Exhibition at Thompson Estate

Thompson Estate invites you and your friends to an exhibition of works by internationally renowned American sculptor


Saturday 1 March 2014 3pm - 6pm at Thompson Estate

299 Tom Cullity Drive (formerly Harman's Road South)

Wilyabrup, Western Australia

Thompson Estate wines will be served. Guests are welcome to picnic in the grounds.

Coffee and light food will also be for sale.

Please let us know if you plan to attend.

RSVP and Enquiries: 0459 592 710 or art@thompsonestate.com

Peter Lundberg creates monumental sculptures from earth, cement and steel. Peter has exhibited internationally and his works are held in private, corporate and government collections in the USA, Germany, Scandinavia, China and Australia.

In March 2012, Peter exhibited at Sculpture by the Sea, Cottesloe with his work being acquired by the Town of Cottesloe and in October 2012 he was the winner of the Major Prize at Sculpture by the Sea, Bondi.

As Sculptor in Residence at Thompson Estate, Peter Lundberg will create a number of works in situ, incorporationg earth and materials from the vineyard. Alongside these site specific works, Peter's recent large bronze work Ring and a collection of small bronze sculptures will be exhibited.

The exhibition of works will be open to the public 11am - 5pm daily until the end May 2014. All works are for sale.

Free Guided Public Tours - the artist will host free public tours of the exhibition on Sunday 2 March 2014 at 11am and 3pm. Tours for groups and individuals are also available at other times by appointment.

Peter Lundberg's website: http://www.peterlundberg.com


Peter Lundberg, internationally acclaimed and renowned sculptor from Vermont USA has arrived in the

South West of WA to be Sculptor in Residence at Thompson Estate Margaret River vineyard, throughout February and March 2014. His works will be on display to the public from 1 March until the end of May 2014.

Peter creates monumental sculptures from earth, cement and steel. Recent works have also been cast in bronze. His works are held in private, corporate and government collections in the USA, Germany, Scandinavia, China and Australia. Peter has also founded and co-founded sculpture parks in the USA and Scandinavia.

Peter’s work is well known in WA, through his recent participation in Sculpture by the Sea Cottesloe. One of his pieces Wuyi was acquired by the Town of Cottesloe and is now located at the intersection of Marine Parade and Curtin Avenue, Cottesloe. He will again be participating in the 2014 Sculptures by the Sea Cottesloe (7 March – 24 March 2014).

During the Sculptor in Residence program at Thompson Estate, Peter will create a number of works in situ, incorporating earth and materials from the vineyard. In addition to the site specific Margaret River works, the large bronze work Ring (measuring approximately 5 x 7 metres) and a collection of Peter's small bronze sculptures will also be on display at the vineyard until end of May 2014.

Alexandrea Thompson, of Thompson Estate said that the vineyard team is eagerly looking forward to hosting the exhibition of the works by the internationally renowned sculptor, and for the visitors to the vineyard to observe Peter’s sculpture process in action and on display.

‘We are delighted that Peter Lundberg has chosen to work with Thompson Estate and utilise the unique Margaret River terrain in his sculptures’.

Media are invited to a launch with Peter Lundberg at 10am on Sunday 16 February 2014.

An official public launch will take place at Thompson Estate on Saturday 1 March 2014 at 3pm.

Free public tours with Peter will take place on Sunday 2 March at 11am and 3pm. Additional tours can be arranged via appointment.

The exhibition will be open to the public 11am – 5pm daily until the end of May 2014, and all works on display are for sale.

For all enquiries and to arrange an interview or a personal viewing of the works with Peter Lundberg please contact:

Alexandrea Thompson

Thompson Estate 

Phone: 0459 592 710

Email: art@thompsonestate.com


About Thompson Estate

Thompson Estate is a family owned vineyard located in Wilyabrup in the heart of the Margaret River region which was founded by cardiologist Dr Peter L. Thompson AM and his wife Jane in 1994. Thompson Estate adheres to the highest standards in viticulture and winemaking, and produces award winning wines.

Thompson Estate is rated a “Five Red Star” winery by James Halliday, placing it in the top echelon of Australian wineries.

