{"id":3625,"date":"2025-03-07T16:34:27","date_gmt":"2025-03-07T16:34:27","guid":{"rendered":"https:\/\/friscotimes.org\/?p=3625"},"modified":"2025-03-07T16:34:27","modified_gmt":"2025-03-07T16:34:27","slug":"anselm-kiefer-wonders-if-well-ever-learn","status":"publish","type":"post","link":"https:\/\/friscotimes.org\/?p=3625","title":{"rendered":"Anselm Kiefer Wonders if We\u2019ll Ever Learn"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div data-testid=\"companionColumn-0\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Anselm Kiefer\u2019s new installation seems to envelop the grand staircase of the Stedelijk Museum Amsterdam. Paintings reach from floor to ceiling in colors of oxidized copper and gold leaf. Army uniforms stiffened with splattered paint hang at eye level. Dried flower petals tumble down the canvases onto the floor. A self-portrait of Kiefer as a young man lies at the base of one panel, with a tree growing out of his chest.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">This installation is the title work<em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em>of Kiefer\u2019s monumental solo exhibition, which comprises about 25 paintings, 13 drawings and three films by Kiefer, from 1973 to the present, in addition to eight van Gogh works. \u201c<a class=\"css-yywogo\" href=\"https:\/\/www.vangoghmuseum.nl\/en\/visit\/whats-on\/exhibitions\/anselm-kiefer-sag-mir-wo-die-blumen-sind\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Sag mir wo die Blumen sind<\/a>,\u201d or \u201cWhere Have All the Flowers Gone?,\u201d sprawls across two of Amsterdam\u2019s largest modern art museums, the Van Gogh Museum and the Stedelijk.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The show, which opens on Friday \u2014 the day before Kiefer\u2019s 80th birthday \u2014 and runs through June 9, is the result of ambitious collaboration between the adjacent institutions in the heart of the city. Mounting the exhibit at two museums made sense on a sheer physical level, too, because of the size of Kiefer\u2019s vision: Nearly every work takes up a wall or a room.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-1\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">What links the two parts of this \u201cdiptych,\u201d as the curator Edwin Becker calls the dual exhibition, is Kiefer\u2019s antiwar sentiment, which is expressed in subtle and overt ways.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-2\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">The title and the new piece at the center of the Stedelijk refer to the 1955 protest anthem \u201c<a class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=T1tqtvxG8O4\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Where Have All the Flowers Gone?<\/a>,\u201d a folk song by Pete Seeger (although Kiefer uses the lyrics from the German version popularized by <a class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=AybZIw8BRIM\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Marlene Dietrich<\/a> in the early 1960s).<\/p>\n<p class=\"css-at9mc1 evys1bk0\">\u201cThe most important sentence in this song is \u2018When will we ever learn,\u2019\u201d Kiefer said in an interview. \u201cThe rest of the song is a little bit kitschy, but this is a deeper thing. We don\u2019t know why things repeat all the time. We have a situation now like in 1933 in Germany, it\u2019s horrible.\u201d<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Kiefer, born in Donaueschingen, Germany at the tail end of World War II, has long grappled with the legacy of fascism, political violence and cultural memory.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">\u201cWar has been a running theme throughout his whole body of work,\u201d said Leontine Coelewij, a curator of the exhibition and a curator of contemporary art at the Stedelijk. \u201cAlready his first works had to deal with the Second World War, but since then it has taken many different forms.\u201d<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-3\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">In 1969, when Kiefer was a 24-year-old art student, he traveled across Europe to make a performance piece, \u201cOccupations,\u201d posing at historic sites. He dressed in hippie gowns and business suits and held his arm out in a Nazi salute. \u201cHeroic Symbols,\u201d his resulting photo series, \u201cwas really a provocation to the people in Germany who did not want to talk about the war,\u201d Coelewij said.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">As a young artist, when such subjects were still taboo in Germany, Kiefer felt exiled from his home country, in terms of his artwork. He found an audience at the Stedelijk, which also acquired his work from the 1980s.