{"id":29390,"date":"2023-01-01T20:00:49","date_gmt":"2023-01-01T19:00:49","guid":{"rendered":"https:\/\/museumdkm.de\/meditationen-kw\/"},"modified":"2024-11-26T14:17:14","modified_gmt":"2024-11-26T13:17:14","slug":"meditations-ulrich-tillmann-meditations","status":"publish","type":"post","link":"https:\/\/museumdkm.de\/en\/meditations-ulrich-tillmann-meditations\/","title":{"rendered":"ULRICH TILLMANN, Meditations"},"content":{"rendered":"

Selected works<\/span><\/h2><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

MODERN ART: PHOTO<\/p>\n<\/div><\/div>

ULRICH TILLMANN, Meditations<\/h2><\/div><\/div><\/div><\/div><\/div><\/section>
\"\"<\/div>
Photo: Ulrich Tillmann<\/div><\/div><\/div><\/div><\/div><\/div>

ULRICH TILLMANN
\nMeditations<\/em>, 1985 \/ 2001
\nManipulated and tinted barite print on museum board
\n30 x 24 cm WH<\/p>\n

\n

Is the small dog lying on a cushion and seems enormous in comparison to the sculpture also meditating like the inward looking figure of the Buddha, hardly the size of two hands, which sits in front of it? Has the Buddha\u2019s powers of concentration also been passed along to the dog\u2019s state of mind or does the Buddha in fact draw from the dog\u2019s natural sense of relaxation? Is it possible for a sculpture to have such an impact that even a dog cannot evade the waves of energy emanating from it? And, finally, can the illustration of the meditating figures in itself also lead to meditation? The photograph by Ulrich Tillmann and its title \u201cMeditations\u201d (plural) pose these questions to the viewer.<\/p>\n

The photograph is simultaneously programmatic for what visitors will be able experience in the future at the Museum DKM in Duisburg. It summarizes to some extent a broad expanse of horizon under which the Collection DKM can be understood: The West, the Near and the Far East; art from ancient times and from the present, profane und religious cultures; sculpture and image in this case photography. For this reason it was also reproduced on the cover of the exhibition catalogued entitled Linien stiller Sch\u00f6nheit<\/em> [Lines of silent beauty] with which the museum was opened.<\/p>\n

Ulrich Tillmann is a contemporary photographer rooted in the Western tradition who, like many other Westerners as well, also likes to travel to the Near and Far East because of their economic possibilities, who subversively questions the so-called professional art business in his Klaus Peter Schn\u00fcttger-Webs Museum<\/em> in Cologne This artist has photographed a completely harmonious situation in which a figure of the Buddha, a sculpture, deriving from the tradition and the history of the Far East, can seemingly even inspire a domesticated Western dog to meditate. Over and above its illustrative function, this photograph also lays claim to fulfilling the twenty-first century demand for beauty by way of an innovative nineteenth and twentieth-century media.<\/p>\n

As Ulrich Tillmann himself said in an interview with Kathrin Luz that is reprinted in the Linien stiller Sch\u00f6nheit<\/em> catalogue: \u201cBeauty has not been lost. Perhaps the fact that many avant-garde artists have been occupied with its negation or destruction indicates that the subject of aesthetics is as current, controversial, and interesting as it has always been.\u201d And he says about his photograph Meditationen<\/em>: \u201cThe picture is beautiful because it exudes calm and balance despite the fact that it is uncertain what proportion is emitted by which participant. One can naturally also ask whether it is justified that the figure of the Buddha is one hundred times more expensive than the dog.\u201d<\/p>\n

Ulrich Tillmann (1951\u20132019)<\/p>\n

\u00a0<\/strong>Raimund Stecker, 2009<\/p>\n

The photo Meditations<\/em> by Ulrich Tillmann can be seen in the permanent presentation of the collection.<\/strong><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

Ausgew\u00e4hlte Werke<\/span><\/h2><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

