Art collection
In addition to the public art exhibitions we host at our training center, pieces from our contemporary art collection are displayed throughout the buildings of our Walldorf headquarters.
Between Canvas and Screen, Eunjeong Kim (born 1990)
Doodoongsil, 2023, acrylic and oil on canvas, 200 × 160 cm, with AR (Web AR via QR code and Android app)
Floating 9, 2024, acrylic and oil on canvas, 125 × 125 cm
Untitled, 2024, acrylic and oil on canvas, 200 × 105 cm
Location: MUE03, 1st Floor: Touchdown Area, Canteen Entrance, Canteen Exit.
Kim creates abstract works using traditional oil or acrylic on canvas. But her inspiration comes from the digital world: from South Korean pop culture, memes, images, and trends she discovers online. She transforms these impressions into digital collages, which she translates into her paintings using bold colours.
Each of her artworks is more than just a painting – it’s part of a multimedia experience. Through an app and a QR code, the shapes on the canvas are digitally animated, creating a new, dynamic sense of space that goes beyond the traditional format.
“The core of my work lies in discovering pure abstract forms,” says Kim.
Using VR, AR, and digital media, she develops compositions that she integrates into her analog painting – and vice versa: she explores how digital effects can be translated into the language of classical painting. In doing so, she expands the boundaries of the medium and builds a bridge between two worlds: the digital and the analog.
Eunjeong Kim studied painting in Seoul and free art at Braunschweig University of Art (HBK). She lives and works in Germany and South Korea.
Diverse Photographers: Architectural Photography – SAP Labs Munich
Series of Ten Architectural Photographs – Interior Design of SAP Labs Munich, Fine Art Prints on Alu-Dibond, each 45 × 60 cm
Photos: Zooey Braun, Thomas Leonhardi. Location: MUE03, 2nd Floor, Touchdown Area.
The photographs on display reveal the trained eye of the photographers for architectural compositions. With a fine sense for symmetry, clean lines, and spatial depth, they succeed in impressively showcasing the building’s unique features. The choice of framing emphasizes the structure and openness of the architecture, while the lighting – enhanced by the glass surfaces of the atrium – creates a bright, almost atmospheric effect.
Particularly noteworthy is their ability to use visual contrasts deliberately, such as the red spiral staircase, which enlivens the image without disturbing the subtle design of the surroundings. The photographers skilfully capture both the aesthetic and functional aspects of the space – a testament to their professional expertise and refined creative sensibility.
Mestagram – mountainside, Tessa Wolkersdorfer (born 1982)
Mestagram – Mountainside, 2018, ink and acrylic on canvas, 200 × 170 cm, Location: MUE04, A04.14, Canteen. Copyright: © VG Bild-Kunst, Bonn 2025
In the captivating works of Tessa Wolkersdorfer, nature takes center stage. Radiant mountain landscapes, tropical dreamscapes, skies, and water form the core of her visual language. Through the use of picture-in-picture techniques and the layering of different places and times, she creates surreal, floating image spaces that evoke a sense of balance and wonder.
Her neo-romantic compositions enchant viewers, while the integration of figures, graphics, and text adds layers of tension and intrigue. The result is a visual experience that is both poetic and thought-provoking.
Text: Stefanie Boos
Tessa Wolkersdorfer is a freelance artist known for her evocative and surreal landscapes. She studied painting at the Academy of Fine Arts in Nuremberg under Professor Peter Angermann from 2003 to 2009, where she was later named a master student. Since then, she has been living and working in Nuremberg, showcasing her work in galleries and art fairs across Germany.
Plants Under Pressure, Richard Fischer (born 1951)
A Photographic Cycle, three Fine Art Prints, each 140 × 100 cm.
Location: MUE04, A00.01, Vital Bar.
“When people ask me what equipment I use,
I tell them my eyes,
my heart,
and my passion.”
Richard Fischer
Richard Fischer’s captivating photographs not only showcase floral beauty in its extraordinary birth phase and elegant full bloom, but also serve as a poignant reminder of the inevitable end and decay. His images offer far more than striking, colourful perspectives on the plant world that populates our planet. They draw attention to flowers as living, endangered, and fragile organisms – a powerful reflection of all life cycles.
Fischer’s fine art prints are strictly limited and can be found in museums, private collections, and galleries. The artist, a multi-award-winning photographer, has exhibited at the United Nations in Geneva, as well as in New York, São Paulo, Tokyo, and across Europe.
