[{"data":1,"prerenderedAt":2656},["Reactive",2],{"optionPage":3,"logos":34,"exhibition-dedicated-to-the-moon-en":38,"exhibition-list":751},{"data":4,"meta":33},{"id":5,"Cookies":6,"createdAt":7,"updatedAt":8,"publishedAt":9,"CookiesEN":10,"Standardausstellung":11},1,"Diese Website verwendet Cookies. Durch die weitere Nutzung dieser Website stimmen Sie der Verwendung von Cookies zu. Weitere Informationen finden Sie in unserer \u003Ca href=\"/datenschutz\">Datenschutzerklärung\u003C/a> und in unserem \u003Ca href=\"/impressum\">Impressum\u003C/a>.","2022-09-08T09:30:04.807Z","2026-09-09T11:42:16.837Z","2022-09-08T09:32:33.916Z","This website uses cookies. By continuing to use this website, you are giving consent to cookies being used. Further information can be found in our \u003Ca href=\"/en/privacy-policy\">privacy policy\u003C/a> and our \u003Ca href=\"/en/imprint\">imprint\u003C/a>.",{"id":12,"Titel":13,"Datum":14,"DatumBis":15,"Slug":16,"Info":17,"createdAt":18,"updatedAt":19,"publishedAt":20,"TitelEN":21,"SlugEN":22,"InfoEN":23,"DatumText":24,"DatumBisText":25,"DatumTextEN":26,"DatumBisTextEN":27,"BildTitel":28,"BildTitelEN":29,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":31,"KunstlernamenEN":31,"Veranstaltung":32},36,"Dem Mond Gewidmet, Das zeichnerische Werk Franz Erhard Walthers","2026-09-27","2027-05-06","dem-mond-gewidmet","\u003Cp style=\"margin-left:0px;\">Seit 1999 hat es in Europa keine Einzelausstellung zu dem zeichnerischen Werk Franz Erhard Walthers gegeben. Ausgehend von dem einzigartigen Sammlungsbestand der Franz Erhard Walther Foundation präsentiert die VILLA ab dem 27.09.2026 mit der Ausstellung DEM MOND GEWIDMET das komplexe zeichnerische Œuvre.\u003C/p>\u003Cp style=\"margin-left:0px;\">Mit Hunderten von Zeichnungen, darunter noch nie präsentierte Arbeiten aus dem Atelier, haben Besucher:innen die Möglichkeit, diesen außergewöhnlichen Werkkomplex zu entdecken. \u003C/p>\u003Cp style=\"margin-left:0px;\">Seit siebzig Jahren ist die Zeichnung bei Franz Erhard Walther Ausgangspunkt sowie Ort der Umsetzung und Weiterführung seiner radikalen Werkidee. Der vielschichtige zeichnerische Kosmos ist dabei nicht Begleiter der Werkentwicklung, sondern steht in deren Zentrum. Hier beginnen die Ideen und hier werden sie in konkrete Entwürfe für Arbeiten überführt. Zeichnungen sind jedoch auch Ebenen der Reflexion der dreidimensionalen Objekte, ihrer Aktivierungen und Rezeption.\u003C/p>\u003Cp style=\"margin-left:0px;\">Die Ausstellung DEM MOND GEWIDMET zeigt, dass Walthers Zeichnungen √[Syntax geändert] nicht nur ebenbürtig zu seinem bedeutenden plastischen Werk sind, sondern darüber hinaus eine unmittelbare Nähe zu dem künstlerischen Prozess bieten. \u003C/p>\u003Cp style=\"margin-left:0px;\">In acht Räumen auf zwei Ebenen werden die verschiedenen zeichnerischen Ansätze in einer aufwendigen Präsentation bewusst nicht chronologisch, sondern Fragestellungen und Themen folgend vorgestellt. \u003C/p>\u003Cp style=\"margin-left:0px;\">Während die plastischen Arbeiten seit 1963 fast ausschließlich durch Johanna Walther, durch Mitarbeiterinnen oder in Stahlwerken realisiert wurden, blieb die Zeichnung Walthers ureigenster Ort. Hier kann man aus der Nähe beobachten und nachvollziehen, wie die Entwürfe der verschiedenen Werkformen entstehen und sich Werkfindungsprozesse abbilden, wie sich in den Zeichnungen die Konzeption ordnet und sie als Instrument zur Strukturierung der Handlungsabläufe entscheidend sind. Gleichermaßen sind es die gezeichneten Werke, in denen Ebenen der Erinnerung gefiltert und zu etwas Neuem zusammengesetzt werden – einschließlich des Blickes des Künstlers auf die stattgefundenen Ausstellungen und deren Überführung in eine in dieser Form einzigartige Dokumentation in den sogenannten \u003Ci>Planzeichnungen\u003C/i>.\u003C/p>\u003Cp style=\"margin-left:0px;\">Es ist die aus dem Werkgedanken heraus zwingende Notwendigkeit, die Frage nach dem Wesen und der Erscheinungsform eines Werkes immer wieder neu zu stellen und darauf wechselnde Antworten zu finden, die sich in den zeichnerischen Arbeiten in ganz unterschiedlichen Formen präsentieren. Von den Schnurarbeiten in der ersten Hälfte der 60er Jahre, die in großen Dimensionen den Realraum strukturieren, über die als Beweisführung der durch die Handlungen ausgelösten inneren Prozesse in den \u003Ci>Werkzeichnungen\u003C/i> (1963–1974), bis zu der Bildkraft der \u003Ci>Schichtenzeichnungen\u003C/i> Ende der 70er Jahre oder den offenen Setzungen der vermehrt seit 2000 entstandenen Blätter spannt sich eines der vielschichtigsten zeichnerischen Werke unserer Zeit.\u003C/p>","2026-09-01T15:50:11.607Z","2026-09-02T10:40:48.445Z","2026-09-02T10:40:48.436Z","Dedicated To The Moon","dedicated-to-the-moon","\u003Cp>English exhibition text coming soon.\u003C/p>","27. September 2026","5. Mai 2027","September 27, 2026","May 05, 2027","\u003Ci>Ohne Titel,\u003C/i> 1979, © Franz Erhard Walther / VG Bild-Kunst, Bonn 2026","\u003Ci>Untitled,\u003C/i> 1979, © Franz Erhard Walther / VG Bild-Kunst, Bonn 2026",null,"Franz Erhard Walther",false,{},{"data":35,"meta":37},{"id":5,"Cookies":6,"createdAt":7,"updatedAt":8,"publishedAt":9,"CookiesEN":10,"Standardausstellung":36},{"id":12,"Titel":13,"Datum":14,"DatumBis":15,"Slug":16,"Info":17,"createdAt":18,"updatedAt":19,"publishedAt":20,"TitelEN":21,"SlugEN":22,"InfoEN":23,"DatumText":24,"DatumBisText":25,"DatumTextEN":26,"DatumBisTextEN":27,"BildTitel":28,"BildTitelEN":29,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":31,"KunstlernamenEN":31,"Veranstaltung":32},{},{"data":39,"meta":748},[40],{"id":12,"Titel":13,"Datum":14,"DatumBis":15,"Slug":16,"Info":17,"createdAt":18,"updatedAt":19,"publishedAt":20,"TitelEN":21,"SlugEN":22,"InfoEN":23,"DatumText":24,"DatumBisText":25,"DatumTextEN":26,"DatumBisTextEN":27,"BildTitel":28,"BildTitelEN":29,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":31,"KunstlernamenEN":31,"Veranstaltung":32,"Bild":41,"Kunstler":104,"Galerie":209,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},{"id":42,"name":43,"alternativeText":30,"caption":30,"width":44,"height":45,"formats":46,"hash":97,"ext":48,"mime":51,"size":98,"url":99,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":101,"updatedAt":102,"placeholder":103},310,"Zeichnung_01.jpg",1419,2000,{"large":47,"small":57,"medium":65,"xlarge":73,"xsmall":81,"thumbnail":89},{"ext":48,"url":49,"hash":50,"mime":51,"name":52,"path":30,"size":53,"width":54,"height":55,"sizeInBytes":56},".jpg","/uploads/large_Zeichnung_01_e27b51e81d.jpg","large_Zeichnung_01_e27b51e81d","image/jpeg","large_Zeichnung_01.jpg",104.78,710,1000,104777,{"ext":48,"url":58,"hash":59,"mime":51,"name":60,"path":30,"size":61,"width":62,"height":63,"sizeInBytes":64},"/uploads/small_Zeichnung_01_e27b51e81d.jpg","small_Zeichnung_01_e27b51e81d","small_Zeichnung_01.jpg",24.51,355,500,24505,{"ext":48,"url":66,"hash":67,"mime":51,"name":68,"path":30,"size":69,"width":70,"height":71,"sizeInBytes":72},"/uploads/medium_Zeichnung_01_e27b51e81d.jpg","medium_Zeichnung_01_e27b51e81d","medium_Zeichnung_01.jpg",54.6,532,750,54597,{"ext":48,"url":74,"hash":75,"mime":51,"name":76,"path":30,"size":77,"width":78,"height":79,"sizeInBytes":80},"/uploads/xlarge_Zeichnung_01_e27b51e81d.jpg","xlarge_Zeichnung_01_e27b51e81d","xlarge_Zeichnung_01.jpg",505.98,1362,1920,505979,{"ext":48,"url":82,"hash":83,"mime":51,"name":84,"path":30,"size":85,"width":86,"height":87,"sizeInBytes":88},"/uploads/xsmall_Zeichnung_01_e27b51e81d.jpg","xsmall_Zeichnung_01_e27b51e81d","xsmall_Zeichnung_01.jpg",1.16,45,64,1157,{"ext":48,"url":90,"hash":91,"mime":51,"name":92,"path":30,"size":93,"width":94,"height":95,"sizeInBytes":96},"/uploads/thumbnail_Zeichnung_01_e27b51e81d.jpg","thumbnail_Zeichnung_01_e27b51e81d","thumbnail_Zeichnung_01.jpg",3.67,110,156,3671,"Zeichnung_01_e27b51e81d",572.27,"/uploads/Zeichnung_01_e27b51e81d.jpg","local","2026-09-01T16:32:27.616Z","2026-09-10T12:22:13.019Z","data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAMAAAAECAIAAADETxJQAAAACXBIWXMAAAsTAAALEwEAmpwYAAAAM0lEQVR4nAEoANf/AMd3ZW0kFLuCbAC6lYIjAAChj3UA1LOaLw8AwK2RAL2NbVA0Ff/62z+eEQxk9/VIAAAAAElFTkSuQmCC",[105],{"id":5,"Name":31,"Biografie":106,"createdAt":107,"updatedAt":108,"BiografieEN":106,"Kunstwerk":109,"Ausstellungen":133},"","2022-09-06T09:08:35.312Z","2026-07-01T09:35:33.821Z",[110,118,126],{"id":111,"Titel":112,"Jahr":113,"JahrBis":30,"createdAt":114,"updatedAt":115,"publishedAt":116,"TitelEN":117,"Info":106,"InfoEN":106},7,"Franz Erhard Walther spricht über seine frühen Arbeiten in den Räumen der Ersten Werkpräsentation","2023","2026-06-30T15:48:01.275Z","2026-07-01T13:52:38.459Z","2026-07-01T13:52:38.455Z","Franz Erhard Walther speaks about his early works in the rooms of the First Work Presentation",{"id":119,"Titel":120,"Jahr":121,"JahrBis":30,"createdAt":122,"updatedAt":123,"publishedAt":124,"TitelEN":125,"Info":106,"InfoEN":106},13,"Gespräch mit Johanna Walther anlässlich der Ausstellung GELB YELLOW JAUNE","2025","2026-09-02T13:39:31.150Z","2026-09-03T08:50:23.121Z","2026-09-03T08:50:23.116Z","Conversation with Johanna Walther on the occassion of the exhibition GELB YELLOW JAUNE",{"id":127,"Titel":128,"Jahr":121,"JahrBis":30,"createdAt":129,"updatedAt":130,"publishedAt":131,"TitelEN":132,"Info":106,"InfoEN":106},14,"Gespräch mit Franz Erhard Walther anlässlich der Ausstellung GELB YELLOW JAUNE","2026-09-02T13:40:30.989Z","2026-09-03T08:50:01.523Z","2026-09-03T08:50:01.518Z","Conversation with Franz Erhard Walther on the occassion of the exhibition GELB YELLOW JAUNE",[134,152,153,169,187],{"id":135,"Titel":136,"Datum":137,"DatumBis":138,"Slug":139,"Info":140,"createdAt":141,"updatedAt":142,"publishedAt":143,"TitelEN":144,"SlugEN":145,"InfoEN":146,"DatumText":147,"DatumBisText":148,"DatumTextEN":149,"DatumBisTextEN":150,"BildTitel":30,"BildTitelEN":30,"PDFTitel":151,"PDFTitelEN":30,"Kunstlernamen":31,"KunstlernamenEN":31,"Veranstaltung":32},10,"BILDBAUSTOFF Prägungen 1957 – 1960","2024-10-12","2025-09-08","bildbaustoff","\u003Cp>Jeder Werkbildung geht eine Zeit voraus, in der die umgebenden Einflüsse, die visuellen und intellektuellen Prägungen die Materialgrundlage für einen künstlerischen Kosmos bilden, der zu Beginn noch ohne Namen ist.\u003C/p>\u003Cp>Die Ausstellung BILDBAUSTOFF versammelt verschiedene Aspekte, die in den für Franz Erhard Walther entscheidenden Jahren zwischen 1957 und 1960 von Bedeutung waren und Baustoff für die Basis eines Werkes wurden, welches wenige Jahre später seine bis heute gültige Definition erhielt.