MODERNE KUNST: ZEICHNUNG<\/span><\/p>\n<\/div><\/div>

ULRICH TILLMANN, Meditations<\/h2><\/div><\/div><\/div><\/div><\/div><\/section>
\"Chillida\"<\/div>
Eduardo Chillida, Ink Drawing, 1980s<\/div>
\u00a9 Stiftung DKM | Photo: SDKM<\/div><\/div><\/div><\/div><\/div><\/div>

Im Museum DKM<\/em> ist ein Themenraum dem Motiv der Hand gewidmet, das seit jeher im Fokus vieler bildender K\u00fcnstler steht. Die Sammlung Kr\u00e4mer-Maas<\/em> beherbergt zahlreiche Papierarbeiten des baskischen Bildhauers Eduardo Chillida<\/em> (San Sebasti\u00e1n, ES 1924<\/span> <\/span>\u2013 <\/span><\/strong>2002), die um dieses Bildthema kreisen.<\/span><\/p>\n

In den mehr als f\u00fcnf Jahrzehnten seines k\u00fcnstlerischen Schaffens, zwischen 1945 und 2000, hat Eduardo Chillida<\/em>, der in diesem Jahr seinen 100. Geburtstag gefeiert h\u00e4tte, \u00fcber 300 Zeichnungen, Collagen, Radierungen, Stahlskulpturen und Terrakotten geschaffen, die alle auf demselben Motiv basieren: der Hand. Obwohl die Hand eine Konstante in Chillidas Werk darstellt, sind die intimeren Papierarbeiten eine Unbekannte in seinem Schaffen. Sie veranschaulichen jedoch formale und r\u00e4umliche Charakteristika seiner skulpturalen Arbeit. In seinen H\u00e4nden findet Chillida ein lebendiges Element, das ihm erlaubt, den Raum zu erforschen, ihn im wahrsten Sinne des Wortes zu erfassen. Die Hand dient ihm als plastische Komponente, um Linie, Masse, Leere und Volumen zu organisieren und den Raum in Frage zu stellen. Dabei zeigt sie sich mal offen, mal geschlossen, mal zeigt sie Innen oder Au\u00dfen, mal ist sie bewegungslos und mal in Aktion.\u00a0 <\/span><\/p>\n

Die Kraft der Linie entwickelt eine Vielzahl von Variationen, wobei Rhythmus, Kontur, Bewegung und \u00d6ffnung der Linie eine erstaunliche Plastizit\u00e4t erzeugen. Chillidas H\u00e4nde, wie auch seine Skulpturen, beobachten und konstruieren den ganzen Magnetismus des Spiels zwischen Raum und Leere. <\/span><\/p>\n

Eine der Papierarbeiten von Eduardo Chillida<\/em>, die sich im Bestand der Sammlung Kr\u00e4mer-Maas<\/em> befindet, wurde in schlechtem Zustand ersteigert. Im vergangenen Jahr konnte sie im Rahmen einer Bachelorarbeit im Studiengang Schriftgut, Grafik, Fotografie und Buchmalerei an der TH K\u00f6ln am Institut f\u00fcr Restaurierungs- und Konservierungswissenschaft untersucht und restauriert werden. Wir bedanken uns bei Anne-Lena Krahe f\u00fcr die geleistete Arbeit und freuen uns, dass der Themenraum in K\u00fcrze um eine weitere Zeichnung Chillidas erg\u00e4nzt wird.<\/span><\/p>\n

Weitere Informationen zum Studienprojekt k\u00f6nnen Sie der folgenden Webseite entnehmen: <\/span>https:\/\/www.th-koeln.de\/kulturwissenschaften\/cics—studienprojekt—abloesen-einer-zeitgenoessischen-grafik_106951.php\u00a0<\/span><\/a><\/span><\/p>\n

Laura Tammen, 2024<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>\n","protected":false},"excerpt":{"rendered":"

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