Since the outbreak of the corona pandemic, clubs in Munich have been largely closed. A melancholic mood has set in, and we wonder if and when we will be able to party like we used to. The Sammlung Goetz uses this situation as an opportunity to present a selection of videos and installations by artists whose work explores club culture from the 1980s to the 2000s.
The presentation in the Pinakothek der Moderne of still life photographs from the Ann and Jürgen Wilde Foundation and the Sammlung Goetz continues the dialogue between works of different collections that began with the show Au rendez-vous des amis.
Cyrill Lachauer (*1979 in Rosenheim, lives and works in Berlin and Los Angeles) develops his extensive projects on long journeys, and delves deeply into the local cultures of the places he visits. For the exhibition by the Sammlung Goetz in the former air-raid shelter of Haus der Kunst, Lachauer has created a new multi-part installation, which includes films, videos, photographs and texts.
With its multitude of new artistic styles Classical Modernism has been a source of inspiration for successive generations of artists. In the early 20th century the avant garde paved the way for a more liberal treatment of colour, line and perspective, and drafted models for the shaping of a new community. A number of artists, however, have critically examined the legacy of Modernism and questioned the treatment of the body, gender, and identity. The exhibition Au rendez-vous des amis resulted from the idea of presenting a few works from the Sammlung Goetz in the Pinakothek der Moderne with the aim of rendering the diverse reciprocal relationships between contemporary art and Modernism visible. Curatorial work on the collections, however, revealed an almost inexhaustible potential, resulting in an extensive exhibition of over 200 works.
Brainwashed is dedicated to the pop cultural phenomenon of the mainstream, which reached its climax in the early 2000s. Characteristic of this mainstream were media formats such as reality TV, Hollywood film productions with the claim of being global events, an advertising industry dominated by self-improvement and an internationally driven star cult with countless music videos.
An exhibition project by the Sammlung Goetz in public space
The black-and-white photograph "Untitled"(1992) by Felix Gonzalez-Torres, in which a figure’s ghostly shadow is captured on a billowing curtain, is part of the artist’s billboard series. The concept behind the work is that the owner produces the image as a public poster. Regardless of how often it is printed, it is always unique. In the context of Munich’s Various Others project, the Sammlung Goetz is presenting "Untitled" (1992) on five billboards in around the city and in front of its own exhibition building in Munich.
The cooperation exhibition between the Museion in Bolzano, the Neue Sammlung in Munich and the Sammlung Goetz presents more than 160 works in a dialogue. Starting from the artistic upheaval in the post-war period, the works convey insight into most noteworthy trends in Italian art. This international cooperation project marks the first time another collection with a wide selection of works is being presented in the exhibition spaces of the Sammlung Goetz.
The night has a magical quality. For most, it is the time when people come to rest, when they retire to their homes to sleep. But there are also the restless ones, the sleepwalkers, the night owls and criminals. Many of these are looking for something or for themselves.
On the occasion of the Venice Biennale in 2017, Teresa Hubbard & Alexander Birchler presented the double-sided film installation Flora and the accompanying work Bust in the Swiss Pavillion. The work is based on their discoveries about the unknown American artist Flora Mayo, with whom the Swiss sculptor Alberto Giacometti had a love affair in Paris in the 1920s. While Giacometti is one of the most celebrated artists of the 20th century, Mayo’s oeuvre has been destroyed and her biography was previously relegated as a footnote in studies of Giacometti. The Sammlung Goetz presents the installation in an exhibition on the premises of the Bavarian Academy of Fine Arts.
The third part of the exhibition leads back to artists such as Geta Brătescu, who was born in Romania in 1926 and passed in 2018, and the French-American sculptor Louise Bourgeois (1911-2010). In their work, both women provided fundamental impulses for exploring and dealing with issues of identity, gender and their own biographies, thus influencing the subsequent generation.
The cooperation exhibition between the Sammlung Goetz, Munich, and the Museion, Bolzano, brings together a wide selection of works of post-1950 Italian art. In the dialogue between the two collections, outstanding works of painting and photography demonstrate the essential trends in Italian art triggered by the artistic upheaval following the war.
