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The Abitur marks not only the end of a high school career, but also the entry into adult life. Although the graduation rituals of graduating classes have changed over the course of the last century, the need to stage and celebrate oneself as a community at the end of school has remained: What used to be a band and cap are now T-shirts and baseball caps with the Abi logo. But how is the respective zeitgeist reflected in the customs and rituals of graduating classes, how have these forms of expression of graduating classes changed? The presentation in DAS Forum traces the changes in celebrations and rituals surrounding the Abitur over the past 100 years. From the sash to the hoodie The starting point of the GRADUATION RITUALS is a cap and a sash by Arnold Ludger Brenninkmeijer (1894 - 1951), who took his Abitur at the Oberrealschule in Münster in 1914. The sash, ribbon and cap have long since ceased to be part of the school-leavers' equipment. But even in the present day, Abitur classes cannot do without community symbols, which are also expressed through clothing. Thus, the presentation also includes a hoodie of the Mettingen graduating class of the Kardinal-von-Galen-Gymnasium of 2021.
Lucas van Leyden (ca. 1494–1533) is one of the most unusual and most prominent personalities of the Netherlandish Renaissance. Similar to Albrecht Dürer (1471–1528), with whom he maintained a lively correspondence, Van Leyden concentrated on characterizing people and their behavior. With great imagination and narrative talent, along with unusual approaches and points of view, he created unconventional graphic masterpieces of universally known subjects. Above all, he strove for artistic solutions and innovations. It is no wonder that he, who was already called a “prodigy” by his contemporaries, set completely new standards, and that his work was often copied.
The presentation HAUTE COUTURE is the result of a cooperation project with the Department of Textile Design of the Faculty of Cultural and Social Sciences at the University of Osnabrück: In two seminars, students will theoretically and practically deal with the four fashion designers, their working methods and their oeuvre.
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.
The exhibition MADE REALITIES showcases the work of four photographers who meld the documentary – traditionally photography’s cardinal virtue – with the fictional.
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 sight of the sea holds an inexplicable fascination for many people. This fascination reveals itself in art through the epochs. In the seventeenth-century Netherlands, in particular, representations of ships and the sea became pictorial motifs in their own right.
The Draiflessen Collection invited the conceptual artist Mischa Kuball (born 1959) to create an exhibition examining the painter Emil Nolde (1867–1956).
With FASHION IMAGERY the Draiflessen Collction has developed an all-digital format which can be experienced on the homepage from 13 May 2020., at 5:00 p.m. This presentation interactively conveys the fashion of the 1920s, makes it possible to experience C&A's clothing production, which was innovative during this period, and takes a concentrated look at clothing for women, men and children in that time.
The Draiflessen’s storage facilities contain a vast number of items from the Draiflessen’s collection and archive – items that tell a particular story, fill in gaps, or represent an important discovery.
Resurrection scenes – rendered in vivid colour, some with gold highlights – from books of hours and prayer books from a German private collection will be on display for this showcase exhibition.
Mira Lobe’s book “DAS kleine ICH BIN ICH” (Little I-Am-Me) about the little unnamed animal who goes in search of its identity is a classic of children’s literature. In this musical fairy tale of the same name, younger and older listeners alike can embark on a journey into the fantastic world of cello sounds and music-text associations.
People have hope, cling to hope, lose hope, regain hope, or hopelessly despair. But what does hope mean?
Love is everywhere: Not only is it the reoccurring theme in novels, movies and songs, but is constant part of social discourses. How do we love? Who do we love? And why? And what happens when love stops?
The showcase exhibition presents two artists : Rembrandt Harmensz. van Rijn, (1606–1669) and Frisian artist Jan van der Kooi (*1957).
Finnish pianist Iiro Rantala is set to dazzle once again. He returns to Draiflessen, this time around with his trio, and will perform a range of works from the 1950s to the present.
In 2019 and 2020, the Draiflessen Collection is presenting three consecutive art exhibitions that highlight particular aspects of what the terms faith, love, and hope mean in modern and contemporary times through a consideration of modern and contemporary works of art.
Rembrandt infused his etchings of biblical subjects with an intense inwardness. He was a master at transporting these religious scenes to his particular time and place, the Calvinist Netherlands of the seventeenth century, while at the same time drawing inspiration from pictorial traditions and the Bible’s rich, detailed text.
For the traditional Easter Monday concert at St Agatha’s church in Mettingen, Midori Seiler and Christian Rieger bring compositions by Heinrich Ignaz Franz von Biber (1644–1704) and Johann Sebastian Bach (1685–1750) together in a musical dialogue.
