The History: KölnSkulptur #4–10

Here we present a review of the successful exhibition activities since 1997.

KölnSkulptur #10 · 2020–2023

ÜberNatur – Natural Takeover

The Skulpturenpark Köln (Cologne Sculpture Park) is a unique exhibition venue featuring loaned works from past KölnSkulptur exhibitions, interspersed with the permanent collection amassed by Michael and Eleonore Stoffel. Every two years, a curator is invited to add new artworks to this constellation of outdoor sculpture. All of the works shown at KölnSkulptur, most of them being commissioned especially for the exhibition. The Skulpturenpark Köln is thus a unique hybrid of permanent display and temporary group exhibition.
ÜberNatur – Natural Takeover marks the 10th iteration of the biannual KölnSkulptur exhibition of contemporary outdoor sculpture. Eight new works have been added to the Skulpturenpark Köln this year. Inspired by the location of the public park – wedged between the Rhine, the Cologne Zoo, the Flora and the adjacent Botanical Garden – as curator of this year’s KölnSkulptur, artworks have been commissioned or selected that engage with notions of nature and initiate dialogue with the natural environment.
Spur (2015) by Lois Weinberger can be read as the lodestar around which this year’s exhibition revolves. Commissioned for KölnSkulptur #8, it is a sixty-metre-long shallow trench cut into the ground. It has slowly developed to become a ‘ruderal community’, a living constellation of invasive weeds and a few furtive animals, which have made their home on the rough terrain. This ‘wilderness’ of weeds, a disruptive intervention in the public park, interrogates the connections between planning and planting and between idea(l)s of ‘nature’ and nature itself. This oscillation between the ‘natural’ and the ‘artificial’ – in effect a destabilisation of the two contrasting terms, which are already blurry and shifting – was a determining feature in the choice of which artworks to commission for KölnSkulptur #10. This year’s exhibition accentuates the ‘park’ in Skulpturenpark, emphasising not only its physical location, but also wider growing concerns about humanity’s place within a larger ecology – a communal ecology, in which humans, animals and plants co-exist in various constellations, all faced with the threat of climate change and ecological crisis.
KölnSkulptur #10 opens amid a devastating global pandemic, triggered by a rare spillover of a virus from wild animals to humans. Facilitated by ever-closer connections between disparate parts of the world as a result of globalisation, the virus has rampaged like wildfire across the planet, infecting millions of people.
The ‘new normal’ created by this global pandemic is causing us to view the world from novel perspectives; art and exhibitions of art are not exempt from such new interrogations. It is now of the utmost urgency that we raise awareness of the network of interconnections between striving for economic growth and globalisation and the devastating impact these can have on our natural environment. At the same time, we must not forget the visionary power of art and its ability to forge new ideas and sense-forms – not to mention its ability to refer to the ineffable beyond the relentless logic of utility and human efficiency.
Size does not define the significance of sculptural work. Sometimes small gestures can have a large impact, as can be seen in the current pandemic. Some of the works shown at KölnSkulptur #10 diverge from the expected scale of outdoor sculpture. Smaller and often barely perceptible pieces allow visitors to engage with the world at a microcosmic level, but also to widen their focus out to the larger, more unpredictable, macrocosm, in which we live.
ÜberNatur – Natural Takeover questions the monumentality of outdoor sculptures. The exhibition thus oscillates between the smallest work by Ayşe Erkmen and the largest by Dane Mitchell. Erkmen’s contribution consists of a replica of Lonely George, a Hawaiian tree snail, the last of its species, which died in 2019 after scientists spent fourteen years unsuccessfully trying to find it a mate. Mitchell’s work features two artificial trees designed to camouflage mobile data antennae and surveillance equipment, originally mass-produced in China. This piece has been imported for KölnSkulptur #10 from last year’s Venice Biennale, where it was exhibited in the context of New Zealand’s national pavilion.
At KölnSkulptur #10, visitors will encounter works that touch upon fundamental issues of birth, emergence, growth and decay, works that address both the microcosmic and macrocosmic levels of existence and that weave together diverse viewpoints to create complex connections – allowing us to sense and think with, and beyond, nature.
The crux of today’s ‘new normal’ is the need for communication, understanding and negotiation. Mary Bauermeister’s sculpture, Rübezahl, should, therefore, be read as the nucleus of KölnSkulptur #10. It offers visitors a place to sit and somewhere to reflect and contemplate. It opens up a space where taking one’s time and care and attentiveness have value, a space where nature can take hold.

