Nivard’s modern times

Nivard's modern times

Chic golfers pull their bags across the freshly and finely gravelled forecourt, looking straight ahead in the direction of the green. Locher and balle entice, but every now and then someone stops and wonders. Why do so many people stand in front of this inconspicuous, centuries-old wall in the rindhof and admire it?? Because it is the secret star of an exhibition that will be on display there until 25. October 2020 to be seen. The artworks alone are of course worth a visit – but it is advisable for the visitors to find their way around the corners of "haus nivard" look around.

Dorado for art lovers

The rindhof has long since ceased to be just a golf course restaurant and grun. Ever since owner rudi weigand found a taste for art, art lovers' jaws have been allowed to drop when they discover a real venet in the imposing steel structures at the entrance to the huge hotel – and just behind it, real grimms or a real bronze sculpture by beate debus. And the recent visit of painter markus lupertz raises hopes for more world-renowned art in the vorrhon.

Thomas pfarr is also to blame. Together with ursula gluckert he runs "uhren und schmuck dieterich" in munnerstadt, here he also has his gallery pfarr in the heimatspielhaus. Thomas pfarr brought artists to rhon again and again in the past. Now he is curator of the new exhibition in the rindhof. As an ambience he has discovered the house nivard – it is the secret star for four weeks.

The house was built in 1790 by abbot nivard schlembach. The abbot, who was born near bad konigshofen, had already had an eventful 56 years when the house became his retirement home in 1803. He had earned his pension. The monastery maria bildhausen he found highly indebted, the broom with which he swept was hard: according to wikipedia he reduced the number of monks, initiated the gemusebau, love fruit and hop plants. After secularization, the monastery was free of debt, and nivard was able to retire and devote himself to his imposing collection of munitions. Nivard died on 5. May 1812 at the rindhof.

In 1960 the house was renovated, in the meantime it was used as a coarse kitchen for the residents of the dominikus ringeisen-werk living at the rindhof, the nuns lived here until 1993 when the residents of the rindhof moved back to the monastery.

The rooms play along

When rudi weigand bought the rindhof, he set out to revive the abandoned buildings – and since last weekend, the nivard house is alive again. From the basement to the roof, the exhibition "nivard 1" is on display every room. And the rooms play along. When kurt grimm makes his reduced, dynamic and yet elegant steel constructions swing in the basement, the open pipes of the heating system blend into the picture in an industrial cultural sense, as does the basic tone of the wall. The sculptures by willi grimm, kurt's father, impress not only as rough sculptures but also as small sculptures that provide a metallic counterweight to margit aumuller's pastose putty paintings. The two artists fill three rooms in this way – and the eye not only remains on the works of art, it wanders over the unfortunate choice of PVC flooring, which was so practical at the time, to the richly decorated original wing from 1800, and lingers on the ancient picture of the saints, which was probably once hung up by a sister of the order.

Beate debus needs space – she finds it in the kitchen. Their homogeneous wood sculptures, cut out of one piece by electro-sage and yet gentle, fit in well here. They convey the impression of couples, of partnership, of warmth and intimacy – a feeling that goes well with cake. And if you look closely, you will discover other art on the shelf.

Eyes open even in the stairwell. It is not rough, but it shines in the sun as brightly as a rainbow, and that is what it is supposed to represent: a work of art by hammelburger herbert hamak. A secret recipe of synthetic resin, wax, binder and color pigments has brought his works great fame; they can be found, for example, in the guggenheim museum in venice.

Under the roof it is lighter, more filigree, woodier, matching the wickerwork by walter graf. He uses willow branches to create images of insects, cocoons, but also silhouettes of fragile human beings.

As rich in detail as the works of the six different artists are, as rich in detail is the house – and it could pass as a rough work of art of the exhibition. The freight elevator from a long time ago, the forgotten plastic flower arrangement on the crucifix in the kitchen, the intentionally unrepaired and almost completely destroyed wooden floor after water damage – here, visitors can watch time stand still and are still in the here and now through modern art.


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