Exhibitions

Where is the wind when it isn't blowing

December 19, 2009 - March 14, 2010

Installationsansicht / installation view, Foto / photo: Fred Dott, Kunstverein
Installationsansicht / installation view, Foto / photo: Fred Dott, Kunstverein Installationsansicht / installation view, Foto / photo: Fred Dott, Kunstverein Keith Haring, Ohne Titel / Untitled, 1983/1984, Foto / photo: Fred Dott, Kunstverein, Copyright: Keith Haring FoundationKeith Haring, Ohne Titel, 1983 (Copyright: Keith HAring Foundation) / Los Desastres de la Guerra, 1810-1824 (Sammlung Hamburger Kunsthalle), Foto / photo: Fred Dott / KunstvereinInstallationsansicht / installation view, Foto / photo: Fred Dott, Kunstverein Lyonel Feininger, The Kin-Der-Kids, Chicago Tribune, San Francisco Academy of Comic Art Collection, The Ohio State University Cartoon Research Libray; VG Bild Kunst Bonn, 2009Albrecht Dürer, Apokalypse, 1498, Faksimile, Eugrammia Press London, 1964Jake und Dinos Chapman, Disasters of War IV, 2004, Courtesy White CubeÖyvin Fahlström, Modell for Meatball Curtain, 1970Jan Mancuska, Incomplete Movement, 2009Jörg Immendorff, Akademie für Adler, 1989

Ad Reinhardt, Martin Arnold, Gerd Arntz, Ferdinand Barlog, Berthold Bartosch, Harold Begbie / Francis Carruthers Gould, Steve Bell, Shirley Bogart, Klaus Budzinski / Rainer Hachfeld, Stanley Brouwn, Jacques Callot, Clavé / Godard, Edmond Francois Calvo, Jake und Dinos Chapman, Sue Coe, M. Philip Copp, Stephen Croall, Robert Crumb, Jari Pekka Cuypers, Honoré Daumier, Lin Da-we, Dave Decat, James Dyrenforth / Max Kester, Walt Disney, Gábor Friedrich, Gustave Doré, Albrecht Dürer, Ekkes, Martin Gray, Guibert / Lefévre / Lemercier, Olaf Gulbransson, Masist Gül, Will Eisner, Max Ernst, Öyvind Fahlström, Jules Feiffer, Lyonel Feininger, Ari Folman, Jean-Claude Forest, Rube Goldberg,  Francisco de Goya, Vernon Greene, Keith Haring, George Herriman, Hergé, Hans Holbein d. J., Paul Hogarth, William Hogarth, Laurence Hyde, Jörg Immendorff, Sid Jacobson / Ernie Colón, Henri Gustave Jossot, Rolf Kauka, Reinhard Kleist, Joe Kubert, John Leech, Herbert Lehmann, Ján Mancuska, Stefan Marx, Frans Masereel, David Mazzucchelli, Winsor McCay, Scott McCloud, Carl Meffert, Alfred von Meysenbug, Jürgen Metz / Charly G. Schütz, Mike Mignola, Henry Moore, Iain Morris, Keiji Nakazawa, Otto Neurath, Otto Nückel, Erich Ohser, Michael O’ Donoghue, Dan O’Neill, Henrik Olesen, Karl Ewald Olszewski, George Orwell, Richard Felton Outcault, Giacomo Patri, Gladys Parker, Guy Peellaert / Pierre Bartier, Grayson Perry, Raymond Pettibon, Pablo Picasso, Fritz Raab, Alfred Rethel, Henry Ritter, Rius, Spain Rodriguez, Rose, Joe Sacco, Petr Sadecky, Marjane Satrapi, Gerald Scarfe, Gerhard Seyfried, Ben Shahn, Jim Shaw, Situationistische Internationale, Ernst Scheller, Manfred Schmid, Adolf Schrödter, William Siegel, Otto Soglow, Art Spiegelman, Robert und Philip Spence, Christoph Steinegger, Ernst Steingässer, Théophile-Alexandre Steinlen, Lou Tji-gui, Mathilde ter Heijne, Rodolphe Toepffer, Gary Trudeau, Wang Tschun-bsin / Yang Scha, Félix Vallotton, Lynd Ward, Klaus Wiese / Christian Ziewer, Adolphe Willette, Oscar Zarate etc.

The graphic novel is the most democratic of all art forms because everyone can “read” and understand it. It presupposes no knowledge of cultural history, familiarity with subject matter, compositional principles, and allegorical content. The comic links individual scenes into a pictorial “text,” which does not necessarily say everything but whose interstices can be filled in associatively and by bringing in the person of the viewer to constitute a story. The democratic pictorial understanding innate to the comic, to sequential art, which – despite the name – is not necessarily “comic,” encapsulates the pretensions of institutions concerned with communicating art and bridging the gap between art production and the public.

The exhibition "Where is the wind when it isn't blowing? - Political graphic novels from Albrecht Dürer to Art Spiegelman" assembles an international spectrum of politically motivated sequential art from the invention of printing to the present day. All the works have a decidedly political dimension and they are presented not chronologically but in terms of content. These thematic complexes allow cross-references and allusions beyond the given historical context. The architecture on the upper floor of the Kunstverein specially developed for this exhibition underpins this reference system. The display elements recall the spatial sequences of a comic. Each and every panel is a self-contained unit that nevertheless interchanges with other themes offering cross-links. On the ground floor, Keith Haring’s graffiti provide a projection surface for classical presentation.

The two exhibition spaces relate text to image in their own way, inviting various approaches. The two levels are connected by the entrance area designed by Stefan Marx (*1979, lives in Hamburg). The extensive floor drawing takes up comic motifs, condensing them to constitute a complex universe.

The exhibition is accompanied by a publication

The exhibition is funded by the German Federal Cultural Foundation

Media partner: die tageszeitung