Cuxhaven Art Association

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The Cuxhavener Kunstverein is an art association founded in 1991 in Cuxhaven . The focus of the activities of the art association is the presentation of contemporary art with around six exhibitions a year .

Work of the association

The founding members wanted their re-establishment to be understood "as a continuation of the" Cuxhaven Art Society "founded in Cuxhaven in 1918 and banned by the National Socialists in 1933". An essential prerequisite at the time of the re-establishment was the support of the city of Cuxhaven: the city had made the 'old auction hall' in the then Große Hardewiek 35 (today Segelckestrasse 25) available as the future headquarters. The association has remained true to its conception of content to this day: “The association has set itself the goal of opening up, presenting and promoting qualified contemporary fine art [...] to a broad public in Cuxhaven. For this purpose, a cross-section of all contemporary art movements at home and abroad are to be shown and explained and thus encouraged to deal critically with modern art. ”The association has around 100 members and is run on an honorary basis.

The exhibition-related art education work has been specifically intensified in recent years. In exhibitions and campaigns, the art association has presented their work to nationally and internationally recognized, but also young, eligible artists. B. Katja Eckert, Rupprecht Geiger, Ólafur Gíslason, Antje Schiffers, Marina Schulze , Strawalde , Antoni Tàpies , Timm Ulrichs . As part of the “Follow Me - Art on the Lower Elbe” project, the British artist Antony Gormley set up his 100 life-size figures in the Cuxhaven mudflats in 1997 .

In addition to its exhibition work, the art association offers courses and projects in the art workshop attached to it, offering art communication and aesthetic education for all age groups of the population, and sets a special focus with cultural youth work.

Web links

Individual evidence

  1. a b from the statutes of the association of June 3, 1991