they are at the same time a topic that is concretely present and a carrier of social and aesthetic experience. \nFour elements are at the forefront of his works: interaction\, self-reflection\, participation\, and the process. “I believe that art is an open field of communication\, more open than politics and religion. Today’s art practice is more in flux and in communication with other areas than everything else\, and it resembles most closely what we call freedom.” (Althamer) \nAlthamer’s concern is to identify action-oriented experiments with freedom. As if testing out what freedom is\, he took to the streets of Kassel dressed in a startling full astronaut suit during documenta X. To draw attention to his “inner homelessness” he moved into a tree house in front of the Foksal Gallery in Warsaw for a longer period. In other works he disappears as it were\, becoming a participating observer in a collective\, or he melts into the background completely. In 2006 for instance\, upon being offered a solo exhibition in the Centre Pompidou\, he instead sent eleven young colleagues to Paris. \nOften he turns the spotlight on people whose voices usually go unheard. These include the homeless\, prison inmates\, migrants or children and youths without any prospects. For them\, and together with them\, he conceives of microcosms in which his greatest project\, the interpenetration of art and life\, can take place. At Skulptur Projekte Münster 2007\, Althamer\, ably helped by prison inmates\, trod down a trail that led visitors through the landscape on the outskirts of town\, only to abruptly end in a cornfield. Althamer: “To be in a process\, that is the point. […] My work is all about getting others to comprehend this.” \nThe Aachen project Children’s Kingdom draws on the book King Matt by the author and physician Janusz Korczak\, who was murdered in the Nazi extermination camp of Treblinka. Exploring the idea of a children’s republic\, the project enters the contemporary discourses on freedom and power as well as organization and politics\, while inverting the hierarchical relationship between adults and children. As a contemporary commentary on these issues the project raises questions as to the importance of the youngest members of our society\, the situation in which they have to live\, their wishes and their ideas of freedom. The Children’s Kingdom is thus a laboratory for democracy and democratic practice. \nMartin Schulz\, President of the European Parliament\, will act as patron of the exhibition \n  \nPaweł Althamer\nBorn in Warsaw in 1967\, Althamer has firmly established himself in the international art scene since the mid-1990s. He has taken part for example in documenta X (1997) in Kassel\, Manifesta 3 (2000) in Ljubljana\, the 50th Biennale in Venice (2003)\, the 4th and 7th Berlin Biennales (2006\, 2012)\, the Skulptur Projekte Münster (2007)\, as well as the most recent Venice Biennale (2013). Important museums have held solo exhibitions for the artist\, including the Kunsthalle Basel (1997)\, the Museum of Contemporary Art in Chicago (2001)\, the Centre Pompidou in Paris (2006)\, and the New Museum in New York (2014). In 2004 the Bonnefantenmuseum in Maastricht awarded the artist the Vincent van Gogh Bi-Annual Award for Contemporary Art in Europe. The Aachen Kunstpreis followed in 2010. \nDocumentation of the projekt on Tumblr\nhttp://kinderkoenigreich.tumblr.com/ \nArtists: Paweł Althamer\, Czarli Bajka\, Paweł Chmielewski\, Konrad Chmielewski\, Witold Nazarkiewicz\, Przemysław Pietrzak\, Tomasz Waszczeniuk and Anna Zielińska \nCurators: Dr. Brigitte Franzen and Esther Boehle\nAssistant Curator: Julia Küchle \nEntry to the museum is free of charge during The Children’s Kingdom! \nSupporters: German Federal Cultural Foundation\, BMW Group\, Verein der Freunde des Ludwig Forums\, Adam Mickiewicz Institute\, Peter und Irene Ludwig Stiftung\, VW-Stiftung \nCooperation partner: stadtteilbüro aachen nord (Soziale Stadt Aachen-Nord) \nMedia partner: WDR 3 \n  \nA Children’s Kingdom\,Installation Views and program \n  \nProjekt am Ludwig Forum für Internationale Kunst im Mai 2014. \n \n  \nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/kinderkonigreich/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=UTC:20140413T120000
DTEND;TZID=UTC:20150208T180000
DTSTAMP:20260504T221514
CREATED:20141103T083348Z
LAST-MODIFIED:20170331T094447Z
UID:3319-1397390400-1423418400@ludwigforum.de
SUMMARY:Modern Icons
DESCRIPTION:They are everywhere – icons of Pop music and elite sport\, icons of revolution and resistance. As for the classical religious icon in this context\, it is above all one thing: the origin of modern painting. The clarity of the manner of representation\, the focused reduction on what is essential\, the stylization and repetition of motifs – the strict Canon of forms evident in historical images of saints\, transmitted by a tradition stretching back centuries\, continues to resonate in contemporary art. \nDrawing on paintings from the Ludwig Collection\, the exhibition Modern Icons shows how diversely artists down to the present day have approached and reworked the idea of the icon. Old idols are revered\, transformed\, or destroyed. At the same time\, new\, modern icons are created. \nIn three color variations Jiří Georg Dokoupil brings Christ’s holy face to giant canvasses\, showing how the techniques of modern painting can actually intensify the aura of the traditional images of saints (Shroud of Turin\, 1986). For his photographic-like portrait Richard (1969)\, Chuck Close chooses the same strict frontal compositional schema. Just the transformation into painting already seems to elevate the portrayed figure out of the triviality of the photographic