Weserburg Museum of Modern Art

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Weserburg - Museum of Modern Art - northeast facade
Weserburg - Museum of Modern Art - southwest facade
Weserburg - detail
Stickers from the Urban Art exhibition ( Reinking Collection ) from 2009 at a traffic light in Bremen.

The Weserburg , Bremen's museum for modern art, is a museum for contemporary art in Germany. It is located in four former warehouse buildings on Teerhof No. 20 at the western end of Stadtwerder in Bremen .

history

Weserburg was the name given to the defensive-looking head building of the Teerhof at the former Kaiserbrücke , modeled on a medieval city gate . An earlier office building dates from the late 19th century and was connected to four gable-end storage buildings. The Weser front corresponded to the typical buildings there. The ensemble belonged to a coffee roastery from the 1920s to 1973 . As the only building on the peninsula, it was rebuilt after the war and used initially commercially and later culturally.

The founding of the museum stems from an idea that developed from an exhibition shown in 1982 in the Society for Contemporary Art , which is also located in the Weserburg building. When the collector Onnasch exhibited the works of the artist Edvard Kienholz (Edvard Kienholz. Roxy's and other works from the Onnasch collection), the idea of ​​a collector's museum came up. The Weserburg was to become a museum for contemporary art, in which several important art collectors would be willing to exhibit their holdings (or parts of them). In 1989, Thomas Deecke was appointed as the founding director and commissioned to implement this idea. Within a short period of time he managed to get around ten collectors to present their holdings in the Weserburg.

By 1991, the four storage buildings on the Teerhof were rebuilt according to plans by the architects Wolfram Dahms and Frank Sieber. With just a few openings in the ceiling and taking advantage of the roof space, an exciting room arrangement with 6000 m² of exhibition space was created, an ideal storage space for collectors of contemporary art.

Due to its location on the Weser and its access via the bridge, the Weserburg draws attention to itself in the Bremen cityscape.

The opening of the Weserburg, at that time still under the name Neues Museum Weserburg Bremen (NMWB), took place on September 6, 1991. Works of the various international art movements since the 1940s are presented here. Carl Haenlein, director of the Kestnergesellschaft in Hanover, emphasized in 1993: “It has been shown that contemporary works can be excellently presented in the train station and market halls of the 19th century ... The conquest that the arts carried out in the halls of the ingenious designers , is all the more remarkable as it has always been associated with the preservation of valuable urban architecture ... "

The sculpture Three Triangles (1993/1994) on the nearby Bürgermeister-Smidt-Brücke , also called Outdoor Piece for Bremen , was made by the American artist Sol LeWitt and its shape is intended to refer to the museum.

During the Advent season of 2019, the Weserburg (allegedly the first museum in the German-speaking region) tried out a new entry price model: Instead of a standard price of 9 euros, guests only had to pay 1 euros per 10 minutes, with the price capped at 9 euros. During the test phase, the number of visitors increased significantly, while the income remained roughly stable.

concept

In the museum you can experience not only the works of contemporary artists, but also a museum concept that is not everyday. For the first time in Europe, the idea of ​​a collector's museum was implemented in Bremen based on the principle of public-private partnership between the city of Bremen and the collectors. From several important European collections, focal points have been selected that give an impressive insight into the art of the immediate present and recent past. The individual art passion of the private collector and the art-historical view of the museum are combined in the lively atmosphere of the house. Each of the collections retains its specific character, which is not only visible in the choice of artists and visual ideas, but also in the presentation.

The Weserburg Museum designs several exhibitions every year. In this way, the permanent collections are placed in the context of the latest developments in art. Many of the exhibitions that are conceived in the Weserburg then go on tour to other renowned exhibition locations in Europe, as far as the Far East or South America.

