Joseph Beuys: WORK LINES

1 May — 4 September 2016 Museum Kurhaus Kleve — Ewald Mataré-Collection Exhibition JOSEPH BEUYS — WORK LINES

The Museum Kurhaus Kleve guards a precious trea sure that has not yet been properly brought to light. It houses the original studio of Joseph Beuys (1921—1986) that he occupied from 1957 to 1964 in the oldest part of the building of today’s museum, the spa’s house, that was then vacant. Beuys worked there in the period that is regarded artistically as the hinge between his earlier work strongly influenced by his teacher, Ewald Mataré (1887—1965), and his pioneering creative work of the 1960s and 1970s. After Beuys left the studio due to his appointment at the Düsseldorf Art Academy, the rooms were used for other purposes, the building being renovated in the 1980s. When the Museum Kur- haus Kleve opened its doors in 1997, the archive of the Town of Cleves was kept in this part of the old spa house. When the archive was moved to another location in 2006, the opportunity had arisen for the museum to restore the original rooms of the artist. The reconstitution succeeded through a tedious process and support from various quarters during the years from 2008 to 2012. Since September 2012 the reconstructed studio of Joseph Beuys in the Museum Kurhaus Kleve is once again accessible to the public. Since then there has not been any opportunity to appropri- ately appraise this significant workplace. The year 2016 is the 95th birthday of Joseph Beuys and the 30th anniversary of his death. The Museum Kurhaus Kleve is taking this double anniversary as an occasion to realize the exhibition, “Joseph Beuys — Work Lines”, from 1 May to 4 Sep- tember 2016 in which important groups of works will be presented around the original rooms that were either made there or have their origins there. Symptomatic lines of work will be pursued that are closely associated with the Cleves envi- ronment of those years, ranging from the begin- nings to the late work. Joseph Beuys’ studio at the spa house in Cleves, 1959 (photo: Fritz Getlinger) Joseph Beuys’ studio at the spa house in Cleves, (photo: 2014 Markus van Offern) 3 BÜDERICH MONUMENT

The “Büderich Monument” is Joseph Beuys’ most monu mental work that was made in his studio at the Cleves spa house. It has a singular position within his oeuvre. On the occasion of the exhibition, “Joseph Beuys — Work Lines”, for the first time in more than fifty years, all three parts of this work will return to the place of their making. It will be the only time that a presentation will be possible in Cleves because the loan of this normally permanently installed monument has been made possible in 2016 only due to comprehensive conservation and cleaning measures. The “Büderich Monument” is the only monument realized by Joseph Beuys in the public domain during his lifetime. Beuys installed it in a Romanesque church tower in Büderich, a suburb of Meerbusch, not far from the studio of Ewald Mataré, his professor at the Düsseldorf Art Academy. It consists of an oaken gate with two leaves into which Beuys has carved, as a commemoration for the fallen, the names of the 222 Büderich war-dead as well as an oaken cross which, as a counter-pole to the gate, is a symbol of resurrection and salva- (right) of the “Büderich Monument”, 1959 tion. In 1955 Joseph Beuys had submitted a draft design for the monument for the fallen of the two World Wars in response to a public advertisement. In May 1957 he was awarded the commission, at a time when he was convalescing from a personal crisis at the farm of the brothers van der Grinten. To be able to realize work on the monument, he (left) and the gate rented rooms in the vacant spa house. A bundle of draft drawings in the possession of the Museum Moyland Castle illustrates Beuys’ plans. Historical photographs by Willy Maywald (1907—1985) and Fritz Getlinger (1911—1998) document the phase of making at the old spa house, which also marks a new beginning in Beuys’ creative work. In 1959 the monument was consecrated in the old church tower in Büderich. Beuys’ installation on site is shown by the photographs taken by Werner Hannappel (born 1949 in Essen).

The studio of Joseph Beuys in the Cleves spa house with the cross (both photos: Willy Maywald) 5 ANACHARSIS CLOOTS and the TRAM STOP

In his oeuvre Joseph Beuys worked through many experiences and insights from his younger years in Cleves. Already early on he was fascinated by the historical figure of the baron, Jean Baptiste Cloots, who was born in 1755 at Gnadenthal Castle,

not far from the Museum Kurhaus Kleve, and who later called himself “Anacharsis Cloots” (see also page 36f). Cloots went to Paris in the period of the French Revolution and made a name for himself there as “Orateur du Genre Humain” (orator of the human race). Beuys felt him to be a revolutionary brother in spirit and repeatedly made reference to him in his work, especially to his heroic end in 1794 under the guillotine. In 1972, in the artist’s performance “Anacharsis Cloots” in Rome, Beuys recited from a biography of Cloots and later declared Baron Cloots to be his alter ego by assuming the name, “Josephanacharsis Clootsbeuys”. Cloots’ decapitated head is also part of one of Joseph Beuys’ most famous installations, the so-called “Tram Stop”, that today is kept at the Kröller-Müller Museum in Otterlo. It will be on show on the occasion of the exhibition, “Joseph Beuys — Work Lines”, at the Museum Kurhaus Kleve. Beuys made the “Tram Stop” for the 1976 Venice Biennale. It was inspired by the trophy-monument, “At the Iron Man” (properly speak- ing, the “Cupid Column”) in Cleves (see also page 26f), that Beuys regularly passed by in the tram as a child. The trophy column that was made in the 17th century for the Cleves governor, John Maurice of Nassau-Siegen (1604—1679), from relics of the Thirty Years’ War fascinated Beuys already as a child with its archaic appearance. Decades later, the photographs by Fritz Getlinger (1911 — 1998) and Herbert Schwöbel were taken that today are important historical documents making it apparent to the viewer how pre- cisely and carefully Beuys prepared and executed the casting in Cleves and the mounting in Venice. The one-off work of the head underlying this installation is in possession of the Museum Kur- haus Kleve, on loan from the Kunstsammlung Nor- drhein-Westfalen, Düsseldorf, and will be one of the central pieces of the exhibition. Joseph Beuys, “Iron Man”, 1961 (1976), plaster cast from modelled clay, on loan from the Kunstsammlung Nordrhein-Westfalen, Düsseldorf

Joseph Beuys, details of the “Tram Stop” with the head of the “Iron Man”, Venice (photo: 1976 Herbert Schwöbel)

JJoseph Beuys, “Tram Stop”, Venice (photo: 1976 Herbert Schwöbel)