model\, enhancing the iconic aspect. In Franz Gertsch’s Medici (1971) the five young men in jeans\, jumpers and leather jackets\, casually leaning against a building-site barrier\, would almost be an everyday sight if they did not face us\, painted with the meticulous precision of hyperrealism\, from a vast canvas measuring four by six meters. \nPop culture produces its own icons: stars\, comic heroes\, athletes. And the mass media has quickly created its own canon of forms for its idols\, like the peroxide-blonde hair of female film stars\, which Roy Lichtenstein takes up in his comic-like paintings of the 1960s. Motifs and patterns are repeated and invoked so often that they turn into clichés. It is at once irritating and unmasking when the painter takes up the stereotypes circulating in the mass media to present Fidel Castro as an advertising figure for an American perfume (José Angel Toirac\, Eternity\, 1996). \nAbove all Communist regimes utilize the impact generated by religious portrayals. Dissident artists from Cuba\, Eastern Europe\, or China find it extremely difficult to accept the sight of these “modern saints”. They strike back and launch an aesthetic counterattack: applying just the slightest changes\, they are able to tip the exaggerated ceremonious gestures of state art into something obviously ironic\, making these gestures ridiculous (Eric Bulatov\, Sunrise or Sunset\, 1989). \nArtists in the exhibition: Chuck Close\, Jo Baer\, Jirˇí Georg Dokoupil\, Andy Warhol\, Roy Lichtenstein\, Franz Gertsch\, Stefan Balkenhol\, Eric Bulatov\, Ai Weiwei\, Bernd und Hilla Becher\, Erró\, etc. \nCurator: Benjamin Dodenhoff \nWatch this Video about the exhibtion Modern Icons! \nModern Icons\, Installation Views \n\nPhotos: Carl Brunn / Ludwig Forum Aachen \n 
URL:https://ludwigforum.de/en/event/modern-icons-7/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=UTC:20140413T120000
DTEND;TZID=UTC:20140622T180000
DTSTAMP:20260504T221514
CREATED:20140523T215200Z
LAST-MODIFIED:20160725T091336Z
UID:2331-1397390400-1403460000@ludwigforum.de
SUMMARY:Ellen Gronemeyer
DESCRIPTION:If the pastose application of paint\, the grimacing faces and the injured surfaces by Ellen Gronemeyer remind you of Asger Jorn or Karel Appel you are not entirely off base. Gronemeyer celebrates painting as if there was no yesterday – most recently as a participant of the group exhibition Painting Forever! in Berlin. \nThe Ludwig Forum Aachen will house the young artist’s first museum based solo-exhibition. \nOften applying gloomy shades and grotesque shapes\, Gronemeyer expressively formulates portraits of catlike artists\, headless suits or pointy-nosed ladies. At first sight her pictures seem to con firm all that the viewer knows about figurative painting since the 1950s. On closer observation however\, one starts to doubt these presumptions: Quotations from a pictorial comic language comment the chapped surface in a mean yet smug way\, restraining the pure action through aloof interventions and hereby question ing an all too one-sided perception. The work titles often deal with the change between boisterous painting and intellectual comment. A match that lends depth and contemporaneity to Gronemeyer’s paintings – even though they stubbornly oppose the Zeitgeist. \nTogether with the Ludwig Forum the artist will select around 30 of her works for the presentation. \nCurators: Dr. Brigitte Franzen\, Josephine Mengedoht \nEllen Gronemeyer (*1979) studied i.a. under Daniel Richter at the HfBK Hamburg. She lives and works in Berlin. \n  \nEllen Gronemeyer – Watchever\, Installation Views \n \n  \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/ellen-gronemeyer-2/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2014/05/grone_2_425.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140413
DTEND;VALUE=DATE:20150831
DTSTAMP:20260504T221514
CREATED:20140523T102935Z
LAST-MODIFIED:20160722T064953Z
UID:2373-1397347200-1440979199@ludwigforum.de
SUMMARY:Video Archive
DESCRIPTION:Under the title Painting Electronical Images the videoarchive shows videos from the collection which enter into dialogue with painting. \nEver since their invention artists have used the audiovisual mediums of film and video to confront and challenge the premises and practices of traditional painting. The development of the genre is thus decisively influenced by reformulations of pictorial strategies and conventional aesthetic rules. But the converse is also true: while works of electronic pictorial art always seek to link into the field of painting steeped in tradition\, painters have adopted the modes of expression and impact generated by the new media into their works. And as video advances to an artistic medium in the 1960s and 1970s\, many painters\, sculptors\, concept and performance artists experiment with the new possibilities. \nThe exhibition Painting Electronical Images features positions taken during the first decade of video art which explore the interrelationship between the mediums: these videos are either made like painted pictures and grapple with formal-compositional elements\, or they have pictures as their theme and take a critical look at – often as caricature – art history. They quote famous works and query the traditional notions of the pictorial and indeed\, what constitutes art. \nArtists like Hakudo Kobayashi and Franz Buchholz employ the imaging procedures of video to generate pictorial abstractions. Instead of with brush and paint\, they create electronic images on the screen which\, now displaced into the dimension of time\, continually join together into new forms. \nNan Hoover spoke of photography\, video\, and lights as different brushes for her work. Hoover\, who first worked for 20 years as a