Christian Jankowski

CHRISTIAN JANKOWSKI (*1968 Göttingen) is one of the most influential action and concept artists of his generation. With his subversive-ironic performances and actions in particular he has continued to surprise the international art world repeatedly to this very day.

He developed his unmistakable artistic approach in the context of the participatory action art of the 1990s, which was characterised by a socio-politically involved praxis. Jankowski expands the borderlines of art out into the lifeworld so as to enable the reflexive and transformative power of art to flourish in life itself and make an impact. The Kunsthalle Tübingen is showing a comprehensive museum survey of the artist’s complete oeuvre, including a scholarly contextualisation and reappraisal. By means of different thematic fields, works will be introduced that illustrate Jankowski’s interventionist-critical field research. Furthermore, a site-specific project for the university city of Tübingen will be developed with inhabitants of the city under the heading CITY OF LOVE.


Curated by:

Dr. Nicole Fritz

Karin Sander

Over the past four decades Karin Sander has developed an artistic position of her very own in the tradition of Post-minimalism. She smashed the rigid attitude of the Concept Art of the 1960s, expanding it by means of sensually processual-participatory approaches.

She responds to everyday, architectural, institutional or social givens with a seismographic intuition  and uses subtle interventions to change them. For example, she burnishes images into the wall by turning the quadrature of the conventional placing on the wall into a mirror of the surroundings. Or else she breaches the symbolism of the depiction of an object in a museum, like in the series of “kitchen pieces”, for example, in which instead of the vanitas of a still life, the fruit actually present decays before our eyes.

Her works not only exhale the strictness of Minimalism in formal terms, they also unfold an unexpected poetry. Linking into the premise of Minimal Art, a major role is ascribed to the viewer’s perception. By making us not only think her works through to the end, but also respond to these with all our senses, Karin Sander’s works ultimately realise the utopia of Minimal Art so as to objectivise our perception and lead it to a schematic clarity and logic.

Exhibitions of work by Karin Sander have been shown in, among others, the Museum of Modern Art in New York and San Francisco, in the Whitney Museum in New York and in the Museum of Contemporary Art Osaka; her works have also gained her numerous awards.


Curated by Nicole Fritz




Annett Zinsmeister

ANNETT ZINSMEISTER (born 1967 in Stuttgart) has lived in Berlin since 1990. She gained an international reputation with her site-specific works and spectacular spatial interventions. Works of hers are on show in galleries, museums and at biennials worldwide: in 2015 MoMA New York commissioned a spatial installation especially for its collection. Under the format AUSSER HAUS she will design a new façade work for the high-rise building opposite the Kunsthalle at the request of the Kunsthalle Tübingen.

Annett Zinsmeister works with existing spatial elements and urban structures, transforming them into unusual space situations that examine and question not only our visual habits and our perception, but also the limits of spaces. Her installations and space- and image-constructions thus become experiential spaces and fictive constructions that confront us with transitions and intermediary spaces and motivate us to think: about the relationship between man and his environment, body and space, the space between reality and fiction, the analogue and the digital, between visibility and invisibility.


Curated by Nicole Fritz


MARINA ABRAMOVIĆ fascinates audiences worldwide with her performances, films and, most recently, her opera project 7 Deaths of Maria Callas. What is not so well know however, is the fact that this pioneer of performance art was also a guest in Tübingen from her early years in the 1970s up till the year 2000, in the Ingrid Dacić gallery. The exhibition at the Kunsthalle Tübingen is devoted for the first time to the spiritual aspects of Marina Abramović’s work.

Linking into the tradition of European mysticism, in the past five decades this pioneer of performance art has developed an undogmatic, individual access to the transcendental that expands the religious traditions to include shamanist, alchemical and Buddhist elements. By means of selected major works the exhibition at the Kunsthalle Tübingen, curated by Nicole Fritz in close collaboration with Marina Abramović and her studio, focuses on these spiritual aspects of the artist’s work, pursuing her rite of passage – her journey to her inner self.

At the end of this development stands the, in the truest sense of the term, self-conscious artist, devoted initiator and charismatic performance teacher Marina Abramović, who passes on her experience in workshops and the institute she founded, called the Marina Abramović Institute (MAI). Her aim is to use collective exercises to bring her audience into contact with themselves again through art.

