The Kunstareal festival wants to motivate people to go back to the museum – with unusual experiences.
She pulls the phone out of her pocket, others at her age would now show pictures of the last party or bathing by the river. But Nour Dhifallah not. On her phone you can see the picture of a picture. Painted in 1982, acrylic on canvas. Dark colours. Nour Dhifallah knows it all by heart, because once a month she stands for one and a half hours in the Museum Brandhorst. Always on a Sunday, always in front of the same painting. “Rodchenko I” by Albert Oehlen.
She then tells the audience about her chosen picture. Today, however, she sits in a tent behind the Alte Pinakothek and says: “Some friends already ask me: 'Huh, what should we do in the museum?'” Nour Dhifallah is 17 years old, with her hair combed back tight. Over it a hair band, Chucks on the feet. As soon as someone enters the tent, she reports what is planned today. A great art action of all for all. She does not ask herself what to do in the museum. But there are many others – and that's why the museums, galleries and colleges in the area have opened their doors this weekend at Kunstareal Fest. Free.
There are cities where you immediately think of a place in “Museum Quarter”. In Vienna, for example, to the Museumsquartier or in Berlin to the Museum Island. Things are different in Munich; it was not until about ten years ago that the plan was developed to connect the area around the three Pinakotheken to a museum quarter. The so-called Kunstareal, which includes the Lenbachhaus, the Glyptothek and the Film and Television Academy. It is opposite the tent where Nour Dhifallah waits for new visitors in the dry and sees people walking from one museum to the next with umbrellas. The sun loungers in the meadows between the Pinakotheken are empty.
Such huge open spaces can be found in hardly any other place in the city center, the English Garden once left out. But art also needs space – especially if it's not just in the showrooms. At the Museum of Castings of Classical Paintings, small plaster figures are cast. In the atrium of the State Museum of Egyptian Art seedlings planted in pots and built in the garden of the Lenbachhaus rod figures for a play. People not only look at art this weekend, they also do art. Miro Craemer says, “Finally.”
The rain has stopped for a moment. Miro Craemer stands in front of the tent he designed together with visitors to the Munich Creative Business Week, all pages are open. On the left and right are white areas for painting. As an artist, Craemer works primarily with textiles, but invited Boban Andjelkovic, for example, who distributes palettes and colors to passers-by: “In the end, I do not have to do more than press the paint tube.” Then people started by themselves, says Boban Andjelkovic, 44, but younger with his big glasses. He has the feeling that art is now far away from the people. Above all, the art market serves itself, but art is much more than just money. Miro Craemer nods. Art has no purpose and that has become really rare in a meritocracy.
New rooms, new encounters
Back in the tent, inside, exceptionally, all tours of the Pinakotheken begin. Painted panels hang from the ceiling, and the team from the Kunstwerkraum has set up a few tables. Every Friday, the group invites to an intercultural workshop in the Pinakothek der Moderne, the flyer is printed in German and Arabic. You just wanted to get out of the closed rooms.
“As many people as you do not meet at any other weekend of the year” says Pia Brüner from the art mediation of the Bavarian State Painting Collections, so the Pinakotheken. Some visitors were surprised when they stood in the small tent at the beginning of the tour. They then asked: “I really wanted to go to the Alte Pinakothek, why do we meet here?”. But that's what it's all about, new spaces and new encounters. The panels are later sewn together to a large awning and some parts of the banner next to the tent are no longer white. The color palettes are smeared.
What happens after that with the pictures? They definitely do not come to a museum, says Miro Craemer.
When the party is over on Sunday night, he and the others will dismantle the tent, and they will also take the pictures with them. But this does not happen just to exhibit the works, but to rebuild them together with the tent at some point in a new place together. It needs more such places as these, where it is not about success, but where “just something can happen,” says Miro Craemer. He looks over to the College of Film and Television. The bar of Minna Thiel plays soft music. Next to it is a blanket made of plastic sheeting, which the director Doris Dörrie crocheted together with her students recently.
He says that Dörrie sometimes offered a seminar called “drinking beer”. People should sit together and then you will see what happens and what ideas emerge without compulsion. He thinks he's good, he says.
. (tagsToTranslate) Culture in Munich (t) Maxvorstadt (t) Süddeutsche Zeitung Munich (t) Munich (t) Süddeutsche Zeitung (t) SZ