Eduardo Paolozzi (1924-2005) was one of the most idiosyncratic and versatile British artists of the post-war period. His powerful sculptures and prints, which established Paolozzi's lasting international success, explore the relationship between man and science, searching for a substantive and formal correspondence to the new myths of the emerging mass society. In his sculptures, Paolozzi also uses a collage technique that integrates the relics of a culture determined by technology and media into new fields of meaning and association. To mark the centenary of Eduardo Paolozzi's birth, the Waldfrieden Sculpture Park is presenting an exciting new exhibition of his work, which includes sculptures from most creative periods as well as a cross-section of his impressive work on paper.

Berta Fischer (born in 1973) employs transparent materials such as thermo-plastic acrylic glass in various colours, thicknesses and sizes to carry on a subtle dialogue about the nature of form and light. The result of her work is reminiscent of shiny or reflecting high-tech materials and virtual drawings hovering in space in a circling movement. Beyond the force of gravity, her works make visible what is disordered, chaotic and unforeseeable. In the Waldfrieden Sculpture Park, Berta Fischer is showing contemporary works adapted for the upper exhibition pavilion.

The British sculptor Anthony Caro would have been 100 years old in March 2024. On this occasion, the Waldfrieden Sculpture Park is presenting an extensive selection of works by this pioneer of abstract sculpture. As part of the exhibiton curated by Tony Cragg, eleven large-format works from different creative phases can be seen. Among these masterpieces exhibited in two galleries and outdoors is the eight-meter-long stainless steel sculpture “Double Tent” (1987-1993). The show has been organized in cooperation with the Anthony Caro Center, which has been managing the artist's estate since 2020.

The concept artist Mischa Kuball, who was born in Düsseldorf in 1959, breaks through the boundaries of apparently habituated environments. Often he uses the medium of light in order to focus on central questions of meaning, to question ways of social action and to stimulate political as well as scientific discourses. For the exhibition light_poesis at the Sculpture Park Waldfrieden, Kuball has devoted himself to the transformational power of what happens throughout the day.

Die Ausstellung präsentiert die aus dutzenden Gefäßen bestehende Installation „Insel“ von Klaus Rinke sowie Werke von Stephan Balkenhol, Gilbert & George und Bruce Nauman.

Im September 2008 öffnete der Skulpturen­park erstmals seine Tore. Seither wurden hier zahl­reiche Ausstellungen namhafter Künstler präsentiert. Aber selbst Kennern des Hauses dürfte verborgen geblieben sein, dass im Zuge dieser Aus­stellungs­tätigkeit eine umfang­reiche Kunstsammlung aufgebaut wurde. Anlässlich seines 15jährigen Jubiläums präsentiert der Skulpturen­park nun erst­mals in allen Aus­stellungsräumen Werke aus dem eigenen Sammlungsbestand.

The exhibition gathers together selected sculptural masterpieces from the Von der Heydt-Museum collection, some of which are being presented outside the museum walls for the very first time. Curated by the sculptor and founder of Waldfrieden Sculpture Park, Tony Cragg, and the director of the Von der Heydt Museum, Dr Roland Mönig, the show focuses on representations of the human figure created between the mid-19th century and the 1980s.

The sculptures of Jaana Caspary report on the reproducibility of objects. By repeating or duplicating forms provided by daily use, they recall the rites of consumption, but simultaneously banish them, occasionally in materials of the highest value.

Fluidity House, the photo installation conceived for Waldfrieden, is based on photos Bettina Pousttchi took of timber-frame house facades, then reworked into patterns of her own design. She calls this a "transnational pattern," as the fluid white combines the architectural language of two different cultural regions, those of Europe and the (near) East.

