Sculpture Park

Haus am Waldsee‘s 10.000 square meter park is a sculpture park in permanent transition. Here, we debate the contemporary concept of sculpture by means of selected works. 

 

Markus Jeschaunig (*1982)
The Weather Project, 2018, fog installation on the Waldsee

 

Markus Jeschaunig works at the interface between science and art. For the construction site party, he realised “The Weather Project” on the Waldsee. The installation in the water creates a climatic phenomenon on the lake.

Photo: Markus Jeschaunig

Karl Hartung (1908-1967)
Flügelsäule, 1960/61

 

Wing forms were a major theme of Karl Hartung by the 1930s. Since 1935 he developed works between figuration and biomorphic abstraction in Henry Moore‘s sense of the term. A year later Hartung moved to Berlin. After military service and wartime imprisonment – in 1943 he was able to visit Picasso – he was appointed to the reopened Hochschule für Bildende Künste in Berlin. From 1959 to 1964 he serves as deputy director of that art academy. He participates in all the major international art exhibitions such as documenta, Venice biennial, Sao Paulo and the Brussels World‘s Fair. Key concerns in his understanding of a figure striving for levity are defying gravity, organic forms of growth analogous to nature and transitions from the inner to the outer.

Photo: Bernd Borchardt

Thomas Rentmeister (*1964)
Depot, gestern, 2009

 

For a number of years, Thomas Rentmeister has built sculptures from stacked refrigerators.  He brings together everyday articles directly serving our personal hygiene or indirectly furthering our bodily comfort. Rather than filling the surfaces and spaces between the objects with Penaten baby crème, as he did in earlier works, the artist exposes the refrigerating volumes, in an analogy to human ageing, to the processes of decay and thus he dares us to question our aesthetic sensibilities. Rentmeister had a solo exhibition at Haus am Waldsee in 2007.

Photo: Bernd Borchardt

Tony Cragg_Versus_Haus am Waldsee

Tony Cragg (*1949)
Versus, 2011/19, bronze, orange lacquer, 160 x 150 cm

 

The first version of this sculpture with an almost circular outline was made in 2011 from orange lacquered plywood for an exhibition by Tony Cragg at the Louvre in Paris. In the following years, bronzes of various sizes were created. Among them, the 2019 version for Haus am Waldsee is the second largest. “Versus” belongs to the group of works called Rational Beings, in which Cragg picks up the motif of the stack. Apparently soft material seems to melt under its own weight like ice or hot metal. Matter becomes energy, energy becomes matter.

Photo:  Bernd Borchardt

Francis Zeischegg (*1956)
 Jagdschutzholzstapel zur Beobachtung von Wilderern, 2002

 

In 2011 the artist found the “Jagdschutzholzstapel” in a forestry magazine in Potsdam. This hut camouflaged as a wood pile was used in the GDR for detecting poachers. Reconstruction of a GDR “Forstschutzeinrichtung” (forest protection facility), round wood, pine, oiled duplex boards, stainless steel connections.

Photo: Bernd Borchardt

Jo Schöpfer, Sfera, 2001, Foto: Paul Schöpfer, VG Bild-Kunst Bonn 2019

Jo Schöpfer (*1951)
Sfera, 2001, aluminium, diameter 140 cm

 

Schöpfer’s abstract sculpture, made from aluminium ribbons, forms a spherical netting which circles an empty core and alludes to traces of moving celestial bodies.

Jo Schöpfer studied sculpture from 1974-1980 at Staatliche Akademie der Künstler in Stuttgart. He was a lecturer at the faculty of architecture at the University of Karlsruhe from 1985-1990.

Photo: Paul Schöpfer, VG Bild-Kunst Bonn 2019

Peter Ablinger (*1959)
Weiss / Weisslich 30, 2008, reed, wind

 

The sound installation by the Austrian composer Peter Ablinger stands in direct contact to the natural sounds of its surroundings. Thus, the difference between the rustle of leaf trees and that of rushes constitutes the actual subject-matter. In 2008, Peter Ablinger had a solo exhibition at Haus am Waldsee which was entitled “Hören hören” (listening to listening).

Daniel Pflumm (*1968)
Lichtobjekt o.T., 2006-09

 

Like a large Esso sign with its characteristic blue trim, this light object by Daniel Pflumm illuminates the outer edge of the front garden and alerts passing people and cars to the exhibition space. Pflumm works with the signs of advertising without using their brand names. The empty signpost turns into a sign of advertising as such. The viewer may ask himself how much he takes for granted when he completes, without thinking, the corresponding lettering. Well-known on an international stage through numerous exhibitions, Pflumm took part in the group show “Anstoss Berlin” at Haus am Waldsee in 2006.

Lichtskulpturen

Susanne Rottenbacher (*1968)
Sturm und Drang, 2006-09

 

The light sculpture was created on commission for the entrance gate of the newly renovated Haus am Waldsee in 2019. Colourful LED-tubes circle concentratively around a centre from which dynamics are guided into the space.