Tobias Berger
Curator of the exhibition KölnSkulptur #10

New positions within this exhibition:
Mary Bauermeister
Rübezahl, 2020
John Bock
Schlupf, 2020
Leelee Chan
Blindfold Receptor (Gulf Frit. Orange), 2020
Ayşe Erkmen
Lonesome George, 2020
Dane Mitchell
Post hoc, 2019/2020
Katja Novitskova
Approximation (corn snakes hatching), 2017
Guan Xiao
Old Eggs and the Catcher, 2020
Trevor Yeung
Two Reliers, 2020
Positions from previous exhibitions
Tom Burr
No Access: cluster one(B, D, E, I, M), , 2015/2017
James Lee Byars
Untitled (Sigmund Freud), 1989
Nina Canell
Power (Powerless), 2013
Edith Dekyndt
The Fences, 2015
Bogomir Ecker
Ohr, 1986
Fischli/Weiss
Garten, 1997/1999
Sou Fujimoto
Garden Gallery, 2011
Dan Graham
Greek Cross Labyrinth, 2001
Lena Henke
The Doors, 2013
Jenny Holzer
Ambition is just …, 1997
Leiko Ikemura
Katzenmädchen mit r(h)ein-Blick, 1999
Anish Kapoor
Untitled, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Hubert Kiecol
Rheinwein, 2011
Per Kirkeby
Laeso-Kopf II, 1983
Klara Lidén
Harvest Moon, 2013
Jorge Pardo
Tomatensuppe, 1997
Ulrich Rückriem
Ohne Titel, 2001; Granit, schwarz, Schweden, gespalten, geschnitten, geschliffen, 1986
Michael Sailstorfer
Hoher Besuch – Köln, 2009
Karin Sander
Paradise 231 (Kunstrasenstück für die KölnSkulptur), 2013/2015
Thomas Schütte
Weinende Frau, 2011
Joel Shapiro
Untitled [Shapiro], 1996/1999
Andreas Slominski
Der Parkplatz, 2007
Mauro Staccioli
Untitled, 1999
Mark di Suvero
Racine du Naos, 1996
Rosemarie Trockel
L’Arc de Triomphe (Der armselige Baum/Die Zuwenignis), 2006
Simon Ungers
Monolith, 1999
Bernar Venet
Four Arcs of 235,5°, 1999
Bernard Voïta
Green Memories, 2011
Paul Wallach
Ring-Around, 1999
Lois Weinberger
Spur, 2015
Martin Willing
Quadratschichtung, zweiachsig, wachsend, 1996/1999
Heimo Zobernig
Spartakus Catering, 1998/2001
KölnSkulptur #9 · 2017-2019

La Fin de Babylone. Mich wundert, dass ich so fröhlich bin!

Curator: Chus Martínez

This 9th edition of KölnSkulptur is a special one since the park commemorates its 20th birthday. All the works presented by the eight artists invited for the 9th edition are newly commissioned. Following the opening, a catalogue will be published.

Do you remember the “Tales of A Thousand and One Nights”? When Antoine Galland translated them into French from Arabic at the beginning of the eighteenth century, they transformed the imagination of the time. The night of the May 8, 1709, Antoine Galland made a note in his diary about an extraordinary tale the Syrian merchant Hanna Diyab had just told him: “Aladdin and the Wonderful lamp.” That night in Paris was a dramatic one, marked by riots over food shortages. Diyab arrived in the French capital during this period and turned some of the dark nights into true storytelling sessions that changed the course of a “A Thousand and One Nights”; the tales he told were added to the translation and became world heritage through literature. It would not be accurate to say that the commissioned works for the 9th edition of the exhibition series KölnSkulptur are like those tales, but the park is the perfect grounds to be inhabited by the forces of fiction. Like the character Scheherazade, the wise young woman who tells a story every night to the Sultan in order to survive, Skulpturenpark Köln is a continuous voice that recalls the possibilities we still have to survive, and it does so with art.

The Skulpturenpark Köln is not monumental in scale, and yet it is of enormous importance. Over the last two decades, the park has been the place, the site, and the home of sculptures created for it, for you. The title of this year’s edition of KölnSkulpturLa Fin de Babylone—relates to the dream of a new beginning for culture, and therefore for society. There is no such a thing, and yet there is. On the one hand, we have the life we have, our circumstances are hard to change, our possibilities hard to manifest. And there are times when we believe the past was a better place, and others when we see the time we live in as full of possibility, openness. What determines the difference between these two perceptions is the way we feel our relative importance. Oh! you may say it is economy, but even if the economy thrives, there is no guarantee that it provides a social environment in which we feel relevant to others, influential to our community, able to celebrate and partake in the current course of events… Here, I propose a total exaggeration: to imagine that the production of these eight, new site-specific works joining the already existing ones in the parcours is key to the beginning of a new world. What I ask of you is not only to walk through the park and discover the different works but to also see their existence as the wonder that may affect the world order. This is out of proportion, because so is art.

And thus the second part of the title: Mich wundert, dass ich so fröhlich bin! This sentence, full of healthy humor, relates not to us but to the effort art makes to be great every time it happens. It is art and artists that produce under the assumption that it is really worth it to intervene, and add to the park not as if it is a piece of land but the whole world. This needed “exaggeration” is what motivates a thinking about the possibility of influence, which is both simple and complex.

This may be the reason why the different pieces that comprise this edition are rather unmonumental. They already embody an enormous ambition to affect the real, to touch us in such a way that every bit of skepticism of and cynicism towards the importance of art might be erased. And once liberated from the burden of doubt, we will all experience a new joy.