Since the 1970s, Anish Kapoor has embodied the artistic search for the "non-object" that oscillates between the physical and the non-physical. Many of his objects irritate perception as a result of their surface's absorption or reflection of light. Kapoor's monumental sculptures have also become well-known; overpowering by virtue of their sheer scale, these obscure the boundaries between architecture and sculpture. His newer works, many site-specific, play with metaphysical opposites and encourage an immediate and direct personal experience of transcendence. Beyond a selection of current works, his large-scale 2015 walk-in sculpture, "Sectional Body Preparing for Monadic Singularity" is on display at the Sculpture Park.

In this work, by placing half-mirrors on the windows of the museum and cutting them out with numbers that symbolize time, the view outside landscape is continuously changed. The light that passes through it also changes, and so does the visitors. Moreover, the museum itself is transformed by these ever-changing windows.

Anthropomorphism and material impersonations are of interest to Andreas Schmitten (*1980), whose recent sculpture invites a contemporary re-consideration of Duchamp’s ready-made pulling consideration of such a work into a 21st century present, while also conducting an enigmatic exploration of the relationships between sculptural and human form, between the body, symbolic objects and rituals.

Pina Bausch war nicht nur eine große Künstlerin, sie ist auch ein wichtiger Bezugspunkt für die Menschen, die mit ihr arbeiteten oder sich in ihrer jetzigen Arbeit auf sie beziehen. Aus Interviews mit zahlreichen Mitgliedern des Pina Bausch Ensembles entwickelte der Regisseur Horst Konietzny eine vielschichtige, bewegte und bewegende Raumklangkomposition im oberen Ausstellungspavillon des Skulpturenparks. Eine Produktion des Tanztheater Wuppertal Pina Bausch in Kooperation mit dem Skulpturenpark Waldfrieden.

The window, a membrane between inside and out, becomes sculpture: From May to November 2022, Skulpturenpark Waldfrieden will present a series of three consecutive exhibitions, designating for the first time ever the architecture of its exhibition hall as a point of artistic departure.

Wilhelm Mundt's "Trashstones" — the product of a labor intensive work process that transforms garbage, studio debris and sometimes found objects into sculptures — have had a place in the Skulpturenpark for years. Now, in a solo exhibition of current work, Mundt presents new aspects of his artistic development.

Waldfrieden Sculpture Park has taken the occasion of Heinz Mack's 90th birthday to stage a major exhibition devoted entirely to his sculptural work. Pieces from different phases of Mack's career will be installed throughout all three of Waldfrieden's exhibition spaces, as well as at different sites on the park grounds. Alongside diversity of materials — stone, metal, wood, plaster, glass, or ceramic — Mack's sculptures are distinguished by their strong, elementary character as relates to light and/or movement, making for a comprehensive and multifaceted spectrum of sculptural work.

Leunora Salihu's sculptural work articulates an unmistakable language of material and form in which the artist addresses fundamental sculptural issues such as constructive and organic building methods, movement and static form, the object-pedestal problem, and the relationship between inside and out, room and surroundings.

Joseph Beuys redefined the boundaries of art by formulating the motto "Everyone is an artist" in 1968. His aim was not to deal with the rigid forms of painting and sculpture, nor to find his way into the predefined structures of academies and museums. Rather, it was more about directing all creative forces towards life and its changeability. In this agility he recognized the chance for a continuous change of consciousness and the further development of freedom and creativity. Beuys saw artistic works as “tools”. With their help, he wanted to set ideas in motion that would affect society as a whole and invite all members to participate responsibly in this creative process. He wanted exhibitions to function as "workshops" for the productive conversion of initially undirected energies, Museums not as halls of fame, but as "permanent conferences" in which everyone is invited to participate critically. He attributes to the artist - and thus to every person - the ability to creatively grow beyond existing conditions, to connect with their archaic past as well as with a visionary future. He sees culture as the source of inspiration for this creative change. The forces formulated there can ultimately, according to Beuys, dynamize the economy and the legal system and bring about the improvement of one's own existence as well as of one's entire existence, connecting with one's archaic past as well as with a visionary future. Perpetual motion.

