For more than three decades, collector Michael Zimmer has been transforming a former gravel pit into The Inhabited Garden—a living landscape where contemporary sculpture and nature enter into dialogue. Guided by intuition and shaped in collaboration with artists and landscape architects, the garden reflects Zimmer’s vision of art as a guest in a larger harmonious whole. In this conversation, he speaks about the origins of the project, his curatorial approach, the foundation’s mission, and why collecting, above all, should be driven by personal enthusiasm.

When did the idea of an “inhabited” garden become a concrete project?
When I bought my farm about 30 years ago, it was almost entirely sand, concrete, or gravel pit. The farm was a ruin. I intuitively filled the wasteland with a garden, among other things. My friend at the time, Udo Kittelmann, then director of the Cologne Art Association, had the idea of collecting contemporary sculptures. I liked the idea because it made the garden cozy. At some point, I had the idea of opening the garden to the public on a limited basis. I was familiar with this from my boarding school, a Jesuit college, whose park was also open to strangers to enjoy. I had always been very positive about this idea and, after 30 years of collecting sculptures, I wanted to implement it in my own garden. My focus is not exclusively on a specialist audience, but particularly on children, young people, and adults who are seeking access to art, which is often alienated from them by the white cube.

What criteria do you use to select sculptures and artists—is it more thematic, formal, or intuitive?
Udo Kittelmann and I were interested in the artistic representation of the human figure in contemporary art. We wanted to collect outstanding examples of this. We saw major changes in art after the Second World War, which we wanted to document using a few exemplary works. Udo Kittelmann selected the artists based on his extensive experience, and I designed the garden with the help of great landscape architects such as Bernhard Korte and Jean Mus. Each artist also had the opportunity to help design their part of the garden.

How does the dialogue with the artists work when a work is to be “tailor-made” for a specific garden space? Can you give an example of a work that only really came into its own once it was in situ?
Yes, very gladly, for example Paul McCarthy. At his request, we created a hill to present his sculpture “Henry Moore, Bound to fail.” Framed by weeping willows, the grass is cut on one side, as it would have been with Moore, and wild on the other, in keeping with Paul. The space for Pierre Huyghe’s sculpture “Untilled” opposite was also specially designed by Pierre, including the small copse and the flower meadow. I have always particularly enjoyed this kind of collaboration with these great artists.

How is the inhabited garden managed and curated, also from a botanical perspective? How do gardeners and artists work together? What botanical and horticultural considerations go into the placement of sculptures (lines of sight, flowering times, growth, weather)?
Everything is more or less left to chance. The park is based on English landscape garden design. Nothing as precise as Peter Josef Lenné or even French gardens, such as Versailles. Everything here is as casual and unpretentious as possible. The only important thing is to give each individual work its own space.

Are there any projects that ultimately could not be implemented as initially planned?
You never know, and it always depends on the work you find at the moment. The task is to shape chance.

Are there deliberately empty spaces in the park that are reserved for future work?
The park is beautiful in itself. The garden should have an effect. The sculpture is a guest. That’s why it’s called “The Inhabited Garden.” It reflects Goethe’s ideal of a harmonious world. Anyone who likes can read Wilhelm Meister’s Apprenticeship and understand the background of the garden in Goethe’s sense.

In addition to the garden, the foundation also supports exhibitions, publications, and museums. What criteria are used to award funding? What is the foundation’s central concern?
The foundation’s central concern is to give visitors a moment of contemplative peace. It is intended to build a bridge to art, especially for those who may not have the opportunity to explore art. It is intended to be a haven of peace, especially for children and young people. We make this possible with our Kids Days.

What is your vision for the inhabited garden in the future?
Our next primary goal is to expand our work with children and young people.

What advice would you give to young collectors who want to integrate their art into a non-museum, “inhabited” space?
To follow themselves, their interests, and their ideas for their own personal enjoyment. The most beautiful results come from personal enthusiasm.

And what three pieces of advice would you give in general to young collectors who are just beginning to explore art and collecting?
Acquire art out of enthusiasm. It doesn’t make economic sense, but it brings joy. If you want to make money with art, you’re better off playing the lottery. Art serves personal enjoyment, the promotion of the artist, and parents who want to enable their children to find joy in something that does not serve an economic purpose. I don’t know if that was three pieces of advice, but that’s what I would like to pass on to anyone interested in art. As a rule, the whole thing should not aspire to be a collection. Because even with this aspiration, there is a risk of regulating oneself—which is only successful in rare cases and then better accompanied by professional guidance.

The inhabited Garden/Der bewohnte Garten

Contemporary Art Foundation

For those interested in experiencing Der bewohnte Garten near Cologne: Guided tours can be arranged on request.

Enquiries: 📧 ausstellung@derbewohntegarten.de

Address:
Der bewohnte Garten
Stiftung zur Förderung zeitgenössischer Kunst
Gut Hasselrath
50259 Pulheim