Thompson Estate’s philanthropic commitments include support of medical research and the arts. They sponsor events such as the popular Sculpture by the Sea Cottesloe, Perth Fashion Festival and support organisations such as the Art Gallery of WA, the University of Western Australia and Fremantle Press.

Thompson Estate wines are available for tasting at the Barrel Room 11am – 5pm daily. 299 Tom Cullity Drive Wilyabrup www.thompsonestate.com

About Peter Lundberg

Peter Lundberg was born in Wisconsin USA in 1961. He holds a Bachelor’s Degree in Mathematics and a Masters Degree in Fine Art (Sculpture).

In the course of establishing his career as an artist Peter undertook apprenticeships with some of the world’s foremost sculptors, including Mark Di Suvero, John Henry and the Alexander Calder Foundation.

Peter currently resides in Vermont, USA with his wife Yan.

Artist’s statement: ‘I think of my sculptures as a view into my unconscious mind, a landscape of very primitive things, rudimentary elements of life, nature, science, spirituality and passion. For both the maker and viewer, sculpture, like music, carries a beat, a pulsing motion directed to and from the soul that when revelled in takes us into dreamlike states of mind. This state leads to questions and answers, uncovering mysteries, which ultimately give meaning to life’s journey.

The process of creation becomes just as crucial as its end goal, which once reached makes it all the more important from the exertion it took. When I take time to appreciate that gruelling, dirty and contemplative process that makes art, I find myself rewarded by a greater understanding. The labour, pain, and love of my efforts not only give me meaning but also make me feel alive. Art brings this journey into focus; the sculpture marks its destination’.


Sculpture by the Sea 2013

November 9, 2013 by John McDonald

It was not the best of times, it was not worst of times. The 17th annual Sculpture by the Sea (SxS) features the usual mix of pieces that might be described as ‘serious’ sculpture, and others that are little more than gimmicks. It has become a familiar recipe but seems to go down well with the crowds that traipse up and down the foreshores every year between Bondi and Tamarama. This weekend is your last chance to join the party.

There will always be complaints that SxS is a sideshow rather than a credible exhibition of contemporary art, but there are so many dull, pretentious things in prestigious museums one can’t be snobbish about an event that makes a point of being democratic and inclusive. For a show that lasts only two-and-a-half weeks the popularity of SxS is staggering. Naturally, popularity cannot be equated with quality, but neither should it rule out the possibility.

SxS is a carnival, but also a logistical exercise of mammoth proportions. To get the measure of this year’s show one has to look at individual works, the nature of the installation, and all the organisational details that add value to the experience.

To start with the last category, this year marks the beginning of a major sponsorship by the Macquarie Group, who have donated $60,000 for an acquisitive first prize. Along with the usual raft of corporate supporters there is also extra funding from Nicola and Andrew Forrest’s Minderoo Foundation; a contribution by the NSW State Government, and even – gasp! – from the Australia Council. The catalogue lists no fewer than nine prizes, and a long list of artist subsidies and mentorships; including three scholarships from the Helen Lempriere Foundation, worth $30,000 each – awarded to emerging sculptors Lucy Humphrey and Francesca Mataraga; and veteran, Paul Selwood.

It’s pleasing to see the Macquarie Group take up the cause of sculpture again after the success of the National Sculpture Prize held at the National Gallery of Australia in 2001, 2003 and 2005. This exhibition might still be running if the NGA hadn’t changed its mind about the nature of the prize and derailed a lucrative sponsorship.

The new sponsorships recognise that SxS has reached the point where it is more than an exhibition. It is playing a key role in the development and dissemination of Australian sculpture, both at home and abroad. Indeed, there are a large number of artists who owe whatever public profile they enjoy in this country almost solely to their participation in these shows. This includes international regulars such as Keld Moseholm from Denmark, and a group of Japanese sculptors.

Another important feature of SxS is its willingness to pay homage to senior figures in Australian art that have recently passed away – a practice in which our public galleries are woefully deficient. This year the selection includes two pieces by Bert Flugelman (1923-2013), one of this country’s best-known public sculptors. They span the beginning and end of Flugelman’s career, ranging from a biomorphic piece called Equestrian (1967) to a trademark stainless steel work, Semaphore (2000).

