STUDIENSAAL | 22.06.2022 – 15.01.2023
Whether a drawing is unequivocally attributed to an artist depends on a number of different givens. If the artwork is signed, there is a high probability of scoring a hit. But how do attributions actually work in the case of drawings that are not signed?
MAIN SPACE | 08.05.2022 – 31.07.2022
The exhibition shows plaster casts, copies of paintings, graphics and architectural models from the 19th century that admit different perspectives on this question: To what extent were or are practices of copying and replication a way of producing new things?
DAS FORUM | 22.06.2022 – 15.01.2023
A cooperative project of C&A and of the Draiflessen Collection
In 2021, to celebrate its 180-year anniversary, C&A published a retro collection which focussed on its own fashion creations from decades ago and which is the topic of this presentation in DAS Forum.
The role previously played by cap and sash has today been taken over by T-shirts and baseball caps with graduation logos. How have the forms of expression chosen by graduating classes changed over the course of the last century?
This presentation in the DAS Forum developed out of a cooperative project between the Draiflessen Collection and the Department of Textile Design in the School of Cultural Studies and Social Sciences at Osnabrück University.
The cabinet exhibition STAY HEALTHY makes it clear that holistic preventive health care is not a modern approach, but that people were already asking questions about their health, and trying to answer them, some 500 years ago.
„DAS MEER RUFT!“
At first glance, the clothing trade and the film business do not seem to have much in common. In the 1920s, however, both sectors enjoyed an upswing – and businessman Bernhard Joseph Brenninkmeijer, co-owner of C&A, spotted an investment opportunity.
The bellicose rivalry between the leading maritime powers of England, Spain, and the Netherlands for supremacy in overseas trade was accompanied in the seventeenth century by the emergence of an independent genre of art: the seascape.
In his installations, conceptual artist Mischa Kuball (b. 1959) shatters rigid interpretive models and lays bare the many-layered overlapping structures of the production and perception of art. Kuball’s scrutiny of the artist Emil Nolde (1867–1956) as historical and highly contradictory figure opens up discursive spaces.