Walk along the Berlin Citadel Gallery with John Cage's notes: The Feuerle Collection

Installation View of The Feuerle Collection. Scholar Lohan Bed, Qing Dynasty, China, 17th Century, Jichi wood with Nobuyoshi Araki, Mythology, 2001/2015, Gelatin silver print. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

All Images Courtesy of The Feuerle Collection.

It is not the German style to cover up or fill the past tears and scars. In particular, the city of Berlin retains many icy cement bunkers that have historically carried a military mission and a gloomy historical color. With the support of the local government, open art collectors purchased it and turned it into a private gallery. Through the cooperation between the public and private sectors, the ruined historical buildings have become a unique art exhibition platform, and at the same time, they have injected cultural power into the society to achieve a win-win situation. It was converted from the De Nazi bunker during World War II. The Feuerle CollectionIt is not only a subversion of traditional private art galleries, but also an artistic sacred place that will be isolated from the world and will fall into a fall.

The Feuerle Collection. Photo/ def image © The Feuerle Collection.

The Feuerle Collection. Photo: def image © The Feuerle Collection.

The bunker that is built for military purposes is mostly a building with a cumbersome and simple appearance and a thick wall. However, unlike the refuge that provides shelter from enemy air raids and consists of many small compartments, The Feuerle Collection was formerly a space for large telecommunications equipment during wartime; it is about three meters high and has a large single-area area. The columns stand in rows. Therefore, it is only for storage, the atmosphere is more lonely, and the air is filled with infinite coldness.

The Feuerle Collection, Site in November 2015 © Gilbert McCarragher.
The Feuerle Collection, Site in November 2015 © Gilbert McCarragher.
The Feuerle Collection, Site in November 2015 © Gilbert McCarragher.
The Feuerle Collection, Site in November 2015 © Gilbert McCarragher.

As a collector's gallery owner, Désiré Feuerle collaborated with British architect John Pawson to combine the renovation and space design of the building; all the details of the placement and lighting of the artwork were arranged by the tasteful Feuerle. . He not only displays many groundbreaking curatorial techniques, but also constructs an amazing artistic empire through his interpretation of art.

Founder Désiré Feuerle. Photo/ def image © The Feuerle Collection.

Désiré Feuerle in front of Anish Kapoor, Torus, Steel, diameter 110cm. Photo: def image © The Feuerle Collection.

After the guide opened the first door of The Feuerle Collection with the key, the artistic journey that shocked the five senses began. First of all, visitors must walk into the vacancy room called "The Sound Room" and listen to the John Cage piano music that sounds from the ear with absolute silence and no noise. This is three minutes, cleverly concealing people's perception of time and space in the dark. At the end of the music, another door at the bottom of the room suddenly shines, and the guide guides the viewer to walk out of the darkroom and wait for a while.

In the next second, all the lights around were suddenly turned on. The majestic Angkor statues, ancient Chinese seats and contemporary art hanging on the wall instantly rushed into the eye. The legendary Solomon King Treasure or the Crystal Palace of the Sea Dragon King, if turned into reality, must be so shocked.

Installation view of The Feuerle Collection. Anish Kapoor, Torus, 2002, Steel. Photo/ def image ©The Feuerle Collection.

Installation view of The Feuerle Collection. Anish Kapoor, Torus, 2002, Steel. Photo: def image ©The Feuerle Collection.

Feuerle, who loves oriental art, has a large collection of ancient objects such as emperor seats, beds, desks and so on that span the Chinese Han, Ming and Qing dynasties. At the same time, the Cambodian Angkor stone statues from the Khmer Empire in the seven to thirteenth century and the ultimate craftsmanship are also his enthusiasm. The number of contemporary art collections in the museum is relatively small. Feuerle blends ancient and modern, and intersperses sculptures, photography, paintings and antiques; obeys your own feelings and intuitions, boldly combines objects of different styles, and displays the traditional exhibition. Aesthetic.