7 EARLIER WORK-COMPLEX On loan from the Kunstsammlung Nordrhein- Westfalen in Düsseldorf

In 2012 at the inauguration of the reconstructed studio of Joseph Beuys in the Cleves spa house, the artist’s widow, Eva Beuys, as well as his children, Wenzel and Jessyka Beuys gave the Museum Kurhaus Kleve a comprehensive complex of works by Beuys on temporary loan. This work-complex, comprising more than twenty works, is of great significance for the Museum Kurhaus Kleve because, apart from individual exceptions, it was made in the years from 1947 to 1961, the relevant ones for the Cleves museum. The majority of the works thus stems from a period when Beuys at first was a student of Ewald Mataré and others at the Düsseldorf Art Academy (1946—1954) and then, from 1957 on at the Cleves spa house studio, was active as a freelance artist, until finally he accepted a position as professor at the Düsseldorf Art Academy in 1961. In this period Beuys laid the foundations for his later oeuvre. The group of works illustrates magnificently how Beuys has moved from conventional sub- jects such as the cross, the Pietà and the female nude to his own iconography and individual artistic language of forms such as the motifs of the throwing cross, lamps, bath-tubs or Justitia. The work-group has particular significance in forming a self-contained complex from a decisive phase of artistic work. It provides insights into the artist’s world of ideas and likewise, through the materiality of the plaster and its clearly visible traces of being worked upon, illuminates Beuys’ work processes and thus his workshop. From the outset the Museum Kurhaus Kleve had the express desire to acquire this work-group for its collection. The purchase finally succeeded in the period from 2013 to 2015 with the assistance of the State of North-Rhine Westphalia that has now officially acquired the work-complex for the Kunstsammlung Nordrhein-Westfalen in Düsseldorf, whence the Museum Kurhaus Kleve has obtained it on permanent loan. Encouraged by the founding director of the Museum Kurhaus Kleve, Guido de Werd, the purchase was supplemented by Beuys’ family through a gift of numerous studio utensils that enable a unique experience in Cleves of this singular workshop-character around the original rooms of the artist. On the occasion of the exhibition, “Joseph Beuys — Work Lines”, the work- complex is being presented in a new, generous way. Joseph Beuys, “Sunrise — Western Sign SAFG”, 1953, plaster cast from modelled clay

Joseph Beuys, “Pietà”, 1949-1950, relief, first plastic representation of the “Pietà”, plaster cast

Joseph Beuys, “Great Saturn”, 1958, plaster (from: “Mountain King (Tunnel) 2 Planets”, 1958-1961)

all three on loan from9 the Kunstsammlung Nordrhein-Westfalen in Düsseldorf 4 BOOKS FROM: PROJECT WESTERN MAN

“4 Books From: Project Western Man” will be on show at the exhibition, “Joseph Beuys — Work Lines”, at the Museum Kurhaus Kleve, four sketch-books by Joseph Beuys providing immediate insight into his artistic work over a period of seven years, which have been preserved as a group of works. From the four books comprising a total of 1168 pages, 454 were used by Beuys for drawings and written notes. More than half of the pages are empty or marked by Beuys with a note “empty”. All four notebooks are lined and paginated. Beuys worked in them mostly with pencil, and only a few times with brush and paint. He dated the notebooks with the year 1958 and used them at least until 1965 to give initial form to many of his ideas. The “4 Books From: Project Western Man” were of high signifi cance for Beuys: “I still regard these drawings as one of the most important things I have ever done, for these entire attempts or experiments in drawing are for me an infi nitely important apparatus.” They remained in his possession during his lifetime. Repeatedly he drew creatively on their fund of ideas: “My drawings for me are a kind of reservoir from which I can obtain important impulses. In the drawings there is thus a kind of basic material from which something can be taken time and again.” The comprehensive graphic work contained IV: Jessyka Beuys in the “4 Books From: Project Western Man” inves- tigates polarities such as warmth and cold, form and anti-form, which gave the direction for Beuys’ later work and for which here a dense linear expression was found. In the intermeshing of artistic, scientifi c and social considerations, here Beuys fi nds the initial valid form for his Book III and complex thinking that later will lead to the “extended concept of art”. The fourth book of “4 Books From: Project Western Man” accordingly cul- minates also in the pivotal and far-reaching statement: “sculpture = everything”. Book II: Anthony d’Offay,

Book I: Wenzel Beuys,

Joseph Beuys, Books “4 From: Project Western Man”, 1958 [-1965] 11 Joseph Beuys, “Untitled (My Cologne Cathedral) (Door Creation)”, 1980, Museum Kurhaus Kleve Joseph Beuys, “Untitled (My Cologne Cathedral) (Door Bishop)”, 1980, Museum Kurhaus Kleve Joseph Beuys, “Untitled (My Cologne Cathedral) (Door Pope)”, 1980, Museum Kurhaus Kleve Joseph Beuys, “Untitled (My Cologne Cathedral) (Door Pentecost)”, 1980, Museum Kurhaus Kleve Joseph Beuys in the collection of the Museum Kurhaus Kleve

On the occasion of the exhibition, “Joseph Beuys — Work Lines”, the inventory of works by Beuys in the possession of the Museum Kurhaus Kleve and its Society of Friends will be newly presented. From the outset the focus of the museum’s collec ting activities was on his early works, from the period at the end of the 1950s and the beginning of the 1960s when Beuys was active at the Cleves spa house. Over the years, and thanks to its vig- orous Society of Friends, there is now a respect- able number of sculptures, drawings, graphic works and multiples in the museum’s collection giving a comprehensive picture of the famous son of Cleves. After all, Beuys himself always regarded himself as a Cleves native; he calls his birth in Krefeld purely an “accident”. Some outstanding examples in the collection should be mentioned here. The Cleves museum owns, for instance, a copy of the early androgy- nous self-portrait from 1947 that was cast one year after the artist’s death by the family in an edition of six. The Museum Kurhaus Kleve also has the only bronze cast known today of the early “Cross” that Beuys gave to Fritz Getlinger, and also the plaster original is kept in the museum’s collection, on loan from the artist’s estate. In the breast of the Christ figure there is a sunken mandorla fram- ing a goblet, a reference to the transformation of blood into wine on the cross. The work, “Untitled (Sheep)” from 1949, illustrates magnificently the influence of his teacher, Ewald Mataré, from whose orbit, as his biography shows, he all too quickly withdrew. A true piece of luck is the 2012 acquisition of the monumental work, “Untitled (My Cologne Cathedral)” from 1980, that was made possible with support from the Cultural Foundation of the Federal Ger- man States, the Ministry for Family, Children, Youth, Culture and Sport of the State of North- Rhine Westphalia, the Cultural Foundation of North-Rhine Westphalia, the Cultural Foundation of Rhineland Savings Banks, and the Cleves Sav- ings Bank. In no other work, the two artists, Joseph Beuys and Ewald Mataré, whose artistic estate the Museum Kurhaus Kleve likewise looks after under its roof, are more closely associated with one another. As a student Beuys helped to realize Mataré’s bronze doors for the southern portal of the Cologne Cathedral and worked through this key experience decades later with a quadri- partite photograph on photographic canvas. Joseph Beuys, “Untitled (Sheep)”, 1949, Museum Kurhaus Kleve, on loan from a private collection

Joseph Beuys, “Portrait Bust”, Museum 1947, Kurhaus Kleve, Society of Friends

Joseph Beuys, “Cross”, around 1950/1951, Museum Kurhaus Kleve, on loan from the family of Fritz Getlinger

