Abstract

"Le Sacre du Printemps" brings four artists in a dialogue, which rely on traditions and mechanisms of modernity and develop these in a separate design. The title refers to the eponymous ballet by Igor Stravinsky F., which premiered in Paris led to a scandal and led to a reassessment of traditional forms, which gave the development of art in a new direction. This thematize in various ways the artists involved. Svenja Kreh conveys the idea of ​​intertwined, surrealistic worlds in large format ink drawings that lead to impenetrable and alienating images. Gregory Russ pursues an eclecticism that are a reflection on the ways to attract new statements and visual languages ​​by using different stylistic devices. Lothar Götz shows geometric abstract drawings and, for the first time to see the museum, paintings, whose formal language often arises from a confrontation with modern architecture, in the sequence they will become fantasies about places and experiences. Guy Bar-Amotz transforms the idea of ​​a cultural revaluation in installations that oscillate between sculpture and functional objects. His installation with the sculptures "Thelonious Monk," "John Fahey" and "Divine" examines the need for a break with traditions. This is reflected in the fact that his sculptures are not used originally for the museum, but the actual use in performances and performance, such as the London Underground.
In this exhibition, the references to how the game with the tradition also by the presentation with pictures from the collection of Mark Brandenburg Museum Witten significantly. Individual works that are not currently visible in the display collection, clarify points of reference between the collection of the museum tradition as the current contemporary art.