Hauptstrasse 97
D-69117 Heidelberg

Tue – Fri 12 am – 7 pm
Thu 3 pm – 10 pm / Sat – Sun 11 am – 7 pm

 

Phone +49 6221 – 184086

 

www.hdkv.de
hdkv@hdkv.de

 

Current

2018/6/5 – 2018/8/7
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›Stadtansichten‹
Eric Baudelaire, Louidgi Beltrame, Dries Depoorter, Tim Etchells, VALIE EXPORT, Esther Hovers, Sharon Hayes, Jiří Kovanda, Till Krause, Andree Korpys / Markus Löffler, Klara Líden, Lotte Lindner / Till Steinbrenner, Maya Schweizer, Adnan Softić, Ettore Sottsass, Klaus Staeck, Rebecca Ann Tess, Clemens von Wedemeyer / Maya Schweizer, Florian Zeyfang / Alexander Schmoeger / Lisa Schmidt-Colinet, Seminar ›Neue Räume des Politischen‹, KIT Karlsruhe

The city is booming: More than 60 percent of the world’s population live now in cities – and the number is rising. From the very beginning, artists have taken on the theme of the city, whether as an utopian blueprint for a way of creating better communities or as a reflection of the actual conditions of life. The international group exhibition ›Stadtansichten‹ (›Cityscapes‹) embraces the discussion around the ideas of the city, with modern views and the measurement of real living and working conditions and presents international examples over the last 60 years.

At the same time, the neighboring Kurpfälzisches Museum presents depictions of Heidelberg from the end of the Middle Ages to the 21st century.

Associated with IBA Heidelberg 2018

Opening together with Kurpfälzisches Museum: Saturday May 5. // 3pm.

2018/6/5 – 2018/8/7
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›Wunschbilder‹
A participatory art project with refugees by Janet Grau

Under the direction of the artist Janet Grau, professionals and non-artists worked together to encourage participating refugees finding a way to express their hopes and desires. Beginning with their experience of fleeing their countries and the complicated situation they faced when they arrived in Germany, they created artworks which represent real experiences as well as desired outcomes. These “Wunschbilder” (desired images, ideals) mark one possible path and recognize the power of fiction as a culturally significant technique.

Blog: https://wunschbilder.wordpress.com

The staged scenes were directed by Mohamad Alraghban (Damascus) and Taisir Al Nakib (Mosul). The photographer Ella Kehrer supported the project.

Funding was provided by the state of Baden-Württemberg’s Innovationsfonds Kunst and the city of Heidelberg’s Kulturamt.

2018/6/5 – 2018/8/7
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›Crossing‹
Florian Glaubitz & Robin Kirchner

Queer Festival Heidelberg at the Heidelberger Kunstverein.

In the anonymity of fast growing cities in the 20th century homosexuals created their own spaces, the so-called ›gay ghettos‹. These ghettos run since the 50s businesses and institutions targeted at homosexuals. To a great extent, these areas still offer the freedom of unsanctioned self-expression, whereas every other urban space needs to be first checked for ‘homo-compatibility’.

The Queer (sub) cultures, that emerge in these cities, profile a counter-public which develope specific communication codes and norms. These include the use of certain symbols, behaviours as well as fashion. Florian Glaubitz and Robin Kirchner capture all of this in their photo series ›Crossing‹ and explore the relationship between physicality and their materiality.

Past

2018/24/2 – 2018/22/4
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›house with things behind‹
Jean-Pascal Flavien

 

In the exhibition ‘Protocols’, visitors were able to familiarize with a series of model designs of the houses by Jean-Pascal Flavien. The artist devises and constructs fantastical houses, that interrogate and expand popular ideas about the role and use of architecture.

His constructions don’t comply with any building norms, instead turning them on their head. He is interested in states of being, feelings and dreams, as well as surprising situations and actions that are called forth by his buildings. Literary quotes and narratives are woven into his designs as fictional elements.