Chus Martínez
Curator of the exhibition KölnSkulptur #9

New positions within this exhibition:
Andrea Büttner
Schale, 2017
Claudia Comte
The Nordic Cactuses, 2017
Jan Kiefer
Ohne Titel (Kreuz und Schnaps), 2017
Eduardo Navarro
Letters to Earth, 2017
Solange Pessoa
Untitled [Pessoa], 2017
Lin May Saeed
Thaealab, 2017
Teresa Solar
Pumping Station, 2017
Pedro Wirz
Trilobites, 2013/2017
Positions from previous exhibitions
James Lee Byars
Untitled (Sigmund Freud), 1989
Nina Canell
Power (Powerless), 2013
Edith Dekyndt
The Fences, 2015
Bogomir Ecker
Ohr, 1986
Fischli/Weiss
Garten, 1997/1999
Sou Fujimoto
Garden Gallery, 2011
Dan Graham
Greek Cross Labyrinth, 2001
Lena Henke
The Doors, 2013
Jenny Holzer
Ambition is just …, 1997
Bethan Huws
Ysgol, 2013
Leiko Ikemura
Katzenmädchen mit r(h)ein-Blick, 1999
Anish Kapoor
Untitled, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Hubert Kiecol
Rheinwein, 2011
Per Kirkeby
Laeso-Kopf II, 1983
Klara Lidén
Harvest Moon, 2013
Jorge Pardo
Tomatensuppe, 1997
Manfred Pernice
Peilanlage Forelle, 2003
Ulrich Rückriem
Ohne Titel, 2001; Granit, schwarz, Schweden, gespalten, geschnitten, geschliffen, 1986
Michael Sailstorfer
Hoher Besuch – Köln, 2009
Karin Sander
Paradise 231 (Kunstrasenstück für die KölnSkulptur), 2013/2015
Thomas Schütte
Weinende Frau, 2011
Joel Shapiro
Untitled [Shapiro], 1996/1999
Andreas Slominski
Der Parkplatz, 2007
Mauro Staccioli
Untitled, 1999
Mark di Suvero
Racine du Naos, 1996
Rosemarie Trockel
L’Arc de Triomphe (Der armselige Baum/Die Zuwenignis), 2006
Amalia Ulman
Stock Image of War (Hospital), June 2015
Simon Ungers
Monolith, 1999
Bernar Venet
Four Arcs of 235,5°, 1999
Bernard Voïta
Green Memories, 2011
Paul Wallach
Ring-Around, 1999
Lois Weinberger
Spur, 2015
Martin Willing
Quadratschichtung, zweiachsig, wachsend, 1996/1999
Heimo Zobernig
Spartakus Catering, 1998/2001
KölnSkulptur #8 · 2015–2017

Curator: Thomas D. Trummer

KölnSkulptur is a biennial series of exhibitions at Skulpturenpark Köln (Cologne Sculpture Park). It was initiated by the park’s founders, Dr. Michael and Dr. Eleonore Stoffel. KölnSkulptur #8 is the eighth new show and can be viewed from June 2015 onwards.

Encircled by busy thoroughfares, Skulpturenpark Köln occupies an area that is quiet enclave and urban periphery, park and no-man’s-land simultaneously. It is this space-defining tension which Thomas D. Trummer was drawing on when he chose the artists for the current exhibition.

Seven new artworks are on display, five of which are commissions. They all deal with the ideas of framing or the opposite, exclusion. The unshakeable, defiant presence of these monuments is supposed to inspire thought about contemporary political developments in Germany and Europe. They act as view obstacles and thematically stand for opposition, work and migration, for movement and rejection.

“Sculptures are statements of dissent, not ornamental islands.”
Thomas D. Trummer

The US conceptual artist Tom Burr is showing mirrored screens placed on the lawn, thus creating a forest of darkened, reflecting and distorting surfaces. Lois Weinberger, native of Tyrol, draws an aisle through the park, at the same time tear and cut, serving as road of invasion for immigrant plants. The art collective Slavs and Tatars is dealing with the migration of languages and the common root of Abrahamic religions by having a giant chain of prayer beads protrude from the ground. Amalia Ulman, born in Buenos Aires, is showing a wheelchair, miming the small wire mesh-constructions peddled by Latin-American migrants in their new home California. In parallel, the artist’s voice can be heard from an audiotape. Edith Dekyndt from Belgium works with ephemeral phenomena like wind, weather or tidal movements. She covered the steel entrance doors with copper. Climatic influences will eventually give the copper a green patina and in this way integrate it with surrounding nature. Santiago Sierra, resident of Madrid, is showing a giant black concrete cube. On its sides, metal figures show the working hours needed to produce it. The imposing block is like a flawless Kaaba, telling a story of hardship, work and exploitation. The US artist Matt Mullican, currently living in Berlin, visualizes his encyclopaedic world system on two benches, inviting visitors to sit down, but also to decipher the code.

Thomas D. Trummer left the biggest part of the permanent collection in the park, but created new emphases by moving some artworks. Among these are the works of the two German artists Ulrich Rückriem and Günther Förg.
Ulrich Rückriem is a sculptor, who lives in Cologne and London. He cuts his sculptures directly from the rock in the quarry and refrains from any further manipulation. The drillings and cracks in the granite remain visible. An ensemble of four blocks is now positioned centrally in the park. Günther Förg, who mainly worked as graphic artist and painter, has a high-rising bronze highlight the traces of manual work: grooves, tracts, knots and plastic modelling masses are reminiscent of the originally soft and pliable consistency of the material. At the same time the block is an insurmountable architectural element, it opposes the visitor as gestural wall.