\u003C/p>\u003Cp>Gezeigt werden exemplarische Werke Walthers neben Dokumenten der Zeit, deren Spuren oftmals erst zu einem späteren Zeitpunkt und in veränderter Erscheinungsform ablesbar sind.\u003C/p>\u003Cp>Auch wenn diese Prägungen untrennbar mit dem jeweiligen Ort und der jeweiligen Zeit verbunden sind, formt sich das Eigene, ohne das eine Werkdefinition nicht möglich ist, in den spezifischen Interessen und Vorlieben und den erst im Nachhinein zu verstehenden Verknüpfungen der verschiedenen Bilder.\u003C/p>\u003Cp>Die entscheidenden Charakteristika liegen in der Auswahl und der Bedeutung, welche den Einflüssen beigemessen wird. Erst in der Konzentration auf konkrete Fragestellungen und dem Verzicht, sich in der Fülle der Eindrücke zu verlieren, entsteht aus der Menge des Gesehenen der Grundriss für ein kommendes Werk.\u003C/p>\u003Cp>Es geht nicht darum, das Phänomen einer Werkbildung zu dechiffrieren. Vielmehr fokussiert sich die Ausstellung auf die zeitübergreifend gültige Tatsache, dass heterogene Einflüsse der jeweiligen Zeit die Grundlage einer Werkdefinition bilden, welche erst durch den Filter der individuellen Auswahl, die Wahrnehmung bestimmter Strukturen und die Konzentration auf eine zentrale Frage das Material der Zeit zu etwas Spezifischem formt.\u003C/p>\u003Cp>In der Ausstellung finden sich Dokumentationen zu der 1959 in Kassel stattfindenden \u003Ci>documenta II\u003C/i>; im Zusammenhang mit Walthers Reisen nach Spanien, Griechenland und in die Türkei entstandene Werke; Filme und Experimentalfilme, die in der zweiten Hälfte der Fünfziger Jahre in den Fuldaer Kinos gezeigt wurden; Werbefilme von Hans Fischerkoesen; Material zu dem Einfluss der amerikanischen Präsenz in Fulda; Beispiele der Literatur und Philosophie, welche Walther in den Jahren beschäftigt hat; eine Auswahl der Fotografien von Hubert Weber aus dem Fuldaer Stadtarchiv, in denen Ursprünge späterer Erscheinungsformen des Werkes erkennbar sind, sowie die in Walthers biografischem Zeichnungszyklus \u003Ci>Sternenstaub\u003C/i> (2007 – 2009) festgehaltenen Erinnerungen der Ereignisse jener Jahre.\u003C/p>\u003Cp>Der eigens eingerichtete Filmraum in der oberen Etage zeigt ein ausführliches Interview mit Franz Erhard Walther im Wechsel mit Filmvorführungen.\u003C/p>\u003Cp>Die Ausstellung wurde kuratiert von Susanne Walther, Franz Erhard Walther Foundation.\u003C/p>","2024-10-09T16:15:52.793Z","2024-12-20T14:10:57.421Z","2024-10-10T14:48:52.857Z","IMAGE ENGINE Influences 1957 – 1960","image-engine","\u003Cp>Every work of art is preceded by a time in which the surrounding influences, the visual and intellectual impressions provide the material basis of an artistic cosmos that initially goes without name.\u003C/p>\u003Cp>The exhibition IMAGE ENGINE brings together various aspects that were of importance to Franz Erhard Walther in the decisive years between 1957 and 1960, and that became the material for developing an oeuvre that, a few years later, gained a definition that remains valid to this day.\u003C/p>\u003Cp>Exemplary works by Franz Erhard Walther are being shown here alongside contemporary documents whose traces can first be discerned in reworked manifestations and only at a later date. Even if these impressions are inextricably linked to their respective time and place, the unique intrinsic quality that is essential to define a work was shaped by Walther’s specific interests and preferences, together with the connections between the various images that only can be grasped in retrospect.\u003C/p>\u003Cp>The key characteristics derive from the choice of influences and the significance assigned to them. Only by concentrating on concrete questions and avoiding getting lost in the wealth of impressions do the outlines of a future work emerge from all that has been seen and taken in.\u003C/p>\u003Cp>It is not a matter here of deciphering the phenomenon of creating a body of work. Rather, the exhibition focuses on the fact – valid for all time – that a heterogeneous range of influences from the period in question formed the basis for defining the work, and which only through the filter of individual selection, the perception of certain structures, and the concentration on a central question, created something specifically its own from the material of that time.\u003C/p>\u003Cp>The exhibition includes documentation from \u003Ci>documenta II\u003C/i>, which was mounted in Kassel in 1959; works created in connection with Walther’s travels to Spain, Greece and Turkey; films and experimental films that were shown in Fulda cinemas in the latter half of the 1950s; advertising films made by Hans Fischerkoesen; material on the influence of the American presence in Fulda; examples of the literature and philosophy that Walther digested in those years; and a selection of photographs by Hubert Weber from the Fulda City Archive, in which the origins of later manifestations of his work can be discerned, as well as the memories of the events of those years recorded in Walther’s biographical cycle of drawings \u003Ci>Dust of Stars\u003C/i> (2007 – 2009). \u003C/p>\u003Cp>The specially designed film room on the upper floor presents an extensive interview with Franz Erhard Walther alternating with film screenings.\u003C/p>\u003Cp>The exhibition was curated by Susanne Walther, Franz Erhard Walther Foundation.\u003C/p>","13. Oktober 2024","7. September 2025","October 13, 2024","September 7, 2025","Broschüre BILDBAUSTOFF Prägungen 1957 – 1960",{"id":12,"Titel":13,"Datum":14,"DatumBis":15,"Slug":16,"Info":17,"createdAt":18,"updatedAt":19,"publishedAt":20,"TitelEN":21,"SlugEN":22,"InfoEN":23,"DatumText":24,"DatumBisText":25,"DatumTextEN":26,"DatumBisTextEN":27,"BildTitel":28,"BildTitelEN":29,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":31,"KunstlernamenEN":31,"Veranstaltung":32},{"id":5,"Titel":154,"Datum":155,"DatumBis":156,"Slug":157,"Info":158,"createdAt":159,"updatedAt":160,"publishedAt":161,"TitelEN":162,"SlugEN":163,"InfoEN":164,"DatumText":165,"DatumBisText":166,"DatumTextEN":165,"DatumBisTextEN":166,"BildTitel":30,"BildTitelEN":30,"PDFTitel":167,"PDFTitelEN":168,"Kunstlernamen":31,"KunstlernamenEN":31,"Veranstaltung":30},"Erste Werkpräsentation","2022-09-01","2023-11-01","erste-werkpraesentation","\u003Cp>Den Grundprinzipien der sich stets aufs neue realisierenden Werke Franz Erhard Walthers entsprechend, präsentiert die VILLA in wechselnden Werkpräsentationen Walthers frühe Arbeiten in temporären, sich stets verändernden Konstellationen.  \u003C/p>\u003Cp>Die \u003Ci>Erste Werkpräsentation\u003C/i> bringt Arbeiten in Dialog, die in den späten 1950er und frühen 1960er Jahren auf Franz Erhard Walthers Weg zur Artikulation seines Werkbegriffs entstanden sind. In diesen Jahren wird die Handlung zum zentralen Element der Werkrealisierung. Es geht uns um das Aufzeigen der Gleichzeitigkeit verschiedener Wege und früh formulierter gedanklicher Ansätze, die erst später materielle Form erhalten. Im Zentrum stehen die sich seit 1954 bildenden, radikalen Fragestellungen im Hinblick auf die Definition des Werkbegriffes, welche parallel zu der Auseinandersetzung mit den künstlerischen Fragen der Zeit bereits den Auftakt für das spätere Werk darstellen: Was kann ein Bild formulieren? Wer ist an der Entstehung des Werkes beteiligt? Wie kann Zeit zu einem Teil des Werkes werden? und vor allem: Was ist ein Werk?\u003C/p>\u003Cp>1960 setzte sich Franz Erhard Walther mit der damals in Deutschland vorherrschenden informellen Malerei auseinander, das heißt mit einem Bildkonzept des „Formlosen“, dem, was „jenseits der Form“ liegt. In der \u003Ci>Ersten Werkpräsentation\u003C/i> werden diese Malereien in Dialog mit den bereits zwei Jahre zuvor entstanden \u003Ci>Wortbildern\u003C/i> gebracht, in denen Franz Erhard Walther Sprache von ihrer Bedeutungsebene zur Schrift in ihrer architektonischen Qualität und imaginierter Bildfindung verschiebt. \u003C/p>\u003Cp>Dem Experimentieren mit vorhandenem Bild- und Textmaterial seiner unmittelbaren Umgebung in Fulda der späten 1950er- und frühen 1960er Jahre (Tageszeitungen, Werbeanzeigen, Einpackpapier lokaler Geschäfte) liegt ebenso die Absicht inne, den konventionellen Umgang mit Bild und Schrift zu überwinden, und in formbildende und sensorische Materialprozesse zu überführen: Zerreißen, Falten, Zerknüllen, Zusammenkehren, Einpacken. Ein Prozess, der mit dem Einbezug der Handlung in den Stapelungen, Handstücken und den ersten Stücken des \u003Ci>1. Werksatzes\u003C/i> weiterentwickelt wird und zentrale Bedeutung im Werk bekommt. \u003C/p>\u003Cp>Als 15-jähriger kletterte Franz Erhard Walther auf einen Baum im Fuldatal, bließ eine Papiertüte aus der elterlichen Bäckerei auf und hielt sie im Mund. Eine Freundin bat er die Aufnahme zu machen. Die bisher unveröffentlichte Fotografie ist das Dokument einer temporären Geste, die zunächst vom Künstler selbst ausgeführt und in späteren Arbeiten an die Akteurinnen und Akteuren übergeben werden. Im Kontext der \u003Ci>Ersten Werkpräsentation\u003C/i> wird die Fotografie im Dialog mit Arbeiten aus den frühen 1960er-Jahren gezeigt, in denen die Akteurinnen und Akteure und der umliegende Raum die Form des temporären Bildes bestimmen.\u003C/p>\u003Cp>Kuratorinnen: Susanne Walther und Carolin Köchling\u003C/p>","2022-09-06T10:13:41.007Z","2024-01-26T13:32:42.028Z","2022-09-06T17:29:05.870Z","First Work Presentation","first-work-presentation","\u003Cp>In keeping with the basic principles of Franz Erhard Walther’s works, which are constantly being realised anew, the VILLA is presenting Walther’s early works in temporary, constantly varying constellations in changing work presentations.\u003C/p>\u003Cp>The \u003Ci>First Work Presentation\u003C/i> brings works into dialogue that were created in the late 1950s and early 1960s. In these years, the handling of the work became the central element of its realisation. Our aim is to show the simultaneity of different paths and intellectual approaches formulated early on that only later take on material form. The focus here is on the radical questions that had been forming since 1954 with regard to the definition of the concept of the work, which, parallel to the preoccupation with the artistic questions of the time, already represent a prelude to the later work: What can manifest a picture? Who is involved in the creation of the work? How can time become a part of the work? And, above all: What is a work?