17 Joseph Beuys in the VIEHOF COLLECTION

In the exhibition, “Joseph Beuys — Work Lines”, 28 works by Joseph Beuys from the 1950s and 1960s will be on display that are in the possession of the Viehof Collection in Mönchengladbach. Apart from individual sculptures, they include also numerous works on paper in pencil and water- colour that provide insight into his thinking and artistic work in the early years. Beuys is regarded as a gifted graphic artist; his sheets, which are mostly small, capti- vate and electrify the viewer to an equal degree. Beuys’ graphic impulses often expressed them- selves spontaneously, without compulsion. They were undertaken by him never in a descriptive way, but always reflexively as an improvisation. The drawing is an extension of his thinking, he once remarked later. The sheets thus give a striking impression of his early artistic ideas, such as the chairs of fat, of his unconventional aesthetic sensibility and his relationship to woman and her corporality. The paper works are supplemented by a small series of sculptural works that refer in a sensuously attractive way to the vulnerability of the (especially female) body and to human mortal- it y. The Viehof Collection, into which important parts of the Speck and Rheingold Collections have been incorporated, is one of the most signifi cant German private collections of contemporary art. With more than one thousand works from the areas of painting, drawing, photography, sculpture, installation and video. Focusing on German art from the post-war period to the present day, the Viehof Collection unites high-quality groups of individual artists including Georg Baselitz, Joseph Beuys, Candida Höfer, Jörg Immendorff, Sigmar Polke, Daniel Richter and Rosemarie Trockel. After the exhibition, “Joseph Beuys — Work Lines”, closes on 4 September 2016, the Beuys works will travel on to Hamburg where the Viehof Collection will be presented for the first time comprehensively in the Deichtorhallen Hamburg in an overview exhibition from 30 September 2016 to 17 January 2017. Joseph Beuys, “Untitled (Hare Woman)”, 1952, Viehof Collection, formerly Speck Collection

Joseph Beuys, “Throwing Cross with Clock”, 1952, Viehof Collection (all three photos: Egbert Trogemann)

Joseph Beuys, “Ignition Needle”, Viehof 1961-1973, Collection, formerly Speck Collection

19 Beuys in Cleves, Kranenburg and Bedburg-Hau

Joseph Beuys was born in Krefeld on 12 May 1921, but his parents moved with him already in the autumn of 1921 to Cleves. He did not have any mem- ories of Krefeld for which reason he later said that his birth in this town was purely “accident”. He was formed by his childhood and youth in the ‘duke’s town’ of Cleves, where from very early on he became interested in its history and develop- ment. He occupied himself with the historical places in Cleves and its environs and identified himself with the famous personages in Cleves’ history. In the following, a selection of impor tant ‘Beuys places’ around the Museum Kurhaus Kleve — Ewald Mataré-Collection with its studio of Joseph Beuys will be presented that is sup posed to give the visitor an overview of the artist’s life in his home-town.

For an in-depth discussion, a reading of the book- let, “Joseph Beuys am Niederrhein – Eine Wegleite”, by Franz Joseph van der Grinten (in German) with photo-

graphs by Stefan Möller is recommended, published by Joseph Beuys with cot and hare in Mehr at the Dassendonkshof, 1978 the Society of Friends of the Museum Moyland Castle, Joseph Beuys strolling through a poplar avenue in Düffel, 1978 Joseph Beuys on the dike at Düffelward, 1978 1995, which is available at the museum shop of the

Museum Moyland Castle in Bedburg-Hau. 20 (all three photos: Gerd Ludwig) Amphitheatre at the Museum Kurhaus Kleve (Tiergartenstraße 41, 47533 Cleves)

John Maurice of Nassau-Siegen (1604 — 1679), an art-loving, humanist prince who was appointed governor in the 17th century by the Grand Elector and built up Cleves as a garden town after the end of the Thirty Years’ War, is regarded to the present day as one of the town’s most important historical personages. Formed by his period as governor in Brazil, he transformed Cleves with the aid of his court architect, Jacob van Campen, into a flourishing town of parks and gardens with avenues and visual axes and thus laid the foundation for the spa and baths operations and the associated prosperity of Cleves in subsequent centuries. In an inimitable way, John Maurice combined art, nature and life. The erection of the sculptures, “Pallas Athena” and “Ares” in the amphitheatre are due to his initiative. The god- dess of wisdom stands upright on an island armed with a spear and shield, surrounded by dolphins and fountains . Opposite her on a column made from the barrel of a cannon and cannon-balls stands the god of war holding a weapon in his hand. As long as their visual contact on an equal plane was not broken, freedom was supposed to reign — at least according to John Maurice’s exem- plary, even romantic, idea. 1672 the original “Iron Man” was destroyed, which is commemorated today by the sculpture erected by Stephan Balken hol with the name, “New Iron Man”. Beuys paid homage to John Maurice of Nassau- Siegen not only with one of his most famous in stallations of all, the “Tram Stop” (see also page 6f), but also gave him a lasting commemoration by planting seven thousand oaks at the documenta in Cassel.

The original of “Pallas Athena” by Artus Quellinus the Elder (1660) is kept since the opening of the Museum Jan de Baen, John Maurice of Nassau-Siegen before the amphitheatre in Cleves, 1668, Museum Kurhaus Kleve, Society of Friendds Kurhaus Kleve in 1997 as a permanent installation in its Two viewsTwo of the Cleves baroque garden of John Maurice of Nassau-Siegen, (photo: 2012 Annegret Gossens)

Colonnade. To preserve the original, only a copy is to be found in the garden. 22 SWAN CASTLE (Schloßberg 1, 47533 Cleves)

The “Schwanenburg” (Swan Castle) rises up impos- ingly over the skyline of Cleves on the steep western banks of the Old Rhine and the ridge run- ning north-south that gave Cleves its name (the region as ‘Clive’, that is, ‘cliff’). Since the middle of the 11th century, a lineage of counts lived on the ridge that was fortified probably already in the late Carolinian period. The name of the castle is linked to the lineage’s legendary origins. The first Count of Cleves, along with his brother, the Count of Geldern, is supposed to have come from Flanders and to have been given lands by the Kaiser, Henry II. Presumably a policy of arranged marriages with the Lotharingian counts’ house led to this version of the story of origins as well as to the adoption of the Brabant saga of the swan knight who became the ancestor of the House of Cleves. These legendary origins of the lineage left their mark not only on the name of the castle, but also was worked into its coat of arms. The swan knight, who was taken up by Rich- ard Wagner in the 19th century in his famous opera, “Lohengrin”, assumed a special place in Beuys’ ideas. His predilection for the motif of the swan that can be found right through his oeuvre (e.g. in the early group of works, “The Intelligence of the Swans”) stems from this leg- end which had its origins in Cleves.

