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

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




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

Birgit Jürgenssen

Birgit Jürgenssen (1949-2003) gehörte neben Valie Export und Maria Lassnig zur Avantgarde der 1970er Jahre in Österreich. An kunsthistorische Traditionen, wie den Surrealismus, anknüpfend, entwickelte sie im Stillen ein eigenständiges Œuvre, das neben einem großen Fundus an Zeichnungen auch Skulpturen, experimentelle Objekte, Videos und vor allem Fotografie umfasst. Unter dem Titel ICH BIN zeigt die Kunsthalle Tübingen mit rund 200 Werken die erste umfassende Werkpräsentation der Künstlerin in Deutschland.

Dreh- und Angelpunkt im Werk von Birgit Jürgenssen ist dabei der Körper. Dieser ist nicht nur Gegenstand ihrer Zeichnungen sondern auch die Erfahrungsinstanz, aus der heraus sie diese entwickelt. In den Zeichnungen der 1970er Jahre hat sie mit seismografischem Spürsinn festgehalten, was dem begrifflichen und damit bewussten Erfassen vorausgeht: Zwischenmenschliche Beziehungen, Sexualität, gesellschaftsbedingte Schönheitsvorstellungen und Geschlechterverhältnisse werden von ihr mit subversivem Humor selbstironisch ebenso reflektiert wie tiefere Schichten ihrer eigenen Identität.

War der Blick auf das Werk der Künstlerin bislang vor allem auch durch Arbeiten zum Geschlechterverhältnis geprägt, ist es uns ein Anliegen, die Perspektive darauf weiter zu dimensionieren. Die Ausstellung und auch die Beiträge im begleitenden Katalog bearbeiten zum einen bislang wenig beachtete Werkblöcke wie die Fotografien und ihr Spätwerk. Zum anderen zeigen wir, dass Birgit Jürgenssen Bilder und Symbole unserer gesamten Kulturgeschichte mit eigener geistiger und emotionaler Energie aufgeladen und so für die Gegenwart aktualisiert hat. Ihr körperbezogener Ansatz erhält gerade heute, in einer Zeit, in der es durch die Digitalisierung zu einer zunehmenden Verflachung der Alltagswahrnehmung kommt, eine neue Aktualität. Ihr Werk, das aus dem Intimen kommt, steht nicht zuletzt für ein authentisches, innengeleitetes Leben und letztlich auch für den selbstbestimmten und emanzipatorischen Impuls der Kunst.


Natascha Burger und Nicole Fritz


Estate Birgit Jürgenssen

Private Leihgeber

Sammlung Verbund, Wien

Die Ausstellung wird im Anschluss an die Kunsthalle Tübingen auch an nachfolgenden Stationen zu sehen sein:
GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo (Bergamo, Italien), 8. März – 19. Mai 2019
LOUISIANA Museum of Modern Art (Humlebæk, Dänemark), Sommer 2019


Es erscheint ein Katalog mit Textbeiträgen von:
Patricia Allmer, Michael Bracewell, Louisa Buck, Natascha Burger, Maurizio Cattelan, Melissa Destino, Marta Dziewańska, Heike Eipeldauer, Nicole Fritz, Lorenzo Giusti, Jessica Morgan, Gabriele Schor, Jasper Sharp, Abigail Solomon-Godeau, Ninja Walbers

Kunsthallen-Sonderpreis: 29,90 €

Almost Alive

The desire to create as realistic a representation of man as possible is as old as humanity itself, extending far back to Antiquity. In the course of cultural history, artists have developed techniques for representing the human body in the most realistic fashion possible. Whereas illusionistic sculptures from earlier centuries are still symbolic figures connected with religious, artistic and historical themes, since the mid-20th century, the focus has shifted to man and individuality.

In the 1960s, with the inclusion of everyday reality in art, American artists Duane Hanson, John De Andrea and George Segal turned once more to a realistic depiction of the human body. Through the use of traditional techniques such as modelling, casting and painting, they created hyperrealistic sculptures that renewed the realistic tradition in sculpture, which had long been considered to be outdated. This figurative impulse inspired subsequent generations of sculptors, who to this very day have carried on the hyperrealistic pictorial idiom of the pioneers in a contemporary manner.

Almost Alive provides a survey of the hyperrealistic movement of the past 50 years and is thus the first exhibition worldwide to focus on the development of this sculptural genre in the 20th and 21st centuries. The more than 30 exhibits on show not only outline this art movement from the 1970s to the present, but also highlight how depictions of human corporeality have always been shaped by the respective zeitgeist and in retrospect can be seen as mirroring time-bound concepts of the body.

The exhibition at the Kunsthalle Tübingen brings together hyperrealistic sculptures from around the world (U.S., Canada, Australia, Scotland, Italy, Spain and Belgium, among others) in a chronological arrangement. Starting with the pioneers of the movement from the U.S. and Great Britain, the exhibition tour leads on via Robert Gober, Berlinde de Bruyckere and Maurizio Cattelan – who under the influence of digitization in the 1990s each in their individual way updated the body anew as the seat of the Ego in the form of hyperrealistic sculptures – to more recent positions, such as that of Marie-Eve Levasseur – who addresses the theme of the influence of technology on the human body.

The sculptures gathered here not only fascinate through their veristic link to reality and their precise craftsmanship. They aim not least to draw attention to our voyeuristic media-steered patterns of reception and to the vulnerability and fragility of our own body.