Goetz Collection

Oberföhringer Straße 103
81925 Munich

Tel. +49 (0)89 9593969-0
Fax. +49 (0)89 9593969-69

[email protected]

Information on visiting Sammlung Goetz

Information for the disabled on visiting Sammlung Goetz

opening hours How to find us Contact

Visitation is possible during opening hours:

Please select an appointment on our login page. The appointment time indicates the span for your entry but not the duration of your stay. Further information on tours and our special events can be found here.

Größere Kartenansicht

Take the Subway U4 to "Richard-Strauss-Straße". Change here for bus # 188 (direction Unterföhring, Fichtenstraße) to bus stop "Bürgerpark Oberföhring".

Take the streetcar # 16 or # 18, or bus # 54 or # 154 to "Herkomerplatz". Change here for bus # 188 (direction Unterföhring, Fichtenstraße) to bus stop "Bürgerpark Oberföhring".

Individual timetable information:

Search results

Information on the Structure of Sammlung Goetz

Concept and Structure

The Sammlung Goetz is an internationally renowned collection of contemporary art located in Munich, Germany. The building that houses the exhibition space was designed by Herzog & de Meuron and completed in 1993. The development of the collection began from the mid-1980s on with structured collecting. Since then, it has concentrated on Arte Povera, contemporary art of the respective age as well as works by selected artists. Global art currents are actively and critically observed; likewise, the Sammlung Goetz artistic holdings are continually increased. Parallel to its attention to recent art, Sammlung Goetz continually supplements and completes work groups of artists already represented in the collection.
The Sammlung Goetz promotes media diversity in today’s artistic forms of representation. In addition to drawings, graphics, paintings, photographs and room-based installations, one of the collection’s main focuses is ‘time-based media’ such as video, film and multiple projections.

Museum Expansion

In order to adequately show media works in Sammlung Goetz own rooms, which previously featured only the classical skylight situation, the building’s exhibition space was expanded in 2001. At first, only one presentation room for films and videos was added: the Filmbox. In 2004, the space for such activities was nearly doubled by the addition of a multifunctional area without skylights and with sophisticated projection equipment, BASE103. Exhibitions held in only one of these areas are correspondingly specified in our archive.

Storage, Preservation, Loans

The Sammlung Goetz is fully aware of the significance of adequate storage, careful restoration and the preservation of artworks for future generations. Not only does the collection have its own storage rooms that meet the varying climatic needs of the different media, the works are continually subject to evaluation of their condition by restorers and conservators. The collection places special value on the storage and long-term backup of media data on film, Betacam and hard drives. International discussions and methods concerning improvements in art storage and preservation technology are conscientiously followed.
Careful maintenance of art is a prerequisite for making it accessible to the public as well as a responsibility when engaging in intensive loan activities. Written requests for loans are carefully reviewed in relation to aspects of conservation and rapidly decided on.


The Sammlung Goetz places high value on art-historical research on artists and documentation of artworks in the collection. The collection’s digital archive is based on its own history and includes a register of artwork illustrations. Intensive correspondence with artists and gallery owners ensures that all technical details concerning the artworks remain current and guarantees compliance with the often complex installation instructions.


From the beginning on, the development of a library has accompanied all other activities in the collection. The library holdings include monographs on all artists represented in the collection, a selection of international exhibition and group catalogs in which these artists were represented as well as catalogs of the holdings of major museums, galleries and other private collections. This reference library is available upon request for academic research.


As a rule, Sammlung Goetz realizes exhibitions from its holdings. These can be visited by prior appointment. Such exhibitions are frequently monographic work overviews developed in creative cooperation with the artists. All exhibits are accompanied by publications and supervised by Sammlung Goetz own press office. The Sammlung Goetz offers regular guided tours. Information on dates can be requested by telephone or obtained from the Newsletter. The Newsletter also provides information on Sammlung Goetz cooperative ventures with institutions throughout the world, which present parts of the collection’s extensive holdings in theme-based or solo exhibitions.

Sarah Douglas: Ingvild Goetz, in: Flash Art, Bd. XXXVIII, Nr. 242, Mai-Juni, 2005, S. 91f.

