Vom Geschmack eines Apfels (On the Taste of an Apple). Works from the collection with guests
April 24 to September 17, 2023

Press images and credits: https://my.hidrive.com/share/r...

From Sunday, 23 April 2023, PEAC Museum Freiburg will be presenting the new exhibition „Vom Geschmack eines Apfels – Eine Sammlungspräsentation mit Gästen“ (On the Taste of an Apple—An exhibition of works from the collection with guests). This exhibition takes the most recent works by American artist Joseph Marioni as its starting point, which are being presented in Europe for the first time on the occasion of his 80th birthday. The physical palpability of color and light in his large-format paintings evoke an intimate and sensual relationship between the work and the viewer. “Vom Geschmack eines Apfels” relates his paintings to works from the Paul Ege Art Collection that expand classical conceptions of the image: How can space, body and the artwork be understood as parts of a holistic sensory experience—through the artistic media of video, sculpture and painting over a temporal horizon from the 1960s to the present day?

Radical Painting and Joseph Marioni
Radical Painting is one of the Paul Ege Art Collection’s central themes. The monochrome, abstract movement emerged in the 1970s through a process of intensive, transatlantic exchange and explores the basic conditions of painting. At the core of the quiet, meditative works lies a self-referential inquiry into their elemental components of material, color, support, format, and tool. Joseph Marioni’s works are born out of these considerations. They first capture the viewer’s attention as physical objects that refer to nothing other than their own materiality. The subtly tapered canvases serve as supports for a variety of vertically oriented paint applications, which flow into sculptural paint drips at the open edges of the paintings. Yet the works do not remain self-contained objects, but rather open up to the viewer: The fluctuating degree of transparency of the paint layers creates a pictorial depth that manifests itself as dematerialized light, radiating a powerful allure. Through this relationship, the artwork morphs from a passive object into an active subject, a presence vis-à-vis the viewer.
Joseph Marioni was born in Cincinnati, OH (USA) in 1943 and lives and works in New York, NY (USA). He has participated in numerous international solo and group exhibitions, including: KOLUMBA Museum Cologne 2021, Kunstmuseum Wolfsburg 2019, Museum Wiesbaden 2018, Kunstmuseum Bern (CH) 2017, Philadelphia Museum of Art/Philadelphia (USA) 2015, The Phillips Collection/Washington D.C. (USA) 2011, Museum Fine Arts Budapest (HU) 2010. His works are represented in private and public collections such as Whitney Museum of American Art, Basel Kunstmuseum, Kunstmuseum St. Gallen, La Collection Jumex, Malmö Kunsthal, Abteiberg Museum and others.

The exhibition
“Vom Geschmack eines Apfels” juxtaposes Marioni’s works with works that have emerged out of the increasing detachment from classical conceptions of the image within the timeframe of the museum’s collection history. How does the relationship between work, space, and viewer shift in the sculptural works of American minimalist artist Carl Andre or in Dieter Kiessling’s interactive video installation? The common thread running through all the works in the exhibition is that they open themselves up to the viewer, whose physicality they challenge as the basis of an aesthetic experience. The title of the exhibition is borrowed from a text by the Argentine poet Jorge Luis Borges: “The taste of the apple [...] lies in the contact of the fruit with the palate, not in the fruit itself; in a similar way [...] poetry lies in the meeting of poem and reader, not in the lines of symbols printed on the pages of a book. What is essential is the aesthetic act, the thrill, the almost physical emotion that comes with each reading.” This creates a continuous interplay between reason and feeling, materiality and representation, conscious and unconscious, in which one’s own self is reflected.
Featuring works by Carl Andre, Michał Budny, Alan Charlton, Günther Holder, Dieter Kiessling, Richard Long, Joseph Marioni, Andrea Ostermeyer, Nikola Ukić, Elisabeth Vary and Michel Verjux.

