THE WALK – Keine Retrospektive
THE WALK – No Retrospective
CR 902. Year 2018 - 2019
- EN
- DE
Find the English text of THE WALK – No Retrospective in the section CONTEMPORANEITIES
What no one expected at all is exactly what he did: Jochen Gerz - one of the conceptually strongest, internationally renowned artists in the field of contemporary art, someone who turns a critical eye upon his own era and prefers the street to the White Cube – has, after fifteen years of distancing himself from the exhibition site of the museum, affected a caesura in his own exhibition strategy. At the invitation of the Lehmbruck Museum in Duisburg, the 78-year-old developed a vivid linguistic environment for the facade of the institution ...
Claudia Posca 2018
The text Contemporaneities, which covers in red letters the entire glass facade of the Lehmbruck Museum like a second skin, reads like a novel written in the third person. Intimate, personal circumstances alternate with decisive moments of history and with art history – Martin Luther King’s speech against the Vietnam War, ZERO and the deconstruction of painting, Willy Brandt’s kneeling before the monument to the victims of the Warsaw ghetto uprising, performance as new sculpture, the women’s movement, the protest and fight for equal rights for all, perestroika, concrete and visual poetry, the opening of the Berlin Wall, the Internet and Media Art, the attacks on 11 September, capitalist greed and the stock market, participation as an artistic and social strategy, Euroscepticism and nationalism, again and again Europe, the museum, art, the public, democracy and the struggle for the new work of art – the art of the future…. THE WALK updates our most recent history and rewrites our present day as history by offering a narrative about those individuals who have just experienced war.
Söke Dinkla 2019
Der Text Contemporaneities (Zeitgenossenschaften), der in roten Buchstaben die komplette Glasfassade des Lehmbruck Museums wie eine zweite Haut überzieht, liest sich wie ein Roman, der in der dritten Person geschrieben ist. Intime, persönliche Begebenheiten wechseln sich ab mit entscheidenden Momenten der Zeitgeschichte und der Kunstgeschichte – Martin Luther Kings Rede gegen den Vietnamkrieg, ZERO und die Dekonstruktion der Malerei, Willy Brandts Kniefall vor dem Mahnmal der Opfer des Warschauer Ghettoaufstandes, Performance als neue Skulptur, die Frauenbewegung, Protest und Kampf um gleiche Bedingungen für alle, Perestroika, konkrete und visuelle Poesie, die Öffnung der Berliner Mauer, Internet und Medienkunst, die Anschläge vom 11. September, kapitalistische Gier und Aktienmarkt, Partizipation als künstlerische und gesellschaftliche Strategie, Euroskeptizismus und Nationalismus und immer wieder Europa, das Museum, die Kunst, die Öffentlichkeit, die Demokratie und das Ringen um das neue Kunstwerk – die Kunst der Zukunft... THE WALK aktualisiert unsere jüngste Geschichte und schreibt Jetztzeit als Geschichte neu, indem von denjenigen erzählt wird, die den Krieg gerade erlebt haben.
Söke Dinkla 2019
Categories
Keywords
Public authorship , Work in public space
Duisburg, Germany
Contemporaneities, a text by Jochen Gerz, mounted in red block letters on the seven-metre-high glass facade of the Wilhelm Lehmbruck Museum in Duisburg, covering a surface of 600 square meters (the text has been created in 2017 for Gerz’s online Catalogue Raisonné (jochengerz.eu) and is structured in decades. As annex to the last decade THE WALK includes a second text by Jochen Gerz entitled Public authorship.)