Katharina Hegewisch: Neu in München: Die Sammlung Goetz. Stilles Wunder, Die Zeit, Nr. 11 12.03.1993

Information on the Individual Collections


With the commencement of Ingvild Goetz’s collecting activities in the mid-1980s, the Sammlung Goetz holdings now encompass works of several hundred artists – a volume that can no longer be conveyed in a short survey. The collection’s several thousand works, ranging from small drawings to room-filling multipartite installations, from media works for one small monitor to projections of moving images on many projection surfaces distributed over many rooms, extend far beyond the framework of such representation capabilities. The collection’s own archive and exhibitions in cooperation with other museums can offer good, albeit only partial insights. Insofar as the storage situation and conservation restrictions permit, certain works can be made available upon request for academic purposes or research.

Development and Priorities

The focus of Ingvild Goetz’s collecting activities on the respective present has led to the fact that many of the most important artistic developments and questions of the decades both before and after the turn of the millennium are represented in the collection. The Sammlung Goetz promotes art that critically examines the realities of society and their dubious social, political and aesthetic nature. The collection does not attempt to attain an encyclopedic overview based on selected individual works, but rather to pursue, complete and expand on individual artists and holdings over the years. Based on this structural orientation, many significant artists of recent decades are represented in Sammlung Goetz by major and extensive work groups – to an extent that is probably unique in the world.

The media diversity of today’s art and the complexity of preservation requirements were recognized early on. This made it necessary to establish storage with the best possible climatic parameters, storage options that depend on the media type as well as special curatorial care.

Arte Povera

The core of Sammlung Goetz contains works from the early collecting activities of Ingvild Goetz as a galerist in the 1960s and 1970s. These holdings formed the nucleus for further attention to Arte Povera. At the beginning of the 1990s, circa 100 works of artists considered to be in the Arte Povera movement were developed into a comprehensive collection. This corpus was expanded to include documentary photographs on the works. Between 1997 and 1999, both groups of works were presented to the public in a traveling exhibition entitled Arte Povera, Arbeiten und Dokumente aus der Sammlung Goetz, 1958 bis heute (Arte Povera, Works and Documents from Sammlung Goetz, 1967 to the present) in Bremen, Nuremberg, Cologne, Vienna, Gothenburg and Munich. In 2012, the Kunstmuseum Basel will again exhibit these holdings in conjunction with current art-historical discussions on Arte Povera.

Works on Paper

Parallel to the basic holdings, Sammlung Goetz created the foundation for a collection of works on paper. The entire graphic works by Fred Sandback, including unique proofs, and the complete graphics by Blinky Palermo form the starting point for this. These important groups of works were presented as part of the When Now is Minimal exhibition in the graphics vitrine in the Museion in Bozen. Nearly all artists in the collection who work on paper, either in the form of drawings, paintings or graphics, are represented. The graphic collection alone now includes well over 1000 works and contains many multi-part portfolios.

Painting, Sculpture, Installations

In the 1990s, there was great interest in the Young British Artists, with a significant emphasis on women artists. Major work groups by Tracey Emin, Mona Hatoum, Sarah Lucas or Rachel Whiteread are included alongside those by Douglas Gordon or Willie Doherty. Parallel to this, works by American artists – both men and women – are included in the collection. Works by Félix González-Torres, whose portrait of Ingvild Goetz is the only permanently installed work in the collection, Robert Gober, Roni Horn, Mike Kelley, Karen Kilimnik, Cady Noland, Richard Prince and Andrea Zittel are some of the many artists that might be mentioned in this context.
Emotion – Junge britische und amerikanische Kunst aus der Sammlung Goetz, an exhibition held at the Deichtorhallen in Hamburg in 1998/99, documents these developments in Sammlung Goetz. In 2002, Kunsthalle Baden-Baden presented Die Wohltat der Kunst – Postfeministische Position der Neunziger Jahre aus der Sammlung Goetz (The Blessing of Art – Post-Feminist Works from the Nineties from Sammlung Goetz), which concentrated on the holding’s extensive collection of works by women artists.
The complex interplay of different media in the creation and design of individual imagery in current art, with a focus on painting, was the subject of a five-part exhibition series that Sammlung Goetz presented in its own rooms between 2005 and 2007. IMAGINATION BECOMES REALITY Part 1: Expanded Paint Tools, Part 2: Painting Surface Space, Part 3: Talking Pictures, Part 4: Borrowed Images, Part 5: Fantasy and Fiction. In 2007, this exhibition series was summarized in ZKM, Neues Museum under the title Imagination Becomes Reality. Eine Ausstellung zum erweiterten Malereibegriff. (... An Exhibition on the Expanded Concept of Painting). The 20th anniversary exhibition Happy Birthday! 20 Years of The Goetz Collection in 2013 provided a retrospective of the Collection’s early days in the 1980s.
The collection also includes extensive work groups by many other individual artists such as Thomas Schütte, Rosemarie Trockel, Francis Alÿs or Fischli und Weiss, to whom Goetz Collection has also dedicated solo exhibitions. The collection’s diversity can only be hinted at with reference to the large bodies of works by Jonathan Lasker, Caroll Durham, Jessica Stockholder, Yayoi Kusama, Reiner Ruthenbeck or Gerwald Rockenschaub. The exhibition When Now is Minimal was a collaborative undertaking by the Neues Museum in Nuremberg, the Museion in Bozen and the Sammlung Goetz provided an overview of minimalist tendencies in the holdings of the Sammlung Goetz. Recently, artworks from Dadamaino, Carla Accardi, Mario Schifano, Geta Brătescu, Sterling Ruby, Tatiana Trouvé and Seth Price have been acquired.


