Kunstinstituut Melly Archive

Item sets

• Shared Space 1: Frank Bruggeman, Bertjan Pot
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Yvan Salomone — Pour Gouverner Ailleurs (Off Her Course)
  French artist Yvan Salomone (1957) makes drawings and watercolors of port views, based on an archive of photographs he has taken of ports along the French coast. Since 1991, he executes a watercolor each week. Eevry week, from October 1993 through July 1994, Salomone sent a watercolor to Witte de With, where it was shown as a special project in the stairwell. Each week brought a new harbor view, including some of the port of Rotterdam. Pour gouverner ailleurs/Off her course functioned as a prelude to Fish Story (in 1995), the photographic project by American artist Allan Sekula. Both Sekula and Salomone are interested in the representation of maritime space. Their projects pick up the rich but nearly lost tradition of depicting harbors, ships and coastlines, that few contemporary artists are continuing. Participants Yvan Salomone Curators Chris Dercon <div class="
• 07 Genereal
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Jef Geys — What Are We Having for Dinner Tonight?
  Belgian artist Jef Geys (1934) investigates the institutional function of the museum, often by assuming the role of the saboteur and infiltrator. His controversial proposal at the occasion of his exhibition at Antwerp’s Museum of Fine Arts in 1970, to blow up the museum, is exemplary of his approach. For the Bruges Triennial in 1968, Geys proposed to rent out the exhibition space granted him to people who were not invited by the organizers. Such undermining projects are, of course, not permitted by museum authorities; Geys either exhibits the repressive reactions his proposals provoke or presents them in his newspaper the Kempens Informatieblad, which he publishes with each new project. The exhibition What Are We Having for Dinner Tonight? was associated with the fifth Architecture International Rotterdam manifestation, whose theme was the postwar residential areas built in Rotterdam’s Alexanderpolder neighborhood to replace housing bombed during World War II. Geys’s project reacted on this manifestation by commenting on the abstract way architects, urban planners and politicians tend to think about the urban environment. By inviting nine families from Alexanderpolder to contribute to his exhibition, Geys let the residents have their own say about the area they inhabit. The project was realized with the cooperation of the families Bast, Battes and Risse, De Bruin, Diepstraten, Groot and Van Halem, Roodbeen and Boode, Van Schouwen, Sevenhuijsen, and Verkade. In the exhibition, the families presented photographs of their living area. They reported on their daily experiences in three “Alexanderpolder special editions” of the Kempens Informatieblad, which was distributed in Rotterdam and Capelle aan den IJssel as a supplement to the door-to-door magazine De Havenloods. Each evening, throughout the entire exhibition period, one of the nine participating families was broadcast at dinner by the local television station. Participants Jef Geys Curators Jef Geys <div class="
• 08_general
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Eugenio Dittborn — MAPA
  Since 1984, Chilean artist Eugenio Dittborn (1943) has been making works that he calls Airmail Paintings. He begins with a large sheet of synthetic, white fabric and then prints, paints, sews, embroiders and patches his painting on this material. He then folds the painting, placing it in a specifically designed envelope, and sends it airmail to the place where it is to be exhibited. The envelope also provides information about all of the painting’s previous “journeys.” Many of the Airmail Paintings are collaborative works. In Airmail Painting no.91: The 11th History of the Human Face (500 years) (1991), for example, Dittborn combined faces drawn by the patients of a psychiatric hospital in Santiago de Chili with police records of criminals, children’s drawings and images from newspapers or found graffiti. Culling images from a wide variety of sources, Dittborn’s work achieves a powerful humanity that is both existential and political. The exhibition at Witte de With, Dittborn’s first large retrospective, showed 80 Airmail Paintings as well as