News

04/30/19
Avec la grande exposition temporaire intitulée « Inspiration Matisse », la Kunsthalle Mannheim présentera dans toute leur diversité les principaux artistes ayant tissé des liens entre la France et l’Allemagne

De nombreux artistes français et allemands se sont lancés sur les traces d’Henri Matisse (1869–1954) dans les premiers temps de l’art moderne. Si ce peintre compte parmi les plus appréciés du public, c’est assurément pour ses innovations qui en font un précurseur de l’art abstrait. Considéré comme un « artiste pour les artistes », Matisse a inspiré toute une génération de peintres français et allemands du début du XXe siècle par ses œuvres aux traits vifs et aux couleurs intenses qui rompaient avec une tradition arrivée dans une impasse. L’exposition temporaire Inspiration Matisse présentée à la Kunsthalle Mannheim du 27 septembre 2019 au 19 janvier 2020 rassemblera plus de cent-vingt tableaux, sculptures, céramiques et œuvres graphiques qui présenteront le pionnier de l’art moderne ainsi que certains de ses contemporains, notamment des Fauvistes français, des Expressionnistes allemands et des élèves de l’« Académie Matisse ».

La première présentation d’œuvres du maître en Allemagne au début du XXe siècle suscita des réactions très contrastées, allant de l’enthousiasme sans retenue à un rejet catégorique. Ce qui n’empêcha pas nombre d’artistes de l’avant-garde de s’inspirer du style expressif et richement coloré typique de Matisse. Quelques collectionneurs allemands en contact régulier avec le milieu artistique parisien repérèrent le peintre dès 1905 mais son œuvre n’attira véritablement l’attention du public germanique qu’un ou deux ans plus tard lorsque certaines de ses toiles, perçues par beaucoup comme radicalement novatrices, furent présentées pour la première fois à Munich, Francfort, Dresde, Karlsruhe et Stuttgart dans le cadre d’une exposition itinérante consacrée à l’art français de l’époque.

En décembre 1908, Matisse se rendit à Berlin à l’occasion d’une rétrospective de son œuvre qui ouvrit au mois de janvier suivant et trouva un retentissement dépassant largement le cadre de la capitale de l'Empire. Pratiquement tous les artistes allemands de l’époque, qu’ils soient débutants ou déjà célèbres, visitèrent cette exposition organisée par la galerie Paul Cassirer. Parmi eux se trouvait notamment Max Beckmann, qui s’exclama devant les œuvres : « Toutes plus scandaleuses et culottées les unes que les autres ». Quant à Max Pechstein et Ernst Ludwig Kirchner, venus spécialement de Dresde, ils se réjouirent certes de découvrir un artiste avec lequel ils avaient des affinités, mais n’en furent pas moins choqués par le style intransigeant des tableaux qui, même à Paris, faisaient scandale et étaient rejetés. À telle enseigne que les deux peintres envoyèrent à Erich Heckel, resté à Dresde, une carte postale avec un commentaire laconique : « Matisse assez fou ».

Les critiques d’art allemands se rangèrent en deux camps : les progressistes francophiles reconnurent en Matisse un nouveau génie, un révolutionnaire poursuivant l’évolution amorcée par Van Gogh, Gauguin, Seurat, Signac et surtout Cézanne, tandis que les conservateurs virent en lui le vecteur d’un virus dangereux menaçant d’infecter les jeunes peintres allemands. Toute la presse s’accordait alors sur la nécessité de l’émergence d’un art allemand renouvelé et puissant, mais nombre de critiques estimaient que celui-ci devant prendre ses distances par rapport à ce qui arrivait de Paris.

Matisse effectua trois voyages en Allemagne, le premier à l’été 1908 (Spire, Heidelberg, Nuremberg, Munich), le second durant l’hiver suivant (Berlin, Hagen) et le troisième à l’automne 1910 (Munich de nouveau puis Garmisch-Partenkirchen). Il y rencontra des collectionneurs et visita divers musées ainsi que la grande exposition d’art islamique présentée au Theresienwiese de Munich en 1910. Durant son séjour dans la capitale bavaroise, Matisse fréquenta également divers restaurants célèbres, notamment la brasserie Löwenbräukeller où se trouvait un prototype du Photomaton que le peintre utilisa pour prendre une photo en compagnie de ses accompagnateurs, les trois personnages tenant un bock de bière en main (voir photo ci-dessous). Parmi les nombreuses personnalités que Matisse rencontra en Allemagne, on citera seulement Karl Ernst Osthaus, qui fut l'un de ses principaux contacts outre-Rhin et auquel on doit notamment la fondation du Folkwang Museum de Hagen.

