SWG Kunstlexikon
ANSELM KIEFER
Beitrag in Bearbeitung!
KUNSTWERKE ANSELM KIEFER
Anselm Kiefer | „Die Ungeborenen“ | Galerie Thaddaeus Ropac | https://www.ropac.net/ | Paris Pantin | 2012 | Exhibition 14 october 2012 – 27 january 2013 | Video by Nikolai Saoulski WHO YOU ART for Galerie Thaddaeus Ropac | © 2012 | It’s the other aspect of the unborn, the desire of not wanting to be born. Cry of the prophets, the revolt of Job. It would have been better if you had never been born! Everything happens as if it would have been preferable to not be born. The retrograde movement of creation. Theodicy, the accident of creation, God’s regret to have fathered this ungrateful being, this outlaw, who does not abide to the contract. (Anselm Kiefer, 2012) To inaugurate the gallery space at Pantin, Galerie Thaddaeus Ropac is presenting a new series of works by Anselm Kiefer. The title Die Ungeborenen [The Unborn] encompasses a collection of monumental canvases and sculptures, which reference the artist’s interest in the origin and creation of life, referencing well-known myths and iconography. Through the new works, Kiefer explores the hybrid sphere of non-belonging, in which life and unborn life are an intermediate world dominated by the question of why one is and where one belongs. Through this concept, the artist considers the theological concept of limbo, the region on the border of Hell, the abode of souls awaiting entrance into Heaven. The narrative basis for these new works includes Jewish myths surrounding the figure of Lilith, New Testament references to creating children from stones, the alchemistic legend of the Golem, the idea of witches‘ scales, the myth of the birth of Venus and the tales of Ergot. One of the exhibits is a monumental vitrine encasing lava stones interspersed with jars containing embryos (actually synthetic resin sculptures) in „formaldehyde“. It references a passage from the Gospel according to St. Matthew, where John the Baptist comes to preach repentance to the Pharisees and the Sadducees, saying to these leaders of Israel: „And think not to say within yourselves, We have Abraham to our father; for I say unto you, that God is able of these stones to raise up children unto Abraham.“ Anselm Kiefer’s work often deals with breathing life and spirit into dead matter. This is reminiscent of Adalbert Stifter, who describes stones as living creatures. A sculpture from the Hexenwaagen [witches‘ scales] series, represents a set of scales used at mediaeval markets to weigh women suspected of being witches. If they were too light, this was taken as a sign of a witch, who could fly to witches‘ sabbaths with the aid of a salve made from embryos. In a series of works on canvas, where the dominant green colour was produced using the sediment from electrolysis, unborn life is symbolised through inset diamonds and images of flowers, touching on a basic theme of Kiefer’s work: the correspondences between microcosm and macrocosm, taking an idea posited by the British philosopher Robert Fludd (1574-1637). In the monumental picture Für Rabbi Loew — its dramatic atmosphere reminiscent of Gustave Courbet –, hanging over the seascape are leaden scales; in one dish is a lump of lead, in the other a tiny embryo in a jar, which holds the lead in the balance. Mutterkorn [ergot] refers to a fungal disease affecting cereal crops, causing the ears to turn black. In the past, ergotism led to famine in Europe, and contaminated food is poisonous. In German, however, ergot is called „Mutterkorn“, because a medicine distilled from it was used to help contractions during childbirth. It is, then, an ambivalent substance, showing how close together life and death can be. A key set of works takes the Golem as its theme — which translates in Hebrew as a shapeless mass, or embryo. In Jewish legend, especially in Bohemia, the golem is a human figure formed of clay and brought to life through magic. It possesses special powers and can follow commands, but cannot speak. In rabbinical tradition, the epithet is also used for women who have not conceived a child. In mediaeval times, specific golems were attributed to Jewish scholars and alchemists. The best-known golem narrative features Judah Loew ben Bezalel (c. 1520-1609), chief rabbi of Prague at the court of Holy Roman Emperor Rudolf II. „Whereof one cannot speak, thereof one must sing. This would be Mozart’s motto for opera. If one can neither speak nor sing, one must convey in symbols. Such symbols presumably preceded thought processes. This is where theory begins, and in this sense, Anselm Kiefer is not only a painter and artist, but also a theorist and composer of symbols. The images here are both visible and invisible.“ (Alexander Kluge, 2012) | The exhibition is accompanied by a publication with a letter by Anselm Kiefer and essays by Alexander Kluge and Emmanuel Daydé | YouTube
Anselm Kiefer | In the storm of roses | Galerie Thaddaeus Ropac | https://www.ropac.net/ | Salzburg | 2015 | From 18 March until 16 May 2015 Galerie Thaddaeus Ropac is delighted to host a major exhibition of new works by Anselm Kiefer at the gallery in Salzburg. Under the title „Im Gewitter der Rosen“ | In the storm of roses | Kiefer has assembled a series of canvases, overpainted collages, watercolours and sculptures sharing the thematic dialectic of war and peace, love and pain, beauty and destruction. These leitmotifs draw primarily on three literary sources: Ingeborg Bachmann’s (1926-73) poem „In the Storm of Roses“ (1953), the mediaeval love poem „Under der Linden“ | Under the lime-tree | by Walther von der Vogelweide (c.1170-c.1230), and Arthur Rimbaud’s (1854-91) early sonnet „Le Dormeur du val“ | The sleeper in the valley | (1870). It is not only the analytical reflection on the functions and iconographies of different myths, be they Christian, cabalistic or Germanic, with which Kiefer was concerned in recent years, but also literary motifs which he related to one another in texts from different centuries | YouTube
Over Your Cities Grass Will Grow | Anselm Kiefer | Teeth and Glass | Çimler Örtsün Üstünüzü | YouTube
VIDEO | FILM ANSELM KIEFER
Behind the scenes | Anselm Kiefer | Museum Boijmans Van Beuningen https://www.boijmans.nl/ | The restoration of a monumental Kiefer, which is shown in this video report, is a fine example of public-private collaboration. The collectors Mr and Mrs De Heus-Zomer have given the painting entitled ‚Wohin wir uns wenden im Gewitter der Rosen, ist die Nacht mit Dornen erhellt‘ in perpetual loan to Museum Boijmans Van Beuningen. The museum will use its expertise for the restoration and conservation of this magnificent canvas. Anselm Kiefer painted this work, which is made up of three parts, in 1998. In May 2013, it was restored and mainly consolidated in close cooperation with the Redivivus restoration studio of Gwendolyn Boevé-Jones. Kiefer did not, in fact, work only in paint, but mixed this with sand, attached metal wires and barbed wires to the canvas and even included dried flowers. This resulted in a visually rich, heavy and complex whole, which is at the same time very vulnerable because of the variety of materials. The restoration took place under the auspices of the museum and in good consultation with the owners Henk and Victoria de Heus-Zomer. The process took place behind closed doors, but now this video reveals all to the public | Credits Thanks to: Henk en Victioria de Heus-Zomer, Medewerkers restauratieatelier Redivivus, Gwendolyn Perdue Boevé-Jones, Noor Mertens, Medewerkers Museum Boijmans Van Beuningen, Judith van de Hulsbeek | Direction: Charlotte van Regenmortel & Anouk Wouters | Camera & editing: Anouk Wouters | Music: „Stance Gives You Balance“ by Hogan Grip „Eileen“ by Lee Rosevere „Flicker“ by Origamibiro | YouTube