So far, Flavien has been able to realise eight houses out of the extensive collection of his designs, which were exhibited in an exterior space. In 2018, we will have the opportunity to erect the ‘house with things behind’ from the ‘short story houses’ series in the hall of the Heidelberger Kunstverein. A house that, through its open structure – it does not envisage a roof or back wall – investigates the limits between sculpture, architecture and installation, particularly between the work and the exhibition space.

As with all models of the ‘short story houses’, the ‘house with things behind’ also includes a short story by the artist. The stories deal with coexistence, and the dialogue between friends, couples or different living beings amongst other things. It also speaks of cohabitation or the neighbourly ignorance of two environments that do not recognise one another at all.

But they are also reflections on his own design work. The texts create poetic main themes for the houses, in which inside and outside, physical and psychic space overlap and are juxtaposed.

The ‘house with things behind’ includes a storage space behind the lightblue facade. This is where raw materials used for cladding and isolation can be found. With minimal gestures, Flavien creates a concentration of the sensual qualities of the materials. Piled next to the brittleness of steel wool are leather scraps and wool fibres. In the middle of this unslaughtered wealth of materials are improvised constructions: a tent made of cotton wool panels serves as a roof over one’s head which the three-sided facade house doesn’t appear to predict. Conversely, there are fenced off exit areas that designate the outside.

In Flavien’s short story, the friends Baku and Alexis live in front and behind the house: one is concerned with maintaining the facade and the outdoor area – revelling in the sky-blue and the sun – whilst the other spends his time sorting out and lending form to the things in storage and behind the house. Both are occupied with the upkeep of the house, which gives each of them a particular function, and divides their movement radius into ‘in front’ and ‘behind’. They interact with the house and are simultaneously actors in the mise-en-scène of the house.

This scenario also reveals itself to the visitors who experience the house from different perspectives. Though a distanced outside view is possible, the fusing of the house with its outside areas, and the exhibition space, involves the viewer in the surrounding composition. In the same way, the fixed categories of inside and outside are shifted. Yet this does not involve spatial expansion alone. Rather, the common ideas surrounding spaces and their functions are up for debate.

The ideas laid out by the model of the ‘house with things behind’ unfold with extensive potential in the hall of the Heidelberger Kunstverein: the house opens up individual experiences on differing levels for each of the visitors. It is a counterpart which demands new exchanges and new perspectives, fostering reflections on constructed environments and living spaces.

Jean-Pascal Flavien’s houses develop during a long process, which is often incited by observation, text, objects, an idea or a feeling. Sketching, text and the model are artistic means for the development of a design and are the preliminary stage to the house, which is inhabited and enacted as a building.

In a series of artist books, Flavien presents these intertwining processes. With progressive development towards the house that is constructed to scale, the aspects of the houses gain shape: details such as clothing and furniture design or the arrangement of the exterior is developed. Finally, the house becomes the setting for various actions. The construction of the house is thus not the culmination, but a highlight in an ongoing process.

We would like to thank the Ministry for Science, Research and Art in Baden-Württemberg (MWK), the Institute Française Germany and the company DBW for their support in the realization of this exhibition.

Jean-Pascal Flavien was born in 1971 in Le Mans, France. He studied Fine Arts in Rennes, Bologna, Lorient, and participated in the Graduate Program of the University of California, Los Angeles. The artist lives and works in Berlin.

Flavien’s recent solo exhibitions include: dancers sleeping inside a building, Les Ateliers de Rennes – Biennale d’Art Contemporain, Musée de la Danse, Rennes (2016); folding house (to be continued), NMNM – Nouveau Musée National de Monaco (2016); folding house, NMNM – Nouveau Musée National de Monaco (2015); statement house (temporary title), RCA, London (2015); night house at daytime, textes de nuit, Angle Art Contemporain, Saint-Paul-Trois-Châteaux (2013); Cinonema, no drama cinema, South London Gallery, London (2012); breathing house, la maison respire, Parc Saint Léger, Centre d’art contemporain, Pougues-les-Eaux (2012); Jean-Pascal Flavien, Kunstverein, Langenhagen (2012), and PLAY, HEDAH/Jan van Eyck Academie, Maastricht (2011).

