Visual arts

The first route leads through the city center, from the Staatstheater to the Kunstmuseum and Kernerplatz, passing numerous important Stuttgart cultural institutions. The density of artworks is very high. Due to the proximity to the city center, this tour can be easily combined with a shopping trip, a visit to a museum or a walk through the palace park.

Bewegung II (2), the seven-meter-high abstract metal sculpture made of stainless steel, was designed by Viennese artist Wander Bertoni for the opening of the 1961 Federal Garden Show. In designing it, he pursued the goal of representing the abstract concept of movement in a plastic way. Despite its size, the figure appears dynamic, light and powerful.
With the installation of this first abstract figure in public space, Stuttgart wanted to present itself as an international and cosmopolitan city.

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Continue: approx. 200 meters past the Eckensee, in the direction of Neues Schloss, on the right

As part of the exhibition “Art Landscape Federal Republic” at the Württembergischer Kunstverein, Olaf Metzel traveled to Stuttgart in 1984, representing the Berlin region. The idea for his work Stammheim arose - typical for Metzel - only during the journey. It alludes to the current social discussion in 1984 about the terrorist acts of the “Red Army Faction” (RAF) and the trials of its members. From the very beginning, the Stammheim installation aroused public opinion. In 2001, there was a discussion about whether the artwork was still contemporary. It was decided that it still possessed current significance - it was retained.

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Continue: approx. 100 meters in the direction of Schlossplatz

The artwork Abendstern (Evening Star ) by Micha Ullman was engraved into a sidewalk slab at the corner of Stauffenberg- and Bolzstraße in 1996. Only attentive passers-by will discover the indentation and perceive it as a work of art, because nothing in the surroundings indicates the artist or the artwork, which both symbolizes a sundial through light and shadow and becomes a mirror of the sky when it rains. It is one of a series of “Minimenten” that Ullman has installed in Stuttgart. Once someone has discovered the Evening Star, it never lets go. Its simplicity leaves room for complex interpretations.

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Continue: approx. 100 meters in the direction of Königsbau

Eugen Bolz, president of Württemberg from 1928 to 1933, was sentenced to death on December 21, 1944, after the failed assassination attempt on Adolf Hitler on July 20, 1944, as a member of the resistance circle around Carl Friedrich Goerdeler, and was beheaded on January 23, 1945, in the Berlin-Plötzensee penitentiary. Alfred Hrdlicka avoids anything heroic or pathetic in his sculptures. He prefers to depict people endowed with shortcomings, pain or fear.
Consequently, he has not placed the politician Eugen Bolz on a high pedestal as a larger-than-life hero. Instead, he shows him, facing us, as an upright, composed, yet physically weakened man.

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Continue: past the Königsbau, along Königstraße, in the direction of Rotebühlplatz (approx. 100 meters)

Crinkly avec disque rouge consists of several steel elements reminiscent of origami figures. The artwork combines movement and statics, thus unfolding a complex plastic tension held in fragile balance. The so-called Mobile-Stabiles stands in effective contrast to the smooth and sober glass facade of the Art Museum.
The modern sculpture was erected in 1981. At the time, it heated up some tempers among the population and was not without controversy. With the opening of the Kunstmuseum in 2005, it was given a permanent point of reference.

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Next: to the foyer of the Art Museum (about 20 meters)

La nuit is the third large-scale sculpture by Aristide Maillol. In 1980, the city of Stuttgart acquired the last of six casts. The other casts are scattered all over the world. Maillol concentrates the female nude in monumental circular sculptural forms of consummate flatness. By dispensing with details and individual features, his nudes radiate infinite calm and harmonious balance. Moreover, Maillol attaches great importance to the fact that his sculptures are completely embedded in nature.

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Next: up the stairs to the Small Castle Square

Carsten Nicolai’s artwork Polylit has been on display on Kleiner Schlossplatz since May 2006. During the day, the glass sculpture reflects the surrounding buildings, making them part of the artwork. At night, it is illuminated from the inside, making the supporting steel structure visible. In addition, the sculpture reacts to electromagnetic radiation and is thus able to limit the function of cell phones or laptops in its vicinity. The artwork is not located in the center of the Schlossplatz, but closer to the Kunstmuseum, thus making its affiliation with the museum clear.

