Alexander Tillegreen at the Kunsthalle Mannheim: Experience Art Through Sound, Vision, and anew
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Alexander Tillegreen: When Art Begins to Sound
The exhibition Pieces for Works at the Kunsthalle Mannheim combines contemporary sound art with painting, sculpture, works on paper, and the architecture of the museum. The Danish artist and composer Alexander Brix Tillegreen, born in 1991 in Taarbæk, develops ten site-sensitive sound installations that engage in an independent dialogue with selected works from the collection.
An Artistic Experience Between Hearing and Seeing
Tillegreen's works expand the classic viewing of artworks to include an acoustic dimension. Sound moves through the exhibition spaces, responds to spatial situations, and alters the perception of familiar artworks. The exhibition atmosphere is created from the interplay of silence, electronic sounds, instrumental tones, and the concentrated presence of the exhibits.
As compositional starting points, works by Auguste Rodin, Francis Bacon, Edvard Munch, Isa Genzken, Louise Nevelson, Rosemarie Trockel, Édouard Vuillard, László Moholy-Nagy, and Anna Mahler are used. The sound installations relate to the texture, materiality, rhythm, layering, and spatiality of the respective artworks, without merely musically illustrating them.
Sound Installations as Autonomous Works of Art
The ten pieces are not designed as background music. They possess their own compositional structure while simultaneously opening up new avenues to the artworks in the collection. Contemporary classical music, psychoacoustics, field recordings, and experimental instrumentations merge into an aesthetic experience that slows down the museum visit and sharpens attention.
This approach is particularly impressive in the sound work related to Isa Genzken's sculpture Yamasaki. A vibraphone solo moves dynamically around the reduced form, reminiscent of movement around an architectural model. Louise Nevelson's Vision One inspired Tillegreen to create a sound piece constructed with various wooden circles, thus transposing the material logic of the sculpture into an acoustic structure.
An Art History of Dialogue
Alexander Tillegreen's artistic practice moves between painting, printmaking, sculpture, video, installation, and composition. He studied at the Städelschule in Frankfurt am Main, at the Cooper Union School of Art in New York, as well as art history, musicology, and sound studies at the University of Copenhagen. His works investigate how sound, language, space, and visual perception generate meaning.
The exhibition thus stands in an art historical tradition where media boundaries are deliberately crossed. At the same time, it connects to Mannheim's status as a UNESCO City of Music, making the museum a place where visual art is not only observed but also physically and auditorily experienced.
Orientation for Art Viewing
The sound installations are spread across various rooms of the Kunsthalle and are each located near the selected artworks. An accompanying audio tour leads to locations related to Rodin, Bacon, Mahler, Trockel, Genzken, Nevelson, Vuillard, and Moholy-Nagy. Visitors should plan about 55 minutes for the tour.
The exhibition is suitable for those interested in art history as well as for anyone seeking new forms of cultural education and perception. It invites visitors to look closer, listen longer, and discover the relationship between image, sound, body, and space themselves.
Conclusion: A Museum as a Resonance Space
Pieces for Works awaits visitors with a focused connection of sound installation, collection art, and architectural spatial effect. The art experience opens up familiar works to new perceptions and makes aesthetic experience an active, physical process. Those who want to not only see art but experience it in its spatial and acoustic depth should visit this exhibition live at the Kunsthalle Mannheim.
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