Recent group exhibitions include: The Way We Perform Now, Ujazdowski Castle – Centre for Contemporary Art, Warsaw (2017); Meeting Points 8, Beirut Art Center, Beirut (2017); Variable Dimensions – Artists and Architecture, MAAT, Lisbon (2017); The House of Dust by Alison Knowles, The James Gallery, New York (2016); Jump, CAC Brétigny – Centre d’Art Contemporain, Brétigny-sur-Orge (2016); L’Esprit du Bauhaus, Musée des Arts décoratifs, Paris (2016); De toi à la surface, Le Plateau – FRAC Ile-de-France, Paris (2016); La collection des objets que l’on utilise sans les toucher, CNEAI, Chatou (2015); All that falls, Palais de Tokyo, Paris (2014); Was Modelle können, Museum für Gegenwartskunst Siegen (2014).

2018/23/2 – 2018/22/4
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History Workshop

2019 will mark 150 years of the Heidelberger Kunstverein so we think that’s a good reason enough to celebrate! We want to retell the story of the Kunstverein and its membership but to do so we need your contribution!

We’ve set up a history workshop at the Kunstverein’s studio. With the aid of carefully selected sources we will present the first results of our research. Discover what spaces the Kunstverein has inhabited and what Wilhelm Fraengel and H.W.D had to do with it. What role did Heidelberg and representatives of the Verein play in the ‘art historian debate’ in 1900? What exhibitions contributed to which key social debates? We have a lot of material from the last seven decades but we need further information from you to complete it…

We are calling out all members, fellows and friends to share their memories through text, image or words. Come and view our rich photo archive and help us organise it! Maybe you own interesting personal photographs from our events and exhibitions? Bring them along! Or perhaps you witnessed a particularly special occasion at the Kunstverein? Tell us about it! We look forward to finding out about your impressions and ideas.

2017/24/11 – 2018/28/1
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›Protocols‹
Jean-Pascal Favien

Jean-Pascal Flavien’s practice combines elements from architecture, sculpture, and the performative. The artist’s houses are based on imaginary settings imposed by the artist and/or requirements determined by function and imagined site. Each house bespeaks certain circumstances (technical, aesthetic and existential) but in turn may also itself produce such conditions. The structures are conceptual entities, representing ideas, locations, and events in which the architectural conditions can determine the behavior of its inhabitants (and vice versa).

 

 

 

Jean-Pascal Flavien was born in 1971 in Le Mans, France. He studied Fine Arts in Rennes, Bologna, Lorient, and participated in the Graduate Program of the University of California, Los Angeles. The artist lives and works in Berlin.

Flavien’s recent solo exhibitions include: dancers sleeping inside a building, Les Ateliers de Rennes – Biennale d’Art Contemporain, Musée de la Danse, Rennes (2016); folding house (to be continued), NMNM – Nouveau Musée National de Monaco (2016); folding house, NMNM – Nouveau Musée National de Monaco (2015); statement house (temporary title), RCA, London (2015); night house at daytime, textes de nuit, Angle Art Contemporain, Saint-Paul-Trois-Châteaux (2013); Cinonema, no drama cinema, South London Gallery, London (2012); breathing house, la maison respire, Parc Saint Léger, Centre d’art contemporain, Pougues-les-Eaux (2012); Jean-Pascal Flavien, Kunstverein, Langenhagen (2012), and PLAY, HEDAH/Jan van Eyck Academie, Maastricht (2011).

Recent group exhibitions include: The Way We Perform Now, Ujazdowski Castle – Centre for Contemporary Art, Warsaw (2017); Meeting Points 8, Beirut Art Center, Beirut (2017); Variable Dimensions – Artists and Architecture, MAAT, Lisbon (2017); The House of Dust by Alison Knowles, The James Gallery, New York (2016); Jump, CAC Brétigny – Centre d’Art Contemporain, Brétigny-sur-Orge (2016); L’Esprit du Bauhaus, Musée des Arts décoratifs, Paris (2016); De toi à la surface, Le Plateau – FRAC Ile-de-France, Paris (2016); La collection des objets que l’on utilise sans les toucher, CNEAI, Chatou (2015); All that falls, Palais de Tokyo, Paris (2014); Was Modelle können, Museum für Gegenwartskunst Siegen (2014).

