•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Exhibitions - Museum für Moderne Kunst

The Capital 5/21/07 - 8/26/07
Blue Chips & Masterpieces

The Rolf Ricke Collection is the most extensive and valuable acquisition made by Museum für Moderne Kunst since the purchase of the Karl Ströher Collection in 1981.

It includes works by such trail-blazing artists as Donald Judd, Richard Artschwager, Barry Le Va, Keith Sonnier, Richard Serra, Jo Baer, Dan Flavin, Gary Kuehn, Lee Lozano, Fabian Marcaccio, Cady Noland, Steven Parrino and David Reed. The exhibition entitled Das Kapital – Blue Chips & Masterpieces embraces the entire building, showcasing outstanding works from the MMK Collection – from Andy Warhol and Robert Gober to Luc Tuymans – in a new dialog with oeuvres from the Rolf Ricke Collection.

Tino Seghal (*1976) 6/1/07 - 8/26/07
Tino Sehgal’s art is based on a categorically different concept of the artwork. For he breaks with the most fundamental convention of the visual arts, namely the material object. Indeed, Sehgal’s works are realized as actions and movements, as language spoken or sung, and are temporarily materialized by the body of the person performing and interpreting them. It may be museum guards or other persons involved, who then present a predefined choreography, embroil the visitor in a discussion about the market economy, or start to sing »This is propaganda« in a high voice whenever a visitor enters the room. Although Sehgal carefully rehearses the respective actions, the performance of his instructions for action still leaves much scope for the unforeseen.

Taryn Simon (*1975) 9/29/07 - 1/27/08
An American Index of the Hidden and Unfamiliar
Taryn Simon first took the limelight with her exhibition of photographs titled »The Innocents« held at New York’s »PS 1« Contemporary Art Center. In this work, Simon documented individuals who served time in prison for violent crimes they did not commit. A issue is the question of photography’s function as a credible eyewitness and arbiter of justice. In these photographs Simon confronts photography’s ability to blur truth and fiction – an ambiguity that can have severe, even lethal consequences. Unlike artists whose works are fictitious but in formal terms are meant to resemble documentation, Simon actually creates documentations that at the same time come across as elaborately staged.



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