The man with the pipe: Jean-Christophe Ammann (1939 to 2015)
How many children, adolescents and adults, of course, Jean-Christophe Ammann converted to contemporary art, will probably never be counted. However, those who had the good fortune to belong to the visitors, which he led as a museum director in Frankfurt by his house, saw an equally humorous and clever and eloquent missionary who had completely to the idea to convince every viewer of the art. A painting, a sculpture or installation, which he had bought, it seemed each to be a world unto itself. And this was to open for others his desire.
author: Julia Voss, Deputy Head of the Feuilleton
Ammann however, was not only art preacher, but also inventor. If there was a patent for curators, then he would have one for the “scene changes” are awarded, the exhibition format, the collection was repeatedly rearranged under which a year on the premises and enriched with purchases or loans. The scene changes led Ammann in Frankfurt Museum of Modern Art a, whose director he was 1989th Two years later, the house opened in Braubachstrasse, a stone’s throw away from the few years earlier built Schirn Kunsthalle. For surprise effects the winding architecture by Hans Hollein to date provides the ideal premises.
The strategy that should keep collection and house alive, but also taught some unwanted damage. After fifteen years of collector Dieter Bock pulled from the works which he had left to MMK as a permanent loan, at a stroke again. That was in 2005, four years earlier Ammann had his directorship resigned to work as an art consultant.
was born on January 14th 1939 in Berlin Ammann. However, He grew up in the Swiss town of Fribourg, which also in the Frankfurter years witnessed the spirited singsong of his pronunciation. He studied art history, Christian archeology and German literature, earned his doctorate with a thesis on the painter Louis Moilliet, a contemporary of Klee and Macke, whose works he published 1972nd At the Kunsthalle Bern, he worked as an assistant, took over as director in 1968, the Kunsthalle Luzern, ten years later, the Kunsthalle Basel. The most famous of all Swiss curators also appointed him to his team: As an employee he supported in 1972 Harald Szeemann in Documenta5 in Kassel. From Switzerland finally lured him Hilmar Hoffmann, the former Cultural Affairs, to Frankfurt. In 1998 he received at the Goethe University honorary professor.
Hoffmann motto “Art for All”, which had ushered in the museum boom in Frankfurt Mainufer, Ammann tried to pursue even when public funds dried up. With the private sector, he opened the museum doors but also for their private interests. As the MMK has been extended in the past year and a branch in TaunusTurm opened, which is supported by sponsors, he was very enthusiastic. “The idea,” said Ammann in an interview, was “quite outstanding”. Recently he belonged, as well as the former director of the Städel Klaus Gallwitz, the jury for a new art fair in Frankfurt. Whether they can succeed, he will no longer learn. How was until now known, died Jean-Christophe Ammann already on September 13 in Frankfurt.
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