Die finnische Künstlerin Saara Ekström kreiert in ihren Fotografien, Videoarbeiten, Skulpturen und Zeichnungen vielschichtige Erfahrungen für die Betrachtenden. Ihre Arbeiten spielen mit Kontrasten: Hässlich und schön, heiß und kalt, kontrolliert und unkontrolliert, sichtbar und unsichtbar, fest und flüssig. Dabei arbeitet sie mit verschiedenen Materialien natürlichen und künstlichen Ursprungs. Im Zentrum steht dabei das Hinterfragen von kulturell verankerten Ideen zur Wertigkeit von Materialien und Gegenständen, indem Ekström ihre „Ästhetik des Unangenehmen“ hervorhebt.

Eintritt: 3,50€/ erm. 2,50€/ Familien 8€

Öffentliche Führungen durch die Ausstellung:

So, 08. Okt | 14.30 Uhr
Fr, 27. Okt | 18.30 Uhr
Individuelle Führungen auf Anfrage möglich.
Kosten: 4 € zzgl. Museumseintritt

Foto: Resignation and Success (c) Saara Ekström

Light black grids with white and colorful rectangular surfaces characterize Piet Mondrian’s art. The Dutch painter is one of the most important representatives of Dutch constructivism. Its systematic mosaic structure has shaped art, architecture and fashion. For the exhibition, artists from different nations worked on Mondrian’s artistic understanding and created design elements such as chairs, stools and tables.

The district of Coesfeld invites visitors to the exhibition opening on april 2nd at 5 pm. The entry to the vernissage is free.

Entry 3.50€/ red. 2,50€

02.04 – 06.04 | Tue – Sat | 1 pm – 6 pm

Sun & holidays 10 am – 1 pm / 1.30 pm – 5.30 pm

On behalf of Westfälisches Literaturbüro in Unna e. V., several internationally renowned artists traveled to nine different places in Westphalia in 2021 to do research on the concept of homeland. In this context, the artists visited the Münsterland – the surrounding region of Münster – while focusing on the local castles and palaces. The photographers created photo series whereas the writers captured their impressions and experiences in literary texts. In this way, the project resulted in a kaleidoscope of various artistic ways of exploring the topic. The art pieces created in this process will be presented in the upcoming exhibition, which invites the visitors to reflect on what homeland is and on what it could be. In addition to that, we will present a catalogue of the collected pictures and texts in order to offer deeper insights into the project.

Photo: © Alem Kolbus

The second exhibition in 2021 is dedicated to the German artist Norbert Thomas, a renowned exponent of concrete art, represented in numerous international exhibitions such as at the Biennale of Architecture in Venice and at the Heydt Art Gallery in Wuppertal. At this exhibition with its large-scale paintings following a geometricising grid, with its graphics and sculptures, the visitor will experience an intriguing interplay with the mediaeval, lively architecture of Kolvenburg Castle.

Norbert Thomas belongs to the generation of artists who subordinate the artistic process to their own system, a system that Thomas has been following for years. His art is characterised by controllability and logic, leaving no room for arbitrariness. However, for all rationality, it is important to Thomas to find a balance between subjective needs of creation in his radically reduced works and so arrive at very own pictorial realities.

Photo: Norbert Thomas in front of his work “Außenform Rot”, 2013, lacquer on aluminium

©Jack Kulcke, Düsseldorf

With top-class art and historico-cultural testimonies of the last 200 years, the exhibition, “Homeland – now?!”, casts a view at the changing sense of home of Westphalians and of Münsterlanders in particular.

“We are staying at home” – is a sentence we could read in the windows of our houses lately. What does it mean, having a home, a homeland, and developing a feeling for one’s homeland? How do Münsterlanders feel about their homeland now, 20, 50 and 200 years ago? Why is their homeland so important to them?

A critical questioning of the term ”homeland” on the basis of current artistic positions is inevitable. At the centre of the exhibition, there are views of landscapes, cities, but also group portraits, still life and artisan objects. In an exemplary manner they illuminate social and political aspects and show how a sense of home can develop, ranging from “nostalgic in retrospect” to “present-day austerity” and finally to a “forward-looking orientation”: Homeland often is and remains, defined or non-defined, a place of yearning.

The exhibition calls for leaving behind the nostalgic transient note attached to the term, but rather striving for future remodelling instead.  The point is to make our homeland fit for the future and to model the Münsterland in such a way that everyone may find his/her homeland here.