Photography, which – in addition to its central function as an image-generating tool for news, documentation and advertising – is of course an independent artistic medium, has also become a major focus of Sammlung Goetz. Works by Cindy Sherman, Jeff Wall, Stan Douglas, Tracey Moffat, Thomas Demand, Andreas Gursky, Peter Feldmann and Candida Höfer have joined historical artists such as August Sander, William Eggleston, Diane Arbus or Nan Goldin and have also been also added to, for example, by work groups from Wolfgang Tillmans or Sven Johne.
In 2011, Museum Villa Stuck in Munich presented insights into this collection with the exhibition Street Life and Home Stories – Fotografien aus der Sammlung Goetz.

Media Works

The acquisition of the five-part CREMASTER cycle by Matthew Barney, large video and film installations by Doug Aitken, Stan Douglas or Kutluğ Ataman formed – in addition to many other film and video works – the starting point for intensive concentration on time-based media works. With over 500 video and film works primarily from the late 1990s to the present, Sammlung Goetz has created what must currently be one of the world’s largest collections of this art form.
The ZKM Museum für Neue Kunst in Karlsruhe has twice presented the overviews fast forward. Media Art Sammlung Goetz (2003) and fast forward 2. The Power of Motion – Media Art Sammlung Goetz (2010).
In 2011, Sammlung Goetz and Munich’s Haus der Kunst began a joint cooperation: Sammlung Goetz im Haus der Kunst. The former air-raid shelter in the museum cellar was adapted for the presentation of film and video works. As of 2011, two exhibitions with media works from the Sammlung Goetz holdings will be presented each year at Haus der Kunst.
On 1/1/2014, Ingvild Goetz donated 375 works of media art to the State of Bavaria. This closed a major gap in the holdings of the Bavarian museums.

information about the collector Ingvild Goetz

"In addition to a formally cohesive concept, what has always been important to me is art’s social commitment and engagement. Art that uses all the means at its disposal to get involved fascinates me." Ingvild Goetz

The Collector Ingvild Goetz

The Sammlung Goetz, one of the world’s foremost collections of contemporary art with its own exhibition building where the artworks are presented in changing temporary exhibitions, has developed an organisational structure of institutional standard encompassing everything from visitor facilities, in-house publications, and a library, to art storage, lending logistics, and restoration. The driving force behind this wide range of activities is the collector Ingvild Goetz, whose energy and passion launched the collection.

Beginnings in the 1970s

Ingvild Goetz‘ commitment to art was first reflected in concrete form when she founded a publishing studio in Konstanz called edition art in progress, which ran from 1969 to 1972. Then, in 1972, this graphic arts enterprise spawned the gallery known as art in progress. The happening organized by Wolf Vostell for the gallery’s opening on January 14, 1972 led to closure of the business in Switzerland. In 1973 it moved to Munich. In 1975, a branch of art in progress opened in Dusseldorf. However, in 1984, Ingvild Goetz decided to close down the gallery and concentrate instead on collecting. Works that she had acquired during her time as a gallery owner formed the cornerstone of her collection in those early years, while she continued to seek out and research the artists of the Arte Povera movement. At the same time, Ingvild Goetz developed a strategy that she has continued to pursue to this day, based on two conceptual pillars: concentrating on emerging art and the new generation of artists on the one hand, and continuing to pursue and complement the works already in the collection on the other hand.

