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.
25 February ‒ 23 April 2017: Exhibition in the ground floor
in the framework of the topic of the year: Sound
opening hours: Tu ‒ Sa 2‒7 pm, Su + holidays 10 am‒7 pm
The exhibition spaces and the café are accessible to the disabled.
Shuttle bus from Freising Station to the House of Art: 6.30-7 pm; return: 8.50 pm
Guided tour through the exhibition with Alexandra M. Hoffmann - in German language, free entrance
English spoken tours can be ordered to be subject to a fee
Fotos: Marco Einfeldt
In her kinetic sound installations Anne Pfeifer explores questions about the processes of life and its transient nature. Her installation Ceremony (2015) consists of nine wooden cubes arranged on the wall, each having the dimension of a human torso. A knocking and hammering sound coming from within them causes what at first seem like rigidly motionless cubes to tremble, allowing a rhythm to develop.
This rhythm gives the wooden boxes a heartbeat. They become alive and seem to communicate with one another—correspondence with the etymology of the word “communicate”: “share, relate, interact, connect.” Something new arises from the interplay of the cubes. They join together into a large, pulsating whole. The knocking sound ends as suddenly as it began, and the vibrations of the cubes dies out until the installation come to a complete standstill.
Using a pared-down formal vocabulary, Pfeifer intelligently combines sound and motion with the help of electronic motors. The minimal wooden cubes seem to hover on the wall by their own accord, and they initially show no sign of their potential. When movement sets in the objects take on a new temporal dimension. The viewer usually pauses, speechless, utterly unprepared, and enthralled by the energetic hammering and knocking coming from within the boxes.
In my artwork I wish to explore life processes—in particular the physiological, psychological, and social aspects of our existence are what interest me most. Through the media of drawing, sound, and video I attempt to describe and capture the essence of being alive.
Sound—tone, or what is best described with the word “music,” is able to touch virtually all people throughout the world. The neurologist Oliver Sacks calls it musicophilia, the love of music, which seems to be innate to humankind. Even as a fetus the human being is surrounded by a world made out of tones, including the pulse, heartbeat, and breathing of the mother, and it is able to perceive this already from the seventeenth or nineteenth week, before it has developed an ability to see.
The sound of music not only impacts acoustic perception and emotions. There is also a third component: movement. Music can inspire movement. We suddenly feel the desire to dance, or during a difficult, arduous hike, simple by recalling a certain rhythm we are able to carry on more easily. In the same way, fast, loud music can help us hold out for another round when we are jogging. A beat can be a real activator, which is particularly evident in music therapy.
was born in 1987 in Lindenfels, lives and works in Munich
since 2012 studied at the Academy of Fine Arts in Munich
2008-2012 Study of Visual Communication, Pforzheim University