Ms. Beckmann, the Gesellschaft für Moderne Kunst supports the Ludwig Museum in various ways. What moved you to become personally involved?
The institution of the museum has always been my passion, especially areas such as the expansion and preservation of the collection, the challenging examination of art. This is also the mission of our sponsoring association, in this respect my commitment is a real affair of the heart!
What are the tasks and aims of the Gesellschaft für Moderne Kunst of the Ludwig Museum?
We would like to promote the visual arts in the Ludwig Museum – ideally and materially. In general, we are looking to expand the understanding of contemporary art – including our own, for that matter – through, for example, open discussions and lectures based on the motto “You only see what you know”. We support the museum materially by cooperating closely with our members – the annual Wolfgang Hahn Prize is a special form of collective patronage. Furthermore, individual persons or groups have launched annual initiatives for a long time already, for example, the “Junger Ankauf”. Or the “Perlensucher” (a group which seeks out important artworks for the Ludwig collection and promotes their purchase). And it is important to try out new ways of exhibiting – hardly possible for the museum from its budget. As part of the “Hier und Jetzt” exhibition series, a presentation is created every year that jolts the boundaries of the classic museum exhibition and expands the horizon.
You are the only granddaughter and heir of Max Beckmann, one of the most important painters of the 20th century, you have studied restoration and art history, and you managed a gallery for art from the 20th century. Does that influence your view of contemporary art and your involvement in the association?
Certainly! Of course I don’t get my family history from my DNA. Ever since I can remember, art has shaped my environment. I couldn’t fail to understand how important the museum as an institution is for artists that their work be visible there in the context of other artists. For the public, in turn, it is a wonderful opportunity to see great works of art, artefacts from human history, or even works from new trends. On the other hand, from my experience I know that no museum is financially so equipped to implement its plans without aid and private support. So it was only logical to respond positively when I was asked if I wanted to take on responsibility in the Gesellschaft für Moderne Kunst. It is very fulfilling to accomplish a lot for the museum together with my colleagues on the board.
The Ludwig Museum is facing unprecedented challenges due to the Corona pandemic. How can a support association aid the museum to overcome them?
The last year forced us all to get more involved in digital communication. In our experience, a clear policy, good timing, and only “real” content are the essential things and, of course, a high degree of flexibility. Once the museums are open again, we have to quickly invite people back for an analogue art experience. Because, in my opinion, access to the original art in its directness and materiality remains key, even if introduction to the digital medium is important.
Are there past projects and activities that are particularly important to you personally? And what will the future bring?
One of my favourite projects is the “kunst:dialoge” which we had started in 2003, incidentally as the first museum in Germany. Every year, around 25 young art students are trained at several levels as part of “kunst:dialoge”. They learn about the museum in its complexity, practice speaking freely and conveying body language: How to approach people, how to engage them in conversation to relay content and information and to dispel any reservations? Then they support, for example, the visitors on “Langen Donnerstag” (Long Thursday) in the museum for informal conversations face to face. Giving impetus to all our formats is part of our efforts. Furthermore, it is our desire to help the museum take care of and redesign the permanent collection. That is particularly costly for an ever-growing museum of contemporary art, and there is hardly any budget for that. Many artworks, when they are displayed, need to be reproduced each time. That means that there is always need for new technologies such as motors, screens, projectors, lamps, or loudspeakers. The installations are complicated, the materials often fragile. We are therefore very specifically looking for support. But even classical art requires care, and that is often expensive. In the last few years, we were able to initiate the restoration of a major work by Brice Marden through our most recent project, the “International Society”, as a result of which it can hopefully be displayed again in the coming year.
The main theme of this magazine’s issue is “closeness”. Which artwork in the Ludwig collection do you feel particularly close to?
You asked me about Max Beckmann, my grandfather. So it stands to reason: the Beckmann collection which Lilly von Schnitzler-Mallinckrodt donated in 1957. I have known this collection my whole life, even when it was still hung in the wonderful home of this great collector in Bavaria. For me, visiting the Beckmann room in the Ludwig Museum is therefore like coming home.