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The first work in the current show is his 1981 painting \u201cInnerraum\u201d (Interior), a view of the skylit chamber of the Reich Chancellery in Berlin, the decaying empty room where Adolf Hitler once met with his members of his military to map out his destruction and seizure of Europe.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Kiefer\u2019s works \u201care very much about politics, but maybe not specific politics,\u201d Coelewij said. She added, \u201cWe can all think of situations in the world where we can see the absurdity of war, and ask: Why does it still happen?\u201d<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-4\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">The current exhibition didn\u2019t originate as an antiwar show; it was conceived by Emilie Gordenker shortly after she became director of the Van Gogh Museum in 2020. The previous year, Kiefer had given a lecture at Tate Britain museum in London about his relationship with van Gogh, and then made a series of huge landscape paintings inspired by van Gogh\u2019s work.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Kiefer said that van Gogh has been an influence since he was about 13 years old. In 1963, at age 18, he received a travel fellowship to follow in the footsteps of van Gogh throughout Europe. He began in van Gogh\u2019s birthplace, Zundert, in the Netherlands, traveled through Belgium and Paris, and finally hitchhiked to the South of France. He stayed for a few months in Fourques, near Arles, where van Gogh painted his most renowned works, like his \u201cSunflowers\u201d series.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">\u201cHe worked very hard, because he had no talent, you know,\u201d Kiefer said. \u201cThe last two years he did all for what he\u2019s now famous. That\u2019s because he didn\u2019t stop. He kept painting and painting.\u201d<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The Van Gogh Museum\u2019s part of the Kiefer exhibition juxtaposes Kiefer\u2019s huge landscape paintings, some almost 30 feet across, including \u201cDie Kr\u00e4hen (The Crows),\u201d from 2019, and \u201cDe sterrennacht\u201d (The Starry Night), from 2024 \u2014 lashed through with stalks of hay \u2014 with van Gogh paintings. Van Gogh\u2019s \u201c<a class=\"css-yywogo\" href=\"https:\/\/www.vangoghmuseum.nl\/en\/collection\/s0149v1962\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Wheat Field With Crows<\/a>,\u201d (1890) and his \u201cSunflowers Gone to Seed\u201d (1890) hang across the room, showing the undeniable influence, though they appear minuscule by comparison.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-5\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Kiefer\u2019s landscapes, too, \u201care burdened by history,\u201d said Becker, the head of exhibitions at the Van Gogh Museum. His layers of paint, a mudlike impasto, oil and acrylic paints mixed with raw materials like soil, iron, straw and dead leaves, form deep furrows on the canvas. These landscapes, with van Gogh\u2019s high horizon lines, all seem to be ruins, shot through with blood and shrapnel.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-6\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Kiefer said that his work isn\u2019t meant to depict politics or any specific world event. But he stays abreast of current events, and said that recently he has felt a physical sense of threat by the rise of right-wing authoritarian leadership, both in Germany and in the United States. \u201cWhat happens now there is for me a kind of parallel,\u201d he said.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">As he turns 80, Kiefer doesn\u2019t seem to be slowing down or holding back. \u201cWhen I paint, I don\u2019t paint with my head, it\u2019s with my body,\u201d he said. He added that he knows so much about war \u201cthat it\u2019s logical that it comes through. It\u2019s me, my body, that brings it onto the canvas. It\u2019s not intended to warn people, but I do hope it\u2019s a warning.\u201d<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>Anselm Kiefer\u2019s new installation seems to envelop the grand staircase of the Stedelijk Museum Amsterdam. Paintings reach from floor to ceiling in colors of oxidized copper and gold leaf. Army&hellip;<\/p>\n","protected":false},"author":519,"featured_media":3626,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[4792,223,4795,4,309,4791,222,4796,300,4789,4793,4790,4794],"tags":[],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Anselm Kiefer Wonders if We\u2019ll Ever Learn - Frisco Times<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/friscotimes.org\/?p=3625\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Anselm Kiefer Wonders if We\u2019ll Ever Learn - Frisco Times\" \/>\n<meta property=\"og:description\" content=\"Anselm Kiefer\u2019s new installation seems to envelop the grand staircase of the Stedelijk Museum Amsterdam. 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