Zagreb collective WHW named creative directors of Skulptur Projekte Münster

Three members of the curating cumulative What, Just how & for Whom (WHW)– Ivet Ćurlin, Nataša Ilić and Sabina Sabolović– have been selected as the creative supervisors of the 50th anniversary version of Skulptur Projekte Münster, which will happen in 2027.

Bussmann and König started Skulptur Projekte Münster to familiarise the city’s population with contemporary art after a break out of public indignation in feedback to George Rickey’s kinetic sculpture 3 Turning Squares. The show is sustained by the city of Münster and the local authority, Landschaftsverband Westfalen-Lippe.

More than 220 musicians have taken part in the occasion since 1977, including Isa Genzken, Claes Oldenburg, Richard Serra, Bruce Nauman and Nicole Eisenman. Around 40 masterpieces have actually ended up being irreversible components of Münster’s cityscape.

Over the past 25 years, the 3 managers have led the shows of Zagreb establishments including Gallery Nova and the WHW Akademija, which sustains young musicians. The collective additionally curated the 2009 Istanbul Biennial and the Croatian structure at the 2011 Venice Biennale.

Skulptur Projekte Münster occurs as soon as a years in the northern German city and was launched in 1977 by Klaus Bussmann and Kasper König, that died on 9 August. Based in Zagreb and Berlin, Ćurlin, Ilić and Sabolović are the first women selected to run the respected outside sculpture exhibition. Until just recently, they were the creative supervisors of the Kunsthalle Wien in Vienna.

WHW “is devoted to a pedagogical technique, largely exploring the connection between repressed history and journalism issues of the present,” according to the statement from Skulptur Projekte Münster. “We wish to resolve the political and social stress of the here and now via our work with the artists, and we will certainly seek to improve the methods of feminism and collectivism, as well as the many previous try outs public art,” Ćurlin, Ilić and Sabolović said in the declaration. “Just how can art in public area today meaningfully attend to the frailty of democracy, ecology and typical life? Can it strengthen shared respect and freedom? Exactly how can we reformulate the instructional claim that the Skulptur Projekte has had considering that its starts?”