In the second part of the exhibition Generations. Female artists in Dialogue staged in the former air shelter in Haus der Kunst, the focus is on the body and the exploration of its limits, as well as the examination of social concepts of sexuality, gender and identity in moving images.
The Sammlung Goetz celebrates its 25th anniversary in 2018 with a three-part exhibition dedicated to artistic creations by women. On display are nearly 200 works, ranging from drawings, photographs, paintings and sculptures to films and extensive installations by more than 40 artists in an intergenerational dialogue.
The exhibition Again and Again explores the fragile image of the self in video works from the 1990s and 2000s. On view are 12 works that have expanded the spectrum of visual design through the technical possibilities of digital media art.
Hauser & Wirth presents with Arte Povera. Curated by Ingvild Goetz a comprehensive overview of Italy’s highly innovative twentieth-century art movement, curated by one of its most important collectors. Ringing in a new era of artistic practice, Arte Povera emerged fifty years ago against the backdrop of a political and social reawakening that defined Italy in the 1960s and ‘70s, and challenged traditional definitions of art by championing radical approaches to form and process. The exhibition in New York features more than 150 works from many of Arte Povera’s leading figures from the Sammlung Goetz.
In his complex oeuvre, Gerwald Rockenschaub uses the entire range of minimalistic and formalistic expressions. In Sammlung Goetz’s Base 103 exhibition space, the artist presents works from the collection as well as a new site-specific installation.
With works by Gotthard Graubner, Imi Knoebel, Blinky Palermo and Reiner Ruthenbeck the exhibition in Sammlung Goetz brings together four artists who, in very different ways, explore the creative possibilities of non-representational art. Through their association with the Düsseldorf Art Academy, their works are characterized by the spirit of experimentation and new beginnings, which prevailed in the renowned art school in the 1960s and 1970s.
With his new film installation Manifesto, Julian Rosefeldt has achieved something that overshadows his earlier work. For the leading role he was able to gain the Australian actress Cate Blanchett, who embodies different characters – from a primary school teacher to a stock broker to a homeless man – in twelve episodes. In cooperation with the Sammlung Goetz, the Museum Villa Stuck presents the monumental 13-channel film installation in an exhibition.
The Los Angeles based artist Ryan Trecartin belongs to a new generation of artists who grew up with the Internet. In his video films he depicts the accelerated present in the age of omnipresent media. In cooperation with the Sammlung Goetz, the Munich Kammerspiele present the European premier of Trecartin’s large-scale multimedia installation The Premise Place (edit 1) from 2009.
Opera, theater and ballet have always had a special fascination for a multitude of visual artists, who have found inspiration in magnificent theater architecture, opulent sets, extravagant costumes and rousing performances. With nearly 90 works from the Sammlung Goetz, the exhibition in the Kunsthalle Munich demonstrates the continuing interplay between art and theater.
A festival of sensuality celebrates the artist duo assume vivid astro focus. In a multimedia installation in the Sammlung Goetz, it lures viewers into a universe full of blazing eroticism, in which gender issues, political messages and cultural codes collide.
Michael Buthe (1944-1994) was already a living legend. Much like a prince, the artist staged himself in his own fairytale world. Ingvild Goetz met Buthe in the 1970s and collected his work thereafter. With more than 40 paintings, objects, collages and works on paper and private photographs dating from 1968-1994, the retrospective exhibition at Sammlung Goetz provides insight into the friendship between the artist and collector.
Home is an ambivalent place: on the one hand, it provides protection and retreat; on the other hand, family expectations can make it overwhelming and oppressive. In its exhibition No Place like Home the Sammlung Goetz explores this wide range of intra-family relationships.
Rodney Graham's work captivates viewers with its ambivalence between conceptual rigor and humorous poetry, confidently linking cultural history, ordinary experiences, dreams and popular myths. The Sammlung Goetz presents the Canadian artist’s work in a comprehensive solo exhibition.
Love, lust and passion, violence, loss and death are the great cinematic motifs. Through a carefully calculated dramaturgy of emotions, they seduce the viewer into being swept away by the plot. Guest curator of Haus der Kunst Gürsoy Doğtaş has selected twelve films from the Sammlung Goetz that explore the seduction mechanisms of narrative cinema.