painter\, uses a static camera while objects and sources of light move delicately past the lens\, creating flowing\, two-dimensional\, and often abstract compositions. In the process she plays with the picture quality of early video technology with its grainy contrasts to conjure almost imperceptible transitions between figure and ground. \nThe positions of Belgian video art are a particular focus of the collection. The videos on show here take an ironic approach to painting and its history. Pol Bury’s humoristic video sketches target traditional motifs and styles\, while Jacques Lennep’s sequences\, marked by self-irony\, show the artist painting without the necessary artistic utensils\, exposing the put-on artistic attitude. Works by Ulrike Rosenbach\, Lili Dujourie\, Leo Copers\, and Douglas Davis are also featured. \nThe show is part of the Video Archive research project funded by the Volkswagen-Foundation. \nCurators: Lou Jonas\, Miriam Lowack\, Anna Sophia Schultz
URL:https://ludwigforum.de/en/event/video-archive-new/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20131123
DTEND;VALUE=DATE:20140127
DTSTAMP:20260504T221514
CREATED:20131009T142726Z
LAST-MODIFIED:20160722T063109Z
UID:1818-1385164800-1390780799@ludwigforum.de
SUMMARY:Videozone: Wael Shawky – Cabaret Crusades
DESCRIPTION:In his videos\, the Egyptian artist Wael Shawky stages historical and political incidents and thus explores the interpretational space of history. The work Cabaret Crusades: The Horror Show File (2010) is the first part of a trilogy. On the basis of Amin Maalouf’s book The Crusades through Arab Eyes he examines the Arab perspective of the Crusades. Using 200 year old marionettes\, he re-enacts the events that have played a key role for the developments to follow up until the political situation today. \nWael Shawky (*1971 Alexandria) studied Visual Arts at Alexandria University and Graduate School of Fine Arts of the University of Pennsylvania. He has had solo exhibitions at Nottingham Contemporary (2011) and Cittadellarte – Fondazione Pistoletto\, Biella (2010). Moreover\, he participated in the Istanbul Biennial (2011)\, the Biennale di Venezia (2003) and the documenta 13 (2012). In 2010 Shawky founded the education centre MASS Alexandria. \nVideozone: Wael Shawky – Cabaret Crusades\, Installation Views \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/videozone-wael-shawky-cabaret-crusades-2/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20131013
DTEND;VALUE=DATE:20140217
DTSTAMP:20260504T221514
CREATED:20130728T100246Z
LAST-MODIFIED:20160722T090006Z
UID:1859-1381622400-1392595199@ludwigforum.de
SUMMARY:Nancy Graves Project & Special Guests
DESCRIPTION:Nancy Graves (1939 – 1995) is one of the most important artists of the 20th century. In 1969 she was given her first solo exhibition bay the New York Whitney Museum. Two years later she made her debut in Europe in the Neue Galerie Aachen\, where her still world-famous camels found a place among the other exhibits of Hyperrealism. \nThis is the context in which – to this day – Nancy Graves is perceived to belong by most viewers. But is their evaluation right? Graves’ work is permeated by a diversity of artistic currents. Time and again\, she herself also inspired new directions. To show and re-evaluate the artist’s oeuvre in all its subtleness – this was the objective of the curators of the Ludwig Forum. With their Nancy Graves Project\, the first comprehensive retrospective of the artist to be staged in Europe since 1971\, they present about 70 sculptures\, installations\, drawings\, paintings and films. The main focus is on works created between 1969 and 1979. \nA special feature of the Nancy Graves Project is that the curators have invited special guests to help re-evaluate the art-historical importance of Nancy Graves in the context of works by her artistic contemporaries. These guests are expected to include: Eadweard Muybridge\, David Smith\, Hannah Wilke\, Eva Hesse\, Paul Thek\, Joseph Beuys\, Robert Rauschenberg\, Trisha Brown\, Yvonne Rainer\, Nikolaus Lang\, Anne and Patrick Poirier and Robert Smithson. \nThe exhibition is being staged in cooperation with the Nancy Graves Foundation in New York. \nA comprehensive catalogue with texts by Walter Grasskamp\, Joan Simon\, Annette Lagler\, Brigitte Franzen\, Petra Lange-Berndt and interviews with Chuck Close and Yvonne Rainer\, among others\, has been published by the publishers Hatje Cantz\, German/English\, approx. 340 p.\, approx. 400 illustrations\, 21 x 27 cm\, cloth\, approx. € 39\,80 [D]\, ISBN 978-3-7757-3695-4\, August 2013 \nCurated by: Dr. Brigitte Franzen and Dr. Annette Lagler \nCuratorial assistants: Benjamin Dodenhoff\, Josephine Mengedoht \nArt education: The exhibition Nancy Graves Project & Special Guests will be accompanied by an extensive art education programme. Hands-On Activities will permit active\, practical work between art\, nature and science. An open-house restoration workshop will demonstrate the problems involved in restoring and conserving Nancy Graves’ works of art. A short guide for children is being published. \nSponsors: Kulturstiftung des Bundes (German Federal Cultural Foundation)\, Terra Foundation for American Art\, Peter and Irene Ludwig Foundation\, Kunststiftung NRW (Art Foundation NRW)\, Nancy Graves Foundation\, Verein der Freunde des Ludwig Forum (Friends of the Ludwig Forum) \nMedia partners: WDR 3\, AZ/AN \nNancy Graves Project & Special Guests\, Installation Views \n \n  \n \n  \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/nancy-graves-project-special-guests-2/
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130910
DTEND;VALUE=DATE:20150209
DTSTAMP:20260504T221514
CREATED:20131009T135926Z
LAST-MODIFIED:20170331T095922Z
