English

Healing the Earth
50 Years of German-Mongolian
Friendship29.06. – 08.09.2024

JAVKHLAN Ariunbold
OCHIRBOLD Ayurzana
BAATARZORIG Batjargal
MUNKHTSETSEG BatmunkhJoseph Beuys
NOMIN Bold
Mariechen DanzOTGONBAYAR Dashdorj
UNEN Enkh
GERELKHUU Ganbold
Melike Kara
Claudia Mann
Carmen SchaichSlavs and Tatars
Thomas Stricker
GAN-ERDENE Tsend
Julian Westermann
TUGULDUR Yondonjamts

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Healing the Earth
50 Years of German-Mongolian
Friendship

Introduction

The extensive group exhibition Healing
Theory and practice and art and politics
the Earth is a collaboration between
should not be conceived of as separate
Kunsthalle Düsseldorf, Chinggis Khaan
systems that have chronically failed to
National Museum in Ulaanbaatar andunderstand each other since the start ofArts & Media Project Management &the modern era. Instead, they should be
Consulting NGO to mark 50 years ofunderstood as a continuum. Art reprediplomatic relations between Germany
sents the existence of and is witness toand Mongolia. The ties between the two the invocation of forces that Western
nations go back much further than 50
society has gradually forgotten since theyears, however. For example, young
advent of the modern era. However, theMongolians were sent to study inpotential for summoning up of myths andGermany as far back as 1926. Inarchaic vitality persists; images of humanMongolia, Germany is still referred to as figures and living creatures, homes,
the country’s “third neighbour”, and more tents, mountains, landscapes and thethan one per cent of the population
heavens are at once primeval andspeaks German.
contemporary.
The point of departure for this exhibiThe works by 18 contemporary artists
tion is Joseph Beuys (1921–1986), whothat will be presented in the exhibition
was born in the same year in which Outer examine ways and means of questioning
Mongolia declared its independence. His and challenging the current relationships
work, whether in the form of “actions” or and circumstances in the world. The web
art, contains countless references to the woven by the different works in diverse
history and cultures of Mongolia. Beuys media may provide an opportunity torecognised Western society’s probledistance ourselves from the West’s
matic use and management of natural
frequently arrogant attitude and to ask
resources at an early stage. He coinedfor other, liveable futures in new, unforethe term “Social Sculpture” to embody a seen alliances: What kind of healing forway of thinking practised by people who, which Earth?
through language and creative actions,strive to transform and shape themselves and society – as a means and an
opportunity to heal humanity, society andnature.
The exhibition Joseph Beuys – Eine
Innere Mongolei (An Inner Mongolia),
hosted in the Kestner Gesellschaft in
Hanover in 1990, was dedicated to this
aspect of his work: “Genghis Khan andhis companions, the shamans andactresses, are the protagonists of autopian realm between East and Westthat Beuys evoked throughout his life inhis drawings, ‘actions’ and sculptures”(Carl Haenlein, then director of the
Kestner Gesellschaft).
Drawing on Joseph Beuys’ earlypioneering work, the project Healing the
Earth builds a new bridge in the anniversary year of German-Mongolian
friendship: between the culture of
nomadic peoples (a culture they havepractised for millennia and which is vitalto their survival) and contemporary art. It
is dedicated to the perspectives ofdifferent cultures and explores memories
from the past. However, it also looks into
the future, weaves new threads into an
open network of relationships and opens
up dialogues between different artistic
approaches in order to explore thecurrent state of the planet and possible
ways of healing.