For all these reasons one may make allowances for the ups and downs of selection and installation. As always, Mark’s Park is the centre of the show, with the greatest concentration of sculptures. It’s been proven in the past that this area needs a large, powerful work or two to anchor the mass of smaller pieces that cluster on all sides. This year that anchor is missing. Many of the bigger pieces, such as Stephen King’s Fallout, which won this year’s major prize; and Returning to sea, by last year’s winner, Peter Lundberg, are positioned on the edge of the central space. The Park has an anarchic feel, as if the sculptors rushed in and staked their claims like hopeful prospectors on the gold fields.

The other concentration of sculptures, on the beach and in the park at Tamarama, is no improvement. If it seems unreasonable to expect any organisation to do better with such a diverse body of work, I can’t help thinking that placements were more shrewdly conceived in the days when Axel Arnott was site manager. It’s Philip Wadds’s first year in this demanding job and he needs to be given a chance to settle in and learn the ropes.

The task may have been made more difficult this year by a larger-than-usual percentage of first-timers, including a battalion of sculptors from New Zealand who have finally awakened to the opportunities afforded by SxS. It’s great to inject new blood into the show, but the experienced artists have a much better sense of the challenges posed by this unique setting.

One perennial issue is that SxScan only be as good as the quality of entries it receives. After 17 years it’s hardly surprising if some of the sculptures have a feeling of déjà vu, or fall into predictable categories. This doesn’t mean these works are to be dismissed. Keizo Ushio’s artful interlocking rings carved from granite are no less impressive for being familiar. Vince Vozzo’s elegant Moon Buddha is another successful variation on a theme, as is Mitsuo Takeuchi’s Transfiguration engage VII.

Among the biggest surprises was prize-winner, Stephen King, whose Fallout is the most abstract piece he has ever contributed to SxS. Apparently the inspiration came from the Fukushima nuclear disaster, but it has formal echoes of work by American sculptor, Mark di Suvero, and of Tiwi burial poles. The three standing components seem to be wedged together by makeshift cross bars, forestalling a collapse.

Peter Lundberg’s work resembles a gigantic infinity sign to which one further loop has been appended. It’s an outlandish thought – suggesting that something might be added to infinity, possibly via the medium of art. Made from bronze, the piece is has a dense materiality that contradicts its conceptual daring.

There was much discussion about how Ayako Saito has made a work that seems to outgun Ron Robertson-Swann at his own game. Saito’s Grove is an abstract metal sculpture of interlocking planes, painted the same vivid yellow as Robertson-Swann’s famous public sculpture, Vault (1980) – otherwise known disparagingly as ‘the Yellow Peril’. It’s an extraordinary gag for a Japanese sculptor, but there is nothing funny about the work itself, which is as crisply constructed as an origami crane.

Robertson-Swann’s piece, by contrast, is a severe, grey composition, called Weighty Matters. Four vertical L-shapes are overlaid by a single steel plank, from which a metal square dangles precariously. The sculpture was started many years ago, but only recently completed when Robertson-Swann had a Eureka moment. The work feels like a period piece alongside other abstract metal sculptures by artists such as Michael Le Grand and Philip Spelman. There is a lyricism in these works – a quality that Robertson-Swann appears to deliberately avoid.

A similar geometric austerity may be found in Jörg Plickat’s work, Encounter, which reads like an angular variation on a Clement Meadmore. Plickat’s monumental simplicity bears contrast with the complexity of Paul Selwood’s The museum, in which clipped planes of metal huddle and overlap in playful abundance.

It may be a generalisation but the abstract works in this year’s show are far more appealing than the figurative pieces. This is quietly appropriate in the week following the death of the great British abstract sculptor, Anthony Caro (1924-2013).

Julio Gonzalez and David Smith did much to establish the credentials of welded metal sculpture, but Caro was more productive and inventive than any sculptor of the modern era. A compact survey of his work, held at the Museo Correr during this year’s Venice Biennale, served as a reminder of his achievements. In an era bewitched by the ‘smoke and mirrors’ of artists such as Anish Kapoor, it was inspiring to see sculptures that demonstrated such mastery of space and form.

