{"id":26859,"date":"2018-04-30T12:06:43","date_gmt":"2018-04-30T10:06:43","guid":{"rendered":"http:\/\/nrw-skulptur.net\/?post_type=sculpture_maps&p=26859"},"modified":"2018-04-30T12:11:15","modified_gmt":"2018-04-30T10:11:15","slug":"spaziergang-muenster-ii","status":"publish","type":"sculpture_maps","link":"https:\/\/nrw-skulptur.net\/en\/route\/spaziergang-muenster-ii\/","title":{"rendered":"M\u00fcnster Tour II"},"content":{"rendered":"

This route begins at the newly constructed LWL Museum, where one of Otto Piene’s early light sculptures (1970) is displayed along the facade. It leads past the university museums in the recently revitalized museum quarter and through the Domplatz in M\u00fcnster\u2019s city center, where numerous sculptures can be found. The majority of works have been maintained from the Skulptur Projekte. Those that emerged elsewhere are nonetheless impossible to imagine without the framework established by the Skulptur Projekte, which put M\u00fcnster in contact with certain artists and provided the city with a distinguished profile in the area of “sculpture in public space.” Examples of such works include Richard Serra\u2019s Fassbinder<\/em>, which was recently installed in the Geomuseum courtyard, and Eduardo Chillida\u2019s Tolerance Through Dialogue<\/em> (1993). This route is best traveled by foot, since bicycles must be pushed through the university areas and pedestrian zones.<\/p>\n","protected":false},"featured_media":36328,"template":"","sculpture_maps_tempo":[15079],"sculpture_maps_region":[15071],"class_list":["post-26859","sculpture_maps","type-sculpture_maps","status-publish","has-post-thumbnail","hentry","sculpture_maps_tempo-zu-fuss","sculpture_maps_region-muensterland"],"acf":{"sm_sculptures":[{"ID":27217,"post_author":"1","post_date":"2017-06-06 23:26:21","post_date_gmt":"2017-06-06 21:26:21","post_content":"This work by Mark Formanek only takes up 20 x 30 cm of public space. As such, it defines the relationship between art and the public in a novel way: the artist designed a total of twelve metal signs, each depicting a date and time in no particular order. Once the moment in time represented by a specific sign has been reached, a new sing takes its place.\r\nSpanning as far as the year 2040, the dates on the signs divide the time into intervals of roughly four years. At the designated time, people gather at the sign to observe the exchange and celebrate the event. In its essence, this event is the definition of a new future point in time. As such, the artist provides a framework that is captivating precisely because of its absurdity. Nonetheless, the form and extent of its impact are significantly influenced by the public and the unpredictable conditions on the specified date.\r\n","post_title":"Datum \/ Date","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"datum","to_ping":"","pinged":"","post_modified":"2018-08-19 18:40:23","post_modified_gmt":"2018-08-19 16:40:23","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/datum\/","menu_order":1117,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27328,"post_author":"1","post_date":"2017-06-06 23:29:15","post_date_gmt":"2017-06-06 21:29:15","post_content":"The three cages hanging from the tower of the Lambertikirche have always been a special sort of public memorial: In 1536, after 15 months of siege and the recapture of the city, Bishop Franz von Waldeck used the cages to display the martyred bodies of Jan van Leyden, Berndt Knipperdolling, and Heinrich Krechting. The three Anabaptist leaders had tried to establish a social revolution in M\u00fcnster. However, because of the pressures caused by the siege, hunger, and inner conflicts, it instead led to a reign of terror that was driven by religious mania. \r\nIn each of the three cages, Lothar Baumgarten installed a bare light bulb that would light up at the start of dusk to remind people of these three \"lost souls.\" It is a contemporary reference to a historic example of power and madness. Although the event is centuries old, we have still learned nothing from it today.\r\n\r\n \tAdditional information: www.skulptur-projekte.de<\/span><\/span>","post_title":"Drei Irrlichter \/ Three Will-o\u2019-the-Wisps","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"drei-irrlichter","to_ping":"","pinged":"","post_modified":"2018-09-17 10:26:30","post_modified_gmt":"2018-09-17 08:26:30","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/drei-irrlichter\/","menu_order":1009,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27607,"post_author":"1","post_date":"2017-06-06 23:26:16","post_date_gmt":"2017-06-06 21:26:16","post_content":" \tSimilar monuments have been erected to rulers, inventors, poets, and thinkers -- as well as the classic Kiepenkerl<\/em> in M\u00fcnster. However, this sculpture honors a pair of bright red cherries on top of an unusually disproportionate-looking sandstone pillar. \r\nThomas Sch\u00fctte's contribution to the 1987 Skulptur Projekte engages with the traditional concept of monuments and where they are located. The column is made of Baumberger sandstone, which has shaped M\u00fcnster's architectural tradition, as well as its historic reconstruction.