\u003C/p>\u003Cp>In 1960, Franz Erhard Walther was preoccupied with \u003Ci>Informel\u003C/i>, which was predominant in Germany at the time – i.e., with a pictorial concept of the ‘formless’, that which lies ‘beyond form’. In the \u003Ci>First Work Presentation\u003C/i>, these paintings are brought into dialogue with the \u003Ci>Word Pictures\u003C/i> created two years earlier, with which Franz Erhard Walther shifted language from its level of meaning to writing in its architectural quality and imagined pictorial invention.\u003C/p>\u003Cp>Inherent in the experimentation with existing image and text material from his immediate surroundings in Fulda in the late 1950s and early 1960s (daily newspapers, advertisements, wrapping paper from local shops) is also the intention to overcome the conventional handling of image and writing and to transfer these into formative and sensory material processes: tearing, folding, crumpling, sweeping up, wrapping. A process that was further developed with the inclusion of the handling of the works in the stacks, hand pieces, and the first pieces of the \u003Ci>First Work Set\u003C/i> and took on central importance for the work as a whole. \u003C/p>\u003Cp>As a fifteen-year-old, Franz Erhard Walther climbed a tree in the Fulda valley, inflated a paper bag from his parents’ bakery, and held it in his mouth. He asked a friend to take a photo. The hitherto unpublished photograph is the document of a temporary gesture, initially performed by the artist himself and handed over to the activators in later works. In the context of the \u003Ci>First Work Presentation\u003C/i>, the photograph is exhibited in dialogue with works from the early 1960s, in which the activators and the surrounding space determine the form of the temporary image.\u003C/p>\u003Cp>Curators: Susanne Walther and Carolin Köchling\u003C/p>","September 2022","November 2023","Broschüre \u003Ci>Erste Werkpräsentation\u003C/i> mit Texten von Franz Erhard Walther","Booklet \u003Ci>First Work Presentation\u003C/i> with texts by Franz Erhard Walther",{"id":170,"Titel":171,"Datum":172,"DatumBis":173,"Slug":174,"Info":175,"createdAt":176,"updatedAt":177,"publishedAt":178,"TitelEN":171,"SlugEN":179,"InfoEN":180,"DatumText":181,"DatumBisText":182,"DatumTextEN":183,"DatumBisTextEN":184,"BildTitel":185,"BildTitelEN":186,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":31,"KunstlernamenEN":31,"Veranstaltung":32},3,"Gelb Yellow Jaune","2025-12-31","2026-03-03","gelb","\u003Cp>Die 1964 von Franz Erhard Walther in einem Plakatentwurf und einer Planzeichnung detailliert entworfene und für 1965 in den Räumen der Galerie Junge Kunst Fulda geplante Einzelausstellung GELB basierte auf dem Konzept, acht gelbe Arbeiten in den acht Räumen der damaligen Galerie zu zeigen.\u003C/p>\u003Cp>Mit den Werken – alle in der von Walther zu der Zeit bevorzugten und manifestartig verwendeten Farbe Gelb – sollte sein in den Jahren 1962–1964 entwickelter Werkentwurf in verschiedenen Formen gezeigt werden. Die Arbeiten waren aus gelbem Nessel und gelbem Vinyl genäht sowie aus Pappe gebaut, dann mit gelbem Nessel ummantelt oder mit gelber Farbe patiniert. Nahezu alle Objekte forderten eine mögliche Handlung des Besuchers heraus. Zahlreiche der für die Ausstellung geplanten Arbeiten finden sich in dem Skizzenheft Walthers aus den Jahren 1962/63.\u003C/p>\u003Cp>Der unerwartete Tod des 39-jährigen Leiters des Jungen Kunstkreises im August 1964 war für Franz Erhard Walther und den gesamten Kunstkreis eine Zäsur, welche dazu führte, dass die geplante Ausstellung GELB nicht stattfinden konnte. 2025, 60 Jahre später, wird die Ausstellung mit Originalen und Rekonstruktionen in der VILLA gezeigt. Diese Ausstellung gehört zu einer geplanten Reihe von Wiederaufführungen von Aktivierungen und Rekonstruktionen von Ausstellungen Walthers der sechziger Jahre im Rahmen des VILLA-Programmes. \u003C/p>\u003Cp>Kuratorin: Susanne Walther \u003C/p>","2022-09-20T11:23:06.643Z","2026-05-22T12:16:06.836Z","2022-09-20T11:23:26.900Z","yellow","\u003Cp>The solo exhibition GELB (YELLOW), outlined in detail by Franz Erhard Walther in 1964 in a draft poster and layout drawing and planned for 1965 in the rooms of the Galerie Junge Kunst Fulda, was based on the concept of presenting eight yellow works in the eight rooms of the gallery.\u003C/p>\u003Cp>The works – all in the colour yellow, which Walther favoured at the time and used in a manifesto-like way – were intended to expound his work design developed in the years 1962–1964 in various forms. The works were sewn from yellow muslin and yellow vinyl, as well as built from cardboard, then covered with yellow muslin or patinated with yellow paint. Almost all of the objects invited visitors to participate in a possible action. Many of the works planned for the exhibition can be found in Walther’s sketchbook from 1962/63.\u003Cbr>         \u003Cbr>The unexpected death of the thirty-nine-year-old head of the Junger Kunstkreis (Young Art Circle) in August 1964 was a caesura for Franz Erhard Walther and the entire Kunstkreis, which meant that the planned exhibition GELB could not be realised. In 2025 – sixty years later – the exhibition with originals and reconstructions will be shown in the VILLA. \u2028This exhibition is part of a planned series of revivals of activations and reconstructions of Walther’s exhibitions of the 1960s as part of the VILLA program.\u003C/p>\u003Cp>Curator: Susanne Walther\u003C/p>","27. September 2025","1. März 2026","September 27, 2025","March 1, 2026","Franz Erhard Walther, \u003Ci>Erste Werkpräsentation\u003C/i>, 2022","Franz Erhard Walther, \u003Ci>First Work Presentation\u003C/i>, 2022",{"id":188,"Titel":189,"Datum":190,"DatumBis":191,"Slug":192,"Info":193,"createdAt":194,"updatedAt":195,"publishedAt":196,"TitelEN":197,"SlugEN":198,"InfoEN":199,"DatumText":200,"DatumBisText":201,"DatumTextEN":202,"DatumBisTextEN":203,"BildTitel":204,"BildTitelEN":205,"PDFTitel":206,"PDFTitelEN":207,"Kunstlernamen":208,"KunstlernamenEN":208,"Veranstaltung":32},4,"Handlung als Skulptur","2023-12-09","2024-09-23","handlung-als-skulptur","\u003Cp style=\"margin-left:0.0px;\">In der Ausstellung HANDLUNG ALS SKULPTUR. Lygia Clark und Franz Erhard Walther treffen zwei zentrale Figuren der Kunstgeschichte der zweiten Hälfte des 20. Jahrhunderts aufeinander, welche mit ihren Arbeiten die Rolle der Betrachterin und des Betrachters revolutionierten.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Obgleich sich Clark (1920 – 1988, Brasilien) und Walther (*1939, Deutschland) nie persönlich kennengelernt haben und trotz der geographischen, generationellen und kulturellen Verschiedenheit entwickelten ihre Untersuchungen fast zeitgleich entscheidende Gemeinsamkeiten.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Mit ihren Arbeiten veränderten beide Künstler die Rolle der Betrachterinnen und Betrachter von einer beobachtenden Position hin zu einer aktiven Beteiligung an der Entstehung des Werkes. Um der temporären und offenen Struktur beider Werkentwürfe zu entsprechen, stehen Werkaktivierungen mit Ausstellungskopien im Mittelpunkt der Ausstellung HANDLUNG ALS SKULPTUR.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Die gezeigten Arbeiten stammen von Anfang der 1960er bis Anfang der 1970er-Jahre. In diesem Zeitraum haben sich sowohl Clark als auch Walther mit partizipatorischen Aspekten der Kunst in ihren jeweiligen kulturellen Kontexten auseinandergesetzt – in Clarks Fall in Brasilien, in Walthers Fall in Deutschland und den USA. \u003C/p>\u003Cp style=\"margin-left:0.0px;\">Obwohl beide Künstler in ihren Werken vom Bild kommen – Clark von der Konkreten Kunst und Walther vom Informel – werden die bahnbrechenden Werke von Lygia Clark und Franz Erhard Walther ab 1963 zu Skulpturen, die berührt, getragen, gefühlt werden können. Dies geschieht nahezu parallel und ohne gegenseitige Beeinflussung. \u003C/p>\u003Cp style=\"margin-left:0.0px;\">Ausgehend von der Spezifik ihrer jeweiligen Werke unterstreicht HANDLUNG ALS SKULPTUR die Ähnlichkeiten, welche sich in der Entwicklung ihrer fragmentarischen Werkkonzeptionen zeigen, in denen die Werke auf den Realraum Bezug nehmen und Handlung und Zeit integrale Bestandteile der Werkrealisierung werden.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Die Auswahl der Werke betont die sowohl bei Clark als auch bei Walther zu findenden Neudefinitionen traditioneller Konzepte von Objekt, Form, Ausstellung, Autorschaft und ästhetischer Erfahrung. Einige der radikalen Positionen in der Ausstellung konzentrieren sich auf die sensorische und innere Erfahrung der Betrachterinnen und Betrachter, welche Teil des Kunstwerkes werden.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">HANDLUNG ALS SKULPTUR ist konzipiert als lebendiges und dynamisches Projekt und stellt die sich mit jeder Aktivierung verändernden Werke in das Zentrum der Untersuchung. Mit einigen bedeutenden Originalen, darunter ein nie zuvor gezeigtes \u003Ci>Bicho\u003C/i> von Lygia Clark und zahlreichen, zu aktivierenden Ausstellungskopien jener Arbeiten, welche die Einzigartigkeit der beiden Werkentwürfe begründet haben, werden die Positionen von Clark und Walther erstmals in diesem Umfang zusammengeführt.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Die räumliche Nähe schärft den Blick sowohl für die inhaltlichen und formalen Überschneidungen als auch für entscheidende Unterschiede und kann damit auf beide Werke hin potentiell neue Fragestellungen entwickeln.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">In einem umfangreichen Katalog, welcher die Ausstellung dokumentiert, werden sich die international bekannten Wissenschaftlerinnen und Wissenschaftler Jessica Gogan, Daniela Labra, Luis Pérez-Oramas und Irene Small mit der radikalen Praxis beider Künstler im historischen Kontext ihrer Zeit auseinandersetzen.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Während der Ausstellungslaufzeit werden im gesamten Innenraum der VILLA und im Frühjahr und Sommer im Innenhof Aktivierungen stattfinden.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Die Ausstellung wurde konzipiert von Dr. Daniela Labra und Susanne Walther.\u003C/p>\u003Cp>Die Ausstellung entsteht in enger Zusammenarbeit mit der Associação Cultural Lygia Clark in Rio de Janeiro.\u003C/p>","2022-09-20T11:26:47.371Z","2024-09-20T16:20:35.461Z","2022-09-20T11:27:19.678Z","Action as Sculpture","action-as-sculpture","\u003Cp style=\"margin-left:0.0px;\">Two major figures from the second half of the twentieth century art history whose works revolutionized the role of the viewer meet in the exhibition ACTION AS SCULPTURE / HANDLUNG ALS SKULPTUR: Lygia Clark & Franz Erhard Walther.