Kunsthalle Düsseldorf

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Kunsthalle Düsseldorf
Main entrance of the Kunsthalle, in the foreground the hinged lid by Lee Thomas Taylor, 2004

The Kunsthalle Düsseldorf is a modern exhibition hall in the North Rhine-Westphalian state capital Düsseldorf . Because of the visibility of the construction, the sculptural shape and the facade made of exposed concrete (French: béton brut ), it is one of the examples of brutalism . In the building of the Kunsthalle, which is opposite the Kunstsammlung Nordrhein-Westfalen on Grabbeplatz , there is also the seat of the Kunstverein for the Rhineland and Westphalia , the Kom (m) ödchen cabaret stage , the Salon des Amateurs bar, as well as a bookshop and an underground car park. The Kunsthalle Düsseldorf operates another, special exhibition space in the basement of the Art Pavilion in the tunnel on the Rhine promenade .

History, architecture and exterior objects

The Düsseldorf Palace with the picture gallery, 1831 (painting by Andreas Achenbach )
Old art gallery , photo from 1896

The history of the Kunsthalle is related to the picture gallery , which was founded under Jan Wellem (1658–1716) and contained one of the most important collections of its time. In 1795 the paintings were brought to Mannheim because of the approaching French Revolutionary Army. After the peace treaty, the estates of the Duchy of Berg arranged for the pictures to be returned. Due to an exchange of countries between Electoral Palatinate Bavaria, France and Prussia, when the Electoral Palatinate Bavaria left the Duchy of Berg with its capital Düsseldorf to Napoléon, the valuable collection was then transported away again in 1805, first to Kirchheim-Bolanden, and from there to Munich. Due to the state treaty between Prussia and Bavaria in 1870 , Düsseldorf had to finally renounce the return of the transferred electoral picture gallery. Today it forms the core of the Munich Pinakothek . The value of the collection was then estimated at 2.1 million thalers. Düsseldorf then submitted a petition to Kaiser Wilhelm I in 1872 in order to receive compensation for the lost gallery holdings. The emperor granted the request and granted 150,000 thalers to build the art gallery, which was built between 1878 and 1881 and inaugurated on July 3, 1881 with a historical costume parade by the Malkasten artists' association . This exhibition building, which was badly damaged in World War II , was demolished in 1967.

In 1967, a new building was built on Grabbeplatz about 150 meters southwest of the site of the previous building that was damaged and demolished during the war. The second prize-winners Beckmann and Brockes were later called in as the architects of the building construction department's proposal .

New building, view over Grabbeplatz , in May 2012
Four caryatids by the sculptor Wilhelm Albermann , 1879–1881, personifications of music, painting, sculpture and architecture
Habakuk , created in 1971 by Hermann Isenmann after a statuette (1934) by Max Ernst , in the background the bronze relief by Karl Hartung (1967)

The hall, built in 1967, is a simple, monolithic block that Konrad Beckmann and Christoph Brockes clad with concrete slabs that were developed in the 1950s for mass use in precast construction . The block is cuboid and rests on a recessed base made of black basalt. The building initially had a closed terrace at the main entrance facing Grabbeplatz ; Due to a later renovation, the Kunsthalle now has a spacious terrace and staircase on its north side, which connects it with the Grabbeplatz. The upper end of the building is a "battlement" made of concrete. The upper exhibition halls are illuminated by a shed roof construction . The main view side has no windows and is completely closed apart from the entrance area; the side views show some windows cut into the concrete.

The building was heavily criticized for the "force of its brutalist concrete facades". Shortly after its construction, five professors from the Düsseldorf Art Academy , including its later director Norbert Kricke , demanded the immediate demolition of the Kunsthalle, which is popularly known as the “art bunker” in Düsseldorf. The architecture critic Wolfgang Pehnt, because of its appearance, moved the building closer to the Kunsthalle Bielefeld by the American architect Philip Johnson and other “visually powerful creations” of the 1960s, which compared to their desolate surroundings in a stubborn special existence with an aesthetic of “palpable, grainy building skins "Defiantly as" repellent defensive structures ", but offer" refuge in their body caves ". The four caryatid figures - works by the sculptor Wilhelm Albermann , which, based on the model of the facade of the Louvre Pavilion Sully (de l'Horloge) , had flanked the main portal of the Alte Kunsthalle from 1881 - were given a new location at Kay-und-Lore-Lorentz- Place between Kunsthalle and Andreaskirche .

