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CURRENT EXHIBITIONS

UNTIL 12.2.23: BODIES IN SOCIETY

BODIES IN SOCIETY
9.11.22 TO 12.2.23

K BARLOW 61433Alexandra Alexandra Bircken, Trolley II, 2016, Stahl, Holz, Bronze, Haar, 260 x 380,4 x 150,4 cm, Sprengel Museum Hannover, Ankauf mit Mitteln vom Land Niedersachsen; Foto: Herling / Herling / Werner, Sprengel Museum Hannover

With BODY IN SOCIETY, the Sprengel Museum Hannover presents an exhibition that focuses on the human body in society. A dozen works from the 1970s to today, including works by Alexandra Bircken, Jürgen Klauke, and Boris Mikhailov, negotiate the body and corporeality in different ways in various media: in photography, sculpture, and painting.

No question, bodies are not merely mass or pure organism. Bodies have always been politically and socially charged means of projection and communication of any society. From representations in Greek antiquity to the flood of images on Instagram, TikTok and Co. - images and ideals of the body were and are omnipresent. In art, too, the body is the measure of many things, a reference and starting point and inspiration for artists. Art cannot exist detached from the body. BODY IN SOCIETY shows artistic positions in which the body is at the center of the discussion.

"How the human body is influenced by society - hardly anything is discussed more than the appearance of the counterpart. The artistic claim to break conventions and show power behavior has occupied me just as much as a free approach to the human body. An important role in the selection of works was played not only by how individuals are portrayed, but also by scenes of everyday life and the complete dissolution of the body," says Julius Osman, curator of the exhibition.

BODY IN SOCIETY

Body images in art can be provocative commentaries on conservative sexual morality, as is the case in the works of Jürgen Klauke and Salomé. Moreover, both take the body and its artistic transformation as an occasion to deconstruct social and cultural-political phenomena of the 1970s by presenting bodies that are inherent to multiple identities and genders.

In the same decade, Bernhard Schultze also refers to the human body in the creation of his Migofs, - creatures between human, animal and plant - and fuses mannequins with elements of nature in a surrealist style. Boundaries of the body expand and blur with its surroundings. The artist Alexandra Bircken, on the other hand, directs attention to the body as a projection surface for the expectations of others: her bronze sculpture, which can be read as a female torso and is inspired by Japanese sex toys, reflects the 'male gaze'. The recipient's focus is drawn to the vulva and vagina, which are represented by a round opening and a bow draped over it.

Boris Mikhailov's interest in depicting people in everyday scenes is evident in his photographs. He portrays people in places in Berlin where they meet - in the crowds of the big city or sitting on a bench - or that reveal how heterogeneous society is.

Only the body size remains the reference to reality when Rüdiger Stanko's 'portraits' hang next to each other: The works are 1.78 meters, 1.69 meters and 1.81 meters high and thus correspond to the dimensions of the person portrayed in each case. Apart from their size, the body is not further examined. That a supposedly small change in one's own body size not only influences one's perspective on oneself and others, but also on the body representations within the exhibition BODY IN SOCIETY, is something visitors* can experience when they put on one of Hans Hemmert's 60 pairs of platform shoes to reach the artist's desired body size of two meters. What happens when we all meet at eye level?

Curator: Julius Osman

UNTIL 19.3.23: PHYLLIDA BARLOW. BREACH

PHYLLIDA BARLOW. BREACH
KURT SCHWITTERS PRIZE 2022 OF THE NIEDERSÄCHSISCHE SPARKASSENSTIFTUNG
15.10.22 TO 19.3.23

K BARLOW 61433Phyllida Barlow, BREACH © Phyllida Barlow, Courtesy the artist and Hauser & Wirth; Foto: Herling/Herling/Werner, Sprengel Museum Hannover

‘What modern art means is that you have to keep finding new ways to express yourself, to express the problems, that there are no settled ways, no fixed approach. This is a painful situation, and modern art is about this painful situation of having no absolutely definite way of expressing yourself.’                                                         

