We are re-opening the gallery. Until further notice we are available from 1 PM to 6 PM. We are looking forward to your visit in compliance with the recommended hygiene standards.

Feb 14 – May 17, 2020

With the exhibition project Now! Painting In Germany Today the Kunstmuseum Bonn, the Museum Wiesbaden, the Kunstsammlungen Chemnitz – Museum Gunzenhauser, have been engaged in an endeavor to determine the current status of the medium painting. The goal has been to present a valid cross section of the painting produced in Germany by young artists, while considering all the forms in which it appears. The Deichtorhallen Hamburg are very pleased, to present ¬ as the fourth venue ¬ a selection of 150 works from this ambitious exhibition project in the north of Germany.

Image: Toulu Hassani. Ohne Titel, 2019
Polymer plaster, iron powder and pigment
47 x 37 x 20 cm

Dec, 14, 2019 – May, 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.

Image: 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

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