News

Identities

Opening: July 11

Exhibition: July 12 - October 26

Jitka Hanzlová fled from the Czechoslovak Socialist Republic to Germany in 1982 and went on to study photography in Essen. Her biography forms the backdrop to her work’s central themes: exile, remembrance, and identity. This ALBERTINA exhibition presents ten of her most important series: Rokytnik (1990–1994) is devoted to the artist’s eponymous home village, while Forest (2000–2005) features the woods she knew as a child. Her portrait series in urban environments such as Bewohner (1994–1996) and Female (1997–2000) examine the relationship between individuals and their surroundings.

Hanzlová, born in 1958, numbers among the most internationally renowned women photographers today. She received the European Photography Award in 1995 and the Paris Photo Prize for Contemporary Photography in 2007. The ALBERTINA is the first museum in Austria to feature Hanzlová in a solo show.  

https://www.albertina.at/en/exhibitions/jitka-hanzlova/ 

Autostrada Biennale

Unfolding Currents: The Pulse of Time

Preview: July 4

Opening days: July 5,6 

Exhibition: July 5 - October 5

Autostrada Hangar, Prizren, Kosovo

Unfolding Currents: The Pulse of Time highlights the dynamic interplay between artists, artworks, audiences, and the rich historical context of Prizren, Kosovo. A city layered with architectural and cultural history, Prizren serves as a living repository of the country’s heritage.

In its tenth year, Autostrada Biennale adopts a situated approach, inviting artists from various generations and geographies to engage deeply with a number of the city’s historical sites. By reimagining past works and commissioning new projects, this edition fosters a vibrant dialogue in the present while critically reflecting on the past.

Unfolding Currents: The Pulse of Time embodies the spirit of this dialogue. The phrase “Unfolding Currents" evokes the continuous evolution of historical and artistic narratives, while “The Pulse of Time” captures the rhythmic, persistent nature of these transformations. This title emphasizes the biennale’s active engagement with the layered contemporary moment we inhabit.

Situated along the Prizren River, the city of Prizren is composed of many pasts and presents. Formed over millennia by a retreating glacier, Prizren, now the second-largest city in Kosovo, lies at the foothills of the Sharr Mountains. Bronze Age fragments have been uncovered around the city’s historical fortress. Byzantine churches sit alongside significant Ottoman mosques and residences. Many examples of Yugoslav infrastructure remain in use, while evidence of the Kosovo War leaves no surface unmarked.

The exhibition unfolds across several historical sites, from the Clock Tower and Shani Efendi House to Gazi Mehmed Pasha Hammam and beyond. Many of the featured projects are already taking shape. This announcement invites readers and future visitors on a journey through key sites where they can encounter these projects in formation.

Artists: Blerta Hashani, David Fesl, Brilant Milazimi, Anita Mucolli, Doruntina Kastrati, Stephanie Rizaj, Edin Zenun, Robert Gabris, Armend Nimani, Elena Narbutaité, Silva Agostini, Small but Dangers, Hassan Khan, Laurent Marschal, Tao G. Vrhovec Sambolec, Nika Span, Rivane Neuenschwander, Nathan Coley, Vadim Fishkin, Tamara Grcic,, Ayse Erkmen, Alije Vokshi, Lois Weinberger, Simon Shiroka. 

Curator: Erzen Shkololli

MIX & MATCH REDISCOVERING THE COLLECTION

through December 31, 2025 

Pinakothek der Moderne, Munich

Marking the 20th anniversary of the Pinakothek der Moderne, the curators of the Sammlung Moderne Kunst have joined heads in rehanging the collection, in a new display titled MIX & MATCH. Characterised by a spirit of curiosity and experimentation, the new hang invites visitors to rediscover the collection in themed galleries and unconventional juxtapositions that transcend epochs, styles, and media.

Key works of painting, sculpture, photography, video and installation art, and printmaking serve as the springboard into topics of vital relevance to 21st-century life, such as community, migration, work, the environment, and conflict and violence. The new hang also illuminates genres and subjects steeped in an art-historical tradition – like the nude, the self-portrait, or the forest, as well as tropes like the grotesque, the spiritual, or the irrational.

The new collection presentation features some 350 works and series spanning 120 years of art history, on view in 25 galleries. True to the idea of mixing and matching, the works were selected as snapshots of specific moments in recent history with the potential to shed light on current urgent debates, offering visionary and unexpected perspectives on the past and the imminent future.

Artists: Herbert Achternbusch, Bas Jan Ader, Etel Adnan, Siegfried Anzinger, Ida Applebroog, Joannis Avramidis, Monika Baer, Lewis Baltz, Georg Baselitz, Bernd & Hilla Becher, Max Beckmann, Laurenz Berges, Benjamin Bergmann, Joseph Beuys, Aenne Biermann, Karl Blossfeldt, Alighiero Boetti, André Butzer, Heinrich Campendonck, Lovis Corinth, David Claerbout, Robert Delaunay, Rineke Dijkstra, Peter Doig, César Domela, Carroll Dunham, Tracey Emin, Dan Flavin, Max Ernst, Omer Fast, Lee Friedlander, Otto Freundlich, Franz Gertsch, Rupprecht Geiger, Carl Grossberg, Katharina Grosse, Andreas Gursky, Hans Hartung, Haubitz + Zoche, Florence Henri, Jenny Holzer, Axel Hütte, Alexej Jawlensky, Asger Jorn, Wassily Kandinsky, On Kawara, Mike Kelley, Ernst Ludwig Kirchner, Paul Klee, Jochen Klein, Oskar Kokoschka, Helmut Kolle, Käthe Kollwitz, Germaine Krull, Marie-Jo Lafontaine, Bo Christian Larsson, Maria Lassnig, Wilhelm Lehmbruck, Eva Leitolf, Zoe Leonard, Carl Lohse, August Macke, René Magritte, Mark Manders, Franz Marc, Henri Matisse, Jonathan Meese, Stephan Melzl, Olaf Metzel, Giorgio Morandi, Otto Mueller, Nicholas Nixon, Henrik Olesen, Martin Parr, Beate Passow, A. R. Penck, Paul Pfeiffer, Pablo Picasso, Adrian Piper, Sigmar Polke, Carl Theodor Protzen, Neo Rauch, Franz Radziwill, Albert Renger-Patzsch, Germaine Richier, Gerhard Richter, August Sander, Christian Schad, Josef Scharl, Oskar Schlemmer, Michael Schmidt, Bernard Schulze, George Segal, Friedrich Seidenstücker, Tschabalala Self, Gino Severini, Renée Sintenis, Thomas Steffl, Norbert Tadeusz, Rosemarie Trockel, Luc Tuymans, Andy Warhol, Jeff Wall, Fritz Winter, Amelie von Wulffen.