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JAVKHLAN Ariunbold
OCHIRBOLD Ayurzana
BAATARZORIG Batjargalb. 1990 in Ulaanbaatar, MNG
b. 1976 in Sükhbaatar, MNG
b. 1983 in Ulaanbaatar, MNG
2011–2018 Kunstakademie Münster,
Until 1998 Mongolian State University of Until 2005 Mongolian State University of
Münster, GER
Arts and Culture, Ulaanbaatar, MNG
Arts and Culture, Ulaanbaatar, MNG
2020–2024 Kunsthochschule für Medien Lives and works in Ulaanbaatar, MNG
Lives and works in Ulaanbaatar, MNG
Köln, Cologne, GER
Lives and works in Cologne &OCHIRBOLD Ayurzana is a steel
In his artistic practice, BAATARZORIG
Düsseldorf, GER
sculptor who employs a wide variety of
Batjargal collects various traditional
shapes and forms in his work. Since
objects, such as nomadic heirlooms andIn her work, JAVKHLAN Ariunbold
2014, he has been exploring how society metal decorations, which he uses as theexamines the fairy tales, myths andand human behaviour are changing in a
substrates for his paintings. Like NOMIN
legends as well as the superstitions ofglobalised world. He questions how the
Bold and GERELKHUU Ganbold, heCentral Asian nomadic peoples, focusing current information overload is alteringstudied the traditional Mongol Zurag
on the stewardship of nature that is
consciousness. This approach gives rise style of painting and uses it to explore
expressed in them. She explores
to socially critical works, which also
Mongolia’s historical development over
Mongolian cattle breeders’ intensereflect the desire for expanded
the last century. With the loss of tradiconnectedness with nature, situating it in consciousness and a connection to the tional cultural heritage occupying a
the area of tension between nature and spiritual dimension.
central place in his work, he scrutinises
the ultra-modern technologies of
Ayurzana is presenting a new spatial
Mongolia’s history together with our capiWestern society: due to their consump- installation in the Mongolian pavilion attalist present. His portraits depict deities,
tion of raw materials, these technologies this year’s Venice Biennale. This installa- saints and Mongolian nobles on the one
are contributing to the destruction oftion is based on the Buddhist deities
hand, and famous contemporary figures
many habitats.
Citipati, who are portrayed as skeletons on the other. The juxtaposition of tradiAriunbold is presenting two video
dancing wildly with their limbs intertional and contemporary motifs reveals aworks and a painting in the exhibition.
twined in a halo of flames. They
critique of our consumerist lifestyle and a
The three-channel video work Ovoo
represent both the eternal dance ofquestioning of current developments in(2024) focuses on traditional rituals and death and perfect awareness.
Mongolian society.
Mongolian beliefs in our capitalist age,
Jangar (2022), which draws on thisIn the exhibition, BAATARZORIG
while A twelve years song (2024) iswork, is being presented in this exhibiBatjargal is presenting the mixed-media
concerned with the nomadic way of lifetion. Jangar takes the form of a table with installation Alpha (2019), as well as a newand connectedness with nature in the
44 feet in the shape of skulls: four withpainting.
age of capitalism.
one (evil) eye, 16 with two (human) eyes
Her paintings in the series Yama &and 24 with three eyes – wise eyes
Chamunda are based on traditional 18th looking into the past, present and future.
and 19th-century Mongolian painting.
Yama is a buffalo-headed god of death in
the Gelug school of Tibetan Buddhism.
He is usually portrayed as a wrathfuldeity, often with his consort, Chamunda.

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Artists

MUNKHTSETSEG Batmunkhb. 1982 in Ulaanbaatar, MNG
Until 2006 Mongolian State University ofArts and Culture, Ulaanbaatar, MNG
Lives and works in Ulaanbaatar, MNG

Joseph Beuys
b. 1921 in Krefeld, GER
1946–1951 Kunstakademie Düsseldorf,
Düsseldorf, GER† 1986 in Düsseldorf, GER

