Throughout the year, exhibitions at the Schafhof present international and local positions in contemporary art. The spectrum includes all forms of visual arts, such as painting, video art, sculpture, photography, drawing, conceptual art, and installation. Group exhibitions with international and German artists, solo exhibitions with renowned artists and presentations of works by younger or regionally based artists take place in alternation. Applications are welcome.
Annual themes serve as common threads throughout the exhibition program, and facilitate an engagement with the exhibited works through a range of perspectives. A thematic emphasis also fosters a better understanding of art and a more enjoyable viewing experience. Certain themes emphasize formal aspects (for example, Color in 2013, Structure in 2015, and Sound in 2017), while others focus on specific concepts (for example Illusion in 2014, Identity in 2016, and Art and Science in 2019).
The Schafhof features a gallery on the ground floor and a large exhibition hall on the first floor, with a total exhibition space encompassing almost 450 square meters. The barrel vault ceiling and its unusual shape offer an atmosphere unique to the region and beyond.
We simultaneously encounter the economic situation that has accompanied cinema throughout the 20th century: rise, crisis, and recovery. Regardless whether large multiplexes or small art-house theaters, regardless whether in a large city or in the country, cinemas are important social gathering places. Whether we go there anonymously, as a couple, or as a group, we all recall the racketing of the film reels and the introduction of Dolby Surround Sound, for which we suddenly had to dig a little deeper into our pockets. We all have sat in cinemas that now no longer exist. We look to the future curiously wondering whether all the digitalization that has taken place will keeping people streaming into cinemas or cause them to stay at home and make themselves comfortable on the sofa with digital devices such as beamers, laptops, tablets, and smartphones.
Thieler waits for dusk and evening, waits until the cinema has opened its doors, positioning himself to be able to photograph the building and its surroundings. He does not change the scene on-site in any way. He waits patiently for the right light, for the people who have just arrived, for those who have agreed to meet there, and those just buying their tickets. They are not part of a staged scenario but belong to a random situation captured by the photographer.
(Sigrid Melchior, Art Historian)