---Louise Bourgeois

(NO) TIME TO WASTE

Phyllida Barlow has always been more concerned with producing things than with displaying them. This is also because it was only quite late that her oeuvre found its way to the frontmost row of attentiveness on the part of the art world. In retrospect, this seems to have given her a freedom which has been maintained in her work right down to the present. Even today, her space-encompassing installations continue to evince the spontaneity of the early installations, with their acts of stacking and layering in gardens and back courtyards, or their inclusion of objects which appear like household companions, then disappear after having been used – on the ironing board, atop the television set, in corridors, and on shelves. Above all during the 1980s, when her five children were a determining and limiting factor in her working rhythm, she developed peculiarities which continue to characterise her production. For example, there were the Nightworks, which Barlow crafted in the dark during hours of nocturnal freedom. The sense of touch, unaided by vision, enhanced the haptic impression and gave predominance to the artist’s feeling her way and trusting her intuition in the process of creation. These experiences likewise gave rise to the Touchpieces, in which the haptic element was of decisive importance in determining their appearance. Today this palpability still remains an important aspect of her sculptural activity. At the same time, it becomes apparent how Barlow is capable of dealing productively with given situations. She follows her own imperatives and impulses; through her protracted and extensive teaching activity, she does not feel obliged to succeed in the art market. This continues to mean less concentration on a finished product than on the production itself, an emphasis on what always remains a provisional form which can be discovered by this ongoing activity.

TURMOIL

Barlow considers one of the most impactful aesthetic moments of her life to have occurred when her father drove her and her sister through London’s East End in the postwar period. Because of the docks of the nearby harbour, this section of the city had been the most severely damaged by the German aerial bombardments. Even today the cityscape of London – the interplay between people and things, what the individual encounters each day with regard to buildings, materials, accesses and barriers – continues to serve Barlow as an important reservoir of ideas. Today it is possible to observe the large construction sites in the city centre and the various booming districts of London, marked as they are by massive movements of material and by insights into building elements which otherwise remain hidden. Their fragments – parts such as stairs, platforms, heaps, stacks and piles as well as random or disrupted connections – can be found in Barlow’s installations. As variation and divergence, the amassing and duplicating of elements presents constantly new stimulations to perception and offers an impressive abundance in both formal and material terms. A tentativeness is evident in the loose structure of connections, in rapid applications of paint, and in the shifting, falling or upsurging movements of the materials. Weights and forces are presented and frequently pursued ad absurdum to the point of comicality, inasmuch as large forms suspended like wrecking balls present themselves as mock-ups while structures resembling houses are turned upside-down.

DE-RE-CONSTRUCT

It is a remarkable coincidence that, because of fire precautions at the Sprengel Museum Hannover, the set-up of BREACH is taking place at the same time as the rebuilding of the reconstruction of Kurt Schwitters’ Merzbau on the basement floor. The reconstruction is based on three photographs from 1933 and thus serves as a snapshot of the condition of one central part of the Merzbau, which was actually in a state of perpetual transformation. The involvement with Barlow causes this construction site – with its reverse sides and the fragmentations and repairs caused by its being repeatedly set up and taken down – to now appear in a different light. Plaster, wood and paint are the simple materials which both artists utilise and translate from daily life into something different. But the external view of the physical appearance causes the constructed nature of this backdrop of a once enlivened space to come all the more vividly to the fore. Through the destruction of the model construction and the death of its author, the Merzbau is now much more a mock-up and an exhibition piece than the anarchical installation which was once so lively.