https://www.pinakothek-der-moderne.de/en/exhibitions/mix-and-match/ 

City of Glass

Opening: June 20, 6 pm

Exhibition: June 21 - August 29

Roundtable discussion: June 21, 5-7 pm

tranzit.ro/Cluj
Str. Napoca no. 16, 1st floor
Cluj Napoca, Romania

For his exhibition City of Glass at tranzit.ro/Cluj, Andreas Fogarasi is continuing the series “Nine Buildings, Stripped”, a project first presented in his solo exhibition at Kunsthalle Vienna in 2019. 
“Nine Buildings, Stripped”, follows a selection of buildings that are to be demolished or stripped for refurbishment. Fogarasi’s work consists in collecting and presenting materials and surfaces from these buildings, creating sculptural portraits of specific places through time. For his exhibition in Cluj, Fogarasi and the members of the research project focused on three industrial sites of that have ceased or are about to cease production (and will soon be developed into commercial and apartment complexes): Sanex/Cesarom, Armătura and the Combinatul de Utilaj Greu. Fogarasi collected fragments, surfaces, and design elements from these sites, which will be or have been abandoned by industrial production and demolished to give way to new real estate investment projects which will reshape the city’s structure and life. City of Glass will feature the artworks created by Fogarasi from these materials, which condense the transformations that take place at the urban scale. The title suggests a particular sensitivity to the frailness of cities and could be read not just as remembrance of the once sparkling, now broken glass of the industrial city, but also a warning to the new and shining reflective façades of the developments that take their place. This frailty is also one of reflection: what do we see in the broken or cloudy surfaces of old industrial architecture, and how are we to appear in the seamless reflections that are produced by shopping malls and luxury apartments?

Roundtable discussion: Broken glass or real estate treasure?

With Andreas Fogarasi, Petro Ionescu, Adriana Măgerușan (architect), Mihnea Teodor Popescu, Doru Taloș, Enikő Vincze and George Iulian Zamfir
On June 21st, a roundtable discussion that will take place between 5:00 and 7:00 PM will address how the privatized and bankrupted factories (expressed by the metaphor of „broken glass” or broken windows) were transformed into sites of real estate development (the new „treasures” of Cluj, also known as „the treasure city”). The participants of this roundtable will focus on questions such as the histories hidden behind the „broken glass” (socialism, public goods, industrial labor, working class); why and who did break the glass (privatization, deindustrialization, the formation of capitalism); why does broken glass have to disappear (urban regeneration, consumption-based urban development, service economy); how is the „broken glass” transformed into a treasure, by whom, and for whom (real estate developers, investors, local public administration, architects, media); what happens after the „broken glass” is replaced with a new real estate product (processes of spatial exclusion, the increased costs of living including private rents and housing prices, the disappearance of industrial heritage, dislocation of people). Our roundtable articulates a critical perspective on profit-oriented urban transformations that erase public goods for the sake of private profitability, and contributes to collective actions for alternatives.

https://ro.tranzit.org/en/exhibition/0/2025-06-20/city-of-glass-exhibition-by-andreas-fogarasi-followed-by-roundtable-discussion 

Il Cerchio Schiacciato – nel tempo della Globalizzazione e degli Equilibri Instabili

June 17, 2025 – July 18, 2025 

September 8 – October 3, 2025

Fondazione Mudima, Milan

AN EXHIBITION FOR A NEW MOVEMENT

An idea and a project by Carmelo Strano based on his aesthetical
concept of Elliptical Work
First step: EUROPE

The Flattened Circle. The title of this initiative is borrowed from the name given to the ELLIPSE (also called an ‘eccentric figure’) which Carmelo Strano has taken as a metaphor for his concept of Elliptical Work. 

This exhibition starts a new trend in the aesthetical as well as expressive fields, an artistic movement that mainly takes into account two things: the new epochal condition and the new artistic phenomena. Both have been observed and studied in recent decades by Carmelo Strano (who curates this exhibition, with the collaboration of Marina Zara), in his double role as an art critic and theoretician and also as a philosopher interested in sociology and the history of economics (*). 

This is a first initiative focusing on Europe (other geographical areas will be taken into account). With works by solid and original research artists (some are very young) coming from various nations but belonging to the “nation” of Europe, this exhibition highlights the features of the Flattened Circle (and the Elliptical Work), starting with the principle of elasticity: in this case with a special eye on EUROPE. (It is not a return, the critic is keen to underline, rather a very different idea compared to the exhibition A New Europe/ Art Contribution to Supranational Culture, the first ever exhibition dedicated to European art “tout court” the he realized in the context of the 1995 Venice Biennale). 

This project starts from the Fondazione Mudima which, throughout its history, has often made important inroads into contemporary art: in Italy, France, Japan, etc. Moreover, in this circumstance it results as a particularly interesting institution being “neutral”, as it is not an art gallery. 

Each artist boasts their own strong research path that Strano, during his extensive exploration, found to be in line with the principles of Elliptical Work, or at least close to. Obviously, the involvement of super-famous artists has been avoided. 

Here is a group of artists with a special and original language, each with a significant curriculum, be it already interesting or very remarkable, anyway expressing somehow the Flattened Circle. Each with their own very clear artistic ideas, each with their own strong language that they have worked out autonomously, and each in their own way and -last but not least - likely capable of arousing serious interest among specialists and enthusiasts. 

Of course, this movement was born with the awareness that today there are the worth signs to return to talking once again about Movements, eventually. And also with the awareness of the substantial novelties that the Flattened Circle trend bears in relation to the Movements of the past (New Realism, Arte Povera, or other). 

https://www.mudima.net/portfolio-items/il-cerchio-schiacciato/?portfolioCats=3 

Accumulation – On Collecting, Growth and Excess 
Second Sequence

Opening: June 13, 2025 06:00 pm – 11:00 pm

Exhibition: June 14 - July 27, 2025

Migros Museum für Gegenwartskunst, Zurich 

The consequences of excessive growth are becoming ever more visible – and awareness of it is constantly increasing. Yet progress, prosperity and social status continue to be equated with the accumulation of material goods. Accumulation invites visitors to engage with the challenges of and alternatives to excess.