UID:1823-1378771200-1423439999@ludwigforum.de
SUMMARY:Collection
DESCRIPTION:The Ludwig Collection is one of the largest and most important art collections in the world. The collection in the Ludwig Forum comprises around 3.000 works. Quite a few of them are referenced in every book on art history and have become part of the global heritage of art in the 20th century. \nOf special importance were the photo-realist painting Richard by Chuck Close or the true-to-life appearing sculpture Supermarket Lady by Duane Hanson. Peter Ludwig brought both works to Aachen in 1970\, still before the new realism gets known at the legendary documenta 5 in 1972. \nArtists of the exhibition: John de Andrea\, Jean-Michel Basquiat\, Chuck Close\, Don Eddy\, Robert Graham\, Duane Hanson\, Keith Haring\, Jasper Johns\, Alan Johnes\, Jeff Koons\, Roy Lichtenstein\, Philip Pearlstein\, Raymond Pettibon\, Mel Ramos\, John Salt\, George Segal\, Robert Smithson\, Andy Warhol\, Garry Winogrand. \nCurator: Esther Boehle \nCollection: The Americans\, Installation Views \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/collection-american-highlights-of-the-lufo-collection/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20130714
DTEND;VALUE=DATE:20130930
DTSTAMP:20260504T221514
CREATED:20130828T065334Z
LAST-MODIFIED:20160722T074826Z
UID:1827-1373760000-1380499199@ludwigforum.de
SUMMARY:Bea Otto - out there
DESCRIPTION:Bea Otto relates in her work directly to existing sites. They build the framework and starting point of a specific sculptural process of appropriation and transformation. In her exhibition she explores the meaning of the Ludwig Forum itself as a place\, its architecture and also its experienced space by questioning and transforming it through openings and obstructions\, shifts and breaches. The artist\, resident in Aachen\, investigates the ambivalence between the rough urban space of the Jülicher Straße on the one hand and on the other the museum space\, protected yet shielded due to its construction. \nBea Otto barricades the former main entrance of the umbrella factory with a wooden fence\, the construction-side facing the street: an encroachment that raises questions about mechanisms of in- and exclusion. A former side entrance is simultaneously opened and blocked by a photographic intervention. Already in the run-up to the exhibition\, these locations were marked as transitory places using photographs depicting a gray museum curtain and the reverse side of a torn poster. \nOn the interior of the façade\, simultaneously\, in the exhibition space\, the artist uncovers obstructed windows and removes the skirting boards. The industrial architecture becomes permeable and is allowed to expand. Space is inside and outside – threshold situations arise\, not only spatially and temporally structured\, but experienced by the human body. A used sleeping mat sets the space in juxtaposition to human proportions and raises questions about temporary housing\, passageway or place to stay. A temporary and fragile moment is inherent in the provisional materials and objects trouvé but is shifted and located through their precise positioning and processing.  Further interventions made by the artist\, such as a projection and a floating\, insular platform\, let expanse and void become tangible and describe a transitory space\, moving between inside and outside. \nBea Otto (*1964) studied at the Kunstakademie Düsseldorf as a master student of David Rabinowitch\, at the Gerrit Rietveld  Akademie\, Amsterdam and the Arts Students League\, New York. She received scholarships\, among others\, from the DAAD\, Kunststiftung NRW and Stiftung Kunstfonds\, Bonn. \nCurated by Dr. Brigitte Franzen and Holger Otten \nBea Otto – out there\, Installation Views \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/bea-otto-out-there-2/
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130630
DTEND;VALUE=DATE:20130902
DTSTAMP:20260504T221514
CREATED:20130828T064759Z
LAST-MODIFIED:20160722T073523Z
UID:1829-1372550400-1378079999@ludwigforum.de
SUMMARY:llka Helmig – Phénotype
DESCRIPTION:From a fluff of dust to a satellite image of nighttime London – Ilka Helmig investigates the phenotypes\, the modes of physical appearance of images and objects. She traces the structures and processes of growth\, whether ordered or chaotic. And she searches for an aesthetic of the incidental. An aesthetic-dissecting eye for the structures of our world characterizes the works of the Aachen artist\, and most of these were created specially for the Phénotype exhibition in the Ludwig Forum Aachen. \nTaking center stage is a convoluted sculpture out of timber beams that encroaches on and threatens to consume the exhibition space. Like a scaffold that has fallen apart\, the structure out of square and hexagonal beams moves through the space. Ilka Helmig has set out a few construction parameters in advance\, for instance the selection of the timber beams. She has cut them into sections of various lengths and in a way that their ends feature a variety of angles. This means that connecting the sections can only be planned to a limited extent and the wooden construct meanders through the exhibition space\, as chance would have it. The construction is comple-mented by drawings\, photographs\, and microscopic detailing\, for example in the corresponding form of a wall drawing made out of tape. It\, too\, moves in more or less prescribed boundaries\, but within these the actual movement is completely unpredictable. The artist still has further branches to add – accumulations and changes turn the exhibition itself into a growth process. \nIn other works as well Ilka Helmig looks closely at chaotic and ordered structures\, at