publications and videotapes. In the context of the exhibition, Dittborn realized a special project, La casa de Erasmo de Rotterdam (The house of Erasmus from Rotterdam), in collaboration with drug addicts who frequent the “De Maasvlakte” aid center in Rotterdam. The project was carried out with the help of Jack van Mildert, who runs a drawing workshop for the drug addicts. It focused on the definition of “house,” the house being understood as a destination, shelter, asylum and stopping place. From Santiago de Chili, Dittborn asked the drug addicts to draw their dream house and to describe the house in which they lived when they were ten years old. The drawings and texts by Jeroen, Guy Fierens, Pieter “Penn” de Jager, Alford G.M. Marsdin and Jeffrey Sulter were then mailed to Santiago de Chili, where Dittborn incorporated the material into Airmail Painting no. 105: La casa de Erasmo de Rotterdam. With this special project, Dittborn visualized the basic problems of drug addicts, especially the physical exposure to which they are subjected, without a fixed and stable place to live. Their situation turns them into ambulant “nomads,” into travelers without a home, just like the artist’s own Airmail Paintings. Participants Eugenio Dittborn Curators Chris Dercon, Barbera van Kooij, Jack van Mildert <div class="
• 09 General
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• WATT
  WATT presented work by 29 young artists at two locations, in Witte de With and the Kunsthal Rotterdam. Similar to Witte de With’s Voorwerk series, this group exhibition presented and juxtaposed works by relativily young, unknown artists, without the intention of defining positions. The participating artists were: David Bade (1969), Vered Ben-Kiki (1960), Pierre Bismuth (1963), Christine Borland (1965), Rita McBride (1960), Dinos Chapman (1962), Jake Chapman (1966), Tacita Dean (1965), Olga Chernysheva (1962), Arturo Duclos (1959), Nicole Eisenman (1963), Chohrez Feyzdjou (1955-96), Peter Fillingham (1964), Claudia Di Gallo (1959) (visit her site at www.digallo.net), Yannick Gonzalez (1965), Douglas Gordon (1966), Erik van Lieshout (1968), Guy Limone (1958), Sarah Lucas (1962), Gabriel Orozco (1962), Hervé Paraponaris (1966), Wouter van Riessen (1967), Maria Roosen (1957), Yvan Salomone (1957), Yvonne Trapp (1964), Joëlle Tuerlinckx (1958), Marijke van Warmerdam (1959), Pae White (1963), and Maja Zomer (1961). Samuel Beckett’s novel WATT inspired the title of this exhibition: “And sometimes Watt understood all, and sometimes he understood much, and sometimes he understood little, and sometimes he understood nothing, as now…” With the exhibition WATT, Witte de With responded to the current interest for group shows. The importance of group shows may lie in the creation of a new context for individual works of art, in which new meanings can be generated. In the confrontation with other works and environments, the work of art is forced to redefine itself over and over again. The decision to show works by the same artists at two different locations, and give the artworks more than one chance to react with one another and the architecture of the exhibitions space, made WATT an experimental group show. In this way, WATT showed the heterogeneity of contemporary art, permitting the works of the artists to intertwine, without any prearranged agreements or real common denominators. Some of the artists included in WATT, were also presented in other exhibitions organized by Witte de With: Maria Roosen and Marijke van Warmerdam in the XLVI Biennale di Venezia (in 1995), Joëlle Tuerlinckx in the solo exhibition Pas d’histoire, Pas d’histoire (in 1994). Participants David Bade, Vered Ben-Kiki, Pierre Bismuth, Christine Borland, Rita McBride, Jake & Dinos Chapman, Tacita Dean, Olga Chernysheva, Arturo Duclos, Nicole Eisenman, Chohrez Feyzdjou, Peter Fillingham, Claudia Di Gallo, Yannick Gonzalez, Douglas Gordon, Erik van Lieshout, Guy Limone, Sarah Lucas, Gabriel Orozco, Hervé Paraponaris, Wouter van Riessen, Maria Roosen, Yvan Salomone, Yvonne Trapp, Joëlle Tuerlinckx, Marijke van Warmerdam, Pae White, Maja Zomer Curators Chris Dercon, Gosse Oosterhof <div class="
• Morality Act III: And The Moral Of The Story Is…
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• L’oeuvre a-t-elle lieu? (Does the work take place?)