Joseph Beuys, “Untitled (Swan Rising up)”, 1957-1958, Museum Kurhaus Kleve

he swan knight, “Helias Graill”, from the family album of the counts and dukes of Cleves, Museum 1677, Kurhaus Kleve, Society of Friends Joseph Beuys, “Untitled (Woman with Swan)”, 1968, Museum Kurhaus Kleve, Society of Friends

T View of the “Schwanenburg” (Swan Castle) (photo: Annegret Gossens) 24 At the IRON MAN / CUPID COLUMN (Eiserner Mann 1, 47533 Cleves)

As a child, the young Beuys often travelled by tram to his uncle in nearby Bedburg-Hau and had to change trams at the tram stop, “At the Iron Man”. There was located from time immemorial a mysterious trophy monument that fascinated Beuys with its archaic appearance since he was small. Decades later Beuys returned to this place to come to the monument in a kind of triumphal pro- cession through Cleves (in 1976 he already enjoyed international renown as an artist and his pres- ence was quickly spoken about in the duke’s town, so that crowds gathered around him) and to make casts of this monument which he finally worked up into his famous installation, the “Tram Stop”, which he presented in 1976 at the Venice Biennale (see also page 6f). The tram stop bore the name, “At the Iron Man”, in error, because it really means the male counterpart to the sculpture of “Pallas Athena” in the Cleves amphitheatre that had been destroyed 1672 (see also page 22f). Oral tradition had given the visually similar “Cupid Column” this mislead- ing name. In the 17th century, John Maurice of Nassau- Siegen had had this trophy monument erected on the axis of a newly built avenue. For this sculptural work, implements from the Thirty Years’ War were used. Therefore the column consists of the barrel of a cannon, a so-called ‘field snake’, and the foundations of iron mortar pots that were buried within a star-shaped flower-bed whose points are decorated with cannon balls. For his “Tram Stop”, Beuys had supplemented the tip of the field cannon (so to speak, the dragon) with the head of “Anacharsis Cloots” (see also page 36f).

The monument has had to make way for traffic several times and now stands where Linden Avenue branches off from Nassau Avenue.

John Maurice originally gave the trophy monument

an armoured Cupid who, however, had been destroyed by Re-erection of the “Cupid Column” on the eastern side of Nassau Avenue at that place which today is still called “At the Iron Man”, 1963

French troops toward the end of the 18 century. Today The “Cupid Column” on the eastern side of Nassau Avenue after paving the square with natural stone in the mid-1960s (all three photos: Fritz Getlinger)

Joseph Beuys presents the cross-section of the tram rail before the “Cupid Column” while his assistants make the casting form, 1976

it is crowned by an interpretation of Cupid by the sculptor, Dieter von Levetzow (born 1925). 26 FORMER ROYAL GRAMMAR SCHOOL (today the Freiherr-vom-Stein-Grammar School, Römer- straße 9, 47533 Cleves)

As a child, Joseph Beuys attended the so-called Royal Grammar School that during the period of National Socialism in Germany was named the Hin- denburg High School and today, finally, is called the Freiherr-vom-Stein-Grammar School. To the present day it is an important school in Cleves and from afar looks imposing as a prominent Prus- sian school building. As a child, Beuys was rather a rascal and sometimes rode his bicycle between the storeys over the stairway or used the downpipe to get to his class. His teacher, Heinrich Schönzeler (1888— 1975), made a great impression on him, enthusing him already as a boy for Anglo-Saxon and French literature. With his son, Ernst B. Schönzeler (1923—1981), who was about the same age, Beuys later studied at the Düsseldorf Art Academy. Years later, as an already famous and rec- ognized artist of world stature, Beuys returned in 1978 at the request of his friend, Walther Brüx (1917—2006), a sculptor and painter who taught at the Freiherr-vom-Stein-Grammar School), to his once in the rows of seats and old school and gave a lesson to the pupils. Beuys was accompanied by quite a crowd. Many spectators and photographers went along with him, including the journalist, Peter Sager, and the photographer, Gerd Ludwig, whose texts and photos from this day appeared in ZEITmagazin under the title, “Joseph Beuys — The Holy Cow from the Lower Rhine”. once at the blackboard giving a lesson, (both 1978 photos: Gerd Ludwig)

28 Joseph Beuys in his former school, the Freiherr-vom-Stein-Grammar School in Cleves — AT THE DEAD WARRIOR (formerly: Am Ehrenmal, 47533 Cleves; today: Kapitel straße 10, 47533 Cleves)

Beuys’ first encounter with the work of his later Professor at the Düsseldorf Art Academy, Ewald Mataré, took place at his monument for the fallen of the First World War, the so-called “Dead Warrior”, which Mataré made in Cleves. It was installed exactly opposite Beuys’ school, the Freiherr-vom- Stein-Grammar School, and as a pupil at the age of 13, he took part in its consecration on 22 November 1934. Around the imposing sculpture that shows a soldier beneath the flag at the moment of death, there was a heated discussion in the Third Reich that ultimately led to the monument’s being destroyed overnight and removed. In 1977 fragments of the sculpture were rediscovered on the grounds of Cleves Harbour. Several artists, all of whom were students of Ewald Mataré, who died in 1965, made proposals for reconstruction. Beuys proposed that the individual damaged parts should be set in the ground at the entrance to the pedestrian zone, thus bedding the “Dead Warrior” in a kind of ‘grave’ in line with Mataré’s original intention. This ‘grave’ was to be covered by a grid, a proposal that was not taken up. Today the “Dead Warrior” is located in a raised, laid-out position before the Cleves Collegiate Church. The rediscovery of the “Dead Warrior” in February 1977 brought the artist’s widow, Hanna, and his daughter, Sonja, to Cleves. It was the beginning of an intensive and fruitful relationship that culminated in 1988 in Sonja Mataré’s decision to give the artistic state of her father, Ewald Mataré, into the safe-keeping of the newly established museum in the former spa house. Ewald Mataré, “Monument for the Fallen in the First World War in Cleves”, 1934 (destroyed in 1938)

Ewald Mataré, “The Dead Warrior”, (photo: 2012 Annegret Gossens)

30 Mataré-Collection) Ewald — Kleve (archive Kurhaus Museum Koekkoek’s Belvedere / Hanns Lamers’ Tower (Private residence on Hanns Lamers-Square, 47533 Cleves )