DETOUR

As this text is being written, Barlow’s installation is in the process of being set up; after the exhibition, it will disappear once again. The liveliness arising out of this situation continues in Barlow’s improvised, rough constructions which often seem absurdly paradoxical in their sculptural behaviour. The preceding drawings, one of which may be seen on the reverse side, are described by the artist as a sort of detour. Detached and seemingly weightless, the construction can be set in painting onto a monochrome surface. At the same time, it mirrors important aspects of the developing work. The stage-like nature, contradictory and oppositional aspects such as the reversed stairs and the interlocked, barricading elements give rise to an active, restless situation. In reality, they have a massive weight and often contain a ridiculous pathos through their oversized dimensions and apparent disregard for a classical, sculptural ethos. Not smoothed but instead ponderously and roughly conjoined, painted with conspicuously friendly, even kitschy colours, the confusingly complex, space-encompassing constructions develop a physical presence and engage in a confrontation which is of essential importance at the site. Barlow’s works change the manner in which we behave physically in response to spaces; they bring the presence of material into close proximity to us in an uncustomary manner.

BREACH

When Phyllida Barlow saw the large exhibition hall at the Sprengel Museum Hannover for the first time, she was fascinated by its long extension and the manner in which the space corresponded to a clear, white cube. There immediately arose the idea of a diagonal line which was intended to visibly enhance the extended dimensions of the space and to highlight its dynamism. The title ‘Breach’ emphasises the transgression, the piercing of the space; in English, the word is mostly used to indicate the overstepping of rules. Bresche in German and brèche in French also refer to the capturing of fortifications by breaking through a wall and opening it for the troops thereupon rushing forward. This military term, which almost sounds like an avant-gardist metaphor, conveys the forced materiality and dynamism of the massive structures just as it seems as a sound to evoke hardness and pathos. The rupturing of both space and conventions is a challenge which the artist constantly imposes on herself as well. What Barlow herself often describes as an adventure is a procedure in which the outcome is unknown and – out of the behaviour of the materials and the reaction to them, through various emotional states as well as through physical necessities such as stability and instability – an ongoing process of materialisation itself becomes the subject of investigation. This restlessness, the abundance of physical impressions and the uncontrollable scale of the installation provoke reaction and movement. Ideally, BREACH will not fill us with contentment but instead will leave us pensive an perplexed.

The exhibition is sponsored by the Niedersächsische Sparkassenstiftung.

8.2. TO 23.4.23: GOTTFRIED JÄGER: PHOTOGRAPHS OF PHOTOGRAPHY. GENERATIVE SYSTEMS FROM 1960 TO 2020

GOTTFRIED JÄGER: PHOTOGRAPHS OF PHOTOGRAPHY. GENERATIVE SYSTEMS FROM 1960 TO 2020
8.2. TO 23.4.23

K BARLOW 61433Gottfried Jäger, Lochblendenstruktur 3.8.14 C 2.5.1, 1967, Chromogenic-Print, 50 x 50 cm; © VG Bild-Kunst, Bonn 2023

Gottfried Jäger (born 1937) is one of the foremost photographers and photo theorists of the post-war period. Alongside Otto Steinert and Bernd and Hilla Becher, Jäger has influenced generations of photographers. Back in the 1960s, he developed the term “generative photography” for works that make the photographic means themselves the subject. The approximately 400-square-metre show presents an exemplary selection of the most important creative forms and periods of the artist’s work. The exhibition is being staged in cooperation with the Museum im Kulturspeicher, Würzburg.

Curator: Stefan Gronert

Press conference: 7.2.23, 11.00 am

Official opening: 7.2.23, 6.30 pm

24.2. TO 18.6.23: GLENN BROWN THE REAL THING

GLENN BROWN THE REAL THING
24.2. TO 18.6.23

K BARLOW 61433Glenn Brown, Bring on the Headless Horses, 2020, oil and acrylic on panel, in artist's frame, 205 x 146 x 5.2 cm; © Glenn Brown, Courtesy the artist and Galerie Max Hetzler Berlin, Paris, London, Marfa

What happens when an artist is given unrestricted access to the collections of two museums and combines these works with his own? This is an experiment that the Landesmuseum Hannover and the Sprengel Museum Hannover are willing to undertake. Together, the museums cover art output since the Middle Ages: while the collection of the Landesgalerie concentrates on the Old and New Masters up to the 1920s, the spectrum of the Sprengel Museum Hannover ranges from Classical Modernism to the present day. Located in close proximity, the two institutions are going new ways in close cooperation by staging the show curated by Glenn Brown at the two venues. The British artist is taking a look at both collections and supplementing them with his own works in order to stimulate a discussion about the relationship between historical and contemporary art.