Thomas D. Trummer
Curator of the exhibition KölnSkulptur #8

New positions within this exhibition:
Tom Burr
No Access, 2015
Edith Dekyndt
The Fences, 2015
Matt Mullican
5 Worlds, 12 Benches, 2013
Santiago Sierra
583 Stunden Arbeit, Skulpturenpark Köln, Mai 2015
Slavs and Tatars
AÂ AÂ AÂ UR, 2015
Amalia Ulman
Stock Image of War (Hospital), June 2015
Lois Weinberger
Spur, 2015
Positions from previous exhibitions
James Lee Byars
Untitled (Sigmund Freud), 1989
Nina Canell
Power (Powerless), 2013
Jimmie Durham
Pagliaccio non son, 2011
Bogomir Ecker
Ohr, 1986
Fischli/Weiss
Garten, 1997/1999
Sou Fujimoto
Garden Gallery, 2011
Dan Graham
Greek Cross Labyrinth, 2001
Lena Henke
The Doors, 2013
Jenny Holzer
Ambition is just …, 1997
Bethan Huws
Ysgol, 2013
Leiko Ikemura
Katzenmädchen mit r(h)ein-Blick, 1999
Anish Kapoor
Untitled, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Hubert Kiecol
Rheinwein, 2011
Per Kirkeby
Laeso-Kopf II, 1983
Klara Lidén
Harvest Moon, 2013
Jorge Pardo
Tomatensuppe, 1997
Manfred Pernice
Peilanlage Forelle, 2003
Ulrich Rückriem
Ohne Titel, 2001; Granit, schwarz, Schweden, gespalten, geschnitten, geschliffen, 1986
Michael Sailstorfer
Hoher Besuch – Köln, 2009
Thomas Schütte
Weinende Frau, 2011
Joel Shapiro
Untitled [Shapiro], 1996/1999
Andreas Slominski
Der Parkplatz, 2007
Mauro Staccioli
Untitled, 1999
Mark di Suvero
Racine du Naos, 1996
Rosemarie Trockel
L’Arc de Triomphe (Der armselige Baum/Die Zuwenignis), 2006
Simon Ungers
Monolith, 1999
Bernar Venet
Four Arcs of 235,5°, 1999
Bernard Voïta
Green Memories, 2011
Paul Wallach
Ring-Around, 1999
Pedro Wirz
Trilobites, 2013/2017
Heimo Zobernig
Spartakus Catering, 1998/2001
KölnSkulptur #7 · 2013–2015

KölnSkulptur #7

The restaging of Cologne sculpture park, visible from May 2013 to spring 2015, has to be looked at bearing in mind the previous KölnSkulptur #6 because substantial changes had come along with it. The park’s area has been enlarged since and additional spaces have been created, offering new vistas. Since 2011, the Garden Gallery, an open pavilion, dominates the park and this work by the Japanese architect Sou Fujimoto gave a new landmark to the park. Furthermore, Florian Slotawa’s work Kölner Reihe started off an unusual and surprising formal dialogue between focal points of the sculpture park’s collectional history. Slotawa’s concept, to only have assembled the seven pieces of the Kölner Reihe temporarily, forced KölnSkulptur #7 to place the works in new positions where they could resume their autonomous presence.

Bearing this in mind, the new positionings in the exhibition KölnSkulptur #7 follow the tradition of all previous exhibitions and together with the current contributions set the agenda for a contemporary tendency in sculpture which is characterised by sculpture as an idea with reference to an existent situation. The Cologne sculpture park can be read as a place that with its versatility of different perspectives offers visitors time, leisure to linger and ponder the different materials. Consequently, Karin Sander has chosen seven places which invite visitors to take a rest, sitting down on circular mats of synthetic turf. The manufacturer calls this product, selected by Sander from a range of almost one hundred, Paradise 231, which in turn broadens the interpretational horizon within the park’s context. Bethan Huws has had a multi-part ladder put up, which, pointing skyward, steers associations towards the scaling of dreams with its purpose-free undirectedness. The disused power pole by Nina Canell seems like the ruins of a post-modern age, a reminiscent of the utopia of those years in which no one had to worry about energy. Against the background of the city skyline, the pole becomes a cautionary object that sends the message at the same time not to be networked any longer in the park. Close by, Susan Hiller has had her acoustic work installed, which, originally conceived for a Landesgartenschau, transforms Mendel’s inheritance laws into a sound installation. It seems as if Édouard Manet’s famous 1863 painting ”The Luncheon on the Grass” has become a point of reference not only for Karin Sander, but also for Alicja Kwade, denoting an idyll which has become a common good: the raw, untreated boulders of different kinds of stone have been placed like a living room suite in the open, seemingly offering the opportunity to  carve sitting, lying or standing figures, sculptures-to-be, thus visualising the ancient Pygmalion topic as a process of the internal imagination.

Klara Lidén achieves such a transformation in a most astonishing way: in the very place where the steel container sculpture by Sofia Hultén used to sit, now there appears a hedge, cut in the shape of a container. On the way there, the ground work of Esther Kläs shows a piece made of coloured concrete whose shape leaves it to the viewer whether to see a body impression or a shape created in the form of a vessel – again, creating the ultimately indefinable expression is the aim of the form. With her tripartite work, Lena Henke refers to graffiti-photographs by Brassaï. The work Elisabeth by Bettina Pousttchi alludes to a street name in Berlin, where the artist has found these elements and arranged them to a new composition as such. One of the previous landmarks of Cologne sculpture park had to be removed into storage for safety reasons. The spectacular space is now used by Cecilia Edefalk for a bronze which in a camouflage of a birch branch likens this place to a quasi-archaeological site. A second bronze near the passage leading to one of the three bunkers dominating Cologne sculpture park plays with this theme of the mise-en-scène of places. Also the casting moulds of Tatiana Trouvé’s sculpture play with the surrealist tradition. Her voluminous casts of paper bags in connection with bronze-cast shoes suggest the absence of figures commanding this space. The ceramic forms of Nicola Schrudde are searching for a similar archaicism with organic shapes protected by a miniaturised glass house. Valerie Krause places a horizontal picture in a window of Sou Fujimoto’s garden pavilion, thus establishing a relation between a close horizon and the grand panorama of the river Rhine. An unusual contribution by Tamara Grcic invites new guests to stay in the park. She placed nesting boxes for parakeets high up in the tree tops of two plane trees to offer the offspring of Cologne Zoo a new home. The birds’ green plumage lends a vivid colouring to the park which is in motion continuously and gives visitors the opportunity of experiencing situational moments of lightness while viewing the new works.