In 1999 the Archive for Small Press & Communication (ASPC) was purchased. At the same time, the study center for artist publications was founded, which includes the ASPC and other archive holdings. It looks after the largest international inventory of artist publications in Europe: artist books, multiples , records and posters of all artistic movements since the 1960s, from Fluxus to computer art or mail art and stamp art. The collection conveys a global picture of both recognized as well as the alternative art scene - from Joseph Beuys to Andy Warhol , from Roy Adzak to Carlos Zerpa. In February 2013, the study center for artist publications was added to the 5th culture red list of the German Cultural Council. V. and classified as endangered (category 2).

Research association for artist publications

In order to scientifically develop the collections of the study center for artist publications, the research association artist publications was founded. This is supported by the University of Bremen , the Jacobs University Bremen , the Research Center for Eastern Europe , the University of the Arts Bremen and the study center for artist publications based in the Weserburg Museum.

Birth of the art industry in 1995 in the Weserburg

The collector's museum opened the Goya exhibition at the Museum of Modern Art in Munich at the end of 1994 . This was the first real exhibition of the imaginary Museum for Modern Art Munich in collaboration with a museum. Peter Friese and Thomas Deecke had recognized the importance of the art business and the art business art that followed. This was also a great success for the museum, which at that time was still called the Neues Museum Weserburg Bremen. The first systematic analysis of the art business and its art can be seen in the artistic work Art and Everyday Life (1981 to 1988) by the artist and author Hans-Peter Porzner . The decisive word operating system art comes from Thomas Wulffen . It was Porzner who, with his imaginary Museum of Modern Art in Munich and an abundance of art association and museum exhibitions between 1995 and 2000, made the art business aware of itself in the sense of a permanent reflection . This continued to cross the line between art and philosophy. In this respect, art business art is more than conceptual art . As a result, there were also a number of exhibitions on the subject of the art world and institutional criticism in the Weserburg . In particular, the exhibition Originals curated by Thomas Deecke is real / false. Imitation, copy, quotation, appropriation, forgery in contemporary art in the Weserburg (1999). Many exhibitions by Thomas Deecke and Peter Friese see themselves as contributions to the analysis of art industry art. After 2000 the program will be expanded to include global art scenes. It turns out, however, that the program itself has increasingly become part of the art business. Renaming of the museum from Neues Museum Weserburg Bremen to Weserburg Museum for Modern Art 2007. The exhibition Peter Frieses 2014 Selling the Back for Art makes sense. However, Hans-Peter Porzner, Thomas Wulffen, Peter Friese and Thomas Deecke weren't the only ones working on this topic. Andrea Fraser , Isabelle Graw , the exhibition organizer and theoretician Helmut Draxler and others should be mentioned here with equal intensity .

Finances

The museum is operated as a public-private partnership. The city of Bremen pays an annual fixed amount of currently 1.2 million euros (as of 2010), the other funds are raised privately. To ensure long-term financial security, but also to preserve the museum concept as a pure collectors' museum, it was decided in 2010 to gradually dissolve its own collection. Gerhard Richter's painting Sailors (1966) from the Bremen Ludwig-Roselius-Museum Foundation , which had been donated to the Weserburg in 2005, was auctioned in November 2010 and brought in proceeds of 8.4 million euros. Another painting ( Luciano I by Franz Gertsch ) achieved more than 2 million euros in an auction at Sotheby’s in 2011 . Another bundle of 51 works of art was "taken out" of the Weserburg collection by a sponsor for a seven-figure sum and was transferred to the holdings of the Kunsthalle Bremen.

