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Modern photography is intimately connected to urban culture. In the 1920s, photographers drew inspiration from the urban environment to make experimental compositions and create the ‘new vision’ of the Neues Sehen movement. Their approach is today considered emblematic of avant-garde photography. At the same time, however, many photographers directed their gaze towards the social fabric of the city. Adopting the role of flaneurs and street photographers, they documented everyday life and the sheer dynamism of the city’s countless inhabitants. These views show the city as a collective living space, while creating a multi-layered portrayal of people and their living conditions in urban space. The exhibition shows photographs from the 1920s to the 1940s by Aenne Biermann, Florence Henri, Germaine Krull, Man Ray, Albert Renger-Patzsch, and Friedrich Seidenstücker from the collection of the Ann and Jürgen Wilde Foundation.

The Michael & Eleonore Stoffel Foundation has worked in close collaboration with the Bayerische Staatsgemäldesammlungen to acquire on behalf of the latter institution five works by Anselm Kiefer. The acquisition marks a milestone in the development of the collection. Anselm Kiefer has created a body of work that broke the silence surrounding the German past in the Third Reich, while also finding a poignant language for articulating the global intertwinement of human civilization. He delves deep into old Christian, Kabbalistic, and Far Eastern traditions, explores the world’s great mythical, religious, and poetic texts, and forges links between them and the world as it is experienced today. The monumental painting “Der Sand aus den Urnen” (2009) and the two large wall pieces transferred onto lead in 2011 and entitled “OCCUPATIONS” (1969/2011) as well as the two display cases “Die 12 Stämme“ (2010) and “Morgenthau” (2016) will now form an additional highlight in the collection profile at the Pinakothek der Moderne.

This exhibition is the second in the series “Photography Today – Artistic Photography in the Digital Age”, initiated in 2016 at the Pinakothek der Moderne. It is concerned with the relationship between photographic images – both moving and still – and that which can be broadly labeled as “public:” the social sphere and its infrastructures. The Internet, social media and other digital technologies have changed not only photography but also the ways we think about and perceive public space. The artworks in “Private Public Relations” relate to this space while considering it from a personal point of view, through the medium of photography. Proximity and distance, intimacy and anonymity co-exist in these works as they grapple with an expanding social territory comprising the people we connect to on a global scale, the online and offline communities in which we live, and the institutions and platforms that define the rules by which we live together and engage with each other. In the age of Facebook and Instagram, all communications are bound to the profiles of individuals. The personal lingers on as a continuous subtext that shows up in the form of likes, emojis, and comments. Information in a social-media feed always […]

TWithout doubt, the Danish installation artist of Icelandic origin, Olafur Eliasson (b. 1967), is one of the most outstanding artists of our times. Like no other, he captures the imagination of people around the globe – also outside the museum world – with his large art projects. His drawings are still of central importance to his work that encompasses all other media. Initial ideas are formulated in drawings that the artist refers to time and again in the course of a project. The impression is given that Eliasson’s thought process is recorded in such drawings.

The 45-part work ‘PI’, created in Iceland by Roni Horn (b. 1955) is one of this artist’s major works. Like a researcher out in the field, she illustrates the diverse facets of this specific place, about which she has also created a series of artist’s books and sculptures.

For the reopening of the modernised exhibition spaces of the Alte Pinakothek Munich audiences will have the unique opportunity to see first-hand the world-famous ‘Woman in Blue Reading a Letter’ by the Dutch painter Johannes Vermeer (1632–1675), on loan from the Rijksmuseum in Amsterdam. This masterpiece of the Dutch Golden Age – one of the best known and most beautiful works by the painter from Delft – enters into a fascinating dialogue with the major works of Dutch painting in the Munich collection.

The summer exhibition KÖNIGSKLASSE will once again be taking place in the splendid Herrenchiemsee Palace constructed by King Ludwig II, featuring major works from the Pinakothek der Moderne. Rooms devoted to the art of Wolfgang Laib, Andy Warhol, Dan Flavin, Arnulf Rainer and Jean-Michel Basquiat will be recontextualized within the palace’s incomplete historical architecture.

African Mobilities is not concerned exclusively with the architecture of the refugee camp. Instead, it seeks to explore how cities and towns might become sites of refuge for African populations on the move, while simultaneously reckoning with the ways in which colonial geographies of extraction are enfolded within seemingly new zones of resource extraction. The show aims to rethink the geography of African migrations and the challenges and opportunities they pose for doing architecture and urbanism differently: through an exploration of architectures at the intersection of migration, displacement and digital technology. The exhibition connects fourteen diverse locations through workshops, commissioned projects and master classes: Johannesburg, Harare, Kampala, Addis Ababa, Munich, Luanda, Abidjan, Lagos, New York, Dakar, Nairobi, London, Lubumbashi, and Praia. It is based on a trans-national and interdisciplinary approach to architectural research and design, showing both current work and creative research-driven work that offer future possible urban scenarios and architectural prototypes, brought about by a world in motion.

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