Over-consumption intensifies the climate crisis, deepens social inequalities and stabilises (neo-)colonial power relations. But what is the way out? What would the transition from a growth-oriented to a common-good-oriented society look like? The artists in this exhibition respond in different ways to this challenge: some address the issues directly, while others develop methodologies and strategies to counteract the logic of material accumulation.

In two sequences, ‘Accumulation’ explores the notion of accumulation as a defining phenomenon of the current time. In the first sequence, artistic positions critically evaluated the collection practices of museums, highlighted (neo-)colonial structures and identified the social challenges of sustained growth in relation to labour and production. The second sequence makes capital and accumulation tangible on a material and historical level, sheds light on the systemic consequences of the environmental crisis and explores how accumulation and prosperity depend on flexible boundaries between the private and public spheres. The exhibition also focuses on performances and provides additional in-depth theoretical insights in the form of two essays.

The exhibited works with their differing perspectives encourage reflection on the challenges of constant growth and invite discussions about visions for a society centred around the common good, environmental responsibility, and social justice.

Artists: Art & Language, Bare Minimum Collective, Clegg & Guttmann, Anne-Lise Coste (Uruk), Joana Hadjithomas & Khalil Joreige, Rindon Johnson, Mierle Laderman Ukeles, Nils Amadeus Lange, Gianni Motti, Yuri Pattison, Raqs Media Collective and others.

https://migrosmuseum.ch/en/exhibitions/accumulation---ueber-ansammeln-wachstum-und-ueberfluss-2?lang=en 

Dem Himmel so nah. Wolken in der Kunst 

Kunsthalle Emden

May 24- November 2

Who hasn't lost themselves dreamily in the sky, discovered a face in the clouds or marveled at changing light phenomena? Clouds fascinate us with their fleeting nature and fragile grace. Sometimes light and floating, sometimes heavy and threatening, they reflect our moods. Clouds have inspired art for centuries. They stand for the divine, sublime natural beauty and atmosphere, for transience and longing - and today also for climate change, environmental destruction and war.

The Kunsthalle Emden is dedicating an extensive exhibition to this multifaceted theme, which is also a tribute to the East Frisian sky. On display are works from different eras and genres, from classical landscapes to contemporary installations. The sky can thus be rediscovered in its poetic and political dimensions - but can also be understood as a mirror of the interior and as a sign of our times.

Artists: Heiner Altmeppen, Jean Arp, Sven Drühl, Berend Goos, Anna Grath, Daniel Hausig, Wenzel Hablik, Erich Heckel, Geoffrey Hendricks, Almut Linde, Hiroyuki Masuyama, Bjørn Mehlus, Nanne Meyer, Lyoudmila Milanova, Gabriele Münter, Emil Nolde, Yoko Ono, Robin Page, Ursula Palla, Richard Prince, Franz Radziwill, Gerhard Richter, Simon Roberts, Alexander Rodtschenko, Yvonne Roeb, Christian Rohlfs, Ugo Rondinone, Valentin Ruths, Michael Sailstorfer, Josef Scharl, David Schnell, Gustav Schönleber, Nedko Solakov, Klaus Staeck, Rolf Staeck, Walter Strich-Chapell, Hans Trimborn, Nasan Tur, Felix Vallotton

https://kunsthalle-emden.de/ausstellungen/dem-himmel-so-nah 

Screening 

Blickle Kino - Belvedere

5. Juni, 18:30

Queering the Belvedere: Bewegte Sammlung. Katrina Daschner

Ästhetiken queerer Bildpolitiken

Katrina Daschner ist eine zentrale Position der queer-feministischen Gegenwartskunst. Ihre interdisziplinäre Praxis umfasst u. a. Film, Performance, Textiles und Installation. Für die Inszenierung des Körpers als Ort queerer Lust, Widerständigkeit und ästhetischer Transformation greift sie auf Stilmittel des Theaters, der Burlesque, des Tanzes und des queeren Cabarets zurück. Dabei entstehen dichte und visuell komplexe Bildräume. Pomp (2020) ist der achte und letzte Teil des Zyklus Hiding in the Lights (2012-2020), in dem Daschner u. a. fragmentarisch auf Begehrensstrukturen von Arthur Schnitzlers Traumnovelle referenziert: (Filmische) Körper werden Orte lustvoller Projektionen. Schier skulptural inszeniert, verhandeln sie das Verhältnis von Begehren und gesellschaftlicher Maskierung neu. Daschner dehnt mit visueller Opulenz, Glanz und Pomp bestehende Machtverhältnisse und entwirft alternative Räume und Formen von Sinnlichkeit, Begehren und Identität.

Pomp wurde 2024 für die Sammlung des Belvedere erworben. Im Format Bewegte Sammlung wird er mit anderen Teilen des Zyklus sowie verwandten Filmen vorgeführt und in Anwesenheit der Künstlerin besprochen.

Freier Eintritt. 

Tickets hier. 

LIVING ROOM (CLOSING)

Eröffnung: 3. Juni, 18.30

ORF-Kulturkoordinatorin Jasmin Ölz stellt anschließend Fragen an die Künstlerin.

Ausstellung: 4. Juni - 14. September 2025

Mit der Skulptur Living Room (Closing) thematisiert Liddy Scheffknecht den Wandel des Wohnzimmers vom familiären Medienzentrum hin zu einem Relikt unserer analogen Vergangenheit. 
Die fragile, aus Karton und Papierklebeband gefertigte Installation erinnert formal an ein klassisches Wohnzimmer: Sofa, Tisch, Kommode und ein Fernseher sind klar erkennbar. 
Doch das Ensemble ist nicht stabil – es lässt sich wie ein überdimensionales Pop-up-Buch auf- und zuklappen.
Im halb geöffneten Zustand, wie im Funkhaus präsentiert, wirkt das Objekt wie im Begriff zusammenzufallen. Scheffknecht verweist damit auf die allmähliche Auflösung eines Raumes, der über Jahrzehnte durch das Fernsehen geprägt war. Heute haben mobile Endgeräte, Streamingdienste und On-Demand-Inhalte das traditionelle Fernseherlebnis – und damit das klassische Wohnzimmer – verdrängt. Die Skulptur wird so zum Sinnbild für eine medial und kulturell transformierte Alltagsrealität.
Dabei reflektiert Living Room (Closing) nicht nur unsere Mediennutzung, sondern auch die Ikonografie des Wohnzimmers in der Popkultur: Serien wie Friends, Seinfeld oder Die Simpsons haben diesen Raum über Jahre hinweg zu einem kollektiven Symbol familiärer und gesellschaftlicher Dynamik stilisiert – ein Bild, das zunehmend in die Vergangenheit rückt.

