Forthcoming exhibitions

Elger Esser "zeitigen"


In 2016, the state of Baden-Württemberg’s major prize for the visual arts, the OskarSchlemmer State Prize will be awarded to the Stuttgart-born artist Elger Esser. To mark theoccasion, the Kunsthalle is showing an exhibition with various series of his large-formatphotographic works. Over the last twenty years, Esser has amassed an extensive oeuvre, inwhich he defies the logic of the development of the medium: the artist still places his trustin pre-digital photographic techniques and references the historical techniques of thePictorialists and traditional visual tropes from European landscape painting. Essercompleted a Master’s under Prof. Bernd Becher at the Düsseldorf Academy of the Arts,and from 2006–2009 was Professor of Photography at Karlsruhe University of Arts andDesign. The Düsseldorf-based artist regularly exhibits internationally, and his works arerepresented in numerous important museums. more

Elger Esser: Île Saint Martin II @ Elger Esser, France 2000, C-print on Diasec face, 138 x 182 cm, edition 7 + 1 AP


Art after 1945



Gestural painting was one of the trajectories of abstraction to which artists such as KarlOtto Götz, Asger Jorn, Bernard Schultze and Emil Schumacher dedicated themselves in the’50s and ’60s. Their pictures were produced with neither figurative references norpreparatory drawings; at the centre of their brand of Art Informel was spontaneity,processual variation and a joyous exploration of the stuff of paint. Children make use of asimilar working process naturally when they experiment with paints. In the JungeKunsthalle, children and teenagers can study works from the collection and become activethemselves, using their entire bodies.

Karl Otto Götz, image from 3.2.1953


Albrecht Dürer & William Kentridge


Albrecht Dürer (1471–1529) and William Kentridge (born 1955) – the GermanRenaissance artist and the globally active contemporary artist with South African roots –encounter each other in the medium of black-and-white printmaking, which they explorein diverse ways. Transcending the differences of epoch and culture, two visions of the artof printmaking are placed in a dynamic dialogue. The special expressive force of theirimages becomes visible in the comparison of various printing techniques such as woodcutand linocut, lithography and etching. An essential foundation of this is formed by theextensive collection of prints by Albrecht Dürer in the Kunsthalle’s Kupferstichkabinett.DOUBLE VISION is a cooperation between the Staatliche Museen zu Berlin’sKupferstichkabinett, the Centre for Advanced Studies BildEvidenz at the Free University ofBerlin and the Staatliche Kunsthalle Karlsruhe. Parallel to the DOUBLE VISION exhibition,the ZKM l Karlsruhe is showing William Kentridge’s 2015 projection More Sweetly Play the Dance.

Albrecht Dürer: The Penance of St John Chrysostom, circa 1496. Copperplate engraving. © bpk / SKK
William Kentridge: Remembering The Treason Trial, 2013, lithograph. © William Kentridge

Black and White

Companion show to DOUBLE VISION: Albrecht Dürer & William Kentridge



Complementing the presentation in the main building, the accompanying exhibition in the Junge Kunsthalle throws light not just on the two artists as prominent personalities of their epochs, but also on the development of printmaking techniques and the possibilities that have arisen from them. Albrecht Dürer and William Kentridge are connected both by the medium of the black-and-white print and by an interest in their respective eras, which they reflect in their work. In the workshops, young visitors are invited to try out various printmaking techniques. The range of activities on offer is appropriate for all age groupsand school types.

Albrecht Dürer, Rhinoceros, 1515, SKK


Major Baden-Württemberg Special Exhibition

28.10. 2017–11.2.2018

After the success of the 2014/15 exhibition Degas: Classicism and Experimentation, thisexhibition takes a look at the work of his most important contemporary, Paul Cézanne(1839–1906). Due to his tendency to abstract the elements of his pictures, Cézannecounts as one of the forerunners of modernist painting. This exhibition expands thisapproach, interpreting Cézanne’s art from a position of productive tension, in whichinnovative pictorial processes become just as powerful as the creative appropriation ofimages from art history. The Karlsruhe exhibition is therefore consciously not arrangedchronologically as a retrospective, but rather as a themed exhibition, which opens up anew perspective onto this artist’s seemingly so well-known oeuvre.

Paul Cézanne, View of the Sea at L'Estaque, 1883-1885, SKK