In her work, MUNKHTSETSEG
The works of Joseph Beuys reflect an
Batmunkh explores her own biography
intense sociopolitical and humanisticand her Mongolian roots, but also theattitude, which in some cases also
human state of mind in the context of its borders on the provocative. Beuys was aconnection with nature. She works with performance artist, a sculptor, anatural materials found in Mongolia, such draughtsman and an art theorist. His
as Mongolian felt, which is used to make influence on the development of art was
yurts. She is presenting two works in the and remains highly significant, and thisexhibition: the three-part series Father,makes him one of Germany’s most wellMother, Me (2015) and Incubator (2017). known artists, although he was also one
Father, Mother, Me is dedicated to the of the country’s most controversial ones.
bonds that exist within families and the
He recognised quite early on Western
love between parents and their child. The society’s problematic use and managethree pieces of clothing embroidered on ment of natural resources. He thenfelt represent her father, her mother and expressed his criticism in his work, andthe artist herself.
he was also actively involved in
An incubator usually ensures that
Germany’s new Green Party from thepremature babies can survive. Bytime it was established in 1980. Beuys
contrast, Batmunkh’s Incubator is planted came up with the idea of an “expandedwith grass. Tubes extending from theconception of art” and developed the
incubator allow viewers to inhale the air theory of “social sculpture”. The latterand breathe in the scent of grass andviews art as not being limited to a fixedearth. In this manner, MUNKHTSETSEG or immobile object, but also as encomBatmunkh draws attention to the need to passing creative human thought andprotect and tend to the earth, instead of action, as well as a commitment todestroying it.
sustainability and cautious, wellthought-out behaviour.
His works also contain many different
types of references to Mongolian culture
and history. Using his complete body ofwork as a basis, the exhibition poses
questions regarding possibilities andopportunities to heal the Earth andsociety.

NOMIN Boldb. 1982 in Ulaanbaatar, MNG
Until 2005 Mongolian State University ofArts and Culture, Ulaanbaatar, MNG
Lives and works in Ulaanbaatar, MNG
NOMIN Bold’s works are based on a viewof death and mortality that is rooted in
the Tibetan Buddhist tradition. She
studied Mongol Zurag painting in
Mongolia. This style of painting wasdeveloped in the early 20th century andis characterised by the depiction of
secular, nationalist themes in a traditional
mineral-paint-on-cotton medium.
At the same time, the artist searches
for a cross-cultural tradition in symbols
and pictorial motifs, and then translates
this tradition into a contemporary visuallanguage. The souls of the deceased area recurring theme and symbolise theafterlife in many cultural groups.
Skeletons, skulls, jewellery and splendid
colours are very emotionally charged
and laden with diverse visions, which canserve as a conduit for engaging withexistential questions. NOMIN Bold’s
skeletons point to the invisible elementthat remains after the body dies:consciousness, which continues its
journey. In the exhibition, she ispresenting the works Eight minutes tothe sun (2024), Colour of immortal(2023), Sav Shim (2022) and thefive-part series Olbog (2023).

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Mariechen Danzb. 1980 in Dublin, IRL
1998–1999 Sallynoggin Senior College,
Dublin, IRL
1999–2005 Universität der Künste,
Berlin, GER
2002–2003 Gerrit Rietveld Academy,
Amsterdam, NL
2006–2008 California Institute of theArts, Valenica, CA, USA
Lives and works in Berlin, GER

OTGONBAYAR Dashdorj
b. 1966 in Ulaanbaatar, MNG
Until 1986 Mongolian State University ofArts and Culture, Ulaanbaatar, MNG
Until 1992 Saint Petersburg Stieglitz
State Academy of Art and Design,Saint Petersburg, RUS
Lives and works in Ulaanbaatar, MNG