  Each year, since its inception in 1990, Witte de With has invited an artist to curate an exhibition. Witte de With encourages each guest curator to develop his project according to his own personal choices so that the resulting exhibition offers the audience another vision, independent of the center’s own program. This year L’oeuvre a-t-elle lieu? was curated by Daniel Buren (1938, Paris). Daniel Buren invited the following artists to participate in his project: Giovanni Anselmo (1934), Michael Asher (1943), Stanley Brouwn (1935), Patrick Corillon (1959), Jacqueline Dauriac (1945), Krijn de Koning (1963), Thierry Kuntzel (1948), and Chen Zhen (1945). Since the late sixties Buren has been concerned with the question of site. His work seeks to reveal the place of exhibition (museum or gallery) in its defects, contradictions, and particularities. Each proposition is elaborated in accordance with a defined space (in situ) and accompanied by a description, explanatory notes, and plans. For his exhibition at Witte de With, Buren proposed inviting eight artists to carry out pieces in concordance with his own approach. In L’oeuvre a-t-elle lieu? the question of site was decisive for the elaboration of the individual pieces. In his letter of invitation, Buren asked the above-mentioned artists to participate according to specific rules in an exhibition that would take place in an “abstract” space. By concealing the actual name and location of the exhibition space, Buren cut his artists off from any context that could directly refer to the representational systems of the international art scene and major art events and gave them the opportunity to freely create their own specific space for exhibiting their work. Participants Giovanni Anselmo, Michael Asher, Stanley Brouwn, Patrick Corillon, Jacqueline Dauriac, Krijn de Koning, Thierry Kuntzel, Chen Zhen Curators Daniel Buren <div class="
• Shared Space3. Chris Kabel
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Willem Oorebeek — MONOLITH, lettered rock
  Dutch artist Willem Oorebeek’s (1953) work is grounded in techniques from the graphic arts. He utilizes different printing processes in a special manner, fully employing the printing procedure’s inherent principles of juxtaposition and stratification in order to explore the themes of repetition, multiplication, seriality and order. Oorebeek is especially interested in how image and language can combine and lead to a unique cross of visibility and legibility. Pictograms often recur in his work. In his use of graphic art techniques Oorebeek refers to the history of reproduction techniques, from the invention of book printing to Robert Rauschenberg’s flatbed method. At the same time, the content of his works is inspired by the tradition of representation, from landscape painting to advertisement. In this double pursuit, Oorebeek constantly seeks to redefine and revitalize the image. MONOLITH, lettered rock was Oorebeek’s first large solo-exhibition. For the exhibition Oorebeek created a new series of works in the form of a book and a project in the exhibition spaces of Witte de With. Both exhibition and book implied a replication of the structural characteristics of Oorebeek’s work. His duplication methods were no longer applied to just individual works; instead, their principles governed the overall presentation of pictures in the exhibition and the book. The pages of the book were generated by pages from Oorebeek’s previous publications, which were reprinted and overlaid to form new images. The book’s temporal structures were spatially expanded in the exhibition. The prints presented on the walls of Witte de With interrelated through the same method of juxtaposition and stratification. Thus, the advertisement images which Oorebeek copied and pasted on the walls highlighted the potential of re-production and re-presentation. Participants Willem Oorebeek Curators Chris Dercon, Willem Oorebeek Network Winnipeg Art Gallery <div class="
• Motto Boekwinkel
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Stan Douglas and Diana Thater
  The eponymous exhibition of Stan Douglas and Diana Thater investigated the similarities and the differences between film and video. The installation, which transformed Witte de With into a megacinema, thus became an artwork in itself, playing off interior against exterior, opacity against transparency, black-and-white against color, image against sound, and screen against off-screen. Canadian artist Stan Douglas (1960) represents and analyzes the history of television and cinema. His works investigate technologies of image and sound as producers of culture, and comment on the notion of the spectacle and the status of the viewer. Hors-champs (Off Screen) (1992), for example, questions the mechanisms of television in the form of its music broadcasts. The work presents the performance of four American musicians living and working in France in the late sixties during the revival of Free Jazz. In Europe, Free Jazz was associated with the civil rights movement, especially in France around 1968 where it was even sponsored by the French communist party. In the style of French