The exhibition design for the exhibition «Bilder einer Sammlung» was created in summer 2018 on the occasion of the 50th anniversary of the Kunsthalle Bielefeld. As a direct commission of the director of the Kunsthalle, the explicit wish was to develop a temporary colour design for the exhibition to bring out the architecture of the building.
The Kunsthalle was built from 1966 to 1968 by American architect Philip Johnsonand took the title as the earliest museum with contemporary architecture for modern art in post-war Germany. Between September 2018 and February 2019, the exhibition «Bilder einer Sammlung» showed a selection of the intern art collection, which has been growing steadily since 1928. Paintings and sculptures by Baselitz and Beckmann, Palermo and Penck, Richter and Richier, being only few of them, were on display.
The freestanding, monumental stone walls made of red Main sandstone and the identical, flowing ground plan on the first and second exhibition levels make this building undoubtedly one of the most important German museum buildings of post-war modernism.
While many museum buildings allow for a continuous, ever-changing exhibition architecture, the exhibition architecture of the Kunsthalle Bielefeld is firmly defined and so are the image-carrying wall panels. The challenge was to create a design for the fixed surfaces of the walls, so that on one hand a harmony between the surfaces and their new colours would be created and on the other hand the special relationship of the architectures features can be supported.
The chosen colour family refers to the external environment and is intended to reinforce the dissolution of the boundary between the exhibition area and the sculpture park. At the same time, the design is a reaction to a space whose dimension and rhythm are determined by Johnson's monumental stone architecture. The colour intervention creates new spaces in a way that the both exhibition areas on two separate floors are connected to each other.
Figures 6, 7, 8, 9, 10, 11 are under the copyright of and photographed by Philipp Ottendörfer.