In her multimedia works, the artist
OTGONBAYAR Dashdorj examines
themes and motifs from the natural
Transfers of knowledge are the point surroundings and environment of herof departure for Mariechen Danz’s work, Mongolian homeland, highlighting
for which she uses the human body as
contrasts and balances in particular.
an object of investigation. In her multiFather Mt. (2023) consists of 40
media works, she explores media that
ceramic mountains. This work explores
record and store knowledge, with athe Mongolian people’s relationship toparticular focus on analysing the possi- mountains, which they honour andbilities of language and the hierarchy of respect like living creatures in the same
symbols. Danz activates her installations way that they revere water, nature andthrough vocal performances.
the earth. In the words of a Mongolian
The artist is presenting three works in proverb, “The mountain of yourthe exhibition: Two Learning Cubes
homeland is like a father; he takes care(soil sample) (2011) and Dig of No Bodyof you and protects you.” The artist(Organ*isation) (2019). Since 2011,
laments the destruction of her country’s
Mariechen Danz has been developing
mountains in order to extract coal, gold
her Learning Cubes, in which different
and other resources. She fears thatmaterials, such as earth, glass, concrete some mountains will exist only in theand even plastic waste, are layered onform of paintings and sculptures in
top of each other. Similar to geologicalfuture.
soil stratification models, the cubes allow
In the video work Finding myself
traces of human activity to be investi(2022), Dashdorj examines the connecgated. In the sculpture Dig of No Body
tion between her identity and her(Organ*isation), Danz references
homeland. She highlights the importanceanatomical teaching models. Here, theof remembering our origins, culture andhuman body is divided into individual
the history of our ancestors, and ofmoving parts, which also brings to mind coming to terms with ourselves: after all,the idea of sediments.
at the end of our lives, our true self is the
person that we are left alone with. The
ceramic series Expression (2018) is
inspired by Dashdorj’s vision of the edgeof the galaxy. She pictures it as a place
where the consequences of heremotions and actions are stored, andwhere everything appears to be in
two-dimensional form.

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UNEN Enkhb. 1958 in Dzün-Hara, MNG
1982–1988 Hungarian University of Fine
Arts, Budapest, HUN
Lives and works in Freiburg, GER
UNEN Enkh, who comes from Mongolia
but has lived and worked in Germany
since 1988, is a sculptor. He creates both
representational and abstract works,
usually on a large scale. His sculptures
are heavily influenced by the culture andtraditions of his homeland. He prefers towork with archaic materials – as he puts
it himself – such as Mongolian felt andhorsehair. These materials have beenused commonly in Mongolia since pre- or
proto-historic times. They thus embody along tradition and history, and they also
possess a symbolic power that transports them into the realm of magic.
In the exhibition, UNEN Enkh ispresenting Big Mom (Venus) (2019), a
reminiscence of the ancient goddess oflove, erotic desire and beauty. As theembodiment of fertility, Venus is also
seen as the original mother figure andthe oldest female ancestor.
In Enkh’s Venus, archaic materials are
combined to form an imposing largerthan-life figure, which alludes to theunion of Heaven and Earth, mind andmatter, masculine and feminine.

Artists

GERELKHUU Ganbold
Melike Karab. 1988 in Ulaanbaatar, MNG
b. 1985 in Bensberg, GER
2006–2010 Mongolian State University
2007–2014 Kunstakademie Düsseldorf,of Arts and Culture, Ulaanbaatar, MNG
Düsseldorf, GER
Lives and works in Ulaanbaatar, MNG
Lives and works in Cologne, GER

Claudia Mannb. 1982 in Wuppertal, GER
2003–2009 Bergische Universität
Wuppertal, Wuppertal, GER
2009–2015 Kunstakademie Düsseldorf,
Düsseldorf, GER
Lives and works in Düsseldorf, GER