Archeologies of the Future

Opening: May 29

Exhibition: May 30 - July 29

Artget Gallery, KCB – Cultural Centre of Belgrade 

“Mladen Bizumic: Archaeology of the Modern–The Case of Hotel Jugoslavija and Other Psychographies” uniquely activates the Artget Gallery space on the first floor of the Cultural Centre of Belgrade. The artist engages with the gallery’s location, oriented towards Republic Square, envisioning it as a public site where urban architecture, photography, and the viewer’s presence intersect. Across three distinct series BARYTA (2017–), Hotel Jugoslavija (2011–2025), and UNESCO’s Children (2019–) Bizumić engages the image as a site for negotiating the artist’s role in relation to broader questions of environmental and social consciousness. Rather than offering resolution, the works stage a critical reflection on how artistic practice can register and respond to the complex entanglements of nature, society, and perception.

Bizumić’s practice emerges from an ongoing investigation into the conditions of image production, with a particular focus on the intersections between digital and analogue formats and the contexts in which images appear. His works often take shape as site- and time-specific installations, structured to respond to their environment and to engage viewers directly. Developed over long periods, his research returns to recurring motifs, allowing their meanings to shift and accumulate through repetition and reinterpretation.

The series titled BARYTA gestures towards a critical interrogation of the photographic medium itself, referencing baryta paper (one of the most historically significant materials in photographic printing). The works depict samples of barite, a barium-based mineral housed in the Natural History Museum in Vienna. Each image functions as a fragment of a planetary landscape, a visual index of the geological site from which the specimen was extracted. Bizumić draws attention to the paradoxes embedded in the promotion of so-called ‘green alternatives’ in energy production, such as lithium for batteries, exposing the environmental degradation and ecological blind spots often obscured within prevailing narratives of progress.

Bizumić’s engagement with the case of Hotel Jugoslavija unfolds across two distinct temporal moments: first, between 2011 and 2013, following the building’s removal from the register of protected cultural sites; and later, in 2024 to 2025, as its demolition became all but inevitable. What began as an inquiry into the potential futures of modernist heritage becomes, upon return, a critique of the state’s systematic disavowal of cultural memory. The work traces the physical decline of a landmark alongside the ideological deterioration of modernism’s core ideals—collective progress, social ambition, and faith in industrial and technological advancement.

In UNESCO’s Children (Miró, the Serra de Tramuntana) (2019), these concerns crystallise around the vulnerability of both photography as a medium and the World Heritage sites it depicts, which are recognised for their exceptional cultural or natural value. Each image is hand-printed, with the photographic negative displayed alongside the print within a single frame. The pairing of negative and print rejects photography’s usual logic of reproduction. It foregrounds the material conditions and means of photographic production.

“Archaeology of the Modern – The Case of Hotel Jugoslavija and Other Psychographies” insists on the viewer’s active involvement, disrupting passive modes of seeing. By reconfiguring the gallery space and employing techniques such as double exposure, collage, and mixed media, Bizumić exposes the layered tensions between memory, materiality, and modernity. The works resist closure, prompting meaning to emerge through the viewer’s engagement with both the artwork and its location. This lends the exhibition a distinct site-sensitive quality.

https://www.kcb.org.rs/en-us/2025/05/archaeology-of-the-modern-the-case-of-hotel-jugoslavija-and-other-psychographies-mladen-bizumic/ 

TERRA INCOGNITA - Art Expedition to an Unknown Neighbouring Country Czechoslovak Art between 1948 and 1989 in Dialogue with the Liaunig Collection

Museum Liaunig, Neuhaus

through October 31, 2025

The main exhibition TERRA INCOGNITA - Art Expedition to an Unknown Neighbouring Country, curated by Miroslav Haľák, presents Czechoslovak art in dialogue with works from the Liaunig Collection. The curator limits himself to the years 1948 to 1989, which represent the phase of the division of Europe, in which Austria and Czechoslovakia found themselves in two different spheres of influence and the mutual exchange in the previously so organically grown socio-cultural neighbourhood was radically interrupted. 

Since the parameters of art development in the two countries were shaped according to very different criteria and the artists had to work with sometimes completely different socio-political challenges, but were always located in a historically compact geographical sphere, the exhibition is divided into so-called "territories" that correspond to the variability and individual specifics of art production in these decades. Based on the tendencies towards figuration, abstraction, geometrisation and pluralisation typical of postmodernism, the respective artists from Austria and Czechoslovakia come together in a staged dialogue in which the concrete phenomena that developed in the four decades of the Cold War are presented.

The extensive exhibition project was made possible in co-operation with Czech and Slovakian institutions and private collections.

Curator: Miroslav Haľák

Artists: Milan Adamčiak, Marc Adrian, Jiří Balcar, Juraj Bartusz, Mária Bartuszová, Josef Bauer, Štefan Belohradský, Jiří Bielecki, Hans Bischoffshausen, Vladimír Boudník, Hellmut Bruch, Miloslav Chlupáč, Miloslav Cicvárek, Jarmila Čihánková, Miroslav Cipár, Jiří David, Hugo Demartini, Milan Dobeš, Jiří Georg Dokoupil, Otto Eder, Libor Fára, Rudolf Fila, Stano Filko, Emil Filla, Herbert Flois, František Foltýn, Johann Fruhmann, Michal Gabriel, Roland Goeschl, Franz Grabmayr, Mira Haberernová-Trančíková, Josef Hampl, Jiří Hilmar, Rudolf Hoflehner, Wolfgang Hollegha, František Hudeček, Friedensreich Hundertwasser (Friedrich Stowasser), Josef Istler, Othmar Jaindl, Jozef Jankovič, Čestmír Janošek, Jiří John, H+H Joos (Harold Joos, Hildegard Joos), Martha Jungwirth, Zdeněk Kirchner, Alojz Klimo, Tamara Klimová, Alfred Klinkan, Eva Kmentová, Milan Knížák, Jan Koblasa, Peter Kogler, Jiří Kolář, Stanislav Kolíbal, Július Koller, Jan Kotík, Jiří Kovanda, Viera Krajcová, Radoslav Kratina, Matej Krén, Richard Kriesche, Rudolf Krivoš, Jan Kubíček, Jaroslava Kurandová, Bohdan Lacina, Aleš Lamr, Maria Lassnig, Mariane Maderna, Gottfried Mairwöger, Antonín Málek, Karel Malich, Pavel Maňka, Mikuláš Medek, Juraj Meliš, Jürgen Messensee, Anastázia Miertušová, Josef Mikl, Vladislav Mirvald, Alexander Mlynárčik, Gerhardt Moswitzer, Jiří Načeradský, Rudolf Němec, Karel Nepraš, Pavel Nešleha, Hermann Nitsch, Franz Xaver Ölzant, Peter Oriešek, Marek Ormandík, Hermann J. Painitz, Milan Paštéka, Helga Philipp, Robert Piesen, Josef Pillhofer, Peter Pongratz, Markus Prachensky, Drago j. Prelog, Hannes Priesch, Arnulf Rainer, Erwin Reiter, Franz Ringel, Michael Rittstein, Gerwald Rockenschaub, Hubert Schmalix, Christian Schwarzwald, Zbyněk Sekal, Miloš Ševčík, Agneša Sigetová, Rudolf Sikora, Natálie Šimanová, Adriena Šimotová, Paulína Skavová, Otakar Slavík, Miroslav Šnajdr st., Soshana (Susanne Schüller), Jiří Sozanský, Jakub Špaňhel, Hans Staudacher, František Štorek, Jan Švankmajer, Ján Švec, Zdeněk Sýkora, Laco Teren, Erwin Thorn, Margita Titlová-Ylovsky, Jorrit Tornquist, Miloš Urbásek, Andreas Urteil, Jiří Valenta, Jitka Válová, Aleš Veselý, Jaroslav Vožniak, Max Weiler, Hana Wichterlová, Jan Wojnar, Erwin Wurm, Jana Želibská, Kamila Ženatá und Olbram Zoubek.