A prolific and internationally renowned painter, Sean Scully (b. 1945) has also been making sculpture on and off for the best part of fifty years. As this new exhibition at Waldfrieden highlights, he works simultaneously across several materials, including stone, steel, wood and glass, making large works that are placed both indoors and outdoors. Like his paintings, his sculptures are characterised by grids, lines, stripes and blocks, carefully composed and layered together. And like his paintings, his sculptures deal with minimalism’s primary structures while humanising their geometries with other more personal poetries and presences.

Commenced in 2016 the Henge Paintings are still an ongoing series of paintings. It has been customary for McKeever to paint within a given group of paintings one or two predominantly black paintings. This, he identifies as being a need to feel that the ethereal quality of his ‘white’ paintings is sometimes pinned down more concretely. The Henge Paintings are the first series since the Diptychs(1983-1990) in which black has been the dominant colour. For the artist this use of black is neither emotionally dark nor sombre, a quality often associated with black. Instead the paintings suggest that black as a colour can also have its own sense of luminosity.

Michael Sandle’s work explores the visual imagery of violence, conflict, mortality and memorialisation. Passionately against war, he is articulate about its histories and ideologies, always wrestling with how sculpture – and its forms and narratives - can function in relation to it. ‘“A memorial is a mock memory,” he has stated. “It’s a question of what is remembered, and what society agrees is worth memorialising.”’

Joan Miró (1893-1983) was considered to be one of the most important artists of the 20th Century. Although renowned for his iconic paintings, Miró was also an exceptional and innovative sculptor. Skulpturenpark Waldfrieden, with its open landscape forest glades and concern for art, provides an ideal location to view a range of sculptures created by Miró between 1972 and 1982.

In an intense creative period at the beginning of the 90’s the Swiss painter and sculptor Martin Disler (1949-1996) worked on a series of life-size bronze sculptures. These 66 figures occupy a prominent position in Martin Disler’s artistic work and were exhibited between 1991 and1992 under the title of The Shedding of skin and dance at the Whitechapel Art Gallery in London, the Kunsthalle Basel as well as the in the art forum of the Municipal Gallery in the Lenbachhaus Munich.

Eva Hild’s sculptures may resemble hugely enlarged fossils, skeleton parts or sea shells, but they never spring from a desire to illustrate a familiar organism. The intricate play of lines and cavities flows and drills through the white and black surfaces.

Not only is Markus Lüpertz one of the most famous contem­porary German painters, but also an impor­tant sculptor. Ever since the 80’s he has been devel­oping his sculptural work parallel to his paintings. His plaster and bronze sculptures are executed according to traditional techniques and the repres­entations often refer to mytho­logical or histor­ical figures in occidental cultural history. Never­theless, his works surprise us through their provo­cative radical nature which occasio­nally can trigger off public controversy. In the Skulpturen­park Waldfrieden the artist is presenting a compre­hensive selection of his sculptures in plaster, which like their sub­sequent bronze versions, are often coloured. This painting of the sculptures indicates that these fragile items are not merely proto­types for the bronzes but unique objects enjoying a great signi­ficance within the scope of his work.

Christiane Löhr’s sculptures are character­ized by their un­usual qualities and text­ures. The artist gathers her working material from nature following the course of the changing seasons - seed pods from various plants, burrs and even animal hair. These minute organic parts detached from their original context serve as modules for her intricate construc­tions remin­iscent of geo­metric bodies. With­out the aid of any other materials it is the sup­porting forces of a delicately balanced dynamic interplay of energies which exclusively come to the fore just as they do in nature. The objects are accom­p­anied by an appa­rently random and self-evident effort­lessness and yet at the same time are precisely planned and exe­cuted. Despite their beauty they neither lack decorative quality nor crafts­man­ship and certainly not in their salient spectacular appearance. Christiane Löhr is exhibiting her works, the majority of which have especially conceived for this exhibition, in the lower hall at the Skulpturen­park Wald­frieden.