The life-sized project folding house (to be continued) was acquired for the collection of the NMNM – Nouveau Musée National de Monaco and inaugurated in July 2016 on the museum’s outside terrace.

2017/24/11 – 2018/28/1
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›After This Comes That Before That Comes This‹
Wolfgang Plöger

Beyond his work related to the Internet, Wolfgang Plöger’s artistic practice includes diverse media like film, photography, sculpture, and diverse printing techniques. All works focus the inherent laws of the specific medium. How does a series of net-based images changes if printed in a book? What happens if a text is printed directly onto the film loop and being projected afterwards? What kind of images are created if single layers of color are separated from a CMYK print? Plöger doesn’t employ media as a container. Instead he generates the subject of the work based upon the medium. More and more, his oeuvre develops into a self-referential system of pictorial and textual information.

The central theme picked out here is the conditioning of both, image and text, the pre-formatting or framing of content which is running like a common thread through the history of media – just think of the book, index cards, photographic plates, substandard film, Polaroid, Cinemascope, computer screen, Twitter, Instagram… The medium still is the message.

Wolfgang Plöger (1971) in Münster, Germany lives and works in Berlin.
Exhibitions: MMK Zollamt, Frankfurt a. M.; westlondonprojects, London; Kreuzberg Pavillon, Berlin; KW – Institute for Contemporary Art, Berlin; Kunstverein Langenhagen; Künstlerhaus Bremen; Kunstverein Schloss Plön.

2017/24/11 – 2018/28/1
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›Bag Answers‹
Elif Erkan

Erkan’s work is reflective of her interests in cultural and intellectual history in relation to contemporary culture and her use of materials reveals her deep knowledge of 19th and 20th century sculpting. For her presentation at Zona Maco, Erkan has created a series of sculptures related to the use of molybdomancy and ceromancy – methods for fortune telling, used in northern Europe and in the Middle East, where hot, melted lead, tin or wax is poured into cold water and the resulting object is read by a person who can interpret the forms, using a form dictionary for the reading of their meanings. Her handling of materials even just through their sheer volume and weight can appear tough, their industrial origins prosaic, and the robust forms she produces severe, at first glance. Erkan works in the tradition of modern sculpture – creating in all sincerity, but with the awareness that objects are capacitors, magical objects, a solidified mass of memories and desires.

Elif Erkan (b. 1985) lives and works in Los Angeles. She gratuaded at the Städel School, Frankfurt/Main in 2013.
Soloshows: Portikus, Frankfurt (2014); Maison des Arts, Brussels (2015). Groupshows, amongst others: WIELS Centre d’art contemporain (2014); Hamburger Banhof, Berlin (2016); The Glucksman Museum, Cork, Ireland (2016). Grants and Residencies: Villa Aurora Berlin Fellowship (2015); DAAD Travel Grant United States (2014); Fulbright United States Travel Grant Wiels Residency Program, Brussels, Belgium (2013/14).

2017/9/9 – 2017/5/11
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Resisting Images
Forensic Architecture, Richard Frater, LaToya Ruby Frazier, John Heartfield, Nikita Kadan, Merle Kröger & Philip Scheffner, Fred Lonidier, Naeem Mohaiemen, Willem de Rooij, belit sağ, D. H. Saur, Mark Soo, Klaus Staeck, Oraib Toukan