On ignore si Matisse est passé par Mannheim durant ses voyages en Allemagne. On sait par contre qu’il a visité Heidelberg en 1908, notamment le château où il a pu admirer le célèbre tonneau géant. À Spire, il rencontra Hans Purrmann qui était son élève à l’« Académie Matisse », établissement dans lequel le maître forma une centaine de peintres français et étrangers entre 1908 et 1910. Aucune de ses toiles n’était toutefois présente à l’exposition organisée en 1907 pour le 300e anniversaire de Mannheim. Quant à la Kunsthalle, elle n’ouvrit qu’en 1909 et Sally Falk, grand collectionneur de la ville rhénane, n’acquit une statue et deux œuvres graphiques de l’artiste que bien plus tard.

Cent-cinquante ans après la naissance d’Henri Matisse, la Kunsthalle Mannheim présente des œuvres du maître entourées d’autres dues à une multitude d’artistes (André Derain, Georges Braque, Charles Camoin, Kees van Dongen, Raoul Dufy, Henri Manguin, Albert Marquet, Maurice de Vlaminck ; Ernst Ludwig Kirchner, Alexej von Jawlensky, August Macke, Gabriele Münter, Max Pechstein ; Rudolf Levy, Oskar et Margarete Moll, Hans Purrmann, Mathilde Vollmoeller). Le dialogue qui s’établit entre toutes ces œuvres génère de nouvelles perspectives et montre comment Matisse a ouvert de nouvelles voies et catalysé la volonté de libération de nombreux artistes.

La grande exposition de Mannheim est une première mondiale en ce qu’elle regroupe des œuvres variées en provenance de musées et de collections privées d’une dizaine de pays (Allemagne, Belgique, Danemark, Espagne, États-Unis, France, Grande-Bretagne, Norvège, Suède, Suisse). Parmi les musées qui ont prêté des œuvres de leur collection, on citera seulement la Nationalgalerie de Berlin, la Pinakothek et la Städtische Galerie im Lenbachhaus de Munich, la Staatsgalerie de Stuttgart, le Musée Matisse de Nice, la Tate de Londres, la Nasjonalgalleriet d’Oslo, la Fondation Beyeler de Riehen/Bâle, le Museo Thyssen-Bornemisza de Madrid, l’Art Institute de Chicago et le Metropolitan Museum de New York.


« Inspiration Matisse »
27 septembre 2019 – 19 janvier 2020
Inauguration: 26 septembre 2019, 19h

Commissaires: Dr. Peter Kropmanns (Paris), Dr. Ulrike Lorenz

Conférence de presse anticipée : mardi 14 mai 2019 à 13h, auditorium de la Kunsthalle Mannheim, avec Dr Ulrike Lorenz et Dr Peter Kropmanns

Sponsors :         

  

Médias partenaires :

 

     

 

Légende:

De gauche à droite : Hans Purrmann, Albert Weisgerber et Henri Matisse, Munich, Löwenbräukeller, 1910, cabine photographique Bosco-Automat © Hans-Purrmann-Archiv, Munich

04/30/19
Inspiration Matisse: This special exhibition is to display works by the many leading artists who built bridges between France and Germany

Many French and German artists followed in the footsteps of Henri Matisse (1869–1954) in the early period of modern art. A very popular painter, Matisse is renowned for innovations that made him a forerunner of abstract art. He was called “the artist’s artist”. With works characterized by vivid strokes and intense colors that broke with a deadlocked painting tradition, he inspired the young generation of French and German painters of the early 20th century. Held at the Kunsthalle Mannheim from September 27, 2019 to January 19, 2020, the special exhibition Inspiration Matisse will present more than 120 paintings, sculptures, ceramics, drawings and engravings by pioneers of modern art who were contemporaries of the master, including French Fauvists, German Expressionists and students at the “Académie Matisse”.

 

The first presentation of works by Henri Matisse in Germany in the early 20th century caused diametrically opposed reactions, as some people were fired with enthusiasm while others categorically rejected the painter. Nonetheless, his expressive and richly colored works inspired numerous avant-garde artists. Although a few German art lovers with connections to the Paris artistic milieu had noticed Matisse as early as 1905, the painter’s work did not reach the general public until one or two years later, when some of his innovative paintings were displayed for the first time in Munich, Frankfurt, Dresden, Karlsruhe and Stuttgart as part of a touring exhibition dedicated to French art of the time.