Joseph Marioni, Green Painting, 2006, Detail © PEAC Museum, Foto: Bernhard Strauss
Joseph Marioni, Green Painting, 2006, Detail © PEAC Museum, Foto: Bernhard Strauss

Schulkunstausstellung „SERIE“

Mittwoch, 11. Oktober – Sonntag, 05.November 2023
Eröffnung: Mittwoch, 11. Oktober 2023

Vom 11. Oktober bis zum 05. November wird das PEAC Museum zum Gastgeber der diesjährigen Schulkunstausstellung zum Thema „Serie“. Das Format ist Teil des Förderprogramms SCHULKUNST des Kultusministeriums Baden-Württemberg, das seit über 30 Jahren ein fester Bestandteil der kulturellen Bildung und Erziehung an Schulen ist. Schülerinnen und Schülern setzen sich gestalterisch mit wechselnden Themen der Bildenden Kunst auseinander. Dabei richtet sich das Programm an alle Schularten und Altersstufen.
Bildung und Weiterbildung von Kindern und Jugendlichen, insbesondere im Bereich von Kunst und Kultur, war dem Stifter des PEAC Museums, Paul Ege, stets ein großes Anliegen und spielt auch in der Konzeption des Ausstellungs-, Rahmen- und Vermittlungsprogramms eine besondere Rolle. Von der Bedeutung des Formats für die Qualität und Offenheit des Schulkunstunterrichts überzeugt, richtet das PEAC Museum deshalb die Schulkunstausstellung Freiburg (Landkreise Freiburg, Breisgau-Hochschwarzwald und Emmendingen) nach 2019 bereits zum zweiten Mal aus. Flankierend zur Ausstellung werden vielfältige museumspädagogische Angebote kostenfrei zur Verfügung gestellt. In einer speziell für die Schulkunstausstellung eingerichteten offenen Werkstatt dürfen kleine und große Besucher*innen, ob Schulkinder, Geschwister, Eltern oder Großeltern eigenständig mit verschiedenen Materialien, Farben und Formen experimentieren und arbeiten. Schulklassen können geführte Ausstellungsbesuche inkl. praktischer Übungen zum Thema buchen. In zwei Räumen der Ausstellung sind zudem Werke von Künstlerinnen und Künstlern aus der Paul Ege Art Collection zu sehen, die mit dem Begriff der Serie arbeiten oder als Serie definiert sind und so die Perspektive nochmals erweitern.

Previous exhibition

Allerbeste Aussichten. Neue Generation Kunst
27.11.2022 – 26.03.2023

The exhibition “Allerbeste Aussichten. Neue Generation Kunst” (Best Possible Prospects. A New Generation of Art) resumes an exhibition format started in 2016 in collaboration with three renowned German art academies. It specifically focuses on the youngest generation of visual artists: the participating artists are still in education or have recently completed it. They are thus in the midst of the exciting development process of their individual artistic visual language.
What they have in common is a questioning of processes and current conditions of creating images, as well as their reception and perception by the viewer. At a moment in which digital images are omnipresent—as well as their creation, reproduction, and reception—the question of what kind of artworks are currently being created in which educational structures is more crucial than ever, as are the issues young artists are dealing with today.
The exhibition brings together works from a wide variety of genres and media, many of which have been produced especially for the exhibition. They are characterized by a general openness to the conception both of genre and the image. On view are photographs, paintings, performative, installation, and mixed-media works, video and paper works, drawings, sculptures, as well as digitally generated images.
The direct connection to the Paul Ege Art Collection and the PEAC Museum is established not only through a general questioning of the art image itself; the students are also guided and informed by professors whose works form part of the collection.