On occasion of the Biennale für aktuelle Photography ›Farewell Photography‹

More than a hundred fifty years after its invention, photography’s presence in the political sphere is today as contentious as ever. Its unique ability not only to render people and places beyond our immediate experience visible, but also to lend them new meaning, has often placed photography at the heart of political debates. Still images are better retained by memory, and despite theomnipresence of instantaneous “live” video documentation, iconic images—images that circulate extensively whose mark remains etched in our collective memory—are more likely to be still photographs. Since it first emerged, photography has been either heralded for its emancipatory and civic potential—it’s capacity, in the words of nineteenth-century abolitionist Frederick Douglass, to enable “men of all conditions [to] see themselves as others see them”—or derided and criticised as manipulative, crude and objectifying, as a mechanism of control, surveillance, and classification. At the advent of the digital age, the increasing scope, breadth and speed of image dissemination has made the question of navigating their political potential and shortcomings all the more urgent, and the stakes ever higher.

It is such contradictions and tensions that are explored within “Resisting Images”. The exhibition brings together a range of works operating at the frayed edges of documentary practices, and at the front of the politics of representation. As its title suggests, the works in the exhibition address this ambivalence within an image-saturated present, that is: they look at images both as a means of resistance and as a mode of control to resist against, a unique sort of pharmakon, a poison and a remedy.

 

curated by Boaz Levin

2017/24/6 – 2017/20/8
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›you see // but / you say‹
Natalie Czech

Natalie Czech (* 1976) lives and works in Berlin. Exhibitions i.a. in CRAC Alsace Altkirch, MOMA New York, Palais de Tokyo Paris, Fotomuseum Winterthur, Kunsthalle Vienna, Hamburger Bahnhof Berlin, Kunstverein in Hamburg, Braunschweig, Langenhagen. Works i.a. in the collections of the MOMA New York, Pinakothek der Moderne Munich, Fotomuseum Winterthur.

2017/24/6 – 2017/20/8
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›Komplizen im Verweilen‹ in cooperation with the Heidelberger Literaturtage im Aufbruch 2017
Via Lewandowsky und Durs Grünbein

From 1982 to 1987 Via Lewandowsky (* 1963, Dresden) studied at University of Fine Arts in Dresden. In the period from 1985 to 1989 together with a group of avant-garde artists ›Autoperforationsartisten‹ he organized subversive performances, which circumvented the official art scene of GDR. In 1989 shortly before the Turn Lewandowsky left the GDR and moved to the Western Germany. He often travels and had multiple long-term stays abroad i.a. in New York, in Rome, in Beijing and in Canada. Nowadays he lives in Berlin.

Since 1986, after his short studies, Durs Grünbein (* 1962, Dresden) has been living as a poet, translator and essay writer in Berlin. He was a guest lecturer at the German Department at New York University and at Villa Aurora in Los Angeles. He has received a lot of awards for his works, i.a. the Peter-Huchel-Prize in 1995, the Georg-Büchner-Prize in 1995, the Literaturpreis der Osterfestspiele Salzburg in 2000, the Friedrich Nietzsche-Prize of the State Sachsen-Anhalt in 2004 and the Berliner Literaturpreis in 2006 of the Preußischen Seehandlungverbunden with the Heiner-Müller-Professur in 2006.

2017/18/3 – 2017/5/6
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›Die Idee der freien Flusszone‹
Galerie für Landschaftskunst (GFLK) mit Ravi Agarwal, Navjot Altaf, Bob Braine, David Brooks, Clegg & Guttmann, Stephan Dillemuth, Mark Dion, Magdalena Graf, Tue Greenfort, Klara Hobza, Florian Hüttner, Till Krause, Katja Lell, Jochen Lempert, Christina Möller & Friederike Richter, Matthias Moser, Nils Norman, Nana Petzet, Jörg Andromeda v. Prondzinski, Hille von Seggern & Timm Ohrt / Alltag – Forschung – Kunst und Luca Vitone
2017/18/3 – 2017/5/6
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›Leseraum analog & digital‹
Archiv des HDKV und Buchtips
2017/18/3 – 2017/5/6
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›Filmraum‹
Program compiled by Katja Lell / VETO Film, Marie-Hélène Gutberlet, Florian Hüttner u. a.
2016/3/12 – 2017/26/2
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›fühle meinen körper sich von meinem körper entfernen‹
a production e. V.: Martin Beck, Joerg Franzbecker, Christine Lemke, Hanne Loreck, Katrin Mayer, Eske Schlüters & Gitte Villesen

The exhibition ›fühle meinen körper sich von meinem körper entfernen‹ and the symposium ›stumble bumble fail fall hurt‹ take their starting point in dealing with the adolescent and current crises of embodiment.

