- Digital Formats
ifa presents an exhibit from its Touring Exhibitions. In the Touring Exhibitions ifa presents contemporary art from Germany worldwide. After years of travelling through international museums, the exhibitions are transferred to the ifa's art collection, which houses several thousand works of art—works ranging from Rebecca Horn to Gerhard Richter, from Helga Paris to Marcel Odenbach.
With the exhibition 'Weltreise' (Travelling the World), curated by Matthias Flügge and Matthias Winzen, for the first time a comprehensive and at the same time exemplary insight into ifa's exhibits was given. The exhibition was opened in 2013 at ZKM in Karlsruhe, and has since been presented at nine locations—as its journey around the world continues!
The series 'Artwork of the Month' is intended to expand access to ifa's invisible art collection and offer a glimpse 'behind the scenes'. The 'Artwork of the Month' will be presented as the original in ifa Gallery in Stuttgart and will be published digitally.
A Maggi bottle next to the Critique of Pure Reason. It is not exactly easy to relate the two objects that Joseph Beuys juxtaposed in the edition work Ich kenne kein Weekend.
The Critique of Pure Reason, the main epistemological work of the important German Enlightenment philosopher Immanuel Kant, published in 1781, and Maggi, a seasoning that was an essential item in any West German household of the 1970s, when the artwork was created.
Both objects are roughly the same size and colour-matched. On the typical yellow Reclam book-cover the viewer can see a red stamp: 'BEUYS: Ich kenne kein Weekend' ('Never Heard of Weekends'), which corresponds to the red of the Maggi bottle. Formally, the objects are on an equal footing; yet the milestone in the history of philosophy is not usually found next to a spice bottle in the kitchen. By placing the two 'ready-mades' next to one other, Beuys invites the viewer to think the objects together. He spices Kant’s ideas with simple everyday culture. He breaks open categories and hierarchies.
In his theory of 'social sculpture', Beuys sought to integrate everyday life into art. His statement 'Everyone is an artist' places on each of us the responsibility to change society with our own creative actions every day of the week.
Ich kenne kein Weekend is currently on tour with the exhibition Travelling the World. Art from Germany. In 1990 Götz Adriani curated for ifa the monographic exhibition Beuys, Drawings - Objects – Prints, which was on tour until 2004. Further works by Beuys could be seen in the ifa touring exhibition 'Fluxus in Deutschland' ('Fluxus in Germany') (1995-2012).
ifa is looking forward to the Beuys Year 2021, when the artist and his work will be honoured on the occasion of the 100th anniversary of his birth.
Karin Sander's work 'Wandstück' is inconspicuous and hardly even noticeable. The artist has polished a rectangular surface on a wall to a high gloss. Light falling on it is reflected by the mirror-smooth spot.
Neither paint nor pigment was used to create an image. Instead, the artist sanded away a very thin layer of wall with extremely fine sandpaper. This process emphasizes the peculiarities of the wall, putting its properties into question. The wall, traditionally the bearer of the picture, becomes the picture itself – picture and wall lie on the same plane. Where does artwork begin and what is wall? With her works Sander repeatedly questions and renegotiates the basic conditions of art.
Sander has created polished wall pieces for the Museum of Modern Art (MoMA), New York, and for the Stuttgart State Art Gallery. They have become a kind of trademark of hers.
Sander has also created a version of 'Wandstück' for ifa Stuttgart. She selected a wall in the walk-through area in front of the 'Weltraum', a room of ifa in which public events take place. Other works of art by Karin Sander were represented in the ifa touring exhibition 'Embodied Logos: 14 women artists from Germany', and are also currently on display in the exhibition Travelling the World. Art from Germany.
Swaths of fabrics, yarns, woven materials – textiles are often regarded as pure decoration. Against this way of seeing them, the artist Judith Raum sets her extensive research and artistic installations on textiles, not only reactivating the peculiarities of historical fabrics by lavish re-weavings but also revealing them as carriers of political and social narratives.
The installation 'Bauhausraum' was developed for the ifa touring exhibition 'The Event of a Thread. Global Narratives in Textiles' and approaches the history of the weaving and textile workshop of the Bauhaus on different levels. Raum travelled to international archives to study historical documents and remnants of materials from the workshop: in this way she studied not only its extraordinary success story but also the history of its tradition. The result of her detailed research is six chapters that invite visitors to touch, listen, see and read an extensive multi-media installation and, above all, to let the materials speak for themselves and to hear the voices of the weavers through quotations. The work treats not only the relationships between craft, artistic medium, and the changing aesthetic programme of the textile workshop as a mirror of the different political visions of the Bauhaus directors, but also the question of (the reputed) gender equality at the Bauhaus.
On display in The Event of a Thread. Global Narratives in Textiles (since 2017)
'Perhaps the surface of an image can be compared to a water surface touched and constantly changed by wind and weather.'
Günther Uecker quoted in 'Günther Uecker: Der geschundene Mensch. 14 befriedete Gerätschaften', Stuttgart, 1993, p. 23 (exhibition catalogue)
'Spirale' combines two of the central elements of Günther Uecker's artistic style: the spiral and the nail. To capture the three-dimensional square and person-sized mural in digital form, as here, the viewer would have to take a few steps back from the work. Only then do the individual nails, hammered into the wood in a uniform way, form a two-dimensional image. With the distance, the metallic hardness of the nails blurs into a soft and dynamic-looking whole. Not only by the direction of the spiral, which begins or ends in the lower edge of the picture, but also by the incidence of light on the surface, the rigid work conveys the visual impression of movement. The circular, object-like relief creates a contemplative undertow.
On display in
High culture meets one-euro shop: the work 'Cheap Ass Elites', which was purchased as part of the touring exhibition 'Pure Gold', is dedicated to upcycling and combines plastic baskets with wooden chair legs in Victorian style to create new furniture: a humorous juxtaposition of 'high' and 'low' in sociological and design terms. The design objects were fashioned by 56thStudio, a creative agency, founded by Saran Yen Panya from Bangkok, Thailand, which is committed to the communicative potential of design.
On display in Pure Gold (since 2017)