{"id":5743,"date":"2013-10-12T11:05:00","date_gmt":"2013-10-12T09:05:00","guid":{"rendered":"http:\/\/kunstmuseum.mscg-it.de\/?post_type=exhibition&p=5743"},"modified":"2021-01-21T15:07:51","modified_gmt":"2021-01-21T14:07:51","slug":"art-textiles-fabric-as-material-and-concept-in-modern-art-from-klimt-to-the-present","status":"publish","type":"exhibition","link":"https:\/\/www.kunstmuseum.de\/en\/exhibition\/art-textiles-fabric-as-material-and-concept-in-modern-art-from-klimt-to-the-present\/","title":{"rendered":"Art & Textiles. Fabric as Material and Concept in Modern Art from Klimt to the Present"},"content":{"rendered":"\n
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Info<\/h2>\n\n\n\n

Nothing, no material, no technique is as capable of touching our sensual and mental existence so univer\u00adsally as textiles, parti\u00adcu\u00adlarly at a time that is in danger of becoming ever less sensuous due to incre\u00ada\u00adsing virtua\u00adliz\u00ada\u00adtion. Textiles with their abundance of weaves and textures that evolved over the millennia are the ideal medium to fulfill this need for sensuality.<\/p>\n\n\n\n

The Kunst\u00admu\u00adseum Wolfsburg again devotes itself to a central aspect of human life from the perspec\u00adtive of art in a histo\u00adri\u00adcally far reaching, inter\u00addi\u00adsci\u00adpli\u00adnary multi\u00admedia exhibi\u00adtion that encom\u00adpasses the most diverse cultures. After \u201cInterior\/Exterior\u201d in 2008 and \u201cThe Art of Decele\u00adra\u00adtion\u201d in 2011, this exhibi\u00adtion repres\u00adents a further step in the pursuit of modernism in the 21st century that the museum has been under\u00adta\u00adking since 2006.<\/p>\n\n\n\n\n\n\n\n

This large-scale exhibi\u00adtion encom\u00adpasses appro\u00adxi\u00admately circa 200 works by 80 artists as well as 60 further anonymous artists whose names have not been preserved, among them major paintings by Gustav Klimt, Vincent van Gogh, Edgar Degas, Henri Matisse, Paul Klee and Jackson Pollock. But artifacts whose creators\u2019 remain nameless can also be viewed in the circa 2700 square meters large exhibi\u00adtion space, for example a pre-Columbian textile fragment from the collec\u00adtion of Anni Albers.<\/p>\n\n\n\n

Our explo\u00adra\u00adtion of the signi\u00adfi\u00adcance of the textiles also involves a kind of \u201cre-reading\u201d of the history of modern art from Art Nouveau to the present. The modern separa\u00adtion of applied and fine art resulted in the syste\u00admatic, decades-long exclusion of all handi\u00adc\u00adrafts from the art histo\u00adrical canon. In the process, modernism drew decisive impulses from the ties between art and craftsmanship.<\/p>\n\n\n\n

Those expecting to primarily be confronted with textiles in this exhibi\u00adtion will be surprised. Visitors will not only encounter works of art made out of textiles, for example the typical knitted pictures by Rosemarie Trockel, but also paintings illus\u00adtra\u00adting textiles like the hanging laundry in Edgar Degas\u2019s \u201cWoman Ironing\u201d or the sumptuous Ball-Entr\u00e9e that envelopes Marie Henneberg in a textile cloud in her portrait by Gustav Klimt (1901). Videos deal with the notion of the textile (Kimsooja) or immerse the viewer in a cosmos of constantly shifting nets (Peter Kogler). Objects are further\u00admore on show that one otherwise encoun\u00adters solely in ethno\u00adgra\u00adphical museums, for example fine African Kuba cloth.<\/p>\n\n\n\n

Its compre\u00adhen\u00adsive approach makes \u201cArt & Textiles\u201d a funda\u00admental exhibi\u00adtion. The origins and comple\u00admen\u00adtary supple\u00adment can be found in counter\u00adpart, the 2001 Ornament and Abstrac\u00adtion exhibi\u00adtion (Fondation Beyeler) that examined the signi\u00adfi\u00adcance of the ornament for the develo\u00adp\u00adment of abstract art. The intel\u00adlec\u00adtual patron of that show was the Viennese art historian Alois Riegl whose universal history of form from 1893 led from humankind\u2019s earliest patterns to the Egyptian lotus motif and the Greek palmette and from there to the arabesque ornament. The thesis of the exhibi\u00adtion was that they can be traced further in abstract art. In doing so, Riegl responded to Gottfried Semper, who in 1863 saw techno\u00adlogy and the dealing with material as the origin of forms and symbols. \u201cForm follows material\u201d: This is the formula that can be applied to the    \u201cArt & Textiles\u201d project.<\/p>\n\n\n\n

