Foreword Living is one ofthe great topes of made Me And because Iving sso fundamental, thas always been a theme that has net only been taken up by design, but also by modern art. “Living in at” st took pace in the context of Painted interiors. But since the interior let the confines ofthe frame and became an installation inthe thites, art increasingly approaches real intro design inthe shape of fuiture-Ike works of ator wallpaper-ike wall paintings. Whoever enters a galery ora museum space today mightin fact thnk inthe or she ein a home furnishing store or living room. Recently prestigious Parisian exhintion institution, for example, prevented a work by the Swiss artist ohn M Armleder whe hal a museum space ited out as red salon by the star decorator Jacques Garcia. When i was shown ata Frankturt gallery, Tobias Rehbergers instalation Fragments of her pleasant spaces fr my fashionable version} was sso only identiiable asa work of at by means ofthe label onthe white wall-The artist asked fends bout her notions a a retxing room stustion and afterwards produced dweing ragments according tthe prevaing esign trends. Conversely, designers have lng since begun taping new ideas from the at weld. Philppe Starck's billart pieces of tuitue ae unthinkable without the crazy formal compositions ofthe Surealist Salvador Dal and a presertation ofthe most recent collection by the young inti design stars Renan and Erwan Bouroullec can ‘easly be taken ae a Rehberger instalation, Bu only ata brie fret glance, because cerent functions and production concitons stil separate the areas of the fine arts and the applied ats. And thats the way it shouldbe, because the ‘exciting thing about the two fields approaching one another isnot the fusion, but the metabolic process, the ‘exchange of ideas and the transfer of working methods, during which the fel spotight each other, making the Production of something new possible, The ineveasing proximity between art and design Is not simply end inthe at business, but a fundamental process thats inherent in the genetics of modernity. Alongside the interplay between seulpture and architecture, became fone of tre most stimulating phenomena of twenteth-century cuture. The Kunstmuseum Welfsburg, which has voted ts recent program to interisciplinary questions as well asthe future of modesty, now brings ths interplay to ming in the context of ahistorical development. On the basis of about 120 exists—inluding orginal fumture, historical interiors, numerous sculptures, and paintings by artists such as Edvard Munch, Henri Matisse, and Roy LLetionstoinas woll as installations created specifically fr the exhibition, photographs, and video projections we stice an are reaching back othe early days of modernity. Twelve stations ead visitors through the project. They follow the development ofthe crossover between interior design and art ranging from a ving room by Henry van do Velde and te spectacular one-to-one reconstuction a Pet Monedan’s Parisian studio to selected leans ofthe Bauhaus period and, finally, Verner Panton’ colrfl eubbyhale Visions 2—2n exhibition highpoint. The sexy sixties Pop interior with 8 fokati rug and lip-shaped sofa juxtaposed withthe Calfemian Case Study model house project complete with elegant, foo-to-cling glazed bungalows. Thelving space is transformed inte an exhibition space in:he reconstruction of Donald Juak's eighties ltt in Marfa, Texas, where furnture by Ei 3m Gray, Marcel Brouer, and Donald Judd are perceived as works of art ust asthe sculptures by Imi Knoebel and Richard Artschwager ‘Acollector could well zk “whe will curate my ving room fr me?” a the risk of navng o look fora second home, because he or she is no longer certain which objects ean be sat on and which ones cannot White previous exhibition on this theme, such a¢ Come in 200}, exganized by the Insitute for Foreign Cultural Relations in Sttigat or Home Sweet Home (887) at the Hamburg Deleharalen, conceited an contemporary athe Tks attenm Men ue andv i present project spans a historeal ridge and combines real design abjects with works af at In Intevior/Extovoy, ii arsen saan aeartists tom the area of Ambient At (Tobias Rehberge, Gerwald Rackenschaub, Andrea Ziel encounter hetshots ofthe contemporary designer scene such as Jasper Morrison or the Bourollec brothers forthe st time. Tobias Fonberger created a paved Orenticher Platz fr eine geschlossene