Imi Knoebel‘s origins are to be found in Minimalism which has characterized his artistic work from its earliest beginnings right up to the present. Since the onset of the sixties when he joined the circle of young artists which had collected around Joseph Beuys and became an important contributor, there have however been very few who have followed up on the most fundamental questions regarding his work. And so the exhibition at the Skulpturenpark presents his Raum 19 (Room 19) a work which refers to the first years of Knoebel's career and yet at the same time embodies the continuity within his work. Raum 19 has thus been repeatedly described as a key work which exemplifies in showing within one single installation the relationships of expansive spatial bodies to extensive stratifications. It is the transitions and the interconnections of the works, also with each other, which play an important part in the reception of Knoebel’s work. This also applies to his coloured panels, a small selection of which Knoebel will be exhibiting in the Skulpturenpark.

Klaus Rinke is a universal artist who cannot be considered from a one-dimensional standpoint. Rinke is a draughtsman, painter, sculptor, photographer, philosopher and an artist of aqueous mediums and landscapes, of the human body, action painter, an artist of words, concepts and philosophy. He has developed art for buildings and lectured thirty years at the Academy of Arts in Düsseldorf.

Working and processing materials is frequently set with imponderables which may sometimes lead to some unpredictable results. This more often than not undesirable state of affairs is for the artist Mathias Lanfer a welcome opportunity for improvisation. Despite the fact that the production of his sculptures is meticulously prepared with the aid of sketches, models and structural designs, he is quite willing to allow accidental influences, which are inevitable during the working process, to play their part. "Logic is also a form of play in all of this and surprises even arise where one would expect them.", he points out.

The Waldfrieden Sculpture Park is presenting large-format sculptural works by the French couple Anne und Patrick Poirier under the title ‘MNEMOSYNE’ from 29th October 2016 until 8th January 2017. Since the seventies the couple have created a large body of work which deals with memory as its central theme and such large sculptures as ‘Ouranopolis’ and ‘Mnemosyne’ can be seen at the exhibition.

Plasters made by sculptors are often seen as a means to an end, rather than as works in their own right. Henry Moore, too, initially destroyed many plasters to prevent further casts being made once a bronze edition was complete. Over time, however, Moore increasingly retained his plasters, appreciating them as the original sculptures. A number of sculptural ideas were even only conceived in plaster. Nonetheless, due to the vulnerability of the material very few plasters have yet been shown outside the UK. Thus many of the works presented as part of the upcoming exhibition at the Skulpturenpark Waldfrieden have never been displayed in Germany before.

Die Ausstellung „Am I Still A House?“ präsentiert Skulpturen Erwin Wurms, die sich auf das Motiv des Hauses beziehen. Darunter ist die begehbare Plastik „Fat House“ aus dem Jahr 2004, ein Landhaus in Originalgröße, das mit einer menschenhaften Fettleibigkeit versehen ist. Ein Video im Inneren der Skulptur zeigt eine Computeranimation des sprechenden Hauses, das über existentielle Fragen monologisiert. Ebenso wie „Fat House“ sind auch die übrigen Exponate auf irritierende Weise verformt: sie sind fett und adipös, zerklüftet, sie schmelzen dahin oder zeigen Spuren gewalttätiger Bearbeitung. Diese Verfremdung verleiht den Werken ihre skulpturale Qualität und führt die Wahrnehmung in einen Grenzbereich, wo die spontane Identifizierung des Kunstwerks mit dem banalen Motiv „Haus“ scheitert. Stattdessen wird die abstrakte, formale Qualität des Objektes in den Blickpunkt gerückt.

