Sculptures and installations
The Bundesbank’s offices house a large number of sculptures and installations by acclaimed artists such as Tony Cragg, Bogomir Ecker, Alf Lechner and Joseph Kosuth. Most of those works were created or purchased to occupy a particular space in new buildings that were being constructed at that time, as "Kunst am Bau" [public art] projects. The installations respond in totally different ways to their respective settings. In Düsseldorf, Tony Cragg integrates four different sculptures into the building which thematise the geographical and industrial surroundings; in Oldenburg, meanwhile, Bogomir Ecker creates a link between the real urban space and the building’s interior.
Horst Antes, Head 73, 1973
There is no mistaking the heads of Horst Antes. Their stark profile and, above all, their schematic stylisation have become the artist’s trademark. They appear in Antes’ paintings as Kopffüssler [Head-and-foot figures] or in public spaces as large-scale steel sculptures.
Max Bill, Plane borne of a spiral, 1974
His pictures and sculptures are the perfect symbiosis of beauty and rationality. Just about every work that Max Bill produced can be deciphered as a verifiable solution to a mathematical problem, without becoming overladen with meaning.
Tony Cragg, Boulders, 1992
The relationship between nature and culture plays a key role in Tony Cragg’s work. He wants to create objects ‘that exist neither in nature nor in our functional world’. To this end he uses a wide range of natural and industrially manufactured materials.
Alf Lechner, Circle within a semi-circle, 1991
Alf Lechner’s sculptures are defined by his choice of material – steel. He works virtually exclusively with this material, creating works which often weigh hundreds of kilos. The monumental steel forms are stamped, pressed, broken, cut and rolled into shape during the production process according to his precise specifications.
Bogomir Ecker, Sculpture for the Land Central Bank in Oldenburg, 1999
A red figure is firmly ensconced on the forecourt of the Bundesbank’s Oldenburg branch. Like an oversized marionette, it sits in the centre of a four-part sculpture series by Bogomir Ecker which extends inside the building.
Albrecht Schäfer, Chandelier, 2009
A key aspect of Albrecht Schäfer’s work is his exploration and use of space. His installations are not just stand-alone artworks; they also draw in and on the surrounding area. His “Kronleuchter” [Chandelier], on display in the foyer of the Bundesbank’s branch in Berlin, stretches the length and breadth of two floors.
Jesús Rafael Soto, Installation in the Entrance Hall in the Central Office, 1972
‘Mondrian’s later works – The Victory Boogie Woogie – those lights! That is where we see vibration being incorporated into painting for the first time. It seemed to me […] that he was on the verge of bringing a visual motion into the picture’, wrote the Venezuelan artist Jesús Rafael Soto, who lived and worked in Paris.
Victor Vasarely and Yvaral, Interior design for dining room, 1972
‘I dream of a social art’, wrote Victor Vasarely as early as 1953 in his “Notes Brutes” [Rough notes]. ‘The crowds, the masses, a multitude of beings, this is the new dimension. See the unlimited space, the truth of structures. Art is the plastic aspect of the community.’