regularity and irregularity: through a microscope she photographs a drop of dried milk or a dust particle. At the same time she studies the layouts of cities or the patterns of agricultural fields in an aerial shot. By juxtaposing biologically- and culturally-conditioned structures Ilka Helmig reveals unforeseen aesthetic connections and visual classifications. Her priority here is not to furnish the logical reasoning of these structural processes but generate artistic and comparative perception and knowledge. A catalogue will be published to accompany the exhibition. \nIlka Helmig  (*1971) works at the interface between art and design. After studying design in Nuremberg she studied fine arts in Bonn. Since 2007 she is Professor of Visual Conception and Drawing at the Aachen University of Applied Sciences. \nCurated by Dr. Brigitte Franzen and Esther Boehle \nllka Helmig – Phénotype\, Installation Views \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/llka-helmig-phenotype-englisch/
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130610
DTEND;VALUE=DATE:20140618
DTSTAMP:20260504T221514
CREATED:20131009T141418Z
LAST-MODIFIED:20180809T115446Z
UID:1960-1370822400-1403049599@ludwigforum.de
SUMMARY:Artur Żmijewski - Self-portrait
DESCRIPTION:Following an exhibition project with works by the Polish artist Artur Żmijewski in 2012\, in which the artist confronted us with the otherness of people with different disabilities\, a very special workshop took place at the Ludwig Forum from June 10 to 15\, 2013: Under the direction of Artur Zmijewski\, people with and without disabilities from the neighborhood of the Ludwig Forum designed a sculpture ensemble together. \nNegative molds were dug from outlines of individual participants\, which were then filled with concrete. The erected figures are now standing in the garden of the museum. From dealing with the question “What is a portrait?” a large relief picture continued to result\, which found its starting point in Anselm Kiefer’s “Wege 2” (1977) and can be seen next to Kiefer’s work in the museum. \nThe workshop was accompanied by a film team Żmijewskis\, which is now working on a new film that not only documents the project\, but also\, like many of the artist’s works\, deals with disability in our society. \nWe would like to thank Haus Wiesental (Lebenshilfe Aachen) for the intensive cooperation. \nCurators: Miriam Lowack and Holger Otten \n  \n \n \n \n \nFotos: Carl Brunn / Ludwig Forum Aachen \n  \n  \nSupported by:
URL:https://ludwigforum.de/en/event/artur-zmijewski-inklusiver-workshop/
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130421
DTEND;VALUE=DATE:20130624
DTSTAMP:20260504T221514
CREATED:20130728T100739Z
LAST-MODIFIED:20160725T064433Z
UID:1857-1366502400-1372031999@ludwigforum.de
SUMMARY:Michael E. Smith
DESCRIPTION:The series of exhibitions of site-specific works of art in the main hall of the Ludwig Forum\, which began in 2011 with Susan Philipsz’ sound installation\, continues this spring with a project by the Detroit artist Michael Edward Smith. So far\, Smiths’ work has only been on show in Germany in a single museum solo exhibition. Smith’s works are completed on-site\, and attain a potent synthesis of autonomy and referentiality. His objects\, images and videos are destillations of social dynamics\, and they draw their vitality as things from exactly this. \nSmith’s inspiration comes from his perception of the economic and social crisis in the USA\, a general decline foreshadowed long ago by the demise of the automotive industry in his hometown\, Detroit. A moment of assertion against the pressure of such conditions materialises itself in his objects and shows itself clearly in his titles and video clips. \nSmith’s paintings\, drawings\, sculptures and videos\, which he created especially for this exhibition over the past few months at home in New Hampshire and which he will bring together in the exhibition room to form a force field\, will only attain their final shape and intensity when they are arranged on site. A wide range of materials are treated with adhesive tape\, industrial foam\, resins\, oils and varnishes\, or simply cut\, trimmed and set out in the exhibition room. Their presentation is not usually straightforward: they hide themselves away behind the piping\, squat on top of the strip lighting\, crouch under ledges or retreat from the open space of the room into the nooks and corners. Their behaviour in the room and their distinct corporeality creates the impression that\, rather than having simply been put in their places\, they are actively “infesting” the room. This staging of an autonomous\, animate and weirdly sinister world of objects creates a dense atmosphere in which American society itself is reflected in the disturbing potential of “things”. \nCurated by: Anna Sophia Schultz \nMichael E. Smith\, Installation Views \n \n  \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen 
URL:https://ludwigforum.de/en/event/michael-e-smith-2/
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130317
DTEND;VALUE=DATE:20141027
DTSTAMP:20260504T221514
CREATED:20140522T062744Z
LAST-MODIFIED:20170331T093852Z
UID:2363-1363478400-1414367999@ludwigforum.de
SUMMARY:The Other Americans
