AMSTERDAM — At just 17 years old, German artist Anselm Kiefer embarked on a journey to walk in the footsteps of Vincent van Gogh, tracing the iconic artist’s path from the Netherlands through Belgium and into France. Now, over fifty years later, the Van Gogh Museum teams up with the adjacent Stedelijk Museum—an establishment recognized for its modern and contemporary art—to present a grand exhibition of Kiefer’s work. This exhibition, entitled “Sag mir wo die Blumen sind,” takes inspiration from Pete Seeger’s famous pacifist song, “Where Have All the Flowers Gone?”
Kiefer explains that his intention isn’t purely to showcase an anti-war message, though international events such as the ongoing conflict resulting from Russia’s invasion of Ukraine inevitably inform his work. He remarks, “I don’t set out to create exhibitions against war specifically. My work is about what must come out of me, touching on themes like the dead and war without being confined to a strict agenda.”
While Kiefer’s artworks, shaped by the post-World War II environment in Germany, exhibit a somber tone, they may not initially appear directly related to Van Gogh’s vivacious and color-rich landscapes or sunflower depictions. However, a closer examination, such as pairing Kiefer’s 2019 piece “The Crows” with Van Gogh’s 1890 masterpiece, “Wheatfield with Crows,” reveals the German artist’s influences.
The exhibition showcases more than just shared crow motifs—the iconic sunflower, a favorite of Van Gogh’s, also features prominently in Kiefer’s creations. One notable piece displays an immense dried sunflower suspended upside down in a glass case, spilling its seeds onto a book crafted from lead sheets, while another work, “Sol Invictus,” depicts a sunflower looming over the artist in a yoga pose known as the corpse pose.
Among the collections are sketches from Kiefer’s youthful journey retracing Van Gogh’s footsteps, witnessing the profound bond the 79-year-old artist maintains not only with Van Gogh but also with the Stedelijk Museum and Dutch collectors of his early works. Showcased among the pieces is a sculpture reminiscent of a B-1 bomber titled “Journey to the End of the Night,” crafted from lead.
The exhibition’s focal point at the Stedelijk is an installation that shares its name with the show, centered around the museum’s grand staircase. This piece incorporates paint-spattered clothing-hung on hangers, with flower petals cascading from paintings to create a heap on the floor. Kiefer incorporated a significant line from Seeger’s song, famously translated into German by Marlene Dietrich, within this installation: “Who will ever learn?”
Kiefer states, “This line renders the song philosophical. We still struggle to comprehend why events, akin to those in 1933, occur even today worldwide.” When prompted about the recent surge of Germany’s far-right Alternative for Germany party, he comments, “It’s terrifying.”
The centerpiece involves diverse components such as emulsion, oil, acrylic, shellac, gold leaf, electrolytic sediment, dried flora, straw, fabric, and steel. Straw elements in Kiefer’s paintings often produce intricate textures resonating with Van Gogh’s bold brushstrokes.
“It’s as though he works like an alchemist, transforming material into art,” explains Edwin Becker, curator at the Van Gogh Museum.
The collaboration awaits visitors from March 7 until June 9 at both the Van Gogh Museum and the Stedelijk Museum.