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Although Clark (1920 – 1988, Brazil) and Walther (*1939, Germany) never knew each other personally, their artistic explorations developed crucial similarities at nearly the same time, despite the artists’ geographic, generational, and cultural differences.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Through their works, the two artists changed the role of viewers, turning them from observers into participants active in creating the work of art. In correspondence with the temporary, open-ended structure of the two approaches to art, the show ACTION AS SCULPTURE / HANDLUNG ALS SKULPTUR concentrates on the process of activating the works using reproductions of exhibition pieces by both of the artists.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">The works on display date from the early 1960s into the 1970s. During this period of time, both artists explored aspects of participatory art in each of their particular cultural contexts—in Clark’s case, Brazil, and in Walther’s case, Germany and the United States.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Even though both artists came from the painting world—Clark from Neo-concretism and Walther from Informalism—the trailblazing works they created almost simultaneously from 1963 onward, without either artist consciously influencing the other, are sculptures that can be touched, carried, and felt.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Starting with the details of their individual works of art, ACTION AS SCULPTURE / HANDLUNG ALS SKULPTUR underscores the apparent similarities in the development of their fragmentary conceptions, which hold that the world must relate to the real space and that action and time are integral components in the process of realizing the artwork.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">In selecting the works by both Clark and Walther, the emphasis was on their inventive redefinitions of the traditional concepts of object, form, exhibition, authorship, and aesthetic experience. Some of the exhibition’s radical positions focus on the viewer, who becomes part of the artwork.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">ACTION AS SCULPTURE / HANDLUNG ALS SKULPTUR is conceived as a vivid, dynamic project centered on investigating works of art that change every time they are activated. Featuring some important original works and numerous exhibition reproductions of interactive works that established the singularities of these two artists oeuvres, this show contains the largest group of Clark’s and Walther’s positions to be assembled together for the first time. Their close proximity emphasizes both their contextual and formal intersectionality, as well as their crucial distinctions—potentially raising new questions about the work of both artists.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">In an extensive catalogue, which documents the exhibition, the internationally known scholars Jessica Gogan, Daniela Labra, Luis Pérez-Oramas und Irene Small will explore the radical practices of the two artists within the historical context of their era.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">Over the course of the exhibit, works will be activated everywhere inside the VILLA, and in spring and summer, activations will take place in the inner courtyard.\u003C/p>\u003Cp style=\"margin-left:0.0px;\">The exhibition was conceived by Dr. Daniela Labra and Susanne Walther.\u003C/p>\u003Cp>The exhibition is developed in close collaboration with the Associação Cultural Lygia Clark in Rio de Janeiro.\u003C/p>","9. Dezember 2023","22. September 2024","December 9, 2023","September 22, 2024","Einzelausstellung Lygia Clark in der Signals Gallery, London, 1965","Solo exhibition Lygia Clark at Signals Gallery, London, 1965","Broschüre HANDLUNG ALS SKULPTUR/ACTION AS SCULPTURE","Booklet HANDLUNG ALS SKULPTUR/ACTION AS SCULPTURE","Lygia Clark & Franz Erhard Walther",[210,266,318,372,424,435,483,534,585,640,696],{"id":211,"Titel":212,"TitelEN":30,"Media":213},237,"Franz Erhard Walther, \u003Ci>Werkzeichnung,\u003C/i> 1967/69. © Franz Erhard Walther / VG Bild-Kunst, Bonn 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Foto: Christian Tech",{"id":1220,"Titel":1218,"TitelEN":1155},157,{"id":1222,"metaTitle":1223,"metaDescription":1224,"metaTitleEN":1225,"metaDescriptionEN":1226},8,"Franz Erhard Walther BILDBAUSTOFF Prägungen 1957 – 1960","Franz Erhard Walther\nBILDBAUSTOFF Prägungen 1957 – 1960","Franz Erhard Walther IMAGE ENGINE Influences 1957 – 1960","Franz Erhard Walther\nIMAGE ENGINE Influences 1957 – 1960",[1228],{"id":1229,"name":1230,"alternativeText":30,"caption":30,"width":30,"height":30,"formats":30,"hash":1231,"ext":846,"mime":847,"size":1232,"url":1233,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":1234,"updatedAt":1234,"placeholder":30},123,"FEW-IMAGE-ENGINE_Brochure_DE_web_01.pdf","FEW_IMAGE_ENGINE_Brochure_DE_web_01_5ad5256cc7",12575.21,"/uploads/FEW_IMAGE_ENGINE_Brochure_DE_web_01_5ad5256cc7.pdf","2024-10-09T16:13:32.295Z",{"id":1236,"Titel":1237,"Datum":1238,"DatumBis":1239,"Slug":1240,"Info":106,"createdAt":1241,"updatedAt":1242,"publishedAt":1243,"TitelEN":1244,"SlugEN":1245,"InfoEN":106,"DatumText":1246,"DatumBisText":30,"DatumTextEN":1247,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":30,"Kunstler":1248,"Galerie":1249,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},12,"FILMVORFÜHRUNG „EIN ANDALUSISCHER HUND“, LUIS BUÑUEL, 1929","2024-10-28","2024-10-29","filmvorf-ue-hrung-ein-andalusischer-hund-luis-bunuel-1929","2024-10-24T14:40:29.785Z","2024-10-25T15:46:43.894Z","2024-10-24T14:42:24.984Z","FILM SCREENING “UN CHIEN ANDALOU,” LUIS BUÑUEL, 1929","film-screening-un-chien-andalou-luis-bunuel-1929","Sonntag, 27.10.2024, 14.30 Uhr","Sunday, October 27, 2024, 2.30 pm",[],[],{"id":1251,"Titel":1252,"Datum":1253,"DatumBis":1254,"Slug":1255,"Info":106,"createdAt":1256,"updatedAt":1257,"publishedAt":1258,"TitelEN":1259,"SlugEN":1260,"InfoEN":106,"DatumText":1261,"DatumBisText":30,"DatumTextEN":1262,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":1263,"KunstlernamenEN":1264,"Veranstaltung":873,"Bild":30,"Kunstler":1265,"Galerie":1266,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},18,"ZERREISSPROBE TALKS, NEUE NATIONALGALERIE, BERLIN","2024-11-14","2024-11-16","zerreissprobe-talks-neue-nationalgalerie-berlin","2024-11-08T11:39:52.567Z","2024-11-08T11:45:40.956Z","2024-11-08T11:45:40.950Z","EXTREME TENSION TALKS, NEUE NATIONALGALERIE, Berlin","extreme-tension-talks-neue-nationalgalerie-berlin","Mittwoch, 13.11.2024 18.00 Uhr","Wednesday, November 13, 2024, 6 pm","Diskussion mit Franz Erhard Walther und Gregor Quack","Talk with Franz Erhard Walther and Gregor Quack",[],[],{"id":1268,"Titel":1252,"Datum":1269,"DatumBis":1254,"Slug":1270,"Info":1271,"createdAt":1272,"updatedAt":1273,"publishedAt":1274,"TitelEN":1259,"SlugEN":1275,"InfoEN":1276,"DatumText":1277,"DatumBisText":30,"DatumTextEN":1278,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":1279,"KunstlernamenEN":1280,"Veranstaltung":873,"Bild":30,"Kunstler":1281,"Galerie":1282,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},19,"2024-11-15","aktivierung-von-werken-mit-franz-erhard-walther","\u003Cp>\u003Ca href=\"https://www.smb.museum/veranstaltungen/veranstaltungsreihe/zerreissprobe-talks/\">Neue Nationalgalerie, Berlin\u003C/a>\u003C/p>","2024-11-08T11:40:51.982Z","2024-11-11T09:12:15.500Z","2024-11-08T11:45:33.561Z","activation-of-works-with-franz-erhard-walther","\u003Cp>\u003Ca href=\"https://www.smb.museum/en/events/event-series/zerreissprobe-talks/\">Neue Nationalgalerie, Berlin\u003C/a>\u003C/p>","Donnerstag, 14.11.2024 16:00 Uhr","Thursday, November 14, 2024, 4 pm","Aktivierung von Werken mit Franz Erhard Walther","Activation of works with Franz Erhard Walther",[],[],{"id":1284,"Titel":1285,"Datum":1286,"DatumBis":1287,"Slug":1288,"Info":1289,"createdAt":1290,"updatedAt":1291,"publishedAt":1292,"TitelEN":1293,"SlugEN":1294,"InfoEN":106,"DatumText":1295,"DatumBisText":30,"DatumTextEN":1296,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":1297,"Kunstler":1340,"Galerie":1341,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},29,"FILMVORFÜHRUNG „Nosferatu“, Friedrich Wilhelm Murnau, 1922","2025-02-09","2025-02-10","filmvorf-ue-hrung-nosferatu-friedrich-wilhelm-murnau-1922","\u003Cp>NOSFERATU – 1922\u003Cbr>Regie: Friedrich Wilhelm Murnau (1888–1931)\u003Cbr>94 Minuten; FSK 12\u003Cbr>\u003Cbr>„Nosferatu“ erzählt die Geschichte von Thomas Hutter (Gustav von Wangenheim), der nach Transsilvanien reist, um den Verkauf eines Hauses mit dem mysteriösen Grafen Orlok (Max Schreck) zu verhandeln. Er erkennt jedoch bald, dass Orlok ein Vampir ist. Bald darauf zieht dieser in Hutters Heimatstadt und verbreitet dort Angst und Schrecken.\u003Cbr>Murnaus „Nosferatu“ gilt als einer der ersten und einflussreichsten Horrorfilme der Filmgeschichte. Der Film ist ein Pionier des Vampirgenres und hat die Darstellung von Vampiren im Kino nachhaltig geprägt. Murnaus große technische Raffinesse steht aufwühlenden, von großer Angst geprägten Themen gegenüber. \u003Cbr>\u003Cbr>Ein Film aus dem Bestand der Friedrich-Wilhelm-Murnau-Stiftung (\u003Ca href=\"http://www.murnau-stiftung.de/\">www.murnau-stiftung.de\u003C/a>) in Wiesbaden.