Media art has assumed a dominate position during the years-long partnership between the Sammlung Goetz and Haus der Kunst. The exhibition Random Sampling presents for the first time a representative cross-section of paintings, based on more than 50 works from the collection.
The joint exhibition of the Goetz Collection and the Museum Folkwang takes us on a journey through time and space. Over the course of a year, in monthly rotation, twelve videos and films by major contemporary artists from the Goetz Collection will be presented in the museum’s film room.
Sexual temptation and cruel violence come face to face in the videos and installations of Nathalie Djurberg, who uses clay figures that stage nightmarish stories. The Sammlung Goetz invites you to an encounter with the work of the Swedish artist in Base 103.
The world as a stage is the subject of a large-scale exhibition of the Sammlung Goetz presented in the Fundación Banco Santander. Approximately 90 works, from paintings to sculptures, photographs and films to large-scale installations by 25 artists, will be on view.
Pinakothek der Moderne, Museum Brandhorst, Munich
They say that the best stories are written by life itself. But how much more exciting it is to go beyond the limits of reality and follow protagonists into a fictional world of images. The exhibition Creating Realities in the Pinakothek der Moderne and the Museum Brandhorst unites 17 works of media art that open the viewer up to spaces that lie beyond those of everyday experiences.
One of the central themes of Belgian artist Hans Op de Beeck’s œuvre is the game of illusion. His installations, videos, sculptures and drawings that are held by Sammlung Goetz transport the viewer into an imaginary world that blends reality and fiction.
In his five-part CREMASTERCycle, Matthew Barney takes the viewer on a long journey featuring fairytale-like imagery. He produced these films – and the corresponding display cases – between 1994 and 2002, not in numerical order, however. The CREMASTER Cycle is the American artist's most famous work. In it, he processes historical events, myths, sagas and personal memories into intoxicating sequences of images.
As part of the celebrations for the 175th anniversary of photography, the Neues Museum is dedicating an extensive solo show to US American photo-artist Laurie Simmons – and with that will be the first European exhibition institution to do so. The presentation features works from the Sammmlung Goetz, which was placed on permanent loan to the Neues Museum at the end of 2013, augmented by loans from the artist.
Jochen Kuhn was awarded the Golden Lola (German Short Film Prize in Gold) for his film Sonntag 3. In cooperation with Sammlung Goetz and the artist, the Filmmuseum will thus show a selection of Jochen Kuhn's short films.
Tranquility versus motion, pictorial art versus formal abstraction – the new exhibition in Haus der Kunst presents 13 works of media art from Sammlung Goetz that use cinematic images to investigate the concept of painting.
This joint exhibition project was organized by the New Museum in Nuremberg, the Museion in Bozen and the Sammlung Goetz in Munich. It looks at how very different generations of artists have addressed the subject of Minimalism and implemented their ideas within the rich framework of contemporary modes of expression.
This joint exhibition project was organized by the New Museum in Nuremberg, the Museion in Bozen and the Sammlung Goetz in Munich. It looks at how very different generations of artists have addressed the subject of Minimalism and implemented their ideas within the rich framework of contemporary modes of expression.
A still-life of an exquisite landscape, opulent interiors, dancing bodies – with Isaac Julien, a painterly eye accompanies even the most difficult themes. His films beguile the senses and tickle the gray cells at the same time. They are fascinatingly formal compositions, constructed at the edge of the abyss of reality. Julien is the aesthete among today's artists: Every film-still is a painting; every body a sculpture; every movement a dance step. The most important leitmotifs for Isaac Julien – born in London of parents from the Caribbean – are thinly veiled behind the perfection of his filmed tableaux: migration and identity, civilization and colonialism, the confrontation between poor and rich, yesterday and today, mass culture and art history. This is cinema from an artist who films with the eye of a painter.
In the 1990s, when Ingvild Goetz began to systematically collect media art, the theoretical basis for gender studies was being established. These have since become familiar to us through comparative literature, cultural studies and related disciplines. The works Goetz added to her collection of media-art reflect keen interest in these issues at the time.
Raymond Pettibon’s work Sunday Night and Saturday Morning surprises the viewer with its aesthetics, which are somewhat unconventional for video art. Pettibon arranges his watercolors and ink drawings into a dense collage of moving images with sequential animation, coloration and seemingly ephemeral lines that are reminiscent of comics.
