5 Questions – Kunsthaus NRW Kornelimünster

CH Your exhibition reconstructs artistic relationships that stretch across several  generations, especially within the Düsseldorf context. What was decisive for you when turning these biographical and pedagogical connections into an exhibition logic? 

MS The exhibition reveals that art is not created in an isolated studio by a single artist. Art works rather develop through engagement with, or in contrast to, the art and perspectives of others. In this context, individual freedom becomes clearly visible, as does the challenge of developing it. For many artists, studying at an art academy is their first and formative experience concerning this process. The exhibition reveals this by showing related art works, complemented by an audio archive with artist statements about learning and teaching art.

CH The presentation moves fluidly between traditional media and practices that resist  clear categorization. How did you negotiate this shift between disciplinary training  and the openness of contemporary production? 

MS Through small disruptions in the clear sequence of painting, sculpture, video and photography. Right at the start of the exhibition, this pattern is broken: in Gerhard Richter’s painting class, students painted, both abstract and representational works, they drew, produced prints, took photographs and created sculptures. Andreas Gursky taught fine art. His students are exhibiting sculptures, drawings, collages and photography.

CH A recurring question in the show is how something immaterial like artistic stance or  irony becomes part of teaching and learning. Where, in your view, does  transmission stop being method and start becoming something else?

MS When tutors are available to talk to at reasonable times, and communication takes place on an equal footing. From artist to artist. In this context, the role model aspect should be understood less in terms of the work itself and more in terms of one’s way of life. The transfer of knowledge is nevertheless important here, particularly knowledge of contacts within the art world was often treated as insider information in the past. 

CH The network you outline reaches far beyond one institution, connecting figures and  classes that have shaped international discourse. What does this expanded  geography tell us about the position of the NRW academies today? 

MS Geographical boundaries are now blurred, even in education. Changing universities can be an important step. The opportunity to switch between four art colleges without changing your place of residence can be a great freedom. Media in Cologne, networking in Düsseldorf, photography in Essen, artistic techniques in Münster. The wide range of options attracts many artists to study here. Especially as art from other countries is always on display in the many exhibition venues. Museums and art associations also play an important role in artists’ education – offering a study collection that is right at the cutting edge.

CH The final section opens the discussion toward what follows formal education, including the tension between autonomy, visibility and market structures. What do you hope remains unresolved when visitors leave the exhibition? What will be the art of tomorrow?

MS I hope the question what will be the art of tomorrow remains unresolved and the exhibition opens the mind of the visitor for the art of tomorrow - whatever this will be.