Coming soon:

German Angst, Yokohama Triennale 2014, Yokohama Museum of Art, Yokohama, Japan, Curators: Morimura Yasumasa, Sumi Hayashi (Cat)

01.08.2014 - 03.11.2014

More info: http://www.yokohamatriennale.jp/english/2014

Kunstmuseum, Kunstmuseum Bochum, Bochum, Germany, Curator: Heiner Goebbels (Solo)

29.08.2014 - 12.10.2014
Neuerburgstraße 21
Weisse Folter (White Torture)
Deurle 2006 / Düsseldorf 2007, room within a room, gypsum plasterboards on a metal construction, 8 doors, 5 lamps, high glossy white walls, sound-absorbing material on the ceiling, linoleum floor, detached (2680x200x230cm (LxWxH)), WEISSE FOLTER, K20K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 17.03.2007 - 15.07.2007
© Gregor Schneider / VG Bild-Kunst, Bonn

Gregor Schneider will realise his new work KUNSTMUSEUM for the Ruhrtriennale in Bochum.

Opening on 29th August 2014 at the Kunstmuseum Bochum.

Gelsenkirchen/Bochum, 22nd July 2014 – Gregor Schneider will realise a new work for the Ruhrtriennale at the Kunstmuseum Bochum. Under the title KUNSTMUSEUM he will investigate the location and function of the art museum. Following the cancellation of his planned site specific sculpture totlast for the Lehmbruck Museum in Duisburg by the Lord Mayor of the city of Duisburg, realising this work in Bochum is a considerable achievement. The exhibition will open on 29th August, two weeks after the beginning of the festival, but will remain open after the festival in October.

I am looking forward to closing the main entrance of the museum. Taking us through a new entrance – „a waste pipe“ – into hidden spaces inside the museum, into a remote world within the museum which is not normally accessible.
(Gregor Schneider in an e-mail to Heiner Goebbels in July 2014)

For KUNSTMUSEUM Gregor Schneider inserts an new construction into the museum in Bochum, thus entirely altering the building’s form, function and appearance. For the duration of the installation KUNSTMUSEUM visitors will enter the museum through a new entrance. Through this “back door”, spaces including existing function rooms will become accessible to visitors which they are not usually allowed to enter. The sequence of spaces creates a literally inverted architectonic course through a museum in a museum.

Heiner Goebbels, Artistic Director of the Ruhrtriennale: We are delighted that despite the circumstances Gregor Schneider has been able to develop a large new work for the Ruhrtriennale in KUNSTMUSEUM. That we are able to open the exhibition in such a short time is thanks above all to our partners. In addition to Gregor Schneider I would like to pass on heartfelt thanks to Museum Director Hans Günter Golinski and everyone else of the city of Bochum who has made this possible.

Gregor Schneider is interested in the effects of socially relevant spaces and in what they communicate beyond the visible. His spaces are reconstructions of existing rooms, in which the observer barely has a chance to view the work in its entirety: walls are built in front of walls, rooms inside rooms, objects are invisibly walled in, or parts of the room move imperceptibly. Things which are hermetically sealed, buried or hidden play a central role in his works.

No other artist has focussed in such a decisive way upon space and the manifold levels on which it can be perceived. Whether in Totes Haus u r (Venice 2001), Die Familie Schneider (London 2004) or most recently Hauptstraße 85 a (Stommeln, 2014), Schneider‘s works are characterized by a distorted vision of normality. They are imaginative spaces, which function like catalysts and confront visitors in an existential manner with themselves.

Gregor Schneider (born 5th April 1969 in Rheydt, now Mönchengladbach-Rheydt) is a visual artist. His main work, the Haus u r / Totes Haus u r 1985 – heute, is regarded as one of the most significant contemporary installations, for which he was awarded the Golden Lion at the 2001 Venice Biennale.

What to do with tickets for Duisburg
There will be no Ruhrtriennale events at the Lehmbruck Museum Duisburg in 2014. The discussion with the artist on 14th September has also been moved to Kunstmuseum Bochum. Tickets which have already been purchased for the Lehmbruck Museum remain valid for the installation in Bochum. Alternatively, they can be returned immediately: patrons can be refunded for tickets they have already purchased by filling in a form available on the Ruhrtriennale website.

