Logo Villa Schöningen. Schwarz weiß gehalten



Kuratiert von Sonia González und Gregor Hildebrandt

Johannes Albers

Olivia Berckemeyer
Matthias Bitzer                     
John Bock                     
Björn Dahlem     
Edith Dekyndt
Cecilia Edefalk 
Amélie Esterházy
Bernard Frize 
Axel Geis                 
Raimund Girke 
Anna Grath
Theresa Hecker 
Gregor Hildebrandt
Leiko Ikemura                                                         Ann Veronica Janssens
Caro Jost                    
Manuel Kirsch 
Jürgen Krause 
Alicja Kwade
Inge Mahn
Isa Melsheimer                    
Olaf Metzel
Gerold Miller                     
Gabriel de la Mora 
Irina Ojovan                
Manfred Pernice 
Anselm Reyle 
Gerd Rohling 
Robert Ryman 
Michael Sailstorfer
Karin Sander
Erik Schmidt 
Jan Schmidt
Chris Succo 
Milen Till
Jorinde Voigt
Wiebke Maria Wachmann
Thomas Zipp



The blank page of a book as a new beginning, a white dove as a symbol of peace, Buddhist monks wearing white in mourning. Purity, innocence, infinity, perfection, quiet, emptiness, cool. Rarely is any colour as laden with meaning as the colour white.


Blanc de Blancs – connoisseurs of wine use this term for a white wine pressed exclusively from white grapes. Blanc de Blancs also refers to the complex significance of this colour.


Snow falls behind the mountains, an exhibition curated by Berlin artist Gregor Hildebrandt in Copenhagen, serves as the starting point for Blanc de Blancs, to which Villa Schöningen added several other artistic positions. From 19 March to 8 May 2022, Villa Schöningen presents 54 works of art by 38 contemporary artists. As much as these works differ from one another, they all share one formal criterion: they engage with the colour white. With this achromatic colour that signifies not only reduction but complexity.


Karin Sander, for example, sends a white-ground, round canvas from exhibition to exhibition – entirely unpackaged. The subsequent patina, dents, cuts and supposed damage yield a drawing, a record of a shipping transit, a record of time. The work starts as a blank page and emerges by way of participation.


A different form of documentation of space and time can be found in The Sum of All Best Practices by Jorinde Voigt. The monochrome white of her work gives room for lines, cutting edges and shapes to appear, capturing the particular forms of a certain place at a certain time. In this case, it is foliage leaves the artist gathered on the way to her studio in the autumn of 2021.


Jürgen Krause applies a primer of chalk with a brush to both sides of a piece of paper. The mantra-like repetition of this process creates a blocky object of several centimetres, a concentration of countless possible drawings. Merely the title Priming. May to September 2012 alludes to a beginning and an end, even though the process is conceivable as repeating ad infinitum.


Thus, Villa Schöningen starts its exhibition year with a blank slate. The latest detention of a young Russian protesting her country’s invasion of Ukraine is but one example of the power of a white page. The protester expressed her dissent through a white poster without any writing or symbols. This was enough of a provocation for Russian authorities to arrest her.