The state Museum in Münster shows in the main hall of its medieval collection, a major new addition: an Altar in the wide-screen format, composed of not less than 31 tables. Where did that come from? In the Wake of Westphalia, now finally home to a monastery, seeking secularization, once again, its gates closed and its inventory is in the care of the state? It is a woman would have to have been a monastery, a Holy water castle for the sisters of the common modest life, more bees Impatiens Miller as an anglophile-miss.
Patrick Bahners
feuilleton correspondent in Cologne and is responsible for “Humanities”.
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the tales of Woe, the tools the viewer, or perhaps reader of the altar will be able to play in a female’s life – and die world, between small cells, the inhabitants of which operate inside a strict supply economy and even the candle light save. Pancake layers to defensive towers, syrup bunkers in Tanks. And if it’s been delicious, so your life is only effort and work and not war and Trauma. The men here are just passing through, only a guest on earth, which defile and desecrate.
with What already is said, that a viewer will perceive the work may be different than a Viewer and the generic masculine should be for this case study a sociology of the Museum as unusable. Thus, an indication for the write-up is at the same time. Munster should bloom once again, apocalyptic devastation, as she stumps the altar landscape, with its columns of smoke, tree, and insect swarms evokes, should be dispersed, the collection of the national Museum in the winds, so a subsequent art historians could not be based only on stylistic features such as the hand-drawn reproduction of contrast effects in the graphic arts, to a Dating of the Polyptych in the Onon reformation period of the early 21st century. To establish century. The polarity of the gender, the signature of Anke feuchtenberger, 1963 in East-Berlin-born master of the picture story, the Museum ordered in February of 2017, the Altar is the characters.
The order said that the artist should create a companion piece to a major work of the collection, the Halderner altarpiece by the master of Schoppingen, of the layer to around 1450, a hidden object from Calvary up – and downstream of the crucifixion painted as the side pieces. That curators garnish their permanent exhibition against the positions of contemporary artists in today’s market, the Museum is a common Practice. Such interventions, however, are limited in time. In Münster, Germany, has been asked by Anke feuchtenberger something much Kühneres: in addition to the canonical work of the anonymous colleague who was able to draw from the Full of the Gothic Tradition, and in the case of the Flemings in the doctrine went, as they were modern, their counterpart to exist permanently.
The altar image is the archetype of the objects, for the preservation and presentation of museums were built. Therefore, it remains a foreign body in the art of the temple: Its Aura comes from the Knowledge that it was torn from its original purpose and context. It is the sample would have to be at the Museum of the maturity of Anke humidity Bergers never for a liturgical purpose of the Altar, if he can want such a history of at least Andi. The miracle of Münster: the way it is – you are in the mood for a cultic use of the humidity Berger Reredos to imagine.
It is the mysteriousness of Shown in Association with the determination of the representation, what is this food for thought. The meaning is not immediately apparent: It is a practical shortcut to add to think, he would have been readily accessible. The seriousness with which the characters go to work, the women of any age the prepare food, make visits and carry loads, has been transferred to the artist.
