Proudly Presenting: Generali Foundation Collection
26 Apr - 12 Oct 2014
Bruno Gironcoli
Große Säule mit eingesetzten Augenprothesen, 1968
Ausstellungsansicht: Proudly Presenting: Sammlung Generali Foundation, 2014 © Museum der Moderne Salzburg, Foto: Rainer Iglar
Große Säule mit eingesetzten Augenprothesen, 1968
Ausstellungsansicht: Proudly Presenting: Sammlung Generali Foundation, 2014 © Museum der Moderne Salzburg, Foto: Rainer Iglar
PROUDLY PRESENTING: GENERALI FOUNDATION COLLECTION
26 April - 12 October 2014
Curator: Sabine Breitwieser, Direktorin, with Christina Penetsdorfer, Curatorial Assistant, Museum der Moderne Salzburg
The first exclusive presentation of works from the Generali Foundation Collection, which highlights some characteristic qualities of this prominent and internationally renowned collection, will be on view until October 12. The ca. 2,100 works by 130 artists in the Generali Foundation’s holdings were entrusted as a permanent loan to the Museum der Moderne Salzburg earlier this year.
One central theme-based group of works comprises objects in which art, design, and architecture merge to shape but also articulate a critique of utopian ideas. Bruno Gironcoli’s phallic sculptures, Dan Graham’s glass pavilions, Hans Hollein’s Mobile Office (1969), Gordon Matta-Clark’s interventions in abandoned buildings, and Walter Pichler’s TV-Helmet (1967) have meanwhile become icons of this subject. The high expectations in new technologies and media since the 1960s have also flowed into numerous works that examine their effects on people. The “feminist-actionist” and “expanded-cinema”-works by VALIE EXPORT, especially herTAPP- und TASTKINO (Tap and Touch Cinema) (1968) and Harun Farocki’s video installations tackle some of these issues in profound groups of works. Works by the younger generation of artists have also contributed to a discussion of this topic from a current perspective. A number of works in the collection contain—to quote the artist and writer Allan Sekula—“photography against the grain” in conjunction with a media critique, such as Sanja Iveković’s photo collages, Martha Rosler’s photo-text-installation about the Bowery in New York, and Sekula’s cinematic photo essays. Years ago, headlines proclaimed the Generali Foundation an “Institution for Institutional Critique.” The collection does actually contain numerous artists whose works focus on the conditions of art, and ask what we actually want from art. Early on in his Condensation Cube (1965) Hans Haacke made visible how visitors have an impact on an artwork. Adrian Piper negotiates hegemonies and stereotypes in the art world, and Andrea Fraser humorously introduces us to the real life going on in a museum in the course of performances as “museum tours.”
With this exhibition, the Museum der Moderne Salzburg is writing the pre-text to a new, rotating collection exhibition organized on level 2 at the Mönchsberg building, in which works from the Generali Foundation collection will enter into dialogue with other, extensive holdings from the museum. A new arrangement of works from the collection will beon display in late October of this year.
The exhibition has been organized by the Museum der Moderne Salzburg in cooperation with the Generali Foundation.
26 April - 12 October 2014
Curator: Sabine Breitwieser, Direktorin, with Christina Penetsdorfer, Curatorial Assistant, Museum der Moderne Salzburg
The first exclusive presentation of works from the Generali Foundation Collection, which highlights some characteristic qualities of this prominent and internationally renowned collection, will be on view until October 12. The ca. 2,100 works by 130 artists in the Generali Foundation’s holdings were entrusted as a permanent loan to the Museum der Moderne Salzburg earlier this year.
One central theme-based group of works comprises objects in which art, design, and architecture merge to shape but also articulate a critique of utopian ideas. Bruno Gironcoli’s phallic sculptures, Dan Graham’s glass pavilions, Hans Hollein’s Mobile Office (1969), Gordon Matta-Clark’s interventions in abandoned buildings, and Walter Pichler’s TV-Helmet (1967) have meanwhile become icons of this subject. The high expectations in new technologies and media since the 1960s have also flowed into numerous works that examine their effects on people. The “feminist-actionist” and “expanded-cinema”-works by VALIE EXPORT, especially herTAPP- und TASTKINO (Tap and Touch Cinema) (1968) and Harun Farocki’s video installations tackle some of these issues in profound groups of works. Works by the younger generation of artists have also contributed to a discussion of this topic from a current perspective. A number of works in the collection contain—to quote the artist and writer Allan Sekula—“photography against the grain” in conjunction with a media critique, such as Sanja Iveković’s photo collages, Martha Rosler’s photo-text-installation about the Bowery in New York, and Sekula’s cinematic photo essays. Years ago, headlines proclaimed the Generali Foundation an “Institution for Institutional Critique.” The collection does actually contain numerous artists whose works focus on the conditions of art, and ask what we actually want from art. Early on in his Condensation Cube (1965) Hans Haacke made visible how visitors have an impact on an artwork. Adrian Piper negotiates hegemonies and stereotypes in the art world, and Andrea Fraser humorously introduces us to the real life going on in a museum in the course of performances as “museum tours.”
With this exhibition, the Museum der Moderne Salzburg is writing the pre-text to a new, rotating collection exhibition organized on level 2 at the Mönchsberg building, in which works from the Generali Foundation collection will enter into dialogue with other, extensive holdings from the museum. A new arrangement of works from the collection will beon display in late October of this year.
The exhibition has been organized by the Museum der Moderne Salzburg in cooperation with the Generali Foundation.