Tickets for KUNSTMUSEUM are now available online at www.ruhrtriennale.de and from all the Ruhrtriennale’s other advance sales outlets. Patrons who have purchased tickets in advance have priority entry.

Save the Date for Journalists/Media:
The press conference for KUNSTMUSEUM will provisionally be held on 28th August at 12.00 hours at the Kunstmuseum Bochum. The artist will be in attendance. An invitation will follow.

Press contact:
Hendrik von Boxberg, presse@ruhrtriennale.de, +49 (0)209. 60507 137 / 210 , www.ruhrtriennale.de

The Ruhrtriennale receives support from the Ministry for Family, Children, Youth, Culture and Sport of the State of North Rhine-Westphalia and by the European Union – European Regional Development Fund. Proprietors: State of North Rhine-Westphalia and Regional Association Ruhr.

Exhibitions 2014:

Gregor Schneider, totlast, Ruhrtriennale im Lehmbruck Museum, Duisburg, Germany, Curator: Heiner Goebbels (Solo)

NOT REALISED
totlast, Gregor Schneider, Lehmbruck Museum Duisburg
Screenshot www.ruhrtriennale.de, 22nd July 2014

What would happen if we found a new way of entering the museum, what if it disappeared behind it? Artist Gregor Schneider builds spaces that become accessible sculptures, now inviting the public to view his new work Totlast in Duisburg. In a first for Lehmbruck Musuem, with its outstanding collection of international modern art and a focus on sculpture, completely built rooms are shown that alter the building in terms of form, function, and appearance. Suddenly a museum can become a house to dwell in, or we find ourselves in a secret high-security prison. Gregor Schneider stages a path towards disorientation:

“I am looking forward to digging up the museum and the park. To leading us in the museum into a ‘remote underworld’. Very close to the forgotten graves deep in the earth, we are suddenly cast back into the world. We will lie in one another’s arms, what a great park, how lovely life is.” (Gregor Schneider to Heiner Goebbels).

Totlast (or dead weight) is a technical term, that refers to the weight of objects or devices that themselves bear or transport weight. Gregor Schneider uses this title to refer to a huge structure that Albert Speer 1941 had cast in concrete in order to see how deep his monumental constructions would sink into the sandy ground of the German capital. The impenetrable monolith can still be found in Berlin-Tempelhof today.

Schneider is interested in the effect of such socially relevant locations, what they communicate beyond the visible. His spaces are reconstructions of existing spaces in which the beholder has the possibility to recognize the work in its totality: walls are placed before walls, rooms in rooms, objects are invisibly walled in, or parts of the space move unnoticeably.

No other artist has explored space with its various levels of perception in such a decisive way. Whether in Totes Haus u r (Venice, 2001) or Die Familie Schneider (London, 2004), Schneider’s works are shaped by a distorbing vision of normality. They are spaces of imagination that operate like triggers and confront the visitors in an existential way with themselves.

Was wäre, wenn wir einen neuen Zugang in das Museum fänden, was, wenn es dahinter verschwände? Der Künstler Gregor Schneider baut Raume, die zu begehbaren Skulpturen werden, und lädt mit seiner neuen Arbeit Totlast nach Duisburg ein. Damit werden zum ersten Mal im Lehmbruck Museum – mit seiner herausragenden Sammlung internationaler moderner Kunst und dem Schwerpunkt Skulptur – vollständig gebaute Raume gezeigt, die das Gebäude in Form, Funktion und Aussehen verändern. Plötzlich kann ein Museum ein bewohnbares Haus sein, oder man findet sich in einem geheimen Hochsicherheitstrakt wieder. Gregor Schneider inszeniert eine Führung in die Orientierungslosigkeit:

»Ich freue mich, das Museum samt Park umzugraben. Uns im Museum in eine ›abseitige Unterwelt‹ zu führen. Ganz nah den vergessenen Gräbern tief in der Erde werden wir plötzlich wieder auf die Welt geworfen. Wir werden uns in den Armen liegen, wieder tief Luft holen. Was für ein toller Park. Wie schön ist unser Leben.« (Gregor Schneider an Heiner Goebbels)

›Totlast‹ ist ein technischer Begriff, der das Eigengewicht von Gegenständen oder Geräten bezeichnet, die Lasten aufnehmen oder transportieren. Gregor Schneider bezieht sich mit seinem Titel auf einen riesigen Baukörper, den Albert Speer aus Beton gießen lies, um zu prüfen, wie tief seine Monumentalbauten im märkischen Sand absacken würden. Noch heute findet man diesen undurchdringlichen Monolith in Berlin-Tempelhof.

