Neue Nationalgalerie, Berlin, 2021
After years of renovation, Berlin's new State Gallery, by British architect David Chipperfield, reopened in August 2021 with the inaugural exhibition Minimal/Maximal, which presents several of the important creations of Alexander Calder, the founder of dynamic sculpture. Udo Kittelmann, who served as the museum's director for 12 years, wrote an exclusive article for Harper's Bazaar, telling the story of his wonderful relationship with the master Calder.
Guest Writer
Udo Kittelman
Kittermann is curator of the German Pavilion at the 49th Venice Biennale; Since the 1990s he has been director of the Kunsthalle Köln (1994-2001), the Museum of Modern Art frankfurt (2002-2008) and the State Kunsthalle Berlin (2008-2020). In 2021, he was appointed Artistic Director of the Museum Frieder Burda in Germany.
Years have passed, but I still vividly remember how I felt when I first saw the work of the American sculptor Alexander Calder: a miniature "sculpture" called The Cirque Calder. The exhibition takes place in the Marcel Breuer building in New York, once home to the Whitney Museum of American Art, which has now moved to downtown Manhattan.
Alexander Calder, Cirque Calder, sculpture, 137.2×239.4×239.4cm, 1926-1931, now in the Whitney Museum of American Art
In the 1920s, Calder performed these toy-sized, wire-clad sculptures of animals and acrobats, which caused a sensation for a time and gave birth to a new art form with performance. In 1955, the documentary film Le Grand Cirque Calder 1927, directed by French director and cinematographer Jean Painlevé, presented the artist's performance of his "circus" sculpture, which was also screened at the Whitney Museum of American Art.
Documentary film Le Grand Cirque Calder 1927
At first glance alone, I was drawn to this piece, which is still one of my favorite creations to this day. The dynamic villains, controlled by Calder himself, have and are the only ones who can manipulate them, introducing both children and adults into their immersive and fun worlds.
Calder's "static sculpture" Têtes et Queue, outside the Neue National Gallery in Berlin
The early work was also described by Spanish artist Joan Miro as "Colossus with the Soul of a Nightingale." After my first encounter, I began to dream of curating an exhibition of Calder's work.
A few years ago, when the curatorial idea was taking shape, I sat down with Alexander S.C. Rower, president of the Calder Foundation and the artist's grandson, on a table with miniature models of Calder's large "Stablies, which still look amazing.
Alexander Calder, Five Swords, 1976, "Minimal/Maximal", Neue National Kunsthalle, Berlin, 2021
Alexander Calder, Untitled, 1954, "Minimal/Maximal" exhibition site, Neue National Kunsthalle, Berlin, 2021
Some of these sculptures are the size of fingers, but they have a strong appeal to me. Although they are static, they can move with a gentle blow. Whether it's a miniature model or its signature static and dynamic sculptures, "movement" is an indispensable feature. Delicate and fragile, these works are sporty and spontaneous, as if carrying an effortless sense of weightlessness.
Alexander Calder, Louisa's 43rd Birthday Present, 1948
At that time, I had the feeling that the new State Gallery in Berlin, with its huge glass hall, created by the modern architect Mies van der Rohe, would be the best place to hold an exhibition of the legendary sculptor.
Today, after years of renovation and preparation, the new National Gallery, renovated by British architect David Chipperfield, reopened to the public in August 2021 with the opening of the exhibition "Alexander Calder: Minimalism/Extreme Complexity". This exhibition, inspired by the Glass Hall, has finally made a dream come true. The transparent façade of the exhibition hall creates a strong connection between the interior and exterior spaces and reflects the urban landscape around the venue.
The New State Gallery in Berlin, and the outside Calder sculpture Têtes et Queue
Not only that, but visitors can also see Calder's large-scale outdoor sculpture "Têtes et Queue" from the venue, which has been home since the original building landed in 1968. For me, in addition to the miniature sculptures, the highlights of the exhibition include the chess pieces carved by Cordel from wood, and the different pieces are also painted in red and blue by the artist.
Alexander Calder, Chess Set, 1944
Alexander Calder, Le Cagoulard, 1954, "Minimal/Maximal" exhibition site, Neue National Kunsthalle, Berlin, 2021
A big fan of chess, conceptual artist Marcel Duchamp commented on Calder's work in the 1930s. In 1944, Duchamp co-curated with the surrealist artist Max Ernst for the high-profile exhibition The Imagery of Chess, at the Julien Levy Gallery in New York, which included chess-themed paintings and photographs by many internationally renowned artists, as well as Calder, Max Ernst, Isamu Noguchi and Yves Tanguy) and other artists designed the chessboard.
Poster for the exhibition "Minimal/Maximal"
Today, for the exhibition, Calder's colorful chessboard has also been copied and unveiled in Berlin for the first time, allowing audiences to participate in it and try it out. The personal connection between the viewer and this chess artwork was also a key factor in my conception of the exhibition. Here, I sincerely hope and imagine that museums around the world interested in this concept will invite their audiences to play Calder's exquisite chess works in the future.
Originally published in Harper's Bazaar
Published November 2021
Contributed writing by Udo Kittelman
Supervising producer Qi Chao
Edited by Zhang Jianlei and Song Peifen
Translated by Zhang Jianlei
The original article was published in the November 2021 issue of Harper's Bazaar
This article is original by Harper's Bazaar Art Department and may not be reproduced without permission