The Way We Are 2.0 brings together on 2,500 square metres more than 180 works from more than 100 artists from various times and contexts in a wide-ranging investigation of content and form. Thematic spaces arise from such perspectives as artistic approaches to identity or traditions of landscape, a varied play with everyday life or aspects of urban life, the meaning of coincidence or of the body, minimalist tendencies or social resistance.
For example, Marie Lund’s sun-bleached curtain canvasses from 2017 are complemented by Hans Haacke’s Kondensationsboden (condensation cube) from 1971so as to achieve a generation-transcending insight into chance occurrence as an artistic producer. The combination of a photograph by Wim Wenders with Kaari Upson’s floor installation consisting of emptied Pepsi cans gives rise to a critical picture of the American Dream. The film Into A Space Of Love by Wu Tsang creates together with works by Yoan Capote, Abdoulaye Konaté or Kaucyila Brooke a questioning of human identity that is as topical as it is diverse. Or works by Braco Dimitrijević, Agnieszka Polska, Ahmet Ögüt and others play through forms of aesthetic objection from the 1970s to the present day – as in the case of Michael Sailstorfer, for example, who disassembles a police car and turns it into a drum kit.
At the same time, artists‘ spaces present the painterly work of Wade Guyton and the conceptual approach of Kapwani Kiwanga. At the end of June 2020, rooms by Mateo Maté and Jeff Wall will be added.
A further focus is the establishment of a permanent space for the work of Norbert Schwontkowski. Beginning in February 2020, the Weserburg will now offer a permanent and representative cross-section of the painterly and graphic oeuvre of this Bremen artist.
The exhibition format The Way We Are is designed as a multi-part series, which is brought to life once a year in an extensive variation. Works migrate from one thematic space to another, disappear for a certain time or make their first appearance. Constellations of works are shuffled; thematic assertions are reworked and artists’ spaces are installed. The result is an unexpected manner of reading contemporary art from the 1960s to today across all the media. It is fed by a large number of private collections, by our own holdings and by loans from artists.
The Way We Are 2.0 is curated by Ingo Clauß and Janneke de Vries.
Artists: Carl Andre, Arman, Katja Aufleger, Monika Baer, Viktoria Binschtok, Louise Bourgeois, Ulla von Brandenburg, George Brecht, Kaucyila Brooke, Elina Brotherus, Sophie Calle, Yoan Capote, Anetta Mona Chişa & Lucia Tkáčová, Christo, Claudia Christoffel, Louisa Clement, Anne Collier, Andrea Crespo, Chris Curreri, Björn Dahlem, Thomas Demand, Braco Dimitrijević, Claire Fontaine, FORT, Robert Filliou, Bernard Frize, Patrycja German, Jochen Gerz, Rachel Goodyear, Henriette Grahnert, Katharina Grosse, Wade Guyton, Hans Haacke, Dan Halter, Raymond Hains, David Hepp, Georg Herold, Ane Mette Hol, Judith Hopf, Sabine Hornig, Marguerite Humeau, Leiko Ikemura, Christian Jankowski, Sven Johne, Donald Judd, Šejla Kamerić, Ellsworth Kelly, Felix Kiessling, Kapwani Kiwanga, Ola Kolehmainen, Abdoulaye Konaté, Karsten Konrad, Kitty Kraus, Alicja Kwade, Thomas Lehnerer, Simon Lewis, Thomas Locher, Richard Long, Marie Lund, Daniel Maier-Reimer, Achim Manz, Christian Marclay, Mateo Maté, Justin Matherly, Gordon Matta-Clark, John McCracken, Olaf Metzel, Horst Müller, Jussi Niva, Ahmet Ögüt, Catherine Opie, Tatsumi Orimoto, Peter Piller, Agnieszka Polska, Charlotte Posenenske, Puppies Puppies, Julian Röder, Reiner Ruthenbeck, Michael Sailstorfer, Takako Saito, Fred Sandback, Karin Sander, Norbert Schwontkowski, Richard Serra, Chiharu Shiota, Santiago Sierra & Julius von Bismarck, Daniel Spoerri, Walter Swennen, André Thomkins, Jean Tinguely, Barthélémy Toguo, Wu Tsang, Günter Umberg, Kaari Upson, Marianna Uutinen, Jorinde Voigt, Jeff Wall, Wim Wenders, Guido van der Werve, Stefan Wissel, Erwin Wurm, Nil Yalter und Tobias Zielony