24.09.2015 | Anselm Kiefer e Germano Celant | Pirelli Hangar Bicocca
Giovedì 24 settembre 2015 HangarBicocca ha aperto al pubblico una nuova installazione site-specific di Anselm Kiefer con una conferenza dell’artista in dialogo con il critico e storico dell’arte Germano Celant. Curato da Vicente Todolí, l’allestimento è un ampliamento de I „Sette Palazzi Celesti“, opera permanente concepita e presentata per HangarBicocca nel 2004 da un progetto di Lia Rumma. Cinque opere pittoriche di grandi dimensioni, prodotte tra il 2009 e il 2013 e ancora inedite, formeranno insieme alle sette “torri” – oggi rese percorribili al pubblico – un’unica installazione dal titolo „I Sette Palazzi Celesti 2004-2015“. On Thursday 2a September 2015 HangarBicocca unveils the new installation by Anselm Kiefer, with a press conference with the artist in conversation with the critic and art historian Germano Celant. The new display, curated by Vicente Todolí, is an expansion of The „Seven Heavenly Palaces“, the permanent work conceived for the opening of HangarBicocca in 2004 and based on a project by Lia Rumma. Together with the seven “towers” – now open for the public to walk through – five large-format paintings, made between 2009 and 2013 but never shown until now, will form a single installation entitled „The Seven Heavenly Palaces 2004-2015“ | YouTube
Anselm Kiefer | The German painter and sculptor | New Documentary
Information about Anselm Kiefer | German Artist | born 8 March 1945
YouTube
BIOGRAFIE ANSELM KIEFER
GEBURTSJAHR | GEBURTSORT | TODESJAHR | STERBEORT
AUSBILDUNG ANSELM KIEFER
LEHRTÄTIGKEIT ANSELM KIEFER
MITGLIEDSCHAFTEN ANSELM KIEFER
AUSZEICHNUNGEN ANSELM KIEFER
SAMMLUNGEN ANSELM KIEFER
AUSSTELLUNGEN ANSELM KIEFER
EINZELAUSSTELLUNGEN AUSWAHL
GRUPPENAUSSTELLUNGEN AUSWAHL
PROJEKTE / SYMPOSIEN
WERKBESCHREIBUNG ANSELM KIEFER
SCHWERPUNKTE | MEDIEN
STIL
THEMEN | MOTIVE | WERKE
DEFINITION | BESCHREIBUNG | MERKMALE
STICHWORTE ANSELM KIEFER
ZITATE ANSELM KIEFER
„Ich erzähle in meinen Bildern Geschichten, um zu zeigen, was hinter der Geschichte ist. Ich mache ein Loch auf und gehe hindurch.“ | Anselm Kiefer
TEXT | BIBLIOGRAPHIE ANSELM KIEFER
LINKS ANSELM KIEFER
HOMEPAGE ANSELM KIEFER
WIKIPEDIA ANSELM KIEFER
ANSELM KIEFER
Beitrag in Bearbeitung!
KUNSTWERKE ANSELM KIEFER
Anselm Kiefer | „Die Ungeborenen“ | Galerie Thaddaeus Ropac | https://www.ropac.net/ | Paris Pantin | 2012 | Exhibition 14 october 2012 – 27 january 2013 | Video by Nikolai Saoulski WHO YOU ART for Galerie Thaddaeus Ropac | © 2012 | It’s the other aspect of the unborn, the desire of not wanting to be born. Cry of the prophets, the revolt of Job. It would have been better if you had never been born! Everything happens as if it would have been preferable to not be born. The retrograde movement of creation. Theodicy, the accident of creation, God’s regret to have fathered this ungrateful being, this outlaw, who does not abide to the contract. (Anselm Kiefer, 2012) To inaugurate the gallery space at Pantin, Galerie Thaddaeus Ropac is presenting a new series of works by Anselm Kiefer. The title Die Ungeborenen [The Unborn] encompasses a collection of monumental canvases and sculptures, which reference the artist’s interest in the origin and creation of life, referencing well-known myths and iconography. Through the new works, Kiefer explores the hybrid sphere of non-belonging, in which life and unborn life are an intermediate world dominated by the question of why one