Our exhibition space in Munich is temporarily closed. You can reach us over email, or by phone during office hours, Monday-Friday 11am-6pm.

Mär 05 – Apr 26, 2020

stamp down the punch card
touching stigma for my pay
anyway, too late

Elif Saydam schrieb dieses Gedicht als Intro für ihre kommende Ausstellung Selfing bei MÉLANGE in Köln. Das wird ihre erste Soloausstellung im Rheinlad sein, wo die Künstlerin eine ortsspezifische Installation präsentieren wird.

Feb 22 – Mai 25, 2020

Jan Merta is considered a painter who has surpassed the limits of his time, his paintings are membranes between the volatility, flow, and fleetingness of time and the permanence of items and phenomena. He is interested in the relationship between the world of art and the outside world (70% artist, 30% tram driver), he considers the boundaries of art and the possibilities of its perception. The current exhibition at Museum Kampa presents a collection of paintings from a series of portraits, landscapes, and events, which have not been previously exhibited in Prague.

Abb.: Jan Merta. Female Liaison Officer, 2015-2018, acrylic on canvas, 115 x 105 cm
Photo: Lukas Jasansky

Feb 14 – Mai 17, 2020

Mit dem Ausstellungsprojekt JETZT! JUNGE MALEREI IN DEUTSCHLAND haben das Kunstmuseum Bonn, das Museum Wiesbaden und die Kunstsammlungen Chemnitz – Museum Gunzenhauser den Versuch unternommen, den aktuellen Stand des Mediums Malerei zu bestimmen. Ziel war es, einen gültigen Querschnitt durch die junge, in Deutschland entstandene Malerei zu geben und dabei alle Erscheinungsformen des Mediums ohne konzeptuelle oder ideologische Einschränkungen zu berücksichtigen. Die Deichtorhallen Hamburg freuen sich als vierte Station, eine Auswahl von rund 150 Werken aus dem ambitionierten Projekt im Norden Deutschlands präsentieren zu können.

Abb.: Toulu Hassani. Ohne Titel, 2019
Polymer Gips, Eisenpulver und Pigment
47 x 37 x 20 cm

Dez, 14, 2019 – Mai, 03, 2020

Centro Botín in Santander, Spain, will present Anri Sala: AS YOU GO, a new exhibition by Albanian-born artist Anri Sala. The exhibition, curated by Benjamin Weil, Artistic Director of Centro Botín, will consist of three monumental installations occupying the entire second floor gallery, which reflect Sala’s enduring interest in the interplay between moving images, music, and architectural space. Anri Sala explores non-verbal forms of communication with innovative narrative techniques which he builds by means of the moving image, music, sound and the architecture of the exhibition space, creating a highly sensorial immersive experience for visitors.

Image: Installation view, Anri Sala at Centro Botín, 2019
Courtesy the artist
Photo: Vicente Paredes.

Jan 29 – Apr 12, 2020

Galerie Rudolfinum will open the exhibition Olympia (The real time disintegration into ruins of the Berlin Olympic stadium over the course of a thousand years) by David Claerbout.
Olympia is a computer-generated replica of the Olympic Stadium in Berlin, which finds itself in a time-space devoid of human intervention and entrusted to the cycles of nature. Following the original ‘ruinenwert’ theory, in which the stadium’s own decay has been pre-incorporated, Olympia invokes a cycle of creation to dissolution by the slow force of nature. Although the human element has been removed, it is re-introduced through the work’s synchronicity with our own life cycle. Olympia can be regarded as an attempt to measure biological duration against imaginary duration. By ‘biological duration’ we can understand the lifespan of a human being, and by ‘imaginary duration’ we can understand ideological time: the illusion to witness one thousand years.

Abb.: David Claerbout. Olympia (the real time disintegration into ruins of the Berlin Olympic stadium over the course of a thousand years), 2016, two channel real-time projection, color, silent, HD animation, 1000 years

Nov 08, 2019 – Mär 15, 2020

Goshka Macuga ist Teil der Gruppenausstellung Der montierte Mensch. Die Ausstellung setzt sich mit dem Verhältnis zwischen Mensch und Technik der letzten 120 Jahre auseinander: Auf welche Weise haben Künstlerinnen und Künstler in ihren Bildwelten Mensch und Maschine vereint? Die Schau spannt einen großen zeitlichen und medialen Bogen: sie zeigt Kunst als Spiegel der Industrialisierung, Technisierung und Digitalisierung. Bedeutende Werke der Malerei, Skulptur und Grafik, frühe fotografische Experimente, Installationen, Filme und Arbeiten der Post-Internet-Generation fügen sich zu einem kulturhistorischen Überblick.

The Museum of Modern Art announces six long-term, site-specific contemporary artworks, on view in public spaces to celebrate MoMA’s opening on October 21, 2019. In Macuga’s commission, a monumental Jacquard tapestry installed in the Cullman Education and Research Building, the artist surrounds herself with images of over 100 works of art from MoMA’s collection and Archives, and her own work. This image evokes a photograph taken in 1954 of the French politician, publisher, and novelist André Malraux observing the layout of Le Musée imaginaire de la sculpture mondiale (The Imaginary Museum of World Sculpture). Malraux observed that museums “estrange the works they bring together from their original functions and . . . transform even portraits into ‘pictures.’” Inspired by time spent in MoMA’s Archives conducting research on the Museum’s collection and exhibition history, Macuga created her own layout of a book of an imaginary exhibition, Exhibition M. The work has been specifically produced for this space. The resulting tapestry frames the Museum and its collection as a living entity, open to reinterpretation and reevaluation.

Image: Installation view of Exhibition M (2019) by Goshka Macuga, The Museum of Modern Art, New York.
© 2019 The Museum of Modern Art. Photo: Heidi Bohnenkamp