Initially, Rottenbacher, who was born in 1969 in Göttingen, studied stage design at the Columbia University in New York. She then continued her studies with a focus in light design at the Bartlett School of Architecture and Planning in London. After several commissions as a stage and light designer, Rottenbacher turned towards working in the liberal art scene in 2004.

Photo: Claus Rottenbacher

Markus Jeschaunig (*1982)
The Weather Project, 2018, fog installation on the Waldsee

 

Markus Jeschaunig works at the interface between science and art. For the construction site party, he realised “The Weather Project” on the Waldsee. The installation in the water creates a climatic phenomenon on the lake.

Photo: Markus Jeschaunig

Thomas Rentmeister (*1964)
Depot, gestern, 2009

 

For a number of years, Thomas Rentmeister has built sculptures from stacked refrigerators.  He brings together everyday articles directly serving our personal hygiene or indirectly furthering our bodily comfort. Rather than filling the surfaces and spaces between the objects with Penaten baby crème, as he did in earlier works, the artist exposes the refrigerating volumes, in an analogy to human ageing, to the processes of decay and thus he dares us to question our aesthetic sensibilities. Rentmeister had a solo exhibition at Haus am Waldsee in 2007.

Photo: Bernd Borchardt

Francis Zeischegg (*1956)
 Jagdschutzholzstapel zur Beobachtung von Wilderern, 2002

 

In 2011 the artist found the “Jagdschutzholzstapel” in a forestry magazine in Potsdam. This hut camouflaged as a wood pile was used in the GDR for detecting poachers. Reconstruction of a GDR “Forstschutzeinrichtung” (forest protection facility), round wood, pine, oiled duplex boards, stainless steel connections.

Photo: Bernd Borchardt

Peter Ablinger (*1959)
Weiss / Weisslich 30, 2008, reed, wind

 

The sound installation by the Austrian composer Peter Ablinger stands in direct contact to the natural sounds of its surroundings. Thus, the difference between the rustle of leaf trees and that of rushes constitutes the actual subject-matter. In 2008, Peter Ablinger had a solo exhibition at Haus am Waldsee which was entitled “Hören hören” (listening to listening).

Lichtskulpturen

Susanne Rottenbacher (*1968)
Sturm und Drang, 2006-09

 

The light sculpture was created on commission for the entrance gate of the newly renovated Haus am Waldsee in 2019. Colourful LED-tubes circle concentratively around a centre from which dynamics are guided into the space.

Initially, Rottenbacher, who was born in 1969 in Göttingen, studied stage design at the Columbia University in New York. She then continued her studies with a focus in light design at the Bartlett School of Architecture and Planning in London. After several commissions as a stage and light designer, Rottenbacher turned towards working in the liberal art scene in 2004.

Photo: Claus Rottenbacher

Karl Hartung (1908-1967)
Flügelsäule, 1960/61

 

Wing forms were a major theme of Karl Hartung by the 1930s. Since 1935 he developed works between figuration and biomorphic abstraction in Henry Moore‘s sense of the term. A year later Hartung moved to Berlin. After military service and wartime imprisonment – in 1943 he was able to visit Picasso – he was appointed to the reopened Hochschule für Bildende Künste in Berlin. From 1959 to 1964 he serves as deputy director of that art academy. He participates in all the major international art exhibitions such as documenta, Venice biennial, Sao Paulo and the Brussels World‘s Fair. Key concerns in his understanding of a figure striving for levity are defying gravity, organic forms of growth analogous to nature and transitions from the inner to the outer.

Photo: Bernd Borchardt

Tony Cragg_Versus_Haus am Waldsee

Tony Cragg (*1949)
Versus, 2011/19, bronze, orange lacquer, 160 x 150 cm

 

The first version of this sculpture with an almost circular outline was made in 2011 from orange lacquered plywood for an exhibition by Tony Cragg at the Louvre in Paris. In the following years, bronzes of various sizes were created. Among them, the 2019 version for Haus am Waldsee is the second largest. “Versus” belongs to the group of works called Rational Beings, in which Cragg picks up the motif of the stack. Apparently soft material seems to melt under its own weight like ice or hot metal. Matter becomes energy, energy becomes matter.

Photo:  Bernd Borchardt

Jo Schöpfer, Sfera, 2001, Foto: Paul Schöpfer, VG Bild-Kunst Bonn 2019

Jo Schöpfer (*1951)
Sfera, 2001, aluminium, diameter 140 cm

 

Schöpfer’s abstract sculpture, made from aluminium ribbons, forms a spherical netting which circles an empty core and alludes to traces of moving celestial bodies.

Jo Schöpfer studied sculpture from 1974-1980 at Staatliche Akademie der Künstler in Stuttgart. He was a lecturer at the faculty of architecture at the University of Karlsruhe from 1985-1990.

