"Lack of Space Change of Place. The Collection in Motion"
Buendner Kunstmuseum, Chur, Switzerland
24. 09. 2011 - 20. 11. 2011
Artists exhibited: Monika von Aarburg, Otto Abt, Judith Albert, Cuno Amiet, Anonym, Otto Charles Bänninger, Guido Baselgia, Paul Bianchi, Otto Braschler, Miriam Cahn, Paul Camenisch, Alois Carigiet, Robert Cavegn, Flavia Caviezel, Kurt Caviezel, Martha Cunz, Stefano Della Bella, Felix Maria Diogg, Martin Disler, Otto Dix, Menga Dolf, Christoph Draeger, Antonius van Dyck, Franz Eggenschwiler, Ignaz Epper, Helmut Federle, Franz Fedier, Urs Fischer, Corsin Fontana, Wilhelm Heinrich Füssli, Karl Geiser, Gabriela Gerber / Lukas Bardill, Franz Gertsch, Alberto Giacometti, Augusto Giacometti, Giovanni Giacometti, Hans Ruedi Giger, Hermann Haller, Arno Hassler, Ferdinand Hodler, Hermann Hubacher, Arnold Pankraz Huber, Laurent Hubert, Leiko Ikemura, Robert Indermaur, Georges Item, Monica Ursina Jäger, Angelika Kauffmann, Joseph Johann Kauffmann, Ernst Ludwig Kirchner, Richard Kissling, Lenz Klotz, Käthe Kollwitz, Zilla Leutenegger, Urs Lüthi, Leonhard Meisser, Barthélemy Menn, Ernst Morgenthaler, Josef Felix Müller, Albert Müller, Edvard Munch, Rodo de Niederhäusern, Andrea Nold, Meret Oppenheim, Ursula Palla, Michael Pankoks, Erica Pedretti, Turo Pedretti, John Philipp, Thomas Popp, Rembrandt Harmensz van Rijn, Thomas Riss, Pipilotti Rist, Giovanni Antonio Rizzi, Auguste Rodin, Charles Rollier, Dieter Roth, Jakob Schärer, Hermann Scherer, Albrecht Schnider, Max Seiler, Gaudenz Signorell, Matias Spescha, Jules Spinatsch, Albert Steiner, Gustav Stettler, Ludwig Stocker, Annelies Strba, Miguela Tamò, Ponziano Togni, Edouard Vallet, Edgar Vital, Not Vital, Hannes Vogel, Anny Vonzun-Meisser, Andreas Walser, Pascale Wiedemann, Walter Kurt Wiemken
Lack of Space Change of Place
The Collection in Motion
Bündner Kunstmuseum Chur, September 24 to November 20, 2011
The Bündner Kunstmuseum needs more space for its collection. On average there is an increase of 150 objects every year, and at present only 3% of the total stock can be shown regularly. The current exhibition with its unconventional display and works seldom shown underscores the necessity for the planned structural extension.
For once we are making all the rooms of the house exclusively available for the collection. In doing so, we are not only bringing to light treasures stored in the depot, but our customary display is also being interfered with. In the historic Villa Planta, which is traditionally reserved for showing our collection, masterpieces leave their established space and resurface in new contexts in keeping with a change of place. The resulting gaps give space to works not shown to date, which as regards form, content and media create surprising dialogues: Zilla Leutenegger meets Angelika Kauffmann, Giovanni Giacometti meets Gerber/Bardill, Otto Dix meets Helmut Federle.
For the temporary exhibition-rooms the depots were rummaged through, in order also to show up the high quality of the rarely displayed pieces. The growing lack of space is furthermore visualized by varying ways of presentation. Exuberant hanging and mountains of sculptures alternate with reduced presentations of individual themes or works. The oldest etching in this exhibition dates back to 1642, the most recent video to 2009. The concept of the publication mirrors on the one hand the visualized accumulation due to lack of space as well as the thematic groupings in the exhibition. On the other hand it shows the juxtapositions resulting from the changeovers made. At the same time the publication goes beyond the exhibition. It conveys an overall impression of the collection by listing all the names of the roughly 845 artists represented therein today. Thus the publication establishes the link between the exhibition and the newly accessible online collection.
Simultaneous with the opening of the exhibition the collection of the Bündner Kunstmuseum goes online with over 6000 objects. This means that the entire collection is made accessible in an up-to-date manner, which benefits not only the interested public but also art historical research and museum work.
The exhibition, the publication, and the online collection follow the same objective by different means: To present the enormous diversity of the collection and to lay it open and make it verifiable qualitatively and quantitatively for the general public.