GERELKHUU Ganbold expands the
Melike Kara’s multimedia work focuses
traditions of the Mongol Zurag style ofon the human body and consciousness.
painting in new ways. He is well known
Drawing on her own biography and
Claudia Mann is a sculptor who primarily
for his works based on ancient heroes
Kurdish Alevi roots, the artist raises
works with the body’s presence in space,and battle scenes – works that simultaquestions about identity, origin,
whether standing, lying or hanging. At
neously incorporate fanciful creatures
migration and expulsion, and uses thisthe same time, her works are based on
and new creations.
reflection to create spaces of rememthe principle of balance and movement.
His latest paintings, produced in the
brance. Based on her personal photo
Despite the rigidity of the materials, they
traditional style but translated into aarchive, she examines the visual cultural thus embody a fundamental principle ofcontemporary visual language, have the history of the Kurdish diaspora andartistic creation. All her works present
appearance of Mongolian epics. The
explores traditions, rituals, fates andthe results of preceding actions.
main themes in his works are Mongolian stories.
In the monumental work Headrest
traditions in a dialogue with modern life.
Kara’s paintings are based on motifs(2019–2024), the artist makes aHere, messengers of the gods – theand patterns from Kurdish wall rugs,
statement about absence as a spiritual,
heroes in the fairy tales he encountered which she abstracts and reconstructs.
deeply embedded source for an exploraas a child – are embroiled in the
She often combines her paintings withtion of sculpture. Positioned in rows
complexity of real life, which is in no
sculptural elements that resemble ponds against the wall, her Headrests are
small way marked by conflict and typical or pavilions. She also makes use of thisportraits of individuals – some of whomhuman behaviour. Influenced by thearrangement in the exhibition. For
are known to the artist – exhibited as if
craftsmanship of the old masters as well example, she presents a semi-transthey were in an ancestral portrait gallery.
as miniature painting, his works areparent space that brings a pavilion to
They are produced in a purely intuitive­characterised by tremendous aesthetic mind. The pavilion’s exterior walls areprocess, without following any plan,sophistication and great detail.
covered with latex-coated silk, which
emerging instead from the primal nature
GERELKHUU Ganbold draws on Mongo- serves as the substrate for two paintings. of material and form.
lia’s cultural heritage. Sustainability andself-sufficiency have long been a way oflife in the country. Moreover, due toMongolia’s geographic remoteness andnomadic agriculture, this lifestyleremained far removed from the temptations of capitalism. In the exhibition, he ispresenting four acrylic paintings from theseries Keyparameter (2021–2023) andthe small-scale Crows Series(2023–2024).

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Carmen Schaichb. 1987 in Stuttgart, GER
2013–2014 Kunsthochschule Mainz,
Mainz, GER
2014–2017 Kunstakademie Düsseldorf,
Düsseldorf, GER
Lives and works in Düsseldorf, GER

Slavs and Tatars
Art collective founded in 2006 andbased in Berlin, GER

Thomas Stricker
b. 1962 in St. Gallen, CH
1986–1993 Kunstakademie Düsseldorf,
Düsseldorf, GER
Lives and works in Düsseldorf, GER

The Slavs and Tatars art collective isdevoted to an area east of the former
Berlin Wall and west of the Great Wall of Thomas Stricker’s works examine theChina known as Eurasia. The collective’s interdependence and interactions
Carmen Schaich works with innovative
practice manifests itself in installations,
between humans and their immediate
methods to develop sculptures andperformances, presentations and books. surroundings in the context of social andprints, and links the two media in her
In their works, the collective’s artists
environmental issues. His sculptures withspatial installations. She expands intaglio question the concepts of identity,
various materials, as well as his installaprinting processes – such as traditional
language and rituals, and while doing so tions, either reference certain locations
etching or engraving – with a techniquethey reference pop culture, spiritual and or are placed at specific locations. They
she has developed that is known asesoteric traditions, oral history, modern
are often designed in an open mannerglass etching.
myths and scientific research.
that allows for participation, or else are
She takes her inspiration fromSlavs and Tatars are presenting fourconceived of and implemented as
moments of vulnerability and destruction, sculptural works in the exhibition: Dunjas, long-term projects. He uses a variety ofwhich she transforms and aestheticises. Donyas, Dinias (2012) addresses longmaterials in his work – for example
Strange Love (2023) consists of 40
standing Serbian-Turkish enmity. Dunja, alabaster, concrete, rubber, hard foam,glass etchings that are joined together to which is the word for the fruit “quince” in wood, plants and wax. In his long-term
create a map of the world. The basis for Serbian, is also a name used for women artistic project 108 skulpturale Fragen
this work were 20 glass plates, which the who are considered beautiful. In addition, (“108 sculptural questions”), which has
artist fired marbles at with a slingshot
it happens to sound the same as the
been in existence since 1996, Stricker
and then divided into 40 pieces. The indi- Arabic and Turkish word for “world”,
attempts to explore and understand thevidual plates were subsequently printed which is Donya. The diagram in the work possibilities of contemporary sculptureusing the traditional etching process.
Mother Tongues and Father Throatsand combine these with conceptual art,
The marbles used in the slingshot serve (2013) shows letters of the Arabicsocial sculpture and landscape architecto hold the 40 prints. Strange Love offers alphabet and the corresponding part of ture. Each of the individual works here
tremendous scope for interpretation: it is the mouth used to pronounce them, and represents an attempt to find an answer
at once a warning to protect the Earth, a thus portrays the throat as a source of
to a specific question regarding the
spotlight on its fragility and vulnerability, mystical language. Wheat Mollah (2011), current understanding of the concept ofand an expression of care and fondness, which is a turban woven in wheat, refer- sculpture.
which is also reflected in the title.
ences the leftist origins of the IranianAnother one of Stricker’s works – 108
Revolution of 1979. Wheat is both a food Fragen an die Nomadin mit dem Gewehr
staple and an ideological symbol that(“108 questions for the nomad with thewas used in the state emblem of therifle”) – was created after the artist
former USSR. It is also used in thecompleted a three-month journey inemblem of Iran’s first bank, Bank Sepah, Outer Mongolia in 1994, during which
and in the emblem of Iran’s revolutionary time he became personally acquainted
guards as well. In Salamoia (2019), thewith the nomadic way of life. Stricker iscollective replaced the water bottle onpresenting this work, which is now 30
top of a water cooler with a turban,
years old, in combination with new video
thereby underlining the discursive role of footage he recorded when he returnedthirst in the foundations of Shia
to Mongolia in 2024 in preparation forcosmology.
this exhibition.