is and where one belongs. Through this concept, the artist considers the theological concept of limbo, the region on the border of Hell, the abode of souls awaiting entrance into Heaven. The narrative basis for these new works includes Jewish myths surrounding the figure of Lilith, New Testament references to creating children from stones, the alchemistic legend of the Golem, the idea of witches‘ scales, the myth of the birth of Venus and the tales of Ergot. One of the exhibits is a monumental vitrine encasing lava stones interspersed with jars containing embryos (actually synthetic resin sculptures) in „formaldehyde“. It references a passage from the Gospel according to St. Matthew, where John the Baptist comes to preach repentance to the Pharisees and the Sadducees, saying to these leaders of Israel: „And think not to say within yourselves, We have Abraham to our father; for I say unto you, that God is able of these stones to raise up children unto Abraham.“ Anselm Kiefer’s work often deals with breathing life and spirit into dead matter. This is reminiscent of Adalbert Stifter, who describes stones as living creatures. A sculpture from the Hexenwaagen [witches‘ scales] series, represents a set of scales used at mediaeval markets to weigh women suspected of being witches. If they were too light, this was taken as a sign of a witch, who could fly to witches‘ sabbaths with the aid of a salve made from embryos. In a series of works on canvas, where the dominant green colour was produced using the sediment from electrolysis, unborn life is symbolised through inset diamonds and images of flowers, touching on a basic theme of Kiefer’s work: the correspondences between microcosm and macrocosm, taking an idea posited by the British philosopher Robert Fludd (1574-1637). In the monumental picture Für Rabbi Loew — its dramatic atmosphere reminiscent of Gustave Courbet –, hanging over the seascape are leaden scales; in one dish is a lump of lead, in the other a tiny embryo in a jar, which holds the lead in the balance. Mutterkorn [ergot] refers to a fungal disease affecting cereal crops, causing the ears to turn black. In the past, ergotism led to famine in Europe, and contaminated food is poisonous. In German, however, ergot is called „Mutterkorn“, because a medicine distilled from it was used to help contractions during childbirth. It is, then, an ambivalent substance, showing how close together life and death can be. A key set of works takes the Golem as its theme — which translates in Hebrew as a shapeless mass, or embryo. In Jewish legend, especially in Bohemia, the golem is a human figure formed of clay and brought to life through magic. It possesses special powers and can follow commands, but cannot speak. In rabbinical tradition, the epithet is also used for women who have not conceived a child. In mediaeval times, specific golems were attributed to Jewish scholars and alchemists. The best-known golem narrative features Judah Loew ben Bezalel (c. 1520-1609), chief rabbi of Prague at the court of Holy Roman Emperor Rudolf II. „Whereof one cannot speak, thereof one must sing. This would be Mozart’s motto for opera. If one can neither speak nor sing, one must convey in symbols. Such symbols presumably preceded thought processes. This is where theory begins, and in this sense, Anselm Kiefer is not only a painter and artist, but also a theorist and composer of symbols. The images here are both visible and invisible.“ (Alexander Kluge, 2012) | The exhibition is accompanied by a publication with a letter by Anselm Kiefer and essays by Alexander Kluge and Emmanuel Daydé | YouTube