\r\nThe work is situated in a central square, as is typical for a monument; however, as a parking lot and space for dumpsters, it's a relatively unstructured location, much like a back courtyard on one of the highly polished shopping streets.\r\nIn place of a venerable figure from history, the two cherries evoke associations with pop art. They are oversized, plump, round, and decorative. Cherry Column<\/em> considers the topic of public art superficially in several respects, but also breaks it down ironically and offers a tongue in cheek commentary.\r\n\r\n \tFurther reading: Skulptur-Projekte 1987 in M\u00fcnster<\/em>, eds. Klaus Bu\u00dfmann and Kasper K\u00f6nig, Cologne 1987, pp. 237\u2013240.\r\n \tAdditional information: www.skulptur-projekte.de\r\n \twww.muenster.de\/stadt\/skulpturen\/kirschen.html<\/a>","post_title":"Kirschens\u00e4ule \/ Cherry Column","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kirschensaeule","to_ping":"","pinged":"","post_modified":"2018-10-06 18:16:12","post_modified_gmt":"2018-10-06 16:16:12","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/kirschensaeule\/","menu_order":1119,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":28133,"post_author":"1","post_date":"2017-06-06 23:27:03","post_date_gmt":"2017-06-06 21:27:03","post_content":"The Stadttheater in M\u00fcnster was one of the first new theaters constructed after World War II. This work was created for the new building as one of Norbert Kricke's earliest Space-Time Sculptures.<\/em> and can be found along the facade.\r\n\r\nThe artist installed two thin metal tubes across a space where two parts of the building meet at an obtuse angle.The tubes extend out from the wall like a loosely wound loop, bridging the gap, and establishing a connection.\r\n\r\nIn his work, Norbert Kriecke strove to incorporate concepts of space and time as elements of sculpture. Space was represented through the inclusion of any gaps and open spaces as intrinsic parts of a work, and time was expressed through a sense of movement.\r\n\r\n \r\n\r\nAdditional information:\r\nhttp:\/\/wiki.muenster.org\/index.php\/Norbert_Kricke<\/a>\r\nwww.publicartwiki.org\/wiki\/Raum-Zeit-Plastik;_Norbert_Kricke<\/a>","post_title":"Raum-Zeit-Plastik \/ Space-Time Sculpture","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"raum-zeit-plastik","to_ping":"","pinged":"","post_modified":"2018-11-24 09:06:41","post_modified_gmt":"2018-11-24 08:06:41","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/raum-zeit-plastik\/","menu_order":1089,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":30448,"post_author":"1","post_date":"2017-06-06 23:26:10","post_date_gmt":"2017-06-06 21:26:10","post_content":"Internationally renowned Basque sculptor Eduardo Chillida's Tolerance Through Dialogue<\/em> is as relevant to modern viewers as it is a reference to the past: The Thirty Years' War ended with the Peace of Westphalia, a treaty that was signed in the neighboring Rathaus der Stadt M\u00fcnster in 1648. Those who took part in the years of negotiations sat across from each other on long, carved wooden benches in a room that is now called the Friedenssaal, or peace hall.\"\r\n\r\nChillida echoes the basic form of those benches in his sculpture, which consists of two L-shaped objects that are positioned to face each other. Each object is constructed out of Corten steel and firmly anchored in place. The geometric cutouts in both objects are similar, but not identical. As such, they seem to be approaching each other, encouraged by the play of light and shadow, creating a bridge between the two elements.\r\n\r\nWith this work, the artist succeeds in making reference to the specific topographical and historical conditions of the location, while also creating an autonomous and abstract sculpture that is equally enduring as it is relevant to contemporary observers in terms of content.\r\n\r\nThe realization of the work was preceded by a long planning phase. Chillida had already been working on a design for this sculpture in the 80s. However, he first presented another work with a similar intention at the 1987 Skulptur Projekte: the Monumento a la Tolerancia \/ Monument for Tolerance<\/em>, which was on loan from Sevilla and installed at Servatiikirchplatz.\r\n\r\nIt wasn't until 1993, on the occasion of the 1200th anniversary of the city of M\u00fcnster and the 350th anniversary of the start of peace negotiations to end the Thirty Years' War, that the sculpture Tolerance through Dialogue<\/em> arrived at its intended destination in M\u00fcnster.