8

Artists

GAN-ERDENE Tsend
Julian Westermann
TUGULDUR Yondonjamts
b. 1979 in Mörön, MNG
b. 1991 in Engelskirchen, GER
b. 1977 in Ulaanbaatar, MNG
1996–2001 Mongolian State University of 2013–2014 Rhein-Sieg-Akademie für
Until 1997 Mongolian State University ofArts and Culture, Ulaanbaatar, MNG
Realistische Bildende Kunst undArts and Culture, Ulaanbaatar, MNG
2003–2010 Kunstakademie Münster,
Design, Hennef, GER
Until 2004 Universität der Künste, Berlin,
Münster, GER
2015–2022 Kunstakademie Düsseldorf,
GER
Lives and works in Münster, GER
Düsseldorf, GER
Until 2014 Columbia University School ofLives and works in Düsseldorf, GER
the Arts, New York City, USA
GAN-ERDENE Tsend’s paintings are
Lives and works in New York City, USA &shaped by the vast, seemingly endless
Julian Westermann combines an
Ulaanbaatar, MNG
landscapes of Mongolia. They often
extremely varied range of media in his
depict a stony environment, which iswork – for example sculptures, paintings, TUGULDUR Yondonjamts’ works are
frequently deserted.
drawings, installations and performance fictional investigations of natural
Tsend’s large-scale oil painting
art – to create holistic compositions.
elements, languages and myths. He
Heimweg (2022) portrays a landscapeHere, the individual elements exist bothcreates a connection between sciencefrom his imagination, but one that could autonomously and as parts of collective and fiction or, as he puts it himself,
actually exist – both in reality and inarrangements. These works sometimes between tamed and untamed worlds.
viewers’ minds. The landscape depicted utilise archaic imagery in the form of an
One of his frequent areas of research isis stark and barren. A path runs through axe, an animal or a hand, for example, but the animal kingdom, whose messages
the centre, petering out on the horizon.
they are nevertheless clearly contempo- Yondonjamts attempts to decipher in the
The seemingly infinite expanse of desert rary in terms of the materials used toform of books, drawings, sculptures andand steppes reveals the artist’s
create them. History and the present, the videos and sound productions.
Mongolian roots. Although the landscape here and now and the hereafter, are
81 Meters Backwards to the Darkest
is deserted, traces of human activity can brought together in unexpected compo- Dark (2020) presents a piece of digitallybe seen: plastic bottles, coffee cups,
sitions. The objects themselves serve as printed snakeskin, divided up into a grid
empty soft drink cans and plastic bags
an interface between different realities
almost like a bitmap image, on which theare scattered on the path and beside it – and temporalities.
Mongolian poem “Khan Kharangui” hasa clear mark of the impact of consumer
In the installation Instead of breaking
been printed. The poem tells the story ofculture on the environment. As thethe tree, I broke the stick (2024), Wester- the adventure of two brothers, who coverviewer’s gaze moves in from themann explores the present we all exist in a distance of 99 years from theirdistance, the central path is the first thing – a situation marked by environmental
homeland to reach the Earth. Yondonto catch their eye. The disturbing details crises, for example, and one in which it
jamts translated the poem into binaryof the littered landscape only becomehas become all but impossible to makenumbers, which he painted on theapparent upon closer inspection.
use of our power of imagination in asnakeskin with earth pigments. The
playful and unbiased manner. What
encoding is based on the Arecibo
remains is a type of nostalgic sadness, a message, a radio wave signal in binary
yearning for nature and its magical ability code which scientists at the Arecibo
to unveil new worlds. The installation
Observatory in Puerto Rico sent in 1974
consists of diverse elements, including
in an attempt to communicate with extravideo, painting and sculpture, but also
terrestrial life. Their message received ainteractive modules that will be activated “response” in 2001 in the form of theby the artist in several performances“Arecibo answer”: corn circles thatthroughout the duration of the exhibition. appeared near the Chilbolton Observatory in the United Kingdom – a hoax
whose origins are unknown.
Yondonjamts’ installation also includes
the audio work Myna Song (2019), as well
as a zine for visitors to take with them.