Thomas Deecke , the predecessor of Carsten Ahrens , spoke out against this policy in several letters. In 2013 Carsten Ahrens resigned. The tense situation came to a head under Peter Friese . In 2015, Friese was able to secure the future of the museum with the city.

management

  • Founding director and museum director from 1991 to 2005: Thomas Deecke
  • 2005–2013: Carsten Ahrens
  • Managing Director since 2013, Director since 2015: Peter Friese

Web links

Commons : Weserburg  - collection of images, videos and audio files

Individual evidence

  1. ^ Urban Art. Works from the Reinking Collection . New Museum Weserburg Bremen Foundation, 2009, accessed on June 25, 2013 : “Participating artists: Akim, Ash, Herbert Baglione, Banksy , Blu , Boxi, Bronco, Dave the Chimp, Brad Downey , Ben Eine, Shepard Fairey , [ [Mark Jenkins (artist) |]], Kaws, Daniel Man , Miss Van, Mode 2, Os Gêmeos, Mirko Reisser ( DAIM ), Space Invader , Swoon, DTagno, Tilt, Vitché, Heiko Zahlmann, Zevs, Zezão "
  2. ^ Ingo Clauss , Stephen Riolo, Sotirios Bahtsetzis: Urban Art: Works from the Reinking Collection . 1st edition, Hatje Cantz, Ostfildern (2009) ISBN 978-3-7757-2503-3 .
  3. ↑ Architecture Guide Bremen: b.zb: 13
  4. ↑ Der Tagesspiegel: Museum in Bremen tests time model. Retrieved January 14, 2020 .
  5. ↑ a b history. In: weserburg.de, accessed on March 23, 2016. “The museum was an absolute novelty in Europe. For the first time, the concept of a collector's museum was implemented, in which the permanent exhibition was equipped exclusively with exhibits from private lenders. "
  6. ↑ Goya exhibition . November 25, 1995 - January 29, 1996. In: kunstaspekte.de. Retrieved March 12, 2016.
  7. ↑ November 25 - January 29, 1995 GOYA. An exhibition by the Museum of Modern Art Munich (Hans-Peter Porzner, Director), curated by Peter Friese. Entry on Thomas Deecke's personal website. Retrieved March 14, 2016
  8. ↑ Goya exhibition . 1995. Museum of Modern Art, Munich. In: kunstaspekte.de. Retrieved March 10, 2016
  9. ^ Porzner - Exhibitions until 1997. Osthaus Museum Hagen, (see material before the museum was renamed in 2009: Michael Fehr, KEOM 0.2 .) Accessed on March 12, 2016
  10. ↑ Hans-Peter Porzner: diamonds in the millstone gear . With texts by Christoph Blase and Hans-Peter Porzner. Exhibition cat. of the Mosel and Chekhov Gallery in Munich. Munich 1988, ISBN 3-925987-04-5 .
  11. ↑ Thomas Wulffen: Artist essay by Thomas Wulffen. The art of announcement - Hans-Peter Porzner and his art . “... What you design and use was also referred to as the art operating system. The author of these lines coined the term. ... ". In: artist art magazine. Issue No. 85 November 2010 - January 2011. P. 48 f. Essay (excerpt) on the website of the art magazine artist. Retrieved March 12, 2016.
  12. ^ Thomas Wulffen: Hans-Peter Porzner - Museum? Museum! ( Memento of the original from April 7, 2016 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. . In: Kunstforum International , Volume 202, 2010. Title: Fiktion der Kunst. Retrieved March 12, 2016 @1@ 2Template: Webachiv / IABot / www.kunstforum.de
  13. ↑ Hans-Peter Porzner: KUNST UND ALLTAG 1988/2001. An interpretation of the sentence "It is art and everyday life" according to the specification of "Art and everyday life 1" with regard to a first language for a "metaphysics of phenomenology" as a "first science" . With a text by Hans-Peter Porzner. Exhibition cat. of the Mosel and Chekhov Gallery in Munich. Munich 2001, ISBN 3-925987-23-1 .
  14. ↑ Originals real / false. Imitation, copy, quotation, appropriation, forgery in contemporary art. Curator Thomas Deecke. Exhibition catalog with texts by: Mike Bidlo, Ernst Caramelle, Thomas Deecke, Peter Niemann, Sturtevant, Emmet Williams. August 25 - October 24, 1999. Entry on the website of the Weserburg Museum of Modern Art. Retrieved March 10, 2016
