German collector pair strengthens the Mudam in its own way

He is the man to whom everyone is looking at the press conference: the art collector Wilhelm Schürmann. His wife Gaby, with whom he actually donated the works to the Mudam, stays in the background.

And he also only speaks if he is really asked with interest. Or if – as currently at the exhibition « Radio Luxembourg – Echoes Across Borders » – he is asked to convey his view of the compiled pieces of the show.

The exhibition gathered by the couple donated works, other pieces of the in-house collection from the Mudam collector group and some loan from the treasure of the Schürmanns, which fit in the context. The result was « a dynamic exhibition of works by artists from several generations that were born in Europe between 1930 and 1991, » said the Mudam.

Twenty donations and their influence on the collection

The works should get their focus by January 2026 (with the exception of Fiona Banner, which is shown in the Grand Hall, which will clear the place on August 24). And at the same time, they are something of an invitation to take an example at the Schürmanns and other collectors.

The former Mudam Board of Directors and collectors Patrick Majerus, a close friend of the Schürmanns, had been interested in the couple for the Luxembourg Museum.

The gift was officially announced in February 2024: The portfolio “Capsists twenty works and has given an overview of the development of contemporary art since the 1980s, including works by Fiona Banner, Andrea Bowers, Jessica Diamond, Martin Kippenberger, Zoe Leonard, Park McArthur, Helen Mirra, Henrike Naumann, Monikann, Monikann Sosnowska, Fiona Tan, Diana Thater, Joëlle Tuerlinckx and Heimo Zobernig, ”wrote the Mudam at the time.

« This gift is one of the most important in the museum’s 26-year history, it will transform the collection and make it accessible to a wider audience, » said director Bettina Steinbrügge.

Despite the withdrawal of Majerus’ as President of the Mudam Board of Directors and the current allegations at the head of the museum, the Schürmann recorded their commitment. The motto was unspoken for the presentation of the jointly borne show before the press: it is now about art – there is nothing in public about the debates in the institution after the official statements of the past few weeks.

Wilhelm Schürmann, however, praises the cooperation with the house as an external man, which the couple wants to continue in the future. He feels appreciation for what is important to his wife and him and what is in her collection. « The Mudam is a neutral place in a neutral country without the egoisms that exist elsewhere. It is so beneficial that we liked to donate the works to the house. »

He is less concerned with the people, he is concerned with being able to bring these works in the Mudam into their own. « Did you see how strong, nude wing ‘by Fiona Banner works in the Grand Hall? This crystalline? Here work and architecture strengthen their positions. I would never have thought that it could be there even when it was donated. And yet it is there. » His fascination resonates.

At first glance, Banner’s work is a shiny, six meter high in the sun, torpedo wing polished on a high gloss. Is the art that is very subversively criticized in times of upgrade in the middle of Europe? « In any case, it is not an upscale index finger, but it is art that creates perception. The numerous instructions that are currently falling everywhere are dulling, » emphasizes Schürmann.

The work was created in 2011. « Good art like this has as many levels to offer that it remains timeless. This is like a vacuum that, like in a kind of catalyst, regardless of the time, reflects your own thinking again and again. »

The memory of Radio Luxembourg and the echo back

Schürmann was happy to curate the exhibition together with the collection officer Marie-Noëlle Farcy and Vanessa Lecomte from the Mudam team. The three use the galleries on the first floor to play the art of women very much.

« She (The artists, editor’s note) Illuminate the longings, uprisings and resistance of the people on the threshold of the 21st century. They question the validity of the prevailing models, show the weaknesses of the political regime and design alternatives, ”writes the team.

In addition to art, Schürmann brings plenty of experience. In 1974 he founded one of the first galleries for photography in Europe with a partner-with his wife he operated the non-profit exhibition area Schürmannberlin in the German capital from 2006 to 2011.

From 1981 to 2011, the collector was a professor of photography and visual communication at the Aachen University of Applied Sciences. He curated exhibitions and awarded the Schürmann collection to headquarters, especially in German-speaking countries. And the commitment in the Mudam? Because of the « noticeable interest », says Schürmann. And the title? Because of « the memory of Radio Luxembourg » and the lasting impression that the program broadcast far beyond the country once left him. « This is the echo back. »

A deep cooperation becomes out of first contacts

Originally there should be no foundations of works. The goal was only an exhibition with parts of the Mudam and Schürmann collection. « I was surprised at the work of Bettina Steinbrügge and the Mudam for a collaboration. These are sometimes difficult work that very few know, » says Schürmann.

In addition to the development of the exhibition and the consultations, this special choice ultimately also led to the donation. It is primarily art of artists. And it has it all. « It is works in art history that we could not otherwise have acquired, » said the Mudam director in February and emphasized how much our own stocks would change.

That can finally be seen in the Mudam. The Schürmann collection comprises around 2,000 works from the 1960s and a significant number of photographs from the 1920s. A socially critical and subversive tone swings with the works that the couple showed and donated.

Or, as it comes through the lines again and again, be it the « energy » that radiates the works for the Schürmanns. So that this energy can also work, it takes time. And visitors should take them – there are of course also management offers.

Eye -consuming big works such as « Stairway (2010) » by Monika Sosnowska are set as « Big Points » – and yet it is not about striking. « The energy paralyzes too much, » emphasizes Schürmann. He prefers to play with the Mudam curators about special room dialogues and noticeably with the dimensions of the individual work. Seen in terms of size, this can also be very small, but very strong works such as « Mug Shot » by Andrea Bowers.

The activist was photographed in the arrest according to her protests against the cutout of oak. She traced this “Mug Shot” point by point. « In any case, a human face needs it, something has to look at us, » says Schürmann with this little treasure and refers to the strength that this little drawing carries.

The work of the Luxembourg artist Carine Krecké also offers much deeper than what may be recognizable on the surface. « Navigation Poems » is the name of the work from the Mudam collection. She is Part of the 404 not found (2012–2016, together with her sister Elisabeth), which caused a stir at his presentation at the Düdelinger Center National de L’udiovisuel.

This wonderful anarchy in art

The English -language poems running on a light band tell the portrait of the Mexican city of Ciudad Juárez and its history, the traces of which the sisters wanted to trace via Google Street View. They were not allowed to show the pictures they found for copyright reasons. But the impressions made in poetry that now appear in front of the viewer have remained.

The Schürmanns have been dealing with art since their youth. How is your balance? Wilhelm Schürmann replies: « Culture was and is a component of life for us. We have repeatedly noticed that artists have something anarchical about themselves. They have overridden the existing rules in their time. People showed them the bird or felt that they were hugging. But they find their own language and we are not yet so far to understand them – we are missing. »

So it takes time to discover the resistant to discover the game against the perception rules and to feel the power of a work.

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« Radio Luxembourg – Echoes Across Borders » by January 11, 2026, Fiona Banner Aka the Vanity Press: Nude Wing until August 24, 2025. All associated information – including the mini guide as a PDF and information on management dates – can be found at: www.mudam.com