The \u201cArt & Textiles\u201d exhibi\u00adtion begins during the eventful Art Nouveau period when artists and designers such as William Morris and Henry van de Velde in Paris, Brussels, London and Vienna set about breaking down the hierarchy between art and handi\u00adc\u00adraft in favor of a compre\u00adhen\u00adsive life plan. Textile fashio\u00adning was also the connec\u00adting link to painting that was in the process of becoming abstract after \u00c9douard Vuillard, Henri Matisse and Gustav Klimt. The visitor follows the golden thread of the exhibi\u00adtion to the Bauhaus in the German cities of Weimar and Dessau, where textile design reached an initial highpoint and the founda\u00adtions for the enfolding of so-called fiber art were laid. But it was less the heralding of a separate art movement that proved fruitful than the ever more self-evident use of textiles as a medium, technique, material and concept in avant-garde art, for example in Material and Anti-Form Art (Eva Hesse), Soft and Pop Art (Sigmar Polke), Fluxus (Joseph Beuys) as well as Minimal Art (Agnes Martin). \u201cTextile Art\u201d itself was long stigma\u00adtized as being a mere handi\u00adc\u00adraft and dismissed as a \u201cwomen\u2019s matter\u201d associated with domestic housework until Rosemarie Trockel produced her first knitted pictures in the early 1980s, reeva\u00adlua\u00adting the clich\u00e9 of the textile as a gender-specific form of expres\u00adsion. The chapter \u201cSpider Women\u201d is conse\u00adquently devoted to the most important protago\u00adnists of feminist art, including, alongside Trockel, Louise Bourgeois, Mona Hatoum and Ghada Amer. Artists have consi\u00adder\u00adably expanded the textile\u2019s range of meanings since then and present-day art produc\u00adtion is virtually inters\u00adpersed with works made from yarn and fabrics, sewn sculp\u00adtures and crocheted installations.<\/p>\n\n\n\n

But the \u201ctextile cosmos\u201d extends far beyond the realm of art, funda\u00adment\u00adally bearing on our appro\u00adpria\u00adtion of the world. \u201cTo be human is to be involved with cloth\u201d says the textile scholar Beverly Gordon. Textiles literally accompany us all our lives, from the diaper to the burial shroud. As Gottfried Semper already deter\u00admined in 1860, spinning and weaving concern a primal technique from which all the other arts developed. \u201cCiviliz\u00ada\u00adtion first exists,\u201d Hartmut B\u00f6hme explains, \u201cwhen it has mastered the cultural techni\u00adques of \u2018binding\u2019 and \u2018connec\u00adting.\u2019\u201d The Jacquard loom, this exemplary archetype of indus\u00adtria\u00adliz\u00ada\u00adtion, intro\u00adduced the punched card principle, making it a prototype of digital pictorial culture. This highly topical analogy of mecha\u00adnical weaving and digital proces\u00adsing tempts one to compre\u00adhend the World Wide Web as a kind of weaving loom of the Internet age.<\/p>\n\n\n\n

The exhibi\u00adtion at the Kunst\u00admu\u00adseum Wolfsburg also pursues the question concer\u00adning the share of textile techni\u00adques in the birth of abstrac\u00adtion. The ortho\u00adgonal fabric structure of warp and woof finds its equiva\u00adlent in the rectan\u00adgular grid pattern that conquered modern painting in the late 1920s (Piet Mondrian). \u201cArt & Textiles\u201d also pays parti\u00adcular attention to the second main occur\u00adrence in modern art, namely the exit of painting from the picture into space. The exhibi\u00adtion traces the \u201cthread from the picture into space\u201d based on histo\u00adrical instal\u00adla\u00adtions in addition to those that have been produced for this occasion (Leonora Tawney, Fred Sandback, Chiaru Shiota, Peter Kogler).<\/p>\n\n\n\n

The largest chapter featuring exhibits from Africa, South America, and the Orient is dedicated to the inter\u00adcul\u00adtural dialogue. The univer\u00adsa\u00adlity of textiles makes them a kind of world language. \u201cGlobal Art\u201d that is suppo\u00adsedly no longer oriented on the Western concept of art is being discussed every\u00adwhere. But how should it be exhibited by a still Western-oriented art world? Ethno\u00adlo\u00adgical museums and museums of non-European art, for example the future Humboldt\u00adforum in Berlin, must ask themselves this question. The Kunst\u00admu\u00adseum Wolfsburg suggests its own presen\u00adta\u00adtion model in this exhibi\u00adtion that is based on combining objects from various art histo\u00adrical and cultural contexts.<\/p>\n\n\n\n

The Wolfsburg wall system facili\u00adtates a versatile staging of the exhibi\u00adtion, and even occasio\u00adnally becomes an exhibit itself, for instance in the repli\u00adca\u00adtion of the unique Caf\u00e9 Samt & Seide constructed in Berlin in 1927 by Lilly Reich and Mies van der Rohe.<\/p>\n\n\n\n

The exhibi\u00adtion catalogue can also be ordered online (EUR 42.00).<\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Info Nothing, no material, no technique is as capable of touching our sensual and mental existence so univer\u00adsally as textiles, parti\u00adcu\u00adlarly at a time that is in danger of becoming ever less sensuous due to incre\u00ada\u00adsing virtua\u00adliz\u00ada\u00adtion. Textiles with their abundance of weaves and textures that evolved over the millennia are the ideal medium to [\u2026]<\/p>\n","protected":false},"featured_media":5576,"menu_order":0,"template":"","meta":{"wp_typography_post_enhancements_disabled":false,"kunstmuseum_formatted_page_title":"","exhibition_title":"","exhibition_subtitle":"Art & Textiles. Fabric as Material and Concept in Modern Art from Klimt to the Present","exhibition_alternative_text":"","exhibition_start_date":"2013-10-12T10:47:00","exhibition_end_date":"2014-03-02T10:47:00","exhibition_gallery":"[6483,6477,6479]","exhibition_poster":5373},"tags":[],"yoast_head":"\nArt & Textiles. 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