 

In December 1908, Matisse traveled to Berlin on the occasion of a retrospective of his work that opened the following month and had an impact in the city and far beyond. Nearly all debutant and established German painters visited the exhibition, held at Paul Cassirer’s art gallery. Among them was Max Beckmann who stated after viewing the works: “One shameless effrontery after another.” As for Max Pechstein and Ernst Ludwig Kirchner, who came from Dresden especially for the exhibition, they appreciated discovering an artist with a kindred approach to painting but were shocked by Matisse’s uncompromising style, which was rejected as too scandalous, even in Paris. After visiting the exhibition, the two painters wrote a postcard to Erich Heckel in Dresden with the laconic statement: “Matisse, rather wild.”

Matisse’s work split the German art critic scene: the Francophile progressives acclaimed the new star painter, the revolutionary who continued the trailblazing work of artists such as Van Gogh, Gauguin, Seurat, Signac and Cézanne, while conservatives considered Matisse the vector of a deadly virus threatening the young German painters. And although all critics agreed on the need to renew and empower German art, many of them felt that it was necessary to remain independent from the tendencies developed in Paris.

 

Matisse traveled to Germany several times: first in the summer of 1908 (Speyer, Heidelberg, Nuremberg, Munich), then during the following winter (Berlin, Hagen) and finally in the autumn of 1910 (again Munich and then Garmisch-Partenkirchen). He encountered art collectors and visited several museums as well as the great exhibition of Islamic art held on Munich’s Theresienwiese in 1910. During his sojourn in Bavaria’s capital city he discovered various noted restaurants, including the Löwenbräukeller. (The picture below showing Matisse and two other men holding half-pint beer glasses was shot in the photo booth that once stood there.) Karl Ernst Osthaus is particularly worth a mention among the numerous personalities that the painter met during his trips: One of his main contacts in Germany, Osthaus was the founder of the Folkwang Museum in Hagen.

 

There is no evidence that Matisse ever visited Mannheim, but we know that he traveled to nearby Heidelberg in 1908 and saw the Great Tun within the cellars of the castle. In Speyer, another town in the vicinity, he encountered Hans Purrmann, his pupil at the Académie Matisse where he trained some one hundred French and foreign painters between 1908 and 1910. There wasn’t any art work by the master on display at the exhibition held in 1907 on the occasion of the 300th anniversary of the foundation of Mannheim. The Kunsthalle opened only in 1909 and Sally Falk, an outstanding art collector in that city, acquired a sculpture and two graphic works by Matisse just a few years later.

 

In late 2019, one hundred fifty years after the birth of Henri Matisse, the Kunsthalle Mannheim will present paintings by the French master among works by a wealth of other artists: André Derain, Georges Braque, Charles Camoin, Kees van Dongen, Raoul Dufy, Henri Manguin, Albert Marquet, and Maurice de Vlaminck; Ernst Ludwig Kirchner, Alexej von Jawlensky, August Macke, Gabriele Münter, and Max Pechstein; Rudolf Levy, Oskar and Margarete Moll, Hans Purrmann, and Mathilde Vollmoeller. The dialogue between all these works will open new perspectives and underscore the fact that Matisse was a trailblazing artist who catalyzed the liberating endeavors of many other painters.

 

A world premiere, the exhibition at the Kunsthalle Mannheim displays works from museums and private collections in Belgium, Denmark, France, Germany, Great Britain, Norway, Spain, Sweden, Switzerland and the US. Among the museums who lent works from their collections are the Nationalgalerie (Berlin), the Pinakothek and the Städtische Galerie im Lenbachhaus (Munich), the Staatsgalerie (Stuttgart), the Musée Matisse (Nice), the Tate (London), the Nasjonalgalleriet (Oslo), the Fondation Beyeler (Riehen/Basel), the Museo Thyssen-Bornemisza (Madrid), the Art Institute (Chicago) and the Metropolitan Museum (New York).