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Next: on the Kleiner Schlossplatz to Friedrichstraße

The sculpture Stadtzeichen Stuttgart originates from a comprehensive project for the artistic design of urban space. In 1969, as part of the “Platzmal” exhibition, Otto Herbert Hajek covered the small Schlossplatz in Stuttgart with large monochrome color stripes in red, yellow and blue. The Stuttgart city sign, which was originally a painted wooden sculpture, was placed in this “color landscape” along with other sculptures. In a second, larger version from 1974, Hajek then created the Stuttgart city sign in steel. In 2005, the sculpture was restored and placed in its current location.

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Continue: approx. 200 meters, back to Königstraße

The relief-like marble sculpture Indescribably Female by Herbert A. Böhm was made in 1979 and exhibited at the Federal Garden Show in Bonn, then at the International Art Congress in Stuttgart and in Maulbronn Monastery. In 1981, the city of Stuttgart bought it and placed it in Königstraße. The sculpture lives up to its name and encourages people in Königstraße to engage directly with the work of art, as it is literally “art to touch”: only the touches of passers-by make the figure shine fully in its most feminine parts.

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Continue: turn right at Schlossplatz, past the Old Chancellery and Old Palace, towards Charlottenplatz (approx. 250 meters)

Four massive stone blocks commemorate the victims of National Socialism. Those who venture between the blocks can read a text by the philosopher Ernst Bloch: “1933-1945
Ostracized Defeated Martyrized
Beaten Hanged Gassed
Millions of victims
Of the National Socialist tyranny
Summon you:
Never again!”

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Next: about 20 meters in the direction of the market hall, within sight of it

For Alfred Hrdlicka, the American heavyweight boxer Sonny Liston was the modern gladiator par excellence. The first version of his bronze sculpture was created in 1963/64. In the second version, the artist cut off the left arm of the sculpture to emphasize the expressiveness of the “strong right”, which was the symbol of the boxer. The marble sculpture was cast in bronze by Alfred Zöttl in 1965. Since May 8, 2008, it has stood next to Marsyas I and Dying on Stauffenberg Square.

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Alfred Hrdlicka was inspired to create this work of art by the story of the tormented loser Marsyas from Greek mythology. Around 1955 Hrdlicka began to create the sculpture Marsyas I. Due to the brittle material and complicated form, Hrdlicka’s progress was slow. Marsyas I is among the early sculptures that were crucial to his career.

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With the sculpture Dying Alfred Hrdlicka has created a torso that appears fragile, but still retains much of its original vitality. The posture of the body and the expressiveness associated with it was very important to the artist in this sculpture. In order not to distract from the body of the sculpture, the head was omitted. Dying, like Marsyas I, belongs to the so-called “meat market hall creatures”.

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The second part of the city center route can be combined very well with a visit to the State Gallery or the House of History.

Mariella Mosler’s Red Tree stands on the crosswalk in front of the StadtPalais Museum for Stuttgart. Its forms appear soft and flowing, while the bright color creates a very artificial impression. This makes the tree an eye-catcher for passers-by; moreover, its design invites people to linger and take a closer look. The sculpture was acquired by the Kunstmuseum in 2005.

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Continue: Cross Konrad-Adenauer-Strasse, turn left to the entrance of the Main State Archives (approx. 50 meters)

The sculpture Untitled combines aesthetic influences from Mayan culture with the brick architecture of Danish houses. It was one of the first commissioned works with which Per Kirkeby conquered public space in the mid-1980s. The aim was to design the forecourt of the House of Representatives on Konrad-Adenauer-Strasse with a sculpture that on the one hand showed presence and on the other hand blended into the architectural ensemble as if it were a matter of course. The geometric severity, the simple architectural structure and the uniform surface allow the sculpture to border on the unnoticed.

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Continue: approx. 90 meters straight ahead (past the Haus der Geschichte)

As a counterpart to Friedrich Distelbarth’s love vase from the early 19th century, Tony Cragg’s sculpture Points of View has stood on Museum Square between the Chamber Theater, the State Gallery and the House of History since December 2002. Its forms give rise to completely new impressions, depending on the viewer’s point of view. Cragg describes the creation of the sculpture as a dialogue between material and artist. This is another reason why the location of Points of View is well chosen; the sculpture fits into the dialogue between art and history, between the House of History and the State Gallery.