Friedrich Meschede
Curator of the exhibition KölnSkulptur #7

New positions within this exhibition:
Nina Canell
Power (Powerless), 2013
Cecilia Edefalk
Birch Mask, 2011; Weeping Birch, 2013
Tamara Grcic
Vögel im Baum, 2013
Lena Henke
The Doors, 2013
Susan Hiller
What Every Gardener Knows, 2003
Bethan Huws
Ysgol, 2013
Esther Kläs
0–5, 2013
Valerie Krause
scheint / das Matte, 2013
Alicja Kwade
Anschauungsvorstellung, 2013
Klara Lidén
Harvest Moon, 2013
Bettina Pousttchi
Elisabeth, 2012
Karin Sander
Paradise 231 (Kunstrasenstück für die KölnSkulptur), 2013/2015
Nicola Schrudde
[Haus/Silber/für #7], 2013
Tatiana Trouvé
Refolding, 2012
Positions from previous exhibitions
James Lee Byars
Untitled (Sigmund Freud), 1989
Jimmie Durham
Pagliaccio non son, 2011
Bogomir Ecker
Ohr, 1986
Fischli/Weiss
Garten, 1997/1999
Sou Fujimoto
Garden Gallery, 2011
Günther Förg
Ohne Titel [Förg 1997], 1997
Dan Graham
Greek Cross Labyrinth, 2001
Jenny Holzer
Ambition is just …, 1997
Leiko Ikemura
Katzenmädchen mit r(h)ein-Blick, 1999
Jörg Immendorff
Hyde Park Corner, 1999
Anish Kapoor
Untitled, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Hubert Kiecol
Rheinwein, 2011
Jorge Pardo
Tomatensuppe, 1997
Manfred Pernice
Peilanlage Forelle, 2003
Ulrich Rückriem
Ohne Titel, 2001; Granit, schwarz, Schweden, gespalten, geschnitten, geschliffen, 1986
Michael Sailstorfer
Hoher Besuch – Köln, 2009
Thomas Schütte
Weinende Frau, 2011
Joel Shapiro
Untitled [Shapiro], 1996/1999
Andreas Slominski
Der Parkplatz, 2007
Mauro Staccioli
Untitled, 1999
Mark di Suvero
Racine du Naos, 1996
Rosemarie Trockel
L’Arc de Triomphe (Der armselige Baum/Die Zuwenignis), 2006
Simon Ungers
Monolith, 1999
Bernar Venet
Four Arcs of 235,5°, 1999
Johannes Wald
Pedestal for a Muse, 2011
Paul Wallach
Ring-Around, 1999
Martin Willing
Quadratschichtung, zweiachsig, wachsend, 1996/1999
Heimo Zobernig
Spartakus Catering, 1998/2001
KölnSkulptur #6 · 2011–2013

KölnSkulptur #6

The exhibition KölnSkulptur #6 has cast the park run by Stiftung Skulpturenpark Köln in a completely new perspective: the park grounds have been extended and can be experienced in a host of ways thanks to the sightlines and routeways.

At the centre of the new concept is a garden pavilion by Japanese architect Sou Fujimoto, which through its size, shape and alignment forms an antithesis to the foundation’s now publicly accessible building. This Garden Gallerycontinues the tradition of classical park architecture and will serve as the pivot for works that are already in the park and that pick up on motifs in the architecture, such as the already existent sculptures by Jorge Pardo, Heimo Zobernig and Dan Graham. This direction in sculpture, which is informed by architectural motifs, can be seen in new works by Olaf Holzapfel and Bernard Voïta.

Another major pivotal point is the project by Florian Slotawa, whose contribution Kölner Reihe has set out to produce an objective presentation of the works in the collection: seven pieces from the park, which all may be considered landmarks in the original idea for the sculpture park, are arranged in a row according to size. With this the works that previously had been scattered about in a decentralised manner will be concentrated together as an exhibition within an exhibition and spark an unexpected dialogue on the formal connections they share between lines and volumes.

The new works all share a concern with materials and their processing, in the manner already indicated by the works in park by Ulrich Rückriem – sculptures that combine minimalist forms with a kind of narrative and that reveal themselves as a process of seeing: a boulder covered by a hide by Johannes Wald, Jimmie Durham’s monumental tree trunk that hails from foreign climes, a terracotta sculpture by Katinka Bock that will only later be fixed in ceramic form, a sandstone sculpture by Peter Kamm that seems like a surreal, fossilised element, objets trouvés for which Benedikt Terwiel has found new locations [29], and the container which Sofia Hultén presents to us as an abstract volume. We approach a tree that has been put in our way by Mandla Reuter and are given a view over the park from a bench made of recycled wood – a seat sculpture by Jochen Weber. And a seemingly crystalline object on a table by Roland Gätzschmann has the air of a still life.

Finally, we encounter new works by Martin Boyce, Thomas Kiesewetter, Hubert Kiecol and Thomas Schütte that can be termed autonomous, but which in their own ways theme their locations in the park.

