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Sammlung Goetz

Francis Alÿs

„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)

Francis Alÿs blurs the boundaries between melancholy and humorous story-telling by means of seemingly naive paintings and drawings that form the basis for small animated films addressing socially critical actions and studies relating to everyday life on the streets ofhis chosen home, Mexico City.
He first came to wider international attention with his Paseos – seemingly casual walks through the city that provide documentary, glimpses of the city’s political, social and historical situation as though by chance.
In this exhibition, the nine-part video installation Choques (2005/06) ran like a connecting theme throughout all the rooms. The films showed the encounter between a man and a dog from different viewpoints. Many of the other works were produced in and around Mexico City’s large main square, known as the Zócalo – an area rich in history and impacted by social problems. One such work is Cuentos Patrióticos (1997) documenting a performance by the artist in which he walks around the flagpole at the centre of the Zócalo with a ram trotting behind him on a leash. Each time they round it, another sheep is added to the procession until an unbroken circle is formed. This deeply symbolic act is based on a specific event: during the upheavals of 1968, thousands of civil servants descended upon the Zócalo in what appeared to be a demonstration of support for the government, only to turn their backs to the official podium in an act of rebellion and start bleating like a vast herd of sheep. Between 1992 and 2001, Alÿs photographed animals and people in the streets of Mexico City, including the displaced, the homeless, and the hawkers. He documented the everyday life of this bustling metropolis in images that speak for themselves – images that show how creatively solutions are sought to poverty and hopelessness, and how the non-places of the city become places of survival, and of life. For the slide projection Ambulantes (1992–2001)he photographed people carrying or dragging all manner of things –crates, plants, barrels, balloons – across the street in their own improvised approach to transportation within the megalopolis of Mexico City.

Francis Alÿs

160 Seiten, 139 Abb., Hardcover
2008, Kunstverlag Ingvild Goetz GmbH, Hamburg
ISBN 978-3-939894-10-0
€ 25,00

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© 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.


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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.

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