Anselm Kiefer | In the storm of roses | Galerie Thaddaeus Ropac | https://www.ropac.net/ | Salzburg | 2015 | From 18 March until 16 May 2015 Galerie Thaddaeus Ropac is delighted to host a major exhibition of new works by Anselm Kiefer at the gallery in Salzburg. Under the title „Im Gewitter der Rosen“ | In the storm of roses | Kiefer has assembled a series of canvases, overpainted collages, watercolours and sculptures sharing the thematic dialectic of war and peace, love and pain, beauty and destruction. These leitmotifs draw primarily on three literary sources: Ingeborg Bachmann’s (1926-73) poem „In the Storm of Roses“ (1953), the mediaeval love poem „Under der Linden“ | Under the lime-tree | by Walther von der Vogelweide (c.1170-c.1230), and Arthur Rimbaud’s (1854-91) early sonnet „Le Dormeur du val“ | The sleeper in the valley | (1870). It is not only the analytical reflection on the functions and iconographies of different myths, be they Christian, cabalistic or Germanic, with which Kiefer was concerned in recent years, but also literary motifs which he related to one another in texts from different centuries | YouTube
Over Your Cities Grass Will Grow | Anselm Kiefer | Teeth and Glass | Çimler Örtsün Üstünüzü | YouTube
VIDEO | FILM ANSELM KIEFER
Behind the scenes | Anselm Kiefer | Museum Boijmans Van Beuningen https://www.boijmans.nl/ | The restoration of a monumental Kiefer, which is shown in this video report, is a fine example of public-private collaboration. The collectors Mr and Mrs De Heus-Zomer have given the painting entitled ‚Wohin wir uns wenden im Gewitter der Rosen, ist die Nacht mit Dornen erhellt‘ in perpetual loan to Museum Boijmans Van Beuningen. The museum will use its expertise for the restoration and conservation of this magnificent canvas. Anselm Kiefer painted this work, which is made up of three parts, in 1998. In May 2013, it was restored and mainly consolidated in close cooperation with the Redivivus restoration studio of Gwendolyn Boevé-Jones. Kiefer did not, in fact, work only in paint, but mixed this with sand, attached metal wires and barbed wires to the canvas and even included dried flowers. This resulted in a visually rich, heavy and complex whole, which is at the same time very vulnerable because of the variety of materials. The restoration took place under the auspices of the museum and in good consultation with the owners Henk and Victoria de Heus-Zomer. The process took place behind closed doors, but now this video reveals all to the public | Credits Thanks to: Henk en Victioria de Heus-Zomer, Medewerkers restauratieatelier Redivivus, Gwendolyn Perdue Boevé-Jones, Noor Mertens, Medewerkers Museum Boijmans Van Beuningen, Judith van de Hulsbeek | Direction: Charlotte van Regenmortel & Anouk Wouters | Camera & editing: Anouk Wouters | Music: „Stance Gives You Balance“ by Hogan Grip „Eileen“ by Lee Rosevere „Flicker“ by Origamibiro | YouTube
24.09.2015 | Anselm Kiefer e Germano Celant | Pirelli Hangar Bicocca
Giovedì 24 settembre 2015 HangarBicocca ha aperto al pubblico una nuova installazione site-specific di Anselm Kiefer con una conferenza dell’artista in dialogo con il critico e storico dell’arte Germano Celant. Curato da Vicente Todolí, l’allestimento è un ampliamento de I „Sette Palazzi Celesti“, opera permanente concepita e presentata per HangarBicocca nel 2004 da un progetto di Lia Rumma. Cinque opere pittoriche di grandi dimensioni, prodotte tra il 2009 e il 2013 e ancora inedite, formeranno insieme alle sette “torri” – oggi rese percorribili al pubblico – un’unica installazione dal titolo „I Sette Palazzi Celesti 2004-2015“. On Thursday 2a September 2015 HangarBicocca unveils the new installation by Anselm Kiefer, with a press conference with the artist in conversation with the critic and art historian Germano Celant. The new display, curated by Vicente Todolí, is an expansion of The „Seven Heavenly Palaces“, the permanent work conceived for the opening of HangarBicocca in 2004 and based on a project by Lia Rumma. Together with the seven “towers” – now open for the public to walk through – five large-format paintings, made between 2009 and 2013 but never shown until now, will form a single installation entitled „The Seven Heavenly Palaces 2004-2015“ | YouTube