9Opening
Friday, June 28, 2024, 6–10 pm
Free admission
Star-struck
Performance by Julian Westermann
7.30 pm
Finissage
Sunday, September 8, 2024,
11 am–6 pm
Free admission
Star-struck
Performance by Julian Westermann
3.30 pm
Artist Talk
With Claudia Mann, Julian Westermann,
Thomas Stricker
4 – 5.30 pm
Art Talk
Every Saturday and holiday,
2.30–5.30 pm
Art Mediators will be on handto talk to you
Public Guided Tour
Every Sunday,
1.30–2.30 pm
Long Thursday
On the last Thursday of the month,
6–8 pmFree admission
Thursday, July 25 andThursday, August 29, 2024
Guided tour in English language
each 6.30–7.30 pm
Star-struck
Performance by Julian Westermanneach 6 pm
Art Talkeach 5–8 pm
Guided Tour with Curator andGerman Sign Language Interpreter
Thursday, September 5, 2024,
4.30–6 pm
Please book your place in advance atbildung@kunsthalle-duesseldorf.de.
Guided Tour for Blind,
Visually Impaired and Sighted Visitors
Tuesday, July 23, 2024,
4.30–6 pm
Please book your place in advance atbildung@kunsthalle-duesseldorf.de.
#RealTalk
with Jessi, Joshua & Juli
Thursday, August 8, 2024,
5–6 pmFamily Day at Kunsthalle Düsseldorf
On the second Sunday of the monthFree admission
Art Talkeach 2.30–5.30 pm
Guided tours
for Families with Workshops
July 14, 2024, 3.30–5 pm,“Mountain worlds”
August 11, 2024, 3.30–5 pm,“Connected, networked, wired”
September 8, 2024, 11.30 am–1 pm,“Utopia – fantastic places for dreaming”
Pottery Studio (5-8 year olds)
Summer Holiday Workshop for Kids
Two days
Tuesday, August 6 andWednesday, August 7, 2024,
each 12–3 pm
Admission fee: 15 Euro
Please book your place in advance atbildung@kunsthalle-duesseldorf.de.
Upcycle for your life! (9-13 year olds)
Summer Holiday Workshop
Two days
Tuesday, August 13 andWednesday, August 14, 2024,
each 12–3 pm
Admission fee: 15 Euro
Please book your place in advance atbildung@kunsthalle-duesseldorf.de.
AT ATELIER (14-18 year olds)
Summer Art Camp with your own
exhibition with the artists Jovita
Majewski and Thorsten Schoth
Four days
Tuesday, July 16 until
Friday, July 19, 2024,
each 11 am–6 pm
Saturday, July 20, 2024,
11 am, Presentation
Please book your place in advance atbildung@kunsthalle-duesseldorf.de.
Admission fee and more informationon our website:www.kunsthalle-duesseldorf.de
Between Books
Writing Workshop
with author Stan Lafleur
Two days
Saturday, August 24 and Saturday,
August 31, 2024,
each 1–4 pm
Admission fee: 15 Euro
Please book your place in advance atbildung@kunsthalle-duesseldorf.de.