KölnSkulptur #6 sets out to redefine a handed-down theme and with that to reinvent itself. Above all, its objective is to invite the visitors to linger while looking, so as to grasp the sightlines from the reference point of their own free-ranging associations as an individual experience in seeing. Sculpture is the art of physical experience within the space of space.


Friedrich Meschede
Curator of the exhibition KölnSkulptur #6

New positions within this exhibition:
Katinka Bock
WIR, 2011
Martin Boyce
Warm Dry Stone and Palm Leaves, 2010
Jimmie Durham
Pagliaccio non son, 2011
Sou Fujimoto
Garden Gallery, 2011
Roland Gätzschmann
100, 2011
Olaf Holzapfel
Interesse an allerlei Formen von Datenumwandlung, 2011
Sofia Hultén
On a Fixed Centre, 2011
Peter Kamm
Traut euren Augen, dort kommen sie, 2007
Hubert Kiecol
Acht Helle, 2011; Rheinwein, 2011
Thomas Kiesewetter
Broken Butterflies (Version 1), 2010
Mandla Reuter
Der Park, 2011
Thomas Schütte
Weinende Frau, 2011
Florian Slotawa
Kölner Reihe, 2011
Benedikt Terwiel
Schwerepunktfeld, Koordinate 1/3 · 2/3 · 3/3, 2011
Bernard Voïta
Green Memories, 2011
Jochen Weber
Figur 21, 2011
Johannes Wald
Pedestal for a Muse, 2011
Positions from previous exhibitions
James Lee Byars
Untitled (Sigmund Freud), 1989
Tony Cragg
Wirbelsäule – The Articulated Column, 1996
Bogomir Ecker
Ohr, 1986
Fischli/Weiss
Garten, 1997/1999
Barry Flanagan
Large Mirror Nijinski, 1993
Günther Förg
Ohne Titel [Förg 1997], 1997
Dan Graham
Greek Cross Labyrinth, 2001
Jenny Holzer
Ambition is just …, 1997
Leiko Ikemura
Katzenmädchen mit r(h)ein-Blick, 1999
Jörg Immendorff
Hyde Park Corner, 1999
Anish Kapoor
Untitled, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Jorge Pardo
Tomatensuppe, 1997
Manfred Pernice
Peilanlage Forelle, 2003
Tobias Rehberger
Unmögliche Schönheit (schattig), 1999
Ulrich Rückriem
Ohne Titel, 2001
Michael Sailstorfer
Hoher Besuch – Köln, 2009
Joel Shapiro
Untitled [Shapiro], 1996/1999
Dirk Skreber
Reaktor, 2009
Andreas Slominski
Der Parkplatz, 2007
Mauro Staccioli
Untitled, 1999
Mark di Suvero
Racine du Naos, 1996
Rosemarie Trockel
L’Arc de Triomphe (Der armselige Baum/Die Zuwenignis), 2006
Simon Ungers
Monolith, 1999
Bernar Venet
Four Arcs of 235,5°, 1999
Paul Wallach
Ring-Around, 1999
Martin Willing
Quadratschichtung, zweiachsig, wachsend, 1996/1999
Heimo Zobernig
Spartakus Catering, 1998/2001
KölnSkulptur #5 · 2009–2011

Reality Check

Curator: Dr. Renate Goldmann

The Skulpturenpark Köln was founded in 1997 by the art collectors Michael and Eleonore Stoffel and presented in succession the KölnSkulptur exhibitions 1-4 (1997, 1999, 2001, 2007). In mounting KölnSkulptur 5, April 2009 until April 2011, the Stiftung Skulpturenpark Köln is continuing this series and shows the second exhibition of outdoor sculptures curated for this place by Dr. Renate Goldmann, Managing and Artistic Director. KölnSkulptur 5 is unveiling 17 new works to the public, created by the following array of illustrious artists Aaron Curry, Christina Doll, Alexander Esters, Katharina Fritsch, Bernd Kastner, Norbert Kricke, Jonathan Meese, Isa Melsheimer, Thomas Moecker, Thomas Rentmeister, Michael Sailstorfer, Jan Philip Scheibe, Dirk Skreber, Torsten Slama, Alan Sonfist, Thomas Stimm and Ina Weber. KölnSkulptur 5-Reality Check not only showcases the latest trends in the medium of outdoor sculpture, but, above all, focuses on the aspects of our modern society they reflect, and on the question of the sustainability of reality. The altogether 41 works by international artists open up exciting new perspectives, and explore themes such as man, environment and evolution.

