Ursula was one of the most important German artists of the second half of the twentieth century. She was born in Mittenwalde, Germany, in 1921 and died in Cologne in 1999. Museum Ludwig’s exhibition "Ursula—That’s Me. So What?", which is the first comprehensive museum show on the artist in over thirty years, offers a fresh look at her oeuvre. The show contains 236 works, of which 44 are from the collection of the Museum Ludwig.

 

Ursula’s life and work offer an unconventional narrative of artistic independence. Her art exemplifies the idea that Surrealism is not a style, but an attitude. Ursula subverted reality and found the uncanny in the everyday, challenging the authorities of society and art by imagining new worlds in which old hierarchies are thrown overboard and new ways of life are conceivable. Ursula shared this utopian imagination with artists such as Leonora Carrington, Leonor Fini, Dorothea Tanning, and Unica Zürn.

 

It is impossible to unambiguously categorize the essence of Ursula’s works. Terms such as naive painting, Surrealism, or individual mythology only touch on individual aspects of her unorthodox visual ideas, which always convey an intensely sensual experience. Jean Dubuffet integrated works by Ursula in his Musée de l’Art Brut as early as 1954. Like André Breton, Dubuffet appreciated the unconventional narrative style of her texts and pictures, which—at least on first glance—seem to stand outside of time. While they often refer to mythology, they usually reflect the artist’s own emotional states, fears, and obsessions. “I impose my visions on reality—I am completely artificial,” Ursula declared, characterizing her unusual parallel worlds in which extravagant characters exist and the familiar and the uncanny are perceptible. Beauty and transience, the fairy-like and the monstrous, thrive side by side.