An aesthetically successful piece makes one less tolerant of works that rely on a political statement to have an impact. Tunni (Anthony) Kraus has dumped part of the wreck of an old fishing trawler on Tamarama beach, telling us it “may have once carried asylum seekers”. Anthony Sawrey has painted red lines on the grass in the adjacent park, charting the possible progress of tide levels through global warming. I’m no scientist, but it seems an overly pessimistic prediction.

There will always be room for such pieces in SxS, but if one had to isolate a quality that really gets viewers excited it wouldn’t be political correctness or formal elegance. More than anything, SxS visitors love works that are photogenic: works such as Silvia Tuccimei’s Passage secret, which allows one to stand in the midst of a shining loop of stainless steel, or Qian Sihua’s Bubble No. 5 – a bright red, round head blowing a bubble of similar shape. Best of all may be Lucy Humphrey’s Horizon, a large glass sphere filled with water that reflects the meeting of sky and ocean in inverted form. With this modest but effective device Humphrey is doing what every artist aspires to do: she turns our world upside-down.

Published in the Sydney Morning Herald, Saturday 9 November, 2013.

- See more at: http://johnmcdonald.net.au/2013/sculpture-by-the-sea-2013/?utm_source=Website+Subscriptions&utm_campaign=d11505c389-Newsletter_9th_November_201311_7_2013&utm_medium=email&utm_term=0_b7a71c8b42-d11505c389-84162677


14-May-2013  Sculpture by the Sea

Peter Lundberg's sculpture 'Barrel Roll' was unveiled by Robyn Parker the New South Wales Government Minister for the Environment at the Domain in the Royal Botanic Gardens, Sydney.  Peter received the Balnaves Foundation Sculpture Prize of $70,000 at last years Sculpture by the Sea, Bondi for ‘Barrel Roll’ with the work installed in the Botanic Gardens as part of the acquisitive prize.  Joining Minister Parker on the day were Neil and Hamish Balnaves of the Balnaves Foundation, the Consul-General of the USA Niels Marquardt and the Director of the Botanic Gardens Professor David Mabberley.

'Barrell Roll' is the fourth sculpture installed in the Domain and Royal Botanic Gardens, Sydney thanks to the Balnaves Foundation with the list of works comprising the Sculpture by the Sea Collection:

  • 2009 'Time and Tide Granite Monolith II'

              May Barrie (NSW)

  • 2010 'Mirroring'

              Keld Moseholm (Denmark)

  • 2011 'Paradiegma metaphysic'

              Paul Selwood (NSW)

  • 2012 'Barrel Roll'

              Peter Lundberg (USA)

Peter Lundberg's sculpture is created within the earth by digging a large hole to create a concrete cast, the cast is then exhumed with a crane with the sculpture was created in Sydney for the Bondi exhibition. The  sculpture was named after Peter’s experience surfing at Whale Beach, however he didn't discover until later that ‘barrel roll’ is in fact an Australian surfing term used to describe a type of wave.

'Barrell Roll' impressed the Sculpture by the Seajudging panel with it's "…majestic scale, its visceral energy and impact in the natural setting." It is now sited with a backdrop of the Botanic Gardens, the Sydney Harbour Bridge and Sydney Opera House where it can be enjoyed all year round.


Peter Lundberg, barrel roll, Balnaves Sculpture by the Sea Collection, Royal Botanic Gardens. Photo Jaime Plaza.

Peter Lundberg, barrel rollBalnaves Sculpture by the Sea Collection, Royal Botanic Gardens. Photo Jaime Plaza.

U.S. Consul General Niels Marquardt, Neil Balnaves of the Balnaves Foundation, Environment Minister Robyn Parker, David Handley, Founding Director, Sculpture by the Sea, Professor David Mabberley, Executive Director, Royal Botanic Gardens and Domain Trust.

U.S. Consul General Niels Marquardt, Neil Balnaves of the Balnaves Foundation, Environment Minister Robyn Parker, David Handley, Founding Director, Sculpture by the Sea, Professor David Mabberley, Executive Director, Royal Botanic Gardens and Domain Trust.

Winner of the Balnaves Foundation Sculpture Prize 2012 - Sculpture by the Sea exhibition opens

TOBY MANN   OCTOBER 18, 2012 5:00PM

THE stretch of coast between Sydney's Bondi and Tamarama beaches has again been transformed into an outdoor art gallery by the annual Sculpture by the Sea exhibition.