The renowned artist is considered one of the most prominent botanical photographers worldwide. Due to his commitment and unique portraits of endangered blossoms, he is often referred to as the “Ambassador of Flowers.” Richard was born in Manila, Philippines, and moved to Europe at the age of twelve. Today, he lives and works in Germany and France.
“Richard Fischer’s work combines aesthetic precision with a compelling ecological message. The meticulous staging of floral subjects and the technical sophistication of his fine art prints reflect not only his artistic mastery but also his ability to make universally relevant themes such as transience, beauty, and vulnerability visually tangible. From the perspective of a corporate collection, his works represent a significant artistic enrichment while simultaneously making a strong statement for ecological responsibility and cultural awareness.”
Alexandra Cozgarea, Curator, SAP SE
Monolith
Interactive media by Ars Electronica Futurelab. Location: WDF05, International Training Center, Foyer.
Created by long-time art partner Ars Electronica FutureLab and located in the foyer of SAP’s international training center, the Monolith provides a functional aesthetic and a fun source of information for SAP visitors.
Interactive media by Ars Electronica Futurelab. Location: WDF05, International Training Center, Foyer.
This three-sided, interactive media art installation created by Ars Electronica Futurelab consists of 24 screens clad in translucent mirror panels. Standing six meters high and equipped with a time-display function, the Monolith both resembles and functions as a central clock tower. Reflecting the “art and information” theme, the Monolith has three alternating modes:
Presentation: In presentation mode, the Monolith displays information about training courses and events and a daily schedule showing course times, meal times, and special activities.
Quotes: This mode alludes to the themes of knowledge and education in the form of handwritten, historically important quotes. The informal chalkboard aesthetic of the quotes contrasts with the Monolith’s clean architectural and geometric lines.
Time: The Monolith presents a novel take on displaying the time. And, like a clock tower, it's not simply a timepiece but a focal point.
Quell.Code
Interactive installation by Ars Electronica Futurelab. Location: WDF21, Foyer.
Quell.Code (“Source.Code”), a media installation by long-time art partner Ars Electronica Futurelab, is a visitor guidance system designed exclusively for the SAP Walldorf campus.
Simulating a giant data flow, Quell.Code (“Source.Code”) wends its way from its source into the building and takes its place in the innovative architecture, making the diversity and complexity of today’s business processes visual.
The project draws its inspiration from SAP’s dual role in shaping and enhancing innovative business processes and in using them itself. In this media installation, a variety of abstract creatures represent the business processes that run on the SAP software that SAP employees use every day.
Every item of data entered at SAP becomes a process creature that swims in the data flow – a virtual stream dweller that interacts with visitors. Together, the creatures set the data flow in motion, interacting with visitors and inviting them to look at business processes from completely new angles.
A mechanical data wheel takes up the flowing motion and rotates, driven by the sum of employee activities in the SAP system. The data stream flows on, following the elevator upward and carrying a myriad of process creatures with it. They divide into shoals representing different processes, the identity of which is revealed as a form of greeting in the visitor center on the fourth floor. Also on this floor is the aquarium in which each creature reveals the business function it represents before passing over the data fall as a chain of ones and zeros. Touch a chain and it diffuses, sending its elements cascading down to their source like rain.
Follow the water! From its source near the parking lot, the data flow makes its way first to a 27-meter-high steel pillar. This landmark and interactive architectural element responds to touch. Placing your hand on the pillar triggers a luminous glow that pulsates in time with your heart rate. From here, the watercourse flows on toward the main entrance, where it morphs into a virtual data stream fed by global SAP software processes.
As a work of media art, Quell.Code is a statement that invokes a dialogue between nature and culture and people and architecture. At the same time, it reveals a lively and personalized view on SAP business and information processes. Quell.Code was inaugurated at the official opening of the first of two new star-shaped office buildings at SAP headquarters in 2007.
Interplay, Barbara Adamek (born 1950)
Zusammenspiel (“Interplay”) 1 and 2, 2006, oil on stainless steel. Location: WDF21, Foyer. Copyright: © VG Bild-Kunst, Bonn 2025
Barbara Adamek's wall installations Zusammenspiel 1 and 2 were created for – and won first place in – a competition to decorate the foyer of building 21 at SAP headquarters in Walldorf in 2006. They are now displayed to the left and right of the building’s main entrance.
Barbara Adamek began exhibiting successfully around 1980. Berlin, Florence, and Tokyo are among the national and international locations to have hosted her works. While favoring the traditional medium of canvas early in her career, she turned her attention increasingly to aluminum and polished stainless steel in the mid-1980s.