The building

By the end of 1980s, the collection comprised some 300 works, including works on paper and print portfolios, and Ingvild Goetz felt that these should be shown within a museum setting, while at the same time retaining the original private framework of the collection. It was part perspicacity, part serendipity, that led her to commission Jacques Herzog and Pierre de Meuron – architects who were known at the time only within the profession – to design an exhibition building that was opened in 1993. The building is a gem, ideally suited to the presentation of modern art, on a scale that permits a very intimate and personal approach to the artworks themselves. Although the building was not intended as a public exhibition space, Ingvild Goetz quickly recognised the opportunity it offered to present her growing collection to a wider audience. She was well aware that collecting contemporary art brings with it a certain responsibility to provide a public forum for the works in order for them to develop their full social significance and aesthetic impact. And so, what began as a private museum was opened to the public on a “by prior appointment” basis and, from the first exhibitions onwards, rapidly became a magnet for architects, students of architecture, artists, curators, gallerists and, indeed, all who are genuinely interested in art.


Since 1993, at twice-yearly intervals, in close collaboration with the artists, Sammlung Goetz has held dozens of exhibitions based on the collection at its own exhibition building, as well as developing and organising numerous exhibitions as joint projects with other institutions and curators. She recognised the growing importance of film and video in the world of visual art at an early stage and, in 2004, had the exhibition space expanded to almost double its original size to include a dedicated area for the presentation of new media, while augmenting her collection of film and video works. In spite of the enormously time-consuming process involved in viewing and assessing such time-based media works, Ingvild Goetz has gradually acquired more than 500 videos, making this one of the world’s foremost collections.

In the course of her many years of experience as a collector, Ingvild Goetz has become an acknowledged authority in the field of contemporary and emerging art. The collection as a whole comprises some 5000 works, each one selected by her in a decision-making process which, even when impulsive or heartfelt, is invariably considered in context and weighed up in comparison with other works by the same artist. The resulting in-depth knowledge and commitment to contemporary art have won her high-profile recognition and accolades. In 2001, Ingvild Goetz was awarded the Art Cologne Prize as well as the “München Leuchtet” medal in recognition of her services to the City of Munich. In 2007, she received the Montblanc de la Culture Arts Patronage Award celebrating the work of outstanding private patrons. She was made an honorary member of the Bavarian Academy of Fine Arts in June 2011. And in November 2011 she was awarded the prestigious Bundesverdienstkreuz – the Order of Merit of the Federal Republic of Germany. In 2013, she received the Bavarian Distinguished Service Award for her commitment to contemporary art and her service to the State of Bavaria.
In addition, Ingvild Goetz donated her exhibition space, designed by Herzog & de Meuron as well as 375 media works to the State of Bavaria. She is lending the remainder of her collection – which includes 5000 works – to the Pinakothek der Moderne, the Haus der Kunst and the Neues Museum in Nuremberg for a period of ten years.

Ingvild Goetz is actively involved, both personally and financially, in many charitable projects (Ingvild Goetz Philanthropy).

Recording Arte, Metropolis, Portrait of Ingvild Goetz from Horst Brandenburg, May 18, 2013

Recording ZDF Aspekte Ingvild Goetz / Fischli, Weiss November 12, 2010

Recording crane.tv

Sammlung Goetz, a state-owned collection in Bavaria

On 1/1/2014, Ingvild Goetz donated 375 works of media art and her exhibition space in Oberföhring to the State of Bavaria. She retains close ties with the house, heading it in an honorary capacity. Together with the Sammlung Goetz team, she continues to curate exhibitions in the collection in Oberföhring and present works from its holdings in cooperation with other institutions as well as loaning them worldwide.
"It is my wish that the Sammlung Goetz will remain in Munich and that my exhibition space in Oberföhring will also be used in the future to present contemporary art," explains Ingvild Goetz. Her collection, as well as that of her husband and her children, contains more than 5,000 works. She made it available to the Pinakothek der Moderne, the Haus der Kunst and the Neues Museum in Nuremberg as a permanent loan for an initial 10 years. In return, the State of Bavaria has assumed responsibility for presenting contemporary art in the building in Oberföhring and taking on its employees.

The donation was announced in September 2013 – the year of the 20th anniversary of the Sammlung Goetz. The news was enthusiastically received by the public, cultural institutions, the press and politicians. "This is a unique opportunity for the state of Bavaria to secure the future of one of the most internationally recognized collections of contemporary art," said Bavarian Minister President Horst Seehofer. "It will lastingly strengthen Bavaria as a center for art and culture. The renowned Sammlung Goetz is an asset for the state's art holdings, especially in the area of media art. This is one of the most important additions to artwork in Bavaria in recent decades."
Ingvild Goetz remains active as a passionate collector of contemporary art. She continues to acquire works for the Sammlung Goetz and presents them as a donation or permanent loan to the beneficiary museums.