Now in its sixteenth year, the exhibition was opened on Thursday by NSW Premier Barry O'Farrell, who hailed the economic benefits of the sprawling installation.

Starting as a one-day event in 1997, the exhibition will showcase 113 sculptures over 18 days from October 18 to November 4, with works from 77 Australian and 36 overseas artists.

This year, 500,000 visitors are expected to amble along the coastline, soaking up the sun and enjoying what has become the world's largest annual free outdoor sculpture exhibition.

American artist Peter Lundberg, who creates his sculptures by casting concrete into forms dug into the earth, won the annual $70,000 Balnaves Foundation Sculpture Prize, announced at the opening ceremony, for his work Barrel Roll.

"This is an exceptional surprise," he said on receipt of the award.

"This is a tremendous honour. It's great just to be part of this exceptional exhibition."

Mr Lundberg's sculpture will be placed in the Royal Botanic Gardens alongside works by the past three years prize winner's when the exhibition is over.

"I'm sure my sculpture will be happy in your garden," Mr Lundberg said.

Former Art Gallery of NSW senior curator and Balnaves Prize judge Terence Maloon said the panel had unanimously selected Mr Lundberg as this year's winner.

"Peter Lundberg's Barrel Roll impressed us with its majestic scale, its visceral energy and impact in the natural setting," he said.


Giant 'Loup Garou' sculpture relocated to $75,000 base at UNO

By Doug MacCash, NOLA.com | The Times-Picayune on July 28, 2011 at 11:38 AM, updated July 28, 2011 at 3:38 PM

Why did the "Loup Garou" cross the road? 

In late June, Peter Lundberg’s 207,000-pound, 33-ft.-tall concrete sculpture “Loup Garou” was moved from its fractured base in front of the University of New Orleans art department, to a sturdy new platform in a grove of magnolia and mimosa trees, just yards away, across Harwood Drive. The cost of the relocation was $75,000.

Lundberg is a Vermont-based sculptor, who has placed similarly gigantic concrete casings around the U.S., as well as in Germany and China. In 2006 he and sculptor Michael Manjarris founded Sculpture for New Orleans, an altruistic organization that has placed public artworks across the city. “Loup Garou,” named for the French Louisiana werewolf myth, is Lundberg’s personal contribution to the effort.  Lundberg values "Loup Garou" at $150,000. It is on loan to UNO.

Crossing the road was the last leg of an eventful and expensive journey for what is probably New Orleans’ most massive artwork.

In late December 2009, Lundberg dug a swimming-pool-sized hole in the yard behind a warehouse in the Bywater neighborhood. He filled the rough shape with tons of tangled reinforcing rods, tires, boulders and other debris, plus a sea of concrete. An industrial crane pried the hardened mass from the earth like an enormous fossil and Lundberg’s behemoth was born. The original title of the sculpture was “Mississippi Gateway,” but Lundberg changed the name when he learned of the Louisiana werewolf.  The new title fit better with his custom of naming his sculpture after mythological creatures. The mammoth cost $30,000 to create Lundberg said, paid for by an anonymous benefactor.

In May 2010, a small crowd gathering in the rain to watch a towering crane attempt to place the sculpture, then titled “Mississippi Passage” upright in a meadow beside the New Orleans Museum of Art in City Park. But the massive shape refused to settle evenly on the soggy ground, so the104-ton sculpture was plopped horizontally on the lawn, where it lay for months. The cost to move the sculpture was $20,000, Lundberg said; also paid for by an anonymous benefactor. 

Read: "Heavy sculpture remains horizontal in New Orleans City Park" here.

Sometime after, Lundberg says he appealed to UNO art professor Christopher Saucedo to allow him to move the “Loup Garou” to the Lakefront campus. Saucedo welcomed Lundberg’s loan of the commanding artwork.

In January 2011, “Loup Garou” was lowered onto a custom-made concrete pad near the art department building. The cost to move the sculpture to UNO was $20,000. Lundberg said he paid for the relocation himself.

But the move did not end smoothly. The crushingly heavy sculpture cracked the concrete base and some onlookers believed the three-story artwork could become unbalanced and fall. Harwood Drive was closed and “Loup Garou” was caged with caution tape. Susan Krantz, dean of UNO’s College of Liberal Arts  explained the need to relocate the sculpture in a July 5 email. 