Her color palette is predominantly monochrome and she applies the chosen hues in varying densities and with varying surface structures. As a result, the colors only very seldom merge. Fluid processes rarely feature in her works; instead, the artist confines the colors to distinct zones, delineating them with sharply defined edges. The juxtaposition of colors, color blocks, and aluminum plates protruding at right angles from the wall give rise to geometric shapes that possess an object-like, three-dimensional quality and convey a sense of movement.
Corea III and IV, Juan Luis Baroja-Collet (born 1957)
Corea III and IV, 2006, etching and aquatint, both 80 cm x 54 cm. Location: WDF21, 4th floor.
Juan Luis Baroja-Collet, born in the Burgundy region of France, is a sculptor and graphic artist. Influenced by his father, a steelworker, and his mother, a seamstress, Baroja-Collet’s skill in sculpting iron, bronze, and wood is matched only by his mastery of drawing and printmaking, where he finds inspiration in the stylistic forms he observes in fabric cutouts. After many years devoted to sculpting, his focus today is on printmaking and collage media that allow him to develop his technique and explore the abstract. His style shows affinities with the work of Basque sculptor Eduardo Chillida. In 1983, Baroja-Collet became head of printmaking at the school of art in the Basque town of Deba, which has been a reference point for printmaking in Spain since 2015.
Color etchings, Joaquín Capa (born 1941)
Azul, Gris, Naranja, Ocre, 2006, each 151 cm x 106.5 cm. Location: WDF21, 4th floor.
Joaquín Capa, born in Santander, Spain, is one of the most important artists of his generation and a master of the various printmaking techniques. He attended the Escuela Superior de Bellas Artes de Madrid before studying philosophy in Rome and art in Paris. He worked at W.S. Hayter’s renowned Atelier 17 in Paris between 1975 and 1976 to experiment with new printmaking techniques.
Capa enjoys playing with color and expresses his passion through informal gestures that give his atmospheric prints a sense of space and movement. He spent a number of years in India, where he worked as a guest professor for printmaking. In 1989, he won an award at the first International Print Biennial in Bhopal, India.
Capa’s artworks are exhibited in prestigious museums and collections, such as the Centro de Arte Museo Reine Sofía, Madrid; the Museum of Modern Art (MOMA), New York; and the Louvre, Paris.
Color etchings, James Coignard (1928–2008)
Location: WDF21, 4th floor
Buveuses de thé and others, 7/10, 2002, color etching, three works, each 45 cm x 32 cm
Les dominos, 2002, color etching, three works, each 45 cm x 113 cm
Ouverture bleue, 5/20, 2003, color etching, 110 cm x 75 cm
Ouverture rouge, 5/20, 2003, color etching, 110 cm x 75 cm
James Coignard was a French painter and graphic artist, and a master of carborundum etching. He was interested in painting from an early age and studied at the school of fine arts in Nice, France. In the 1950s, he was fascinated by Spanish art, especially Catalan sculptures. He developed a passion for carborundum etching in the 1960s and soon cultivated his own unique style, for which he is still well-known today. Coignard was in close contact with other artists, including Henri Matisse, Marc Chagall, and Miró, all three of whom had a particular influence on his use of color. His work is exhibited in museums around the world, including the Guggenheim Museum in New York and the Museum of Modern Art in San Francisco.
Changing Soul, Dao Droste (Born 1952)
Wandelnde Seele (“Changing Soul”) 14, 2007, acrylics on canvas, 140 cm x 140 cm. Location: WDF21, 4th floor. Copyright: © VG Bild-Kunst, Bonn 2025
Vietnam-born Dao Droste is a painter, sculptor, and installation artist. The inspiration for her myriad forms of expression and artistic perspective is rooted in the Taoist philosophy.
Whether in large-scale paintings, ceramic sculptures, or video installations, a recurring stylistic characteristic of her works is that of dissipation and rearrangement. This is an allusion to the rhythms and power of nature, which follows an ordered pattern that permeates the human spirit, creating an intimate bond between the soul of nature and the human soul.
Dao Droste often works on projects relating to the environment and sustainability. She is the creator of the ONE WORLD AWARD statue, which embodies the life-giving power of Mother Nature.
