When can the exhibition be visited?

The exhibition opens on October 28, 2026, from 10 a.m. The regular opening hours of the Kunsthalle Mannheim are usually between 10 a.m. and 6 p.m.

What is the entry fee?

The regular entry fee for the collection and special exhibitions is €16. The Kunsthalle Mannheim offers discounts and other rate groups based on their current visitor information.

What can visitors expect in the exhibition?

Ten newly commissioned sound works can be seen and heard, which coexist with selected paintings, sculptures, and works on paper from the collection of Kunsthalle Mannheim.

Are there guided tours or educational offerings?

Kunsthalle Mannheim generally offers guided tours and educational programs for its exhibitions. Dates and booking options should be checked directly with the Kunsthalle.

Is the exhibition accessible for people with disabilities?

The exhibition takes place in Kunsthalle Mannheim. Information about specific accessibility and supportive offerings can be obtained directly from the museum.

How long does a visit take?

A sufficient amount of time is recommended for focused contemplation of the works and conscious listening to the sound installations. The individual visit duration depends on one's own pace.

Alexander Tillegreen lets art resonate: A sensory journey through Mannheim's collection

Name: Alexander Tillegreen – Pieces for Works
Start: 2026-10-28T10:00:00+01:00
End: 2026-10-28T18:00:00+01:00
Location: Kunsthalle Mannheim

When art becomes audible: Alexander Tillegreen at Kunsthalle Mannheim

With Pieces for Works, the Kunsthalle Mannheim transforms its collection into a resonance space. The Danish artist and composer Alexander Brix Tillegreen develops ten site-sensitive sound installations and musical works that present selected paintings, sculptures, and works on paper in new perceptual contexts. The exhibition invites visitors to an art experience where seeing, hearing, and spatial orientation interweave inseparably.

Between Collection and Sound Space

Tillegreen perceives the selected artworks as compositional starting points. Texture, rhythm, layering, materiality, and spatial structure find an acoustic correspondence. Thus, not merely musical accompaniment is created, but an independent installation that reorganizes the relationship between visual art, architecture, and sound.

The atmosphere of the exhibition thrives on subtle shifts: A familiar museum object suddenly appears as a source of movement, echo, and inner resonance. Visitors experience the contemplation of the works not only visually but as an aesthetic experience of the entire body.

Psychoacoustics, Memory, and Perception

Alexander Tillegreen's artistic practice moves between painting, printmaking, sculpture, video, sound installation, and composition. Central to his work are psychoacoustic phenomena, language, voice, and the question of how meaning arises in the interplay of hearing, seeing, and cultural imprinting.

The sound works draw on elements of contemporary classical music, field recordings, and experimental instrumentation. Some works respond to visual and material characteristics of the collection, while others activate symbolic or connotative layers through language and musical references. The museum thus becomes a place of concentrated attention, where perception itself becomes the subject.

An Artist between Visual Art and Composition

Alexander Brix Tillegreen, born in 1991 in Taarbæk, Denmark, studied at the Städelschule in Frankfurt am Main and at the Cooper Union School of Art in New York. Additionally, he pursued art history, musicology, and sound studies at the University of Copenhagen. His works have been presented, among others, in the MMK Museum für Moderne Kunst Frankfurt, the Museum Tinguely in Basel, at international festivals, and in institutional exhibitions in Copenhagen, Milan, and Glasgow.

Since 2019, Tillegreen has been researching interdisciplinary psychoacoustic phenomena and their connection to psychology, linguistics, neuroscience, and voice aesthetics. This combination of artistic research and sensory spatial design also shapes the Mannheim exhibition.

The Collection as a Living Conversational Partner

For Pieces for Works, the new sound works enter into a dialogue with selected holdings of the Kunsthalle Mannheim. These include works from different genres and historical contexts. The curation does not create a linear narrative, but a web of visual, acoustic, and architectural relationships.

This openness makes the exhibition visit particularly special: Each station changes the view of the museum and sharpens the ear for its interspaces. Light, material, spatial effects, and sound create an atmosphere where familiar categories of art observation dissolve.

Conclusion: An Exhibition for Eyes, Ears, and Imagination

Alexander Tillegreen's Pieces for Works opens an extraordinary art experience between sound art, collection, and contemporary composition at the Kunsthalle Mannheim. The exhibition connects art historical contemplation with cultural education and an immediate physical aesthetic experience. Those who want to experience how painting, sculpture, architecture, and sound installation form new realms of meaning should definitely visit this exhibition live.