Bruce Nauman (*1941) has often been described as the most important of contemporary American artists. His work, which has been evolving in diverse forms of expression since the 60’s, covers sculptures as well as film, photography, spatial installations and the use of neon lighting. However, the polymorphism of Nauman’s work has never been the expression of a superficial interest for experimentation, but the result of a tenacious, serious and uncompromising working and mental process. Nauman’s art “touches nearly all of the questions which might be posed in regard to humanity and its environment. He is as interested in the political and the social realities as the theoretical, philosophical, psychological and scientific reflections of being human.” (Eugen Blume) In collaboration with the Konrad Fischer Galerie, the Skulpturenpark Waldfrieden will be exhibiting a selection of works by the artist which reflects his approach to a wide range of different media. Video works will be presented in the exhibition pavilion and around the Villa Waldfrieden showing the artist’s performances or performances carried out according to the artist’s instructions. Nauman creates his typical experimental procedures, for example, based on the discrepancies between what is heard and what is seen in the videos Lip Sync (1969) and Described Combinations (2011) which trigger off confusing perceptions. The exhibition especially focuses on works which relate to the motif of the hands. Translation: Robert Payne, Wuppertal

Sculptor Luise Kimme (1939 – 2013) has left an art oeuvre that has developed in her own way, without consideration of the aesthetic fashions of the art market. Since 1979 Kimme had her own studio on the Caribbean island of Tobago, located near the coast of Venezuela, followed later by the Kimme Museum. In this deliberate seclusion from the Western art business she created her sculptures, whose central motif is the human figure.<br/> Because of her detached attitude to what was fashionable in sculpture in the West, her works did not receive too much attention in Germany for some time. Last year’s retrospective “The Sculptors, Düssel­dorf. From 1945 to Today” of the Art Collection of Nordrhein-Westfalen was one of the first great Museum exhibitions in which Kimme took part. Now the Sculpture Park Waldfrieden presents her works in a solo exhibition. The round thirty wooden sculptures express the richness of the motifs of Luise’s art. Among the carved and mostly painted sculptures are representations of dancers and of everyday scenes as well as figures with religious or mythological reference. Common in her works is the unmistakable influence of the life and culture of Tobago, which Luise Kimme had not only made her country of choice, but also the theme of her Art.

Stephan Balkenhol's sculptures are among the most well known works of contemporary art in Germany. His figures, often 'normal,' neutral, coincidental looking bystanders, inhabit many of the museums and public spaces of our cities. Mainly Balkenhol has produced human figures, but he has made animals and mythical creatures as well. Their simple and seemingly casual formal language has contributed to their success, and at the same time made them a provocation in the eyes of critics and other representatives of the art world.

Since the middle of the 80’s Gereon Lepper has succeeded in creating a powerful interplay between nature and tech­nology. In is studio in Hattigen, formerly the Heinrichshütte, an industrial facility for smelting, Lepper has clearly ach­ieved the symbolic relationship to colliery machinery, even though he has no intention of being nostalgic in any way. In reality he is much more interested in demonstrating the forces which shape our lives here on earth. By trans­lating experimental designs which examine nature’s potential for plasticity he has thus developed a narrative and dramatic poetry.

Jaume Plensa, born in Barcelona in 1955, is one of the most influential Spanish sculptors of his gener­ation. His work which ranks with oeuvre of such Catalonian artists as Antoni Tàpies and Joan Miró is characterized by its awe-inspiring spiritual depth and poetic expression. For the Skulpturenpark Waldfrieden Jaume Plensa has focused on one particular gestalt in his expanding family of works.

There is always the same excitement before the latest Pina Bausch premier. What will Peter Pabst’s stage set look like this eve­ning? It is not until the lights go on in the Opernhaus (and formerly the Schauspielhaus) and the curtains go up that the stage is revealed to the eyes of the audience.

Since the mid-eighties Klingelhöller’s sculptural work has been accompanied by lingual constructions which are far more than just titles of the sculptures. In juxtaposing metaphoric-poetic language like In the future of their languges or How white the walls were and how things forgotten will change with the related but heterogenous sculptural forms, the work of Klingelhöller creates a space of resonance in which the meanings of the works are echoing and constantly morphing. In keeping with the flexibility of linguistic systems Klingelhöller understands his sculptures not as final propositions but as possible portrayals of the relationship between his sculptures and their accompanying text.

