Current exhibitions/ Exposition actuelle/ Exposición actual/ Mostra in corso
English: JEAN ARP. THE NAVEL OF THE AVANT-GARDE
The retrospective exhibition “Jean (Hans) Arp. The Navel of the Avant-Garde” is dedicated to one of the most significant artists of the 20th century. A co-founder of Dadaism and pioneer of Surrealism, this radical artist personality was a key participant in the development of modern abstract art. The large-scale show in Berlin’s Georg Kolbe Museum traces the oeuvre of this lyrical and political artist. It features an abundance of sculptures, reliefs, prints, photographs, poems and texts, making a re-discovery of Jean Arp’s work possible. June 28 to October 11, 2015
Français: JEAN ARP. L’OMBILIC DE L’AVANT-GARDE
La rétrospective Jean (Hans) Arp est consacrée à l’un des artistes les plus influents du 20e siècle : cofondateur du dadaïsme, pionnier du surréalisme, artiste radical s’il en fut, Jean Arp est une figure de proue de l’art abstrait moderne. Traversant toute son œuvre, le symbole de l’ombilic représente un motif central pour l’artiste, d’ailleurs lui-même un ombilic, en tant qu’un des piliers de l’avant-garde artistique. Proche parente des créations d’artistes comme Max Ernst, Kurt Schwitters, Vassily Kandinsky et bien d’autres encore, son œuvre a influencé des générations d’artistes ultérieures – une influence qui s’est fait sentir jusque dans l’art contemporain (Ellsworth Kelly, Ernesto Neto, Tony Cragg ou Ólafur Elíasson, entre autres). La grande exposition qui se tiendra du 28 juin au 11 octobre 2015 au Georg Kolbe Museum de Berlin permettra de redécouvrir cet artiste hors du commun, dessinant les multiples facettes d’une œuvre à la fois poétique et politique, à travers une profusion de sculptures, bas-reliefs, graphiques, photographies, poèmes et textes.
Espagnol: JEAN ARP. EL OMBLIGO DEL VANGUARDISMO
La restrospectiva está dedicada a Jean (Hans) Arp, uno de los artistas más destacados del siglo XX. Como cofundador del dadaísmo, impulsor del surrealismo y figura artística radical, resultó decisivo en el desarrollo del arte abstracto moderno. El símbolo del ombligo es el motivo central que aparece en las creaciones de Arp y, al mismo tiempo, el propio artista universal desempeño el papel del ombligo, siendo el centro del arte vanguardista. Estrechamente vinculado con artistas como Max Ernst, Kurt Schwitters, Vasili Kandinski, etc., la influencia que tuvo sobre generaciones de artistas sucesivas hasta el arte moderno se mantuvo intacta (entre otros, Ellsworth Kelly, Ernesto Neto, Tony Cragg, Ólafur Elíasson). La gran exposición en el Georg Kolbe Museum de Berlín desde el 28 de junio al 11 de octubre de 2015 permite descubrir de nuevo al artista y repasa la obra poética y política del artista por medio de una gran cantidad de esculturas, relieves, gráficos, fotografías, poemas y textos.
Italiano: JEAN ARP. L’OMBELICO DELL’AVANGUARDIA:
Con la dedica a Jean (Hans) Arp, la retrospettiva viene dedicata a uno dei più significanti artisti del ventesimo secolo. Come cofondatore del dadaismo, precursore del surrealismo e figura di artista radicale ha contribuito in modo decisivo allo sviluppo dell’arte astratta moderna. Il simbolo dell’ombelico rappresenta il Leitmotiv delle opere di Arp e contemporaneamente anche lui nelle vesti di artista universale ha simboleggiato il centro dell’arte avanguardista. Molto legato ad artisti come Max Ernst, Kurt Schwitters, Vassily Kandinsky e tanti altri, la sua influenza si è ripercossa ininterrottamente sulle generazioni di artisti successive fino all’arte contemporanea (tra gli altri Ellsworth Kelly, Ernesto Neto, Tony Cragg, Ólafur Elíasson). La grande mostra, che si terrà presso il Georg Kolbe Museum di Berlino dal 28 giugno all’11 ottobre 2015, permetterà di riscoprire l’artista e di ricalcare le orme del suo percorso poetico e politico tramite sculture, rilievi, grafiche, fotografie, poesie e testi.