https://www.museumliaunig.at/en/exhibitions/2025.html 

Selection – Highlights from the collection

Neue Galerie Graz, Universalmuseum Joanneum, Graz

Through December 31, 2028

Comprising around 70,000 works, the Neue Galerie Graz collection has been shown in different ways in recent years, most recently on a large scale up to summer 2024 under the title Show! Highlights from the Collection. Some 9,000 interested viewers visited the exhibition over the four months it ran. Due to strong demand, a permanent presentation of the collection is now on show, which can be seen in concentrated form under the title Selection. For the first time, the public was actively involved in the new selection; a survey led to an astonishing result, which was adopted into the current presentation.

The Neue Galerie Graz collection has always been expanded not only by acquisitions, also through donations and foundations. Generous private gifts – from Norli und Hellmut Cerny, Helmut Suschnigg, Regine Ploner and numerous artists – together with many permanent loans have enabled the quality of the collection to be consolidated in recent years. The permanent presentation, which is slightly adapted every year, now allows special thematic areas to be shown, as well as new purchases. As this permanent exhibition is also concerned with ‘highlights’ from the holdings, the following question is justified: ‘What are highlights, and who determines their status?’

The public has voted.

A survey among the public as part of the exhibition Show! led to a surprising result, which has now flowed into the new selection, too. In this way, the Neue Galerie Graz has actively participated in a collection show for the first time. Here can be seen the republican, civic awareness of those who regard the museum as ‘theirs’ and the assets therein a collective treasure. Both the strength of the society and that of its institutions are revealed in this thinking – in our case, the museum as a venue of communal endeavour.

https://www.museum-joanneum.at/en/neue-galerie-graz/our-programme/exhibitions/event/selection-1 

WHY LOOK AT ANIMALS?  A Case for the Rights of Non-Human Lives

through February 16

National Museum of Contemporary Art Athens

Why Look at Animals? A Case for the Rights of Non-Human Lives centres on animal rights and animal well-being, highlighting the urgent need to recognise and defend the lives of non-human animals in an anthropocentric world that exploits, oppresses and brutalises them. The exhibition is inspired by John Berger’s seminal essay of the same name, “Why Look at Animals?” (1980), which explores the changing relationship between humans and animals, particularly in the context of modernity. The essay reflects on how animals, once deeply integrated into human life, have become increasingly distanced, objectified and commodified.

Why Look at Animals? A Case for the Rights of Non-Human Lives aims to engender a discussion around the ethics and politics of how we treat animals.  By exposing the exploitative, violent mechanisms behind systemic animal abuse, it renders what is shamefully invisible visible. The exhibition and its public programme hope to raise awareness of the conditions of non-human animal life today, from the home, the street and the factory to their threatened natural habitats. Why Look at Animals? invites us to consider the non-human animal not as “Other”, but as a being with a “voice” and intrinsic value of its own, capable of artfulness, play, socialisation and transformation, pleasure, inventiveness, pain and grief.

The exhibition begins on the museum’s lower ground floor where the focus is on the deeply interconnected phenomena of colonialism, industrialism, and technological “progress”, which led to the first large-scale destruction of habitats as well as the violent exploitation of animals. As visitors ascend through the museum, they will encounter works that examine the present state of things: how animals exist and survive in urban environments, examples of animal activism, and new forms of animal knowledge, among other themes. Finally, on the fourth floor of the museum, the exhibition shifts in tone; here, poetics, ecofeminism, animism, play, animal creativity, and humour intersect. Animals reclaim their dignity, and we are prompted to imagine a future world in which there will be more harmonious interspecies co-existence and collaboration. Advances in animal studies continue to show that more and more species of non-human animals possess intelligence and sentience; that they feel pleasure, pain, grief and fear.

The exhibition puts into question human exceptionalism, and aims to confront one of the carefully hidden and largely unspoken crimes of humanity on a mass scale: that of the daily, institutionalised, systematic violence against animals – whether directly or indirectly – a violence that denies them their basic natural rights. Why Look at Animals?  highlights the fact that the myriad species that exist alongside us are an integral part of our biosphere and ecosystems, not products and automata, separate from and subordinate to us. With this project EMΣT places ecological justice and the rights of non-human life at the heart of its programming for the months to come. Any serious engagement with climate justice and environmental protection must therefore involve animals as an integral part of the conversation.