Photo: Paul Schöpfer, VG Bild-Kunst Bonn 2019

Daniel Pflumm (*1968)
Lichtobjekt o.T., 2006-09

 

Like a large Esso sign with its characteristic blue trim, this light object by Daniel Pflumm illuminates the outer edge of the front garden and alerts passing people and cars to the exhibition space. Pflumm works with the signs of advertising without using their brand names. The empty signpost turns into a sign of advertising as such. The viewer may ask himself how much he takes for granted when he completes, without thinking, the corresponding lettering. Well-known on an international stage through numerous exhibitions, Pflumm took part in the group show “Anstoss Berlin” at Haus am Waldsee in 2006.

 

ARCHIVE

Lynn Chadwick (1914-2003)
Beast Alerted I, 1990, stainless steel

 

Photo: Roman März

Olav Christopher Jenssen (*1954)
Lingaphone, 2008, PVC, lacquer

 

These slabs, slice sculptures derived from folded and cut out pieces of paper can be read as frames, projection screens and blank spaces. Olav Christopher Jenssen is a painter. He works on the boundaries between consciousness and intuition. In 2008, he had a solo exhibition at Haus am Waldsee.

Photo: Bernd Borchardt

Erik Steinbrecher (*1963)
 ALPAMARE, 2010/12, aluminium casting

 

The Swiss conceptual artist Erik Steinbrecher has created a hybrid stone sculpture in four parts. It resembles a group of small trees with trunks and crowns. The trunks are made of bamboo reed. Bread crowns represent a kind of plant or fruit. The artist considers slices of toast to be material; white bread as food from the conveyor belt but also as material for “posh” nibbles such as Croque Monsieur, Sandwiches etc. Toast is also the last bread you can buy at petrol stations at night. The work reflects on our relationship to body and soul.

Photo: Bernd Borchardt

Tony Cragg (*1949)
Outspan, 2008, bronze

 

Photo: Berndt Borchardt

Werner Aisslinger (*1964)
Loftcube, 2003

 

Photo: Bernd Borchardt

Social Knit Work Berlin
2015, knitted carpet

 

Photo: Haus am Waldsee

Simon Faithfull (*1966)
Shy Fountain, 2018

 

Photo: Bernd Borchardt 

Michael Sailstorfer (*1979)
Wohnen mit Verkehrsanbindung (Großkatzbach), 2001

 

Photo: Haus am Waldsee

Ina Weber (*1964)
Trümmerbahnen, 2004

 

Photo: Bernd Borchardt

Katinka Pilscheur
9-2007-2, 2007, truck tarps

 

Photo: Bernd Borchardt 

Wilhelm Mundt (*1959)
Trashstone 412, 2006

 

Photo: Bernd Borchardt

William Engelen (*1964)
Meteophon, 2009

 

Photo: Bernd Borchardt

Jeppe Hein (*1974)
Modified Social Bench #4

 

Photo: Bernd Borchardt

Lynn Chadwick (1914-2003)
Beast Alerted I, 1990, stainless steel

 

Photo: Roman März

Erik Steinbrecher (*1963)
 ALPAMARE, 2010/12, aluminium casting

 

The Swiss conceptual artist Erik Steinbrecher has created a hybrid stone sculpture in four parts. It resembles a group of small trees with trunks and crowns. The trunks are made of bamboo reed. Bread crowns represent a kind of plant or fruit. The artist considers slices of toast to be material; white bread as food from the conveyor belt but also as material for “posh” nibbles such as Croque Monsieur, Sandwiches etc. Toast is also the last bread you can buy at petrol stations at night. The work reflects on our relationship to body and soul.

Photo: Bernd Borchardt

Werner Aisslinger (*1964)
Loftcube, 2003

 

Photo: Bernd Borchardt

Simon Faithfull (*1966)
Shy Fountain, 2018

 

Photo: Bernd Borchardt 

Ina Weber (*1964)
Trümmerbahnen, 2004

 

Photo: Bernd Borchardt

Wilhelm Mundt (*1959)
Trashstone 412, 2006

 

Photo: Bernd Borchardt

Jeppe Hein (*1974)
Modified Social Bench #4

 

Photo: Bernd Borchardt

Olav Christopher Jenssen (*1954)
Lingaphone, 2008, PVC, lacquer

 

These slabs, slice sculptures derived from folded and cut out pieces of paper can be read as frames, projection screens and blank spaces. Olav Christopher Jenssen is a painter. He works on the boundaries between consciousness and intuition. In 2008, he had a solo exhibition at Haus am Waldsee.

Photo: Bernd Borchardt

Tony Cragg (*1949)
Outspan, 2008, bronze

 

Photo: Berndt Borchardt

Social Knit Work Berlin
2015, knitted carpet

 

Photo: Haus am Waldsee

Michael Sailstorfer (*1979)
Wohnen mit Verkehrsanbindung (Großkatzbach), 2001

 

Photo: Haus am Waldsee

Katinka Pilscheur
9-2007-2, 2007, truck tarps

 

Photo: Bernd Borchardt 

William Engelen (*1964)
Meteophon, 2009

 

Photo: Bernd Borchardt