About the GEORG KOLBE MUSEUM
The Georg Kolbe Museum – A Jewel in the Berlin Museum Landscape
Georg Kolbe (1877–1947) was the most successful German sculptor of the first half of the twentieth century. His expressive sculptures dating from the nineteen teens and twenties reflect the spirit of the times in the European art metropolis Berlin, conveying a vivid image of the era they were produced in. Their close ties to now iconic examples of modern architecture is particularly enlightening for an understanding of their historical significance. Mies van der Rohe, for example, placed Kolbe’s sculpture “Morning,” a female nude with arms outstretched upwards, in the reflecting pool of his Barcelona Pavilion built on the occasion of the 1929 World Exposition. The museum’s building was erected as Georg Kolbe’s home and studio on the outskirts of the Grunewald forest in 1928/29. It is an architectonic jewel amidst a green setting. Berlin’s sole sculpture museum is dedicated to questions regarding classical and contemporary sculpture as seen from a present-day perspective.
Georg Kolbe and his Times
Georg Kolbe, who trained as a painter and draughtsman, became famous overnight for his sculpture “Dancer” that captures a girl in a self-engrossed twisting motion with arms outstretched to the sides. The delicate bronze figure was exhibited for the first time in 1912 at the Berlin Secession and acquired that same year for the Nationalgalerie. Particularly the younger audience in late Imperial Germany was passionate about the sculpture that came to symbolize modern human beings dancing themselves free of the shackles of the Wilhelminian Period’s incrusted traditions. Kolbe became a representative of a new era with this figure. Especially during the Weimar Republic, the sculptor received a large number of official commissions and honors. A bust he made of the Germany’s Social Democratic president Friedrich Ebert in 1925 triggered an extensive public discussion that was not only ignited by the work’s aesthetic qualities but also its political message. This sculptural dispute exemplifies the enormous social upheavals of these years that were accompanied by an aesthetic debate.
Like most classical modern sculptors, Kolbe favored the nude as the theme of his works. His concentrated and idealized depictions of the human being are far removed from the detailed realism and mawkish eroticism typical of the nineteenth-century Prussian-Wilhelminian tradition.
The Sensburg – Georg Kolbe’s Studio and Home
The two buildings making up the site were erected in 1928/29 according to Georg Kolbe’s own specifications by the Swiss architect Ernst Rentsch. The brick structures with ceiling-high windows are a clear affirmation of architectural modernism. The artist chose a refuge on the outskirts of the city for his new home and workplace, not far from the Heerstraße Cemetery, where his wife Benjamine was buried after her death under tragic circumstances in 1927. The two houses are connected by a park-like garden with old pine trees. The artist himself lived and worked in the present-day museum building. The ensemble also includes the stylistically similar home belonging to his daughter, where museum workspaces and Café K are now located.
Very few sculptors’ studios from the late nineteenth and early twentieth century have survived in Berlin, and only Georg Kolbe’s studio is open to the public. Three years after his death in 1947, it became the first museum to be opened in the Western Sector of the city. It has been preserved in its original state; only the former clay studio gave way in 1995 to a spacious extension that more than doubled the size of the museum’s exhibition space to circa 400 square meters and created storage space for the collection.
The Museum and its Collection
The museum is dedicated to researching, preserving and probing Georg Kolbe’s artistic legacy. Not including the plaster models, it encompasses over 200 of his works, particularly bronzes, among them many unique examples. It furthermore houses an important collection of classical modern sculpture, for example by the sculptor friends Renée Sintenis, Richard Scheibe and Gerhard Marcks in addition to numerous extensive artist estates.
A lively dialogue is initiated in exhibitions on Georg Kolbe and his times as well as on art of the present day that examine historical and current questions from a scholarly and critical perspective. One focus of the museum’s activities is reanimating the museum as a site where art is produced. At the start of the twenty first century, a museum devoted to sculpture faces questions regarding what constitutes sculpture today. This also involves a reexamination of the genre’s boundaries and its place within a contemporary spectrum.
The Georg Kolbe Grove and the Museum’s Surroundings
The site is not only captivating due to its enchanting grounds, but the museum is also located within walking distance from the Georg Kolbe Grove, a park featuring several large-scale sculptures by the artist. Berlin’s most scenic cemetery is also situated in the immediate vicinity, the Heerstraße Cemetery, where Georg Kolbe is buried alongside his wife and grandson. There are furthermore a number of important architectural landmarks in the neighborhood, including famous New Objectivity villas, the Le Corbusier House, Olympic Stadium and Broadcasting House.