An exhibition of the Landesmuseum Hannover and Sprengel Museum Hannover

Curator: Glenn Brown I Project management: Katja Lembke, Reinhard Spieler

Press conference: 23.2.23, 10.00 am; Landesmuseum Hannover and Sprengel Museum Hannover

Official opening: 23.2.23, 6.00 pm; Sprengel Museum Hannover and Landesmuseum Hannover

FROM 24.4.23: THE ADVENTURE OF ABSTRACTION

THE ADVENTURE OF ABSTRACTION
FROM 24.4.23

K BARLOW 61433Rekonstruktion Merzbau, Foto: Herling/Herling/Werner, Sprengel Museum Hannover

In “The Adventure of Abstraction”, the Sprengel Museum Hannover is showing a significant part of its collection in the museum’s newly fitted rooms. The selection provides an overview of major manifestations of and developments in non-representational art from the beginning of the 20th century to the present day. The starting point and focus of the tour are the reconstructions of El Lissitzky’s “Cabinet of the Abstract” (1927) and Kurt Schwitters’ “Merz Construction” (1933). Both rooms, which previously existed in Hannover, embody influential stages in abstract art and allow the visitor to directly experience the interplay of colour and form.

In addition to outstanding works by Schwitters and Lissitzky, Classical Modernism is represented by works by Piet Mondrian, Hans Arp and Paul Klee, among others. From the post-war period are works by, among others, Willi Baumeister, Pierre Soulages and K.O. Götz. These lead on to contemporary artists, such as Pia Fries, Pippilotti Rist and Wolfgang Tillmans. Awaiting discovery in the 18 rooms of “The Adventure of Abstraction” are a cabinet of graphic works, expansive media artworks and abstract films from the early days of the medium.

ARTISTS IN HANNOVER UNDER NATIONAL SOCIALISM

On the museum’s mezzanine floor, another area opens up that takes a look at Hannover artists and art from 1933 to 1945. Taking nine people as examples and tracing historical events, the exhibition illuminates the situation of art and artists under National Socialism and asks how the political conditions impacted on the institutions and artists’ lives and work, museum staff and collectors. Finally, we investigate the extent to which the Nazi past continues to affect the museum to this day.

Curator of “The Adventure of Abstraction”: Isabel Schulz

Curatorial assistant for “The Adventure of Abstraction”: Julius Osman

Official opening: 23.4.23, NN

Press conference: 19.4.23, 11.00 am

6.5. TO 17.9.23: WHICH MODERNISM? “INSIDERS” AND “OUTSIDERS” OF THE CLASSICAL AVANT-GARDE

WHICH MODERNISM? “INSIDERS” AND “OUTSIDERS” OF THE CLASSICAL AVANT-GARDE
6.5. TO 17.9.23

B Dix WelcheModerneOtto Dix, Die Eltern des Künstlers II, 1924, Öl auf Leinwand, 118 x 130,5 cm, Sprengel Museum Hannover, Kunstbesitz der Landeshauptstadt Hannover; © VG Bild-Kunst 2023; Foto: Herling / Herling / Werner, Sprengel Museum Hannover

With “Les maitres populaires de la réalité”, WHICH MODERNISM? is devoted to a historical exhibition. In 1937, during the World’s Fair in Paris, the show featured works by, among others, Henri Rousseau, Séraphine Louis, André Bauchant and Camille Bombois. The artists never saw themselves as a coherent group, but they were regarded as a popular counter-movement to other styles, such as Classical Modernism, with whose exponents they were in close contact. Once the attention had died down after the World’s Fair, most of the artists and their work were considered “naïve”, “modern primitives” or “outsider artists”.