The British/American sculptor William Tucker (*1935 in Cairo) counted among the influential group of English sculptors, who were introduced at the eponymous exhibition at London’s Whitechapel Art Gallery in 1965 as the “New Generation” and whose works provided new inspiration for the development of abstract sculpture as well as a far broader interpretation of the concept of sculpture. William Tucker’s works, which will be shown at the Sculpture Park, take the human figure as its reference. Despite that they are not immediately decipherable or nameable. Rather, the sculptures open up a wide range of possible associations, thus achieving their intense, undeniable physicality. William Tucker’s sculptures have a presence that relates to our body and so makes us aware of it.

"Chalcosoma", the generic term of a genus of the giant rhinoceros beetle, loosely translates as ‘bronze body’. This exhibition title refers to the gleaming surface of the polished bronze, that reminds us of the carapaces of the jewel beetle, similarly evoking a sacred and sublime atmosphere. Insects and beetles in particular frequently occur as motifs in Jan Fabre's art, whose visual language has been strikingly consistent through the years.

Didier Vermeiren’s entire oeuvre has developed in a continuous flux between past and present; between an interpretation of the history of sculpture on the one hand and a contemporary exploration of its essence on the other. He belongs to a generation of artists who, since the 70’s, have been working on redefining the dialectic of art by reverting to the legacy of concept art and minimalism. Vermeiren was born in Brussels in 1951 achieved international fame in the 80’s by means of works which approached the question as to the meaning of sculptures and the plinths on which they stand. The Sculpture Park Waldfrieden is showing a selection of works by this artists who, despite having lectured at the art academy in Düsseldorf, has remained relatively unknown in Germany.

Carl Andre (born in 1935 in Quincy, Massachusetts; now living and working in New York) is regarded as one of the fathers of minimal art. With his first exhibitions starting in the middle of the 1960s, he revolutionized the notion of sculpture as well as the conventions in respect to its perception, initially in his native country and then – beginning with a legendary exhibition in Düsseldorf at the Konrad Fischer Gallery in the autumn of 1967 – with an almost greater response in Europe. If sculpture had been thought of in terms of form and structure up to that time, Andre redefined it through the material and the location. He decided to take the working materials at face value. ‘I want wood as wood, steel as steel, aluminum as aluminum, a bale of hay as a bale of hay’. Instead of cutting into the material as sculptors are supposed to do, he cuts into the existing space with the materials and transforms it. His work breaks with all conceptions which imagine sculpture as being something which the observer approaches as something existing in the same space and yet an entity entirely unto itself.

African sculptures are closely associated with social, spiritual and religious functions and are responsible for dictating, governing and regulating the course of these events. Over the centuries African artists have continued to invent new, instantly recognizable, overwhelming and at times dauntingly vivid forms serving to stabilize the system. In association with the Galerie Dierking in Cologne the Skulpturenpark Waldfrieden is presenting 38 objects from southeast Nigeria. The various ethnic groups living in this relatively small region of west Africa have produced ,in mutual rivalry, works of such great variety regarding shape, size, medium, usage and meaning. The exhibition which is curated by Tony Cragg and Dierk Dierking is an attempt to show the structural quality of these sculptures and to unharness their intercultural potential. A catalogue will be appearing for this exhibition.

In the 1970’s Tony Cragg began to work with materials, which had either been manufactured or processed by man. As objects ‘which complement the physical, intellectual and emotional life of mankind’, they can be associated with everyday purposes, that is to say they still convey their objective meaning despite the artist having disassociated them from their context. Nevertheless, as liberated forms they are suited to formulating new statements thus creating minimalistically exact fundamental structures, for instance if they are stacked or layered. The figurative murals and installations made of plastic flotsam and jetsam also deal with the relationship between people and things and continue to characterize contemporary consumption practices with the context of their imagery.

