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This category contains the following articles
- New Museum - "Grief and Grievance: Art and Mourning in America"
- Feminist View of Pakistan: Umber Majeed is a Fellow of the New York Foundation for the Arts
- Painter. Rebel. Teacher. - K.H. H�dicke at the PalaisPopulaire
- Space Experiments: Seven artists versus architecture at the Hamburger Kunsthalle
- Deutsche Bank Collection Live - Meet the Artist
- 40 Years of the Deutsche Bank Collection - Christo & Jeanne-Claude: “The Gates (Project for Central Park, New York City)”, 2003
- 40 Years of the Deutsche Bank Collection - Katharina Grosse: "Untitled", 1992
- 40 Years of the Deutsche Bank Collection - Luigi Ghirri: "Porto Recanati", 1984
- The New York Art Fair Goes Online: Welcome to Frieze Viewing Room
- Silvia Lara wins the Deutsche Bank Frieze Los Angeles Film Award
- 40 Years of the Deutsche Bank Collection - Max Bill: Thought as Pure Form
- Grey Areas: Julie Mehretu Retrospective Opens at the Los Angeles County Museum of Art
40 Years of the Deutsche Bank Collection
Max Bill: Thought as Pure Form
Max
Bill’s twisted granite sculpture “Continuity,” Christo and
Jeanne-Claude’s installation "The Gates" in New York's Central Park,
Cao Fei’s vision of a virtual, futuristic setting in the middle of
nowhere: On a monthly basis, we show a work that represents a period of
contemporary history and reflects the Deutsche Bank Collection, which
is celebrating its 40th birthday this year.
Max Bill
Continuity, 1986
� VG Bild-Kunst, Bonn 2020
It weighs a whopping 66 tons. Yet this is not the only reason why Max Bill’s sculpture Continuity is a heavyweight in the Deutsche Bank Collection. It also stands symbolically for the bank’s continuous commitment to art for 40 years now. In a green rea next to the Deutsche Bank Towers in Frankfurt, the endless loop is reflected in a surface of water and can thus unfold its fascinating effect. The water link references the original version of the work, destroyed in 1948, Bill’s plaster model Infinite Loop, which was placed directly on Lake Zurich. In the early 1980s, a Deutsche Bank commission offered the artist the unique opportunity to realize the lost work in a modified and larger form as a granite sculpture. The sculpture, based on two parallel M�bius strips, is probably the best-known work by Bill, who died in 1994. As a representative of Concrete Art and founder of the famous Hochschule f�r Gestaltung in Ulm, the Bauhaus student was interested in creating works based on geometric principles without any symbolic meaning, works that materialize thought as pure form.