„Here is a fact: there’s a lot out there in the world that’s not visible either by nature or location. But these non-visible things affect you as deeply as the visible ones. This fact has guided me in developing many of the forms in my work.” (Roni Horn)
The inaugural exhibition at the Nordstern Video Art Centre featuring works from the Sammlung Goetz and the Neuer Berliner Kunstverein focused on the theme of labour. The works explored a kaleidoscopic range of fundamental issues relating to the organisation of our society and the dignity of labour.
Open End is the fourth exhibition in an ongoing series of presentations of film and video works from the Goetz Collection in Haus der Kunst. Featuring the work of 14 renowned international artists, the cinematic works in this exhibition explore the idea of the open narrative with regard to the visual aspect and the use of language. As in the modern and contemporary novel, which constitutes one of the most overt aspects of the literary narrative, freer, open, narrative forms take the place of conventional, linear action towards an end point. Likewise, all the films in this exhibition share the trait of being open ended, thus pointing to affinities between the narrative techniques of the novel and visual structuring of contemporary film installations.
This exhibition at the Kunstmuseum Basel will present works of the Arte Povera from Sammlung Goetz with the critical historical distance of current art historians who not only understand the “Arte Povera” phenomenon as a construct of its theoreticians and curators but who are also elaborating more and more on the individuality of the movement’s protagonists.
The third Sammlung Goetz exhibition in the former air-raid shelter of the Haus der Kunst focuses on the fundamental differences between film and video that set these artforms apart from such classic media as painting or sculpture: time and sound.
With eight works spanning the best part of a decade, from Playhouse (1997) and The Paradise Institute (2001) to Cabin Fever (2004) and The Killing Machine (2007), the complex oeuvre of Canadian artists Janet Cardiff and George Bures Miller form a core element of the Goetz Collection’s more than 500 media artworks.
The video works Honey (mi) and Lock Again by the Chinese artist Yang Fudong display a new cinematic aesthetic, which on the one hand reflect the tradition of progressive film production from the 1930s and on the other also highlight matters concerning society in China today, which is in a transition between old and new gender images, consumerism and communism, city and countryside, as well as censorship and dreams of freedom.
Why I Never Became a Dancer is the second exhibition to be mounted at Haus der Kunst as a joint project with the Sammlung Goetz. It presents 15 video works by international artists addressing the theme of youth and exploring the social behavioural patterns of young people both privately and within the wider community. The focus is not only on today’s generation but also on youth culture in the past thirty years.
The Street Life & Home Stories exhibition brings together the work of 25 artists represented in the photographic holdings of the Sammlung Goetz, featuring life stories documented on camera referencing social and political themes beyond the constraints of the purely subjective moment captured in the scene itself. Thoroughly contemporary takes on life were juxtaposed with works by long-established artists, providing, for the first time, a wide-ranging view of the collection of some 1300 photographs. The concept behind the exhibition is to show the interaction between various era and approaches, without being didactic or strictly chronological, and to put the focus firmly on the city, the street and the domestic environment as the main stage on which social and political issues are played out.
The potential for exciting and thought-provoking dialogue between theatre and fine art is amply demonstrated by the theatrical-performative installations by Danish-Norwegian artist duo Elmgreen & Dragset. The groups of works they presented in the Bayerische Staatsoper responded in various ways to the opera’s 2010/2011 season theme of “unfreely free” while at the same time forging a bridge between the institution of theatre and real life.
Paul Pfeiffer’s works are primarily concerned with the mass media phenomena of our globalised society, such as celebrities, sports spectacles and cinema classics. Pfeiffer works entirely on the basis of existing images, as well as film and sound sequences. He uses digital processing techniques to manipulate original images in various ways, presenting them to us from new viewpoints. In short, Pfeiffer raises questions of identity, self-fashioning and mass media dependence.
Swiss artist Zilla Leutenegger combines murals, drawings, objects and video projections to create expansive installations and photographs. Her works surprise the viewer with their playfulness and ease. The exhibition in Bremen presented installations and drawings from a large complex of Sammlung Goetz holdings and complements it with many new works, some of which are being shown in Germany for the first time.
