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Logo Max Ernst Museum Brühl des LVRLogo Landschaftsverband Rheinland
Foto: Aussenansicht des Max Ernst Museums Brühl des LVR Foto: Foyer des Max Ernst Museums Zu sehen ist das Key Visual mit vielen Mustern und Kreisen in gelb, türkis, pink und violett.

Photo: LVR-Zentrum für Medien und Bildung / Dominik Schmitz

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NEVIN ALADAĞ – INTERLOCKING

Exhibition from March 10 until June 30, 2024

Nevin Aladağ (*1972 in Van, Turkey, lives and works in Berlin) is one of the most internationally renowned contemporary artists. The survey exhibition Interlocking with textile collages, sound sculptures, installations and videos draws connections between different patterns of artistic creation and their socio-cultural backgrounds. The creative forging of such connections is an important aspect of Nevin Aladağ's extensive oeuvre. In the Social Fabric series, for example, various textiles are woven into a "utopian carpet" that visually brings together the origins of the material from different cultures. The Carpet Ball Game installation is an interactive invitation to play indoor basketball in the centre of the exhibition hall. In addition, a new group of works and site-specific installations with the Best Friends flags can be seen outside the museum.

Please take note of the image details and photo credits when publishing. We would be pleased to receive a reference copy for our media review.


COLLECTION

The Max Ernst Museum Brühl des LVR is the only museum dedicated to the life and work of the seminal artist, image poet, and cosmopolitan Max Ernst (1891–1976). The collection spans 70 years of one of the most important, versatile, and fascinating artists of the 20th century. Numerous paintings, drawings, frottages, and collages let visitors immerse themselves in the fantastic worlds of Max Ernst’s images and demonstrate his boundless inventiveness. Visitors can also look forward to seeing a unique collection of more than 70 bronze castings and sculptures. Another heart piece of the collection are the 36 "D-paintings".These works were originally painted as gifts to the artist’s fourth wife, Dorothea Tanning – a fellow artist who was a part of his life for more than three decades.

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Please take note of the image details and photo credits when publishing. We would be pleased to receive a reference copy for our media review.