Exhibition at Pinakothek der Moderne enriched by curators with new juxtapositions

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Exhibition at Pinakothek der Moderne enriched by curators with new juxtapositions
View of room 9 of the exhibition with works by Max Beckmann (back) and Thomas Schütte (front): From left to right: Max Beckmann, Studio with Table and Glasses (Still Life with Studio Window), 1931; Woman with Mandolin in Yellow and Red, 1950; Fastnacht Paris, 1930 © Bayerische Staatsgemäldesammlungen, Sammlung Moderne Kunst at the Pinakothek der Moderne, Munich. Thomas Schütte, Steel Woman No. 12, 2003, Sammlung Goetz, Munich © VG Bild-Kunst, Bonn 2021. Photo: Haydar Koyupinar.

MUNICH.- The dialogue between Classical Modernism and contemporary art from the Sammlung Goetz continues to be extremely popular with the public. As a consequence, the exhibition has not only been extended until 16 January 2022 but enriched by the curators with new juxtapositions. Some of the thematically conceived rooms have been completely redesigned. These include Room 3, in which paintings by the ‘Blauer Reiter’ (Blue Rider) artists have now been combined with large-format works by Michael Buthe from the 1980s in their quest for spirituality in art.

The highly expressive painting ‘Agonie’ (Agony; 1912) by Egon Schiele comes from the collection of the Neue Pinakothek. In Room 4 this work not only comes face to face with Lehmbruck’s sculpture ‘Der Gestürzte’ (The Fallen), a monument to Europe’s sacrificed youth in World War I, but also with collages by Marcel Odenbach and a large-format photograph by Stan Douglas which address the fate of war-related flight that continues to this day.

A spectacular addition to the juxtaposition of works by the artists Max Beckmann and Thomas Schütte in Room 9 is the latter’s sculpture ‘Stahlfrau Nr. 12’ (Steel Woman No. 12; 2003). Up until now this monumental work stood in the sculpture garden in front of the exhibition building of the Sammlung Goetz and, in combination with the minimalist architecture, has become a landmark of the institution. Other highlights in the new presentation of the exhibition include a photograph by Cindy Sherman in dialogue with New Objectivity portraits and figure paintings in Room 7, and a monumental painting by Günter Fruhtrunk ‘Trennendes Rot’ (Dividing Red; 1968/69) in Room 11. In addition, objects by Tom Sachs and the painting ‘Cargo (USS Cole)’ by Luc Tuymans (2004) complement Room 13.

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.

The new hanging of the exhibition will be accompanied by curatorial tours with Oliver Kase and Karsten Löckemann, as well as a discussion with artists. Dates will be announced closer to the time.

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