\u003C/p>","2025-01-28T14:58:02.950Z","2025-02-12T14:52:26.868Z","2025-01-28T15:09:00.132Z","FILM SCREENING “Nosferatu,” Friedrich Wilhelm Murnau, 1922","film-screening-nosferatu-friedrich-wilhelm-murnau-1922","Samstag, 08.02.2025, 14.30 Uhr","Saturday, February 8, 2025, 2.30 pm",{"id":1298,"name":1299,"alternativeText":30,"caption":30,"width":79,"height":1300,"formats":1301,"hash":1335,"ext":48,"mime":51,"size":1336,"url":1337,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":1338,"updatedAt":1338,"placeholder":1339},209,"063_for-web2.jpg",1430,{"large":1302,"small":1309,"medium":1315,"xsmall":1322,"thumbnail":1328},{"ext":48,"url":1303,"hash":1304,"mime":51,"name":1305,"path":30,"size":1306,"width":55,"height":1307,"sizeInBytes":1308},"/uploads/large_063_for_web2_a84a825b29.jpg","large_063_for_web2_a84a825b29","large_063_for-web2.jpg",111.73,745,111727,{"ext":48,"url":1310,"hash":1311,"mime":51,"name":1312,"path":30,"size":1284,"width":63,"height":1313,"sizeInBytes":1314},"/uploads/small_063_for_web2_a84a825b29.jpg","small_063_for_web2_a84a825b29","small_063_for-web2.jpg",372,29002,{"ext":48,"url":1316,"hash":1317,"mime":51,"name":1318,"path":30,"size":1319,"width":71,"height":1320,"sizeInBytes":1321},"/uploads/medium_063_for_web2_a84a825b29.jpg","medium_063_for_web2_a84a825b29","medium_063_for-web2.jpg",63.55,559,63548,{"ext":48,"url":1323,"hash":1324,"mime":51,"name":1325,"path":30,"size":1326,"width":87,"height":251,"sizeInBytes":1327},"/uploads/xsmall_063_for_web2_a84a825b29.jpg","xsmall_063_for_web2_a84a825b29","xsmall_063_for-web2.jpg",1.11,1105,{"ext":48,"url":1329,"hash":1330,"mime":51,"name":1331,"path":30,"size":1332,"width":1333,"height":95,"sizeInBytes":1334},"/uploads/thumbnail_063_for_web2_a84a825b29.jpg","thumbnail_063_for_web2_a84a825b29","thumbnail_063_for-web2.jpg",6.28,210,6279,"063_for_web2_a84a825b29",340.73,"/uploads/063_for_web2_a84a825b29.jpg","2025-02-12T14:51:53.922Z","data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAQAAAADCAIAAAA7ljmRAAAACXBIWXMAAAsTAAALEwEAmpwYAAAAMklEQVR4nAEnANj/AB0AAP/o2eOmmvCvowBqRDz/zL6jc2jrqp4ASiklTi0obUU//8K1gjYTCTESb2oAAAAASUVORK5CYII=",[],[1342],{"id":1343,"Titel":1344,"TitelEN":1344},159,"Ein Film aus dem Bestand der Friedrich-Wilhelm-Murnau-Stiftung (www.murnau-stiftung.de) in Wiesbaden.",{"id":127,"Titel":1346,"Datum":1347,"DatumBis":30,"Slug":1348,"Info":1349,"createdAt":1350,"updatedAt":1351,"publishedAt":1352,"TitelEN":1353,"SlugEN":1354,"InfoEN":106,"DatumText":1355,"DatumBisText":30,"DatumTextEN":1356,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":1357,"Kunstler":1407,"Galerie":1408,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},"FILMVORFÜHRUNG „PANZERKREUZER POTEMKIN“, SERGEI EISENSTEIN, 1925","2025-03-16","filmvorf-ue-hrung-panzerkreuzer-potemkin-sergei-eisenstein-1925","\u003Cp>PANZERKREUZER POTEMKIN – 1925\u003Cbr>Regie: Sergei Eisenstein (1898–1948)\u003Cbr>63 Minuten; FSK 12\u003C/p>\u003Cp>„Panzerkreuzer Potemkin“ von Sergei Eisenstein erzählt die dramatische Geschichte einer Meuterei auf dem russischen Kriegsschiff Potemkin im Jahr 1905. Nachdem die Matrosen gezwungen wurden, verdorbenes Fleisch zu essen, revoltiert die Besatzung gegen die Offiziere und löst einen revolutionären Aufstand aus. Die zentrale Szene des Films zeigt, wie auf der berühmten Treppe von Odessa das Militär brutal auf das Volk feuert – ein Moment voller emotionaler und visueller Kraft.\u003Cbr>Filmhistorisch gilt „Panzerkreuzer Potemkin“ als Meisterwerk des sowjetischen Kinos und als einflussreicher Klassiker der Montagekunst. Eisenstein perfektionierte hier seine Theorie der “dialektischen Montage”, bei der Bilder durch ihre Abfolge eine starke emotionale und ideologische Wirkung erzeugen. Die innovative Schnitttechnik prägt bis heute die Filmsprache und inspirierte Generationen von Regisseuren weltweit, von Hitchcock bis hin zum modernen Actionkino.\u003C/p>","2024-10-25T15:34:00.722Z","2025-03-10T16:03:08.554Z","2024-10-25T15:37:19.769Z","FILM SCREENING “BATTLESHIP POTEMKIN,” SERGEI EISENSTEIN, 1925","film-screening-battleship-potemkin-sergei-eisenstein-1925","Samstag, 15.03.2025, 14.30 Uhr","Saturday, March 15, 2025, 2.30 pm",{"id":1358,"name":1359,"alternativeText":30,"caption":30,"width":1360,"height":1361,"formats":1362,"hash":1402,"ext":48,"mime":51,"size":1403,"url":1404,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":1405,"updatedAt":1405,"placeholder":1406},216,"PANZERKREUZER-POTEMKIN-2-web-cropped-tiny.jpg",3804,2430,{"large":1363,"small":1370,"medium":1377,"xlarge":1384,"xsmall":1390,"thumbnail":1396},{"ext":48,"url":1364,"hash":1365,"mime":51,"name":1366,"path":30,"size":1367,"width":55,"height":1368,"sizeInBytes":1369},"/uploads/large_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff.jpg","large_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff","large_PANZERKREUZER-POTEMKIN-2-web-cropped-tiny.jpg",126.61,639,126614,{"ext":48,"url":1371,"hash":1372,"mime":51,"name":1373,"path":30,"size":1374,"width":63,"height":1375,"sizeInBytes":1376},"/uploads/small_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff.jpg","small_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff","small_PANZERKREUZER-POTEMKIN-2-web-cropped-tiny.jpg",38.54,319,38539,{"ext":48,"url":1378,"hash":1379,"mime":51,"name":1380,"path":30,"size":1381,"width":71,"height":1382,"sizeInBytes":1383},"/uploads/medium_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff.jpg","medium_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff","medium_PANZERKREUZER-POTEMKIN-2-web-cropped-tiny.jpg",75.98,479,75979,{"ext":48,"url":1385,"hash":1386,"mime":51,"name":1387,"path":30,"size":1388,"width":79,"height":359,"sizeInBytes":1389},"/uploads/xlarge_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff.jpg","xlarge_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff","xlarge_PANZERKREUZER-POTEMKIN-2-web-cropped-tiny.jpg",382.23,382226,{"ext":48,"url":1391,"hash":1392,"mime":51,"name":1393,"path":30,"size":1394,"width":87,"height":828,"sizeInBytes":1395},"/uploads/xsmall_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff.jpg","xsmall_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff","xsmall_PANZERKREUZER-POTEMKIN-2-web-cropped-tiny.jpg",1.25,1250,{"ext":48,"url":1397,"hash":1398,"mime":51,"name":1399,"path":30,"size":1400,"width":586,"height":95,"sizeInBytes":1401},"/uploads/thumbnail_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff.jpg","thumbnail_PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff","thumbnail_PANZERKREUZER-POTEMKIN-2-web-cropped-tiny.jpg",11.06,11055,"PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff",819,"/uploads/PANZERKREUZER_POTEMKIN_2_web_cropped_tiny_1470a0ecff.jpg","2025-03-10T16:00:42.369Z","data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAQAAAADCAIAAAA7ljmRAAAACXBIWXMAAAsTAAALEwEAmpwYAAAAMElEQVR4nAXBMQ0AAAgDMC4eFE3EjBGcIIJkJ6agNZK7m5ndbe4OICJIWlXNzN1JejNWEc6WXPACAAAAAElFTkSuQmCC",[],[1409],{"id":1410,"Titel":1411,"TitelEN":1411},165,"DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt",{"id":1413,"Titel":1414,"Datum":1415,"DatumBis":30,"Slug":1416,"Info":1417,"createdAt":1418,"updatedAt":1419,"publishedAt":1420,"TitelEN":1421,"SlugEN":1422,"InfoEN":106,"DatumText":1423,"DatumBisText":30,"DatumTextEN":1424,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":1425,"Kunstler":1464,"Galerie":1465,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},27,"FILMVORFÜHRUNG „KINDER DES OLYMP“, MARCEL CARNÉ, 1945","2025-04-05","filmvorf-ue-hrung-kinder-des-olymp-marcel-carne-1945","\u003Cp>LES ENFANTS DU PARADIS – 1945\u003Cbr>Dt: Die Kinder des Olymp\u003Cbr>Regie: Marcel Carné (1906–96)\u003Cbr>190 Minuten; FSK 12\u003C/p>\u003Cp>„Les Enfants du paradis“ spielt im Paris des 19. Jahrhunderts und erzählt die tragische Liebesgeschichte zwischen dem Pantomimen Baptiste und der schönen Garance. Das Drehbuch entfaltet sich in vier Akten und zeigt das Leben im Theatermilieu und die Sehnsüchte der Charaktere. Während die Liebesgeschichte von Verlust und Wiedervereinigung geprägt ist, wird auch das soziale und politische Klima der Zeit reflektiert. \u003Cbr>Der Film wird oft als Meisterwerk des poetischen Realismus betrachtet. Die Zusammenarbeit zwischen Carné und dem Drehbuchautor Jacques Prévert schuf ein ikonisches Werk, das die kulturellen und sozialen Themen der Nachkriegszeit thematisiert. „Les Enfants du paradis“ wird für seine beeindruckende Bildsprache, das Set-Design und die emotionalen Darstellungen gelobt. Der Film hat auch die französische Filmkunst nachhaltig beeinflusst und bleibt ein bedeutendes Beispiel für die Verbindung von Kunst und Gesellschaft.\u003C/p>","2025-01-16T09:53:34.287Z","2025-03-24T14:38:52.660Z","2025-01-16T09:53:35.078Z","FILM SCREENING “LES ENFANTS DU PARADIS,” MARCEL CARNÉ, 1945","film-screening-les-enfants-du-paradis-marcel-carne-1945","Samstag, 05.04.2025, 14.30 Uhr","Saturday, April 5, 2025, 2.30 pm",{"id":1426,"name":1427,"alternativeText":30,"caption":30,"width":79,"height":1059,"formats":1428,"hash":1459,"ext":48,"mime":51,"size":1460,"url":1461,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":1462,"updatedAt":1462,"placeholder":1463},221,"LES-ENFANTS-DU-PARADIS-2web.jpg",{"large":1429,"small":1435,"medium":1441,"xsmall":1447,"thumbnail":1453},{"ext":48,"url":1430,"hash":1431,"mime":51,"name":1432,"path":30,"size":1433,"width":55,"height":1041,"sizeInBytes":1434},"/uploads/large_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d.jpg","large_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d","large_LES-ENFANTS-DU-PARADIS-2web.jpg",79.39,79391,{"ext":48,"url":1436,"hash":1437,"mime":51,"name":1438,"path":30,"size":1439,"width":63,"height":1047,"sizeInBytes":1440},"/uploads/small_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d.jpg","small_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d","small_LES-ENFANTS-DU-PARADIS-2web.jpg",24.46,24461,{"ext":48,"url":1442,"hash":1443,"mime":51,"name":1444,"path":30,"size":1445,"width":71,"height":63,"sizeInBytes":1446},"/uploads/medium_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d.jpg","medium_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d","medium_LES-ENFANTS-DU-PARADIS-2web.jpg",48.47,48472,{"ext":48,"url":1448,"hash":1449,"mime":51,"name":1450,"path":30,"size":1451,"width":87,"height":824,"sizeInBytes":1452},"/uploads/xsmall_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d.jpg","xsmall_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d","xsmall_LES-ENFANTS-DU-PARADIS-2web.jpg",1.13,1126,{"ext":48,"url":1454,"hash":1455,"mime":51,"name":1456,"path":30,"size":1457,"width":1070,"height":95,"sizeInBytes":1458},"/uploads/thumbnail_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d.jpg","thumbnail_LES_ENFANTS_DU_PARADIS_2web_f390a5c27d","thumbnail_LES-ENFANTS-DU-PARADIS-2web.jpg",7.53,7525,"LES_ENFANTS_DU_PARADIS_2web_f390a5c27d",220.7,"/uploads/LES_ENFANTS_DU_PARADIS_2web_f390a5c27d.jpg","2025-03-24T14:38:44.321Z","data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAQAAAADCAIAAAA7ljmRAAAACXBIWXMAAAsTAAALEwEAmpwYAAAALElEQVR4nGNwcHDQAgMxMTEGVlZWNTW1X79+GRkZMZSWlsbExGRlZenr6wMAqmoKQpnv4WQAAAAASUVORK5CYII=",[],[1466],{"id":1467,"Titel":1468,"TitelEN":1468},169,"© 1945 – PATHE FILMS",{"id":1470,"Titel":1471,"Datum":1472,"DatumBis":30,"Slug":1473,"Info":1474,"createdAt":1475,"updatedAt":1476,"publishedAt":1477,"TitelEN":1478,"SlugEN":1479,"InfoEN":106,"DatumText":1480,"DatumBisText":30,"DatumTextEN":1481,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":1482,"Kunstler":1526,"Galerie":1527,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},16,"FILMVORFÜHRUNG „NACHTASYL“, JEAN RENOIR, 1936","2025-05-18","filmvorf-ue-hrung-nachtasyl-jean-renoir-1936","\u003Cp>LES BAS-FONDS – 1936\u003Cbr>Dt: Nachtasyl (in Deutschland 1955 erschienen)\u003Cbr>Regie: Jean Renoir (1894–1979)\u003Cbr>95 Minuten; FSK unbekannt\u003Cbr>\u003Cbr>Basierend auf Maxim Gorkis gleichnamigen Stück von 1902 verlagert Renoir „Les Bas-Fonds“ in die französische Hauptstadt und schafft ein herausragendes Beispiel für die sozialkritische Phase des französischen Films der 1930er Jahre. Insbesondere Renoirs Fähigkeit, komplexe Charaktere in einem sozialen Kontext zu präsentieren, zeichnet den Film aus.