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Continue: 120 meters straight ahead, past the Kammertheater, in the direction of the entrance to the Neue Staatsgalerie.

The figure Draped Reclining Woman by Henry Moore takes up the formal language of antiquity and turns it towards modernity. The reclining woman possesses a residue of figurativeness and does not yet abstract from it completely, although the head, for example, definitely shows abstract features. The Draped Reclining Woman was erected in April 1961 on the occasion of the Federal Garden Show in front of the newly built state parliament and was received with great reserve by the population. In the meantime, it stands near the entrance to the Staatsgalerie.

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Continue: approx. 210 meters, to the Old State Gallery, cross Gebhard-Müller-Platz (artwork in sight)

Urbanstrasse, Kernerstrasse and Landhausstrasse meet in a star shape at Kernerplatz. In the center of the square stands the stainless steel sculpture 6-87/88 by the artist Erich Hauser. In terms of proportions, the sculpture fits clearly into the square situation, but nevertheless captivates with its dynamism. The stainless steel plates absorb light conditions and moods of the weather in different shades of gray and give the sculpture the appearance of immaterial lightness and dynamism. The sculpture consists of individual triangular surfaces, three of which form a tetrahedron shape; shape and size, however, are different.

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This tour is shorter than the first and starts in the park of the University of Stuttgart with a work of art that you only notice at second glance. The route continues towards the Liederhalle and ends not far from the Berliner Platz subway station. This route can be easily integrated into a long lunch break or after work in summer, when it is light for longer in the evening. A nearby attraction is Stuttgart’s oldest surviving cemetery, the Hoppenlauf Cemetery.

The artwork Positive-Negative by Wolfgang Nestler is located in the park of the university directly at one of the countless paths leading through the park. Two brownish-red, square steel plates lie side by side on the ground. Different shapes have been cut out of both of them, which - mirrored at the lower edge - lie next to the object. The fact that this is a reflection is only noticeable, however, in the case of one negative shape, the outlines of the triangle. The work of art was created in 1977 as part of the Stuttgart Federal Garden Show. In the meantime, the steel plates have sunk somewhat into the ground and are slowly being overgrown by the grass growing underneath - it has aged positively due to the various environmental influences.

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Next: 80 meters through the University Park in the direction of the Rector’s Office

The sculpture Kubus by Hans Dieter Bohnet was created in 1977 for the exhibition “Art in the Cityscape” and stands today in front of the Rector’s Office of the University of Stuttgart. It is welded together from six reddish-brown Corten steel plates and three stainless steel plates and stands at an angle on the ground without a base. The cube, a harmonious shape of equal-sized surfaces, serves as the initial form. A cube of shiny stainless steel is inserted at the upper corner, and a fictitious smaller one is removed without replacement at the opposite lower corner. Thus the sculpture has three points of support, stands securely and yet excitingly dynamic. The bright stainless steel cube corner points up to the sky, the dark rusting surfaces hold it in place and connect it to the earth.

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Next: 150 meters to the entrance of the university library (on the opposite side of the campus)

Hans Uhlmann’s sharp-edged construction Aggression I is full of contradictions. For example, hard steel was not used for the construction, but the much softer brass, which - a factor of irritation - was darkly patinated. The impression of aggressiveness is thus not created by the material, but by the form, which reaches deep into the space. In this process, the viewer perceives - depending on the location - either the arms or the legs as powerful elements. The aggression thus never emerges completely, but always only partially. Uhlmann was commissioned by the Commission for Art in Buildings in 1960 to design the entrance area of the new library of the then Technical University. Aggression I was erected a year later.

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Continue: leave the university grounds in the direction of Max-Kade-Haus, Liederhalle and cross Holzgartenstraße

On the Platz der Deutschen Einheit, between the Max-Kade-Haus and the Liederhalle, lies the artwork Euro Terra by Sabine Hoffmann on a lawn. The Latin name means something like European country. The stone slabs made of Crailsheim shell limestone are separated into two parts, with shadowy people in each part holding out their hands to each other. In this respect, the sculpture can be understood as a symbol of European history.

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Continue: cross the Platz der Deutschen Einheit to the left in the direction of the Liederhalle, use the covered walkway, stay on the Liederhalle grounds.

