The Kröller-Müller Museum has a dynamic programme of temporary exhibitions. Here you can download a map with current exhibitions.
A One Day Walk - Two generations of British artists: Caro, King, Long, Fulton, Flanagan, Pope, Cragg and Woodrow
December 7th, 2013 - March 30th, 2014Under the title A One Day Walk, which derives from a work by Hamish Fulton, the museum will exhibit around fifty works by Anthony Caro, Philip King, Richard Long, Hamish Fulton, Nicholas Pope, Barry Flanagan, Tony Cragg and Bill Woodrow. The exhibition, assembled from the Art & Project / Depot VBVR collection and the Kröller-Müller collection, shows a number of important developments in British art in the nineteen sixties, seventies and eighties.
In the sixties Anthony Caro and Philip King manifest themselves with abstract, colourful sculptures in steel, plastic and wood. Both sculptors taught at the trend-setting St. Martin’s School of Art in London. Caro’s students Barry Flanagan, Richard Long, Hamish Fulton and their fellow student Bill Woodrow reacted to the formalism of their predecessors by placing more emphasis on the concept, the process and the surroundings in their work. Tony Cragg also found the prevalent minimalistic tendencies too limited and again allowed more space for subjective associations that the material evoked. Like Long and Fulton, Nicholas Pope turned his back on the city to focus on materials from nature.
Tip: download the booklet with more information about the exhibition below.
Adam Colton - Carvings and bones
October 5th, 2013 - June 9th, 2014Adam Colton (Manchester 1957) has been working in the Netherlands since the early eighties. In his earliest drawings and sculptures he used his own body as a starting object. He carefully measured it and converted its spatial proportions into a pattern of lines and points, from which meticulous drawings were created. The pattern was also used in the tooling of large blocks of plaster. By systematically carving sections away, the form emerges from the block and sculptures, called Carvings, are created. The point of departure is no longer visible: only the verticality of the sculptures and drawings refers to a human body.
A little later Colton applied the same method to other objects, such as a simple kitchen chair, a boulder or the skull of a sheep, which he’d cherished in his studio for a long time. The transformations of the skull initially produced austere, usually horizontal limestone sculptures, which are reminiscent of architectural models. Later the bone structures yielded more organic forms, carved out of polyurethane foam or cast, for instance in aluminium.
Adam Colton plays with the transformation processes. He goes from three-dimensional to flat and back again, he enlarges, reduces and disorganizes, for just as long as it takes until his starting object begins to ‘swing’, as he puts it.
In Carvings and bones six large sculptures from the nineteen eighties and nineties are on display along with several drawings.