Der ganz persönliche Blick auf 7000 Eichen

Ein Seminar im SoSe 2022 an der Universität Kassel greift – zum 40sten Jubiläum, der “7000 Eichen – Stadtverwaldung statt Stadtverwaltung” die sozialen Aspekte der Beuys-Kunst der documenta 7 von 1982 auf.


E.R. NeleThe fragility of the work is touching. One almost thinks that this massive cast piece could collapse like a…

Gepostet von Matthias Henkel am Dienstag, 24. März 2020

E.R. Nele (probably around 1970)

This sculpture comes from the estate of the Frankfurt gallery owner Dorothea Loehr, who died in 2006 at the age of 93. In her long life as a gallery owner, Dorothea Loehr always held on to her concept of giving life a form through art. She was interested in a reconciliation between art and design. To this end she organized a rich, multimedia and discourse-oriented gallery program. “I have enough ideas,” she said, “only time is too short.” In 1965, 1976 and 1984 she organized exhibitions, which also showed work by E.(va) R.(eneé) Nele. Whether this small sculpture shown here belonged to these exhibitions will only be determined by pending research.

The fragility of the work is touching. One almost thinks that this massive cast piece could collapse like a house of cards at any moment. In this respect, it fits well into our so fragile times.

Eva Reneé Nele was born in Kassel on 17 March 1933, the daughter of Arnold Bode, the founder of the Kassel-based DOCUMENTA. She began her studies in Berlin – moving to the Central School of Arts and Crafts in London from 1951 to 1955. Works in metal, iron and steel, shape her oeuvre. Stays in London, Paris, Munich and Zurich followed.

Since 1965 E.R. Nele has been living and working as a freelance artist in Frankfurt am Main. In Salzburg, Frankfurt and Gießen she also worked as a lecturer. She participated in documenta II (1959) and documenta III in Kassel in 1964. Her works include monumental steel sculptures as well as filigree brooches and jewellery.

– > About Dorothea Loehr
– > About E.R. Nele


#MyDomesticShrine with #LeonardoDaVinci

It is a time when priorities shift remarkably…. #MyDomesticShrine #MyDomensticShrineDaVinci#TalkingAboutMuseums #ICOMMPR #TalkingAboutCommunication

Gepostet von Matthias Henkel am Sonntag, 22. März 2020

Alongside Dürer’s “Praying Hands”, Leonardo Da Vinci’s “Mona Lisa” is undoubtedly one of the world’s works of art that has gained widespread distribution through technical copies. A special charm emanates from this painting, because even after centuries of research, mysteries are still connected with this masterpiece.

#MyDomesticShrine with #Beuys

#MyDomesticShrine“The only revolutionary force is the force of human creativity. The only revolutionary force is ART! ”(JOSEPH BEUYS) #TalkingAboutMuseums #ICOMMPR #TalkingAboutCommunication

Gepostet von Matthias Henkel am Montag, 23. März 2020

This multiple “INTUITION” dates back to 1968, and it fits perfectly into our time: After all, we need a lot of intuition and freedom to meet the challenges #CODID19 poses to us. Joseph Beuys would probably recommend his concept of SOCIAL SCULPTURE to us.

#Museumsfragen #Giessen #OHM

Wir begleiten das Oberhessische Museum (#OHM) in Gießen (#Giessen) bei der Entwicklung hin zu einem wirklich spannenden Regionalmuseum (#Museumsfragen).

Folgen Sie uns bei diesem Projekt doch einfach auf Facebook.



Quotes from the Embassy



“Museum = putting content into context.”





“Museen sollten Reflektorien sein.”



“The first step to accessibility is a mental one.”



“Brandmanagement has to do with configuration in a comprehensive sense – taking into account performance, quality, authenticity and emotion. Brandmanagement is clearly a leadership task.”



“Inclusion is not about consideration but mutual acceptance.”



“Museums should become resonating bodies for your societies.”




“Das Museen als Identitätsfabrik.”
(Gottfried Korff)



“Musum als Ort der Verunsicherung.”
(Peter Sloterdijk)



“Das (Stadt)Museum: Eine Bedienungsoberflächen für städtisches Selbstverständnis.”



“Das Museum als Ort der permanenten Konferenz.”
(Joseph Beuys)



“Das Museum als Third Place.”
(Ray Oldenburg)









Adrian Piper: "The probable trust Registry"



Have a look at 360° VIEW, Hamburger Bahnhof – Museum für Gegenwart, Berlin (2017)

We are living in the era of alternative facts. But 11357 day after death of Joseph Beuys Adrian Piper reminds us of trust, integrity+truthfulness

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Our artificial view on VIMEO