Anselm Kiefer | The German painter and sculptor | New Documentary
Information about Anselm Kiefer | German Artist | born 8 March 1945
YouTube
BIOGRAFIE ANSELM KIEFER
GEBURTSJAHR | GEBURTSORT | TODESJAHR | STERBEORT
AUSBILDUNG ANSELM KIEFER
LEHRTÄTIGKEIT ANSELM KIEFER
MITGLIEDSCHAFTEN ANSELM KIEFER
AUSZEICHNUNGEN ANSELM KIEFER
SAMMLUNGEN ANSELM KIEFER
AUSSTELLUNGEN ANSELM KIEFER
EINZELAUSSTELLUNGEN AUSWAHL
GRUPPENAUSSTELLUNGEN AUSWAHL
PROJEKTE / SYMPOSIEN
WERKBESCHREIBUNG ANSELM KIEFER
SCHWERPUNKTE | MEDIEN
STIL
THEMEN | MOTIVE | WERKE
DEFINITION | BESCHREIBUNG | MERKMALE
STICHWORTE ANSELM KIEFER
ZITATE ANSELM KIEFER
„Ich erzähle in meinen Bildern Geschichten, um zu zeigen, was hinter der Geschichte ist. Ich mache ein Loch auf und gehe hindurch.“ | Anselm Kiefer
TEXT | BIBLIOGRAPHIE ANSELM KIEFER
LINKS ANSELM KIEFER
HOMEPAGE ANSELM KIEFER
WIKIPEDIA ANSELM KIEFER
ANSELM KIEFER
Beitrag in Bearbeitung!
KUNSTWERKE ANSELM KIEFER
Anselm Kiefer | „Die Ungeborenen“ | Galerie Thaddaeus Ropac | https://www.ropac.net/ | Paris Pantin | 2012 | Exhibition 14 october 2012 – 27 january 2013 | Video by Nikolai Saoulski WHO YOU ART for Galerie Thaddaeus Ropac | © 2012 | It’s the other aspect of the unborn, the desire of not wanting to be born. Cry of the prophets, the revolt of Job. It would have been better if you had never been born! Everything happens as if it would have been preferable to not be born. The retrograde movement of creation. Theodicy, the accident of creation, God’s regret to have fathered this ungrateful being, this outlaw, who does not abide to the contract. (Anselm Kiefer, 2012) To inaugurate the gallery space at Pantin, Galerie Thaddaeus Ropac is presenting a new series of works by Anselm Kiefer. The title Die Ungeborenen [The Unborn] encompasses a collection of monumental canvases and sculptures, which reference the artist’s interest in the origin and creation of life, referencing well-known myths and iconography. Through the new works, Kiefer explores the hybrid sphere of non-belonging, in which life and unborn life are an intermediate world dominated by the question of why one is and where one belongs. Through this concept, the artist considers the theological concept of limbo, the region on the border of Hell, the abode of souls awaiting entrance into Heaven. The narrative basis for these new works includes Jewish myths surrounding the figure of Lilith, New Testament references to creating children from stones, the alchemistic legend of the Golem, the idea of witches‘ scales, the myth of the birth of Venus and the tales of Ergot. One of the exhibits is a monumental vitrine encasing lava stones interspersed with jars containing embryos (actually synthetic resin sculptures) in „formaldehyde“. It references a passage from the Gospel according to St. Matthew, where John the Baptist comes to preach repentance to the Pharisees and the Sadducees, saying to these leaders of Israel: „And think not to say within yourselves, We have Abraham to our father; for I say unto you, that God is able of these stones to raise up children unto Abraham.