DESCRIPTION:Precisely accurate images of banal soup cans\, a hyperrealist sculpture of a lady wearing curlers: what Peter and Irene Ludwig brought with them from the studios of New York in the 1960s was unheard of. Already in 1968\, even before the documenta show ennobled Pop Art\, the collector couple had shown works by Andy Warhol\, Duane Hanson\, and Roy Lichtenstein. Works which are today world famous and have a firm place in the canon of art history. \nBeyond the big names and world famous works there always remains space for positions which elude established categories – very much in the spirit of the visionary aspiration fostered by the Ludwigs to survey the landscape of contemporary art in great detail and present the art of their time in all its diversity. It is precisely these hitherto little known and yet highly interesting works of the collection which the exhibition Die anderen Amerikaner focuses on: positions taken by somewhat lesser known American artists\, but also unusual works by more renowned colleagues. With this presentation the Ludwig Forum Aachen is embarking on a journey on the byways of the American art scene and at the same discovering the collection of Peter and Irene Ludwig anew. A retrospective view after thirty\, forty years – the time has come to hoist such treasures out of our depot and break open ingrained viewing habits. It’s time for a reevaluation. \nThe Other Americans is an exhibition directing our attention to the diverse facets of art in the USA during the 1970s and 1980s\, facets which more often than not defied conventional classifications. Two themes in particular stand out: graffiti painting and works of the Pattern and Decoration movement. \nAt the beginning of the 1970s young sprayers conquer the New York underground. Many of them are from the ghettos of Harlem and the Bronx\, call themselves Crash\, Ero\, and Lady Pink\, listen to hip hop\, and are often not even yet of legal age when they spray building walls\, subway stations\, and subway cars\, without worrying about the law or the elitist understanding of art held by mainstream America. They place their initials and tags in the most prominent place possible in public space\, often commenting on the situation of the underdogs\, the socially outcast and repressed minorities. As the 1980s unfold some of them move from the street into the art galleries and start to spray on canvas. The Ludwigs brought such works to Aachen\, amongst them pieces by Crash (John Matos). Still successful today\, he combines graffiti with Pop Art elements. The spectacularly colorful sprayed images of Daze\, with whom he shared a studio at the beginning of the 1980s\, engage the immediately present everyday world\, advertising\, television\, and comics. \nThe second focal point is devoted to the Pattern and Decoration movement (1975-1985). At first glance\, many of the works bristling with a zest for life look like purely ornamental arts and crafts\, characterized by wallpaper-like patterns\, decorative ornamentation\, or aggressively colorful compositions. The artists frequently quote forms from non-Western cultures and produce their works with traditional female handicraft techniques. Miriam Schapiro\, Robert Kushner\, Kim MacConnel\, and others are responding to the preceding purist currents of Minimal and Concept Art\, drawing in many respects on the extravagant hippie movement and celebrating the return of fantasy\, color\, diversity of forms\, and emotions. But they not only question traditional aesthetic notions of art\, but also the political and social conditions\, including the status of women\, indigenous Americans\, and ethnic minorities. The works of the Pattern and Decoration movement have scarcely been considered in Europe up until now. The Ludwig Forum takes the first step. \nArtists featuring in the exhibition: Charlie Ahearn\, John Ahearn\, Laurie Anderson\, A-One\, Alan Cote\, Crash\, Donald Bacheler\, Mel Bochner\, Donna Dennis\, Vincent Desiderio\, Daze\, Ero\, Christopher Knowles\, Joyce Kozloff\, Robert Kushner\, Thomas Lanigan-Schmidt\, Kim MacConnel\, Robert Morris\, Lowell Nesbitt\, Noc 167\, Judy Pfaff\, Lady Pink\, Lee Quinones\, Robert Rauschenberg\, Dorothea Rockburne\, David Salle\, Miriam Schapiro\, Kendall Shaw\, Michael Snow\, Don van Vliet\, Robert S. Zakanitch. \nCurator: Esther Boehle \nThe Other Americans\, Installation Views \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/the-other-americans-discoveries-of-the-1970s-and-80s/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20121110
DTEND;VALUE=DATE:20130218
DTSTAMP:20260504T221514
CREATED:20130728T111625Z
LAST-MODIFIED:20180809T121007Z
UID:1853-1352505600-1361145599@ludwigforum.de
SUMMARY:Videozone: Artur Żmijewski
DESCRIPTION:Blindly is the second exhibition in the series Videozone and will present works by Artur Żmijewski. The Polish artist and curator of the 7th Berline Biennale 2012\, creates situations that break social norms and taboos and thereby provoke controversial reactions. \nThe show will present three videos and one audio work that confront us with the otherness of people who have certain disabilities. Blindly (2010) observes blind people who fail at the attempt of painting\, Singing Lesson 2 (2003) shows deaf people trying to sing-situations that question our usual understanding of perception and turn into a battle ground of social conflicts. Though sometimes emotionally touching\, his works make us aware of the fact that concern and compassion actually serve to maintain barriers. In fact people only become disabled by the reactions from society. “True acceptance of the other is really hard.” (Żmijewski) \nAs part of the Research project Videoarchive funded by the Volkwagen Foundation\, Videozone regularly features current trends in contemporary video art. Blindly is part of the Polish/North Rhine-Westphalian cooperation project Klopsztanga. Polen grenzenlos NRW initiated by Kultursekretariat NRW. \nCurated by Miriam Lowack and Holger Otten \n  \n \n \nImages: Artur Żmijewski\, Blindly\, video\, 2010\, videostill\, vourtesy Foksal Gallery Foundation\, Warsaw (top); Artur Żmijewski\, Singing Lesson 2\, video\, 2003\, videostill\, courtesy Foksal Gallery Foundation\, Warsaw (buttom).