 

Inspiration Matisse

September 27, 2019 – January 19, 2020

Opening: September 26, 2019, 7:00 pm

Curators: Dr Peter Kropmanns (Paris), Dr Ulrike Lorenz


Sponsors :         

  

Media partners :

 

     

 

Save the date: anticipated press conference

Tuesday, May 14, 2019, 1:00 pm, auditorium of the Kunsthalle Mannheim, with Dr Ulrike Lorenz and Dr Peter Kropmanns

Caption: Hans Purrmann, Albert Weisgerber, Henri Matisse (l.t.r.), Munich, Löwenbräukeller, 1910, Bosco-Automat photo booth, © Hans-Purrmann-Archiv

Der Gewinner des Hector Preises 2019, Hiwa K, Foto: Sarhang Hars; Courtesy of KOW, Berlin
01/29/19
The awarding of the Hector Art Prize by the Kunsthalle Mannheim and the Hector Foundation: The jury selected Hiwa K as the winner on January 22, 2019

Hiwa K has been named the Hector Art Prize winner for 2019. The jury’s choice, made on Tuesday January 22, 2019, was a unanimous decision, coming after a three-stage selection process in which the judges narrowed down their favorite of the 14 nominated individual artists and artist collectives. Born in 1975 and originating from Sulaymaniyah in the Kurdish region of Iraq, the artist has lived in Germany for more than 20 years and, with his vast collection of works, has significantly contributed to the creation of a cross-cultural dialogue between Arab, Kurdish, and European culture.

Hiwa K’s work – ranging in form from sculptures to multimedia works, often making use of video installations – captivates the viewer through its formal, narrative, and anthropological qualities. His multifaceted, emotionally loaded, and politically charged works (such as those on display at documenta 14 in Kassel) draw on his own existential experiences, touching on both humans and objects from the artist’s life. The wide variety of artistic themes he confronts range from the current day military conflict over his Kurdish homeland and the intertwining of art and politics in Italy in the modern era to the postcolonial aspects of Europe’s relationship with Latin America. For example, at the Venice Biennale in 2015 the installation artist presented a bell forged out of military waste from the 1980–88 war between Iran and Iraq and the two Gulf Wars of 1991 and 2003.

“Hiwa K, who, as a Kurd, was forced to flee Iraq, uses his work to engage with the great challenges of our age: migration, the issue of belonging, and the theme of nationalism. Beginning from his own personal history, he has clearly succeeded in his attempts to grapple with these complex questions, both on a conceptual and a formal level, and to create works which deeply touch on our humanity,” the jury explained in their verdict. “Moreover, Hiwa K’s artistic methods are captivating in their precise analysis of social conditions across the world and their profound significance: his work highlighting individual experiences and also makes universal statements about power and its effects.”

The director of the Kunsthalle Mannheim, Dr. Ulrike Lorenz, is pleased with the jury’s unanimous decision: “The work of Hiwa K is a perfect addition to Kunsthalle Mannheim’s collection, a collection which century has consistently engaged with life’s existential questions since the beginning of the twentieth. Moreover, Hiwa K’s art is not afraid to take a stance on contemporary social questions – such as war, isolation, power, forced migration, identity, and heritage. This controversial, discussion-provoking art is exactly what we’re looking for at the Kunsthalle Mannheim, where we are not afraid to confront these social issues.”

Beginning in 1997, the Kunsthalle Mannheim, in association with the H.W. & J. Hector Foundation, have awarded the Hector Prize for contemporary art in Germany every three years. The award seeks to promote artists between the ages of 35 and 50 currently living in Germany and working in the three-dimensional disciplines of sculpture, readymades, and immersive multimedia installations. In this way, the Hector Art Prize highlights the Mannheim collection’s focus on sculpture. The winner receives a cash prize of 20,000 euros, an exhibition at the Kunsthalle, and an exhibition catalog. Previous winners include Alicja Kwade, Nairy Baghramian, Tobias Rehberger, Florian Slotawa and Gunda Förster.

The 2019 jury comprised:

  • Antonia Alampi, artistic co-director, SAVVY Contemporary – The Laboratory of Form-Ideas, Berlin
  • Dr. Sebastian Baden, contemporary art curator, Kunsthalle Mannheim
  • Dr. Andreas Beitin, director, Ludwig Forum für Internationale Kunst, Aachen
  • John Feldmann, member of the board of trustees for the H.W. & J. Hector Stiftung II
  • Krist Gruijthuijsen, director, KW Institute for Contemporary Art, Berlin
  • Dr. Thomas Köllhofer, curator of the graphic collection, Kunsthalle Mannheim
  • Mirjam Varadinis, curator, Kunsthaus Zürich.