The studio tower of the Romantic landscape painter, Barend Cornelis Koekkoek (1803—1862), called “Belvedere”, was called simply “the Tower” after the Second World War, when it was occupied by the Cleves painter, Hanns Lamers (1897—1966). Lamers, who had studied in Munich and regularly spent time in France, was an important artist figure in Cleves in the post-war period. He lived and worked with his wife, Ilse, in poverty, but proudly, modestly and reclusively in the Tower with the will to regain a connection with the world of great art. From 1946 on he had regular intercourse with Joseph Beuys, more than twenty years younger, whose parents lived during those years in a neighbouring house on Karlsplatz (Charles Square, today Hanns Lamers Square). Together they realized initial exhibitions with Cleves artists. Lamers had a great influence on Beuys. In 1986, only a fuel weeks before his death, Beuys mentioned in a ‘note’ for his acceptance speech on the occasion of being awarded the Lehmbruck Prize, those to whom he was indebted: Josef Enseling, Ewald Mataré, Walther Brüx and Hanns Lamers — apart from Enseling, all of them artists either born in or associated with Cleves. During his lifetime, Lamers was loyal to him and was a reliable friend, especially during his difficult years. In 1954 Beuys thanked Lamers at one of the few exhibitions of the largely unknown artist (a group exhibition with Hann Trier and Georg Meistermann at the Galerie Hella Nebelung in Düs- seldorf) with affectionate introductory words. Lamers, said Beuys, “with the beauty and nobility of his spiritual and bodily form” was burdened with a heavy task, “to have more conscience and to be more responsible”. The “will to truth” that followed from the “consciousness of this weight”, drove him to art — “the only possible”, “art which pursues truth, where elsewhere there is only deviation from it in a dumb, lazy, base and mean way. Crazy and mad the person who cannot recog- nize this at the latest after the last war [...]. Thus through Hanns’ paintings it is not the fulfilment of truth that shines somehow or other, but the fulfilment of truth, that must be named the excessive pressure of truth, the generation of truth and is called love”.

The private residence is not open to the public, but Joseph Beuys in the studio of Hanns Lamers in Koekkoek‘s Belvedere, 1950 (photo: Fritz Getlinger)

please note the open-house date during the exhibi- Hanns and Ilse Lamers in their studio, 1963 (photo: Willy Maywald) Joseph Beuys on the roof of Koekkoek’s Belvedere, Hanns Lamers’ (photo: 1978 Tower, Gerd Ludwig) tion, “Joseph Beuys — Work Lines”, on 12 June 2016 from 2 to 5 p.m. – more information on page 46. 32 Municipal Museum House Koekkoek / today: Foundation Museum B.C. Koekkoek House (Koekkoekplatz 1, 47533 Cleves)

After the Second World War the House Koekkoek, the former residential palais of the Romantic painter, Barend Cornelis Koekkoek, was one of the few almost undamaged buildings left standing at a central location in Cleves. The owners, the old established family van Ackeren, were expropri- ated, which was usual at the time, and the buildings served as the Cleves Town Hall in the first post-war years. After the Town was able to reach agreement with the former owners in 1957 to use the building as a municipal museum, it was opened in 1960. The museum’s first director, Friedrich Gorissen, realized numerous significant exhi bitions, including “Govert Flinck, Kleevische Beeldensnijder” and “Conspectus Cliviae”. Since the opening of the Museum Kurhaus Kleve as a municipal museum in 1997, the B.C. Koekkoek House continues to be run as a foundation and specialist museum for Romantic landscape painting of the Netherlands around Barend Cornelis Koekkoek, his family, his students and contemporaries. Beuys’ parents lived in the war period very close to House Koekkoek (on Charles Square, today’s Hanns Lamers Square). Therefor it may be conjectured that Beuys knew House Koekkoek well. After Beuys had become a professor for sculpture at the Düsseldorf Art Academy, his home- town of Cleves organized a large solo exhibition of his works that took place at the Municipal Museum House Koekkoek. It was opened on 8 October 1961 with the attendance of an interested public and a welcome address by the municipal director, Dr Scholzen. Beuys was accompanied not only by his wife, Eva (née Wurmbach), whom he had met in 1958 and married in 1959, but also by the brothers, Franz Joseph and Hans van der Grinten, who were great collectors and important patrons of his work (see also page 38f). This was only the second solo exhibition for Beuys and the first that was accompanied by a catalogue. Drawings, water- colours, oil paintings and sculptural paintings were exhibited. From a local perspective, the presentation excited a storm of outrage — none of it corresponding to the usual image of the professor of an academy. Art-loving guests from elsewhere, however, greatly appreciated the exhibition. Joseph Beuys, Ilse and Hanns Lamers at the Municipal Museum House Koekkoek around 1960; (both photos: Fritz Getlinger) The opening of the exhibition by Joseph Beuys at the Municipal Museum House Koekkoek in 1961

34 (from left to right: Franz Joseph and Hans van der Grinten, Eva and Joseph Beuys) GNADENTHAL CASTLE (Gnadenthal 8, 47533 Cleves)

Joseph Beuys occasionally called himself “Joseph anacharsis Clootsbeuys”, in line with his alter ego, “Anacharsis Cloots”, who was really named Jean Baptiste Cloots and was born at Gnadenthal Castle in Cleves in 1755. Cloots went to Paris and, at the time of the French Revolution, was a member of the Jacobins’ Club (or the so-called Robe spierrists) the most important political association at the time. Cloots advocated the abolition of the monarchy and the introduction of a world state in which all men were equal. In this way he developed to become a danger for the spokesmen of the Jacobins and, after a show trial on 24 March 1794, he died under the guillotine. Beuys regarded him as a brother in spirit and made reference to him in numerous works. His decapitated head is encountered later in famous installations such as the “Tram Stop” (see also page 6f) which he showed at the Venice Biennale in 1976, and also in “Palazzo Regale” (today kept in the Kunstsammlung Nordrhein-Westfalen), his last large work that is generally regarded today as his legacy. Gnadenthal Castle is a classicist castle complex with a mansion and annex which you approach from the road through a bit of forest and an imposing avenue of chestnut trees. Today it serves as a conference hotel and is located in the

Cleves suburb of Donsbrüggen, about three kilo- metres north-west of the town centre. It is first mentioned in 1481 under the name Gnadenthal, when an Augustinian convent founded in 1445 was moved there. The castle complex was probably erected at the beginning of the eighteenth century by the Prussian minister, Johann Moritz von Blaespiel, to whom the French park with mirror pond also owes its existence. The change to the castle in classi cist style and the grounds of the still visible English park were made at the beginning of the nineteenth century. Joseph Beuys before Gnadenthal Castle, (photo: 1978 Gottfried Evers) Charles Francois Gabriel Levachez, memorial sheet for Jean Baptiste Anacharsis Cloots (detail), 1804

Joseph Beuys after his artist’s performance at Gnadenthal Castle with the biography of Anacharsis Cloots from 1865 by Dr Carl Richter in his hand, (photo: 1978 Gerd Ludwig) 36 House and tomb of the family van der Grinten in Kranenburg(Private residence at Nimweger Straße, 47559 Kranenburg; tomb at the cemetery, Klever Straße, 47559 Kranenburg)

