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Sculptures for the 20th anniversary of the foundation

HERBERT GERISCH SCULPTURE PARK | 24536 Neumünster/Germany | Brachenfelder Str. 69
Vernissage on May 16, 2021 at 11am | Open Wed-Fr 11am - 5pm, Sat/Sun 11am - 6pm

TAGGED: Views + Preview + Sculpture breeder production + Flyer + about the park

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Skulpturenbrüter #10Skulpturenbrüter #11Skulpturenbrüter #12
Skulpturenbrüter #15Skulpturenbrüter #20Skulpturenbrüter #23
Skulpturenbrüter #24Skulpturenbrüter #26Skulpturenbrüter #28

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Arie Hartog, Gerhard Marcks Haus, Bremen, 2021: The "Sculpture Breeders" | The great theme of sculpture is presence. What happens when a viewer encounters a work of art? How does the work show its presence? What effect does it have? These questions used to refer more to single shaped functionless objects, today more and more to situations that someone perceives. Birgit Ramsauer's imaginary sculptures, however, are not the last step in a process of dissolution of sculpture. Conversely, they are a return to the role of imagination, fantasy and corporeality. The following reflection on this: in 1968 the sculptor Tony Smith (1912-1980) packed the details of his work "Die" into a brief telephone conversation with a locksmith ("cube of iron plates, edge length 183 cm"). A few weeks later the work was delivered. Not the metal cube, but the telephone conversation went down in the history of conceptual art. And the question among art historians is whether you need to have seen this work of art to understand it.

In the case of the imaginary sculpture, a viewer hears what he might imagine in the situation in which he is standing, lying or sitting. He sees something (a colorful porcelain nesting box, but also the tree next to it, or the bridge on the left, respectively) and listens to a short story that slowly unfolds. It is not an instruction, but a suggestion to alternatively perceive the setting he is in, to "dream away" or become aware that it could be otherwise. The narrative directly relates to the viewer's corporeality, and while Smith's aforementioned cube represents a maximally distanced mode of production, the imaginary sculpture represents an individual, intimate, and corporeal experience. It is manifested in the fact that, even after years, one does not remember how the story went, but knows very well how it made one feel. The work creates presence. And since the circumstances are different for each imaginary sculpture (posture, light, weather, well-being) it is literally unrepeatable.

It is becoming increasingly clear that people react to situations not only intellectually, but also physically and emotionally. This also applies to the art context. The more new visitors come who don't care about the art-theoretical implications of the 1968 telephone conversation, the more awareness of this will grow. Ramsauer's imaginary sculptures are visitor-oriented performative art with reduced means. They are created in perception, in a realm between seeing, hearing, and experiencing the position of one's own body in space or in the landscape. Not as precise settings in the sense of the cube, but as an exercise in mental mobility. (Catalog, OutsideIn, 20 years Herbert Gerisch Foundation, 2021))

ABOUT THE REVIEWER: Dr. Arie Hartog (born 1963 in Maastricht), studied art history at the University of Nijmegen (KUN), where he passed the "Doctoraalexamen" in 1989 and received his doctorate on the subject of "Modern German Figurative Sculpture". From 1992 to 1995 Hartog worked as "junior docent" for architectural history and museum studies at the KUN, until he moved to Bremen in 1996 as curator to the Gerhard-Marcks-Haus. He has been director of the Gerhard-Marcks-Haus since October 2009. His research focus is the history of sculpture in the 20th century.

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Skulpturenbrüter Typ 1Skulpturenbrüter Typ 2
Type 1: 30x20x23cm, entrance hole 4.5x5.5cm                   Typ 2: 26x24x20cm, entrance hole 4,5x4,0cm

On the back, an 8cm round hole for cleaning the box, closable with a round cork lid. Two holes for threading
a steel cable. Due to the special thickness of the porcelain layer, the sculptures are suitable
for outdoor use and are resistant to hail and falling branches.

Skulpturenbrüter Typ 2Skulpturenbrüter Typ 2Skulpturenbrüter Typ 2

1 bird nesting boxes from Porzellan Manufaktur Nymphenburg in colors according to the teachings of Johannes Ittens mark special listening stations on buildings, trees and watercourses. This is the start of the sound project "Skulpturenbrüter" by performance artist Birgit Ramsauer, which does not offer an audio guide tour according to the classic model, but invites visitors* via app to a poetic-lyrical tour with texts on architecture, nature, water and art. The Gerisch Foundation team is very excited about this extraordinary sound project that heralds the leap into the digital age. Art for the people - why not for the birds in the park? The foundation team is very excited to see whether the birds accept the "artificial" home tested by the ornithologist.

The edition: Box, sculpture breeder, in 2 forms, in 31 colors, 1.200,-- Euro each.
Recommended by ornithologists - one titmouse has already moved in.
Point of sale: Nymphenburg Porcelain Manufactory 089 1791970.

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ABOUT THE SCULPTURES PARK: Neumünster has a sculpture park of international dimensions. The driving force behind this cultural commitment, which is unique in Schleswig-Holstein, is the Gerisch Foundation, founded in 2001 and based in Neumünster, which is also the home of the donor couple Brigitte and Herbert Gerisch. Herbert Gerisch, former Chairman of the Board of Management and now Honorary Chairman of the BIG-BAU Group, wants to help turn the former textile and leather center of Schleswig-Holstein into a "City of Modern Sculpture". In 2002, Brigitte and Herbert Gerisch began to build up a sculpture collection designed to grow annually. The collection includes works by artists of international standing, including Magdalena Abakanowicz, Horst Antes, Ian Hamilton Finlay, Anne and Patrick Poirier, Mimmo Paladino, Manolo Valdés, Menashe Kadishman, Markus Lüpertz and Katsuhito Nishikawa. With the reopening of the park and under the then direction of Dr. Martin Henatsch, new artistic works by Olaf Nicolai, Bogomir Ecker, Thomas Stimm, Brigitte Kowanz, and Carsten Höller were added. From 2015 to 2016, Prof. Claus Friede led the artistic fortunes of the foundation.
The sculpture collection is carefully integrated into the three-hectare landscape park of the founding couple. With the restoration of the historic Reform Garden by the Lübeck garden architect Harry Maasz, the spatial transitions between the existing sculpture park and the restored historic garden were reformulated. The former private terrain, laid out in the style of an English landscape garden with its winding paths, wooden bridges, lily ponds and hidden benches for lingering, now merges seamlessly into the Reform Garden, which is worthy of preservation. more


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