The two works Durchbrochene Fläche im Raum and Durchbrochene Fläche signify a turning point in Hajek’s oeuvre. With the sculpture Durchbrochene Fläche im Raum, Hajek created the first abstract outdoor sculpture to be placed in public space in Stuttgart in 1955. It was also one of the first abstract sculptures of this size in Germany.

The formal language of the sculpture Durchbrochene Fläche im Raum suggests something organic, a pair of figures or a tree. The surface of the cast iron sculpture stands out due to its different structure.
In the overall design of this sculpture, Hajek refers to the exposed concrete facade of the Liederhalle. The wall relief Durchbrochene Fläche takes up formal elements of the room sculpture and varies them.

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Continue: Walk between the Liederhalle and the Liederhalle Culture and Congress Center, then turn right in the direction of the Cinemax cinema.

The Berlin artist Bernd Wilhelm Blank created the sculpture Kinetic Object with direct reference to the personality of the entrepreneur Robert Bosch (1861-1942). With it, he wants to show the open-mindedness and “mobility of spirit” of the company’s founder, although the tall block of steel appears cumbersome and plain. As a pictorial symbol of this, an electric motor sets the upper segments in motion. The work of art changes without losing its constants, because the sculpture is always reassembled to its original form.
The experience of space in the work of art, of mobility and changeability, becomes an aesthetic here.

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Continue: up the steps to Berliner Platz

The structure of the wall relief Lyra on the exterior façade of the Liederhalle shows parallels to the architecture of this concert hall. Hans Dieter Bohnet divides the relief into three differently sized parts - just as the Liederhalle comprises three differently sized concert halls. The artist has also chosen the motif, in keeping with the concert hall, from the realm of music. A lyre is an ancient Greek plucked string instrument. The openings in the surface of the lyre produce fine ray-shaped bridges and stand for the strings of the instrument.

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Continue: via Berliner Platz in the direction of the Liederhalle subway stop, cross Seidenstraße there.

In the 1980s, Ernst-Reinhart Böhlig dealt intensively with the torso motif. One example of Böhlig’s exploration of this motif is Sebastian. Böhling did not clearly title the work “Saint Sebastian”; nevertheless, the name alludes to this martyr of Christian lore, who in common depictions was tied to a tree and shot at by arrows. Slanting on a pedestal, neither sitting nor lying down, with a distorted expression, one finds in the green spaces in front of Berliner Platz the chapped, mutilated and tense-looking body of Sebastian. The mutilation parallels the suffering and the archaic form. Looking at the sculpture, one feels reminded of the last rebellion before death.

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Next: back to Berliner-Platz, to the green strip on the façade of the Liederhalle (near the subway stop).

The Stainless Steel Forest of Columns - the title is a neologism of the Stuttgart art critic Günther Wirth - was a contribution to the International Art Congress in Stuttgart in 1979. The arrangement of the eleven individual objects and the adjacent trees show that the designation Forest of Columns is quite appropriate. The viewer should not miss a walk through the artificial forest.

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The third route is the shortest. It includes four works of art, starts at Rotebühlplatz and ends at Feuersee. The centrally located Feuersee is a good place to take a break, for example in one of the numerous cafés in Stuttgart’s west. For those interested in culture, the Theater der Altstadt is located directly opposite the Feuersee S-Bahn stop.

The title of Mark di Suvero’s sculpture Lobotchevsky refers to the Russian mathematician Nicolai Ivanovich Lobotchevsky (1793-1856). Inspired by his work, Suvero associates a three-dimensional sculpture whose directions of movement are reminiscent of mathematical diagrams. An abstract, cubic-constructivist sculpture usually has no main view. However, its placement between the busy Rotebühlplatz and the Treffpunkt Rotebühlplatz building creates the impression of a distinct front and back. The node of the red steel sculpture is located approximately in the middle. This creates a balanced construct despite the expansive, expansive steel beams.

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Continue: 30 meters along Rotebühlstraße to the Rotebühlbau, then up the stairs to the right.