Installation view of The Feuerle Collection. Khmer Deities from 10th to 13th Century with Chinese Platform, Han Dynasty, China, 2nd Century BC – 2nd Century AD. Photo: def image ©The Feuerle Collection.

Installation view of The Feuerle Collection. Nobuyoshi Araki, Erotos, 1993/2015, Gelatin silver print with Garden Stone Bench, Ming Dynasty, China, 16th Century -17th Century, Limestone. Photo: def image © The Feuerle Collection.
Installation view of The Feuerle Collection. Adam Fuss, Daguerreotype, 2010 with Rectangular Table with Four Legs, Early Qing Dynasty, 17th Century, White marble. Photo: def image © The Feuerle Collection.
Installation view of The Feuerle Collection. Nobuyoshi Araki, Tokyo Comedy, 1997/2015, Gelatin silver print with Stone Table, Song Dynasty to early Ming Dynasty, China, 10th Century – 15th Century, Limestone. Photo: def image © The Feuerle Collection.
Installation view of The Feuerle Collection. Nobuyoshi Araki, Kinbaku, 1979/2015, Gelatin silver print with Stone Scholar Table, Ming Dynasty, China, 16th Century -17th Century, Limestone. Photo: def image © The Feuerle Collection.
Installation view of The Feuerle Collection. Khmer Deities from 10th to 13th Century with Chinese Platform, Han Dynasty, China, 2nd Century BC – 2nd Century AD. Photo: def image ©The Feuerle Collection.
Installation view of The Feuerle Collection. Nobuyoshi Araki, Erotos, 1993/2015, Gelatin silver print with Garden Stone Bench, Ming Dynasty, China, 16th Century -17th Century, Limestone. Photo: def image © The Feuerle Collection.
Installation view of The Feuerle Collection. Nobuyoshi Araki, Tokyo Comedy, 1997/2015, Gelatin silver print with Stone Table, Song Dynasty to early Ming Dynasty, China, 10th Century – 15th Century, Limestone. Photo: def image © The Feuerle Collection.
Installation view of The Feuerle Collection. Adam Fuss, Daguerreotype, 2010 with Rectangular Table with Four Legs, Early Qing Dynasty, 17th Century, White marble. Photo: def image © The Feuerle Collection.
Installation view of The Feuerle Collection. Nobuyoshi Araki, Kinbaku, 1979/2015, Gelatin silver print with Stone Scholar Table, Ming Dynasty, China, 16th Century -17th Century, Limestone. Photo: def image © The Feuerle Collection.

In the two-story exhibition space, you can see the black-and-white photography of Nobuyoshi Araki, the erotic master, placed on the furniture of the Qing Dynasty, with the rich color and lust of the image, echoing the abstraction of the lines and concealing the meaning of the images. Qing Dynasty furniture. The antiquities of the Angkor Empire during the Hamming period were also shown in collaboration with contemporary artists such as Anish Kapoor, Cristina Iglesias, and Adam Fuss. Times, creative media, expressions, and textures are scattered throughout the open space of The Feuerle Collection; seemingly casual, creating a unique order and logic.

Installation view of The Feuerle Collection. Adam Fuss, From the series My Ghost, Unique Gelatin Silver print Photogram with Large Side Table with Everted Ends, Early Qing Dynasty, 17th Century, Tieli wood. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild- Kunst, Bonn.