Schneider interessiert die Wirkung solcher gesellschaftlich relevanten Orte – das, was sie über das Sichtbare hinaus transportieren. Seine Räume sind Nachbauten vorhandener Räume, bei denen der Betrachter kaum die Möglichkeit hat, das Werk in seiner Gesamtheit zu erkennen: Wände sind vor Wände gebaut, Räume in Räume, Objekte sind nicht sichtbar eingemauert, oder Teile des Raumes bewegen sich unmerklich. Das hermetisch Geschlossene, das Unterirdische, das Verborgene spielen in seinen Arbeiten eine zentrale Rolle.

Kein anderer Künstler hat den Raum mit seinen vielfältigen Wahrnehmungsebenen auf solch entschiedene Weise thematisiert. Ob in Totes Haus u r (Venedig 2001) oder Die Familie Schneider (London 2004), Schneiders Arbeiten sind geprägt von einer verstörenden Vision von Normalität. Sie sind Vorstellungsräume, die wie Auslöser funktionieren und den Besucher auf existenzielle Weise mit sich selbst konfrontieren.

Gregor Schneider (geboren am 5. April 1969 in Rheydt, jetzt Münchengladbach-Rheydt) ist bildender Künstler. Sein Hauptwerk, das Haus u r / Totes Haus u r 1985 – heute zahlt zu den wichtigsten Raumkunstwerken der Gegenwart, für das er 2001 mit dem Goldenen Löwen der Venedig-Biennale ausgezeichnet worden ist.

Info:
http://www.lehmbruckmuseum.de/?p=5404
http://www.ruhrtriennale.de/de/programm/produktionen/gregor-schneider-kunstmuseum/

Discussion:
Press Release Ruhrtriennale (englisch)
Press Release Ruhrtriennale (deutsch)
Press Release Mayor Duisburg
Press Release DPA / Schneider
"Debatte über Sören Links Entscheidung", WDR, 10th July 2014
"Lehmbruck-Freunde fordern Überprüfung der Absage von Duisburgs OB", WAZ, 10th July 2014
"Duisburg stoppt Kunstwerk. Ist das Zensur?", Deutschlandradio Kultur, 8th July 2014
"Gregor Schneider Installation Banned", artnet news, 8th July 2014
"Gregor Schneider's labyrinthine work pulled from Ruhr triennial", The Art Newspaper, 7th July 2014
"Loveparade: Die offene Wunde", Westdeutsche Zeitung, 23rd July 2014
"Duisburg: Pro-Kunst-Demo im Rathaus-Foyer gestoppt", xtranews, 28th July 2014
"Der Duisburger Bürger ist noch NICHT REIF", VideoDu.de, 28th July 2014
"Kultur-Aktivisten stürmen das Duisburger Rathaus", Rheinische Post, 29th July 2014

Neuerburgstraße 21, Schauspiel Köln, Köln, Germany (Solo)

19.06.2014 - 06.07.2014 & 23.08.2014 - 07.09.2014
Neuerburgstraße 21
Bad 2014 (Bathroom 2014)
Köln 2014, room within a room, chipboards on a construction made of wood, 2 doors, 1 shower cabin, 1 mirror, 1 lamp, gray tiles on a ground, ceiling white, walls white and off-white, (inside: 314x250x212cm, outside: 330,6x266,4x220cm (LxWxH)), Neuerburgstraße 21, Schauspiel Köln, Köln, Germany 19.06.2014 - 06.07.2014 & 23.08.2014 - 07.09.2014
© Gregor Schneider / VG Bild-Kunst, Bonn

NEUERBURGSTRASSE 21

Gregor Schneider

english / deutsch

Gregor Schneider is creating a complex series of CONSTRUCTED ROOMS for the Schauspiel Köln. At the address Neuerburgstrasse 21 he’s transforming a large factory building into a claustrophobically intimate universe. The artist treats the situation as a three-dimensional, walk-through sculpture that causes the existing space to disappear. It makes use of theatrical resources to an extent that would scarcely have been possible in a museum setting.