With around 100 works from the private collections of the Kunstsammlungen Chemnitz (Gunzenhauser Collection), the Sprengel Museum Hannover (Sprengel Collection), the Zander Collection and (inter)national loans, the exhibition WHICH MODERNISM? presents links and relationships between well-known figures of Classical Modernism. The focus is not only on comparing pictures, but also on similarities with and differences from other important movements such as Surrealism. Examples of aesthetics in photography and cinema, as well as contemporary documents, complete the sweeping tour of Modernism. The selection of works permits a new reading of developments in modern art.

At the Kunstsammlungen Chemnitz from 22.10.23 to 14.1.24

Curators: Reinhard Spieler, Manja Wilkens

Press conference: 4.5.23, 11.00 am

Official opening: 5.5.23, 7.00 pm

17.5. TO 30.7.23: LABORATORY OF MODERNISM. ART FROM 1924 TO 1945 FROM THE GRAPHIC ART COLLECTION

LABORATORY OF MODERNISM. ART FROM 1924 TO 1945 FROM THE GRAPHIC ART COLLECTION
17.5. TO 30.7.23

buntes Bild gemalt von Michel Majerus

Conrad Felixmüller, Porträt Thea Sternheim, 1924 (Detail), Aquarell, Leihgabe Niedersächsisches Landesmuseum Hannover, Sprengel Museum Hannover; © VG Bild-Kunst, Bonn 2023; Foto: Herling/Herling/Werner, Sprengel Museum Hannover

With graphic works by Grethe Jürgens, René Magritte and Pablo Picasso, the exhibition presents artwork from 1924 to 1945 from the collection of the Sprengel Museum Hannover. From the beginning of the Roaring Twenties via the Great Depression to the National Socialists’ seizure of power in Germany – referred to in cultural history as the “laboratory of modernism” – various art movements coexisted: Naturalism, Cubism, Dadaism and Expressionism of the older generation were still current, along with Abstraction, Constructivism and Bauhaus. With the increasing urbanisation of the cities, New Objectivity – especially the form it took in Hannover – became increasingly popular from the mid-1920s onwards.

Curator: Karin Orchard

Press conference: 16.5.23, 11.00 am

Official opening: 16.5.23, 18.30 pm

23.8. TO 5.11.23: OCULAR WITNESS: THE WHOLE HOG

OCULAR WITNESS: THE WHOLE HOG
23.8. TO 5.11.23

Fotografie zwei junge Männer aneinandergelehnt am Tisch sitzendMarcus Weber, Stop Killing Bees, 100 x 70 cm, 2021, aus dem Projekt Heidi Specker, Cornfeld (Einladung an 27 Künstler*innen, einen Siebdruck nach einem historischen Kupferstich zu bearbeiten); © Marcus Weber, 2023

Humans and pigs – what kind of relationship do they have? More similar in genetic make-up than we think, pigs are intelligent, playful and – like us – omnivorous. But our relationship is anything but on an equal footing. There’s no doubting that we humans dictate how and where pigs live. But what are we doing to ourselves and our environment with an industry that produces meat with production-line methods? OCULAR WITNESS: THE WHOLE HOG takes the pig-human relationship as an opportunity to reflect on our relations with ourselves, with pigs and with the world. What does the global meat industry mean for lifestyles in rural regions? What is the real price of our pork chop, roast or sausage? And is it possible to use the means of art to address social and political issues that are as concrete as they are complex and to put them up for discussion?

The exhibition brings together artists who explore these issues. All of them – biologists, sociologists, bee educators, chefs, shop assistants, etc. – bring their specialist knowledge to the table.