 

Nominees for the 2019 Hector Art Prize alongside Hiwa K:

  • Julius von Bismarck, German, born 1983, Berlin
  • Simon Denny, New Zealander, born 1982, Berlin
  • Jason Dodge, American, born 1969, Berlin
  • FORT (Alberta Niemann, German, born 1982, & Jenny Kropp, German, born 1978), Berlin
  • Simon Fujiwara, British, born 1982, Berlin
  • Judith Hopf, German, born 1969, Berlin
  • Sofia Hultén, Swedish, born 1972, Berlin
  • Anne Duk Hee Jordan, Korean, born 1978, Berlin
  • Veit Laurent Kurz, German, born 1985, Berlin/ Frankfurt
  • Michaela Meise, German, born 1976, Berlin
  • Peles Empire (Katharina Stöver, German, born 1982, & Barbara Wolff, Romanian, born 1980), Berlin
  • Yorgos Sapountzis, Greek, born 1976, Berlin
  • Viron Erol Vert, German, born 1975, Berlin and Istanbul

 

 

Hiwa K’s works will be shown at the Kunsthalle Mannheim in an exhibition curated by Dr. Sebastian Baden between July 5 and September 1, 2019 as part of the Hector Art Prize for 2019.

 

Promoted by the H.W. & J. Hector Foundation.

 

12/17/18
On September 27, 2019, the exhibition “Inspiration Matisse” opens at Kunsthalle Mannheim

Color, form, surface, figure and space – Henri Matisse, the master of painterly innovation, combined these elements in an entirely new way around 1905. His figurative and symbolic reductions bordered on abstraction. The French painter, printmaker and sculptor Matisse (1869–1954) had a lasting influence on twentieth-century art. Hardly any young artist looking to build on impressionism’s foundations could fail to engage with his oeuvre. In developing and intensifying his means of artistic expression, Matisse continued to work within the European tradition while simultaneously opening himself up to the possibilities offered by oriental and far Eastern art.

With an exhibition of around 100 selected paintings, sculptures and graphic works, the Kunsthalle Mannheim presents Matisse as a pioneer of modernity and an example to his circle of younger contemporaries, whether the French fauvists, the German expressionists or students of the Académie Matisse—a true artist’s artist. In addition to landscape paintings, among which number famous Mediterranean scenes, the exhibition includes still lifes, studio pictures, and portraits, as well as a series of figures in space and backs. The pinnacle and finale of the exhibition are Matisse’s four famed life-sized “Backs”, which were created between 1909 and 1930 in a continual reduction of the artist’s sculptural expression.

In addition to Matisse, André Derain, Georges Braque, Charles Camoin, Kees van Dongen, Raoul Dufy, Henri Manguin and Albert Marquet are also represented in the exhibition, as well as Ernst Ludwig Kirchner, Alexej von Jawlensky, August Macke, Gabriele Münter and Max Pechstein. Works by the German pupils of Matisse Rudolf Levy, Oskar and Margarete Moll, Hans Purrmann and Mathilde Vollmoeller are also included. The works by these different artists combine to create an exciting dialogue and reveal new perspectives. It becomes evident that Matisse led the way to new form and content, simultaneously acting as a catalyst for individual artistic liberation.

The exhibition includes works on loan from museums and private collections in Belgium, Denmark, France, the UK, the Netherlands, Norway, Sweden, Switzerland, Spain and the US.

Sponsored by the Kunsthalle Mannheim Foundation and the H.W & J. Hector Foundation.

Inspiration Matisse

September 27, 2019 to January 19, 2020

Opening: September 26, 2019, 7 p.m.

Curators: Dr. Peter Kropmanns (Paris), Dr. Ulrike Lorenz

Henri Matisse, Offenes Fenster, Collioure, 1905, Öl auf Leinwand, 55,3 x 46 cm, Collection of Mr. and Mrs. John Hay Whitney National, Gallery of Art, Washington 1998.74.7, © Succession H. Matisse/ VG Bild-Kunst, Bonn 2018
11/30/18
On February 28, 2019, the exhibition “Henri Laurens – Daughters of the Waves” opens at Kunsthalle Mannheim

The spring exhibition presents the work of Henri Laurens (1885–1954), one of the major sculptors of the 20th century. He belonged to the group of Cubists around Georges Braque and Pablo Picasso. Later, Laurens moved away from Cubist constructive forms and ended up working with ample volumes that swelled into space. After 1932 several “daughters of the waves” crop up in his œuvre, paving the way for a series of sea creatures which clearly reveal the artist´s perfect understanding of how to combine volume, material and motion in a sculptural expression.