Norbert Kricke (1922 - 1984) counts as one of the most outstanding European sculptors of the 20th century. After a classical training he began to create, as of 1950, abstract sculptures using minimal amounts of material resources. His sculptures, in which lines are used in ever new variations as a means of plastic composition, focus on speed and energy in a spatial context and enable a new experience of spatial transparency and infinity. The Skulpturenpark Waldfrieden is showing a selection of his works from several creative periods in association with the ZERO Foundation.

The artist Jean Tinguely was born in Switzerland in 1925 and became well-known through his kinetic scrap sculptures, which by means of some bizarre mechanism or other, move, or are driven, and are capable of producing sounds or even drawings. In the years between 1987 and 1990 Tinguely produced a series of works named after personalities who had inspired him in his youth such as Jean-Jacques Rousseau, Friedrich Engels, Jakob Burckhardt, Henri Bergson, Piotr Kropotkin and Martin Heidegger. The Cragg Foundation is exhibiting two works from this ‘philosopher series’. The focal point of the exhibition is, however, the monumental sculpture Derniére Collaboration avec Yves Klein, which the artist dedicated to his late friend and companion Yves Klein. The exhibition has been made possible through the kind support of the Museum Tinguely, Basel and the ZERO Foundation, Düsseldorf.

Tony Cragg presents in Skulpturenpark Waldfrieden wooden and bronze sculptures reflecting the different facets of his artistic creativity in recent years in relationship to those works displayed in the permanent exhibition. In the midst of the park’s natural shapes and forms, these works of art appear to be creatures belonging to a ‘second nature’.

The British artist Richard Long, born in Bristol in 1945, is considered one of the most prominent representatives of Land Art. His work revolves around the artistic creative process as a means of contemplation. The extended walks, collection of stones, drawing using the mud from rivers are all forms of a meditative analysis of nature. It is thus possible for the artist to create forms which leave an ephemeral sign of human creative energy in nature, whereas in the context of an exhibition, they represent a detail of the natural landscape.

The American artist John Chamberlain (* 16.April 1927 in Rochester/Indiana) taught at the renowned Black Mountain College in Asheville from 1955 till 1966. Inspired by the abstract expressionism of Pop Art, Arte Povera and Concept Art movements at this time he began to create an incredible variety of metal sculptures out of the materials from the American icon, the automobile. The exhibition shows works arising from various creative phases. The artist has been living and working in Sarasota, Florida since 1980.

Jean Dubuffet studied the naïve pictures by children, outsiders and mental patients in which he saw an anti-intellectual, directly artistic form of expression. He was the most famous member of the group "Nouvelle École de Paris", a French movement parallel to American abstract expressionism and was responsible for creating the label "Art brut". Born in 1901, the celebrated artist first began a series of sculptures in 1966 based on a series of paintings "L’Hourloupe". Making use of the, at that time, new material polystyrene he cut out sculptures with apparent ease, which display incredible freedom in their wide variety of form. His sculptures are an expression of a parallel world and have offered the world of sculpture new forms and entirely new benchmarks.

An exhibition of works from the late 80’s and early 90’s.

Chillida is one of the most important sculptors of the 20th century. His steel, concrete and stone sculptures, his murals made of felt and his large body of graphic work are to be found in the world’s most important museums and numerous public places. "His work stands out through its clarity of form and devotion, not only to the material, but also to the creative process and the range of expression which he achieves. Even in the hardest of materials he expresses his respect and his awe for the elements and the best attributes of mankind." (Tony Cragg)

Mario Merz (*1.1.1925 – 9.11.2003) actually began as a painter and did not create his first ‘igloo’ of bundled natural materials until 1968. He considered this form to be the embodiment of protection and security. In 1970 the first arrangements appeared representing the evolutionary growth processes involving the Fibonacci progression (1,1,2,3,5,8,13…). Merz arranged simple natural materials (soil, twigs, peat) in opposition to industrially manufactured ones (glass, steel, fluorescent tubes) in an attempt to demonstrate the absurd artificiality of the world in comparison to nature. Some works symbolize the relationship between culture and nature in early times. For Merz elementary cultural forms such as the igloo stood for human natural forms of life.