D
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Square, 1977/1988

Cast iron, 35 x 500 x 500 cm

Private collection, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Circle, 1977–1978, Square, 1977/1988

Cast iron, 30 x Ø 500 cm, 35 x 500 x 500 cm

Private collection, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Bruce Nauman

Installation view Skulpturenhalle, 2020

Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Triangle, 1977/1986

Cast iron, 27 x 497 x 433 cm

Collection Charles Szwajcer, courtesy Simon Lee Gallery, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Bruce Nauman

Installation view Skulpturenhalle, 2020

Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Untitled, 1986

Foam board, cardboard, wood, rope, acrylic paint, 140 x 175 x 195 cm

Sammlung Fischer, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Model for Room with My Soul Left Out, Room That Does Not Care, 1984

Wood, foamcore, wire, light bulb, 152,5 x 152,5 x 152,5 cm

Friedrich Christian Flick Collection im Hamburger Bahnhof, Berlin, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Model for Room with My Soul Left Out, Room That Does Not Care, 1984 (detail)

Wood, foamcore, wire, light bulb, 152,5 x 152,5 x 152,5 cm

Friedrich Christian Flick Collection im Hamburger Bahnhof, Berlin, Photo: Stefan Altenburger, © VG Bild-Kunst, Bonn 2020

Bruce Nauman

Installation view Skulpturenhalle, 2020

Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Bruce Nauman

Installation view Skulpturenhalle, 2020

Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Equilateral Triangle, 1977–1978

Cast iron, 3 parts, each 30 x 320 cm, 3 parts, each 30 x 170 cm

Privat collection, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Eat/Death, 1972

Neon tubing with clear glass tubing suspension frame, 19 x 64 x 5,5 cm

Privat collection, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

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For Beginners (Instructed Piano), 2010

Audio installation, stereo sound, continuous play, 2 hidden speakers, Dimensions variable

Courtesy of Sperone Westwater, New York, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Henry Moore Bound to Fail, 1967/ 1970

Cast iron, 65 x 61 x 6,5 cm

Liebelt Collection, Hamburg, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Pair of Hands (No. C), 1996

White bronze on enameled steel base, bronze 43 x 9,5 x 13,5 cm, base 98,5 x 28,5 x 28,5 cm

Kunstsammlung NRW, Düsseldorf, Sammlung Dorothee und Konrad Fischer, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Pair of Hands (No. N), 1996

White bronze on enameled steel base, bronze 43 x 9,5 x 13,5 cm, base 98,5 x 28,5 x 28,5 cm

Sammlung Fischer, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Pen Lines Show Construction/Red Lines Show Illusion, 1971

Colored crayon, ballpoint pen on paper, 21,6 x 28 cm

Sammlung Fischer, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Diamond Mind/Circle of Tears/ Fallen All Around Me/Fallen Mind/ Mindless Tears/Cut Like A Diamond..., 1975

Pencil on paper, 77,8 x 101,3 cm

Privat collection, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Layout for Vino Rosso, 1987

Pencil on paper 55,9 x 75,8 cm

Privat collection, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Rats Underfoot, 1988

Polaroid and tape on paper, 56,8 x 74,2 cm

Privat collection, Photo: Nic Tenwiggenhorn, © VG Bild-Kunst, Bonn 2020

Bruce Nauman
Models

04.09.2020 – 13.12.2020
Curated by Dieter Schwarz

 

Bruce Nauman thinks in terms of models – potential forms – and that is why drawing plays such a central role in his work and in this exhibition. Drawings reveal the essence; they indicate what is conceivable. Drawings and models alike are stylistically unbound and open up the realms of imagination.

In the late 1970s, Nauman created models for subterranean spaces. Circle is the first model – an underground tunnel with a diameter of up to 200 metres. As it was unfeasible to build, the model served as an inspirational driver to imagine the space. It shows only the outer form. How would the space look from within, and how would one act inside it? The circle was followed by triangle and a square; these three geometric works are shown here together for the first time. The fourth model, Equilateral Triangle, consists of three axial lines arranged in a star shape, whereby the point of intersection divides them into different lenghs. What Nauman was interested here was the different psychological effects of the forms: the triangle creates an uncomfortable space, whereas the circle and the square suggest a safe space.

The models are cast in iron and appear as definitive, fully-formed sculptures. Yet it is not stability that Nauman seeks here, but instead the potential of the model. He is interested in the ambiguity of appearances, and in the interim spaces that open up between the real and the imagined.

The same can be said of his works with hands, which, in this exhibitions, form an intimate counterpoint to the large-scale models. Hands are not just functional instruments; they can also be the object of an action – as in a piano piece based on finger exercises, or in pairs of hands shown intertwined. These works, too, are models that tear asunder what we take for granted.

Dieter Schwarz