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.
21 October ‒ 3 December 2017: Exihibition in the vault on the 1st 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.
20 October, Friday 7 pm: EXHIBITION OPENING
Greeting: Anton Spitlbauer, District County of Upper Bavaria
Introduction: Dr. Björn Vedder, curator of the exhibition
21 November, Tuesday 5 pm: meetingpoint+art
Guided tour with Alexandra M. Hoffmann
26 November, Sunday 3 pm: KUNST#TAG 055
Partners in Play ‒ reading and artist‘s talk with
Durs Grünbein and Via Lewandowsky / in the framework of
the 35. Literary Autumn in Freising
Murmur in Sector Zero was developed specifically for the
Schafhof. Lewandowsky transforms the vaulted ceiling into an
abandoned ark. To this effect, he combines a sculptural work
with a sound installation of language, paralanguage, and
sound-based elements. His ark, however, transports people
and not animals. The artist writes: “The military transporter is
empty. The people are gone. They have left behind something
that one could describe as the acoustic remnants of the
exhausting activity of enduring. In a place where animals once
demonstrated the practice of patience, this constructed model
situation becomes a contemplative observation of waiting.
For on our journey to the inner realm of emptiness, we come
closest to the dimension of the cosmic.”
Via Lewandowsky, born 1963 in Dresden, studied at the Dresden
Academy of Fine Arts from 1982 to 1987. As part of the avantgarde
group Autoperforationsartisten, between 1985 and 1989
he there engaged in subversive performances that ran counter
to the official art scene of East Germany. In 1989 he left the
country shortly before the fall of the Wall and moved to West
Berlin. After extended stays abroad, in New York, Rome, Peking,
and Canada, among other places, he now lives in Berlin. He has
received numerous awards for his work.