Accompanying Programme and Art Education (In German language)

Between Books
Reading Circle
Tuesday, July 30, 2024, 5–6 pm
Tuesday, August 27, 2024, 5–6 pm
Please book your place in advance atpesch@kunsthalle-duesseldorf.de.
Art and Ecology
Lecture by Prof. Dr. Robert FleckThursday, July 4, 2024, 6–8 pm
Admission fee: 3 Euro
Pottery Lab (from 16 years)
Pottery-Workshop withartist Isabel Schober
Two days
Saturday, June 15, 2024,
Hetjens Museum –Deutsches Keramikmuseum
Saturday, June 29, 2024,
Kunsthalle Düsseldorf
each 11.15 am–1.15 pm
or 2–4 pm
Admission fee: 5 Euro per date
Please book your place in advance via
0211 89 94 210 Hetjens Museum or at
bildung@kunsthalle-duesseldorf.de. Only
few places are available. Please tell us
your preferred time for both dates.
Manheim Calling
Field Trip with artist Silke Schatz toManheim and to Hambacher Forest
Sunday, July, 14, 2024, 11 am–4 pm
Bus-Transfer from Düsseldorf,
Meeting point: Kunsthalle Düsseldorf
There will be coffee and cake on site.
Admission fee: 15 Euro
Please book your place in advance atbildung@kunsthalle-duesseldorf.de.
Only few places are available.
Open Monument Day 2024
Sunday, September 8, 2024
Free admission
Combined guided architecture tourat Kunsthalle and KIT
11.15 am–1.15 pm
Meeting point: Kunsthalle Düsseldorf
Free admission. Please book your placein advance atbildung@kunsthalle-duesseldorf.de.

PadletInformation on the exhibition andcreative activities for children andfamilies are available at:

Find further information and dates
on our website
www.kunsthalle-duesseldorf.de

Further guided tours in German,
English, Ukrainian and Frenchlanguagecan be booked via+49 (0) 211 – 54 23 77 52 or
bildung@kunsthalle-duesseldorf.de.
Visit us on Social Media@kunsthalleduesseldorf@kunsthalle_kit

Published by
Kunsthalle Düsseldorf gGmbH
Grabbeplatz 440213 Düsseldorf+49 (0)211-54 23 77 10
mail@kunsthalle-duesseldorf.de
www.kunsthalle-duesseldorf.de

Notes on accessibility

This brochure is published on theoccasion of the exhibition
Healing the Earth
50 Years of German-Mongolian
Friendship29.06. – 08.09.2024
Texts
Juliane Hoffmanns, Alicia Holthausen,
Gregor Jansen

The Kunsthalle Düsseldorf
is supported by

Editing
Juliane Hoffmanns, Jana-Catharina Israel

Permanent partner
Kunsthalle Düsseldorf

Translation
Probicon GmbH
In cooperation withSponsored by

Copy Editing
Claudia Paulus
DesignStudio Thomas Spallek

Supported by

AT ATELIER. Summer Art Campis supported by

Cover
Thomas Stricker, Auf der Suche nachden 108 Fragen…, 1994
© The artist and VG Bild-Kunst,
Bonn 2024© 2024 Kunsthalle Düsseldorf gGmbH,11
the artists