Artists: Ang Siew Ching I Art Orienté Objet (Marion Laval-Jeantet & Benoît Mangin) I Sammy Baloji I Elisabetta Benassi I John Berger I Rossella Biscotti I Kasper Bosmans I Xavi Bou I Nabil Boutros I David Brooks I Cheng Xinhao I David Claerbout I Marcus Coates I Sue Coe I Simona Denicolai & Ivo Provoost I Mike Dibb & Chris Rawlence I Mark Dion I Radha D’Souza I Maarten Vanden Eynde I Jakup Ferri I Alexandros Georgiou I Igor Grubić I Gustafsson & Haapoja I Joseph Havel I Lynn Hershman Leeson I Annika Kahrs I Menelaos Karamaghiolis I Anne Marie Maes I Britta Marakatt-Labba I Nikos Markou I Angelos Merges I Wesley Meuris I Tiziana Pers I Paris Petridis I Janis Rafa I Rainio & Roberts I Marta Roberti I Mostafa Saifi Rahmouni I Lin May Saeed I Panos Sklavenitis I Sonic Space I Jonas Staal I Daniel Steegmann Mangrané I Oussama Tabti I Emma Talbot I Nikos Tranos I Maria Tsagkari I Dimitris Tsoumplekas I Euripides Vavouris I Kostis Velonis I Driant Zeneli

https://www.emst.gr/en/exhibitions-en/why-look-at-animals 

Whose Nature? – On Shared Trails

Jyväskylä Art Museum 

17.5.–7.9.2025

Artist Talk & Meet the Artists

Saturday, May 17 at 12 PM – Free admission

Nature and forests are deeply embedded in Finnish identity and remain central to the visual language of Finnish art. Yet our relationship with nature is far from unambiguous — while its uniqueness is widely appreciated, public discourse often emphasizes its instrumental value and the benefits it provides.

Whose Nature? – On Shared Paths invites viewers to re-examine this relationship from a fresh perspective. The exhibition seeks a more sustainable form of co-existence with the web of life and encourages us to reflect on how we perceive nature — and what we value in it.

The importance of photographic art in reshaping our relationship with nature is more relevant than ever. When nature is portrayed in conventional ways, it risks remaining ordinary and overlooked. The works in this exhibition go beyond simple representation — they offer surprising new perspectives, insight and quiet moments of presence. Could art inspire us to care for and act on behalf of the natural world?

Curated by photographic artists Harri Heinonen and Marko Hämäläinen, the exhibition brings together several acclaimed artists in contemporary Finnish photography. Their works prompt us to consider on whose terms we view, represent, and experience nature — and how art might foster deeper connection within a multispecies world.

Artists: Ilkka Halso, Harri Heinonen, Marko Hämäläinen, Sanna Kannisto, Ritva Kovalainen, Sanni Seppo, Juha Suonpää, and the working group Saxifraga: Julia Kemppinen, Kikka Niittynen, Pekka Niittynen, and Heikki Willamo.

https://www.jyvaskyla.fi/en/jyvaskyla-art-museum/exhibitions/whose-nature 

Razstava

Opening: May 15, 7 pm

Exhibition: May 16 - October 26, 2025

Cukrarna Gallery, Ljubljana

In his project David Maljković shows how painting opens a discursive field, reflecting and articulating the manifold relations between image, space, and time.
Painting has always been more than the material sum of what is created in the studio out of canvas, colour, and stretcher frame. This is also evident in David Maljković’s artistic practice since the mid-1990s, when painting became an open field which the artist used to transfer his experience with this particular medium into other artistic media. It was inscribed into the pictoriality of his objects, video works, and spatial installations. To which extent painting can represent a discursive field in order to articulate the relations between image, space, and time can be experienced in the project at Cukrarna Gallery. Here, painting no longer acts as a mediator but as a speaking voice.

Curated by Kathrin Rhomberg

https://cukrarna.art/en/program/exhibitions/50/david-maljkovic/

Lombardi—Kargl is pleased to invite you to an artist talk with Camila Sposati and Andrea Popelka. 

Saturday May 3, 2 pm

Lombardi—Kargl is pleased to invite you to a guided tour through the exhibitions From Within, Beneath, and Beyond: Through Matter by Camila Sposati and Weinstadt, Bierstadt, Wasserstadt by Andreas Fogarasi, followed by a talk between Bruno Mokross and Andreas Fogarasi.

Manufacturing Time 

through November 3, 2025

Musée de la Poste, Paris

By virtue of its history and its very activity, the Post Office is inextricably linked to the concept of time, and for centuries it has played a decisive role in measuring and managing time.

As early as 1839, the postal administration, whose activities were affected by the fact that time was not synchronised from one municipality to another, obtained an order from the Ministry of the Interior for municipal clocks to be set according to tables supplied by the Bureau des Longitudes, thus laying the foundations for a shared ‘national time’.

The rise of the railway in the mid-19th century further reinforced the need for a single time throughout the country, and it was the telegraph that enabled all public clocks to be synchronised with the time from the Paris Observatory.

These technical advances reflect a constant challenge for La Poste: to provide a fast, reliable and accurate service. Through the standardisation of time and the integration of new technologies, La Poste is establishing itself not only as a key player in the harmonisation of time, but also as an institution that is deeply rooted in societal transformations.

It is this relationship with time that the Musée de La Poste has decided to highlight in the exhibition The Manufacture of Time. To explore this theme, the museum has drawn on its resources and various collections. In all, over a hundred items are on display to the public.

Visitors will be able to admire some remarkable objects (a travel clock from the late eighteenth century, a mail coach watch from 1850), historical photographs (from 1887 to the present day), pieces of marcophily and philately (date stamps, postmarks, envelopes, etc.) and other artefacts (including some fifty almanacs from the early eighteenth century to the present day).

All these treasures and curiosities will be brought together with contemporary works of art that explore the measurement of time, providing a lively and fresh interpretation of heritage objects. Through an inspiring scenography, some fifty works of art in a variety of formats - videos, photographs, installations, objects, sculptures... - will question our perception of time while offering a poetic, philosophical and sometimes even humorous perspective on this theme.

Artists: Darren Almond, Maarten Baas, Patrick Bailly-Maître-Grand, Lenora de Barros, Patrick Bernatchez, Dominique Blais, Claude Closky, Angela Detanico et Rafael Lain, Julien Discrit, Ruth Ewan, Mark Formanek, Philippe Geluck, Susanna Hertrich, Véronique Joumard, Stephen Kaltenbach, On Kawara, Olga Kisseleva, Alicja Kwade, Jorge Macchi, Annette Messager, Melik Ohanian, Roman Opalka, Laurent Pernot, Patricia Reed, Keith Robinson, Franck Scurti, Benjamin Vautier dit Ben, Thomas Wattebled, Elsa Werth. 

Curated by Céline Neveux. 

https://www.museedelaposte.fr/en/expositions-et-evenements/manufacturing-time 

1 0  Y E A R S  G 2  K U N S T H A L L E - Works from the Hildebrand Collection

through June 29, 2025

To mark its tenth anniversary, the G2 Kunsthalle is presenting selected works from the Hildebrand Collection. For the first time since the Kunsthalle opened in 2015, works by national and international artists will be shown across the entire space.

