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.
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.
After the success of the 2014/15 exhibition Degas: Classicism and Experimentation, this exhibition 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, Cézanne counts as one of the forerunners of modernist painting. This exhibition expands this approach, interpreting Cézanne’s art from a position of productive tension, in which innovative pictorial processes become just as powerful as the creative appropriation of images from art history. The Karlsruhe exhibition is therefore consciously not arranged chronologically as a retrospective, but rather as a themed exhibition, which opens up a new perspective onto this artist’s seemingly so well-known oeuvre. more