With his tubular sculpture Erich Hauser has created a work of art that in its wholeness is created only in the mind of the observer. It is divided into two parts: one in the border and the other on the base. These are separated by a fire alley. The observer traces in his mind the path that the pipe describes underground. The two parts seem to be connected underground. The impression is created as if the zigzag movement that the artwork makes connects the bottom and the top. The silver material from which the sculpture is created shines in the light and the darkly shaded indentation contrasts with the light surface. However, not only the different color impressions, but also the blunt and pointed corners and ends make the artwork interesting and varied.

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Continue: approx. 200 to 250 meters along Rotebühlstraße to Feuerseeplatz

The larger-than-life sculpture Woman with Billy Goat Mask was erected in 1986 as part of the “Outdoor Sculpture” initiative of the state capital Stuttgart. This figurative work in stone also shows the link between material and figure that is typical of Böhm. What is striking, however, is not only the harmony between material and figure, but also the harmony between figure and environment. The sculpture is only roughly worked in some places. The lower part of the woman’s body is rough and large-grained - from the hip on, the surface becomes somewhat smoother. Particularly eye-catching, as in Indescribably Female, are smoothly polished areas. These areas have already been worked on by the artist, but it is only the touch of passers-by that makes them shine.

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Continue: in the same direction along the Feuersee (40 meters) to the entrance of the Feuersee S-Bahn stop.

On the southern side of the Feuersee is the Große Badende by Walter Rempp. It was created in 1980, but the female bronze sculpture was not erected until 1986. It forms the antithesis to Herbert A. Böhm’s Woman with Goat Mask, which also stands at the Feuersee. Walter Rempp has depicted his sculpture very realistically, she is almost larger than life. Her gaze is blank and directed into the distance, her back looks as if she is carrying a heavy load. Because of the hair lying close to her head, it looks as if she has just taken a bath. Overall, the Great B ather appears very despondent and limp, not least because of her posture. The theme of the Great Bather was a popular motif in Western art.

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The longest of the routes leads into Stuttgart’s north, starting with a work of art directly at the Killesberg subway station and leading through the Höhenpark Killesberg via Wartbergpark and Leibfriedsche Garten to the Natural History Museum at Löwentor. Although it leads through the middle of the city, you are always in the green. For this reason, the route can also be easily extended to a day trip with a train ride in Killesberg, a stroll through Wartbergpark and a visit to the museum at Löwentor.

The maps posted at various entrances and exits of the parks also serve as an orientation aid.

Ulrich Bernhard was commissioned in 1990 to design the new huge platform hall of the “Killesberg” light rail stop. With the help of two photo strips over 150 meters long showing motifs of the Rhine and Neckar, he succeeded in visually reducing the enormous length of the subway station. With the film frieze, Bernhard has given the two cultural streams of the Rhine and Neckar an individual face and portrayed them in a unique way. Exposure together creates overlaps - contemporary motifs alternate with historical images. Industrial plants mix with historical elements, notable personalities can be seen as well as anonymous faces of the city. In this way, Bernhardt makes it clear that culture is everything: past, present and future.

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Continue: Follow the signs to the Weißenhofsiedlung, cross Stresemannstraße, approx. 200 meters to the entrance of the academy.

The basic idea of Nam June Paik’s installation Two Way Communication, set up in 1996, is already clear from the title. On 92 monitors, communication is thematized and simultaneously made possible on several levels. This comprehensive theme is closely connected to the installation site, the entrance foyer, a place of communicative exchange. Paik’s installation can be played in two different ways: on the one hand with prefabricated video discs and on the other hand with images from the surveillance cameras installed in the entrance foyer.

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Continue: along Stresemannstrasse until you reach the entrance to Killesbergpark/Stresemannstrasse, then immediately turn right through the underpass, continue past the Naturfreundehaus Steinbergle (approx. 700 meters in total).

Hans Dieter Bohnet’s Im Keuper recalls the site in the Wartberg where reed sandstone was once quarried. This “Keuperwand” was created for the International Horticultural Exhibition IGA 1993, in preparation for which artists were invited to develop artworks for the future park area together with architects. The art stations Unter den Stangen and the sphere object in the Egelsee were also created in this context.