In the summer of 1951 Joseph Beuys visited for the first time the house of the family van der Grinten, a rural estate in Kranenburg in Nimweger Straße. The brothers, Franz Joseph (*1933) and Hans van der Grinten (1929—2002), were at the time about to build a collection of modern art, and Beuys presented to them a selection of drawings from which they purchased two. A close relationship quickly developed between the artist and the art-loving brothers which expressed itself in a friendship over many years from which today’s Van der Grinten Collection at the Stiftung Museum Schloss Moyland (Foundation-Museum Moyland Castle) has arisen (see also page 44f). In 1953 the brothers van der Grinten organized the first solo exhibition with 85 works on their farm in Kranenburg under the title, “Joseph Beuys, Sculpture, Graphic Art”, the so-called ‘Stall Exhibition’, which is now legendary. The exhibition that took place under the simplest condi- tions imaginable, but minutely followed by all those involved, impressed the director at the time of the Von der Heydt-Museum in Wuppertal, Harald Seiler, so much that he took parts of the Kranen- burg exhibition to organize one in his own house. At that time Beuys, as a master-class student of Ewald Mataré, still had a studio under the roof of the Düsseldorf Art Academy that he shared until 1953 with Erwin Heerich. Following on from his studies, the first exhibitions, commissions and competitions predominated in the daily life of the freelance artist, and Beuys began to ponder the potentials and limitations of the traditional concept of art. In the mid-1950s Beuys stumbled into a deep psychic and physical crisis from which he only completely recovered when he went to the farm of the van der Grintens in May 1957, helping there for about three months until the beginning of August with practical work. In his “Curriculum Vitae / List of Works” he wrote “Beuys works in the fields”, and they were months that contributed decisively to his recovery. In gratitude, years later, in 1961, he made a tomb for the parents of the brothers, Gerhard and Maria van der Grinten, that he first presented in his solo exhibition in House Koekkoek (see also page 34f), installing it thereafter at the cemetery in Kranenburg where today it is located, accessible to the public. View of the “Stall Exhibition” by Joseph Beuys at the farm of the brothers van der Grinten in Kranenburg, 1953 (both photos: Fritz Getlinger) Tomb ofTomb the family van der Grinten, shown in the Municipal Museum House Koekkoek, 1961

38 MUSEUM KATHARINENHOF in Kranenburg (Mühlenstraße 9, 47559 Kranenburg)

Katharinenhof (Catherine’s Courtyard) in the historic centre of Kranenburg is a building erected in 1446 that earlier served as a Beguine convent which has been used since 1961 as a museum and is run today on an honorary basis. Permanent presentations are on show: a comprehensive collection of paintings with a focus on the nineteenth and twentieth centuries, along with inventories of modern art, as well as a broad graphic collection. Under the roof since 2009 a collection on the topic of popular piety is on show under the title, “Holy Places — Holy Things”. Since 1973 regular temporary exhibitions of contemporary art have taken place. Two further historic buildings close by belong to the museum: the town barn from the eighteenth century which has been used since 2002 as an exhibition space for documenting rural and craft life, and the mill tower in the old town wall of Kranenburg that was renovated in 2004 and since 2006 displays a permanent exhibition on the town’s history. The Museum Katharinenhof owes its renown not least of all to the art collector and Beuys friend from Kranenburg, Hans van der Grinten (see also page 38f), who was active there for many years as artistic director and set many important accents that can be felt to the present day, being as he was responsible for the museum’s policy on collecting and exhibiting. There is an intimate small room in the Museum Katharinenhof that is kept under lock and key, but can be opened on request, in which many editions and multiples by Joseph Beuys are housed that are well worth see- ing. The View of the installation in the Museum Katharinenhof in Kranenburg with works by Joseph Beuys and view of the Museum Katharinenhof, Museum the Kranenburg of outside the from (bothview photos: Katharinenhof, Museum Kranenburg)

40 MAURICE TOMB (Uedemer Straße 23 47551 Bedburg-Hau)

From 1650 on, John Maurice of Nassau-Siegen shaped the landscape in and around Cleves, making the town one of the most beautiful baroque seats in Europe. In conceiving the gardens he was advised by Holland’s greatest baroque architect, Jacob van Campen, the designer of the Amsterdam Town Hall, among other buildings. Van Campen was in Cleves in 1655 to “arrange all kinds of beautiful things, everything without cost-limits”, as John Maurice wrote proudly to the Elector. Apart from “Pallas Athena” by Artus Quellinus the Elder (see also page 22f), today almost all the architecture and sculpture that once filled this place and endowed it with significance have vanished. Even today’s gardens, although impressive, are only a tiny remainder of the gardens and parks originally realized by John Maurice. And even if today’s appearance no longer corresponds to that of the baroque period, the sense of the garden intended by John Maurice of being at one with nature can still be clearly felt. John Maurice followed a similar aim when erecting his tomb in Bergendael outside Cleves, where he wanted to be buried with a far-off view of the town and castle. In conformity with the exedrae of Italian parks, he had two quadrant walls built that he decorated with domestic antiques which opened the view to an iron sarcoph- agus with the coat of arms of his lineage and the emblems of his honours and titles. The heyday of Cleves under his governor- ship ended in 1672. King Louis XIV of France went to war with his troops against Holland at Lobith above the Rhine. John Maurice left Cleves to take on the defence of Holland as one of the two field marshals of the Dutch army. Cleves was occupied by the French. Years later, in 1676, John Maurice, who had left the service of the Dutch parliament due to old age, returned to Cleves. He moved to a hermitage in Bergendael, to the south of Cleves. He died in Cleves on 20 December 1679 and was first buried in his tomb in Bergendael, but a few months later was transferred to Siegen where he lies today in the princes’ crypt. On his grave there is his portrait that was made by Bartholomäus Eggers, the famous baroque sculpture of the Netherlands. Mauritshuis in The Hague and the Museum Kurhaus Kleve both possess a copy of this bust. View of the Maurice Tomb, (photo: 2012 Annegret Gossens)

Bartholomäus Eggers, “Portrait-Bust of John Maurice of Nassau-Siegen”, 1664/1994, Museum Kurhaus Kleve, Society of Friends The original embellishments from the 17th century are kept today at the Landesmuseum Bonn; re plicas have been mounted on site. 42 MUSEUM MOYLAND CASTLE (Am Schloss 4, 47551 Bedburg-Hau)

