Museumsplatz 1 / Weststraße 98
November 9, 2014 – January 25, 2015
Hours: Tue–Fri 2–6 pm, Sat–Sun and holidays 11 am – 6 pm
The exhibition Dahlhausen viral is curated by the German artist and art collector Christoph Dahlhausen (1960). He smuggles his ‘art viruses’ into the Kunstmuseum Ahlen and contaminates the actual presentation of the museum’s collection with ‘strange’ art works. Some of them are taken from Dahlhausen’s private art collection, others sprout from his collaboration with colleagues from his international network. The result is an exhibition with frictions; surprising and contrasting settings change the perception of what is familiar and seemingly secure.
Internationale Neue Konkrete +
galerie dr. julius | ap
January 27 – March 17, 2012
Hours: Thu–Sat 3–7 pm and by appointment
Opening reception: Thursday, January 26, 2012, 7 pm
Participating artists: John Aslanidis (AU), Wolfgang Berndt (DE), Hartmut Böhm (DE), Monika Brandmeier (DE), Matthew Deleget (US), Edgar Diehl (DE), Stephan Ehrenhofer (AT), Daniel Göttin (CH), Michael Graeve (AU), Marco Grassi (IT), Anette Haas (DE), José Heerkens (NL),
Curated by Matthias Seidel
For the first exhibition in 2012 dr. julius | ap will present FutureShock OneTwo, a group show featuring a selection of international artists from three continents. Participants each display a work of theirs that they feel looks ahead towards the future.
The title reflects the current uncertainty in all areas of life: it seems to be increasingly clear that things will not evolve as predictably and smoothly as they have in the past. However, this is also a great opportunity for innovation. The exhibition wants to ask what role the International New Concrete and neighboring fields of art might play in this new era.
An important goal of this exhibition is to have the artists join a general discussion on the future of non-objective art, such as its potential to influence one’s perspective on life, especially in comparison with narrative forms of art. Moreover, it is to explore the relation of art and value: in times of a fundamental crisis in the monetary system, can money really be the adequate equivalent in which to trade art? Is the work of the artist actually not more than money can ever be? Could art be an alternative system of values, mentally and materially?