The black hole by Joseph Beuys

A bronze relief by Karl Hartung , which was created around 1967, hangs above the entrance to the Kunsthalle . The outside staircase at the entrance to the Kunsthalle is dominated by the Habakkuk , a nearly 4 m high bird figure cast in 1970 by Max Ernst based on a 52 cm model from 1934. Another object on the outside staircase is the tilting lid by Lee Thomas Taylor, a work made of concrete. which was shown for the exhibition raumfürraum 2004/2005 in the Kunsthalle. As part of the Prospect 69 exhibition, the work Windows and Matchdrops by Michael Heizer was created in 1969 in the basalt stone floor of the outside staircase in the shape of seven grooves . In September 1973, Anatol Herzfeld's dugout Das Blaue Wunder was created on the terrace of the Kunsthalle , with which on October 20, 1973, by crossing the Rhine from Oberkasseler to the banks of the old town, Joseph Beuys was brought home and the official celebration of the 200th anniversary of the Düsseldorf Art Academy was confronted with a counter-event. A black stovepipe by Joseph Beuys protrudes from the outside wall of the art gallery on Kay-und-Lore-Lorentz-Platz . This object, called Das Schwarze Loch , was installed in 1981 for the SCHWARZ exhibition as a replica of a chimney pipe that had been preserved in the Beuys studio on Drakeplatz. The object is connected to an interior space on the second floor of the Kunsthalle through a hole in the outer wall, where it appears through a 20 cm wide, dark hole on the inside of the outer wall just above head height. In 1986 , James Lee Byars painted The Tear in red in a joint in the outer wall to the grave site . It was created after Beuys' death as part of the solo exhibition Palace of Philosophy .

Between the late 1990s and 2002, the rheinflügel team of architects (Marie-Celine Schäfer, Karsten Weber, Jo Meyer) renovated the building. The aim was to reassess the architecture of the 1960s and to improve the functionality of the architecture for the temporary exhibitions in the art gallery.

The house does not have its own collection, but organizes temporary exhibitions . In addition, lectures, performances and night foyers serve to discuss and reflect on current art positions.

Separate rooms are used by the art association for the Rhineland and Westphalia and the Kom (m) ödchen cabaret stage is housed in the rear area with a separate entrance at Kay-und-Lore-Lorentz-Platz . The Salon des Amateurs has been located on the corner of Grabbeplatz / Kay-and Lore-Lorentz-Platz since 2004 .

Organization and financing

The management of the Kunsthalle was headed by Karl Ruhrberg from 1965 to 1972 , Jürgen Harten from 1972 to 1998 , Marie Luise Syring from 1998 to 2001 and Ulrike Groos from 2002 to 2009 , and since 2010 the art historian Gregor Jansen .

The Kunsthalle is run by a non-profit company with limited liability , in whose share capital the City of Düsseldorf (64.9%), the Kunstverein für die Rheinlande und Westfalen (25.1%) and the Stadtsparkasse Düsseldorf (10%) hold shares. The company's supervisory board is currently chaired by the Düsseldorf SPD councilor Cornelia Mohrs. The art gallery is mainly financed by an operating subsidy from the shareholders. In addition to entrance fees, the Kunsthalle generates income through renting and leasing as well as through the acquisition of third-party funds. Stadtwerke Düsseldorf provides regular financial support within the framework of third-party funding , and various institutions also acquire funding.

Special exhibitions (selection)

reception

“In Düsseldorf, for example, which is perhaps still the most BRD of all German cities, with its arrogance of boutiques, its splendor of its automobile bridges, its high-rise elegance, in Düsseldorf a museum director recently told me how an attempt is being made to create the magnificent building in which the art gallery is housed, a kind of art monolith made of concrete, concrete, concrete and some glass and steel, prettier, more bearable, smaller, less strange, less threatening, less modern - the Germans hate concrete, he said, and that's what it is other, anti-modern side of this my-village-should-be-beautiful-ideology, as it is spread in a very naive way by such a successful magazine as "Landlust". "

- Georg Diez

literature

  • Georg Friedrich Koch: Museum and exhibition buildings . In: Eduard Trier , Willy Weyres (Ed.): Art of the 19th century in the Rhineland . tape 2 . Architecture: II, secular buildings and urban planning . Schwann, Düsseldorf 1980, ISBN 3-590-30252-6 , pp. 212 f .
  • Alexandra König: Kunsthalle. In: Roland Kanz, Jürgen Wiener (eds.): Architectural guide Düsseldorf. Dietrich Reimer, Berlin 2001, ISBN 3-496-01232-3 , No. 20 on p. 15.
  • Dietmar Dath : Kunsthalle Düsseldorf. 2nd, supplemented edition. Ed .: Literaturbüro NRW, Stadtwerke Düsseldorf AG, 2006, ISBN 978-3-934268-47-0 , 32 pages with the essay by Dietmar Dath Are we there soon? Suggestion for the later use of the Kunsthalle Düsseldorf .