The Foundation Museum Moyland Castle with almost six thousand works, possesses the world’s largest collection of works by Joseph Beuys. The imposing Moyland Castle in Bedburg-Hau, about ten kilo- metres from Cleves, is a museum for modern and contemporary art and an international research centre on Joseph Beuys. The museum’s collection is based on the former private collection of the brothers Van der Grinten (see also page 38f) and is kept in the historic castle and grounds complex where it is also presented. The Joseph Beuys Archive and the museum library are affiliated. A focus of the inventory of Beuys works is the early works on paper. These include drawings, water- colours, sheets done in oil paint as well as graphic prints. A second focus is small objects including the work-group of Sculptural Images. The Beuys inventory, like the remainder of the collection, originates from the private collecting activity of the brothers, Hans and Franz Joseph van der Grinten. This collection is supplemented by a large inventory from the Joseph Beuys Archive. Beuys handed over archival documents and photographs to the brothers continually from 1967 until his death in 1986. The brothers, in turn, passed on their art collection as well as the archive documents on Beuys to the Foundation Museum Moy- land Castle in 1990. That Moyland Castle was to become an important station for his oeuvre was prepared and thought through by Beuys during his lifetime. He was still able to experience how the long-hatched view of the installation in the Museum Moyland Castle with works by plan began to turn into reality. Beuys also possessed a particular historical interest in Moyland, especially in its high point in 1740 when Frederick the Great (who stayed customarily in Moyland when he came to the Lower Rhine) and Voltaire (who was on his way to him in Berlin) met there for the first time. The philosopher of the Enlightenment and the king who would have liked to have been a philosopher. For Beuys’ thinking, the Enlightenment was an essential building block. To commemorate this famous meeting, the exhibition, “Jochen Stücke — Moyland Episodes: Frederick, Voltaire, Beuys”, is taking place at Museum Moyland Castle from 2 October 2016 until March 2017 within the series “KUNST. BEWEGT” (ART. MOVES). Jochen Stücke (born 1962) combines with his drawing project, “Moyland Episodes”, the history and present of Moyland Castle, taking up the first encounter of the two historic figures and thus making a connection also with Joseph Beuys. iew of the Museum Moyland Castle from the outside and V

44 Joseph Beuys (both photos: Foundation Museum Moyland Castle / Lokomotiv.de) ACCOMPANYING PROGRAM Wednesday, 24 August 2016, 7:30 p.m. Guided tour by the curator, Valentina Vlasic, M.A. Sunday, 1 May 2016, 11:30 a.m. for members of the Society of Friends and their Opening (free admission until 1 p.m.) and presenta friends (free admission) tion of the catalogue with texts by Harald Kunde, Guido de Werd, Valentina Vlasic, Ulf Jensen and Thursday, 1 September 2016, 7:30 p.m. Werner Bebel “Resonance Space Art”: Discussion evening among contemporary witnesses of Joseph Beuys, amongst Wednesday, 18 May 2016, 7:30 p.m. others Prof. Ernst Josef Althoff, whose father has Guided tour by the curator, Valentina Vlasic, M.A. ordered the wood for the “Büderich Monument” and for members of the Society of Friends and their who has studied with Beuys, with the participation friends (free admission) of the curator, Valentina Vlasic, M.A. and moder- ated by the director, Harald Kunde (admission EUR Thursday, 19 May 2016, 7:30 p.m. 5, concession and for members of the Society of “Resonance Space Art”: Discussion evening on the Friends EUR 3) topic of Beuys among Dr. Ulf Jensen, Humbold Uni- versity Berlin, Prof. Dr. Matthias Weiß, Free Uni- Sunday, 4 September 2016, 12 noon versity Berlin, curator Valentina Vlasic, M.A. and “Eurasienstab” — film performance by Joseph Beuys director Prof. Harald Kunde as moderator (admis- and Henning Christiansen with live music by Johan sion EUR 5, concession and for members of the Luijmes / matinée to conclude the exhibition, Society of Friends EUR 3) “Joseph Beuys — Work Lines”, as part of the “Music B i e n n i a l 2016”: Friday, 27 May 2016, 10:30 a.m. until about 3 p.m. Together with the Danish artist and Fluxus com- Specialist colloquium on the topic of ‘Required poser, Henning Christiansen, Joseph Beuys devel- Conservation Measures for the Büderich Monument oped the performance, “Eurasienstab”, with which by Joseph Beuys’ at the Museum Kurhaus Kleve with he staged artistically his casting of Utopian kind support from the LVR-Office for Monument internationality, the State of Eurasia. From the Conservation in the Rhineland and the cultural original version of 82 minutes performed in Vienna office of the Town of Meerbusch (further informa- arose one year later in Antwerp a 20 minute film tion and publication of the list of participants document. “The film is a Beuys”, judged the artist shortly at www.museumkurhaus.de under Current later, highly satisfied. The film performance is Events; participation of interested persons is accompanied by the first and parts of the second possible with museum admission) movement of the Christiansen composition, “fluxorum organum Opus 39” played by the exceptional Dutch Sun, 12 June 2016, 2 to 5 p.m. organist Johan Luijmes on the organ. [Admission, Open-door afternoon at Koekkoek’s Belvedere / guided tour, music-film performance, snack (drinks Hanns Lamers‘ Tower (see also page 32f): reception extra) EUR 14; concession half-price] and possible guided tour by the owner through the carefully restored architectural gem in Cleves Sunday, 11 September 2016, 11:30 a.m. (free admission) Presentation of the returned “Büderich Monument” by Joseph Beuys to the renovated Old Church Tower Friday, 1 July 2016, 7:30 p.m. in Dorfstraße of the suburb Büderich of the town Opening of the exhibition “Wer nicht denken will, Meerbusch — on the occasion of the “Day of the fliegt raus — Handlungsanweisungen nach Beuys” Open Monument 2016”. Accompanying there will be an (Who does not want to think, will be thrown out exhibition with historic photographs of the — instructions after Beuys), an accompanying presen “Büderich Monument” by Fritz Getlinger and Willy tation of the exhibition “Joseph Beuys — Work Maywald — loans by the Museum Kurhaus Kleve — in Lines” with contemporary artistic positions the nearby registry office, Alter Kirchweg 57, 40667 Meerbusch. Thursday, 7 July 2016, 7:30 p.m. “Resonance Space Art”: Lecture on the topic “Joseph Beuys and the Wooden Cross of the ‘Büderich Monu- All dates of the museum can be looked up in the ment’. The Consummation of an Earlier Artistic event calender “My Museum”, at the reception or on Form” by Dr. Barbara Strieder, head of the graphic the museum website, www.museumkurhaus.de. collection, Foundation Museum Moyland Castle (admission EUR 5, concession and for members of the Society of Friends EUR 3) ART EDUCATION FOR YOU Delicious tit-bits to see and taste at the Museum Kurhaus Kleve Workshops and artist studios in the Magic Chamber Choose a favourite exhibit from “Joseph Beuys — The exhibition, “Joseph Beuys — Work Lines”, can be Work Lines” or an interesting aspect of the exhi- creatively communicated for young and old, and also bition to which you obtain an art-historical playfully understood, in the workshops and artist introduction from an art educator. Following that studios at the Museum Kurhaus Kleve. Every Satur- have an exchange of views with him or her about day from 11 a.m. to 1 p.m. there are workshops for what has been seen in the museum’s café over a cup children and youths in the Magic Chamber, the edu- of coffee or tea and a piece of cake. cational museum hall of the Museum Kurhaus Kleve; Duration: about 60 minutes, at a cost of EUR 60 every second Saturday of each month from 2 p.m. to plus museum admission. 4 p.m. there are artist studios for adults. No fore- knowledge is necessary. Children and youths each On Beuys’ tracks on the Lower Rhine pay a fee of EUR 10, adults EUR 15, each including With a visit to the Beuys locations mentioned in material. Parents and / or grandparents who accom- this brochure, any visit can be accompanied by a pany their (grand) children to a workshop pay the trained art educator from the Museum Kurhaus Kleve children’s fee. A firm registration is requested (if who can provide deeper insight at each station. necessary, there will be waiting lists). Individual arrangements are possible. Information and bookings at the museum’s reception desk with Individual guided tours at the Museum Kurhaus Ute van den Berg, Stefanie Jansen, Susanne Seidl Kleve or Regine Witt, under tel. 0049 / 2821 / 750 1-0 or To experience a tour as an individual, inspiring e-mail [email protected]. encounter between art-loving art educators and interested visitors — that is only possible with Visiting Beuys at the Museum Kurhaus Kleve and the personal guides. Guided tours of the exhibition, Museum Moyland Castle “Joseph Beuys — Work Lines”, at the Museum Kurhaus In the morning visit the studio of Joseph Beuys Kleve (no matter whether it be of individuals, and the works in the exhibition, “Joseph Beuys — groups or school classes), can be individually Work Lines”, at the Museum Kurhaus Kleve with a one planned and will take place after registration and a half hour guided tour. Enjoy lunch in one of even outside the regular opening hours. Trained the museum cafes and in the afternoon have a art educators are available to give a deeper guided tour of the largest collection of works by insight into the material of the museum and the Joseph Beuys at the Museum Moyland Castle lasting exhibition in German, Dutch or English, for about one and a half hours. In both museums you instance, with a combined tour depending upon spe- will be accompanied by an art educator who works cial thematic wishes and preferences. Ideas and in both museums. An offer of art education from suggestions will be given gladly on request. the Museum Kurhaus Kleve in co-operation with the Information and bookings at the museum’s reception Museum Moyland Castle (approximately 10 km from desk with Ute van den Berg, Stefanie Jansen, each other). Guided tour in English or Dutch Susanne Seidl or Regine Witt under the telephone against additional charge. number 0049 / 2821 / 750 1-0 or Price per person: EUR 42,50 incl. lunch or EUR 36 e-mail [email protected]. incl. coffee and cake (for a group of at least 15 Fees: and a maximum of 20 persons). Guided tour in Eng- — 60 minute tour: EUR 60 plus museum admission lish or Dutch against additional charge. — 90 minute tour: EUR 85 plus museum admission For further information: www.museumkurhaus.de or — 120 minute tour: EUR 100 plus museum admission www.moyland.de. — Expert guided tour in Dutch or English: each an additional EUR 15