In this performance of lieder by Schumann, Bizet, Duparc, Britten, and Eisler, soprano Sarah Maria Sun and pianist Jan Philip Schulze travel through time in celebration of the art song.
The California-born singer and entertainer Pamela O’Neal will perform well-known Christmas carols in a gospel sound for several voices along with the “Gospel Soul Notes”, a five-person choir and a piano player.
The cabinet exhibition puts Nicolas de Nicolay’s (1517–1583) travel report in dialogue with selected books and Ottoman textiles of the early modern period and consequently shows the great significance of this travel report for the European idea of people living in the Ottoman Empire.
The exhibition puts maps from various epochs in relation to artworks by international artists that examine the cartographic depiction of space or the influence of maps on our view of the world.
On 5 May 2018, the guitar artist Peppino D’Agostino will perform original instrumental compositions and songs chosen from his repertoire at Draiflessen. He will also perform arrangements of well know Classical, Pop, and Traditional music from various part of the world.
Apocalyptic conceptions of the end of the world have fascinated mankind for centuries. This exhibition brings together Julian Rosefeldt’s (*1965) video work “In the Land of Drought”, Albrecht Dürer’s (1471–1528) illustrations for the Book of Revelation, and eschatological proclamations of the theologian Jean Gerson (1363–1429).
In the concert, Capella de la Torre goes on a search for the roots of jazz and brings old music and contemporary improvisation together. New worlds of sound are created: unfamiliar, enthralling, and fascinating, even though they have actually already existed since the early modern era. Just as the musicians of the 16th century carried away and inspired their listeners, this also happens now in the present.
Kasper König, the artistic director of the 2017 edition of the Skulptur Projekte Munster, talks about magic moments in art.
Comedy Solo by Nick Hornby with actor Jens Schnarre In a Production by Landestheater Schwaben Draiflessen Collection, 21 December.2017, 8 p.m.
On 4 November 2017 Christoph Spering, one of the most renowned conductors of early music, and his two ensembles 'Chorus Musicus Köln' and 'Das Neue Orchester' will perform three of Johann Sebastain Bach's Luther Cantatas.
The exhibition, which draws on works from different centuries, aims to call attention to the impact this fleeting, elusive, individually or collectively experienced moment of viewing art can have.
The Reformation of 1517 took place not only in Wittenberg, on the Wartburg, or in front of the Imperial Diet. The Reformation had sweeping consequences for the entire Christian world, consequences that can also be found in the Tecklenburger Land, in the Roman Catholic Diocese of Osnabrück, and in the Diocese of Münster. We are therefore setting off on a search for traces to sites connected with the Reformation in our home region.
This year, too, at 17 April, 7:30 p.m. there will be an Easter Monday concert in Mettingen: Sjaella live at the Church of St Agatha.
The cabinet exhibition follows the tracks of Martin Luther. It presents printed matter from the then-new spirit of the times – from the first printed bible, the “Gutenberg Bible”, which was still written in the Latin language, to the first Bible printed in the German language prior to Luther’s new translation, the “Mentelin Bible”, to the final version by Luther, the “Luther Bible”.
Parallel to the special exhibition Family Businesses as a Phenomenon, the cabinet exhibition is dedicated to the topic of ‘eating and cooking’. In it, that very central, everyday event – shared meals together – is at the centre of the presentation, which also approaches the topic from the perspective of cultural history.
The exhibition 'Family Businesses as a Phenomenon: Insights – Overviews' approaches the subject of family businesses from a novel perspective – allowing business figures and their families to 'speak' for themselves: letters, memoirs, wills, and business protocols from the late 18th century to the 1960s afford insights into the motives behind the actions of businesspeople and their family members. In 25 very personal stories, taken from 13 different family businesses, the goals, desires, and obligations of the various stakeholders come to life and prove to be surprisingly contemporary.
The collection of drawings, prints, and books of the Liberna Collection forms the starting point for this exhibition. Devoted to images of the Holy Family in everyday surroundings, the show features works from the Middle Ages to the 19th century.
The Draiflessen Collection was established in 2009 and regularly presents exhibitions on a broad range of topics – family, company, art, and cultural history – in its own international, museum-standard exhibition space.
Ludwig Güttler, Volker Stegmann and Friedrich Kircheis: „Herzlich lieb hab’ ich dich, oh Herr!“ Easter concert with trumps, Corno da caccia and organ Easter Monday, St Agatha, Mettingen