Curator: Inka Schube

Press conference: 22.8.23, 11.00 am

Official opening: 22.8.23, 6.30 pm

14.10.23 TO 14.1.24: ADRIAN SAUER. SPECTRUM INTERNATIONAL PRIZE FOR PHOTOGRAPHY OF THE STIFTUNG NIEDERSACHSEN

ADRIAN SAUER. SPECTRUM INTERNATIONAL PRIZE FOR PHOTOGRAPHY OF THE STIFTUNG NIEDERSACHSEN
14.10.23 TO 14.1.24

B Sauer SmileyAdrian Sauer, 16.777.216 Farben in unterschiedlichen Anordnungen – Grüner Smiley, Farbton, 100 cm x 100 cm, Digitaler C-Print, 2023

By selecting Adrian Sauer as the winner of the SPECTRUM International Prize for Photography, the jury is honouring the Leipzig-based artist who has been exploring developments in the medium of photography for around 20 years. Sauer places his focus on the consequences of and changes in photography due to digitisation: with the help of computer programs he has written himself, Sauer examines photographic functionality, uncovers problems and critically questions the extent to which the photograph can still be considered a reliable and unbiased image of reality.

The award ceremony will take place during the official opening of the exhibition on 13 October 2023 at the Sprengel Museum Hannover.

The SPECTRUM International Prize for Photography has been awarded to outstanding contemporary art photographers since 1994. Previous recipients include Zanele Muholi (2021), Fiona Tan (2019), Helen Levitt (2008), John Baldessari (1999) and Thomas Struth (1997).

Curator: Stefan Gronert

Press conference: 12.10.23, 11.00 am

Official opening: 13.10.23, 7.00 pm

18.11.23 TO 28.1.24: CHRISTIAN RETSCHLAG. SPRENGEL PRIZE 2024. LOWER SAXONY IN EUROPE

CHRISTIAN RETSCHLAG. SPRENGEL PRIZE 2024. LOWER SAXONY IN EUROPE
18.11.23 TO 28.1.24

buntes Bild gemalt von Michel MajerusChristian Retschlag, Dinosaurier, Silbergelatine, 5 x 7 cm, 2021

In his photographic work, Christian Retschlag is concerned with his experience and what he learns from it. History and fiction, reality and deception – both seem possible, equally real in his works. As part of the travel scholarship, Retschlag is undertaking a cycling tour from Lower Saxony to Mont Ventoux in Provence so as to directly experience the landscape and history of his travel locations. On his tour, he is interested in sites associated with such events as the Franco-Prussian War, the invention of photography and the Tour de France.

Following his travels, the SPRENGEL PRIZE will be awarded in November 2023 and a solo exhibition will be held at the Sprengel Museum Hannover. A catalogue documenting the prize-winner’s work as well as his time spent abroad in Europe will be published at the opening of the exhibition.

The SPRENGEL PRIZE is worth EUR 12,500 and is tied to the “Lower Saxony in Europe” travel grant, which provides a further EUR 12,500 for a six-month stay abroad. The prize is sponsored by the Niedersächsische Sparkassenstiftung and the Lower Saxony Ministry of Science and Culture.

Curator: Carina Plath

Press conference: 16.11.23, 11.00 am

Official opening: 17.11.23, 7.00 pm

29.11.23 TO 25.2.24: BRIEF HISTORY OF PHOTOGRAPHY, #3. AN EXHIBITION IN SEVERAL CHAPTERS

BRIEF HISTORY OF PHOTOGRAPHY, #3. AN EXHIBITION IN SEVERAL CHAPTERS
29.11.23 TO 25.2.24

Fotografie zwei junge Männer aneinandergelehnt am Tisch sitzendViktoria Binschtok, Proofs, Oldenburger Kunstverein, 2022

Although photography was patented back in 1839 and is therefore considered ‘invented’, the art form of this pictorial medium has only been displayed in international museums and exhibition venues since the 1990s. In retrospect, the now legendary essay “A Short History of Photography” (1931) by Walter Benjamin (1892 to 1940) seems to provide initial guidance within the diversity of approaches to photography. In his influential essay, Benjamin discusses important categories and positions of early modern photography. But how are we to understand the more recent history – or rather the histories – of photography post-Benjamin?