\u003Cbr>„Les Bas-Fonds“ spielt in einem Pariser Nachtasyl, in dem gescheiterte Existenzen Zuflucht suchen. Der Film konzentriert sich auf die Interaktionen zwischen den Bewohnerinnen und Bewohnern, die zwischen Hoffnung und Verzweiflung schwanken: Sie schließen Allianzen und beginnen Liebesbeziehungen, verraten und betrügen sich. Renoir thematisiert die sozialen Ungleichheiten und die Suche nach Spuren der Menschlichkeit mit großer Solidarität und Empathie.\u003C/p>","2024-10-25T15:36:49.489Z","2025-05-26T08:49:31.051Z","2024-10-25T15:37:27.196Z","FILM SCREENING “LES BAS-FONDS,” JEAN RENOIR, 1936","film-screening-les-bas-fonds-jean-renoir-1936","17. Mai 2025, 14.30 Uhr","17 May, 2025, 2.30 pm ",{"id":1483,"name":1484,"alternativeText":30,"caption":30,"width":1485,"height":1486,"formats":1487,"hash":1521,"ext":48,"mime":51,"size":1522,"url":1523,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":1524,"updatedAt":1524,"placeholder":1525},211,"Les-Bas-Fonds-web.jpg",1473,1080,{"large":1488,"small":1495,"medium":1502,"xsmall":1509,"thumbnail":1514},{"ext":48,"url":1489,"hash":1490,"mime":51,"name":1491,"path":30,"size":1492,"width":55,"height":1493,"sizeInBytes":1494},"/uploads/large_Les_Bas_Fonds_web_db13a75467.jpg","large_Les_Bas_Fonds_web_db13a75467","large_Les-Bas-Fonds-web.jpg",83.4,733,83396,{"ext":48,"url":1496,"hash":1497,"mime":51,"name":1498,"path":30,"size":1499,"width":63,"height":1500,"sizeInBytes":1501},"/uploads/small_Les_Bas_Fonds_web_db13a75467.jpg","small_Les_Bas_Fonds_web_db13a75467","small_Les-Bas-Fonds-web.jpg",20.49,367,20490,{"ext":48,"url":1503,"hash":1504,"mime":51,"name":1505,"path":30,"size":1506,"width":71,"height":1507,"sizeInBytes":1508},"/uploads/medium_Les_Bas_Fonds_web_db13a75467.jpg","medium_Les_Bas_Fonds_web_db13a75467","medium_Les-Bas-Fonds-web.jpg",43.84,550,43841,{"ext":48,"url":1510,"hash":1511,"mime":51,"name":1512,"path":30,"size":5,"width":87,"height":251,"sizeInBytes":1513},"/uploads/xsmall_Les_Bas_Fonds_web_db13a75467.jpg","xsmall_Les_Bas_Fonds_web_db13a75467","xsmall_Les-Bas-Fonds-web.jpg",998,{"ext":48,"url":1515,"hash":1516,"mime":51,"name":1517,"path":30,"size":1518,"width":1519,"height":95,"sizeInBytes":1520},"/uploads/thumbnail_Les_Bas_Fonds_web_db13a75467.jpg","thumbnail_Les_Bas_Fonds_web_db13a75467","thumbnail_Les-Bas-Fonds-web.jpg",5.31,213,5306,"Les_Bas_Fonds_web_db13a75467",196.37,"/uploads/Les_Bas_Fonds_web_db13a75467.jpg","2025-02-12T15:13:03.623Z","data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAQAAAADCAIAAAA7ljmRAAAACXBIWXMAAAsTAAALEwEAmpwYAAAAMklEQVR4nAEnANj/AFxcXP39/dDQ0P39/QCQkJC3t7d4eHiGhoYAFxcXBQUFGhoaNzc3uCIRiRIgbUQAAAAASUVORK5CYII=",[],[1528],{"id":1529,"Titel":1530,"TitelEN":1530},162,"© Gaumont 1936 „Les Bas-Fonds“, Jean Renoir",{"id":806,"Titel":1532,"Datum":1533,"DatumBis":30,"Slug":1534,"Info":1535,"createdAt":1536,"updatedAt":1537,"publishedAt":1538,"TitelEN":1539,"SlugEN":1534,"InfoEN":106,"DatumText":1540,"DatumBisText":30,"DatumTextEN":1541,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":1542,"Kunstler":1585,"Galerie":1586,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},"FILMVORFÜHRUNG „Es war einmal“, Jean Cocteau, 1946","2025-05-25","filmvorf-ue-hrung-es-war-einmal-jean-cocteau-1946","\u003Cp>LA BELLE ET LA BÊTE – 1946\u003Cbr>Dt: Es war einmal (deutsche Erstaufführung: 1947)\u003Cbr>Regie: Jean Cocteau (1889–1963) und René Clément (1913–96)\u003Cbr>90 Minuten; FSK 0\u003Cbr>\u003Cbr>Jean Cocteaus „La Belle et la Bête“ (1946) erzählt die romantische Geschichte von Bella (Josette Day), die sich freiwillig in die Gefangenschaft eines verwunschenen Biests (Jean Marais) begibt, um ihren Vater zu retten. Mit der Zeit entwickelt sich Liebe zwischen den beiden, was den Fluch bricht und das Biest in einen Prinzen verwandelt. \u003Cbr>Filmhistorisch gilt Cocteaus Werk als Meilenstein des französischen Poetischen Realismus und als einflussreicher Beitrag zum Fantastischen Kino. Die innovative Nutzung von Licht, Schatten, und Spezialeffekten, wie die „lebenden“ Objekte im Schloss, inspirierte nachfolgende Filmemacher und unterstreicht die künstlerische Verbindung von Film und Märchen.\u003C/p>","2025-01-28T15:19:13.147Z","2025-05-26T08:49:22.163Z","2025-01-28T15:21:33.026Z","FILM SCREENING “La Belle et La Bête,” Jean Cocteau, 1946","25. Mai 2025, 14.30 Uhr","25 May, 2025, 2.30 pm",{"id":1519,"name":1543,"alternativeText":30,"caption":30,"width":79,"height":1544,"formats":1545,"hash":1580,"ext":48,"mime":51,"size":1581,"url":1582,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":1583,"updatedAt":1583,"placeholder":1584},"BELB8-web3copy.jpg",1404,{"large":1546,"small":1553,"medium":1560,"xsmall":1567,"thumbnail":1573},{"ext":48,"url":1547,"hash":1548,"mime":51,"name":1549,"path":30,"size":1550,"width":55,"height":1551,"sizeInBytes":1552},"/uploads/large_BELB_8_web3copy_46c2c19fdf.jpg","large_BELB_8_web3copy_46c2c19fdf","large_BELB8-web3copy.jpg",127.5,731,127500,{"ext":48,"url":1554,"hash":1555,"mime":51,"name":1556,"path":30,"size":1557,"width":63,"height":1558,"sizeInBytes":1559},"/uploads/small_BELB_8_web3copy_46c2c19fdf.jpg","small_BELB_8_web3copy_46c2c19fdf","small_BELB8-web3copy.jpg",39.34,366,39340,{"ext":48,"url":1561,"hash":1562,"mime":51,"name":1563,"path":30,"size":1564,"width":71,"height":1565,"sizeInBytes":1566},"/uploads/medium_BELB_8_web3copy_46c2c19fdf.jpg","medium_BELB_8_web3copy_46c2c19fdf","medium_BELB8-web3copy.jpg",78.06,548,78060,{"ext":48,"url":1568,"hash":1569,"mime":51,"name":1570,"path":30,"size":1571,"width":87,"height":251,"sizeInBytes":1572},"/uploads/xsmall_BELB_8_web3copy_46c2c19fdf.jpg","xsmall_BELB_8_web3copy_46c2c19fdf","xsmall_BELB8-web3copy.jpg",1.43,1432,{"ext":48,"url":1574,"hash":1575,"mime":51,"name":1576,"path":30,"size":1577,"width":1578,"height":95,"sizeInBytes":1579},"/uploads/thumbnail_BELB_8_web3copy_46c2c19fdf.jpg","thumbnail_BELB_8_web3copy_46c2c19fdf","thumbnail_BELB8-web3copy.jpg",9.3,214,9298,"BELB_8_web3copy_46c2c19fdf",414.53,"/uploads/BELB_8_web3copy_46c2c19fdf.jpg","2025-02-13T11:19:36.190Z","data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAQAAAADCAIAAAA7ljmRAAAACXBIWXMAAAsTAAALEwEAmpwYAAAAL0lEQVR4nGMQlxAUEuasqin///8/AxcPAys7g4go99x5sxlqaivd3B15+Rgqq8sAy5UKyrXrlsoAAAAASUVORK5CYII=",[],[1587],{"id":1588,"Titel":1589,"TitelEN":1589},161,"© 1946 SNC (Groupe M6) / Comité Jean Cocteau",{"id":337,"Titel":1591,"Datum":1592,"DatumBis":30,"Slug":1593,"Info":1594,"createdAt":1595,"updatedAt":1596,"publishedAt":1597,"TitelEN":1598,"SlugEN":1599,"InfoEN":106,"DatumText":1600,"DatumBisText":30,"DatumTextEN":1601,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":1602,"Kunstler":1644,"Galerie":1645,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},"FILMVORFÜHRUNG „FANTASIA“, JAMES ALGAR UND SAMUEL ARMSTRONG / DISNEY, 1940","2025-06-08","filmvorf-ue-hrung-fantasia-james-algar-und-samuel-armstrong-1940","\u003Cp>FANTASIA – 1940\u003Cbr>Regie: James Algar (1912–1998), Samuel Armstrong (1893–1976) / Walt Disney Studios\u003Cbr>124 Minuten; FSK 6\u003Cbr>\u003Cbr>„Fantasia“ ist ein innovativer Animationsfilm der Walt Disney Studios, der erstmalig klassische Musik mit Animation kombiniert. Der Film besteht aus mehreren Segmenten, die verschiedene musikalische Stücke visuell interpretieren, darunter „Der Nussknacker“ von Pjotr Iljitsch Tschaikowski und „Die Moldau“ von Bedřich Smetana. Jedes Segment erzählt eine eigene Geschichte, wobei die Animationen von den Klängen der Musik inspiriert sind.\u003Cbr>„Fantasia“ revolutionierte die Animationskunst und stellte die Möglichkeiten des Mediums neu dar. Es war der erste Film, der synchronisierte Musik und Animation in solch einem Umfang kombinierte, was zu einer neuen Form des Erzählens führte. Der Film wurde sowohl für seine technische Innovation als auch für seine künstlerischen Ambitionen gelobt.\u003C/p>","2025-01-16T09:52:39.904Z","2025-05-26T08:48:49.931Z","2025-01-16T09:52:43.201Z","FILM SCREENING “FANTASIA,” James Algar and Samuel Armstrong / DISNEY, 1940","film-screening-fantasia-james-algar-and-samuel-armstrong-1940","7. Juni 2025, 14.30 Uhr","7 June, 2025, 2.30 pm",{"id":1603,"name":1604,"alternativeText":30,"caption":30,"width":79,"height":1605,"formats":1606,"hash":1639,"ext":48,"mime":51,"size":1640,"url":1641,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":1642,"updatedAt":1642,"placeholder":1643},212,"Fantasia-web-copy.jpg",1437,{"large":1607,"small":1614,"medium":1620,"xsmall":1627,"thumbnail":1633},{"ext":48,"url":1608,"hash":1609,"mime":51,"name":1610,"path":30,"size":1611,"width":55,"height":1612,"sizeInBytes":1613},"/uploads/large_Fantasia_web_copy_9b5544ffea.jpg","large_Fantasia_web_copy_9b5544ffea","large_Fantasia-web-copy.jpg",79.79,748,79789,{"ext":48,"url":1615,"hash":1616,"mime":51,"name":1617,"path":30,"size":1618,"width":63,"height":890,"sizeInBytes":1619},"/uploads/small_Fantasia_web_copy_9b5544ffea.jpg","small_Fantasia_web_copy_9b5544ffea","small_Fantasia-web-copy.jpg",20.47,20472,{"ext":48,"url":1621,"hash":1622,"mime":51,"name":1623,"path":30,"size":1624,"width":71,"height":1625,"sizeInBytes":1626},"/uploads/medium_Fantasia_web_copy_9b5544ffea.jpg","medium_Fantasia_web_copy_9b5544ffea","medium_Fantasia-web-copy.jpg",45.04,561,45035,{"ext":48,"url":1628,"hash":1629,"mime":51,"name":1630,"path":30,"size":1631,"width":87,"height":836,"sizeInBytes":1632},"/uploads/xsmall_Fantasia_web_copy_9b5544ffea.jpg","xsmall_Fantasia_web_copy_9b5544ffea","xsmall_Fantasia-web-copy.jpg",1.02,1018,{"ext":48,"url":1634,"hash":1635,"mime":51,"name":1636,"path":30,"size":1637,"width":1298,"height":95,"sizeInBytes":1638},"/uploads/thumbnail_Fantasia_web_copy_9b5544ffea.jpg","thumbnail_Fantasia_web_copy_9b5544ffea","thumbnail_Fantasia-web-copy.jpg",4.8,4804,"Fantasia_web_copy_9b5544ffea",271.03,"/uploads/Fantasia_web_copy_9b5544ffea.jpg","2025-02-12T15:20:56.747Z","data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAQAAAADCAIAAAA7ljmRAAAACXBIWXMAAAsTAAALEwEAmpwYAAAAMElEQVR4nGOIrJq/6si7yklX4utWM3AqO/z/+GXPqdcCygEMDFwKDALyevZBzFJ2AGqJDu3CDmgdAAAAAElFTkSuQmCC",[],[1646],{"id":1647,"Titel":1648,"TitelEN":1648},163,"© Disney