Joseph Beuys – Works from the Van der Grinten Collection

In the collection presentations focusing on Beuys, starting in October 2021 a selection of works will be shown in the rooms between the north and east towers, subject only to minor periodic changes. Significant objects, primarily from the sculptural oeuvre, have been selected for this presentation, including the group of Hare’s Graves, the wooden crosses Symbol of Sacrifice and Symbol of Redemption, the objects Sled, Table with Aggregate, Fat corner on sloping plane, the multiple Ja Ja Ja Ja, Nee Nee Nee Nee, and the key work The Silence of Marcel Duchamp is Overrated. The museum is thus responding to the desire for a long-term Beuys presentation. The exhibition sheds light on the artistic approach of Beuys and provides insight into the collection of works by Beuys compiled by the van der Grinten brothers.

Series of juxtapositions
In order to give visitors the opportunity to view the works of Beuys anew and from different perspectives, since 2021 some of them will be juxtaposed for a limited time with works by artists who have taken up these works in order to question them critically or to comment on them in an ironic manner and in a way that expands their meaning.



From April 3rd, 2022 in rooms 35 and 36 (castle building)

KONSORTIUM is an artist collective founded in 2004 consisting of the three artists Lars Breuer, Sebastian Freytag and Guido Münch. They work together as a group of artists, exhibition space operators and curators. Characteristics of their projects are a clear and geometric formal language and an examination of the aesthetics of modernism and postmodernism within the history of art and architecture. 
As part of the exhibition "Joseph Beuys - Works from the van der Grinten Collection. Juxtapositions," the artists juxtapose Joseph Beuys' legendary poster "Art = Capital" from 1979 with their work "e pluribus unum" from 2018. 

Already in 2018, the photo "e pluribus unum" was created in connection with an exhibition of different artists in Wroclaw (Poland) on the topic of capital. In this photo, the three artists of KONSORTIUM recreated the pose in which Joseph Beuys had himself photographed in front of a mastodon, the fossil skeleton of an elephant ancestor, in the hessian state museum in Darmstadt in 1979.  The photograph of KONSORTIUM is deliberately different from this. It was taken in the Museum for Prehistory and Local History in Bottrop. 

On another wall, a written work refers to the dollar bills of the United States. The two Latin mottos "Novus ordo seclorum" and "E pluribus unum" establish a connection to the Beuys dictum "Art = Capital."  Likewise, the three signs of work on canvas take up the Beuysian formula, but replace the concepts of capital and art with the mathematical signs plus and minus. The cross-shaped symbol for plus is also a sign Beuys used many times. The motif recurs in the prototype of a serially multiplied cross sculpture, which also belongs to the installation of the KONSORTIUM collective.

Kai Fobbe – JaJaJaJaJaNeeNeeNeeNeeNee

From April 3rd, 2022 in Room 37 (Castle Building)

A woman uses sign language to translate the recording of a Fluxus event where Joseph Beuys spoke the words "Ja, Ja, Ja, Ja, Ja, Nee, Nee, Nee, Nee, Nee" for more than an hour in 1968. In the first film she shares the atmosphere that prevailed during the event, in the second film she translates the spoken words. Fobbe invents a pictorial reality for an event of which there is no cinematic record. The pattern in the background consists of the repetition of two dotted grids that mean yes and no in Braille. However, the communicative function of these signs is almost completely obscured by the decorative beauty of the background design. Kai Fobbe uses sign language and Braille here as sign systems that are known but understood by very few people. In this way, he draws our attention to things that arouse our interest or fascinate us even though we do not understand them. 

You can watch the videos here.

Until 30 June, Museum Schloss Moyland is also showing the current version of the long-term project "Raster Europe".

Kai Fobbe first studied physics, later classical guitar at the Cologne University of Music and Dance, Wuppertal department. In 1999, he presented "Morsen II", a visual-acoustic Morse code composition, at the composition competition of the Ensemblia Festival (Mönchengladbach). In 2003 he turned to films without sound. Since 2019, he has been using augmented reality in exhibition concepts designed for public digital space and the use of private mobile phones.