A comprehensive catalogue (German/English) will be published to accompany the exhibition, with interdisciplinary contributions by Erich Ackermann, Hartmut Böhme, Jeannette Fischer, Nicole Fritz, Antje von Graevenitz, Volker Leppin and Bernhard Pörksen.

Curated by Nicole Fritz in close collaboration with Marina Abramović and her studio



supported by



media partner:

Wer malt denn da?

1941 hat Konrad Zuse den ersten Computer gebaut. Damals war dies eine Maschine – keiner dachte an Kunst. Heute schreiben Computer Musikstücke und humanoide Roboterwesen wie Aida fertigen Porträts von Menschen an und malen Landschaftsbilder. Die künstliche Intelligenz hat längst auch Einzug in die Ateliers gehalten und wird die Kunst und ihre Produktion massiv verändern. Zu welchen faszinierenden Ergebnissen es führen kann, wenn künstliche Intelligenz in die Welt der Kunst einzieht, zeigen die neuesten computergenerierten Werke der Tübinger KI-Medienkünstlergruppe Lunar Ring.

Deren aus unterschiedlichen Sparten stammende -Mitglieder Mirko Franjic, Niklas Fricke, Alexander Loktyushin und Johannes Stelzer erforschen die künstlerischen Ausdrucksmöglichkeiten der KI-Technologie.

Für die Ausstellung Herzstücke hat Lunar Ring auf Grundlage von Meisterwerken aus der Kunsthalle Emden neue visuelle Phänomene generiert: Mittels eines KI-Verfahrens, das auf Neural Style Transfer aufbaut, werden die in der Ausstellung chronologisch präsentierten Werke der Sammlung zu neuen Visuals verknüpft. Gleich einem Bewusstseinsstrom spiegelt uns die Medienarbeit 1902-2012 damit den roten Faden der expressiven Kunst von den Expressionisten, über die Cobra- und Spur-Künstler bis zu den jungen Wilden der 1990er Jahre wieder. Die auf diese Art und Weise im wahrsten Sinne des Wortes mittels Technik „verflüssigte“ Malerei von Max Pechstein, Asger Jorn oder Salomé erhält nicht nur eine atmende Präsenz, sondern scheint auch ein Eigenleben zu entwickeln, das nicht zuletzt die Magie selbstlernender Systeme auf faszinierende Art und Weise anschaulich macht.

Darüber hinaus werden unter dem Titel Wer malt denn da? Kinderbilder, die in Workshops der Kunsthalle Tübingen entstanden sind und während der Ausstellung entstehen, zu neuen Visuals verknüpft.  Vor unseren Augen verschmelzen die Kinderbilder in Echtzeit zu immer neuen abstrakten Form- und Farbkompositionen. Es entsteht ein digitaler Bilderstrom, der ins Unendliche fortgesetzt werden kann und nicht nur Kinder in seinen Bann zieht.


Kuratiert von Dr. Nicole Fritz


Das Projekt wird unterstützt von




Following the exhibition ALMOST LIVE, which presented hyper-realistic sculptures extending up as far as the turn of the millennium by the pioneer- generation, the exhibition SUPERNATURAL asks about the future of corporeality in the Anthropocene.

Given the technological developments in biogenetics, man will be in a position in the future to existentially alter everything living, nature, the animal world and the images of man. What will bodies look like in the future? Who or what will we be? In what kind of environment will we live?  The exhibition SUPERNATURAL presents responses from the realm of hyper-realistic and realistic sculpture.

The forward-looking works not only reflect impacts of the digital revolution and genetic technology on “post-human” man and the environment, they also illustrate by means of hybrid creations that in our day the borderlines between nature and culture have become fluid. Increasingly, technical innovations also play a role in the development of the latest hyper-realistic sculptures.

When the artists perfect their production processes using 3D printing and extend the sculptural limits in the direction of robotics and synthetic biology, for them too, new design possibilities open up that are located somewhere between artefact, biology and technology.


Concept: Nicole Fritz


Curators: Nicole Fritz and Maximilian Letze


Sponsored by





Daniel Knorr


DANIEL KNORR (1968 Bucharest) is regarded as one of the most innovative concept artists of his generation. In the past, the site-specific installations of this artist, who took part in both the Venice Biennales and documenta exhibitions, caused quite a stir. On the occasion of documenta 14, for example, he had white smoke billow up into the Kassel sky from the chimney of the Zwehrenturm, and at the 2005 Venice Biennale the “empty” pavilion by means of which he represented his native country Romania unleashed a political debate.