When you purchase your admission ticket you make an exclusive appointment, at a time reserved just for you, to enter this new space – alone. At Neuerburgstrasse 21 you access the Schauspiel Köln building through a previously unused entrance. Inside, you pass through a succession of very personal and intimate rooms in which reality and fiction begin to dissolve as soon as they are experienced. Between the rooms are dark corridors interrupting the spatial experience. The apparently unending sequence of rooms makes orientation in the original space increasingly difficult, but sharpens the senses for what can actually be perceived - or not perceived.

Gregor Schneider:
- ‘It’s like walking through the convolutions of your own brain, following what you sense there.’
- ‘For me it’s about the dissolution of space, a place we can no longer know. The repetition of a space all the way to the boundaries of our perception, until we’re left with just a suspicion of what we no longer can know.’

Gregor Schneider is considered one of the pioneers of constructed spatial art, which developed out of constructivistic architectural sculpture and installation art. His constructed rooms and projects have generated much controversy and debate, for example his ‘House u r 1985-Today’ (for which he received the Golden Lion at the 2001 Venice Biennale), his ‘Projekt Cube’ or ‘Der Sterberaum’ (‘The Death Room’). Since the beginning of the 1990s he’s been working on rooms in galleries and museums, finding his references everywhere in residential buildings. There’s something eerie about his works. Viewing them one is always being thrown back on one’s own resources, confronted with one’s own fears.

Gregor Schneider was appointed professor for sculpture at Berlin’s University of the Arts in 2009 and at the Munich Academy of Fine Arts in 2012.

From 19 June until 4 July 2014 at Neuerburgstrasse 21 in Cologne, Germany.

Ticket information:
Guests enter the location singly; admittance is at five-minute intervals. Tickets are therefore issued with different (half-hourly) admittance times, i.e. six tickets per half-hour period. We strongly recommend advanced booking, either at the daytime box office in the Opernpassagen (between Glockengasse and Breite Strasse) or online (www.schauspielkoeln.de).

english / deutsch

Gregor Schneider wird in der Neuerburgstraße 21 für das Schauspiel Köln komplexe GEBAUTE RÄUME schaffen, die aus einer großen Halle ein klaustrophobisches, intimes Universum machen wird. Der Künstler begreift die Situation als dreidimensionale, begehbare Skulptur, welche den vorhandenen Raum zum Verschwinden bringt. Theaterressourcen werden in einem Maße genutzt, wie es in einem Museumsraum nur schwer möglich gewesen wäre.

Mit dem Kauf einer Eintrittskarte gehen Sie eine exklusive Verabredung ein, zu einem nur für Sie bestimmten Termin - alleine auf sich gestellt - den neuen Raum zu betreten. In der Neuerburgstrasse 21 werden Sie ein Gebäude des Schauspiel Kölns von einem bisher noch nie genutzten Eingang betreten. Von dort aus durchwandern Sie einen Parcours von persönlichen / intimen Räumen, in denen sich Realität und Fiktion im Erleben aufzulösen beginnen. Zwischen den Räumen befinden sich dunkle Korridore, die das Erlebnis des Raumes unterbrechen! Die ausufernde Raumabfolge wird eine Orientierung im Originalraum zunehmend erschweren, damit aber alle Sinne auf das eigentlich Wahrnehmbare / Nicht-Wahrnehmbare sensibilisieren.