URL:https://ludwigforum.de/en/event/videozone-artur-zmijewski-2/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120922
DTEND;VALUE=DATE:20130218
DTSTAMP:20260504T221514
CREATED:20130728T114921Z
LAST-MODIFIED:20170331T082008Z
UID:1851-1348272000-1361145599@ludwigforum.de
SUMMARY:The city that doesn't exist
DESCRIPTION:Processes at work in media and society are changing our world and creating spaces in which the borders between fact and fiction are blurred. Die Stadt\, die es nicht gibt takes the visitor to kind of the places that lie in between. The works of the 20 photo\, film and video artists in this exhibition deal with the everyday reality of image consumption in our urban spaces\, and with the news images that reach us from all over the world. They explore the issue of worldwideness and challenge our perception of reality. We think we know these places\, and yet\, again and again\, we find ourselves surprised and fascinated by their farawayness. \nThe imaginary map of the exhibition stretches from Kohlscheid on the outskirts of Aachen to Peking\, from Cairo to Peru\, and from Berlin to Chandigarh. Naples\, Amsterdam\, Fukushima\, Hong Kong\, Pyongyang\, Marseille and Bratislava are all elements of this worldscape. A mosaic of real and imaginary terrains emerges\, revealing to us that our view of the world is composed of a wide range of structural\, social\, political and cultural parameters. This worldview cannot manage without images to satisfy our intellectual and visual curiosity about otherness and about the people who live in other places. \nThe participating artists: Kader Attia\, Stefan Canham/Rufina Wu\, Nadia El Fani\, Annette Kelm\, Aglaia Konrad\, Till Krause\, Michael Krumm\, Armin Linke\, Daniel Maier-Reimer\, Paolo Pellegrin\, Michael Schmidt\, Wilhelm Schürmann\, Maya Schweizer\, Lidwien van de Ven\, Clemens von Wedemeyer\, Annette Wehrmann\, Maja Weyermann\, Tobias Zielony\, David Zink Yi \nCurated by: Dr. Brigitte Franzen\, Esther Boehle \nThe city that doesn’t exist\, Installation Views \n \n  \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/the-city-that-doesnt-exist/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120825
DTEND;VALUE=DATE:20121029
DTSTAMP:20260504T221514
CREATED:20130824T102348Z
LAST-MODIFIED:20160721T104418Z
UID:1839-1345852800-1351468799@ludwigforum.de
SUMMARY:Videozone: Deimantas Narkevičius
DESCRIPTION:Farewells and new starts: in his video and film works\, the Lithuanian artist Deimantas Narkevičius explores the Soviet history of the post-war period. His Video Ausgeträumt (Dream Over)\, which starts off the exhibition series Videozone\, shows five young musicians who have formed a band with the Name Without Letters. \nThe images evoke a sense of time-shift. The stage is a cafeteria from the late 1950s. In this setting\, the musicians perform their song Ausgeträumt. The band plays alone\, completely without an audience\, in a typical post-Stalinist building in the middle of a workers’ district in Vilnius – a setting that used to be the hub of social life for the local residents. \nThe video is interspersed with shots of snowbound roads and old housing estates. The view out of a train window\, ever accelerating\, shows newer residential areas of the region before it moves off into the winter landscape of Lithuania. The video communicates a unique sense of melancholia – combined with an unmistakable sense of departure towards something new. \nAt the opening of the Videozone exhibition\, Without Letters will be giving their first international concert in Aachen. On this evening\, the Ludwig Forum will become a stage for their music\, which is inspired by Indie\, Math Rock and Electro and oscillates between guitar sounds and electronic tones. \nIn the context of the Research project Videoarchiv (Video Archive)\, which is sponsored by the Volkswagen Foundation\, the exhibition series Videozone will illustrate trends in contemporary video art at regular intervals. \nCurated by: Miriam Lowack \nVideozone: Deimantas Narkevičius\, Video Stills \n \n 
URL:https://ludwigforum.de/en/event/videozone-deimantas-narkevicius-2/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120624
DTEND;VALUE=DATE:20120903
DTSTAMP:20260504T221514
CREATED:20140730T084035Z
LAST-MODIFIED:20160721T111032Z
UID:2646-1340496000-1346630399@ludwigforum.de
SUMMARY:Etna Carrara