“Henri Laurens – Daughters of the Waves” (March, 1, to June, 16, 2019) at the Kunsthalle Mannheim places the accent on Laurens’s late works, alongside which it shows complementary graphic works and book illustrations. The exhibition at Mannheim is generously supported by the H.W. & J. Hector Stiftung.

The exhibition is accompanied by a bilingual catalog, published by the Wienand Verlag in December – with contributions by Arie Hartog, Elisabeth Lebon, Christa Lichtenstern, Anne-Sophie Pieper and Veronika Wiegartz (146 pages, 130 colored illustrations, hardcover, German / English, price: 29.80 € , ISBN 978-3-86832-483-9).


Henri Laurens – Daughters of the Waves
March, 1, to June, 16, 2019
Opening: Februar, 28, 2019, 7 p.m.
In cooperation with the Gerhard-Marcks-Haus, Bremen.

Henri Laurens: La Sirène (Siren), 1945, bronze © VG Bild-Kunst, Bonn, photo: Kunsthalle Mannheim
© James Turrell, Sammlung Kunsthalle Mannheim, photo: Kunsthalle Mannheim/Florian Holzherr
10/05/18
Kunsthalle Mannheim completes its new building with James Turrell’s light corridor Split Decision

American artist and pioneer of light art James Turrell’s latest work in the former Athene passageway spans 200 square meters and 12 meters in height. Moving through it from Kunsthalle Mannheim’s art nouveau building to the new building is an unforgettable experience of perception. After four years of development and preparation, the Mannheim art museum completes its new building with the site-specific permanent light installation Split Decision, thus adding a major work of modern art to its significant contemporary art collection. The Hector Stiftung II Kunst gGmbH initiated the project and provided the funding.

“My works aren’t about light – they are light,” says Turrell (b. 1943). Split Decision, an art work in light, is situated at the heart of Kunsthalle Mannheim. It transforms the two-story passageway into a unique light corridor. The space connects the new building designed by the architectural firm gmp – Architekten von Gerkan, Marg und Partner with Hermann Billing’s art nouveau structure. The new installation therefore both bridges the gap between the museum’s various programmatic types of architecture and transports its visitors from the early 21st century to the early 20th century via a kind of meditative time travel. Museum director Dr. Ulrike Lorenz is confident that it is “a real stroke of luck for Kunsthalle Mannheim’s collection as well as its architecture. Turrell manages to transform time and space in his art, as well as affecting the individual visitor perceiving his work. His light pieces transform and bewitch, leading us beyond the boundaries of our senses.”

Split Decision occupies a central place in the museum: the passageway between the new building and the art nouveau building. Two sources of light taking up the entire walls illuminate the atmospherically charged space with changing color spectra, similarly to Turrell’s Tall Glass series. The light sources consist of 80 colored images that complement each other in fixed combinations and slowly merge into sequences. After 154 minutes, the meditative cycle of colorful and complementary light play begins anew.

At Mannheim, the whole of the surrounding room is part of the installation, even more so than with the Tall Glass works. Turrell’s piece can be accessed from the first floor and also from Level 1 via bridge. The passage offers a view on Constantin Brancusi’s reflective Fish on the ground floor of the older building and Olafur Eliasson’s self-illuminating Starbrick under the cupola. In the opposite direction, the Athene passageway opens up via a tunnel into the light-flooded atrium of the Kunsthalle’s new building.

By tackling light, color and space in his own artistic fashion, Turrell carves out a prominent place for himself in the realm of modern art. The light artist, who comes from a family of Quakers, builds on the conceptual art of the 1960s and on abstract painting in his works, but gives greatest priority to what the given location has to offer him. He uses light to create immersive spaces with elaborate architectural and technical installations. His works physically immerse the viewer, allowing them to plunge into a seemingly endless space formed of light.

Turrell himself places his work within the category of perceptual art. “Light has an enormous power, and we are connected to it in an almost primordial way,” Turrell says. “I sculpt it as a material as far as possible. I want to make people be able to feel it, really experience the presence of light and the way that it fills up a room.”

From now on at Kunsthalle Mannheim, visitors can see for themselves how light manifests itself in the installation Split Decision.

Made possible by

Hector Stiftung II Kunst gGmbH