The Schwerin State Museum has reopened its doors after a four-year renovation with a spectacular new concept that bridges centuries of art history. The museum, which had been hidden behind construction barriers during extensive restoration work, now welcomes visitors with an innovative approach that confronts historical court art with contemporary masterpieces.
The museum's dramatic reopening begins with a fascinating historical artifact: a life-sized avatar of Duchess Ulrike Sophie of Mecklenburg-Schwerin, painted on wood by Georg David Matthieu in 1769. According to museum lore, when the duchess didn't feel like attending grand court festivities, she would simply have her painted double displayed in her place, creating the illusion of her presence from a distance. This contoured figure now opens the exhibition prologue alongside Alex Katz's Black Dress figures, creating an immediate dialogue between court art and contemporary expression.
"We began as a princely collection and want to confront court painters with contemporary art in our newly conceived permanent exhibition," explains Pirko Kristin Zinnow, director of the State Palaces, Gardens and Art Collections of Mecklenburg-Western Pomerania, during a tour shortly before the reopening. This philosophy is exemplified by the eccentric life-sized sculpture by British-Nigerian artist Yinka Shonibare: "Leisure Lady (with ocelots)" from 2001. The headless lady accompanied by three wildcats would have fit seamlessly into a courtly environment, creating an intriguing temporal bridge.
The museum's innovative approach extends to its presentation of the princely coin collection. Curators have created an interactive display featuring a round coin table with a magnifying glass bracket, allowing visitors to effortlessly examine individual coins. Dutch masters on the walls provide historical and contemporary context about money and commerce. The highlight of the second room is a striking installation projecting the fluctuating exchange rate of Bitcoin onto the wall, creating a powerful commentary on currency across the ages.
After four years of renovation and restoration of the ground floor, which showcases modern art, the museum has returned to the original design of the 1882 building. The skylights and natural ventilation system, which were cutting-edge technology at the time, have been fully restored. The lower rooms now display a warm red tone that was originally chosen to contrast with the plaster casts of the ancient collection and the black columns painted with granite imitation.
A few thinking heads from the princely cast collection remind visitors of the original concept, but now hang alongside works marking the beginnings of modernism. These include Franz von Stuck's "Judith and Holofernes," depicting a strong woman with a large sword, and Max Liebermann's intimate portrait of his granddaughter writing at a table. The Classical Moderne period is represented by several figures by Ernst Barlach and paintings by Lyonel Feininger.
Tobias Rehberger has specially designed a fascinating labyrinth for the museum, while a space called "The View" offers respite with tiered seating that allows relaxed viewing through three windows overlooking Schwerin Castle and the lake. This scenic vista is part of what has been designated since 2024 as the UNESCO ensemble "Residential City of Schwerin," which now includes the museum.
One of the museum's crown jewels is its Marcel Duchamp collection. In 1997, the museum acquired over 90 works, creating one of the most significant collections of Duchamp's art, and established a research center in 2009. The exhibition poses the fundamental question "What constitutes a work of art?" through three themed islands designed to bring Duchamp's work closer to the public.
The "East German Perspectives" section showcases outstanding artists from the former German Democratic Republic. Wolfgang Mattheuer's "Floating Couple" is likely the best-known work in this section, while Cornelia Schleime impresses with her magnificent painting "And Then the Sky Was Red" from 2022. Unusually within this context is the presentation of the altar from Schwerin Palace Church from 1562, which came to the museum in the 19th century and was walled up during GDR times. Visible again since 1995, visitors can now question the altar using artificial intelligence.
To engage the public haptically, visitors are invited every few months to complete an unfinished artwork, which then travels to other locations. The Old Masters gallery in the upper floor has been reorganized, with Dutch masters dominating the collection, recently supplemented by a donation from the late collector Christoph Müller. An absolute highlight is the unique room featuring animal depictions by Jean-Baptiste Oudry, displayed so comprehensively in Schwerin for the first time, creating an entire menagerie.
The new museum café is expected to become an attraction for Schwerin residents and their guests. This ambitious renovation was made possible through generous financing by the Dorit and Alexander Otto Foundation, which contributed 7.5 million of the total 10 million euros in construction costs. Thanks to this foundation, museum admission will be free for the first four years, ensuring broad public access to these remarkable collections that span centuries of artistic achievement.