The participating artists are:
students of Fine Arts at the Caspar David Friedrich Institute of the University of Greifswald: Charleen Dahms, Anne Martin, Johanna Herrmann, Ulrich Schneider, Rabea Dransfeld, Sten Niklas Washausen, Jakob Stolte, Paula Finsterbusch—supervised by Prof. Christian Frosch, Professor of Painting, Drawing, Space and Interdisciplinary Artistic Strategies, and Cindy Schmiedichen, Artistic researcher in the faculty;
students of the Painting and Graphic Arts Class at the Academy of Fine Arts Munich: Khashayar Zandyavari, Paula Niño, Cheng Hsin Chiang, Lukas Niedermeier, Ikue Ohta, Johannes Kiel, Tabata von der Locht, Jimmy Vuong, Hannah Jeong, Caroline Kretschmer – supervised by Prof. Schirin Kretschmann;
students of the Conceptual Painting class at the Hochschule der Bildenden Künste Saar in Saarbrücken: Laura Sperl, Suyoung Kim, Hwakyeong Kim, Jaeyun Moon, Ham Babaei, Meret Sophie Preiß, Johanna Disch, Leonie Mertes, supervised by Prof. Katharina Hinsberg;
as well as the professors and lecturers mentioned above.

Allerbeste Aussichten. Neue Generation Kunst, Room 2, "Raumzeichnung", Hwakyeong Kim
Allerbeste Aussichten. Neue Generation Kunst, Room 2, "Raumzeichnung", Hwakyeong Kim

Backspace. Sebastian Dannenberg
17.07.2022 – 30.10.2022

feat. Josef Albers, Kirstin Arndt, Stephan Baumkötter, Dan Flavin, Marcia Hafif, Donald Judd, Martina Klein, Agnes Martin, Robert Ryman, Fred Sandback, Karin Sander and Antonio Scaccabarozzi.

The exhibition Backspace presents works by the artist Sebastian Dannenberg in dialogue with works from the Paul Ege Art Collection. Works by prominent representatives of minimal art and monochrome painting are juxtaposed with a fresh, evolving body of work.
Sebastian Dannenberg is, in his own words, a committed painter, even if his works are as object-like as they are painterly. What we see in or through them is reminiscent of the backs of paintings, veneers, empty frames and contours, the provisional, the unfinished, and the mobile. Aluminum, metal, steel, wood, concrete, and glass all recur as materials. The space—both as a site of seeing and as a size conceived in terms of content—also repeatedly serves as an antagonist, for the color, as well as the painterly gesture. These are paintings that question origin, condition, and finally perception—especially in the here and now, at a time when we still assume that visual art, whether painting, video, sculpture, or performance, obviously shows the unambiguous, that the world must be seen, that the painted image must correspond to a certain form and materiality.
In deliberately subverting this expectation of an image—by supposedly withdrawing it from immediate view, Sebastian Danneberg instead negotiates its visual reality in order to enable us to perceive and discover it consciously and ever anew.

Sebastian Dannenberg, born 1980 in Bottrop, lives and works near Bremen.

PEAC Museum, Backspace. Sebastian Dannenberg, Room 1
PEAC Museum, Backspace. Sebastian Dannenberg, Room 1

Peter Tollens. Something to live for
20.03. – 26.06.2022

Im Mittelpunkt des malerischen Interesses von Peter Tollens stehen grundsätzlich zwei Aspekte von Farbe: In seinen Werken wird sie sowohl als Materie als auch als Sinneseindruck sichtbar, so dass in der in diesem Sinne ungegenständlichen Malerei Farbe zugleich Ausdrucksmittel als auch deren Motiv ist. Trotzdem dient das Bild dabei nie einem Selbstzweck, sondern wird zum Ereignis und stellt dabei immer wieder aufs Neue die Frage, was dort wie sichtbar wird. Die Schau im PEAC Museum wird aus den umfangreichen Beständen der Paul Ege Art Collection nicht nur eine umfassende Auswahl an Gemälden der letzten 25 Jahre zeigen, sondern anhand einer Vielzahl von Aquarellen, Zeichnungen sowie Künstlerbüchern führt sie grundlegend in das vielschichtige Werk von Peter Tollens ein.

PEAC Museum, Peter Tollens, Room 5
PEAC Museum, Peter Tollens, Room 5