BETWEEN WHITE WALLS…
February 18–July 21, 2024
PEAC Museum is turning 20! The anniversary exhibition Between white walls… tells the story of a collection: it traces the evolution of a museum from its beginnings as a single individual’s passion to an open and vibrant place for everyone.
The anniversary exhibition Between white walls... features around 70 works from the collection. Among them are new acquisitions that are being exhibited for the first time. The show features works that were groundbreaking for the PEAC Museum and continue to shape its identity to this day.
The exhibition draws associative, thematic and art-historical links between the works, thus widening the focus from just the collection itself to exhibition practices as a whole. What changes when works of art are presented together? What stories are constructed, what connections or contradictions emerge, and how does this space between the white walls function?
While the collection forms the thematic anchor of the exhibition, the narrative is by no means static. The exhibition is composed of two acts: the first act explicitly invited visitors to share their perspectives and to decide which art works from the collection they would like to see.
The exhibition’s second act opens on June 7, 2024 with the winner of this year's Paul Ege Art Prize.
Participating artists include: Paul Ahl, Marc Angeli, Frank Badur, Joachim Bandau, Stephan Baumkötter, Tom Benson, Reto Boller, Astha Butail, Max Cole, Rudolf de Crignis, Rolf-Gunter Dienst, Joseph Egan, Henrik Eiben, Paul Fägerskiöld, Rupprecht Geiger, Florian Haas, Marcia Hafif, Katharina Hinsberg, Günther Holder, Gottfried Honegger, Ben Hübsch, Alfonso Hüppi, Sophie Innmann, Donald Judd, Judith Kakon, Dieter Kiessling, Martina Klein, Imi Knoebel, Brigitte Kowanz, Zora Kreuzer, Russel Maltz, Joseph Marioni, Annette Merkenthaler, Michael Mathias Prechtel, David Rabinowitch, Franziska Reinbothe, Michael Reisch, Winston Roeth, Reiner Ruthenbeck, Antonio Scaccabarozzi, Adrian Schiess, Astrid Schindler, Anna Schütten, Paul Schwer, David Semper, Phil Sims, Anne Sterzbach, Maria Tackmann, Michael Toenges, Peter Tollens, Günter Umberg, Michael Venezia
Paul Ege Kunstpreis
Kelly Tissot awarded the Paul Ege Art Prize 2024. The Ege Art and Culture Foundation and the City of Freiburg are pleased to host the award ceremony and opening of Kelly Tissot’s exhibition at the PEAC Museum on Friday, June 7, at 7 p.m.
For the second act of the anniversary exhibition Between white walls… the museum is transformed once again and presents works of this year's winner of the Paul Ege Art Prize alongside the collection: Kelly Tissot was born in France in 1995, completed her Bachelor’s degree 2018 at the Ecole Cantonale d’Art in Lausanne and in 2020 her Master’s degree at the Hochschule für Gestaltung und Kunst in Basel, where she currently lives and works.
The Paul Ege Art Prize, endowed with 10,000 euros, has been awarded every three years since 2007 by the Ege Art and Culture Foundation in cooperation with the City of Freiburg. The prize commemorates the Freiburg entrepreneur and patron of the arts Paul Ege, who died in 2019.
The prize is aimed at young artists up to 35 years of age who come from or work in the three-country border region (DE, CH, FR). Previous winners are Kathrin Herzner, Vera Mayer, Christoph Poetsch, Maria Tackmann, Judith Kakon and Laura Sacher.
The award is judged in a two-stage process consisting of a nomination committee and a jury. This year, the members of the nomination committee were Iris Hasler, associate curator, Fondation Beyeler (CH), Samuel Leuenberger, director, SALTS (CH), and Elfi Turpin, director, CRAC Alsace (FR). The jury consisted of Aoife Rosenmeyer, art critic (CH), Marijke van Warmerdam, artist and professor, State Academy of Fine Arts Karlsruhe (DE), and Sandrine Wymann, director, La Kunsthalle Mulhouse (FR).
Jury statement
„Kelly Tissot employs photography in order to communicate a close but unsentimental viewpoint of agricultural and rural life. In this work she presents a little-explored perspective with considerable authority. It is not romantic nor is it driven primarily by environmental concerns but manifests the social structures of farm and rural life.
The jury was impressed by Tissot’s mastery of photography, informed by the artist’s research into various techniques and supports. Her analogue photography is the basis for carefully constructed prints complemented by architectural elements that are both independent sculptures and an exhibition architecture that cleverly corrals viewers.
In this practice, the photographic works become sculptural and sculptural elements are graphic. The scenography is often slight yet nonetheless contributes to an orchestration of the viewer’s movement and the viewing experience. In the structures themselves, Tissot identifies an overlooked and uncelebrated vernacular and creates forms that, with minimal means, speak of the practice of farming, of influences from other sectors, of scale and of populations.”
Aoife Rosenmeyer, Marijke van Warmerdam, Sandrine Wymann