television productions from the sixties, the work was shot with two camera’s; the takes are simultaneously presented on the front and back sides of a suspended screen. One side of the screen shows a ‘program’ montage, while the other side shows a counter-narrative of the footage that was edited out. The work thus simultaneously shows what is on and what is off screen. Reflecting on the conditions that govern the presentation of image and sound and the techniques of montage, Douglas’ works analyze the relationship of the video or film image to what takes place off the screen. Douglas presented five installations including Hors-champ which acted as the exhibition’s keynote piece, transforming his exhibition spaces into a cinema theater. American artist Diana Thater (1962) creates spatial videographic works that explore the relationship between film, video and architecture. Inspired by the tradition of landscape painting and the representation of landscape in westerns and experimental films, Thater shows videotaped images of the landscape, broken down into the component colors of video: red, blue and green. In The Holy Mountain (1994), for example, the three component colors of a single shot of an image of Mount Wilson in Attadena, California, are separated onto tapes and rolled at different speeds. When the three colors come together, everything which is stationary, the mountain and the trees, remains in black-and-white throughout; while the clouds, which move, reveal all of the colors of the video spectrum. Movement and time seem to separate themselves. With this procedure of deconstruction, Thater investigates and tests the architecture of cinema as described by the French philosopher Gilles Deleuze, using the notions of “image and movement” and “image and time” so that spatial time enters, both literally and figuratively, into a relationship with filmic time. Thater’s greater than life-size video images are projected directly onto the architecture of the exhibition spaces. By entering the space, the viewer changes the image of both the space and the projection. Thater presented six video works, transforming her rooms at Witte de With into a Deleuzian “smooth space,” into a rhythmic space without size or border. Participants Douglas Gordon, Diana Thater Curators Chris Dercon <div class="
• 10 General
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Joëlle Tuerlinckx — Pas d’histoire, Pas d’histoire
  Pas d’histoire, Pas d’histoire (No Story, No History) was the first large solo exhibition of Joëlle Tuerlinckx. In her works, Belgian artist Joëlle Tuerlinckx (1958) experiments with pieces of paper, paper snippets, paper balls, confetti and colored plasticine, placing them on her studio floor and observing how they react to light, crumble, disintegrate, expand, and shrink. Tuerlinckx describes the result of these experiments as suppositions of form or tangible thought. In Pas d’histoire, Pas d’histoire, Tuerlinckx presented works created for the spaces of Witte de With. Her work, typically based on a combination rather than organization of forms, emphasizes the inherent potential of elementary substances. Tuerlinckx prefers to work on the floor as one might use a piece of paper to make a drawing: “When I draw a line on a piece of paper I can not delay the moment in order to make each point the result of a well-defined choice. Using materials like plasticine or pieces of confetti placed next to one another halts the evolution of a form because it crystallizes within a decelerated time frame, like film where choice occurs twenty-four times a second.” In her work at Witte de With the perception of space was inextricably bound to the perception of time, which was inherent in her choice and manner of presenting poor or found artificial and organic materials. Some of her objects, scraps and bits of everyday materials, were wrapped or locked up in showcases or jars, while others were literally left open and bare, shredded in the space. In some cases her works were merely projected or described, existing only as vague contours or as an inventory of ideas. No matter their presentation, Tuerlinckx’s installations and objects confirmed the principles of abstraction and proved themselves a pure form of beauty. Participants Joëlle Tuerlinckx Curators Chris Dercon <div class="
• 12 General
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Allan Sekula — Fish Story