With works of the Hildebrand Collection by Trisha Baga, Alvaro Barrington, Maja Behrmann, Norbert Bisky, Marcel van Eeden, Simon Fujiwara, Gregor Hildebrandt, General Idea, Melke Kara, Tomasz Kręcicki, Friedrich Kunath, Alicja Kwade, Benedikt Leonhardt, Inna Levinson, Hannah Levy, Rosa Loy, Conny Maier, Jeanette Mundt, Matt Mullican, Murat Önen, Neo Rauch, Daniel Richter, Tomas Saraceno, Andreas Schmitten, Kristina Schuldt, Dana Schutz, Brett Charles Seiler, David Shrigley, Marina Peres Simão, Sophia Süßmilch, Wolfgang Tillmans, Nora Turato, Matthias Weischer, Georg Weißbach.

http://g2-leipzig.de/en/exhibitions/10-jahre-g2-kunsthalle/ 

Excavations 

through September 15, 2025 

La Brea Tar Pits Museum, LA

Mark Dion’s immersive, uncanny installation at La Brea Tar Pits, Excavations, evokes a behind-the-scenes museum space, displaying new work alongside early museum murals, dioramas, and maquettes of Ice Age mammals in a playful, irreverent presentation in keeping with his meticulous yet mischievous approach. During an extended residency at the Tar Pits, Dion assisted with excavations, sorted microfossils, shadowed a taxidermist at the Natural History Museum, explored collections and archives, and interviewed researchers, educators, and floor staff to create this installation. 

Dion’s 10-foot-long sculpture of a fossil pack rat skeleton stands atop a mix of natural and cultural detritus from the Tar Pits and the Hancock Park neighborhood. Additionally, six new drawings by Dion of mammal skeletons commonly found in the Tar Pits—artworks labeled with the names of locally important scientists, artists, historical figures, and landmarks—further blend artifice and reality, belying Dion’s critical and satirical approach to museum didactics. A new field guide to Hancock Park published in conjunction with the exhibition highlights the flora and fauna of the site, as well as the Tar Pits’ unparalleled cultural and scientific significance.

https://tarpits.org/mark-dion-pst

Self-Portraits

through 20 July 2025

National Museum Warsaw 

The “Self-Portraits” exhibition presents an assortment of contemporary examples of this class of artwork, going far beyond the standard depiction of an artist’s likeness that classic art history has accustomed us to. Among the works spanning a range of disciplines (paintings, sculpture, photography, sound installation, and more) we find pieces that are highly personal as well as ones that contribute to a broader analysis of the artist’s place in society.

Our presentation of contemporary self-portraits hearkens back to an idea realised a century ago by Count Ignacy Karol Korwin-Milewski to assemble a collection of self-portraits by 19th-century Polish artists. The two corresponding undertakings illustrate the continuity of the tradition of artistic culture as well as the significance of private patronage. 

Artists: Paweł Althamer, Mirosław Bałka, Agnieszka Brzeżańska, Rafał Bujnowski, Barbara Falender, Izabella Gustowska, Zuzanna Janin, Łukasz Korolkiewicz, Katarzyna Krakowiak-Bałka, Zbigniew Libera, Rafał Milach, Jarosław Modzelewski, Agnieszka Polska, Katarzyna Przezwańska, Karol Radziszewski, Joanna Rajkowska, Wilhelm Sasnal, Jadwiga Sawicka, Aleksandra Waliszewska and Artur Żmijewski.

https://www.mnw.art.pl/en/temporary-exhibitions/self-portraits,66.html 

Art & Nature: Inside Out

6.4.- 12.10.2025

Villa Arconati Milan

Lavoro per Natura Vivente, non solo Capitali

through June 30, 2025

Fondazione Morra Greco, Napoli

The project is the culmination of two residencies the artist completed at Fondazione Morra Greco throughout 2024: for the occasion, Fend has had the chance to create never-before-seen works while interacting vigorously with the lively cultural context of both the city of Naples and the Campania region.

Peter Fend’s research begins in the late 1970s, focusing mainly on planetary survival. Embarking on different work trajectories, he found major correspondences with Leon Battista Alberti’s four books of architecture for a better improvement of the technology of a city (or any inhabited area),the quality of its air, water, circulatory space and defense.

The notion underlying his comprehensive work stems from the idea that the world is a living construction site, where the tools of contemporary art can prove fruitful in the development of natural resources. Fend seeks to adopt concrete solutions that can respond to the environmental problems that plague the Planet, well beyond the art system.

https://www.fondazionemorragreco.com/en/lavoro-per-natura-vivente-non-solo-capitali/

Énormément bizarre - La collection Jean Chatelus, donation de la fondatioin Antoine de Galbert

26.03.-30.06.2025

Centre Pompidou, Paris 

Nearly 400 works—sculptures, installations, paintings, photographs, drawings, and votive objects—explore themes of the body, death, and the fleeting nature of life.

This collection, presented almost in its entirety, reflects the evolution of Jean Chatelus' vision: initially influenced by Surrealism and repurposed objects, then by body art, ethnographic artifacts, and popular traditions. It also features some of contemporary art’s enfants terribles, including Cindy Sherman, Mike Kelley, Christian Boltanski, Yayoi Kusama, Michel Journiac, Daniel Spoerri, Robert Filliou, Nam June Paik, Joana Vasconcelos, Andres Serrano, and Wim Delvoye.

https://www.centrepompidou.fr/en/program/calendar/event/g675Pbf 

Corpus Cosmos 

Uppsala Art Museum, Sweden | 15.03.2025 - 24.08.2025

Opening: 15.03. 

The exhibition Corpus Cosmos seeks to engage in a dialogue about bodily experiences in the borderland between faith and knowledge. The Latin corpus refers to the body in medicine and the Greek kosmos to the idea of an organised universe. The exhibition features sculptures, tactile installations, paintings and sensual sound works. The artist's subjective view of the world mixes dreamlike and hallucinatory scenes with analyses and incisions.

Artists: Ingela Ihrman, Pakui Hardware/Neringa Černiauskaitė and Ugnius Gelguda, Pia Sandström, Camila Sposati and Xadalu Tupã Jekupé. 

https://konstmuseum.uppsala.se/utstallningar/corpus-cosmos/ 

Lesen Sie Svea Grasbergers Kritik über Thomas Lochers letzte Ausstellung in unserer Galerie some notes...(barely written out). 