Anstalt (Public Square fer a Machouse or the ‘exibition hallin Wolfsburg, extending the notorious Porechestrasse pedestrian zone into the museum ise ‘The play between the interior and the exterior has its roots in modern architecture: the eissolving ofthe separation of Inside and outside by means of transparent glass walls. The inside-out prneple runs tke golden thread trough ‘he itver/Exteviorexhibiton and culminates inthe visualization of Wemer Sobek’ future “Wing nthe soap bubble” project. The inhabitant becomes one with his enwzonmentin the portable, eight-meter long round glass capsule. ‘But he can also isolate himset om hs suneunaings atthe fick of a sutch by means ofan electrically activated fol ‘wo basic needs of the modem soul meet up inthis transparent R 128 cocoon: the deste for seclusion and int ‘acy, andthe otive for exparsion and communication. Alexander von Humbolit once described the essence ofan ‘exhibition asa journey, and tne journey, in urn as metapner fore, Our exhinton describes the journey, or better: the maser soul's search for suitable housing within the cosmos ofa completly rationalized and increasingly ‘slobalzed worl. Cocooring and the dissolution of Boundaries are two poles between which modern Ining needs ‘oor, And they aso form the second commen themate thre through our exhibition With ving in the soap bubble, we not anty anticipate a piece ofthe future, but jump beck te the eve of medernity— won the interplay between cocooning and the dissolution of boundaries began. Two paimings are contrasted with each othe at the start ofthe Intrior/Exterior exhibit: Georg Friedrich Kerting's 1812 Bledermeler interior The Embroideress a the Window and Caspar David Fiedich's 1808 Bohemian Landscape with Mount Mileschaver, hich conveys the Remanti feeling of being both onthe inside and the outside, of being in the inne interior of ‘the cosmes. “Living” means much more than simply staying in an apartment, According tothe philosopher Martin Heidegger. ving is “te manner in which man's bsing-in-the-world is embeded inthe fourfold of heaven and earth divinities and mortals.” {special exhiotion mse en seéne is necessary in order to turn ths great theme into sensuous event. Tis has again ‘been possible thanks tothe generous amount of space inthe Kunstmuseum Wolfsburg's hall, with its frty-by= forty meters of foor space, sxteen-metertllceling and a exible exhibition wall system. Like inthe eal, hewise istorcaly overt ArchiScuptur 2008) and Japan and the West 2007) exnbitons leer Thiel gavethe heterogenety ‘ofthe mataral a unifed and simutaneously diversified frame. He played ou the inttor/extrior theme inthe exhibtion| architecture with cunning insights and outlook, wth wall hat simultaneously mark inside and outide, and with amps that also alow the interior exterior tobe experienced from above, The contetual tread of he dissolution of ‘boundaries and cocooring was skilully woven through the interplay of an open, flowing spatial structure inthe ‘sense of the De Sti environments Gerrit Ritveld's famous 1823 Berlin chair served as athe mol for it—and the ‘enclosed spatial cubes inserted int. accerdance with the concept a he Art Nouveau inter, th rs! hres chapters sre stuated in closed compartments The structure then opens up: the walls deft apart and become fying spat lies producing uid time-space continsumn keeping wih the revolution of New Bulking. We were futhermare able to all back on existng museum inttiors such ashe Allon museum restaurant, which was rebul wo years age by ‘the Designolre Morgen using Le Corbusier's colors. The futustie Za Hadid Lounge was reconstructed accorcing to's original design and houses a project caried ut in cooperation wih Volkswagen's Technical Development Section—an interactive hing environment simulated wth the help ofnnovative augmented ity technology Kazuhisa Kawamura’ Japanese Garéen opened last wintor—its spacious gravel ground, elongated walls, and green bamboo {orm the ies! courtyard ambience forthe reconstruction of Mes van der Rone's elegant 1928 Barcelona Pavilon, Fottowing he exhibiten ArchiScuipture (2006), with is foeus an the interplay between sculpture and architecture, Interor Exterior examines the ranscleeplinaty crossover af at and design tom the perspective a the Inter. After Japan and the West last winter, the present exhintin ss further key project inthe Kunstmuseum's new programs Foreword