  With the exhibition Fish Story, American artist Allan Sekula (1951) reconstructed a realist model of photographic representation, while taking a critical stance towards traditional documentary photography. Though there is a long artistic tradition of depicting harbors, ships and coastlines, few contemporary artists are continuing it. In Fish Story Sekula picked up this tradition, demonstrating the history and future of maritime space not only as a visual space but also as a socio-economic one. Fish Story was his third project in a related cycle of works that deal with the imaginary and actual geography of the advanced capitalistic world. A key issue in Fish Story is the connection between containerized cargo movement and the growing internationalization of the world industrial economy, with its effects on the actual social space of ports. Since its conception, Sekula sought to build the project cumulatively, exhibiting and publishing Fish Story as a work in progress. For the project Sekula photographed and described the harbors and cities of Barcelona, Gdansk, Glasgow, Hong Kong, London, Los Angeles, Newcastle-upon-Tyne, New York, Pusan, Rotterdam, San Diego, Seoul, Ulsan, Veracruz, Vigo and Warsaw, between 1988 and 1994, as well as his passage across the North Atlantic on a Sea-Land container vessel from Port Elisabeth, New Jersey, to the ECT/Sea-Land Terminal in Rotterdam. The exhibition in Witte de With consisted of 7 sequences or chapters, incorporating 105 framed color photographs: Fish Story, Loaves and Fishes, Middlepassage, Seventy in Seven, Message in a Bottle, True Cross and Dictatorship of the Seven Seas. Fish Story also included two slide sequences of 80 projected slides each: Dismal Science and Walking on Water. Overall, the sequences formed a circular movement. Departing from Los Angeles and San Diego, the artist traveled from the east coast of the United States to the shores of Europe and Asia, moving via Spain and Mexico to the Pacific Coast of the United States. In doing this, a number of contemporary and historic routes were traced and questioned. The photographs and slide installations were combined with text panels, which commented on the project. Sekula’s sequences defied the cult of the single image so notoriously present in contemporary photography. The exhibition traveled to the Fotografiska Museet in Moderna Museet in Stockholm; Tramway in Glasgow; and Le Channel, Scène nationale and Musée des Beaux Arts et de la Dentelle in Calais. Participants Allan Sekula Curators Chris Dercon Network Fotografiska Museet Stockholm, Moderna Museet Stockholm, Nederlands Fotomuseum, Tramway Glasgow <div class="
• 13 general
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Call it Sleep
  Each year, since its inception in 1990, Witte de With has invited an artist to curate an exhibition. To mark the 100th anniversary of cinema, Witte de With invited a guest curator from the world of film and television: Jef Cornelis, director for Flemish television (BRTN) since 1964. Call It Sleep was part of Witte de With’s exploration of the complex correlation between cinema and the visual arts. Jef Cornelis (1941, lives in Antwerp) has directed some of the most talked about documentaries on art, architecture and literature. The major art events he has filmed include documenta 4 and documenta 5, Sonsbeek buiten de perken and Münster Skulpturenprojekte. For Call it Sleep, Jef Cornelis choose works by the following artists: Lothar Baumgarten (1944), Rita McBride (1960), Thierry De Cordier (1954), Eugenio Dittborn (1943), James Ensor (1860-1949), Patrick Vanden Eynde (1964), Dianne Hagen (1964), Craigie Horsfield (1949), Henri Jacobs (1957), On Kawara (193-3), René Magritte (1898-1967), Reinhard Mucha (1950), Bruce Nauman (1941), Panamarenko (194-0), Michelangelo Pistoletto (1933), Hermann Pitz (1956), Julião Sarmento (19-48), Cindy Sherman (1954), Philippe Van Snick (1946), Tunga (1952), Jan Vercruysse (1948) and Stephen Wilks (1964). The title of the exhibition, borrowed from the novel Call it Sleep by Henry Roth, referred to the moment between sleep and awakening. Cornelis is convinced that artists circle around language, yet avoid its truth, because truth would render all art forms superfluous. Artists safeguard the area preceding language, pursuing an empty space that is similar to the peace and quiet between awakening and dreaming. For Jef Cornelis, this state is a metaphor for the autonomy of art. The themes of death and the erotic were present in all the works Cornelis selected. Pursuing Georges Bataille’s observation that “what designates passion is a halo of death”, Cornelis considers passion the thing for which people put their very existence at risk. Yet Hypnos, the god of sleep and dreams, is the true master of both Eros and Thanatos. With sleep, anguish and pain disappear. As an exhibition, Call it Sleep expressed the hope that art can provide an acquiescence similar to sleep and triumph over the violent passions that rule life. Participants Lothar Baumgarten, Rita McBride, Thierry De Cordier, Eugenio Dittborn, James Ensor, Patrick van den Eynde, Dianne Hagen, Craigie Horsfield, Henri Jacobs, On Kawara, René Magritte, Reinhard Mucha, Bruce Nauman, Panamarenko, Michelangelo Pistoletto, Hermann Pitz, Julião Sarmento, Cindy Sherman, Philippe van Snick, Tunga, Jan Vercruysse, Stephen Wilks Curators Jef Cornelis <div class="
• 14 General
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Voorwerk 4
