An enormous Anselm Kiefer portray that has spent nearly 20 years in storage is now lastly on view to the general public following the opening of a purpose-built gallery in Germany. the German industrialist and collector Reinhold Würth purchased Kiefer’s Schwarze Flocken (Black Flakes, 2007), which is 11.2m excessive and seven.1m large, instantly from the artist’s studio in 2008. With the portray just too massive for any of the Würth Assortment’s exhibition areas, in 2025 the Würth Group commissioned the British architect David Chipperfield, working intently with Kiefer, to design a pavilion completely for Black Flakes. It opened on 13 October within the sculpture backyard beside Museum Würth 2 in Künzelsau, northeast of Stuttgart.
Made with oil, emulsion, shellac, earth and branches on canvas, Black Flakes takes its title from a poem by Paul Celan, the Romanian Jewish poet whose mother and father died in Nazi camps in the course of the Holocaust. Kiefer has typically drawn on Celan’s poetry as he explores German historical past and reminiscence in his works.
“The end result is an excellent resolution: the work now has a becoming and everlasting residence,” Maria Würth, Reinhold’s granddaughter and the group’s govt vice-president for arts and tradition, tells The Artwork Newspaper. “The pavilion creates an environment that slows the act of wanting and focuses consideration totally on the paintings. Right here, within the presence of Paul Celan, to whom Black Flakes is devoted, three masters meet as equals: Chipperfield, Kiefer and Celan.”
Kiefer himself proposed the freestanding pavilion and specified the room’s proportions, the doorway’s measurement and place and the wall colors. Chipperfield’s Berlin workplace translated these necessities right into a 140 sq. m concrete constructing. A sheltered portico marks the transition from the encircling panorama into the gallery, whereas roof lights admit pure gentle.
“Our job was to seek out the architectural response to it: to create an area that’s totally oriented in the direction of a single murals, whereas growing a quiet sculptural id,” Bernhard Danigel, a design lead and affiliate at David Chipperfield Architects Berlin, tells The Artwork Newspaper. “The structure wanted to provide the work room to exist with out competing with its presence.”
The pavilion’s opening coincides with the reopening of one other Würth museum, Kunsthalle Würth, in Schwäbisch Corridor, round 20km from Künzelsau, following a three-year renovation and growth that added 600 sq. m of exhibition area. Its Twenty fifth-anniversary exhibition, Anselm Kiefer—All That Is the Case (Alles, was der Fall ist, till 3 October 2027), consists of greater than 70 works from the Würth Assortment and 21 loans from the artist’s studio.
