Skulptur Projekte Münster: Die Geschichte, das Konzept und der Erfolg der Skulpturen-Ausstellung im öffentlichen Raum
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Studienarbeit aus dem Jahr 2007 im Fachbereich Kunst - Bildhauerei, Skulptur, Plastik, Note: 1,3, Carl von Ossietzky Universität Oldenburg, Sprache: Deutsch, Abstract: Es gibt verschiedene Positionen zu Kunst im öffentlichen Raum. Klaus Bu mann, der in den 1970er Jahren der Leiter des Westfälischen Landesmuseum für Kunst und Kulturgeschichte war, vertritt die Ansicht, dass sie als Ausdruck des kulturellen Stadiums, in welchem sich eine Stadt befindet, gilt. Er resümierte Mitte der 1970er Jahre, dass Münster keine Kunstwerke renommierter zeitgenössischer Künstler in sein Stadtbild integriert hatte. Folglich arbeitete er an der Idee, der Bevölkerung von Münster zur "Ankunft in der Moderne" zu verhelfen. Ein Teil der Münsteraner hatten seine eigene Position dazu, wie Kunst in ihrer Stadt aussehen sollte. Sie sollten auf keinen Fall aussehen wie die "Drei Rotierenden Quadrate" von George Rickey, die Bu mann 1974 als Konsequenz seiner Überlegungen für sie auswählte. Die Proteste, die die Skulptur auslöste, waren so massiv, dass sie von der Stadt nicht gekauft werden konnte. Denn, so lautete die Meinung dieser Bürger, "Münster hat schon so viele schöne Kunstwerke, dass es genügend Abwechslung gibt." Das Werk wurde 1975 dann aber von der Westdeutschen Landesbank gestiftet und Bu mann verfestigte weiter seine Idee der Integration moderner Kunst ins Stadtbild. 1977 sollte es eine Schau mit einer Auswahl von zeitgenössischen Skulpturen im Au enraum geben. Gleichzeitig sollte eine Sonder-Informationsausstellung im Landesmuseum den Bürgern von Münster zeitgenössische Kunst näher bringen, um "eine Basis für die Diskussion zu schaffen." Mittlerweile findet diese Skulpturenausstellung 2007 zum vierten Mal - mit jeweils zehnjährigem Abstand - statt und trägt den Titel Skulptur Projekte. 37 der bisher ausgestellten Werke international anerkannter Künstler sind auch dauerhaft von der Stadt übernommen worden. Sie dienen bei der Betrachtung der laufenden Ausstellung als bewährte Kontra
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