The Aschemünder exhibition marked the start of a collaboration between the Sammlung Goetz and Haus der Kunst. Until 2014, a twice-yearly changing selection of film and media art from the Sammlung Goetz had been shown in 13 cabinet-style rooms in the basement air-raid shelter of Haus der Kunst. The first exhibition, Aschemünder, explored 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.
Doug Aitken’s migration (empire) is a surreal encounter between nature, represented by typical American wildlife, and civilisation, represented by motels and industrial landscapes. The film sublimely evokes the fragility of the American myth of individual freedom that the vast open spaces of the magnificent landscape seem to promise, in the face of constant expansion and transformation.
The exhibition fast forward 2 at the ZKM Karlsruhe showed a representative selection of the Sammlung Goetz’s new acquisitions of video and media art since the year 2000. As such, it was a sequel to the exhibition fast forward, which had been held at the ZKM in 2003. In content, socio-political and aesthetic terms, the selected works focused on issues of movement and dynamics.
The aesthetically extraordinary films by artist Saskia Olde Wolbers all follow much the same pattern: a voice off narrating a storyline that is visualised in seemingly fictitious and organically formed spaces with details that correlate to the spoken word. Olde Wolbers is inspired by news stories and narratives from newspapers and television that report on people with singular life stories, which are expanded both visually and acoustically by the artist in her videos.
Andreas Slominski’s predominantly conceptual oeuvre features sculptural objects and performances, often addressing everyday objects and placing them in a new context. Slominski’s art is seductive. It lures the viewer into a trap in which firmly held perceptions are called into question; it dazzles and at the same time demands closer scrutiny.
Andy Hope 1930, as Andreas Hofer has called himself since 2010, creates autonomous and uniquely atmospheric spaces within the framework of museum architecture. He has developed a complex iconography that combines various strands of fictional and imaginary narratives. This is an artist who confronts modernism, its spectres and signs, with the detritus of history, elements of the present, and a fantastical future. The result is what the artist describes as “labyrinthine infinity“.
“Thomas Zipp is concerned with the notion that the power of good also generates the power of evil , and also by the idea that the subconscious power of repression and the Janus-headed aspect of all things invokes a negative, demonic aspect.“ (Ingvild Goetz)
„I was experiencing, I think, what has come to be known as the postmodern condition, a form of alienation quite different from postwar existentialism because it lacks any historical sense – there is no notion of truth that has been lost. It is characterized by the feeling that there is a general evenness of meaning.” (Mike Kelley)
„Francis Alÿs beobachtet die Menschen genau, wie sie sich abmühen, an kleinen Dingen Freude haben, wenn auch ihr Leben nicht einfach ist. Er spricht von den Niederlagen und Triumphen des alltäglichen Lebens ohne Spott oder Zynismus, eher mit der Traurigkeit eines Clowns. Die Wahrnehmung des von uns oft Übersehenen und dessen Dechiffrierung oder auch die Aufladung des Banalen mit Assoziationen ist das, was ihn interessiert.“ (Ingvild Goetz)
“It’s a stop motion technique, meaning you have an object, you take a picture of it and then you move it a tiny bit, take another picture, etc… Then you transfer it to your computer and violà you have a film. It is very important to me that the idea comes first and the technique drags behind.” (Nathalie Djurberg)
“I like to think the music can take you farther into the visual than the visual alone can. There’s a place where we can see and hear at the same time, without being aware of doing either: a state of awareness without concentration, which can only happen with this kind of accumulation of elements.” (Matthew Barney)
“In the Goetz Collection we present work from a variety of projects produced both separately and as a two-person team. It has been an ideal opportunity to experience several things.“ (Lucy McKenzie and Paulina Olowska)
In parallel with the exhibition Imagination Becomes Reality: Conclusion at the ZKM in Karlsruhe, the ZKMax in Munich presented the Kitchen and Living Room sections of Zilla Leutengger’s multi-room Munich Apartment installation.