Gregor Schneider:
-„Als gehe man durch die eigenen Windungen des Hirns und gehe dort den eigenen Wahrnehmungen nach.“
-„Mir geht es um die Auflösung von Raum, von einem Ort, den wir nicht mehr wissen können. Die Wiederholung eines Raumes bis an die Grenzen unserer Wahrnehmung, bis nur noch eine Ahnung von dem bleibt, was wir nicht mehr wissen können.“

Gregor Schneider zählt zu den Pionieren gebauter Raumkunst, die sich aus konstruktivistischen Bauskulpturen und Installationskunst entwickelte. Seine gebauten Räume und Projekte haben für viel Aufsehen und Diskussionen gesorgt, etwa sein »Haus u r 1985 -heute« (dafür wurde er im Jahre 2001 mit dem Goldenen Löwen der Biennale in Venedig ausgezeichnet), das »Projekt Cube« oder »Der Sterberaum«. Seit Anfang der 1990er Jahre arbeitete er mit Räumen in Galerien und Museen, die Vorlagen findet er in allen Bereichen eines Wohnhauses. Seinen Werken haftet etwas Unheimliches an. Der Betrachter wird immer auch auf sich selbst zurückgeworfen, um mit seinen eigenen Ängsten konfrontiert zu werden.

2009 wurde Gregor Schneider als Professor für Bildhauerei an die Universität der Künste Berlin berufen, 2012 als Professor an die Akademie der Bildenden Künste München.

Ab 19. Juni – 4. Juli 2014 in der Neuerburgstrasse 21, Köln

Hinweis zu den Tickets:
Jeder Gast betritt einzeln die Neuerburgstrasse 21. Der Einlass erfolgt im Fünf-Minuten-Takt. Deshalb können Tickets mit unterschiedlichen Besuchszeiten (halbstündlich) gebucht werden. Pro halbe Stunde werden sechs Tickets verkauft. Wir empfehlen dringend die Buchung eines Tickets vorab an der Tageskasse oder online (www.schauspielköln.de)

Gregor Schneider, Liebeslaube, Volksbühne Berlin, Berlin, Germany, Curators: Thomas Martin, Henning Nass (Solo)

11.09.2014 -

Zacheta, Warszawa, Poland, Curator: Anda Rottenberg (Solo) (Cat)

28.11.2014 -

Current exhibitions:

Dominik Mersch Gallery at Galerie Patrick Ebensperger, Galerie Patrick Ebensperger, Berlin, Germany

18.07.2014 - 16.09.2014

Hauptstrasse 85a, Synagoge Stommeln, Pulheim, Germany, Curator: Angelika Schallenberg (Solo) (Cat)

03.07.2014 -
Hauptstrasse 85a
HAUPTSTRASSE 85a
Stommeln 2014, wall construction in front of walls, chipboards on a wooden construction, 1 door, 4 windows, 1 garage door, 1 lamp, 1 letter box, 1 house number, 1 bell button, yellow and white stucco on the walls, anthracite pedestal (910x710x770cm (LxTxH) S. 14,5cm), Synagoge Stommeln, Pulheim, Germany 03.07.2014 -
© Gregor Schneider / VG Bild-Kunst, Bonn

The synagogue in Stommeln, today a part of the City of Pulheim, is one of the few synagogues in Germany that were neither damaged during the pogroms of 1938 nor razed during the urban renewal surge that started in the 1970s. The “Synagoge Stommeln” project was founded in 1990 in order to do justice to the synagogue's significance, and to generate public awareness of this historic site. Each year, the Culture Department of the City of Pulheim asks one artist of acclaim to develop an artwork that interacts with this place – including its architecture, its history.

In July 2014, the exhibition series will continue with its next oeuvre, “Hauptstrasse 85 a” by Gregor Schneider. Schneider will be the first artist to involve the entire building in an architectonic approach. His intervention makes the original synagogue vanish, and thus inquires into the presence and absence of the religious sphere. Moreover, he assigns a proprietary address to this “lost place” which did not use to have a postal address.

Opening of the exhibition:
Thursday, 03 July, at 19:00 CEST
Welcome note: Frank Keppeler, Mayor
Opening remarks: Dr. Ingrid Stoppa-Sehlbach, Head of the Department of Museums, Art, and Film at the Ministry of Culture of North Rhine-Westphalia
Keynote: Ulrich Loock
Gregor Schneider will be in attendance

“Hauptstrasse 85 a” is sponsored by the Ministry of Family, Children, Youth, Culture and Sport of the State of North Rhine-Westphalia.