The exhibition series of the Sprengel Museum Hannover attempts to find an answer and presents key themes of developments in recent photographic history in the art context. After 2018 and 2020, this is the third exhibition to highlight central concepts of the history of photography. Classic themes of the medium such as archive and collage figure just as strongly as the less expected concepts of the monochrome and the written word.

With works by Boris Becker, Laura Bielau, Viktoria Binschtok, William Christenberry, Marie Clerel, Natalie Czech, Inge Dick, Philipp Goldbach, Beate Gütschow, Uschi Huber, Sven Johne, Astrid Klein, Lilly Lulay, Peter Miller, Andreas Müller-Pohle, Timm Rautert, Michael Reisch, Martha Rosler, Katja Stuke & Oliver Sieber, Wolfgang Tillmansand Ger van Elk

Curator: Stefan Gronert

Press conference: 28.11.23, 11.00 am

Official opening: 28.11.23, 6.30 pm

UNTIL 25.2.24: ELEMENTARY PARTS. BASIC PARTS OF THE SPRENGEL MUSEUM HANNOVER AND ITS ART

ELEMENTARY PARTS. BASIC PARTS OF THE SPRENGEL MUSEUM HANNOVER AND ITS ART
13.4.19 TO 25.2.24

E4 DSC3256

The exhibition ELEMENTARY PARTS poses simple and obvious questions about art that nevertheless prove to be absolutely fundamental: What is art? What are works of art actually made of, which materials are used? Which formal languages do they employ? Which reality (or realities) do they refer to between the figurative, the abstract and the virtual? What is art about, what kind of narratives does it tell, and how does it reflect history? In nine themed rooms, the exhibition unfolds an impressive spectrum of the fundamental possibilities of the material, formal and expressive languages of art and its levels of meaning.

The main topics are colour, material, form/shape, realities, history/narratives, natural and human shaped spaces, strong emotions and finally faces, which ultimately reflect our image of human kind. The exhibition brings together a total of more than 150 works from painting, sculpture, drawing, graphic art and film/video (installation) – all part of the Sprengel Museum Hannover’s collection or on permanent loan. They cover a period stretching from the dawn of Modern Art at the beginning of the 20th century to the immediate present. The selection ranges from Max Beckmann, Pablo Picasso, Fernand Léger and Paul Klee via Louise Bourgeois, Sean Scully, Timm Ulrichs, Niki de Saint Phalle and Gerhard Richter to Marlene Dumas, Andrea Fraser, Bruce Nauman, Julian Charrière, Julius von Bismarck, Christoph Girardet and Julia Schmid.

At the beginning of the exhibition, a further room is dedicated to the Sprengel Museum Hannover itself, thematising the basic elements that make up the institution: What is the legal basis for relations between the museum and its sponsors, donors, (permanent) lenders and partners? What collections does it consist of? What departments are there and what are they each responsible for?

With ELEMENTARY PARTS, the Sprengel Museum Hannover is celebrating both the 50th anniversary of the donation of Bernhard and Margrit Sprengel and the 40th year of the museum’s existence.

Unfortunately, the entire basement (Kosmos Schwitters incl. Merzbau and Kabinett der Abstrakten, Grafik, Sprengel Foto, Sprengel Focus, Museumsplatz) is not accessible until further notice due to fire protection renovation measures.


 Welcome to the Sprengel Museum Hannover

The Sprengel Museum Hannover with its comprehensive permanent collection and diverse temporary exhibitions ranks among the most important museums of 20th and 21st century art.

As we are currently working on the relaunch of our website, not all information is yet available in English. Thank you very much for your understanding.

If you have any questions, do not hesitate to contact us: Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein!.