  15. ↑ Klaus von Beyme: Cultural policy and national identity: studies on cultural policy between state control and social autonomy . Springer-Verlag, 2013, ISBN 978-3-322-97085-5 , p. 34 ( Preview in the Google book search - footnote 69. Thomas Deecke: Against the Amüsierbetrieb. Where is the foresight of cultural policy? In: FAZ, November 8, 1995, p. 37).
  16. ^ Exhibitions at the Weserburg Museum of Modern Art until 2016. In: kunstaspekte.de. Retrieved March 14, 2016.
  17. ↑ Uwe Dammann: Exhibition "Existential Imagery" with a living exhibit. Selling the back for art. This work of art is alive, it goes through the museum, can - if necessary - take a shower or even shiver if the temperatures should drop again. The tattoo "TIM" that Wim Delvoye scratched on Tim Steiner's back. It belongs to the current exhibition "Existential Imagery" of the Reinking Collection, which can be seen until February 1, 2015 in the Weserburg - Museum of Modern Art. In: Weser courier. May 23, 2014. Accessed March 14, 2016
  18. ↑ Isabelle Graw: Beyond the Critique of Institutions. A lecture at the Los Angeles County Museum of Art. In: Texts on Art. Issue No. 59 / September 2005. "Institutional Criticism." In: Texts on Art. Retrieved March 12, 2016.
  19. ^ Rose-Maria Gropp: Museum Weserburg loses its main work - Gerhard Richter's “Sailors” disembark. Frankfurter Allgemeine Zeitung, September 23, 2010. Accessed March 23, 2016
  20. ↑ Franz Gertsch causes a sensation in London. In: bernerzeitung.ch, accessed on March 23, 2016
  21. ^ Reply to Carsten Ahrens. December 23, 2012. Report on Thomas Deecke's website. Retrieved March 23, 2016.
  22. ↑ Axel Brüggemann: Weserburg director gone. Shortly before the big comic exhibition, the Dagoberts hit the annoying Donald. June 12, 2013. Report on the online portal of the Bild newspaper. Retrieved March 23, 2016.
  23. ↑ Peter Friese appointed director. The Board of Trustees of the Weserburg Museum in Bremen has appointed Peter Friese as director with immediate effect. Together with Swantje Markus, the long-standing commercial manager, he should lead the museum into a secure future. Friese was previously acting manager of the house on the Teerhof. Further information: June 25, 2015. ( Memento of the original from March 21, 2016 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. In: radio bremen. Retrieved March 23, 2016. @1@ 2Template: Webachiv / IABot / www.radiobremen.de
  24. ↑ Plans for the Teerhof. The Weserburg Museum will probably become a gallery. Modern art should continue to be shown in the Weserburg on the Teerhof in Bremen. However, the current museum should in future only be run as an exhibition forum. This is recommended by the Munich Professor Helmut Friedel commissioned by the Museum's Board of Trustees. Friedel considers the original concept of a collector's museum to be "no longer in keeping with the times". April 8, 2015. ( Memento of the original from March 25, 2016 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. In: radio bremen. Retrieved March 23, 2016. @1@ 2Template: Webachiv / IABot / www.radiobremen.de
  25. ↑ Jan Zier: Millions for the Weserburg. September 23, 2009. In: taz.de. Retrieved March 23, 2016.
  26. ↑ Weserburg Bremen. Rescue of the collector's museum in sight. The Weserburg Museum in Bremen is to be supported by the city of Bremen with almost 1.3 million euros annually over the next five years. The cultural deputation has now spoken out in favor of a corresponding contract with the museum - with only one dissenting vote. The meeting has still not drawn a line. December 16, 2015. ( Memento of the original from March 25, 2016 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. In: radio bremen. Retrieved March 23, 2016. @1@ 2Template: Webachiv / IABot / www.radiobremen.de

Coordinates: 53 ° 4 ′ 35 "  N , 8 ° 47 ′ 56"  E