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With more than twenty million inhabitants in its Metropolitan area, São Paulo is a South American megacity with complex problems like extreme traffic, air pollution, water shortage, and informal settlements.  At the same time, the city has invested in architectural infrastructures for decades, creating inclusive places for urban society. The exhibition presents these buildings and projects, showing their possibilities and potentials. The selected examples have been built from the 1960s to the present, and range from a canopy in a public park to large multifunctional buildings. The most ambitious examples have collective programs that include sports, culture, health and gastronomical facilities. What all the selected projects share is their ability to create places of cooperation far beyond their functionality.

From a one-man business to a global enterprise: We reflect on 200 years of furniture design as illustrated by the history of family company Thonet. The groundbreaking achievements of the early period – new technologies, new design methods, new distribution and marketing channels – are juxtaposed to developments in the 20th and early 21st century. The firm founded in 1819 by Michael Thonet, a master cabinet-maker from Boppart, evolved down through the decades into one of the most important makers of bentwood furniture. Its “No. 14” continues to be one of the most popular chairs to this day and is still produced in large numbers. In the late 1920s, Thonet turned its attention to tubular steel furniture and teamed up with several Bauhaus designers who created chairs in what was then an innovative technology. As these tubular steel furniture items and the early bentwood furniture have long been part of the permanent exhibition at Die Neue Sammlung, the focus of the current presentation is on the pioneering creations by modern designers from Eddie Harlis via Verner Panton through to Norman Foster, Stefan Diez, Konstantin Grcic and – most recently – Sebastian Herkner. For the design of the exhibition we were […]

The concept of pendulums – be they suspended lamps or swinging metal ellipsoids – is a central feature of Ingo Maurer’s oeuvre that enables him to mobilize light using simple means. Since time immemorial people have been fascinated by the archaic shape of the egg and its perfect design. The swinging pendulum is one of nature’s physical phenomena that already provided orientation to the Ancient Egyptians. Watching a pendulum is one of the kinetic experiences with a positive impact on our well-being thanks to its regular and calming motion. It is this combination of the egg’s harmonious shape and the comforting quality of the “Pendulum” that informed Ingo Maurer’s pendulum – it offers us a new spatial experience whether it is in motion or not.

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.

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.

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.

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.

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