 

An exhibition of a production e. V. and friends.

2016/3/12 – 2017/26/2
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›Sammelstelle für Körperkontaktkunststoffe‹
David Polzin

David Polzin (*1982, Hennigsdorf, GDR) studied from 2003 to 2008 at Berlin-Weißensee University of Arts under the supervision of the Prof. Eran Schaerf and Prof. Karin Sander, as well as at BEZALEL – Academy of Arts and Design in Jerusalem. In 2009 he was an A student at Berlin-Weißensee University of Arts. His works were exhibited nationally and internationally. His recent individual exhibitions were ›Möbel und Objekte aus der Postimperialen Phase Deutschlands‹ (Galerie Anselm Dreher, Berlin), ›Obst und Gemüse‹ (MMK Zollamt, Frankfurt) and ›Cassette‹ (Galerie Waldburger, Brüssel). In 2010 / 2011 Polzin was a scholarship holder of the Jürgen Ponto Foundation. In 2015 / 2016 he received a scholarship for cultural exchange ›Kulturaustauschstipendium‹ from the State of Berlin, which included a position of a guest professor at Art Center College of Design Pasadena in Los Angeles. In 2015 his work ›Marken Zeichen Signete aus der Postimperialen Phase Deutschlands‹ was published by AKV Berlin.

