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
The Weather Project

 

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.
Markus Jeschaunig, The Weather Project, 2018, fog installation on the Waldsee, Photo: Markus Jeschaunig

Karl Hartung
Flügelsäule

 

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.

Karl Hartung, Flügelsäule, 1960/61,  Photo: Bernd Borchardt

Thomas Rentmeister
Depot, gestern

 

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.

Thomas Rentmeister, Depot, gestern, 2009, Photo: Bernd Borchardt

Francis Zeischegg
 Jagdschutzholzstapel zur Beobachtung von Wilderern

 

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.

Francis Zeischegg, Jagdschutzholzstapel zur Beobachtung von Wilderern, 2002, Photo: Bernd Borchardt

Peter Ablinger
Weiss / Weisslich 30

 

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).

Peter Ablinger, Weiss / Weisslich 30, 2008, Schilf, Wind

Daniel Pflumm
Lichtobjekt o.T.

 

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.

Daniel Pflumm, Lichtobjekt o. T., 2006-09

Markus Jeschaunig
The Weather Project

 

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.
Markus Jeschaunig, The Weather Project, 2018, fog installation on the Waldsee, Photo: Markus Jeschaunig

Thomas Rentmeister
Depot, gestern

 

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.

Thomas Rentmeister, Depot, gestern, 2009, Photo: Bernd Borchardt

Peter Ablinger
Weiss / Weisslich 30

 

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).

Peter Ablinger, Weiss / Weisslich 30, 2008, Schilf, Wind

Karl Hartung
Flügelsäule

 

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.

Karl Hartung, Flügelsäule, 1960/61,  Photo: Bernd Borchardt

Francis Zeischegg
 Jagdschutzholzstapel zur Beobachtung von Wilderern

 

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.

Francis Zeischegg, Jagdschutzholzstapel zur Beobachtung von Wilderern, 2002, Photo: Bernd Borchardt

Daniel Pflumm
Lichtobjekt o.T.

 

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.

Daniel Pflumm, Lichtobjekt o. T., 2006-09

 

ARCHIV

Olav Christopher Jenssen
Lingaphone

 

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.

Olav Christopher Jenssen, Lingaphone, 2008, PVC lacquered, Photo: Bernd Borchardt

Lynn Chadwick
Beast Alerted I

 

Lynn Chadwick, Beast Alerted I, 1990, stainless steal, photo: Roman März

Erik Steinbrecher
 ALPAMARE

 

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.
Erik Steinbrecher,  ALPAMARE, 2010/2012, aluminium casting, photo: Bernd Borchardt

Tony Cragg
Outspan

 

Tony Cragg, Outspan, 2008, bronze, photo: Berndt Borchardt

Werner Aisslinger
Loftcube

 

Werner Aisslinger, Loftcube, 2003, photo: Bernd Borchardt

Social Knit Work Berlin

 

Social Knit Work Berlin, 2015, knitted carpet, photo: Haus am Waldsee

Simon Faithfull
Shy Fountain

 

Simon Faithfull, Shy Fountain, 2008, photo: Bernd Borchardt 

Michael Sailstorfer
Wohnen mit Verkehrsanbindung (Großkatzbach)

 

Michael Sailstorfer, Wohnen mit Verkehrsanbindung (Großkatzbach), 2001, photo: Haus am Waldsee

Ina Weber
Trümmerbahnen

 

Ina Weber, Trümmerbahnen, 2004, photo: Bernd Borchardt

Katinka Pilscheur
9-2007-2

 

Katinka Pilscheur, 9-2007-2,  2007, photo: Bernd Borchardt 

Wilhelm Mundt
Trashstone 412

 

Wilhelm Mundt, Trashstone 412, 2006, photo: Bernd Borchardt

Wilhelm Engelen
Meteophon

 

Wilhelm Engelen, Meteophon, 2009, photo: Bernd Borchardt

Jeppe Hein
Modified Social Bench #4

 

Jeppe Hein, Modified Social Benche #4, G, C, photo: Bernd Borchardt

Olav Christopher Jenssen
Lingaphone

 

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.

Olav Christopher Jenssen, Lingaphone, 2008, PVC lacquered, Photo: Bernd Borchardt

Erik Steinbrecher
 ALPAMARE

 

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.
Erik Steinbrecher,  ALPAMARE, 2010/2012, aluminium casting, photo: Bernd Borchardt

Werner Aisslinger
Loftcube

 

Werner Aisslinger, Loftcube, 2003, photo: Bernd Borchardt

Simon Faithfull
Shy Fountain

 

Simon Faithfull, Shy Fountain, 2008, photo: Bernd Borchardt 

Ina Weber
Trümmerbahnen

 

Ina Weber, Trümmerbahnen, 2004, photo: Bernd Borchardt

Wilhelm Mundt
Trashstone 412

 

Wilhelm Mundt, Trashstone 412, 2006, photo: Bernd Borchardt

Jeppe Hein
Modified Social Bench #4

 

Jeppe Hein, Modified Social Benche #4, G, C, photo: Bernd Borchardt

Lynn Chadwick
Beast Alerted I

 

Lynn Chadwick, Beast Alerted I, 1990, stainless steal, photo: Roman März

Tony Cragg
Outspan

 

Tony Cragg, Outspan, 2008, bronze, photo: Berndt Borchardt

Social Knit Work Berlin

 

Social Knit Work Berlin, 2015, knitted carpet, photo: Haus am Waldsee

Michael Sailstorfer
Wohnen mit Verkehrsanbindung (Großkatzbach)

 

Michael Sailstorfer, Wohnen mit Verkehrsanbindung (Großkatzbach), 2001, photo: Haus am Waldsee

Katinka Pilscheur
9-2007-2

 

Katinka Pilscheur, 9-2007-2,  2007, photo: Bernd Borchardt 

Wilhelm Engelen
Meteophon

 

Wilhelm Engelen, Meteophon, 2009, photo: Bernd Borchardt