  Voorwerk 4 was the fourth exhibition in the yearly recurrent series. Voorwerk, meaning preliminary work, is Witte de With’s annual exhibition of younger artists. As a series, it seeks to provide the first substantial presentation of works by relatively unknown artists. Voorwerk 4 included works by Dutch artists Robert Zandvliet (1970) and Martin Hiddink (1965). René Magritte wrote in 1963: “An image [text, painting, music, etc.] is not an expression of a thought. It is the thought itself, it identifies itself with that which is already thought”. These words aptly describe the work of the young Dutch artists Martin Hiddink and Robert Zandvliet. Hiddink’s visual puzzles, in the form of objects and prints, and the monumental paintings by Zandvliet, which some-times literally refer to a film-screen, are dominated by the tension between “seeing and knowing”. For the series Finestra sul mondo (Window on the World) (1992), Hiddink described real and fictional works of art and exhibitions to an illustrator of a popular Italian magazine, Club enigmistico. Following the free interpretation of the anonymous artist, Hiddink created his own images by means of reproduction techniques. La nascita del dolore (The Birth of Pain) (1992), one of the works depicted in Finestra sul mondo, was subsequently realized three-dimensionally by Hiddink. Wine, oil and water flowed out of vases shaped like stylized faces, coloring and scenting the surrounding exhibition space. Just like the sudaria named after St. Veronica that Hiddink also presented in Witte de With, the grotesque vases functioned as indexes. Robert Zandvliet is not interested in a true resemblance, his paintings are reincarnations of objects. At Witte de With his depictions of simple, everyday things like a railway carriage, a shelter, a street lamp, a windowpane, and a car mirror affected the viewer as if they were symptoms of the way people look. Zandvliet tries to identify the process of seeing by making the act of viewing lead to recognition and knowledge. How he applies paint to his canvases also contributes to this process. Sometimes the results remind us of skin, sometimes of a mirror; opacity and transparency take turns. Zandvliet’s paintings evoke memories of images we thought not important, or which we forgot. Participants Martin Hiddink, Robert Zandvliet Curators Chris Dercon, Rutger Wolfson <div class="
• Art in the Age Of... GENERAL
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.
• Paul Thek — The Wonderful World That Almost Was
  The retrospective exhibition of American artist Paul Thek (1933-1988), and the accompanying monograph, functioned as a sequel to Witte de With’s Hélio Oiticica retrospective held in 1992. As the oeuvres of Thek and Oiticica had long been underestimated or generalized, both retrospectives significantly contributed to a more complete understanding of contemporary art history. The work of both artists was not only representative of the art of their times; their influence can be traced in the environments and process-oriented work of artists today. In the early sixties, Thek pioneered a representation of human identity trapped in the labyrinths of spirituality, sexuality and technologi-cal progress. His Technological Reliquaries – realistic lumps of flesh and body parts, modeled in wax and cased in plexiglas boxes – were painful modern images of vanity. In the late sixties and early seventies, while traveling through Europe, Thek started creating temporary environments. He called them “processions”, referring to the ritual character of creating and experiencing them. Thek made the environments in collaboration with a group of artists, known as the Artists’ Co-op. The environments were not so much finished works of art as “stills” from a working process, which had to stop simply because the exhibition had to open. The “processions” were centered on the themes of birth, death and rebirth, and were full of references to Christian symbolism as well as mythology, local folklore, literature and everyday life. Ideally, they took place around the principal Christian festivals of Easter and Christmas. The public was invited to file in ritual fashion past the various tableaus in the environments, and to take part in the highly individual alternative to everyday reality which Thek presented. The paintings and drawings Thek made in the seventies and eighties were a more personal means of expression than his work with the Artists’ Co-op, charged with the same individual symbolism. The exhibition, which presented the first complete survey of Thek’s work, included a selection of the Technological Reliquaries (1964-67), reconstructions of the environment The Procession/The Artist’s Co-op (1969) and of the installation Small Paintings (1980), bronzes from the series The Personal Effects of the Pied Piper (1973-76), a vast selection of paintings and drawings on newspaper, as well as documents, such as the artist’s notebooks, photographs, films and videotapes. The exhibition traveled to the Neue Nationalgalerie in Berlin, the Fundació Antoni Tàpies in Barcelona, the Kunsthalle Zürich and the Museum für Gegenwartskunst in Zurich, and the MAC, galeries contemporaines des Musées de Marseille in Marseilles. Participants Paul Thek Curators Chris Dercon, Roland Groenenboom Network Fundació Antoni Tàpies, Kunsthalle Zurich, MAC/VAL, Migros Museum of Contemporary Art, Neue Nationalgalerie Berlin <div class="
• 15 General
  Record created from the archive project register (access_project / 2026 projects). No corresponding page exists on the institution’s website.