“Independent site engineers determined that the sculpture's original placement could prove unstable because of the severe weather in the area on occasion and because the land on which it sat could shift,” Krantz wrote. “It was determined that we would have to: 1 -- get permission to lie it down until it could be removed to a new locale entirely; 2 -- ask the artist to remove it and pay for the removal (at $20,000), or 3 -- erect another base close by and move the sculpture. For us at UNO, it was an easy decision-we had to find a way to satisfy the engineers and keep the sculpture at UNO.”

Read "Giant concrete sculpture has moved from City Park to UNO" here.

In late June, “Loup Garou” was moved into its new position, a few yards away, across Harwood Drive. The monstrous sculpture was placed on a much sturdier custom-built concrete platform, rooted by 14 45-foot-deep foundation pilings. Krantz explained the details of the new installation like so: “The bill for building a new base that would satisfy the engineering requirement in size, but would also allow for the appearance of the work emanating from the earth, not standing on a pedestal, was nearly $75,000. This was all inclusive of building the base and moving the piece. Although the price was high, the value of the sculpture itself is far, far above that, and its value to UNO as an art community of higher learning made the cost more than reasonable. Luckily, we were able to find funds to be able to keep the piece displayed at UNO.”

On Tuesday (July 26)  Lundberg completed the cleaning of the sculpture. By then, the cost of the overall project had reached $145,000. Krantz wrote that “The piece is an extraordinarily fine example of Lundberg's monumental work. It stands 2 stories high to pay homage to and rise from the native landscape. It organic shape embodies a variety of materials-both meaningful and mundane, and inspires its viewers to explore how an artist's vision can transform materials into new creations. In this case Lundberg evinces the swamp wolf of legend--gigantic, dark, mythical. We believe that our students and visitors alike can be impressed by its power and inspired to look deeper into the art around them.”

Professor Saucedo admires Lundberg for creating a sculpture that is “unapologetic in all regards.” He considers the concrete monolith to be “honest, coarse, ugly and powerful.” The gnarled shape implies “the apocalypse already happened,” Saucedo said. He points out that the simple shape embodies striking male and female aspects.

Lundberg is relieved “Loup Garou” has finally found a home. “It’s been kicking around for a while.” he said. He says that he's confident the bottom-heavy sculpture was never going to topple in its first UNO location, but he’s happy with the new, more stable installation. He says the sculpture has a New Orleans feel, because it’s come through so much and is “standing tall and proud now.”

Lundberg’s sculpture is one of two new Goliaths on the UNO campus. Read about Seward Johnson’s 20-foot, $2 million “King Lear” sculpture here.

What do you think of Lundberg’s “Loup Garou” and/or Johnson’s “King Lear?” We’d like to hear from UNO students and faculty. Please post comments below, or write to Doug MacCash at dmaccash@timespicayune.com.

Doug MacCash can be reached at dmaccash@timespicayune.com or 504.826.3481. Follow him on Twitter.


Ausstellung in Büdelsdorf NordArt: Große Kunst in kleinem Ort

05. Juni 2011 | 16:10 Uhr | Von Jeanette Schiller, Schleswig-Holstein am Sonntag

büdelsdorf. Wer durch den beschaulichen Ort Büdelsdorf in Schleswig-Holstein fährt, vermutet nicht, dass das kleine Örtchen über vier Monate lang zu einer Metropole der ganz besonderen Art wird. In den Hallen und auf dem Gelände der ehemaligen Carlshütte, die zum Unternehmen ACO gehören, öffnet bis 2. Oktober 2011 die NordArt ihre Tore.

Das Angebot ist überraschend groß und vielfältig: von Malerei und Fotografie über Skulpturen und Installationen bis hin zu experimenteller und Videokunst ist alles dabei. Sowohl Werke von renommierten zeitgenössischen Künstlern als auch neueste Kunst-Tendenzen sind zu sehen. An vielen Stellen ergeben sich interessante Durchblicke, Einblicke und Überblicke auf die Kunstwerke, denn jedes einzelne Stück wurde in Verbindung zu seiner Umgebung überlegt platziert. Die Atmosphäre des zehn Hektar großen parkähnlichen Geländes und der Charme der alten Industriehallen erhöhen den Unterhaltungswert der Ausstellung.