All rights reserved",{"id":1650,"Titel":1651,"Datum":1652,"DatumBis":30,"Slug":1653,"Info":1654,"createdAt":1655,"updatedAt":1656,"publishedAt":1657,"TitelEN":1658,"SlugEN":1659,"InfoEN":106,"DatumText":1660,"DatumBisText":30,"DatumTextEN":1661,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":1662,"Kunstler":1712,"Galerie":1713,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},25,"FILMVORFÜHRUNG „Jour de fête“, Jacques Tati, 1949","2025-06-22","filmvorf-ue-hrung-jour-de-fete-jacques-tati-1949","\u003Cp>JOUR DE FÊTE – 1947\u003Cbr>Dt: Tati’s Schützenfest\u003Cbr>Regie: Jacques Tati (1907–82)\u003Cbr>76 Minuten; FSK 6\u003C/p>\u003Cp>Der Postbote François (Jacques Tati) wird von den Bewohnern des fiktiven Dörfchens Folainville, in dem gerade das jährliche Dorffest stattfindet, für seine langsame Zustellung aufgezogen, während in den USA die Post bereits mit Flugzeugen und Helikoptern zugestellt würde. François versucht nun mit ‚modernen‘ Methoden seinem neuen Motto der „Rapidité“ (Geschwindigkeit) gerecht zu werden. In einer „Mischung aus Ernst und Lachen und Absurditäten“ (Franz Erhard Walther) führt Tati die vermeintlichen Errungenschaften der Moderne und ihr Rationalisierungsstreben ad absurdum. \u003Cbr>Ironischerweise war auch der Film selbst seiner Zeit voraus: „Tati’s Schützenfest“ ist als erster französische Farbfilm im aufwändigen Thomson Color-Verfahren gedreht: Der in drei Farben auf drei Filmrollen gedrehte Film musste im Kino von drei Filmprojektoren übereinander projiziert werden. Dies konnte damals kaum ein Kino leisten, sodass das „Schützenfest“ nur in schwarz/weiß gezeigt wurde – Tati hatte mit einer zusätzlichen Kamera die schwarz/weiß-Aufnahmen gemacht. Erst in den 1990er Jahren wurde der Film so überarbeitet, dass er auch in Farbe gezeigt werden konnte. \u003C/p>","2025-01-09T13:19:52.236Z","2025-04-22T15:47:32.419Z","2025-01-09T13:19:53.277Z","FILM SCREENING “Jour de fête,” Jacques Tati, 1949","film-screening-jour-de-fete-jacques-tati-1949","21. 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Satirisch und humorvoll setzt Renoir den Intellektualismus und das Streben nach Fortschritt einem romantisierten Naturbild gegenüber.\u003Cbr>Der damals 65-Jährige Jean Renoir, Enkel des impressionistischen Meisters Jean- Auguste Renoir (1841–1919), schuf mit dem „Frühstück im Grünen“ nicht nur eine Hommage an Édouard Manets (1832–1883) gleichnamiges Gemälde von 1863 sondern vor allem ein oft übersehenes filmisches Meisterwerk, dessen Thema auch heute auf Resonanz stößt.\u003C/p>","2024-10-24T14:39:20.797Z","2025-04-28T07:19:55.705Z","2024-10-24T14:42:29.167Z","FILM SCREENING “LE DEJEUNER SUR L’HERBE,” JEAN RENOIR, 1959","film-screening-dejeuner-sur-l-herbe-jean-renoir-1959","5. 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Der Film thematisiert die moralischen Fragen von Recht und Unrecht und stellt die Gesellschaft als einen bedeutenden Akteur dar. „M“ wird oft als Beispiel für die Verbindung von Unterhaltung und sozialer Kritik angesehen und gilt als einer der bedeutendsten Filme der Weimarer Republik.\u003Cbr>In einer deutschen Stadt wird mit allen Mitteln ein Kindermörder gesucht. Neben der organisierten Kriminalität, die die erhöhte Präsenz der Polizei beenden will, begibt sich bald die ganze Stadt  auf die Suche nach dem Mörder. Der Film beleuchtet die psychologischen und gesellschaftlichen Aspekte von Angst und Verbrechen, wobei die düstere Atmosphäre durch die expressionistische Filmtechnik verstärkt wird.\u003C/p>","2025-01-28T14:56:19.896Z","2025-04-07T13:55:15.315Z","2025-01-28T15:09:04.330Z","FILM SCREENING “M – Eine Stadt sucht einen Mörder,” Fritz Lang, 1931","film-screening-m-eine-stadt-sucht-einen-moerder-fritz-lang-1931","12. 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Der Alltag wird von den modernsten Apparaturen und Maschinen unterstützt, die jedoch nicht immer sonderlich störungsfrei sind. Oft trifft sich Gerard mit seinem Onkel, Monsieur Hulot (Jacques Tati), der ein liebenswerter Kauz ist und allerlei Unsinn mit Gerard anstellt. Die Konfrontation zwischen den traditionellen Werten Hulots und dem mechanisierten Alltag seiner Verwandten führt zu einigen komischen Situationen.\u003Cbr>„Mon Oncle“ wurde mit dem Oscar für den besten fremdsprachigen Film ausgezeichnet und gilt als eines von Tatis bedeutendsten Werken. Der Film kombiniert visuelle Komik mit einer scharfen sozialen Kritik an der modernen Konsumgesellschaft. Tati entwarf hierfür ein ausgeklügeltes Konzept, dass die ‚alte‘ und ‚neue‘ Welt visuell scharf voneinander trennt. In Tatis erstem in Farbe gezeigten Film wird dieser Kontrast auch in der gegensätzlichen Farbigkeit der schrillen Moderne beziehungsweise des warmen Hauses Hulots deutlich. \u003C/p>","2024-11-25T16:15:30.206Z","2025-06-02T10:06:36.070Z","2024-11-25T16:20:08.826Z","FILM SCREENING “MON ONCLE,” JACQUES TATI, 1958","film-screening-mon-oncle-jacques-tati-1958","27. 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Der junge Erbe, Freder (Gustav Fröhlich), entdeckt das Elend der Arbeiter und verliebt sich in Maria Brigitte Helm), eine Vertreterin der Arbeiterklasse. Der Film behandelt Themen wie soziale Ungerechtigkeit, Industrialisierung und die Suche nach Einheit zwischen den Klassen.\u003C/p>\u003Cp>„Metropolis“ gilt als einer der ersten Science-Fiction-Filme und ist ein Meilenstein der Filmgeschichte. Fritz Langs innovative Technik, die Verwendung von Miniaturmodellen und futuristischen Set-Designs haben die Filmproduktion revolutioniert. Die visuellen Effekte und das Set-Design schaffen die eindrucksvolle dystopische Atmosphäre dieses sozialkritischen Werks. \u003C/p>\u003Cp>Ein Film aus dem Bestand der Friedrich-Wilhelm-Murnau-Stiftung (www.murnau-stiftung.de) in Wiesbaden.\u003C/p>","2024-11-20T14:34:55.093Z","2025-04-07T13:41:23.892Z","2024-11-20T14:34:57.278Z","FILM SCREENING “METROPOLIS,” Fritz Lang, 1927","film-screening-metropolis-fritz-lang-1927","2. 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Durch die darin gestickten Initialen „M.S.“ an einen alten Freund erinnert, findet sich Jonas in einer existenziellen Krise wieder. Die Handlung entfaltet sich in einer Reihe von Begegnungen und Dialogen, die die Herausforderungen des modernen Lebens reflektieren und von den traumatischen Ereignissen des Krieges geprägt sind.\u003Cbr>Bedrohlich inszenieren Greta und Ottomar Domnick als Autodidakten die westdeutsche Nachkriegssituation. An den deutschen Expressionismus der 1920er Jahre erinnernd gilt „Jonas“ als filmisches Meisterwerk der 1950er Jahre mit Anklängen an George Orwell und Franz Kafka. \u003Cbr>Mit freundlicher Genehmigung der SWR Media Services GmbH\u003C/p>","2024-12-11T13:44:01.440Z","2025-04-07T13:42:31.915Z","2024-12-11T13:44:31.513Z","FILM SCREENING “JONAS,” OTTOMAR AND GRETA DOMNICK, 1957","film-screening-jonas-ottomar-and-greta-domnick-1957","9. August 2025, 14.30 Uhr","9 August, 2025, 2.30 pm ",{"id":1977,"name":1978,"alternativeText":30,"caption":30,"width":1979,"height":1980,"formats":1981,"hash":2016,"ext":48,"mime":51,"size":2017,"url":2018,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":2019,"updatedAt":2019,"placeholder":2020},220,"image2018-03-09-113609-2.jpg",1203,1674,{"large":1982,"small":1989,"medium":1996,"xsmall":2003,"thumbnail":2009},{"ext":48,"url":1983,"hash":1984,"mime":51,"name":1985,"path":30,"size":1986,"width":1987,"height":55,"sizeInBytes":1988},"/uploads/large_image2018_03_09_113609_2_3c799b028e.jpg","large_image2018_03_09_113609_2_3c799b028e","large_image2018-03-09-113609-2.jpg",112.61,719,112608,{"ext":48,"url":1990,"hash":1991,"mime":51,"name":1992,"path":30,"size":1993,"width":1994,"height":63,"sizeInBytes":1995},"/uploads/small_image2018_03_09_113609_2_3c799b028e.jpg","small_image2018_03_09_113609_2_3c799b028e","small_image2018-03-09-113609-2.jpg",34.56,359,34562,{"ext":48,"url":1997,"hash":1998,"mime":51,"name":1999,"path":30,"size":2000,"width":2001,"height":71,"sizeInBytes":2002},"/uploads/medium_image2018_03_09_113609_2_3c799b028e.jpg","medium_image2018_03_09_113609_2_3c799b028e","medium_image2018-03-09-113609-2.jpg",69.78,539,69778,{"ext":48,"url":2004,"hash":2005,"mime":51,"name":2006,"path":30,"size":2007,"width":681,"height":87,"sizeInBytes":2008},"/uploads/xsmall_image2018_03_09_113609_2_3c799b028e.jpg","xsmall_image2018_03_09_113609_2_3c799b028e","xsmall_image2018-03-09-113609-2.jpg",1.54,1538,{"ext":48,"url":2010,"hash":2011,"mime":51,"name":2012,"path":30,"size":2013,"width":2014,"height":95,"sizeInBytes":2015},"/uploads/thumbnail_image2018_03_09_113609_2_3c799b028e.jpg","thumbnail_image2018_03_09_113609_2_3c799b028e","thumbnail_image2018-03-09-113609-2.jpg",5.21,112,5209,"image2018_03_09_113609_2_3c799b028e",253.69,"/uploads/image2018_03_09_113609_2_3c799b028e.jpg","2025-03-24T14:25:10.703Z","data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAMAAAAECAIAAADETxJQAAAACXBIWXMAAAsTAAALEwEAmpwYAAAAMUlEQVR4nGNwcXY0MNA/dOggw8KFc4yNDdTV1BgKC3P+/fvRWFfFwMLCsm7tyon11QAqHQ/ah7l/4gAAAABJRU5ErkJggg==",[],[2023],{"id":2024,"Titel":2025,"TitelEN":2025},168,"Mit freundlicher Genehmigung der SWR Media Services GmbH",{"id":2027,"Titel":2028,"Datum":2029,"DatumBis":30,"Slug":2030,"Info":2031,"createdAt":2032,"updatedAt":2033,"publishedAt":2034,"TitelEN":2035,"SlugEN":2036,"InfoEN":106,"DatumText":2037,"DatumBisText":30,"DatumTextEN":2038,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":2039,"Kunstler":2082,"Galerie":2083,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},15,"FILMVORFÜHRUNG „DIE FERIEN DES MONSIEUR HULOT“, JACQUES TATI, 1953","2025-08-17","filmvorf-ue-hrung-die-ferien-des-monsieur-hulot-jacques-tati-1953","\u003Cp>LES VACANCES DE M. HULOT – 1953\u003Cbr>Dt: Die Ferien des Monsieur Hulot\u003Cbr>Regie: Jacques Tati (1907–82)\u003Cbr>110 Minuten; FSK 6\u003C/p>\u003Cp>„Les Vacances de M. Hulot“ festigte den Ruf von Jacques Tati als Meister des visuellen Humors. Fast wie in einem Stummfilm verwendete er für „Les Vacances“ kaum Dialoge, was seine besondere Fähigkeit zeigt, Geschichten rein durch visuelle Komik zu erzählen. Tatis Stil, der moderne Technik und das traditionelle Leben in Beziehung setzt, hat einen bleibenden Einfluss auf die Filmkomödie. \u003Cbr>Der Film folgt den Ferienabenteuern von Monsieur Hulot (Jacques Tati), der in ein Küstenresort reist. Hulot, dargestellt von Tati selbst, ist ein unbeholfener, aber liebenswerter Charakter, dessen Interaktionen mit anderen Gästen und den typischen Urlaubssituationen eine Reihe von komischen Szenen hervorbringen. Hulots Erlebnisse sind eingefügt in eine Vielzahl von alleinstehenden Situationen, welche die gesellschaftliche Situation der 1950er Jahre humorvoll einfängt. \u003C/p>","2024-10-25T15:35:30.380Z","2025-06-30T12:07:22.954Z","2024-10-25T15:37:24.305Z","FILM SCREENING “LES VACANCES DE M. HULOT,” JACQUES TATI, 1953","film-screening-les-vacances-de-m-hulot-jacques-tati-1953","16. 