“ Anselm Kiefer’s work often deals with breathing life and spirit into dead matter. This is reminiscent of Adalbert Stifter, who describes stones as living creatures. A sculpture from the Hexenwaagen [witches‘ scales] series, represents a set of scales used at mediaeval markets to weigh women suspected of being witches. If they were too light, this was taken as a sign of a witch, who could fly to witches‘ sabbaths with the aid of a salve made from embryos. In a series of works on canvas, where the dominant green colour was produced using the sediment from electrolysis, unborn life is symbolised through inset diamonds and images of flowers, touching on a basic theme of Kiefer’s work: the correspondences between microcosm and macrocosm, taking an idea posited by the British philosopher Robert Fludd (1574-1637). In the monumental picture Für Rabbi Loew — its dramatic atmosphere reminiscent of Gustave Courbet –, hanging over the seascape are leaden scales; in one dish is a lump of lead, in the other a tiny embryo in a jar, which holds the lead in the balance. Mutterkorn [ergot] refers to a fungal disease affecting cereal crops, causing the ears to turn black. In the past, ergotism led to famine in Europe, and contaminated food is poisonous. In German, however, ergot is called „Mutterkorn“, because a medicine distilled from it was used to help contractions during childbirth. It is, then, an ambivalent substance, showing how close together life and death can be. A key set of works takes the Golem as its theme — which translates in Hebrew as a shapeless mass, or embryo. In Jewish legend, especially in Bohemia, the golem is a human figure formed of clay and brought to life through magic. It possesses special powers and can follow commands, but cannot speak. In rabbinical tradition, the epithet is also used for women who have not conceived a child. In mediaeval times, specific golems were attributed to Jewish scholars and alchemists. The best-known golem narrative features Judah Loew ben Bezalel (c. 1520-1609), chief rabbi of Prague at the court of Holy Roman Emperor Rudolf II. „Whereof one cannot speak, thereof one must sing. This would be Mozart’s motto for opera. If one can neither speak nor sing, one must convey in symbols. Such symbols presumably preceded thought processes. This is where theory begins, and in this sense, Anselm Kiefer is not only a painter and artist, but also a theorist and composer of symbols. The images here are both visible and invisible.“ (Alexander Kluge, 2012) | The exhibition is accompanied by a publication with a letter by Anselm Kiefer and essays by Alexander Kluge and Emmanuel Daydé | YouTube
Anselm Kiefer | In the storm of roses | Galerie Thaddaeus Ropac | https://www.ropac.net/ | Salzburg | 2015 | From 18 March until 16 May 2015 Galerie Thaddaeus Ropac is delighted to host a major exhibition of new works by Anselm Kiefer at the gallery in Salzburg. Under the title „Im Gewitter der Rosen“ | In the storm of roses | Kiefer has assembled a series of canvases, overpainted collages, watercolours and sculptures sharing the thematic dialectic of war and peace, love and pain, beauty and destruction. These leitmotifs draw primarily on three literary sources: Ingeborg Bachmann’s (1926-73) poem „In the Storm of Roses“ (1953), the mediaeval love poem „Under der Linden“ | Under the lime-tree | by Walther von der Vogelweide (c.1170-c.1230), and Arthur Rimbaud’s (1854-91) early sonnet „Le Dormeur du val“ | The sleeper in the valley | (1870). It is not only the analytical reflection on the functions and iconographies of different myths, be they Christian, cabalistic or Germanic, with which Kiefer was concerned in recent years, but also literary motifs which he related to one another in texts from different centuries | YouTube
Over Your Cities Grass Will Grow | Anselm Kiefer | Teeth and Glass | Çimler Örtsün Üstünüzü | YouTube
VIDEO | FILM ANSELM KIEFER
