The exhibition of works by the Belgian painter Raoul De Keyser (1930–2012) unites more than 100 paintings from all phases of his career, some of which have seldom or never been shown before.
The Neue Sammlung has invited Karen Pontoppidan, Professor of jewelry at the Academy for Applied Arts Munich, to curate an exhibition that keenly examines the role of artist jewelry as a mode of critical discourse. In the works of a new generation of designers, jewelry has extended far beyond an expression of personal identity to become an instrument of social commentary and critique. Themes such as ecology, consumer society, and feminism have all been directly addressed through jewelry. There are also softer, but no less societally relevant references, like questions of identity-formation or the current state of humanity in the 21stcentury.
For more than four decades Ann and Jürgen Wilde have been compiling their unique collection of modern and contemporary photography, which has been affiliated with the Bayerische Staatsgemäldesammlungen since 2010, as the Ann and Jürgen Wilde Foundation. Works by photographers like Aenne Biermann, Florence Henri, and Germaine Krull lie at the collection’s core. The program at Galerie Wilde (1972–1985), which was the only gallery in Germany to specialize in photography at the time of its founding, was also innovative for including female photographers, among them Jan Groover, Marcia Resnick, Gwenn Thomas, and Deborah Turbeville. To this day, Ann Wilde remains particularly interested in promoting and acquiring work made by female artists and photographers. On the occasion of her birthday, the donor is opening her private collection to the public for the first time. Re-visions presents photographs that speak to Ann Wilde personally: work from the 1920s up to the present, made by artists like Johanna Diehl, Rineke Dijkstra, Marie Jo Lafontaine, Barbara Probst, Alexandra Ranner, Judith Joy Ross, Martina Sauter, Eva-Maria Schön, Kathrin Sonntag, and Heidi Specker.
What a shock it must have been for Hendrick ter Brugghen, Gerard van Honthorst, and Dirck van Baburen, three young painters from Utrecht, when they encountered the breathtaking and unorthodox paintings of Caravaggio for the first time in Rome. Described as ‘miraculous things’, his works were marked by an innovative realism, striking drama, and mysterious lighting. He would shape the style of many artists from Italy, France, Spain, and the Netherlands. The exhibition, developed in collaboration with the Centraal Museum in Utrecht, shows over 70 of the most beautiful and important works of the leading ‘Caravaggisti’, including paintings by Bartolomeo Manfredi, Jusepe de Ribera, and Valentin de Boulogne. Placed alongside the works of their painterly colleagues, it becomes immediately apparent why the significant pictures of these Utrecht painters are so typically Dutch and had success both in Italy as well as at home.
The sounds design objects make are often just as characteristic as their design. And so from 21 February, 2019 visitors will able to listen to the sounds of various exhibition items from our collection thanks to the web-app Sound of Design. Using mobile devices or their home computers they will be able to delve into the world of design noises. Sounds range from historical telephones via the engine noises of iconic cars through to the clacking of a keyboard. We are adding sounds to our collection so as to integrate this acoustic dimension of our exhibition items into our presentation – above all with a view to the planned display area. By publishing this archive in our Web-app it will form part of the multimedia experience visitors can enjoy while also infusing life into objects that might otherwise seem remote museum pieces. By way of introducing Sound of Design we are launching a topical focus on the era of the German economic miracle (1950s/1960s), in which new electrical devices and with them diverse sounds entered people’s everyday lives.
Following the acquisition in 2018 of ‘Grodenstraße nach Varelerhafen’ (Polder Road to Varel Harbour), dating from 1938, the Sammlung Moderne Kunst is staging an exhibition on Franz Radziwill, one of the most important representatives of Magic Realism. The focus is on his Expressionist early work as a continuation of the ‘Brücke’, as well as on his involvement with the Nazi regime – between conformity and defamation as a ‘degenerate’ artist. One of Radziwill’s canvases, painted on both the front and back, is being exhibited for the first time showing both sides, to highlight the break between an Expressionist early work and a principal work of Magic Realism.
The collection of the Alte Pinakothek, one of the most significant in the world, encompasses over 700 artworks from the 14th to the 18th centuries. Here, milestones of the European painting tradition join to form a survey, in unique concentration, that spans the development from the Middle Ages to the Renaissance and Baroque, through to the late Rococo period. Experience encounters with works by Dürer, Raphael, Leonardo, Titian, El Greco, Rubens, Rembrandt, Boucher and their contemporaries. The museum, contracted by the Bavarian King Ludwig I, was built by Leo von Klenze between 1826 and 1836 in the Neoclassical style, which at the time represented a new and pioneering effort in European museum architecture. Originally, the Alte Pinakothek was intended to make sufficient space available for the art collection of the House of Wittelsbach. Over and above this, King Ludwig I sought to use the construction of the Alte Pinakothek as a means of providing the general public access to his collection. In addition to the permanent presentation of outstanding works from the golden ages of German, Flemish, Dutch, French, Italian and Spanish painting, a host of temporary special exhibitions, guided tours and events make a visit worthwhile.
To mark the 100th anniversary of Bauhaus, Die Neue Sammlung is having an exhibition that discusses the significance of this pioneering reform design college today. Simultaneously, Die Neue Sammlung is taking the opportunity to highlight its own historical links to Bauhaus. For the first time the museum will showcase historical objects from its own holdings in Munich. In cooperation with the artist Tilo Schulz an installation is realized interlocking 40 historical objects and responses to them by five contemporary artists. Invitations have been taken up by designer Ayzit Bostan, poet Barbara Köhler, architect Anupama Kundoo, composer Junya Oikawa, and artist Sofie Thorsen to explore one Bauhaus object and develop an independent work of their own.
“Friedrich von Borries. Politics of Design, Design of Politics” is the programmatic title of the exhibition by Friedrich von Borries. In a series of interactions with and interventions in the Collection, architect and design theorist von Borries sets out to demonstrate the extent to which there is an intrinsically political side to design and how design can shape and change politics. How can design contribute to society’s social and cultural development? The presentation will be complemented by a subjective reflection on Friedrich von Borries’ own output to date and interactive platforms for the museum visitors.
Anselm Kiefer – THE MICHAEL & ELEONORE STOFFEL FOUNDATION ACQUIRES FIVE WORKS BY ANSELM KIEFER FOR THE BAYERISCHE STAATSGEMÄLDESAMMLUNGEN
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.