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Continue: follow the path downwards (approx. 100 meters)

For the International Horticultural Exhibition IGA 1993, artists were asked to develop artworks for the future park area together with architects. With their art concept, the planners wanted to establish a dialogue between artwork and green space. In response, Bohnet created his artwork Unter den Stangen (Under the Poles) with stainless steel poles. He uses poles to mark out the hill and the adjoining area with its amphitheater-like shape, at the same time drawing attention to the topography. All the poles end at the height of 308 meters above sea level. In addition to the art station Unter den Stangen, Bohnet was also able to realize the art stations Im Keuper and the sphere object in the Egelsee.

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Continue: From “Im Keuper” follow the path, stay about 300 meters in the Oberer Wartberg (parallel to Stresemannstraße) straight ahead in the direction of the Panoramacafé “On Top”, almost to the exit Stresemannstraße

Jeanette Zippel’s bee garden builds a bridge between art and nature. The outer form of the sculptures, made of natural materials such as wood, clinker bricks, straw, clay, bamboo and willow, is reminiscent of beehives. In fact, they are also home to several colonies of honey bees and wild bees that feed on the flowers and plants that have been specially settled in the area. These animated sculptures remind us to respect nature. They were placed in the upper part of Wartberg Park in 1993 on the occasion of the Federal Garden Show in Stuttgart. Others are located in Heidenheim, Munich, South Tyrol and Tenerife.

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Continue: back the same way, further downhill in the direction of Egelsee (approx. 630 meters)

The sphere, the most perfect geometric form, was divided by Bohnet, cut up and reassembled in a different order. This creates a rhythm of closedness and openness. The individual elements are offset from one another. This leaves gaps and deep incisions through which not only the water runs, but which allow insights into the interior of the sphere. The first spherical objects by Hans Dieter Bohnet were created starting in the 1970s. For the International Horticultural Exhibition (IGA) in 1993, Bohnet developed an art-garden landscape together with the garden architect Hans Luz, the sculptural center of which was the sphere object in the Egelsee. In addition to this object, Bohnet was also able to realize the art stations Unter den Stangen and Im Keuper.

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Continue: To the exit Nordbahnhof/Heilbronner Str. of Wartbergpark (along Menzel-Bourguiba-Weg). There you will find a sign showing the entire park. Cross the B27 over the “Brünner Steg”, then take the Samaraweg in the direction of the Pragsattel (uphill), around the “Leibfried” lookout hill. After about 700 m you will reach the “Sanctuarium”.

Usually, the function of a fence is to protect human belongings - but in de Vries’ work, this function is turned on its head. In his Sanctuarium, a fence symbolically protects nature from man. The artwork Sanctuarium stands in Leibfried’s garden on a grassy hill between two multi-lane roads. The occasion for the installation of Herman de Vries’ Sanctuarium was the International Horticultural Exhibition IGA 1993 in Stuttgart. The Sanctuarium is one of ten art stations that remained in the city after the IGA.

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Continue: cross the pedestrian bridge approx. 300 meters to the gate of the police headquarters (cross Pragstraße)

The stainless steel sculpture Flügel über Landschaft (Wings over Landscape ) by Wolfgang Klein has stood on the terrace in front of the building of the State Police Headquarters II on Hahnemannstrasse above the Pragsattel since 1977. Contrary to what might have been expected, the artist does not address the social and political significance of the location. Instead, he evokes associations with a wing, and thus with a symbol of freedom, through the open figure pointing into the expanse of the Neckar valley. The base models the contour lines of the landscape. The “wing”, which is composed of several elements, grows upwards almost organically.

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Continue: back the way you came, down Samaraweg, then in the direction of Rosensteinpark (approx. 550 meters)

Reflections, which enable self-perception and perception of others in a special way, are the major theme of the U.S. artist Dan Graham. The sculpture Gate of Hope was erected for the International Horticultural Exhibition IGA 1993 in Stuttgart. It forms the link between Leibfriedschem Garten and Rosensteinpark. The Gate of Hope is a stainless steel and glass construction on a concrete base that marks the entrance to Leibfried’s Garden.

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Continue: follow the direction further, over the “Lodzer Steg” into the Rosensteinpark, then to the Museum am Löwentor

The Stuttgart dinosaur was created in a workshop at the Wilhelmsburg freight port in Hamburg, i.e. an industrial plant. Bernhard Luginbühl used iron parts found there for the sculpture. Only these industrial production facilities make it technically possible at all to produce works of art with such dimensions. The dinosaur was erected in front of the Natural History Museum in 1984.

