© Sarah Lucas
Sammlung Goetz

Die Wohltat der Kunst. Post/Feministische Positionen der neunziger Jahre

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.

With Matthew Barney, Rineke Dijkstra, Tracey Emin, Mona Hatoum, Jonathan Horowitz, Sarah Jones, Mike Kelley, Karen Kilimnik, Sarah Lucas, Tracey Moffatt, Cady Noland, Catherine Opie, Pipilotti Rist, Daniela Rossell, Cindy Sherman, Ann-Sofi Sidén, Sam Taylor-Wood,Gillian Wearing, Sue Williams and Andrea Zittel.

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.
Based on the observation that female artists were fairly well represented in exhibitions and on the art market of the 1990s, this show presents works by 17 artists (15 female artists and two male artists) who deal critically with body image as manifested in our society, as well as with the balance of power. This issue is also one of the main emphases of Ingvild Goetz's collection: "I want my collection to shake up people or draw their attention – not only in the political sense but also through very good, i.e. aesthetically good art". The exhibition includes many photographs and video works that investigate and criticize the notion of the ideal body image found in the media.
This exhibition was created in collaboration with the Staatliche Kunsthalle Baden-Baden and presented there in modified form from September 14 to November 10, 2002. In contrast to the exhibition in Baden-Baden, the exhibition at Sammlung Goetz does not present works by Karen Kilimnik because an entire room of her works was presented in The Mystery of Painting. The same is true of Mike Kelley, whose Unisex Lovenest was shown from June to November 2000 in the collection, and Andrea Zittel, to whom the next exhibition will be dedicated.

Further exhibition dates:

Sammlung Goetz | September 14 – October 11, 2002

Under the title Just Love Me:
Bergen Art Museum, Bergen, NO | August 22 – October 26, 2003

Fries Museum Leeuwarden, NL | April 24 – June21, 2004

Die Wohltat der Kunst
Post/Feministische Positionen der neunziger Jahre aus der Sammlung Goetz

241 pages, 140 ill., softcover
2002, Kunstverlag Ingvild Goetz GmbH, Hamburg; Staatliche Kunsthalle Baden-Baden
ISBN 3-88375-621-0
€ 20,00

learn more


© Felix Gonzalez-Torres

Felix Gonzalez-Torres, "Untitled", 1992

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.


[Translate to English:]

Cyrill Lachauer. I am not sea, I am not land

Sammlung Goetz in Haus der Kunst

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.

further exhibitions

view archive

To optimize our website for you, we use cookies. By further browsing this site you agree to this usage. I agree!

learn more