 

Opening hours

Tuesday
Wednesday to Sunday
Monday
10 am – 8 pm
10 am – 6 pm
closed
On Wednesday, 15.2. the museum will not open until 1.00 p.m. due to an internal city event organised by the Department of Culture.

 

special opening hours

1 January (New Year´s Day)
closed
Good Friday
closed
Easter Sunday and Monday
10 am – 6 pm
1 May
closed
14 May
closed
Ascension Day
10 am – 6 pm
Whitsunday and Whitmonday
10 am – 6 pm
3 October
10 am – 6 pm
31 October
closed
24 December (Christmas Eve)
closed
25 December (First Christmas Day)
closed
26 December (Second Christmas Day)
10 am – 6 pm
31 December (New Year´s Eve)
closed

Library

Due to fire protection renovation work, the library of the Sprengel Museum Hannover will be closed from 12 September 2022 until probably spring / summer 2024.
We apologise for the closure. Thank you for your understanding.
 
Tuesday
Wednesday to Sunday
Sundays, Mondays and all bank holidays
2 pm – 8 pm
2 pm – 6 pm
closed
 

 


 

Admission

Adults
7 Euro / reduced 4 Euro

Children aged 18 and under
Free admission

Groups of 10 or more people
4 Euro

Classes of schoolchildren
Free admission

Fridays
Free admission

Guided tours and events (unless stated otherwise)
plus 1 Euro

Annual pass
35 Euro / reduced 20 Euro

MuseumsCard regular
60 Euro

MuseumsCard 25 (up to the age of 25)
30 Euro

MuseumsCard additional card family
plus 8 Euro

The MuseumsCard offers free admission to the participating museums and exhibition halls for one year from the first visit.
More information: www.museumscard-hannover.de

 

Reduced Admission

  • Schoolchildren 13 and over
  • Trainees and students
  • School-leavers in compulsory military service and social year
  • Unemployed persons
  • Senior citizens 65 and over

Free Admission

  • Every Friday for all visitors
  • Children up to 18 years
  • Classes of schoolchildren
  • ICOM and CIMAM Members (Appropriate ID required when buying tickets)
  • Owner of the Hannover Active Pass
  • Members of the Sprengelfriends and Young Sprengelfriends

 


 

How to get to the Museum

Sprengel Museum Hannover
Kurt-Schwitters-Platz
30169 Hannover

 


 

Bookshop

The MERZ bookshop offers an extensive range of specialist books and magazines from the fields of art, photography, architecture and design as well as children's books, antiquarian books, non-book articles and a large selection of high-quality art prints and art postcards.

 

OPENING HOURS

Tuesday
Wednesday to Sunday
Monday
10 am – 8 pm
10 am – 6 pm
closed

 

CONTACT INFORMATION

MERZ-BUCHHANDLUNG
KURT-SCHWITTERS-PLATZ 1
30169 HANNOVER
+49 511 88 48 43
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Restaurant

For over 20 years the restaurant bell´ARTE with its young fresh kitchen with Italian accent offers the perfect culinary addition to the museum visit. The restaurant has over 80 restaurant seats as well as 30 winter garden seats with the best view of the Maschsee. On sunny days the large terrace with 140 seats invites you to enjoy the sun into the evening hours.

Tuesday to Friday there are constantly changing, inexpensive lunch menus on offer.

Due to the Corona pandemic, opening hours have been temporarily changed.

Tuesday to Thursday and Sunday: 12 pm - 9 pm
Kitchen hours: 12 pm - 8 pm

Friday and Saturday: 12 pm - 11 pm
Kitchen hours: 12 pm - 9 pm

Monday: closed

 

OPENING HOURS

Tuesday to Saturday
Sunday
Monday
11 am – 11 pm
11 am – 9 pm
closed

 

CONTACT INFORMATION

RESTAURANT BELL‘ARTE
KURT-SCHWITTERS-PLATZ 1
30169 HANNOVER
+49 511 8 09 33 33
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WWW.BELLARTE.DE