„The last part of our exhibition cycle Imagination Becomes Reality. Part V: Fantasy and Fiction focuses on a group of artists who are particularly skilled at creating works that give free rein to the viewer´s imagination.“ (Ingvild Goetz)
„In an age dominated by the computer and other processing technology, it would be strange if young artists did not avail themselves of such techniques. The surprising thing is that they succeed in creating something utterly mew from elements often generated by complex networking. The results of this approach are subject of Borrowed Images, the fourth exhibition in the cycle Imagination Becomes Reality.“ (Ingvild Goetz)
„In Talking Pictures, the third part of my Imagination becomes Reality series of exhibitions, I should like to present some unashamedly narrative works of artitsts from the collection. Using film or canvas, they confront us with stories or fragments that we can elaborate in our own imaginations. The strong narrative accent in the various works of these artists ahould nevertheless not prevent us from seeing in them representative views of where painting stands today.“ (Ingvild Goetz)
„As part of this program, I am now very happy to be able to present works from the Sammlung Ingvild Goetz. As a person and as a collector, Ingvild Goetz is characterized by the qualities of tolerance and openness, but also by her rigor and consistency. We both agree that instead of being a show of strenght, the exhibition in Hamburg should feature artists and works that enter into dialog with each other.“ (Harald Falckenberg)
"Space and architecture have always been important topics in painting, and they still are today, particularly in the vigorous dialogue between architecture and painting and probably even more in our changed attitude to the connection between space and time and "imaginary" space. Unlike the sciences and philosophy, the fine arts treat these topics either in the context of purely formal discussions or with reference to human beings in space, their existential orientation and position in space". (Ingvild Goetz)
Seedamm Kulturzentrum Päffikon, Charles and Agnes Vögele Foundation
What is reality? What is fiction? In an age when perception of the world is largely conveyed by media images, the boundaries seem to blur. This exhibition brought together 30 video works by a younger generation of artists who confront these questions.
"Painting has always existed – and it doesn't seem logical to me to speak of a 'renaissance in painting' because artists have never stopped painting. I am personally interested in painting in its current connection with various media. With the exhibition cycle Imagination Becomes Reality, I want to reveal the influence of painting on all other artistic areas." (Ingvild Goetz)
Berufliche Schulen an der Bergsonstraße, Munich
Supported by Sammlung Goetz, the Beruflichen Schulen an der Bergsonstrasse, Munich (Vocational Schools on Bergsonstrasse, translator's note) showed Bjørn Melhus's video installation The Oral Thing (2001) from April 14 to May 13, 2005.
„The fundamental questioning of our social reality all the way to the breaking of specific taboos and the formal investigation of our perception, the aesthetic – these are the two areas of art that interest me the most and that essentially dominate my collection.“ (Ingvild Goetz)
Doug Aitken's video installations and photographs are located between documentation and fiction. Sammlung Goetz presented a selection of art by the American artist in its BASE 103 media area. These works reflect the tense relationship between nature and civilization.
Richard Prince appropriates foreign imagery by citing, photographing or painting over it. His artworks give these foreign worlds a new context. The exhibition in Sammlung Goetz presented an overview of the American artist's oeuvre with over 50 artworks from nearly all phases.
"An athlete and an intellectual, a storyteller and simultaneously a sculptor and costume designer with a love of detail – many completely contrasting qualities converge in Matthew Barney." (Ingvild Goetz)
Emmanuelle Antille seduces viewers with her suggestive video installations. Sammlung Goetz inaugurates its newly expanded exhibition space, BASE 103, by presenting two central works of the Swiss artist.
The Kunsthallen Brandts Klædefabrik, Odense (DK) and the Bergen Kunstmuseum, Bergen (NO) present a cross-section of the oeuvre of Swiss artists Peter Fischli and David Weiss, who have worked as a duo since 1979.
The works in the exhibition Sculptural Sphere go far beyond the framework of the traditional concept of sculpture. Due to the diverse media used for them, they reference socio-political reality that goes far beyond questions inherent to art.
Together with Kunsthalle Baden-Baden, Sammlung Goetz created an exhibition entitled Die Wohltat der Kunst that includes artistic positions from the 1990s. It united works that treat questions of gender and identity in a new manner. The Bergen Art Museum (NO) and the Fries Museum, Leeuwarden (NL) present this exhibition under the title Just Love Me.
American artist Gary Hill investigates the perception of and connections between image, sound and language. In Remarks on Color (1994), a one-channel video production, a text by Ludwig Wittgenstein is the object of his work.
