Haus der Kunst – Detail.

Geschichten im Konflikt: Das Haus der Kunst und der ideologische Gebrauch von Kunst 1937-1955

AUSSTELLUNG 10.06.12 – 13.01.13

“Dieses Jahr wird das Haus der Kunst 75 Jahre alt. Der Jahrestag gibt uns Gelegenheit, über das Gebäude nachzudenken – über seine Geschichte, seine Geschichten und darüber, was es heute ist.” (Okwui Enwezor)”

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My new research project is on contemporary art museums in Munich and New York – founded between 1980 an 2012.

Women

April 15, 2012

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In Pinakothek der Moderne in Munich is now the show “FRAUEN – PABLO PICASSO, MAX BECKMANN, WILLEM DE KOONING” on view. Unfortunately it is not more than a representative statement of big art institution without any intellectual approach. Of course, the original paintings of Picasso are so impressive, which no catalogue reprint can ever display. But is this enough for a curatorial concept? Beckmann was a talented illustrator – interested in the object, but not in the way of painting. And why are the great paintings of de Kooning integrated? No text or other hints for a concept, which you can follow.

Haus der Kunst Munich: Thomas Ruff

The new exhibition at Haus der Kunst is not called “retrospective”, but it is one. Curator Thomas Weski shows the lifetime Work of Thomas Ruff in a clear structure: beginning with the small-sized, but impressive “Interieur”-Photos, which show in the tradition of german 1920s “Neue Sachlichkeit” the interior of post war Germany and ending with the the new series “jpeg”. Also included are the often discussed “nudes”. The show demonstrates their high quality, although many critics think they might be just provocative. The highlight is the “portrait”-series from the 1980s with the large scaled and timeless photographs.

Kunstverein Munich: Untilted – Wilhelm de Rooij

Tonight was the opening of the new exhibition of the Kunstverein Munich after renovation. It is a retrospective of Wilhelm de Rooij including 7 monumental hand-woven tapestries (2 new) – often in monochrome or black. There are no reference or 1000 references. According to the artist there is no intention, just the material. But this is not enough – not enough for the artist and not enough for the curating. Without contextualization and without idea why exhibiting these tapestries, this show remains without risk, without gaining any knowledge. A boring start for the “new” Kunstverein.