Behind the scenes | Anselm Kiefer | Museum Boijmans Van Beuningen https://www.boijmans.nl/ | The restoration of a monumental Kiefer, which is shown in this video report, is a fine example of public-private collaboration. The collectors Mr and Mrs De Heus-Zomer have given the painting entitled ‚Wohin wir uns wenden im Gewitter der Rosen, ist die Nacht mit Dornen erhellt‘ in perpetual loan to Museum Boijmans Van Beuningen. The museum will use its expertise for the restoration and conservation of this magnificent canvas. Anselm Kiefer painted this work, which is made up of three parts, in 1998. In May 2013, it was restored and mainly consolidated in close cooperation with the Redivivus restoration studio of Gwendolyn Boevé-Jones. Kiefer did not, in fact, work only in paint, but mixed this with sand, attached metal wires and barbed wires to the canvas and even included dried flowers. This resulted in a visually rich, heavy and complex whole, which is at the same time very vulnerable because of the variety of materials. The restoration took place under the auspices of the museum and in good consultation with the owners Henk and Victoria de Heus-Zomer. The process took place behind closed doors, but now this video reveals all to the public | Credits Thanks to: Henk en Victioria de Heus-Zomer, Medewerkers restauratieatelier Redivivus, Gwendolyn Perdue Boevé-Jones, Noor Mertens, Medewerkers Museum Boijmans Van Beuningen, Judith van de Hulsbeek | Direction: Charlotte van Regenmortel & Anouk Wouters | Camera & editing: Anouk Wouters | Music: „Stance Gives You Balance“ by Hogan Grip „Eileen“ by Lee Rosevere „Flicker“ by Origamibiro | YouTube
24.09.2015 | Anselm Kiefer e Germano Celant | Pirelli Hangar Bicocca
Giovedì 24 settembre 2015 HangarBicocca ha aperto al pubblico una nuova installazione site-specific di Anselm Kiefer con una conferenza dell’artista in dialogo con il critico e storico dell’arte Germano Celant. Curato da Vicente Todolí, l’allestimento è un ampliamento de I „Sette Palazzi Celesti“, opera permanente concepita e presentata per HangarBicocca nel 2004 da un progetto di Lia Rumma. Cinque opere pittoriche di grandi dimensioni, prodotte tra il 2009 e il 2013 e ancora inedite, formeranno insieme alle sette “torri” – oggi rese percorribili al pubblico – un’unica installazione dal titolo „I Sette Palazzi Celesti 2004-2015“. On Thursday 2a September 2015 HangarBicocca unveils the new installation by Anselm Kiefer, with a press conference with the artist in conversation with the critic and art historian Germano Celant. The new display, curated by Vicente Todolí, is an expansion of The „Seven Heavenly Palaces“, the permanent work conceived for the opening of HangarBicocca in 2004 and based on a project by Lia Rumma. Together with the seven “towers” – now open for the public to walk through – five large-format paintings, made between 2009 and 2013 but never shown until now, will form a single installation entitled „The Seven Heavenly Palaces 2004-2015“ | YouTube
Anselm Kiefer | The German painter and sculptor | New Documentary
Information about Anselm Kiefer | German Artist | born 8 March 1945
YouTube
BIOGRAFIE ANSELM KIEFER
GEBURTSJAHR | GEBURTSORT | TODESJAHR | STERBEORT
AUSBILDUNG ANSELM KIEFER
LEHRTÄTIGKEIT ANSELM KIEFER
MITGLIEDSCHAFTEN ANSELM KIEFER
AUSZEICHNUNGEN ANSELM KIEFER
SAMMLUNGEN ANSELM KIEFER
AUSSTELLUNGEN ANSELM KIEFER
EINZELAUSSTELLUNGEN AUSWAHL
GRUPPENAUSSTELLUNGEN AUSWAHL
PROJEKTE / SYMPOSIEN
WERKBESCHREIBUNG ANSELM KIEFER
SCHWERPUNKTE | MEDIEN
STIL
THEMEN | MOTIVE | WERKE
DEFINITION | BESCHREIBUNG | MERKMALE
STICHWORTE ANSELM KIEFER
ZITATE ANSELM KIEFER
„Ich erzähle in meinen Bildern Geschichten, um zu zeigen, was hinter der Geschichte ist. Ich mache ein Loch auf und gehe hindurch.“ | Anselm Kiefer
TEXT | BIBLIOGRAPHIE ANSELM KIEFER
LINKS ANSELM KIEFER
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