A Pair of Imperial Black Lacquered Bookcases with Gold Tracery Dragon Motifs, Ming Dynasty, China, 16th Century, Black lacquer on wood with Adam Fuss, From the series My Ghost, Unique Gelatin Silver print Photogram. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Harihara, Khmer, Pre-Angkor Style, Early 7th Century, Polished Stone. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Installation view of The Feuerle Collection Side Table With Everted Ends, Early Qing Dynasty, China, 17th Century, Elm wood with Nobutoshi Araki, LOVE BY LEICA, 2006/2015, Gelatin silver print. In the back: Scholar Lohan Bed, Quing Dynasty, China, 17th Century, Jichi wood. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Installation view of The Feuerle Collection. Head of Young Make Divinity, Khmer, Baphuon Style, 11th Century, Stone. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Installation view of The Feuerle Collection. Adam Fuss, From the series My Ghost, Unique Gelatin Silver print Photogram with Large Side Table with Everted Ends, Early Qing Dynasty, 17th Century, Tieli wood. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild- Kunst, Bonn.
A Pair of Imperial Black Lacquered Bookcases with Gold Tracery Dragon Motifs, Ming Dynasty, China, 16th Century, Black lacquer on wood with Adam Fuss, From the series My Ghost, Unique Gelatin Silver print Photogram. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Installation view of The Feuerle Collection Side Table With Everted Ends, Early Qing Dynasty, China, 17th Century, Elm wood with Nobutoshi Araki, LOVE BY LEICA, 2006/2015, Gelatin silver print. In the back: Scholar Lohan Bed, Quing Dynasty, China, 17th Century, Jichi wood. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Harihara, Khmer, Pre-Angkor Style, Early 7th Century, Polished Stone. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Installation view of The Feuerle Collection. Head of Young Make Divinity, Khmer, Baphuon Style, 11th Century, Stone. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

In the middle of one of the Chinese imperial stone tables, the installation of the lost American artist James Lee Byars, the strange conflict of beauty, originated from the small story between Feuerle and the master of art. Byars gave Feuerle a lot of advice on art collections during his lifetime, including trying bolder display techniques. Today, Feuerle breaks through the low-key style of the past and decides to share the private collection with the favorite Chinese art. Helpless, but can no longer personally ask if Byars like this ingenuity.

Installation View of The Feuerle Collection. Scholar Lohan Bed, Qing Dynasty, China, 17th Century, Jichi wood with Nobuyoshi Araki, Mythology, 2001/2015, Gelatin silver print. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

Installation view of The Feuerle Collection. Nobuyoshi Araki, Erotos, 1993/2015, Gelatin silver print with Red Lacquered Lute Table, Ming Dynasty, China, 16th Century, Cypress wood, red lacquered, with gilt decorations. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Cristina Iglesias, Pozo XII (Desde dentro), 2016 Bronze, pietra serena, electric material and water Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Installation View of The Feuerle Collection. Scholar Lohan Bed, Qing Dynasty, China, 17th Century, Jichi wood with Nobuyoshi Araki, Mythology, 2001/2015, Gelatin silver print. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Installation view of The Feuerle Collection. Nobuyoshi Araki, Erotos, 1993/2015, Gelatin silver print with Red Lacquered Lute Table, Ming Dynasty, China, 16th Century, Cypress wood, red lacquered, with gilt decorations. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.
Cristina Iglesias, Pozo XII (Desde dentro), 2016 Bronze, pietra serena, electric material and water Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

Feuerle's imagination and practice of space is equally jaw-dropping. On one side of the exhibition floor on the first floor, after entering the wall, I was shocked by the dark glass curtain. After looking at the floor-to-ceiling windows, I found that the window was next to The Feuerle Collection and the size of the space was the same. Another bunker. But this building is not a show space, but a pool 2.5 meters deep and named "The Lake Room." There is nothing left above the surface of the water, only the skylight. The use of the space of the dew is not only to preserve the original appearance of the historical relics, but also to maintain the constant temperature system in the museum. Using water as a medium, heat energy from the earth is stored in the building.

Looking back on 2010, British sculptor Richard Wilson has insulted a lot of oil into London. Saatchi Gallery The basement booth, the quiet and translucent surface, makes all the viewers can't believe the pool water in front of them is a black oil that is enough to make people drown. Similar to the concept of transplanting, Feuerle uses more Zen water; a timely breeze smashes through the smooth water surface, which confirms that the huge water body is located here.

