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.
The international group exhibition «Bauhaus und die Fotografie. Zum Neuen Sehen in der Gegenwartskunst» shows how the experimental visual language of the Bauhaus artists continues to influence the further development of aesthetic and especially photographic strategies.
Image: Thomas Ruff, phg.05_II, 2012 C-Print Courtesy Galerie Rüdiger Schöttle, München
Anri Sala (*1974) presents his first monographic exhibition in the Grand-Duchy of Luxembourg in an ambitious installation across the galleries of level 1, the Grand Hall and the Pavilion of Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean. An ensemble of new and recent works juxtaposed with older pieces, will be accompanied by a major work, The Last Resort (2017), a sound installation of thirty-eight snare drums originally created for the Kaldor Public Art Projects in Sydney and now presented for the first time in Europe.
Image: Anri Sala Slip of the Line, 2018 Single channel UHD video and stereo sound installation, colour Duration: 9’47” Courtesy the artist and Galerie Chantal Crousel, Paris
This intergenerational exhibition brings together new paintings and objects by Sophie Reinhold (*1981) and the “Typewritings” of Ruth Wolf-Rehfeldt (*1932). As different as the artists may be, their works share a manic perseverance, precision, and subversive humor. Reinhold’s canvases feature sometimes figurative, sometimes abstract compositions, and by mixing marble powder into paint and sanding or cutting the canvas, she questions the boundaries of painting. Sculptural objects that are reminiscent of furniture subtly hint at the domestic, connecting the public with the private. Ruth Wolf-Rehfeldt ended her artistic practice when the Berlin Wall fell, but until then her Mail Art circulated worldwide. The postal system enabled her to escape the restrictions of the GDR. She created ornate architectural structures, waves, and abstract compositions using the characters of her typewriter.
This exhibition pairs the painter Howard Hodgkin (1932-2017) with the conceptual artist Martin Creed. It celebrates their conviction that art offers a framework through which we can express and come to terms with our complex emotional lives. Pairing these artists offers a refreshing view of their work: The first exhibition conceived since his death, Inside Out takes us beyond a lyrical reading of Hodgkin's oeuvre and allows us to reconsider it in the context of contemporary art practice. At the same time, it approaches Creed's minimalist work through Hodgkin's expressionism, drawing out its essential emotional element, which is often overlooked.
A comprehensive journey through more than four decades of work by the acclaimed German photographer Thomas Struth (b. 1954), this exhibition will offer examples of the different stages of his work and the social concerns that have driven the evolution of his influential art. With more than 130 works, the exhibition, first seen at the Haus der Kunst in Munich, is the most extensive showing of his artistic career to date and contains early works that have never been exhibited before. Research materials from his archive will also help to present the ideas he has been working on for the past years.
Erstmals werden in der Kirche St. Paul als bewährtem Standort für zeitgenössische Kunst sechs renommierte, international tätige Künstlerinnen in einer Gruppenausstellung präsentiert. Ursächlich für die Idee, der künstlerischen Stimme von Frauen einen Raum zu geben, ist das mit dem hl. Apostel Paulus in Verbindung stehende Wort von der „in der Kirche zu schweigen habenden Frau.“Auf dieses knapp zwei Jahrtausende geltende Diktum, das die Möglichkeiten von Frauen stark geprägt hat, reagieren die Künstlerinnen in großformatigen, skulpturalen und installativen Werken. In sehr unterschiedlicher und vielfältiger Weise positionieren sich Birthe Blauth, Patricija Gilyte, Sarah Lehnerer, Nina Annabelle Märkl, Lorena Herrera Rashid, Susanne Wagner innerhalb dieses innovativen Ausstellungsprojektes. Ihre Arbeiten, die sie explizit für die Ausstellung geschaffen haben, hinterfragen kirchliche und gesellschaftliche Rollenbilder und treten in künstlerischen Dialog mit der neugotischen Architektur und der Ornamentik des Kirchenraumes. Es entstehen raumgreifende Interventionen, die individuelle und spannende Positionen der sechs ausgewählten Künstlerinnen reflektieren.
Mit dem Ausstellungsprojekt »Jetzt! Junge Malerei in Deutschland« unternehmen das Kunstmuseum Bonn, das Museum Wiesbaden, die Kunstsammlungen Chemnitz – Museum Gunzenhauser und die Deichtorhallen Hamburg den Versuch, den aktuellen Stand des Mediums zu bestimmen. Ziel ist es, einen gültigen Querschnitt durch die junge in Deutschland produzierte Malerei zu geben und dabei all ihre Erscheinungsformen zu berücksichtigen.
Sensual surfaces seduce the eye, inviting the viewer to simply enjoy. Karin Kneffel paints canvasses that exert a magical attraction. Her realist painting draws the viewer into sophisticated visual worlds in which her skillful arrangement of formal ornaments and the interplay of colors blend into an optical fireworks display. However, the works retain a secretive aloofness, as if the perfect, inviting, yet sealed-off surface is deliberately preventing a closer look.