Dr. Renate Goldmann
Curator of the exhibition KölnSkulptur #5

New positions within this exhibition:
Aaron Curry
Purple Cloud, 2009
Christina Doll
Vivi, 2007/2009
Alexander Esters
LÜG DU SAU!, 2009
Katharina Fritsch
Gartenskulptur, 2006
Bernd Kastner
Menschliche Kälte, 2009
Norbert Kricke
Raumplastik Grosse F III, 1980
Jonathan Meese
„Wir, Erzkinder lernen Macht (Süsses Dorf der Verdammtin) = Die Gören, 2007
Isa Melsheimer
Rödig, 2008
Thomas Moecker
Basement, 2007
Thomas Rentmeister
Depot, gestern, 2009
Michael Sailstorfer
Hoher Besuch – Köln, 2009
Jan Philip Scheibe
abseite, 2009
Dirk Skreber
Reaktor, 2009
Torsten Slama
Herbert-Bayer-Zigarettenkiosk / Atomskulptur, 2009
Alan Sonfist
Disappearing Forest of Germany, 2009
Thomas Stimm
Löwenzahn, 2007
Ina Weber
Vogelbad, 2009
Positions from previous exhibitions
James Lee Byars
Untitled (Sigmund Freud), 1989
Tony Cragg
Wirbelsäule – The Articulated Column, 1996; Early Forms, 1997
Bogomir Ecker
Ohr, 1986
Fischli/Weiss
Garten, 1997/1999
Barry Flanagan
Large Mirror Nijinski, 1993
Dan Graham
Greek Cross Labyrinth, 2001
Jenny Holzer
Ambition is just …, 1997
Leiko Ikemura
Katzenmädchen mit r(h)ein-Blick, 1999
Jörg Immendorff
Hyde Park Corner, 1999
Anish Kapoor
Untitled, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Jorge Pardo
Tomatensuppe, 1997
Manfred Pernice
Peilanlage Forelle, 2003
Tobias Rehberger
Unmögliche Schönheit (schattig), 1999
Ulrich Rückriem
Ohne Titel, 2001
Joel Shapiro
Untitled [Shapiro], 1996/1999
Andreas Slominski
Der Parkplatz, 2007
Mauro Staccioli
Untitled, 1999
Mark di Suvero
Racine du Naos, 1996
Rosemarie Trockel
L’Arc de Triomphe (Der armselige Baum/Die Zuwenignis), 2006
Simon Ungers
Monolith, 1999
Bernar Venet
Four Arcs of 235,5°, 1999
Paul Wallach
Ring-Around, 1999
Martin Willing
Quadratschichtung, zweiachsig, wachsend, 1996/1999
Heimo Zobernig
Spartakus Catering, 1998/2001
KölnSkulptur #4 · 2007–2009

KölnSkulptur 4

Curator: Dr. Renate Goldmann

With KölnSkulptur 4, the Skulpturenpark Köln is showing numerous outdoor sculptures by international artists. The exhibition was curated by Dr. Renate Goldmann.

New positions within this exhibition:
James Lee Byars
Untitled (Sigmund Freud), 1989
George Condo
Monk, 2000
Markus Lüpertz
Paris, 2001
Tatzu Nishi
Fuji-San, 2006/2007
Kirsten Ortwed
Gemelli, 2006
Manfred Pernice
Peilanlage Forelle, 2003
Tal R
Pommel and Pomerans, 2005
Thomas Scheibitz
Sylvia Stone, 2007
Andreas Slominski
Der Parkplatz, 2007
Rosemarie Trockel
Ohne Titel [Trockel 1982/90], 1982/1990; L’Arc de Triomphe (Der armselige Baum/Die Zuwenignis), 2006
Positions from previous exhibitions
Bonnie Collura
Snowman, 2000
Tony Cragg
Wirbelsäule – The Articulated Column, 1996; Early Forms, 1997
Bogomir Ecker
Ohr, 1986
Fischli/Weiss
Garten, 1997/1999
Barry Flanagan
Large Mirror Nijinski, 1993
Günther Förg
Ohne Titel [Förg 1997], 1997
Dan Graham
Greek Cross Labyrinth, 2001
Jenny Holzer
Ambition is just …, 1997
Leiko Ikemura
Katzenmädchen mit r(h)ein-Blick, 1999
Jörg Immendorff
Hyde Park Corner, 1999
Anish Kapoor
Untitled, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Jorge Pardo
Tomatensuppe, 1997
Tobias Rehberger
Unmögliche Schönheit (schattig), 1999
Ulrich Rückriem
Ohne Titel, 2001
Joel Shapiro
Untitled [Shapiro], 1996/1999
Mauro Staccioli
Untitled, 1999
Mark di Suvero
Racine du Naos, 1996
Simon Ungers
Monolith, 1999
Bernar Venet
Four Arcs of 235,5°, 1999
Paul Wallach
Ring-Around, 1999
Martin Willing
Quadratschichtung, zweiachsig, wachsend, 1996/1999
Heimo Zobernig
Spartakus Catering, 1998/2001
Franz West
Feile, 1997

The first exhibitions in the Skulpturenpark Köln:

The first three exhibitions were still curated by an sculpture committee. From Kölnskulptur #4 onwards, changing curators were appointed.

KölnSkulptur #3 · 2001–2007

KölnSkulptur 3

Curator: Sculpture Committee

With KölnSkulptur 3, the Skulpturenpark Köln is showing numerous outdoor sculptures by international artists. The exhibition was curated by the Sculpture Committee, whose members are Prof. Dr. Siegfried Gohr, Dr. Veit Loers, Dr. Eleonore Stoffel, Dr. Michael Stoffel and Prof. Dr. Armin Zweite.

