The Chamber of Wonders by Lothar Osterburg: The girl with the wine glass looks from the edge of the picture

Lothar Osterburg has returned to his hometown of Braunschweig with a unique exhibition titled Cabinet of Wonders: Lothar Osterburg back from Brooklyn, currently on display at the Herzog Anton Ulrich Museum until October 4, 2026. The exhibition features a striking, nearly two-meter-long model of the museum itself, crafted from colored papier-mâché using old art prints and maps. While the building’s façade appears remarkably authentic, certain elements, such as oversized cars and an underground station with a small viewing window, introduce an unusual scale that challenges conventional expectations. This artistic approach reflects Osterburg’s deep engagement with historical curiosities and the concept of wonder cabinets, which were once central to royal and noble collections before evolving into modern museums. The exhibition draws inspiration from Osterburg’s life in New York, particularly his time in the city during the late 1980s and early 1990s. A key element of the show is a reference to the subway system of New York, which serves as a metaphor for the interconnectedness of past and present. On the rear side of the model, intricate details invite speculation about both personal history and broader artistic narratives. One such detail is an ornate lead-glass window, which, when slightly opened, reveals a glimpse of Johannes Vermeer’s The Girl with the Wine Glass, a celebrated work housed in the Braunschweig collection. Created around 1659, this painting stands as one of the highlights of the museum’s holdings, and its inclusion here underscores Osterburg’s fascination with the interplay between art and memory. Osterburg’s journey as an artist began in Braunschweig, where he was born in 1961 and studied at the local art academy. His early years were marked by struggles typical of emerging artists, including the rigorous process of submitting portfolios for admission and competing in regional exhibitions. Despite these challenges, he managed to secure a place in the prestigious art program, eventually specializing in drawing and printmaking. His career took a pivotal turn in 1987 when he participated in an academic exchange program in San Francisco, where he gained recognition for his skills in lithography. This led to collaborations with notable figures such as Roy Lichtenstein, who commissioned some of Osterburg’s earliest works. Over the years, Osterburg became known for his mastery of heliogravure, a historic printmaking technique that translates photographic positives into printing plates. This method, characterized by its deep black and subtle blurring, became a signature style in his work. Artists like Christian Boltanski and John Baldessari valued his contributions, and his expertise in printmaking eventually brought him to New York, where he continued to create and sustain himself through commissions for “master prints.” Among his favored contemporaries was William Kentridge, whose expressive and often political style resonated with Osterburg’s own artistic sensibilities. In addition to his technical prowess, Osterburg frequently revisits historical themes and dreamlike recollections in his work. A series of thirty pieces explores his former studios, beginning with a rooftop room near the museum, complete with a window, or perhaps two, that offers a view into the past. Inspired by Giovanni Battista Piranesi’s imaginative architectural fantasies, Osterburg reimagines these visions, adding new bridges and eccentric details that reflect both his personal history and broader artistic influences. Through these layered references, the exhibition becomes more than a retrospective, it is a dialogue between past and present, tradition and innovation.