Subjekt • Prädikat • Objekt. Diese grundlegenden Elemente genügen, um die einfachsten Sätze der deutschen Sprache zu formen. Doch sie bilden nicht nur die Basis alltäglicher Kommunikation, sondern auch das Fundament des Rechtssystems. Wie dieses in die Prozesse innerhalb einer Gesellschaft eingreift und welche Rolle die Sprache bei dessen Entstehung und Wirkung spielt, ist das zentrale Thema bei der in der Galerie Lombardi—Kargl präsentierten Ausstellung some notes… (barely written out) von Thomas Locher.
Hier weiterlesen. 

Nedko Solakov

A Cornered Solo Show #5 

Ludwig Museum Budapest | 17.10.2024-29.6.2025

The Ludwig Museum – Museum of Contemporary Art is thrilled to present Nedko Solakov’s humorous, site-specific installation, located in the museum’s lobby, next to the cloakroom. In this work, Solakov explores the idea of an artist who seeks to view the world from a radically different perspective—literally by turning himself upside down to shift his viewpoint. 

A Cornered Solo Show #5 is being presented in celebration of the museum’s 35th anniversary and the 30th anniversary of Solakov’s solo exhibition, The Collector of Art. The exhibition also marks the Ludwig Foundation's recent acquisition of 12 drawings by Solakov, entitled Correctness (2021). As part of this event, the artist will generously donate A Cornered Solo Show #5 to the museum, along with three additional drawings titled Bad Moves (2023).

About the series 

The project, titled A Cornered Solo Show, began in 2021 when Solakov proposed the directors and curators of leading museums to offer him an “insignificant” corner of their institution—outside of the typical exhibition spaces, yet still accessible to the public. To date, four installations have been staged in major European museums, each uniquely tailored to the specific qualities of the chosen corner: #1 MUDAM – The Contemporary Art Museum of Luxembourg (2021) #2 MAXXI – National Museum of 21st Century Art, Rome (2022) #3 Upper Belvedere, Vienna (2023–2024) #4 National Gallery, The Palace, Sofia (2024)

https://www.ludwigmuseum.hu/en/exhibition/nedko-solakov-cornered-solo-show-5 

Nedko Solakov

Counter/Surveillance: Control Privacy Agency

Wende Museum, Culver City, USA | 13.10.2024-19.10.2025

In recent decades, technological advances have supercharged surveillance. Online, personal data are automatically collected and analyzed on a mass scale. Algorithms watch, listen, track, and identify people, complementing and sometimes replacing human eyes and ears. Powerful combinations of surveillance software and hardware, such as surveillance cameras outfitted with real-time facial recognition, are conquering public spaces. These technologies are often misleadingly presented as though they were pure innovation and have no history.

Artists: Asya Dodina, Berlin collective, Graham Fink, Gerhard Lang, Paolo Cirio, Robert Rehfeldt, Xu Bing, Verena Kyselka, Nedko Solakov, Damara Ingles, Ken Gonzales-Day, Ruth Wolf-Rehfeldt, Yang Jian, Decebal Scriba, Liat Segal, Sadie Barnette, Yazan Khalili, Franisco Masó, Slava Polishchuk 

https://wendemuseum.org/exhibition/countersurveillance/ 

On the value of Time: New Presentation of the Collection of Contemporary art

August 10, 2023 - August 31, 2025 
Museum Ludwig Köln

Artists: Tho­mas Bayr­le, Alighiero Boet­ti, Frank Bowl­ing, Miri­am Cahn, Mark Dion, Maria Eich­horn, Harun Faroc­ki, Guan Xiao, Wade Guy­ton, Lubai­na Himid, Ull Hohn, Re­bec­ca Horn, Anne Imhof, Boaz Kaiz­man, Car­o­lyn Lazard, Jochen Lem­pert, Pau­line Mʼbarek, Ker­ry James Mar­shall, Park McArthur, Os­car Muril­lo, Fü­sun Onur, Asim­i­na Paradis­sa, Robert Rauschen­berg, Cameron Row­land, Ju­lia Sch­er, An­dreas Schulze, An­dreas Siek­mann, Di­a­mond Stingi­ly, Danh Vo, Lois Wein­berg­er, Haegue Yang

The Mu­se­um Lud­wig col­lec­tion in­cludes the most im­por­tant artists of the twen­ti­eth cen­tu­ry and con­tem­po­rary art. The works of mod­er­nism and art from 1945 to 1970 are ar­ranged chrono­log­i­cal­ly from the up­per­most to the mid­dle floor. The con­tem­po­rary art in the stair­well and on the base­ment lev­el forms the back­bone and foun­da­tion of the mu­se­um, look­ing in­to the past and the fu­ture. At the same time, the col­lec­tion pre­sents the di­verse me­dia and con­cep­tu­al man­i­fes­ta­tions of con­tem­po­rary art, which do not fol­low a firm­ly estab­lished canon and can­not be cat­e­go­rized in­to styles.

Ev­ery two years the Mu­se­um Lud­wig pre­sents a new se­lec­tion of con­tem­po­rary art from its col­lec­tion. This edi­tion, run­n­ing from Au­gust 10, 2023 till Au­gust 31, 2025, will fo­cus on dif­fer­ent con­cepts of time and ways in which artists han­dle the top­ic in their work. Many artists draw at­ten­tion to the fact that art is ex­pe­ri­enced in the pre­sent, while al­so ques­tion­ing me­m­o­ry, re­mem­brance, and his­to­ri­og­ra­phy. The pre­sen­ta­tion is framed by “val­ue of time” as a con­cep­t—a so­cial­ly de­ter­mined val­ue on which ab­s­tract, quan­ti­fi­able time is based.

The start­ing point is Wal­ter Ben­jamin’s haunt­ing im­age from 1940 of the “an­gel of his­to­ry,” with which he de­scribed the re­la­tion­ship be­tween past, pre­sent, and fu­ture. This estab­lished the con­cept of a crit­i­cal his­to­ri­og­ra­phy that orig­i­nates from eco­nom­ic pa­ram­e­ters. Vari­ous facets of this con­cept are re­flect­ed by the ex­hibit­ed works, in which tem­po­ral­i­ty takes ef­fect, the past is re­flect­ed in its re­la­tion­ship to the pre­sent, and fu­ture events are an­ti­ci­pat­ed.

Cu­ra­tor: Bar­bara En­gel­bach

https://www.museum-ludwig.de/en/home/museum/collection/collection-of-contemporary-art