\r\n\r\n \r\n\r\nAdditional information:\r\nhttp:\/\/wiki.muenster.org\/index.php\/Toleranz_durch_Dialog<\/a>\r\nhttp:\/\/www.muenster.de\/stadt\/skulpturen\/toleranz.html<\/a>","post_title":"Toleranz durch Dialog \/ Tolerance Through Dialogue","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"toleranz-durch-dialog","to_ping":"","pinged":"","post_modified":"2019-07-12 10:42:29","post_modified_gmt":"2019-07-12 08:42:29","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/toleranz-durch-dialog\/","menu_order":1121,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":30499,"post_author":"1","post_date":"2017-06-06 23:27:28","post_date_gmt":"2017-06-06 21:27:28","post_content":"For the 2007 Skulptur Projekte, Martha Rosler created a sort of game of memory out of forgotten and displaced historical fragments that was displayed in various locations in the city. Of these various historical remnants, only the \"eagle\" fragment in front of the entrance to the M\u00fcnster Arcades remains in place.\r\n\r\nThe eagle at the Arcades is a replica, but the original can still be seen today at the former Lufttransportkommando (air force transport command) of the Wehrmacht (now the Bundeswehr), which was established in 1935 under the direction of Ernst Sagebiel. However, the swastika that the eagle was holding in its claws was chiseled off after 1945.\r\n\r\nMartha Rosler chose this emblem not only because it clearly illustrates how we deal with history, but also because the aesthetics of the surrounding arcades. Built by the Kleihues & Kleihues architectural office, they reminded the American artist of designs by Nazi architect Albert Speer.\r\n\r\nAdditional information: www.skulptur-projekte.de<\/span>","post_title":"Unsettling the Fragments","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"unsettling-the-fragments","to_ping":"","pinged":"","post_modified":"2019-07-31 11:31:48","post_modified_gmt":"2019-07-31 09:31:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/unsettling-the-fragments\/","menu_order":1073,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":30530,"post_author":"1","post_date":"2017-06-06 23:27:17","post_date_gmt":"2017-06-06 21:27:17","post_content":"While void can simply mean \"empty\" or \"an empty space,\" it can also be understood here as an imperative and invitation to the viewer. The word is chiseled out of a boulder, making it a paradox or a description of the way in which the text was created by removing the stone substance.\r\n\r\nAmerican Fluxus pioneer Gerorge Brecht created three VOID Stones<\/em> for M\u00fcnster, choosing both the stones and the installation site at random. Brecht explored Zen Buddhism intensively, a philosophy in which the concept of emptiness has central significance.\r\n\r\nMindfulness, complete experience of the present, and recognition of reality only become possible in the state of the emptiness of the mind.\r\n\r\nFurther reading:\r\nSkulptur-Projekte 1987 in M\u00fcnster<\/em>,ed. by Klaus Bu\u00dfmann and Kasper K\u00f6nig, Cologne 1987, pp. 51\u201354.","post_title":"VOID Stone","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"void-stone","to_ping":"","pinged":"","post_modified":"2019-08-01 21:40:49","post_modified_gmt":"2019-08-01 19:40:49","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/void-stone\/","menu_order":1081,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":30543,"post_author":"1","post_date":"2017-06-06 23:26:23","post_date_gmt":"2017-06-06 21:26:23","post_content":"With his contribution to the 2007 Skulptur-Projekte, Hans Peter Feldmann came up with a surprisingly practical approach to redefining a public space in which art can manifest and directly respond to the viewer's needs.\r\n\r\nHe completely transformed and renovated the public toilet located beneath Domplatz. Having last been refurbished for the papal visit in 1987, Feldmann turned it into a bright and welcoming space with pictures of flowers and plastic chandeliers. Furthermore, ever since his intervention, the restroom has been free of charge to the public.\r\n\r\nInstead of looking for a prominent location for another sculpture, which would then primarily serve the artist's own reputation, he chose a truly neglected restroom. In its redesign, the he refrained from leaving behind any signature or trademark elements, making it a generous selfless gesture and a useful gift to any potential visitor.\r\n\r\nwww.skulptur-projekte.de","post_title":"WC Facility at Domplatz","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"wc-anlage-an-domplatz","to_ping":"","pinged":"","post_modified":"2019-08-02 14:40:06","post_modified_gmt":"2019-08-02 12:40:06","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/wc-anlage-an-domplatz\/","menu_order":1115,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"}]},"_links":{"self":[{"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps\/26859","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps"}],"about":[{"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/types\/sculpture_maps"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/media\/36328"}],"wp:attachment":[{"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/media?parent=26859"}],"wp:term":[{"taxonomy":"sculpture_maps_tempo","embeddable":true,"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps_tempo?post=26859"},{"taxonomy":"sculpture_maps_region","embeddable":true,"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps_region?post=26859"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}