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Letting the world in itself


Robert Morris "Hearing" beschäftigt sich im Stil eines 
Kreuz-Verhörs mit den gewandelten Rollen von Kunst und ihren 
Auswirkungen auf den Kunstbetrieb.

Robert Morris, "hearing" is engaged in the style of a cross-examination of the changing roles of art and its impact on the art business.

MÖNCHENBGLADBACH. Robert Morris is one of the major donors to the idea of art of the 70s 60s and early years, and his name is mentioned in the same breath with those of Richard Serra, Robert Smithson, Carl Andre and Donald Judd. Who then tried to recapitulate native American plants in 1931, comes to a halt.

Morris, who was also active as a dancer and choreographer, but as a theorist was especially a name that has no "signature" pronounced like Serra precariously balanced, large-sized steel sculptures or another with its standardized tiles, the epitome of Minimal Art Morris However, at times irritating created similar works. He was the "more perfect perfecter of other artists," characterizes him, the former art dealer and connoisseur of American avant-garde, Rolf Ricke.

What the experts think about First Morris is a landmark, "Anti-Form" essay titled, an attachment named "Observatory" in Dutch Oostelijk (1977), with whom he enlisted in the history of land art, and plenty of symmetrical slit Filzbahnen, The "Felt Pieces like" that a very decorative wall ornament. I suppose that is the reason why they are private in some German and museum collections are found. They cost commercially proud 100 000 to 300 000 dollars (Sprüth / Magers, Berlin / London) or 300 000 to 600 000 dollars (Saturday), New York, and form, according to Artnet also auctioned off the bulk of the Morris works.

The fact that this decades ago with Mannerist-style Felt works the artist Morris does not represent, is on a visit to the museum in Monchengladbach Abteiberg clear. It has given the artist a retrospective, which is other places than the retrospective of 1994 to focus solely on those artistic artifacts that sprang from his revolutionary ideas immediately. At that remain excluded indignantly recorded pathetic and sinister wax works (documenta 8, Kassel, 1987), (which are always produced new versions of felt to work up an early copy of 1967) and recent painting.

60 With only 29 works from the early 70s and makes the idea of building Moenchengladbach Morris’s rise and also tells the exciting story of a broken adrift term of art in general, plastic in particular. Morris’s "Notes on Sculpture / comments on the sculpture from the years 1966 to 1969 are therefore the obvious hooks and exhibition title. His painted gray, long rectangular "Two Columns" from 1961 are conceptually related and are in addition to the three "L-Beams" of 1965, the center of the show.

The first "pillar" is on the ground, is the other. For 1961 which is a radical work of austere appearance, at least if one thinks in comparison to the then trend-setting sculptures by fellow artists such as David Smith, or the paintings of abstract expressionism. It was not until the mid-’60s that geometrically reduced work incurred have shaped our conception of minimalist art. For this Moenchengladbach Morris why buying a stroke of luck, come about only with the help of the Foundation for Culture and Science of Stadtsparkasse Moenchengladbach and a museum discount. About 200 000 had the Foundation for the purchase of the reconstruction in 2006 allegedly to spend. According to the Castelli Gallery early sculptures were sold in price ranges between 500 000 and 800 000 dollars.

Susanne Titz, exhibition curator and director at the Abbey Berg, can play around a sculpture ensemble of 1961 as all the other exhibits from the permanent collection. The solution is beautiful and true to each other because Morris’ inspired by the structuralist thinking about bodies in space, their relationships and takes the viewer again.

The original idea illustrated by a little sketch called "Column" for which angered the friends of the museum’s approximately 30 000. The "pillar" of standing upright here and is obviously made of soft material, designed for a performance with the artist in the column. "The world hineinzulassen in any other way than by itself in pictorial representation" – that was for Morris, as for many artists of his time, the challenge, dance and choreography, an obvious means of expression, the film is a central medium of recording.

Rolf Ricke remembers that it was Morris who inspired the foundation of his Leo Castelli Castelli warehouse located downtown. His rooms in Uptown had become too small for the large-scale activities of young artists. Castelli was also, in collaboration with the gallery owner Ileana Sonnabend’s films and videos helped this generation of artists to the public.

Only twelve films, a film installation, a sound object and the sound installation "hearing" (1972) attest in Moenchengladbach by Morris’ multimedia, and politically-charged Just out doing their proliferation we have not properly cared for three decades. A master plan is still pending. To have its three galleries now set on their agenda.


Robert Morris. "Notes on Sculpture. Objects, Installations, Films. In Abteiberg Museum, Mönchengladbach, and 24 May. It seems a German-language edition of Morris’s texts as well as a catalog for the installation of "hearing" (1972).

The Leo Castelli Gallery, New York, showing to 15th May, a reconstruction of the compound of 200 parts room installation "Untitled (Scatter Piece)", created by Morris for 1968/69 Castelli Warehouse.

The Sonnabend GalleryNew York has a new "Felt Pieces" in the offer.

The gallery Sprüth / Magers Berlin / London plans for the current year, an exhibition of drawings. 2011 there will be a great show with sculptures and films.