Museum Kurhaus / Kleef

Ewald Mataré Verzameling




Catalogus

BASIC RESEARCH
Notes on the Collection


16,– €

--> In de winkelwagen

66 bladzijden, formaat 30,5 x 22 cm
Reeks Museum Kurhaus Kleef – Ewald Mataré-Verzameling Nr. 66
Verschijningsjaar 2014
ISBN 978-3-934935-69-3
(14,40 € voor leden van de Vereniging van Vrienden)
(Duits / Engels)

Uitgegeven door de Vereniging van Vrienden van het Museum Kurhaus en Koekkoek-Huis Kleef e.V. naar  aanleiding van de tentoonstelling in Museum Kurhaus Kleef van 29.06. t/m 14.09.2014
Voorwoord en tekst van Harald Kunde

Uittreksel (in het Engels): „Experience shows that the re-presentation of an existing collection is undertaken as a process moving between responsibility and pleasure. On the one hand, a clear and intellectually comprehensible order has to be developed for the artistic inventory, where the aim is to make it visible in space and also perceptible within time, from its making up to current-day reception. On the other, there is a certain degree of playful freedom with whose aid it is possible at points to step outside chronological and stylistic patterns of argumentation. The longer the compulsions of the original acquisition have faded, the greater does the room for play become in dealing with what has been acquired to enhance its meaningful staging. This stimulating basic constellation was present in all phases of implementing the project, Basic Research. Notes on the Collection. To this extent, the basic research carried out in this way is conceived as a work on foundations that have already been well and comprehensively laid. Hence my first thanks go to the founding director of the Museum Kurhaus Kleve, Guido de Werd, who during long years full of energy, cunning and judiciousness ensured that such a multilayered collection was able to come about at all in this place. At the same time it is emphasized that an important Impulse for a re-presentation arose precisely from striving to subject the pre-existing collection to a process of appropriation and examination by myself thus giving it quasi another signature. This intention was consistently combined with invitations to artistic guests who raised their voices in the surroundings of the reinterpretation, without being part of the artistic inventory and thus being able to open up perceptible resonance spaces of the present. ...“

terug