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Doch er hat sich damit als Pionier einer Kunst erwiesen, die Präsenz, Beziehung und Vergänglichkeit der Formen in den Vordergrund stellt. Diese Begriffe lassen sich ebenso auf das Werk Jimmy Roberts anwenden, dessen Arbeiten seit Beginn der 2000er Jahre die Gegenwärtigkeit des Körpers des Künstlers in Performances, Fotografien und Videos zeigen, die durch Zitate und Anspielungen, welche ebenso sehr Gesten der Beziehung zu geliebten Figuren sind, ein Netz poetischer – literarischer, choreografischer und künstlerischer – Referenzen weben.\u003C/p>\u003Cp>\u003Ci>Die Intensität der Sanftheit\u003C/i> verweist somit auf eine beiden Künstlern gemeinsame Strategie hin, die Entschlossenheit erfordert: das Risiko der Ungewissheit und der Offenheit für Veränderungen, auf das Unbekannte einzugehen. Das ist die Absicht des Austauschs, der im Rahmen der Ausstellung stattfindet: Franz Erhard Walther entwarf ein Mantel-Element für Jimmy Robert, das diesen zu einer neuen Performance inspiriert hat, die am Eröffnungstag öffentlich aufgeführt werden und auch Gegenstand eines in der Ausstellung gezeigten Films sein wird.\u003C/p>\u003Cp>François Piron\u003C/p>","2022-09-06T15:52:49.532Z","2026-09-01T16:01:33.856Z","2026-09-01T16:01:33.850Z","\u003Cp>Curated by François Piron\u003C/p>\u003Cp>The title selected by Jimmy Robert for the exhibition, \u003Ci>The Intensity of Softness\u003C/i>, cites a shared materiality, the choice by both artists to work primarily with soft materials, such as fabric and paper. These are permeable, flexible and metamorphic materials that can hug the contours of the body yet allow movement, that seem solid but as textile materials are made up of a weave and are tied moreover to the textual. This choice was by no means obvious for Franz Erhard Walther in the 1960s, and seemed like mere provocation in the artist’s working surroundings. Yet he proved to be a pioneer of an art form that emphasised presence, relationship and the impermanence of forms. These terms can also be applied to the work of Jimmy Robert, whose oeuvre since the early 2000s has manifested the presence of the artist’s body in performances, photographs and videos that interlace poetic references to literature, choreography and art through quotations and allusions that signal his relationship to beloved figures.\u003C/p>\u003Cp>\u003Ci>The Intensity of Softness\u003C/i> points to a common strategy shared by both artists, one that requires determination and a sense of purpose – of entering the risk of uncertainty and openness to change, to the unknown. The exhibition describes a trajectory between both Walther’s and Robert’s works that has presented the opportunity for an exchange: Franz Erhard Walther has conceived a coat element for Jimmy Robert that has prompted a new performance by the artist. The piece will be performed in public on the day of the opening, and a film of it will be screened throughout the exhibition.\u003C/p>\u003Cp>François Piron \u003C/p>\u003Cp>\u003Cbr>Extra Extra Interview\u003Cbr>\u003Ca href=\"https://extraextramagazine.com/talk/jimmy-robert-on-performing-the-body-as-score-the-mind-as-place/\">Jimmy Robert on Performing the Body as Score, the Mind as Place by Fatoş Üstek\u003C/a>\u003C/p>","29. März 2026","6. September 2026","March 29, 2026","September 6, 2026","Ohne Titel, 2010 © Jimmy Robert","Untitled, 2010 © Jimmy Robert","Broschüre THE INTENSITY OF SOFTNESS. Jimmy Robert & Franz Erhard Walther","Booklet THE INTENSITY OF SOFTNESS. 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Foto: David Ertl. © VILLA, Jimmy Robert, Franz Erhard Walther und VG Bild-Kunst, Bonn 2026","Jimmy Robert & Franz Erhard Walther, \u003Ci>The Intensity of Softness\u003C/i>, Installation view VILLA, 2026. 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Foto: David Ertl. © VILLA, Jimmy Robert, Franz Erhard Walther und VG Bild-Kunst, Bonn 2026","Performance by Jimmy Robert, \u003Ci>he Same Intensity of Softness\u003C/i>, 2026. Photo: David Ertl. © VILLA, Jimmy Robert, Franz Erhard Walther and VG Bild-Kunst, Bonn 2026",{"id":2040,"Titel":2480,"TitelEN":2481},{"id":1790,"Titel":2480,"TitelEN":2481},{"id":2264,"Titel":2480,"TitelEN":2481},{"id":1070,"Titel":2480,"TitelEN":2481},{"id":2487,"Titel":2480,"TitelEN":2481},236,{"id":2489,"Titel":2456,"TitelEN":2457},215,{"id":1519,"Titel":2491,"TitelEN":2492},"Jimmy Robert & Franz Erhard Walther, \u003Ci>The Intensity of Softness\u003C/i>, VILLA Franz Erhard Walther 2026. Foto: David Ertl. © VILLA, Jimmy Robert, Franz Erhard Walther und VG Bild-Kunst, Bonn 2026","Jimmy Robert & Franz Erhard Walther, \u003Ci>The Intensity of Softness\u003C/i>, VILLA Franz Erhard Walther 2026. Photo: David Ertl. © VILLA, Jimmy Robert, Franz Erhard Walther and VG Bild-Kunst, Bonn 2026",[2494],{"id":2495,"name":2496,"alternativeText":30,"caption":30,"width":30,"height":30,"formats":30,"hash":2497,"ext":846,"mime":847,"size":2498,"url":2499,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":2500,"updatedAt":2501,"placeholder":30},295,"JR-FEW_Brochure_EN-DE_digital_02.pdf","JR_FEW_Brochure_EN_DE_digital_02_e0154c249c",16086.24,"/uploads/JR_FEW_Brochure_EN_DE_digital_02_e0154c249c.pdf","2026-06-29T14:45:38.483Z","2026-06-29T14:46:15.625Z",{"id":2503,"name":2504,"alternativeText":30,"caption":30,"width":30,"height":30,"formats":30,"hash":2505,"ext":846,"mime":847,"size":2498,"url":2506,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":2507,"updatedAt":2507,"placeholder":30},296,"JR-FEW_Brochure_EN_digital_02.pdf","JR_FEW_Brochure_EN_digital_02_e471478067","/uploads/JR_FEW_Brochure_EN_digital_02_e471478067.pdf","2026-06-29T14:58:44.925Z",{"id":12,"Titel":13,"Datum":14,"DatumBis":15,"Slug":16,"Info":17,"createdAt":18,"updatedAt":19,"publishedAt":20,"TitelEN":21,"SlugEN":22,"InfoEN":23,"DatumText":24,"DatumBisText":25,"DatumTextEN":26,"DatumBisTextEN":27,"BildTitel":28,"BildTitelEN":29,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":31,"KunstlernamenEN":31,"Veranstaltung":32,"Bild":2509,"Kunstler":2517,"Galerie":2519,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},{"id":42,"name":43,"alternativeText":30,"caption":30,"width":44,"height":45,"formats":2510,"hash":97,"ext":48,"mime":51,"size":98,"url":99,"previewUrl":30,"provider":100,"provider_metadata":30,"createdAt":101,"updatedAt":102,"placeholder":103},{"large":2511,"small":2512,"medium":2513,"xlarge":2514,"xsmall":2515,"thumbnail":2516},{"ext":48,"url":49,"hash":50,"mime":51,"name":52,"path":30,"size":53,"width":54,"height":55,"sizeInBytes":56},{"ext":48,"url":58,"hash":59,"mime":51,"name":60,"path":30,"size":61,"width":62,"height":63,"sizeInBytes":64},{"ext":48,"url":66,"hash":67,"mime":51,"name":68,"path":30,"size":69,"width":70,"height":71,"sizeInBytes":72},{"ext":48,"url":74,"hash":75,"mime":51,"name":76,"path":30,"size":77,"width":78,"height":79,"sizeInBytes":80},{"ext":48,"url":82,"hash":83,"mime":51,"name":84,"path":30,"size":85,"width":86,"height":87,"sizeInBytes":88},{"ext":48,"url":90,"hash":91,"mime":51,"name":92,"path":30,"size":93,"width":94,"height":95,"sizeInBytes":96},[2518],{"id":5,"Name":31,"Biografie":106,"createdAt":107,"updatedAt":108,"BiografieEN":106},[2520,2521,2522,2523,2524,2525,2526,2527,2528,2529,2530],{"id":211,"Titel":212,"TitelEN":30},{"id":267,"Titel":268,"TitelEN":30},{"id":319,"Titel":320,"TitelEN":30},{"id":373,"Titel":374,"TitelEN":30},{"id":425,"Titel":426,"TitelEN":30},{"id":436,"Titel":437,"TitelEN":30},{"id":484,"Titel":485,"TitelEN":30},{"id":535,"Titel":536,"TitelEN":30},{"id":586,"Titel":587,"TitelEN":30},{"id":641,"Titel":642,"TitelEN":30},{"id":697,"Titel":698,"TitelEN":30},{"id":1222,"Titel":2532,"Datum":2533,"DatumBis":30,"Slug":2534,"Info":2535,"createdAt":2536,"updatedAt":2537,"publishedAt":2538,"TitelEN":2532,"SlugEN":2534,"InfoEN":106,"DatumText":2539,"DatumBisText":30,"DatumTextEN":2540,"DatumBisTextEN":30,"BildTitel":30,"BildTitelEN":30,"PDFTitel":30,"PDFTitelEN":30,"Kunstlernamen":30,"KunstlernamenEN":30,"Veranstaltung":873,"Bild":2541,"Kunstler":2585,"Galerie":2586,"SEO":30,"AusstellungPDF":30,"AusstellungPDFEN":30},"Kunstkurse in der VILLA","2026-12-08","kunstkurse-in-der-villa","\u003Cp>Kunstkurs für Kinder\u003C/p>\u003Cp>Alter: 8 – 11 Jahre\u003Cbr>Samstags 11:00 – 12:30 Uhr\u003C/p>\u003Cp>In diesem Kurs bieten wir ein fröhliches, künstlerisches Experimentierfeld, das einen ersten Zugang zur Kunst ermöglicht. Malen, Zeichnen, Schreiben, Schneiden, Nähen, Lachen und Experimentieren stehen dabei an erster Stelle. Ausgehend von den von Franz Erhard Walther in seinem Werk aufgeworfenen Fragestellungen können die jungen Künstlerinnen und Künstler ausprobieren, erforschen und beginnen, eine eigene Bildsprache  zu entwickeln.\u003C/p>\u003Cp>Kunstkurs für Jugendliche\u003C/p>\u003Cp>Alter: ab 12 Jahren \u003Cbr>Samstags 12:45 – 14:15 Uhr\u003C/p>\u003Cp>In diesem Kurs geht es darum, ein vielfältiges Repertoire an künstlerischen Ausdruckmöglichkeiten in der Malerei, dem Zeichnen und der Grafik zu vermitteln und zu erweitern. Die Werke und künstlerische Biographie von Franz Erhard Walther und in der VILLA ausstellenden Künstlerinnen / Künstlern werden genauer betrachtet und dienen als Anregung für eine neue Herangehensweise an  die Kunst. Jugendliche, die schon einen eigenen Stil entwickelt haben, können sich von und mit Gleichgesinnten inspirieren lassen und neue Techniken kennenlernen. \u003C/p>\u003Cp>Kurs Nr. 6, zweite Jahreshälfte 2026:\u003Cbr>15. und 29. August, 5. und 27. September, 24. Oktober,  7. und 21. November, 5. und 6. Dezember. \u003C/p>\u003Cp>Kursleitung: Lea Sporer\u003Cbr>Kosten: 50,00 € / Kurs\u003C/p>\u003Cp>Anmeldung unter: villa-few@fulda.de\u003Cbr>Sophia Wurm 0661-102-1441\u003C/p>","2024-07-11T10:20:21.035Z","2026-06-26T08:02:26.030Z","2024-07-11T10:22:36.795Z","15. und 29. August, 5. und 27. September, 24. Oktober, \u20287. und 21. November, 5. und 6. 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