Today the artist lives in Berlin and Hong Kong. In addition to projects in the public domain, since the 1990s he has created a multifaceted oeuvre embracing not only photography, but also installation-sculptural works, performances and participatory action art. As an overall view of Daniel Knorr’s oeuvre has so far been lacking, despite his individual works being on show in exhibitions, art fairs and the public realm over the past decades, the Kunsthalle Tübingen is now providing an overview with a particular focus on the artist’s most recent work groups.


Curator: Nicole Fritz


An extensive monograph will be published to accompany the exhibition with essays by Nicole Fritz, Frank-Thorsten Moll, Adam Szymczyk and Li Zhenhua


With the generous support of




I collected what delighted me, what really not under my sklin, what gave me pleasure or also made me mad.

Henri Nannen (1913-1996) wrote this about his passion for collecting. Over decades, the founder and long-time editor-in-chief of Stern magazine built up a top notch collection out of pure gut feeling. Then together with Eske Nannen he donated that collection as the foundation of the Kunsthalle Emden, which was opened in 1986.


Now 70 major works from the collection of the Kunsthalle Emden are guests in Baden-Württemberg Under the heading HERZSTÜCKE, the presentation at the Kunsthalle Tübingen adheres to the common theme of expressive-figurative art throughout the 20th century laid down in the Kunsthalle Emden Collection and ranging from famous masterpieces of German Expressionism, with artists from the Bridge and Blue Rider artists’ groups, to the expressive tendencies of the post-war era and up to the 1990s.



On Monday the Kunsthalle is open for you and on this day you will receive our audio guide for free!


curated by:

Dr. Nicole Fritz


artists of the exhibition:

Pierre Alechinsky, Karel Appel, Hans Matthäus Bachmayer, Max Beckmann, Erma Bossi, Herbert Brandl, Miriam Cahn, Constant, Gunter Damisch, Sonia Delaunay-Terk, K. O. Götz, Reinhold Heller, Bernhard Hoetger, Asger Jorn, Hanns Ludwig Katz, Georg Kolbe, Oskar Kokoschka, Peter Kuckei, André Lhote, August Macke, Franz Marc, Paula Modersohn-Becker, Otto Modersohn, Otto Mueller, Gabriele Münter, David Nash, Emil Nolde, Hermann Max Pechstein, Francis Picabia, Pablo Picasso, Jorma Puranen, Christian Rohlfs, Salomé, Josef Scharl, Helmut Sturm, Cornelius Völker, Bernd Zimmer


The exhibition is produced in cooperation with Kunsthalle Emden, whom we thank for their dedicated collaboration.


In times of change a desire often emerges to preserve and recall our own roots. Correspondingly, there is a boom in things historical currently. In advertising, fashion and film today, the Old is being positioned as the Authentic, as opposed to a unified mass-produced culture, and is frequently being idealized with a strong touch of nostalgia.

In contemporary art too, the art of past centuries is experiencing a veritable comeback. While in the 1980s, under the heading Appropriation Art, the art of modernism and above all the 20th century was being cited by artists, for some years now we have been witnessing an increased orientation around Old Masters painting and traditional techniques. A younger generation is turning to the art of past epochs and, as carriers of cultural memory updating the “mnemic energies” (Aby Warburg) stored in the masterpieces for today.


Artists in the exhibition

Philip Akkerman, Irene Andessner, José Manuel Ballester, Glenn Brown, Léo Caillard, Wim Delvoye, Slawomir Elsner, Hans-Peter Feldmann, Jochen Flinzer, Christian Jankowski, Liane Lang, Liza Lou, Pia Maria Martin, Brigitte Maria Mayer, Chantal Michel, Jean-Luc Moerman, Yasumasa Morimura, Ciprian Mureşan, Agathe Pitié, Antoine Roegiers, Markus Schinwald, Cindy Sherman, Yinka Shonibare CBE, Hiroshi Sugimoto, Ged Quinn, Kehinde Wiley



Nicole Fritz


Exhibition Catalogue

152 pages, Hardcover, numerous colour illustrations
Publisher: Nicole Fritz
Essays by Nicole Fritz, Zita Hartel, Johannes Meinhardt and Klaus Speidel.
Kunsthallen-Special-prize: 30 €

Congo Stars

The exhibition CONGO STARS will show popular painting dating from the 1960s to today, side by side with contemporary art using other artistic means. In cooperation with the Kunsthaus Graz, the Royal Museum of Central Africa Tervuren, the Iwalewahaus in Bayreuth and PICHA in Lubumbashi, about 150 works will be presented by about 70 Congolese artists who live in Kinshasa, Lubumbashi, Brussels, Aachen or Paris.