Public guided tours at the Museum Kurhaus Kleve During the exhibition, “Joseph Beuys — Work Lines”, there will be free public guided tours on Sundays at 11:30 a.m. lasting about 60 minutes (plus museum admission). It is not necessary to register. The guided tours will be led alternately by five freelance art educators (the dates can be looked up in the event calender, “My Museum”, at the reception or online under Museum Education). IMPRINT The exhibition, “Joseph INFORMATION Team Beuys — Work Lines”, Director: Prof. Harald Published by is supported by Bookshop Minerva Kunde; Secretariat: Museum Kurhaus Kleve — The publications of the Hiltrud Gorissen-Peters; Ewald Mataré-Collection museum as well as a Associate Curator & Press: selection of books on Susanne Figner, PhD (ABD); Edited by modern and contemporary Research Assistant / Press Valentina Vlasic Ministerium für Familie, art and on the history of (temporary replacement): Kinder, Jugend, Kultur the town as well as Henri Dietz, M.A.; Associ- Translated by und Sport des Landes artists’ editions, post- ate Curator & Web Content Michael Eldred Nordrhein-Westfalen cards, posters and sou Management: Valentina venirs are available in Vlasic, M.A.; Reception: Design the Bookshop Minerva. Ute van den Berg, Stefanie Marius Schwarz, Amsterdam Online shop at Jansen, Susanne Seidl and www.museumkurhaus.de. Regine Witt; Café: Perisan © Museum Kurhaus Kleve — Landschaftsverband Özden, Elena Stawski and Ewald Mataré-Collection Rheinland Café Moritz Mizgin Gûden; Library: © VG Bild-Kunst, Bonn 2016 The Café Moritz on the Klaus Nöller; Technical for Joseph Beuys terrace on the roof offers Support: Wilhelm Dücker- © Association Maywald / a magnificent view of the hoff, Norbert van Appel- VG Bild-Kunst, Bonn 2016 Freundeskreis Museum historic parks of Cleves. dorn and Roswitha Feja: for Willy Maywald Kurhaus und Koekkoek-Haus There is an alternating Freelance Art Educators: © VG Bild-Kunst, Bonn 2016 K le v e e.V. offer of food and drinks. Brigitte Alex, Gerd for Egbert Trogemann You can book under the Borkelmann, Monika Buchen, © Museum Kurhaus Kleve — telephone number 0049 / Alexandra Eerenstein, Estate Fritz Getlinger 2821 / 750 1-20 or e-mail Klara Heimbach, Margret 2016 for Fritz Getlinger The City of Cleves to [email protected]. Ostermann and Thea van Vroenhoven Society of Friends With kind support from Support the Museum Kurhaus Kleve and join the Society of Friends, the “Freun- deskreis Museum Kurhaus und Koekkoek-Haus Kleve Sparkasse Kleve — e.V.”. Enjoy the advantages Premium partner of the of membership in the Museum Kurhaus Kleve largest art association on the Lower Rhine: free admission, exclusive invitations and the art periodical Museum Reporter The Rilano Hotel as well as concessions Cleve City when purchasing publications and artists’ editions. Registration can be made at the museum’s WDR 3 – Cultural partner reception desk or at www. of the Museum Kurhaus freunde-klever-museen.de. Kleve (Annual subscription: individuals EUR 36, couples EUR 54, concession EUR 12, families EUR 60 and companies EUR 90) Museum Kurhaus Kleve — Ewald Mataré-Collection

Tiergartenstraße 41 47533 Kleve Germany www.museumkurhaus.de [email protected] Tel. 0049 / 2821 / 750 1-0 Fax 0049 / 2821 / 750 1-11

Opening hours Tuesday — Sunday (and on all public holi- days) 11 a.m. — 5 p.m. Joseph Beuys, 26 January (photo: 1978 Gerd Ludwig) Admission prices — adults EUR 10 — concession (pupils, students, disabled and those doing military service) EUR 5 — groups of 15 persons or more, per person EUR 8 (concession EUR 5) — family ticket (2 adults and all children under 18) EUR 20 — combined ticket with B.C. Koekkoek-Haus Cleves (www.koekkoek-haus.de) EUR 14 (concession EUR 7, for families EUR 28.50 and for groups of 15 persons or more EUR 12 per person)