New positions within this exhibition:
Bonnie Collura
Snowman, 2000
Barry Flanagan
Large Mirror Nijinski, 1993
Karl Gerstner
La Fleur du Mal, 1980
Dan Graham
Greek Cross Labyrinth, 2001
Martin Honert
Zelt, 2001
Ulrich Rückriem
Ohne Titel, 2001
Bernar Venet
Four Arcs of 235,5°, 1999
Johannes Wohnseifer
Ein blasser Schimmer, 2001
Heimo Zobernig
Spartakus Catering, 1998/2001
Positions from previous exhibitions
Stephan Balkenhol
Mann auf Anhänger, 1999
Tony Cragg
Wirbelsäule – The Articulated Column, 1996; Early Forms, 1997
Bogomir Ecker
Ohr, 1986
Fischli/Weiss
Garten, 1997/1999
Günther Förg
Ohne Titel [Förg 1997], 1997
Jenny Holzer
Ambition is just …, 1997
Leiko Ikemura
Katzenmädchen mit r(h)ein-Blick, 1999
Jörg Immendorff
Hyde Park Corner, 1999
Anish Kapoor
Untitled, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Jorge Pardo
Tomatensuppe, 1997
Tobias Rehberger
Unmögliche Schönheit (schattig), 1999
Joel Shapiro
Untitled [Shapiro], 1996/1999
Mauro Staccioli
Untitled, 1999
Mark di Suvero
Racine du Naos, 1996
Rosemarie Trockel
Ohne Titel [Trockel 1982/90], 1982/1990; Der armselige Baum, 1999
Simon Ungers
Monolith, 1999
Paul Wallach
Ring-Around, 1999
Franz West
Feile, 1997
Martin Willing
Quadratschichtung, zweiachsig, wachsend, 1996/1999
KölnSkulptur #2 · 1999–2001

KölnSkulptur 2

Curator: Sculpture Committee

With KölnSkulptur 2, the Skulpturenpark Köln is showing numerous outdoor sculptures by international artists. The exhibition was curated by the sculpture committee, which included Dr. Veit Loers, Dr. Eleonore Stoffel, Dr. Michael Stoffel and Prof. Dr. Armin Zweite.

New positions within this exhibition:
Stephan Balkenhol
Mann auf Anhänger, 1999
Tony Cragg
Wirbelsäule – The Articulated Column, 1996
Fischli/Weiss
Garten, 1997/1999
Günther Förg
Ohne Titel [Förg 1997], 1997
Isa Genzken
Sophienterrasse, 1991; Mittelweg, 1991
Asta Gröting
Potemkinsche Dörfer, 1994/1999
Georg Herold
punto iddio, 1999
Leiko Ikemura
Katzenmädchen mit r(h)ein-Blick, 1999
Jörg Immendorff
Hyde Park Corner, 1999
Anish Kapoor
Untitled, 1997
Meuser
Ohne Titel [Meuser], 1999
Tobias Rehberger
Unmögliche Schönheit (schattig), 1999
Ursula von Rydingsvard
Large Bowl, 1997
Julian Schnabel
Mc Beth, 1989
Joel Shapiro
Untitled [Shapiro], 1996/1999
David Smith
Primo Piano III, 1962
Mauro Staccioli
Untitled, 1999
Frank Stella
Werner Herzog Eats His Shoe, 1993
Mark di Suvero
Racine du Naos, 1996
Rosemarie Trockel
Ohne Titel [Trockel 1982/90], 1982/1990; Der armselige Baum, 1999
Simon Ungers
Monolith, 1999
Paul Wallach
Ring-Around, 1999
Martin Willing
Quadratschichtung, zweiachsig, wachsend, 1996/1999
Positions from previous exhibitions
Tony Cragg
Early Forms, 1997
Bogomir Ecker
Ohr, 1986
Günther Förg
Ohne Titel [Förg 1997], 1997
Jenny Holzer
Ambition is just …, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Jorge Pardo
Tomatensuppe, 1997
Martin Willing
Quadratschichtung, zweiachsig, wachsend, 1996/1999
KölnSkulptur #1 · 1997–1999

KölnSkulptur 1

Curator: Sculpture Committee

With KölnSkulptur 1, the Skulpturenpark Köln is showing numerous outdoor sculptures by international artists. The exhibition was curated by the sculpture committee, which included Dr. Veit Loers, Dr. Eleonore Stoffel, Dr. Michael Stoffel and Prof. Dr. Armin Zweite.

New positions within this exhibition:
Magdalena Abakanowicz
Hand-like Trees (Figura Rompa/Manus Ultimus), 1996
Louise Bourgeois
Spider, 1996
Alexander Calder
Pointes et Courbes, 1970
Anthony Caro
Forum [1992/1994], 1992/1994
Eduardo Chillida
Elkartu, 1990
Tony Cragg
Early Forms, 1997
Bogomir Ecker
Ohr, 1986; Belleville 2, 1997
Barry Flanagan
Leaping Hare on a Crescent and Bell, 1988
Günther Förg
Ohne Titel [Förg 1997], 1997
Jenny Holzer
Ambition is just …, 1997
Ellsworth Kelly
Rocker, 1997
Stefan Kern
Ohne Titel (Tribüne), 1996
Hubert Kiecol
Tor, 1997
Martin Kippenberger
Transportabler U-Bahn-Eingang, 1997
Per Kirkeby
Ohne Titel [Kirkeby], 1991/1992
Yves Klein
Feuerwand, 1961/1994
Alf Lechner
Negativ – Positiv, 1996
Markus Lüpertz
Clitunno, 1989/1990
Paul Myoda
Star Birth, 1997
Barnett Newman
Zim Zum II, 1969/1985
Ansgar Nierhoff
Den Einritzungen entsprechend, 1987
Jorge Pardo
Tomatensuppe, 1997
A. R. Penck
Uxos, 1987
Karl Prantl
Meditationssteine, 1991
George Rickey
Rectangles Horizontal Jointed Big, Thin, Small, 1990
Giuseppe Spagnulo
Turris, 1997
Rosemarie Trockel
Ohne Titel, 1997
Bernar Venet
Four Indeterminate Lines, 1994
Franz West
Feile, 1997