Black lacquered table Early Ming Dynasty, late 15th Century, lacquer on wood; wooden holders for 24k gold mica plates containing agarwood fragments; Fen-fu-liu (Vyajana) (right), made of blue-and-yellow macaw feathers, 24k gold , Narra wood, and Jin Feng Yin (fan) (left) made of blue-and- yellow macaw feathers, 24k gold, bamboo, commissioned by Désiré Feuerle, 2017. Photo: def image ©The Feuerle Collection.
The Incense Room. Incense table and stools, black wood, concept by Désiré Feuerle, design by John Pawson, project consultant Jerry Chen, produced by Degoo-Chunzai Workshop, Kevin Chen. In the background black lacquered table, Early Ming Dynasty, late 15th Century, lacquer on wood. On the table: Fen-fu-liu (Vyajana) made of blue-and-yellow macaw feathers, 24k gold, Narra wood, and Jin Feng Yin (fan) made of blue-and-yellow macaw feathers , 24k gold and bamboo, cmmissioned by Désiré Feuerle, 2017. Khmer Throne, 17th Century, wood and pigment. Photo: def image ©The Feuerle Collection.
The Incense Room. Detail view of the Incense table, incense burner and 24k gold mica plate with agarwood. Concept by Désiré Feuerle, design by John Pawson, project consultant Jerry Chen, produced by Degoo-Chunzai Workshop, Kevin Chen. Photo: def image © The Feuerle Collection.
The Incense Room. Agarwood fragments, 24k gold mica plates and wooden holders. Photo: def image ©The Feuerle Collection.
Outside view of The Feuerle Incense Room. Female Divinity, Khmer, Baphuon, 11th Century, Stone. Khmer sculptures reflections. Photo: def image ©The Feuerle Collection.
The Incense Room. Incense table and stools, black wood, concept by Désiré Feuerle, design by John Pawson, project consultant Jerry Chen, produced by Degoo-Chunzai Workshop, Kevin Chen. In the background black lacquered table, Early Ming Dynasty, late 15th Century, lacquer on wood. On the table: Fen-fu-liu (Vyajana) made of blue-and-yellow macaw feathers, 24k gold, Narra wood, and Jin Feng Yin (fan) made of blue-and-yellow macaw feathers , 24k gold and bamboo, cmmissioned by Désiré Feuerle, 2017. Khmer Throne, 17th Century, wood and pigment. Photo: def image ©The Feuerle Collection.

When it comes to the uniqueness of The Feuerle Collection, of course, I have to mention the "The Incense Room" experience created by the museum, which will be passed down from the Chinese Han Dynasty, the traditional spiritual scent therapy and rituals. Performed gracefully in the silence of the world.

Outside view of The Feuerle Incense Room. Female Divinity, Khmer, Baphuon, 11th Century, Stone. Khmer sculptures reflections. Photo: def image ©The Feuerle Collection.

Black lacquered table Early Ming Dynasty, late 15th Century, lacquer on wood; wooden holders for 24k gold mica plates containing agarwood fragments; Fen-fu-liu (Vyajana) (right), made of blue-and-yellow macaw feathers, 24k gold , Narra wood, and Jin Feng Yin (fan) (left) made of blue-and- yellow macaw feathers, 24k gold, bamboo, commissioned by Désiré Feuerle, 2017. Photo: def image ©The Feuerle Collection.
The Incense Room. Agarwood fragments, 24k gold mica plates and wooden holders. Photo: def image ©The Feuerle Collection.
The Incense Room. Detail view of the Incense table, incense burner and 24k gold mica plate with agarwood. Concept by Désiré Feuerle, design by John Pawson, project consultant Jerry Chen, produced by Degoo-Chunzai Workshop, Kevin Chen. Photo: def image © The Feuerle Collection.

The Feuerle Collection, which is completely subversive, is full of breath; however, as magical, it can't help but take another breath, just to build a complete sensory impression in the mind. The military bunker was originally of an offensive meaning and intention. Today, Feuerle transforms it into a vaguely time-spaced, dreamlike cold-tuning situation through his art history.

The Feuerle Collection
Hallesches Ufer 70, Berlin.
Opening Hours: Fri/ 02:00 pm-07:00 pm
Sat-Sun/ 11:00 am-07:00 pm
T: +49-3025792320
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