Monumentale Großskulpturen

Beim Betreten des Parks fallen dem Besucher zunächst die monumentalen Großskulpturen ins Auge, darunter eine zwölf Meter hohe Arbeit des amerikanischen Künstlers Peter Lundberg. Das 60 Tonnen schwere Kunstwerk wurde vor Ort nach den Vorgaben des Künstlers aus Beton gegossen und mit Hubkränen aufgestellt. In einer riesigen glänzenden Lotusblüte aus Edelstahl spiegelt sich der Betrachter vielfach wider. Die Skulptur stammt von Zeng Chenggang, einem Kunstprofessor aus China und war auch schon bei der Expo in Shanghai zu sehen. Als internationaler Shooting-Star gilt der tschechische Künstler David Cerny. Seine Installationen sind an zahlreichen Plätzen der Welt zu bewundern. Nach Büdelsdorf hat der Künstler die Skulptur einer schwangeren Frau geschickt.


Die weitläufigen Industriehallen wurden in diesem Jahr geschickt durch Raum-Kuben unterteilt. So entstand mehr Platz zum Hängen der Kunstwerke und vielerorts eine private Atmosphäre. Speziell für die NordArt schuf Rene Schoemakers, der gerade den Lucas-Cranach-Preis erhalten hat, einen beeindruckenden Raum. In einem anderen Kubus überzeugen vier großformatige, farb- und ausdrucksstarke Ölbilder der Künstlerin Wiebke Kramer. Über 50 Meter weiße Leinwände reihen sich in einem anderen 5,50 Meter hohen Raum aneinander. Hier soll während der NordArt Europas größtes transportables Gemälde entstehen. Einige der ausstellenden Künstler sind aufgerufen daran mitzuwirken, später soll das Großkunstwerk auf Tournee gehen.

Viele Kunstwerke stehen zum Verkauf

Wer steckt hinter so viel Ideenreichtum und Kunst-Engagement? Offiziell ist die NordArt eine Initiative des Unternehmens ACO und der Städte Büdelsdorf und Rendsburg. Maßgebliche Motoren sind der Unternehmer Hans Julius Ahlmann, geschäftsführender Gesellschafter der ACO-Gruppe und der Künstler und Kulturmanager Wolfgang Gramm und sein Team. Aus ihrer Freude, Kunst ins Unternehmen zu holen, ist die Ausstellung seit 1993 stetig gewachsen. Heute ist die Schau über Deutschlands Grenzen hinaus bekannt. "Die Qualität spricht sich in der Kunst-Szene herum", so Gramm. Etwa 1200 Künstler aus 72 Ländern hatten sich in diesem Jahr mit ihren Arbeiten beworben. Die Mappen wurden an mehreren Wochenenden von einer Jury gesichtet. An der Auswahl waren neben dem Unternehmer Ahlmann und dem Ausstellungsleiter Gramm auch ein Vertreter des Landesmuseums Schleswig-Holstein sowie weitere Künstler beteiligt.

Die meisten der ausgestellten Kunstwerke stehen auch zum Verkauf. Die Preise reichen von mehreren hundert Euro bis zu einer halben Million Euro. Obwohl sich die NordArt nicht als Kunstmesse versteht, freuen sich die Organisatoren, wenn die Künstler ihre ausgestellten Werke auch vermarkten können.

In diesem Jahr nutzt erstmals auch das Schleswig-Holstein Festival an sieben Terminen die großzügigen räumlichen Möglichkeiten der Carlshütte. Bis September finden außerdem verschiedene Jazzkonzerte, Lesungen und ein Open-Air-Kino Filmfest statt. Zur Ausstellung erscheint ein aufwendig gestalteter Katalog.

NordArt-Prize 2011

Peter Lundberg (USA)

The name of this years awardee,  Peter Lundberg, was announced at the 'Long Night of the Lights' on the 17th of September. 
The price giving ceremony will take place during the opening of the NordArt 2012.

Peter Lundberg – "Katla", 2010, concrete, iron reinforcement, height: 13 meter

The Award Ceremony at the opening NordArt 2012 on 2 June 2012