Goetz Collection

Oberföhringer Straße 103
81925 Munich

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

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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".

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April 10 – September 4, 2011 | Goetz Collection at Haus der Kunst, Munich

The Aschemünder exhibition marks the start of a collaboration between the Goetz Collection and Haus der Kunst. Until 2014, a twice-yearly changing selection of film and media art from the Goetz Collection will be shown in 13 cabinet-style rooms in the basement air-raid shelter of Haus der Kunst.
The first exhibition, Aschemünder, explores a theme that echoes the original purpose of the rooms themselves. The selected films address wartime experiences and the effects of war from the viewpoint of individual civilian survivors as well as from a military point of view.

The works selected are not clearly divided into films about perpetrators on the one hand and victims on the other. Several of the films show survivors whose faces are marked by their experiences or deeds, as in Juan Manuel Echavarría’s Bocas de Ceniza, in which the protagonists relate their memories of a Colombian massacre in recitative chants that they have composed themselves. In Anri Sala‘s Nocturnes, a former sniper spends his nights playing war games on a PlayStation – unable to sleep because he constantly sees the face of his first victim in his mind’s eye. In Marcel Odenbach’s In stillen Teichen lauern Krokodile Rwandan villagers try to rebuild their lives as farmers in the wake of the genocide committed against the Tutsi by the Hutu.
In the films by Mona Hatoum and Tracey Moffatt, war and displacement form the traumatic background of everyday family life. Both films have autobiographical elements, with the bond between mother and child playing a central role.

The works by William Kentridge, David Claerbout and Hans Op de Beeck focus on the destructive impact of war on the environment. Óscar Muñoz and Sam Taylor-Wood, in their works Biografías and Still Life, respectively, create a memento mori; a reminder of the universal transience of life.

Works in the exhibition:
Hans Op de Beeck, Loss (the sculptural video installation), 2004
David Claerbout, Vietnam, 1967, near Duc Pho (reconstruction after Hiromichi Mine), 2001
Willie Doherty, They´re All the Same, 1991
Juan Manuel Echavarría, Bocas de Ceniza, 2003
Harun Farocki, Immersion, 2009
Omer Fast, A Tank Translated, 2002
Mona Hatoum, Measures of Distance, 1988
Sven Johne, Tears of the Eyewitness, 2009
William Kentridge, Tide Table, 2003/04
Tracey Moffatt, Night Cries, 1989
Óscar Muñoz, Biografías, 2002
Marcel Odenbach, In stillen Teichen lauern Krokodile, 2002–04
Anri Sala, Nocturnes, 1999
Sam Talor-Wood, Still Life, 2001
Zhou Hongxiang, The Red Flag Flies, 2002