2006/16/7 – 2006/27/8
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›Jo Achermann‹
2006/16/7 – 2006/20/8
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›Wolfgang Eckhard‹
2006/7/7 – 2006/19/7
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›Elke Weickelt‹
2006/9/6 – 2006/2/7
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›Innenarchitektur‹
2006/21/5 – 2006/2/7
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›Barbara Adamek und Jutta Freudenberger‹
2006/5/5 – 2006/5/6
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›Drei Orte der Zeichnung‹
2006/2/4 – 2006/14/5
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›Sati Zech‹
2006/26/3 – 2006/29/4
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›Florencia en el Amazonas‹
2006/19/2 – 2006/26/3
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›Maria Hobbing und Jan Kolata‹
2006/19/2 – 2006/19/3
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›Emil Cimiotti‹
2006/18/1 – 2006/15/2
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›Wärmestube‹
Inge Gutbrod
2005/13/11 – 2005/8/1
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›Farbe bekennen‹
Ines Hock und Claudia Desgranges
2005/23/10 – 2005/6/11
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›Oil on the troubled water‹
Jochen Schambeck
2005/17/9 – 2005/16/10
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›Christiane Löhr‹
2005/11/9 – 2005/6/11
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›Sammlung Rainer Wild‹
2005/22/6 – 2005/1/7
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›Auszeichnung guter Bauten. Hugo-Häring-Preis 2005‹
2005/19/6 – 2005/28/8
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›Fotobilder‹
Götz Diergarten
2005/1/6 – 2005/15/6
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›HeidelbergOperatingSystem. Logo Exhibition‹
2005/8/5 – 2005/12/6
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›TOP05‹ – MeisterschülerInnen der Staatlichen Akademie der Bildenden Künste Karlsruhe
2005/13/3 – 2005/1/5
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›Triangel‹
Thomas Hartmann
2005/5/3 – 2005/29/5
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›5ORTE‹
Andreas Oldörp
2005/30/1 – 2005/27/2
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›single episode‹
Sen Chung
2005/23/1 – 2005/27/2
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›Milch und Honig‹
Arvid Boecker
2004/12/12 – 2005/16/1
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›Jongsuk Yoon‹
2004/21/11 – 2005/16/1
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›Malerei im Verhältnis zu etwas anderem‹
Gisela Brinkmann
2004/20/11 – 2004/5/12
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›Auszeichnung guter Bauten – Hugo-Häring-Preis 2002 des BDA‹
2004/3/10 – 2004/14/11
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›Zeichnungen zu Urfaust‹
Armin Müller-Stahl
2004/26/9 – 2004/14/11
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›Thomas Kitzinger‹
2004/20/9 – 2004/22/9
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›365 Bilder in 3 Tagen‹
Dirk Juengling
2004/15/9 – 2004/18/9
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›Intermezzo II‹
2004/15/8 – 2004/18/9
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›GAP‹ – 5 Künstler aus China
Weng Fen, Jiang Zhi, Yang Jiechang, Chen Shaoxiong, Yan Peiming
2004/8/8 – 2004/5/9
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›Jene zwanziger Jahre‹ – Fotografien zur Architektur im Rheinland und in Westfalen
Deimel und Wittmar
2004/31/7 – 2004/12/9
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›Rhythmus und Klang‹
Ludwig Wertenbruch
2004/25/7 – 2004/12/9
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›Moving Woods‹
Karl Manfred Rennertz
2004/6/6 – 2004/18/7
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›The Outside’s Inside‹
Shiro Matsui
2004/25/4 – 2004/20/5
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›Echo‹
Micha Ulman
2004/1/2 – 2004/14/3
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›Xcultural codes‹
Susan Hefuna
2004/31/1 – 2004/29/2
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›Musik sprengt die Fesseln‹
Irmela von Hoyningen-Huene
2003/23/11 – 2004/18/1
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›Igor W. Klementjew‹
2003/7/9 – 2003/12/10
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›Irmela von Hoyningen-Huene‹
2003/24/8 – 2003/12/10
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›Klaus Gärtner‹
2003/25/5 – 2003/27/7
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›Urban Camping‹
Francis Berrar
2003/25/5 – 2003/20/7
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›Shiro Matsui‹
2003/18/5 – 2003/22/6
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›Christopher Muller‹
2003/23/3 – 2003/11/5
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›Erwin Bechtold‹
2003/16/3 – 2003/28/3
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›Intermezzo I‹ – Das Archiv/Sabine Kaeser und Thomas J. Hauck
Sabine Kaeser und Thomas J. Hauck Gabi Kaiser
2002/20/10 – 2003/26/1
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›Der Berg‹
2002/1/9 – 2002/6/10
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›Shiro Matsui‹
2002/21/7 – 2002/25/8
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›Christopher Muller‹
2002/21/7 – 2002/25/8
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›Cosmogonia‹
Mimmo Roselli
2002/9/6 – 2002/14/7
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›Franek‹
Sabine FRANEK-Koch
2002/28/4 – 2002/2/6
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›Videoinstallationen‹ – Thomas Sterna
Thomas Sterna
2002/16/3 – 2002/21/4
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›Ober-Flächen‹
Martin Brüger
2002/3/2 – 2002/3/3
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›Ulrike Flaig‹
2002/2/2 – 2002/3/3
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›George Pusenkoff‹
2001/9/9 – 2002/14/10
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›Kirstin Arndt‹
2001/29/7 – 2001/2/9
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›Intentionen‹
Manfred Vogel
2001/6/5 – 2001/4/6
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›I am always changing‹
Duniko
2001/11/3 – 2001/22/4
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›Wiedergeburt der Malerei aus dem Film‹
Brigit Antoni
2001/11/3 – 2001/22/4
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›Mein Traum vom Süden‹
Irene Hoppenberg
2001/21/1 – 2001/4/3
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›Loris Cecchini‹
1994/10/6 – 1994/21/8
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›Schnittstellen‹
1994/17/4 – 1994/22/5
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›Ré Soupault‹
1994/17/4 – 1994/22/5
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›Heinz L. Pistol‹
1994/27/2 – 1994/10/4
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›Hetum Gruber‹
1994/16/1 – 1994/20/2
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›Architektenträume. Neue Theater in Europa‹
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