Sharon Lockhart explores the boundaries of photography and moving images. The Filmmuseum presents a selection of Sharon Lockhart's films held by Sammlung Goetz. They range from her earliest to most recent works.
I think that the 'desert island' represents our greatest fear and our greatest fantasy. Due to the complexity and contradictions of our needs, I feel compelled to create a complex of works that explores and appeals to these needs." (Andrea Zittel)
Yayoi Kusama's trademark is 'polka dots', the colored points that she leaves on canvases, objects and public spaces. She started her artistic career as a performer in New York. In its Filmbox, Sammlung Goetz presented two works from the Japanese artist's early period.
Is there a post-feminist perspective in art after 1990? And if so, how does it relate to feminist positions of the 1960s and 1970s? The exhibition Die Wohltat der Kunst at Sammlung Goetz undertakes an overview of contemporary art.
Against the backdrop of a detailed examination of gender relationships, the exhibition again raises questions about the construction of the concepts of body image and attributes of identity. The term 'post-feminism' in the subtitle does not aim to set boundaries to feminist concepts from the 1970s but to review them.
The exhibition HAUTNAH in Museum Villa Stuck spotlights Sammlung Goetz's core interests. Featuring 100 works by 20 contemporary artists, this show focuses on questions of sexuality, identity and the boundaries of human existence.
Albanian artist Anri Sala's oeuvre is characterized by the relationship between individual and collective history. By presenting four video works created between 1997 and 2000 in the Filmbox, Sammlung Goetz provides insights into his cinematic vision.
Today, painting distinguishes itself by stylistic diversity, visual pleasure and its own intrinsic logic. For the group exhibition The Mystery of Painting, Sammlung Goetz has selected ten positions from its holdings of paintings.
The exhibition at Kunstverein Weiden presents a selection of works of American art from the 1980s and 1990s, which were on display at the Rudolfinum in Prague last year in the presentation American Art from the Goetz Collection.
„This art is not critical in the traditional sense of the word, as it lacks a position to peform criticism from. But the way of grasping, repeating, multiplying the given reality, challenging the dominating social, aesthetic and gender norms it is subverse.“ (Noemi Smolik)
With the exhibition Mike Kelley – Peter Fischli, David Weiss, Sammlung Goetz contrasted two artistic positions of a generation that addresses existential questions from very different perspectives. They give no answers but shake up views that have become taken for granted.
In 1999, CREMASTER 2, Matthew Barney’s third film of the monumental, five-part CREMASTER cycle, which was not produced chronologically, was completed; it premiered in Minneapolis that same year and was acquired a short time later by the Sammlung Goetz. The Film Museum Munich is presenting this new acquisition in a cooperative event with the Sammlung Goetz.
The five-part CREMASTER cycle is Matthew Barney’s cinematic masterpiece. In it, the American artist examines biological and psychological processes of formation. The Film Museum Munich presents CREMASTER 5 (1997) and CREMASTER 4 (1994/1995) from the cycle, which was not produced in chronological order.
Works of Arte Povera formed the start of Ingvild Goetz's intensive collecting activities; they remain one of the collection's main focuses today. The exhibition Arte Povera. Works and documents from Sammlung Goetz 1958 to the present confirms the relevance and importance of these works for our age.
Fabian Marcaccio and Jessica Stockholder work at the juncture between painting and sculpture. With over 50 works, the exhibition in Sammlung Goetz provides a glimpse into the work of the two New York artists.
"When one takes a closer look at British art of the 1990s and subtracts the unnecessary hype surrounding it, these artists demonstrate a sensitivity and sophistication, almost a shameless audacity in their imaginative and direct confrontation with the three main themes concerning humanity – life, death and sex – that does complete justice to them and their reputation." (Gilda Williams)
Sammlung Goetz holds one of the most important and extensive collections of Arte Povera, including early, typical and key works, work groups as well as an archive with photographs and documents about the movement. This international travelling exhibition confirms the relevance and meaning of Arte Povera for our age.
The similarities between the artistic strategies of Jürgen Klauke and Cindy Sherman are striking. The duo exhibition in Sammlung Goetz highlights the commonalities and differences in the photographic works of the two protagonists.