Hilma af Klint –
A pioneer of abstraction

chezweitz trans­lat­ed Hilma af Klin­t’s rad­i­cal moder­ni­ty into a unique exhi­bi­tion design with a strict­ly orthog­o­nal, cubic floor plan. The square, as a sym­bol of abstrac­tion, became the basis of the sceno­graph­ic work. Six cubes, cut open at the edges, cre­at­ed the nec­es­sary sur­face for hang­ing the pow­er­ful paint­ings, while open and inti­mate spaces for con­cen­trat­ed con­tem­pla­tion allowed vis­i­tors to mean­der between the var­i­ous groups of works. The result­ing ever-chang­ing per­spec­tives reveal the aston­ish­ing vari­a­tions in Hilma af Klin­t’s ser­i­al works. Strolling through the scenog­ra­phy, vis­i­tors expe­ri­ence this aston­ish­ing­ly diverse oeu­vre, for the per­spec­tives are, of course, care­ful­ly con­struct­ed in the archi­tec­ture and hang­ing. Devel­op­ments, con­nec­tions, and cli­max­es are revealed intu­itive­ly. A sub­tle con­cept of col­or, mate­ri­als, and fur­nish­ings empha­sizes the rad­i­cal nature of this pio­neer of mod­ernism, but the most impor­tant max­im was to sub­tly medi­ate between the artist and the space, trans­fer­ring the artis­tic idea into the exhi­bi­tion space with­out com­pet­ing with the art­works. The scenog­ra­phy also offers a forum for indi­vid­ual per­spec­tives and views, allow­ing the audi­ence to expe­ri­ence a unique dra­matur­gy and narrative.