Footbridge for visitors and passers-by, constructed by sections of reusable scaffolding and leading along the glass lettering around the museum at a length of 100 meters
Invitation including the 185 footnotes of the text and inserted as a supplement into 300.000 copies of the daily paper Rheinische Post on September 11, 2018
Edition of 5 postcards (10.5 x 16 cm), each with a quote from Contemporaneities (selected by members of the museum staff - technicians as well as curators and migrants). Printed signature of Jochen Gerz, edited by Wilhelm Lehmbruck Museum Duisburg in 2018
MY WALK, series of five interviews, published between January and March 2019 in the daily paper Westdeutsche Allgemeine Zeitung inviting migrants from Afghanistan, Iraq, Iran and Syria to tell the story of their WALK
Photo Essay Sonja Rothweiler
Visual communication büro uebele
THE WALK is a 100-metre path taking visitors and passers-by on an airborne footbridge along the iconic glass front of the Wilhelm Lehmbruck Museum in Duisburg. THE WALK is a giant text in public space. The topic is eight decades of contemporaneity – biography, history, media and memory. THE WALK is a look from outside at contemporary art, at its influence on the city, civil society and civilisation. A look backwards and forward. THE WALK is a lifeline, a reference to the passing of time and to an outsider’s view from outside. THE WALK opens up the museum to temporality: each pane of the seven-meter-high glass front is a column in a narrative starting with World War 2, migration, loss and mobility. THE WALK is an invitation to men and women who at present flee wars in their native countries Afghanistan, Iraq, Iran, Libya, Syria and Yemen to become part of a museum in Germany and find work as survivors, witnesses, guides and as the authors of their own WALK.
Participants
10 refugees from Afghanistan, Iran, Iraq, Libya, Syria and Yemen, taking part in a training program at Wilhelm Lehmbruck Museum and working as museum guides
Partners
Stiftung Wilhelm Lehmbruck Museum Duisburg, Stadt Duisburg, Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, Landesverband Rheinland, Kulturstiftung der Länder, Kulturstiftung NRW, Sparkasse Duisburg, Duisburger Baugesellschaft GEBAG, Wirtschaftsbetriebe Duisburg, Rheinische Post, Westdeutsche Allgemeine Zeitung, Bildungszentrum der Kreishandwerkerschaft Duisburg
Realization
Duisburg, September 23, 2018 – May 5, 2019
Bibliography
I: Wien 2019
II: Ed. 1, 2018. Ed. 2, 2018. Ed. 3, 2018. Ed. 4, 2018. Ed. 5, 2018. Ed. 6, 2018. Ed. 7, 2018. Ed. 8, 2018. Ed. 9, 2018. Ed. 10, 2018. Ed. 11, 2018. Ed. 12, 2018. Ed. 13, 2018. Ed. 14, 2018. Ed. 15, 2018. Ed. 16, 2018. Ed. 17, 2018. Ed. 18, 2018. Ed. 19, 2018. Ed. 20, 2018. Ed. 21, 2018. Ed. 22, 2018. Ed. 23, 2018. Ed. 24, 2018. Ed. 25, 2018. Ed. 26, 2018. Ed. 27, 2018. Ed. 28, 2018. Ed. 29, 2018. Ed. 30, 2018. Ed. 31, 2018. Ed. 32, 2018. Ed. 33, 2018. Ed. 34, 2018. Ed. 35, 2018. Ed. 36, 2018. Ed. 37, 2018. Ed. 38, 2018. Ed. 39, 2018. Ed. 40, 2018. Ed. 41, 2018. Ed. 42, 2018. Ed. 43, 2018. Ed. 44, 2018. Ed. 45, 2018. Ed. 46, 2018. Backof 2018 a. Backof 2018 b. Hirsch 2018. Hoddick 2018. Horstmeier 2018 a. Horstmeier 2018 b. Horstmeier 2018 c. Horstmeier 2018 d. Klucken 2018 a. Klucken 2018 b. Klucken 2018 c. Klucken 2018 d. Klucken 2018 e. Kühlem 2918. Leske 2018. Müller 2018 a. Müller 2018 b. Richter 2018. Posca 2018 a. Posca 2018 b. Ruthe 2018. Thiele 2018. Warnecke 2018. Winterseel 2018. Ed. 1, 2019. Ed. 2, 2019. Dirksen 2019 a. Dirksen 2019 b. Hoffmanns 2019. Horstmeier 2019. Klucken 2019. Mett 2019. Reifegerste 2019
III: Kühlem 2018
V: Dinkla 2019. Posca 2019
VI: Wien 2019