Anselm Kiefer
Anselm Kiefer
From 6 October 2023
to 3 March 2024
From 6 October 2023
to 3 March 2024
To close its birthday season, the Museum is presenting an exhibition devoted to one of Germany’s greatest visual artists, Anselm Kiefer. Born in Germany two months before the Nazi capitulation, Kiefer has continued to summon up memories of the Second World War in his work, in cathartic fashion.
Internationally known and recognised for his monumental pieces and work on European memory, he will be presenting over a hundred and thirty works at the LaM, bearing witness to his practice as a photographer and the question of what images reveal, essential in his body of work but scarcely touched upon in previous exhibitions.
06.10.2023 > 03.03.2024
Tuesday to Sunday
from 10 am to 6 pm
Full price : 11 €
Reduced price** : 8 €
*Excluding application fees
**Upon presentation of proof less than 3 months old and/or valid
Anselm Kiefer, Sans titre, 2014. Émulsion argentique et technique mixte sur photographie ; 103,5 x 160,5 cm. © Anselm Kiefer. Photo : Charles Duprat
Permeated by the ravaged landscapes of his childhood, in the late 1960s Anselm Kiefer’s body of work turned its focus to reflections on the origin of Evil and intimate exploration of the tragic nature of Nazism. A focus that led to a major series of actions.
The themes addressed in his work, underpinned by his wide knowledge of literature and with a basis in German history, cover a great many areas, from mythology to architecture by way of destruction, alchemy and geophysics.
Although he asserts that he thinks in images and always uses photography to create his paintings, up until now, Anselm Kiefer has very rarely or only partially presented this essential component of his work. The exhibition at the LaM is the first to take stock of his photographic practice, which has always been his career’s discreet companion.
Anselm Kiefer, The Secret Life of Plants (La Vie secrète des plantes), 1998. Reproductions photographiques, plantes, graphite ; 64,50 x 50 cm. © Anselm Kiefer. Photo : Charles Duprat
Anselm Kiefer, Calmly Unendingly Moves (für J.J.), 2023. Verre, acier, photographie sur plomb et technique mixte ; 385 x 145 x 145 cm. © Anselm Kiefer. Photo : Georges Poncet
Photography is of key importance in the construction of Anselm Kiefer’s process and approach. His first creations from in and around 1969 bear witness to the fact: photographs of the cathartic rituals to which he subjected himself, dressed in the Wehrmacht officer’s uniform his father had worn and making the Nazi salute on various symbolic sites in Italy, Switzerland and the south of France.
Likewise, most of the hundreds of unique books that he has created include photographs that have been glued, painted, erased, burnt, scribbled on, stained or “engineered” in one way or another. These days, all you need do is take a look inside his studio near Paris in order to understand the medium’s decisive role in Anselm Kiefer’s thought and environment. It is everywhere, in steel frames along the walls, and on the floor awaiting further processing.
In order to illustrate the full importance of photography in the artist’s body of work, the exhibition combines two viewpoints that help visitors understand how his work has evolved from the first photographs of the 1960s to the present day, gradually providing them with formats, numbers and subjects that put them on a level with his paintings. At the same time, the itinerary is divided into eight sections focusing on some of the essential chapters in his thought.
Sébastien Delot, Director - Curator of the LAM
Jean de Loisy, art historian and freelance exhibition curator
Grégoire Prangé, exhibition curator responsible for coordination of conservation and publications at the LaM.
The exhibition and all the programming relating to celebration of the LaM’s 40th birthday enjoys the exceptional support of Lille European Metropolis and the sponsorship of the Fondation Crédit Mutuel Nord Europe, Grand Sponsor of LaM’s 40th birthday.
The exhibition was created in close collaboration with the artist and his studio. It enjoys the exceptional support of the Gagosian Gallery.
Prendre l'autoroute Paris-Gand (A1/A22/N227)
Sortie 5 ou 6 Flers / Château / Musée d’art moderne
Métro ligne 1 - Station Pont de Bois
+ Bus Liane 6, direction Villeneuve d'Ascq Contrescarpe
ou Bus ligne 32, direction Wasquehal Jean-Paul Sartre
Arrêt L.A.M.
Métro ligne 2 - Station Fort de Mons
+ Bus Liane 6, direction Villeneuve d'Ascq Contrescarpe
Arrêt L.A.M.
Métro ligne 2 - Station Jean Jaurès
+ Bus ligne 32, direction Villeneuve d'Ascq Hôtel de Ville
Arrêt L.A.M.
Un parking à vélo vous est proposé à l'entrée du parc du musée
La carte « La MEL à Vélo », édition 2017-2018, vous informe sur les aménagements cyclables, stations V'lille, itinéraires conseillés... Élément indispensable à mettre dans toutes les sacoches, elle réunit l'ensemble des informations dont vous pouvez avez besoin lors de votre trajet en vélo
L'entrée principale du LaM est située en contrebas du parking P8, à proximité immédiate du rond-point situé au bout de l'allée du Musée
Deux parkings publics (non surveillés) sont disponibles pour garer vos véhicules :
- le parking P7 (dit Des moulins, véhicules de + de 1,8 m)
- le parking P8 (hauteur maxi : 1,8 m), à proximité immédiate de l'entrée principale du musée, mais de moindre capacité que le P7
Pour les bus, un dépose-minute est situé sur l'avenue de Canteleu
Les emplacements de parking réservés P.M.R. se situent juste avant le rond-point de l’allée du Musée, face au pavillon d’entrée du LaM