Mainly active within the art scene of the Euregion, Schröder won the respect of the local and regional art community during her working life. After her death in 2014, museum curator Paula van den Bosch and artist and curator Joep Vossebeld collaborated with The Foundation for the Conservation of Contemporary Art (SBMK), Maastricht University and Flacc Genk (B) on researching Ine Schröder's artistic legacy, which had largely disappeared through the artist's own doing.

The presentation in the Bonnefantenmuseum is in two parts, comprising work by Ine Schröder (second floor until 05.01.2020) and an experimental exhibition (third floor until 26.05.2019), which has been developed by Joep Vossebeld (1989 Echt). It revolves around the following question:

"How can a museum represent an oeuvre that the artist destroyed in part, based on an artistic principle that puts the art object in perspective and focuses on transience?"

A posthumous collaboration. Ine Schröder and her Archive. Bonnefantenmuseum 2019

Fortunately, each work and each exhibition was well documented by Schröder through photographs, sketches and notes. From this archive, Schröder now emerges as a remarkably steadfast artist with an impressively diverse oeuvre. It is also a soulful and poetic oeuvre, resounding with an uncompromising view of art and artistry. Ine Schröder deliberately let her works disappear. She regarded her work not as a cumulation of autonomous things, but as one big network of objects that were linked together in space and time.

Ine Schröder, untitled, 1981, Bonnefantenmuseum Maastricht, Studio exhibition 1981, photo Ine Schröder

Book

An important part of the exhibition is the archive book Uncorrected Proof, about Ine Schröder's archive. Containing around 700 photos, alongside essays by Paula van den Bosch, Brenda Tempelaar and Joep Vossebeld that address subjects like forming, curating and presenting museum collections, the book goes beyond a regular oeuvre publication.

Curators: Joep Vossebeld and Paula van den Bosch.
With guest contributions from Charlotte Lagro, Sophie Johns and Gladys Zeevaarders.