MUNICH.- The Kunstbau
, which was designed by the architect Uwe Kiessler, opened in 1994. The new subterranean space enhanced the Lenbachhauss ability to mount large special presentations. For the inaugural exhibition, Dan Flavin (19331996) created the installation Untitled (for Ksenija), 1994. Conceived specifically for the gallery, this late work is an imposing example of Flavins ongoing creative engagement with the dynamic interplay between light art and architecture. His longtime friends and patrons Heiner Friedrich and Philippa de Ménil donated the work to the Lenbachhaus in memory of their parents, Harald and Erika Friedrich and John and Dominique de Ménil. In celebration of Heiner Friedrichs eightieth birthday, the museum is bringing Untitled (for Ksenija) back to the Kunstbau.
Flavin was a leading protagonist of minimalism, a movement in visual art defined by the radical reduction of the formal repertoire to simple geometric structures. Formal and resolutely unequivocal, they always relate to their environments, making the viewers perceptions of the work and its interaction with the space around it an integral part of the art.
At the Kunstbau, Flavin used the four lighting tracks running along the ceiling to install green, blue, yellow, and pink fluorescent tubes. The colorful intervention brings out the slight curvature of the space and evokes the train tracks of the subway station beneath the Kunstbau. The illumination produces a subtle play of projections of color on the gallerys floor, walls, and other architectural elements but also on the visitors bodies. Space and light are fused in an experience that shifts as the viewer strolls through the gallery. Without obscuring the architecture, Flavins installation engenders new accents and lets us perceive the space in novel ways.
As an exhibition within the exhibition, films by Marcia Hafif are screened in the Kunstbaus media room. Both artists were active in 1970s New York, where their work was informed by some of the sharpest minds in contemporary art criticism. Flavin abandoned painting and declared that this break was the formative moment of his creative production; for Hafif, by contrast, painting was the constant in her art, a source of continuity as she branched out into other media.
Curated by Sebastian Schneider