Pablo S. Herrero
Location: WDF21, 4th floor
Conversaciones placidas sobre el sentido del sueño (1–4), 2014, Chinese ink and white clay on paper, all 75 cm x 18 cm
The imagery in the works of Pablo S. Herrero links man and world. His universe depicts the connection between the dynamic and the static, the individual and the community, emotional interdependence, power and control, sustainability and instability, and fragility and strength. By painting his murals in places that are often unusual and nondescript, he takes the suburbs as a paradigm of the abandonment that the city inflicts on large parts of itself. He also works in rural spaces, bringing urban art to non-urban settings.
Untitled, Enrik Hüpeden (born 1966)
Untitled, 2008, lacquer on canvas, 180 cm x 450 cm. Location: WDF21, 4th floor.
Enrik Hüpeden’s abstract artworks create interwoven visual planes with direction, rhythm, and dimension. Our perception, trained to recognize the centralized perspective, searches for a plausible spatial context, a parallel with our everyday experience, ultimately encountering an imaginary space that possesses its own logic and exists only within the image. Associations with architecture and geometric patterns momentarily spring to mind, yet fail to gain a hold. And the observer’s attempts to align their perception with the painting merely cause the planes to shift; light to alternate with shadow, foreground with background. Hüpeden’s works have and take a stance on the spatial context, forging an active relationship with their environment.
Hüpeden was born in Hamburg in 1966 and studied in Karlsruhe and Düsseldorf. He held a scholarship at the Surikow Institute in Moscow and received graduate study funding from the German federal state of Baden Württemberg. He lives in Cologne.
Suite de Mai II – VII, Albert Merz (born 1942)
Suite de Mai II – VII, 2001, aquatint, 49 cm x 39 cm. Location: WDF21, A4.06 Event Area, 4th floor.
Albert Merz is a Swiss painter and draftsman whose works attract public interest at exhibitions throughout Europe. He studied at Berlin University of the Arts and now lives and works in the German capital. Alongside graphic art visuals and paintings on canvas, wood, and glass, he has created a wealth of public artworks. Merz focuses on representing archetypes through structured objects, shapes, and symbols surrounded by fields of color. The result is a unique artistic aesthetic.
Valley, Harry Meyer (born 1960)
Tal (“Valley”), 2005, oil on canvas, 120 cm x 300 cm. Location: WDF21, 4th floor.
Harry Meyer, winner of many national and international awards, including the Helen Abbott Award for Visual Arts, is one of Germany’s most influential artists today. In works that thematically explore landscapes, heads, and what he calls “incubators,” Meyer focuses on the relationship between the perception and the reality of his motif.
In his landscape paintings, Meyer frequently returns to realism as his starting point. Yet the bold colors, uneasy strokes, and, often, the lack of perspective in many of his pieces make them feel alien. Meyer endeavors to capture natural occurrences in his work, such as rain showers turning to sunshine, by using abstract brush strokes and applying color in a manner typical of relief work. According to the artist, the focus of his works is not the visible reality, but the pure essence of his motif.
Works in oil, Peter Pharoah
2004 – 2006, oil on canvas, each 120 cm x 120 cm. Location: WDF21, C4.06 Casino, 4th floor.
West Coast Sojourn
"1941"
Aspects of Industry
Reconciliation
Embers (diptych)
African Renaissance (diptych)
South African painter Peter Pharoah’s striking artworks bring the spirit of Africa to life, reflecting his love of his home country and its people. His portraits, wildlife studies, and abstracts capture the essence of tribal Africa through powerful brushstrokes and bold use of color. The artist’s unique style, combined with the richness and variety of motifs that Africa and its people have to offer, creates a contemporary art setting that both challenges and inspires.
Screen prints, Jos Verwiel (born 1954)
Location: WDF21, 4th floor
Kitrino, 2004, color screen print on paper, 79 cm x 78 cm
Kokkino, 2004, screen print, 79 cm x 78 cm
Mandras, 2005, color screen print on paper, 85 cm x 79 cm
Portokali, 2004, color screen print on paper, 79 cm x 76 cm
Ürassomp, 2004, color screen print on paper, 79 cm x 76 cm
Virtrina, 2005, color screen print on paper, 85 cm x 79 cm
Jos Verwiel worked as a sculptor for some time before he began his career as a painter while living in Greece. During the 15 years he spent there, he became captivated by the ocean and turned to the ships and his maritime surroundings to find new motifs.
As he travels and spends time abroad, Verwiel collects papers for the collages that he always applies to the surface of his artworks. His works express his diverse style, which sees him experiment while respecting the “laws” of order, rhythm, and structure. Verwiel juggles with identity in his pieces, creating a dialogue between color and shape, while alternating between the abstract and the figurative.