DESCRIPTION:The Villa Romana in Florence in a place for artistic production and exchange. Only ten minutes away from the centre of Florence\, it offers peace in the form of a large garden\, with the urban reality of a big city. With exhibitions and a broad spectrum of events\, the Villa Romana runs the dialogue with producers and the public\, places itself in the international artistic context and encourages communication with Mediterranean cultures. \nThe core focus of the Villa Romana since 1905 is the Villa Romana Prize. It is annually awarded to four outgoing artists living in Germany\, and is combined with a scholarship and ten month stay in Florence. The institution of the Villa Romana and the founder of the same name\, is the charitable organisation Villa Romana Association\, which is supported by the Deutsche Bank Foundation\, the Federal Government Commissioner for Culture and Media and other private sponsors. \nA number of the participating artist exhibit in numerous major art institutions. Including Thomas Klipper\, whose presentation at the Venice Biennale last year attracted much attention\, Nora Schultz\, whose work could be seen in the MoMA in New York and the Kunsthalle Zurich\, Wolfgang Breuer\, who presented in the KW Institute for Contemporary Art in 2009 or Henrik Olesen\, who was awarded with the Wolfgang-Hahn Prize in spring this year . \nFor the exhibition\, Thomas Klipper will develop a 15×4 meter banner for the front of the Ludwig Forum\, which is a partial reprint of his floor work for the Venice Biennale in 2011. The wooden floor of the Pavilion for Revolutionary Freedom of Speech with 33 political portraits\, served as the form for the large format banner. The contribution from Nora Schultz will also be produced on site\, and incorporates aspects of the interior architecture of the Ludwig Forum. The process of the assembly and design in her installations\, performances\, sound works\, prints and print machines is always recognisable. \n \nSophie Reinhold shows a selection of her in many ways\, spatially playful paintings. The works\, some of which are primed with marble dust from the quarries of Carrara\, testify to an equally free and independent\, examination of the history of European painting. The interventions\, performances\, sculptures and videos from Yorgos Sapountzis are formed in and of his interaction with public space\, which in a light\, almost playful way\, activates the site as a historical and living space. From Vincent Vulsma\, a series of works from his Jacquard Weave works WE455 will be shown. \nThe title refers to the serial number of a photograph by Walker Evans\, which in the 1935 Exhibition African Negro Art was made of textiles\, which the central African tribe Kuba used as currency. Henrik Olesen addresses aspects of fragmentation\, repetition and dependency with an engagement on the verge of invisibility. The video work by Rebecca Ann Tess is the third part of a trilogy\, which was filmed in the Villa Romana and will be presented for the first time in the Ludwig Forum. The three video works draw on stereotypes of European and American film and television history and present through repetition\, rotation\, and their cultural messages. Nine Budde will show a four part photography series\, which treats the places\, prota-gonists and images in a psychologically charged context. Wolfgang Breuer will show four images\, compositions\, toner colour compositions based on copies of four photographs. \nThe exhibition is a cooperation between the Ludwig Forum for International Art and the Villa Romana\, Florence. \nCurated by Anna Sophia Schultz and Holger Otten \nMore about the exhibiton (PDF) \nEtna Carrara\, Installation Views \n \n  \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/etna-carrara/
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120513
DTEND;VALUE=DATE:20120827
DTSTAMP:20260504T221514
CREATED:20130824T111554Z
LAST-MODIFIED:20170331T075516Z
UID:1833-1336867200-1346025599@ludwigforum.de
SUMMARY:Art Prize Aachen 2012: Phyllida Barlow
DESCRIPTION:Brink is the title given by the British artist Phyllida Barlow to her first solo exhibition on the continent. Barlow\, winner of the Kunstpreis Aachen this year\, works mostly in the medium of sculpture. Since the 1960s\, the artist\, who was born in 1944 in Newcastle\, has been developing expansive\, large-format sculptures. Her favoured materials all have the aesthetics of rawness and simplicity: plaster\, cement\, plastic\, wood and textiles\, for example. \nFor her exhibition in Aachen\, Barlow has created seven new sculptures that allude to social phenomena as well as to art history. \nTwo of the works are installed on the glass roof of the Forum’s central hall. They can only be viewed from inside the hall. The 8-meter-high sad monument in the Lichtturm (Light Tower) counterpoints the two vertical scrolls by Jenny Holzer that are permanent exhibits there. The piece has belonged to the Ludwig Forum’s collection since 2012. The four other pieces are set up in the atrium of the exhibition hall. Piano alludes to Joseph Beuys’ Plight\, a project that he put on show in Great Britain shortly before he died in 1985. \nCurated by: Dr. Brigitte Franzen \nThe jury of the Kunstpreis Aachen 2012: Marion Ackermann (Kunstsammlung NRW (Art Collection NRW)\, Düsseldorf)\, Chris Dercon (Tate Modern\, London)\, Brigitte Franzen (Ludwig Forum\, Aachen)\, Ernst Höhler (Verein der Freunde des Ludwig Forum (Friends of the Ludwig Forum)) and Dirk Snauwaert (Wiels Centrum voor Hedendaagse Kunst\, Brussels). \nArt Prize Aachen 2012: Phyllida Barlow\, Installation Views \n \n  \n \n  \n\nPhotos: Carl Brunn / Ludwig Forum Aachen
URL:https://ludwigforum.de/en/event/art-prize-aachen-2012-phyllida-barlow/
CATEGORIES:Exhibition
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END:VCALENDAR