Web links

Commons : Kunsthalle Düsseldorf  - collection of images, videos and audio files

Individual evidence

  1. ↑ Aaron Coultate: Salon Des Amateurs: The post-herb Haçienda . Feature from January 16, 2015 in the residentadvisor.net portal , accessed on February 28, 2015
  2. ↑ Habakuk  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , fotos-von-duesseldorf.de, accessed on November 17, 2012@1@ 2Template: Toter Link / www.fotos-von-duesseldorf.de  
  3. ↑ See: History of the Kunsthalle Düsseldorf with historical photos from the period 1967 to 2010, website in the portal kunsthalle-duesseldorf.de , accessed on September 30, 2012
  4. ↑ a b Alexandra König: Kunsthalle . In: Roland Kanz, Jürgen Wiener (eds.): Architectural guide Düsseldorf . Dietrich Reimer, Berlin 2001, ISBN 3-496-01232-3 , No. 20 on p. 15.
  5. ↑ Avoiding emptiness . In: Der Spiegel . No. 38 , 1967 ( online ).
  6. ^ Wolfgang Pehnt: Between modesty and hubris. On the architecture of the post-war period in North Rhine-Westphalia. In: Sonja Hnilica, Markus Jager, Wolfgang Sonne (ed.): At second glance. Post-war architecture in North Rhine-Westphalia. transcript Verlag, Bielefeld 2010, ISBN 978-3-8376-1482-4 , p. 26 f.
  7. ↑ According to more recent research, the two pairs of sculptures hewn from sandstone from 1879 to 1881 were created by the sculptor Wilhelm Albermann (see Rolf Pupar: Kunststadt Düsseldorf. Objects and monuments in the cityscape. Grupello Verlag, 2nd edition, Düsseldorf 2009, ISBN 3-89978-044 -2 , p. 33).
  8. ↑ Edgard Haider: Lost Splendor. Stories of destroyed buildings. Gerstenberg, Hildesheim 2006, p. 98ff.
  9. ↑ Rolf Purpar: art city Dusseldorf. Objects and monuments in the cityscape . Grupello Verlag, 2nd edition, Düsseldorf 2009, ISBN 3-89978-044-2 , p. 57.
  10. ↑ Rolf Purpar, p. 42 (reading sample) (PDF; 2.9 MB)
  11. ↑ Rolf Purpar, p. 45
  12. ↑ Jürgen Hohmeyer: Fright in the interior: A stove hole by Joseph Beuys - his contribution to the exhibition "Black" . In: Der Spiegel . No. 44 , 1981 ( online ).
  13. ^ Photograph of the object Das Schwarze Loch , Sebastian Riemer, 2005 , accessed on the duesseldorf.de portal on February 14, 2013
  14. ↑ Tucholsky's and other holes , article with further information from January 14, 2013 in the miriskum.de portal , accessed on February 14, 2013
  15. ↑ Christoph Siemes: What remains of the shaman . Article from September 25, 2010 in the zeit.de portal , accessed on February 14, 2013
  16. ↑ Rolf Purpar, p. 49
  17. ↑ Ursula Baus: Houses for Art - Kunsthalle Düsseldorf - Love for the sixties in: Deutsche Bauzeitung 2/2003, Konradin-Medien, Leinfelden-Echterdingen 2003, ISSN  0721-1902 , pp. 42–45.
  18. ↑ kunsthalle-duesseldorf.de (history) ( Memento of the original from September 22, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed August 14, 2008 @1@ 2Template: Webachiv / IABot / www.kunsthalle-duesseldorf.de
  19. ^ Smart New World . Website of the Kunsthalle Düsseldorf, accessed on June 2, 2014
  20. ↑ Thea Ballard: Review: “Smart New World” at Kunsthalle Dusseldorf , exhibition review from June 2, 2014 in the portal ca.blouinartinfo.com , accessed on June 2, 2014
  21. ↑ YouTube video of a contribution by the Düsseldorf local television center centertv about the Tal R solo exhibition Mann über Bord , accessed on July 21, 2012
  22. ^ YouTube video from the Kunsthalle Düsseldorf about Hans-Peter Feldmann's solo exhibition there in 2010 , accessed on July 21, 2012
  23. ↑ Georg Diez: Bye-bye, BRD . Spiegel Online , July 20, 2012; Retrieved November 29, 2012

Coordinates: 51 ° 13 ′ 39.2 ″  N , 6 ° 46 ′ 33.4 ″  E