The conceptual departure point for the exhibition is Fiston Mwanza Mujila’s novel Tram 83, in which the author describes an imaginary place which may refer to the social reality of Congolese metropolises but cannot be associated with any concrete city. The exhibition also builds an imaginary place that draws on different realities and in doing so interweaves politics, exploitation, corruption, violence, religion, mythology, spirituality, star cult and everyday life, as well as pleasure, passion and sensual desire.

The tour of the exhibition unfolds along six chapters – Street, Bar, At home, Mythology, Stars, Exploitation. The real and imaginary places and spaces which are dovetailed have community- and identity-building functions and condense aspects of the fictional. A timeline with a great diversity of music stations, texts and originals provides information on the history of the events and on the context of Congolese art.

The exhibition title addresses popular culture, stars and heroes of Congolese society. It also refers to the stars on the national flag, the changing political systems and regimes, for not only the name of today’s Democratic Republic of the Congo was altered according to the state doctrine, but also the appearance of the national flags. CONGO STARS even points to an actual ‘reaching for the stars’, that is, Zaire’s short-lived but ambitious space programme under President Mobuto in the 1970s, which the latter attempted to implement with the support of the German company OTRAG – Orbital Transport Raketen Aktion Gesellschaft.

CONGO STARS however is anything but a “national” show of achievements of the Democratic Republic of the Congo. Instead, it mixes the real experiences, projections, dreams and longings of artists who live in the Congo and in Europe. What is also tangible for the visitor is not least the longing for a positively-connoted social space located territorially and temporally ‘outside’ – a perspective for the future.

Artists of the exhibition

Alfi Alfa (Alafu Bulongo), Apollo, Prince Badra, Sammy Baloji, David N. Bernatchez, Kiripi, Gilbert Banza Nkulu, Chéri Benga (Hyppolite Benga Nzau), Junior Bilaka, Bodo (Camille-Pierre Pambu Bodo),  Claude Bosana, Dominique Bwalya Mwando, Chéri Cherin, (Joseph Kinkonda), Trésor Cherin, (Nzeza Lumbu), Revital Cohen & Tuur Van Balen, Revital Cohen, Edisak, Ekunde (Bosoku), Sam Ilus (Mbombe Ilunga), Jean Kamba, Eddy Kamuanga Ilunga, Kasongo, Jean Mukendi Katambayi, Kayembe F, Aundu Kiala, Bodys Isek Kingelez, Ange Kumbi, Hilaire Balu Kuyangiko, Lady Kambulu, Gosette Lubondo, Lukany, Ernest Lungieki, George Makaya Lusavuvu, Tinda Lwimba, Michèle Magema, Maho Zaire, Mampela, Manuva Mani, Maurice Mbikayi, Mbuëcky Jumeaux (oder: Mbvecky Frères), Micha JP Mika (Jean Paul Nsimba), Mega Mingiedi Tunga, Moke (Monsengo Kejwamfi), Moke-Fils (Jean Marie Mosengo Odia), Mson Becha Shérif Decor, Musondo, Vitshois Mwilambwe Bondo, Nkaz Mav, Vincent Nkulu, Chéri Samba (Samba wa Mbimba N’Zingo Nuni Masi Ndo Mbasi), SAPINart (Makengele Mamungwa), Monsengo Shula, Sim Simaro (Nsingi Simon), Soku Ldj, Maître SYMS (Bayangu Mayala), Marciano Tajho, Tambwe, Tshibumba Kanda Matulu, Pathy Tshindele Kapinga, Turbo

im cooperation with

Kunsthaus GrazKönigliches Museum für Zentralafrika TervurenIwalewahaus in Bayreuth, PICHA


Sammy Baloji, Bambi Ceuppens, Fiston Mwanza Mujila, Günther Holler-Schuster and Barbara Steiner.


gefördert im Fonds TURN der