The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

For his sculptural installations Hubert Kiecol (b.1950 in Bremen) employs a formal idiom that shows traces of architectural Constructivism and Minimalist concentration. Works made from concrete and iron like Am Anfang (1992) or Tor (1997) are, if removed from their context, not only direct interventions in spatial perception, they become the basis for an “amplitude of meaning” with a metaphysical dimension. Kiecol, whose graphic and sculptural work was last exhibited in 2006 at MuHKA, Antwerp and Häusler Contemporary in Munich, has been professor at the Staatliche Kunstakademie in Düsseldorf since 1993. He was awarded the Wolfgang-Hahn Prize in 2000.

The second work by Hubert Kiecol with the title Rheinwein was designed for the inside wall of the Sou Fujimoto’s Garden Gallery and, with its black enframing elements, represents a graphic contrast to the architecture, whose window motifs, at the same time, are quoted. The fact that we recognize the motifs behind both Kiecol’s works is a sign that intentionally manifests the link between the park’s buildings; the Foundation’s house and the Garden Gallery provide the wall-support for two different works with the same sculptural vocabulary, all of which sets up a relationship across the dimensions of the park.

For his sculptural installations Hubert Kiecol (b.1950 in Bremen) employs a formal idiom that shows traces of architectural Constructivism and Minimalist concentration. Works made from concrete and iron like Am Anfang (1992) or Tor (1997) are, if removed from their context, not only direct interventions in spatial perception, they become the basis for an “amplitude of meaning” with a metaphysical dimension. Kiecol, whose graphic and sculptural work was last exhibited in 2006 at MuHKA, Antwerp and Häusler Contemporary in Munich, has been professor at the Staatliche Kunstakademie in Düsseldorf since 1993. He was awarded the Wolfgang-Hahn Prize in 2000.

The second work by Hubert Kiecol with the title Rheinwein was designed for the inside wall of the Sou Fujimoto’s Garden Gallery and, with its black enframing elements, represents a graphic contrast to the architecture, whose window motifs, at the same time, are quoted. The fact that we recognize the motifs behind both Kiecol’s works is a sign that intentionally manifests the link between the park’s buildings; the Foundation’s house and the Garden Gallery provide the wall-support for two different works with the same sculptural vocabulary, all of which sets up a relationship across the dimensions of the park.

For his sculptural installations Hubert Kiecol (b.1950 in Bremen) employs a formal idiom that shows traces of architectural Constructivism and Minimalist concentration. Works made from concrete and iron like Am Anfang (1992) or Tor (1997) are, if removed from their context, not only direct interventions in spatial perception, they become the basis for an “amplitude of meaning” with a metaphysical dimension. Kiecol, whose graphic and sculptural work was last exhibited in 2006 at MuHKA, Antwerp and Häusler Contemporary in Munich, has been professor at the Staatliche Kunstakademie in Düsseldorf since 1993. He was awarded the Wolfgang-Hahn Prize in 2000.

The second work by Hubert Kiecol with the title Rheinwein was designed for the inside wall of the Sou Fujimoto’s Garden Gallery and, with its black enframing elements, represents a graphic contrast to the architecture, whose window motifs, at the same time, are quoted. The fact that we recognize the motifs behind both Kiecol’s works is a sign that intentionally manifests the link between the park’s buildings; the Foundation’s house and the Garden Gallery provide the wall-support for two different works with the same sculptural vocabulary, all of which sets up a relationship across the dimensions of the park.

Mandla Reuter has planted a tree in the park and given the work the title The Park. What seems like a tautology is, at a closer look, a depiction that inquires into the origin of the park, whether it or this tree was there first, a tree the visitors encounter in the middle of their path. The plane tree introduces this question à-la-Magritte that queries our perception of reality.

Mandla Reuter has planted a tree in the park and given the work the title The Park. What seems like a tautology is, at a closer look, a depiction that inquires into the origin of the park, whether it or this tree was there first, a tree the visitors encounter in the middle of their path. The plane tree introduces this question à-la-Magritte that queries our perception of reality.

Mandla Reuter has planted a tree in the park and given the work the title The Park. What seems like a tautology is, at a closer look, a depiction that inquires into the origin of the park, whether it or this tree was there first, a tree the visitors encounter in the middle of their path. The plane tree introduces this question à-la-Magritte that queries our perception of reality.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

Bernard Voïta has created a secret place in the park, already expressed in the title Green Memories. The sculpture itself does not tell of these memories; it is only highly charged with those from the artist’s mental world. The work is a miniature replica of a public pissoir as it exists in Paris. In its location near the boundary line to the busy traffic of the Riehler Strasse outside of the park, the ambivalence of an intimate place in the context of the romantic park grounds provides a contrast to public city space.

Bernard Voïta has created a secret place in the park, already expressed in the title Green Memories. The sculpture itself does not tell of these memories; it is only highly charged with those from the artist’s mental world. The work is a miniature replica of a public pissoir as it exists in Paris. In its location near the boundary line to the busy traffic of the Riehler Strasse outside of the park, the ambivalence of an intimate place in the context of the romantic park grounds provides a contrast to public city space.