Stommeln Synagogue. A Project by the City of Pulheim.
--------------------------------------------------------------
Stommeln Synagogue
New Address:
Hauptstrasse 85 a, D-50259 Pulheim
www.synagoge-stommeln.de
Opening hours through 26 October
Fridays 15:00 - 18:00 CEST, Saturdays and Sundays 12:00 - 18:00 CEST
Thereafter upon arrangement
--------------------------------------------------------------

Stanze/Rooms, me Collectors Room Berlin, Berlin, Germany

02.05.2014 - 21.09.2014

Unter der Erde – Von Kafka bis Kippenberger, K21, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, Curator: Marion Ackermann, Kathrin Beßen, Florence Thurmes (Cat)

05.04.2014 - 10.08.2014

Keller, Art Gallery of New South Wales, Sydney, Australia, Curator: John Kaldor

02.06.2012 -

Controversial artist Gregor Schneider creates a ‘haunting’ room

The visitor can expect a transformative, disorienting and possibly disturbing experience.

Gregor Schneider PUFF
Gregor Schneider TOTES HAUS u r, Venice 2001, 24 rooms from developed and doubled rooms of the House u r, Rheydt 1985-2001, mixed media © Gregor Schneider / VG Bild-Kunst, Bonn

In June the Art Gallery of NSW will integrate more of its international and Australian contemporary art collection with the John Kaldor Family Collection. More than 200 works, many which have not been seen before, will form part of the new display. Two highlight works will be a new commission by the award-winning German artist Gregor Schneider, entitled Basement Haus u r (Basement cellar house) 1985–2012 and Richard Long’s Stone line, which has not been seen in the Gallery since 1977.

“This initiative marks the start of a new era at the Gallery, in which a series of collection displays will chart the history of contemporary, international art since the 1960s,” said the Gallery’s head curator, international art, and curator of the new collection display, Anthony Bond. “The Gallery collection of contemporary international and Australian art since the 1960s is extensive – there are now 4000 works in our contemporary collection – but we have never been able to adequately exhibit them for lack of space. Now we can begin to show more, year by year, always creating new and surprising configurations.”

The contemporary galleries are set around art-historical movements or thematic groupings, including land art, minimalism, the body and affect, abstraction and the cabinet. The room dedicated to minimalism includes work by art luminaries Carl André, Daniel Buren, Donald Judd, Richard Serra and Frank Stella. Abstraction groups together works by Australian artists Robert MacPherson and Debra Dawes with internationals Bob Law, Roman Opalka and Cy Twomby. And the room that assembles cabinets or vitrines includes work by Americans Haim Steinbach and Mark Dion, and Australians Alex Rizkalla, Janet Laurence and Luke Roberts.

Richard Long’s Stone line was originally commissioned as Kaldor Public Art Project 7 in 1977 for the entrance court of the Gallery. It is twenty metres long, over two metres wide and consists of large slabs of basalt collected from one site in Australia.

Born in Germany in 1969, Gregor Schneider was awarded the Golden Lion at the Venice Biennale in 2001 for his infamous work Totes Haus u r, exhibited at the German Pavilion. Schneider later built the confronting Kaldor Public Art Project 21, beach cells, which created a dominating presence on Bondi Beach, Sydney, in 2007.

The artist is well known for the sensory aspects of his work. Since 1985 he has been rebuilding the interior spaces of his home in Mönchengladbach-Rheydt, Germany. As walls are removed or ceilings lowered, Schneider’s spatial incursions create a sense of claustrophobia. Such feelings of unease are heightened when the artist includes in the work lifeless, sculptural bodies covered in plastic or real people repeatedly performing everyday tasks.

For this latest commission, Gregor Schneider has created an eleven-by-four-metre room that has been shipped from Rheydt, Germany, and carefully inserted into the architectural fabric of the Gallery. A suite of photographs documenting Totes Haus u r accompanies his work. Gregor Schneider is in Sydney at the invitation of John Kaldor.

AGNSW contemporary galleries are supported by the Belgiorno-Nettis family.

foto by Wonge Bergmann / Heiner Goebbels / Ruhrtriennale