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In 1924, Count Silvio della Valle di Casanova bequeathed his private collection of Swabian Impressionists to the city of Stuttgart, thus laying the foundation for the municipal art collection. Today, the collection of the Kunstmuseum Stuttgart comprises more than 15,000 works - an impressive number.

But even more impressive are the works of art themselves. They come from artists such as Adolf Hölzel, Willi Baumeister, Dieter Roth, Fritz Winter and Josephine Meckseper. The world’s largest collection of paintings by the critical realist Otto Dix is also on display at the art museum. In addition to the municipal art collection, several special exhibitions are shown annually. A highlight for architecture fans is the imposing glass cube with a shell limestone building core and exhibition areas fitted into a disused tunnel system.

 Stuttgart Art Museum (opens in a new tab)

The exhibitions and events at the Künstlerhaus Stuttgart are dedicated to the latest trends in fine art, design and theory, and architecture. The Künstlerhaus in Stuttgart’s west was founded in 1978 by Stuttgart artists. Technical workshops and studios are available to the members - for very young artists there is the children’s workshop. Workshops and seminars complete the offer. Within the framework of grants, professional artists are offered the opportunity to develop, design and exhibit their works in the Künstlerhaus.

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Experimenting with art, playing with creativity - the Kunstverein Wagenhalle offers the ideal (free) space for this. Housed in the former wagon repair hall at Stuttgart’s North Station, the Kunstverein Wagenhalle is not only a production site for 80 artists, but also a place for creative exchange, encounters and networking - and unique in its kind in Stuttgart’s cultural landscape. From painting to music, photography, architecture, architectural botany, puppet theater, performance, installation, graphic and web design, arts and crafts, film and media art, many disciplines are represented here. This diversity gives rise to intergenerational and interdisciplinary projects. In addition, Kunstverein Wagenhalle e.V. is an important player in the field of urban planning in Stuttgart with Container City, the Wagenhallen cultural reserve and many other art activities.

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Offspaces are temporary projects and self-organized project spaces of the alternative art scene. They are an exciting addition to the internationally known flagships of the art metropolis Stuttgart and make an important contribution to cultural urban development. The state capital supports the rich potential in the field of visual arts, among other things, through funding measures.

Characteristics of offspaces art are a high degree of experimentation, innovation and willingness to take risks. The model goes back to the Parisian avant-garde in the 19th century. Breaking out of established structures allowed artists to work and exhibit freely and self-organized.

There was an initial heyday of the Stuttgart offspaces scene in the 1970s and 1980s. Even then, “Artist Spaces” were primarily designed by graduates of the State Academy of Fine Arts, who used the alternative art spaces for initiatives and projects and sought new ways of presentation. Among the best-known offspaces in Stuttgart are the art spaces of the Wagenhalle e.V. and Oberwelt e.V. art  associations (opens in a new tab) Oberwelt e.V. (opens in a new tab) art  associations (opens in a new tab).

With over 5,500 paintings, sculptures and other exhibits, the Staatsgalerie Stuttgart is the largest art museum in Baden-Württemberg. However, the Staatsgalerie is not only internationally renowned for its important art collection. The architectural mix of classicism and postmodernism also impresses visitors from all over the world - an interesting combination of tradition and modernity, which is also expressed in the collection.

Masterpieces of European painting from the 14th century to the present form the core of the permanent exhibition. The focus is on classical modernism with works from 1900 to 1980. The graphic arts collection is also well worth a visit. More recently, spectacular exhibitions such as that of the Venetian master Tiepolo and the presentation of the legendary shredded painting “Love is in the Bin” by the street artist Banksy have attracted visitors.

 Stuttgart State Gallery (opens in a new tab)

The Kunstgebäude am Schlossplatz is the exhibition and event venue of the Württembergischer Kunstverein, founded in 1827. Contemporary works of art are on display, with a focus on socio-political relevance and debate. Exchange between artists, exhibitors and the public in the context of workshops, lectures and panel discussions is also important. There is no fixed collection or permanent exhibition, which leaves room for an open dialogue with contemporary art and its forms of expression as well as unusual ways of presentation.

 Württembergischer Kunstverein Stuttgart (opens in a new tab)