Pinakothek der Moderne


08 Nov 2019 - 04 Oct 2020

Exhibition view in the Pinakothek der Moderne
Photo: Bayerische Staatsgemäldesammlungen, Johannes Haslinger
Marlene Dumas, Cupid, 1994. Oil on canvas, 180 x 140 cm. 2008 acquired as loan of the Michael and Eleonore Stoffel Foundation, Cologne. Photo: Bayerische Staatsgemäldesammlungen, Haydar Koyupinar © Marlene Dumas
Michael Elmgreen & Ingar Dragset, Modern Moses, 2006. Carrycot, wax figure, cover, cashpoint. Photo: Bayerische Staatsgemäldesammlungen, Johannes Haslinger © VG Bild-Kunst Bonn, 2019. Courtesy Sammlung Goetz, München
Gillian Wearing, In this emptiness women are an answer for me (from the cycle "Signs that say what you want them to say and not Signs that say what someone else wants you to say"), 1992-1993. C-print on aluminium, 44,5 x 29,7 cm
2014 acquired by PIN. Freunde der Pinakothek der Moderne e.V. Photo: Wilfried Petzi © Gillian Wearing, courtesy Maureen Paley, London
Amelie von Wulffen, Ohne Titel, 2011. Acryl, Tusche auf Leinwand, 200 x 140 cm. 2016 acquired by PIN. Freunde der Pinakothek der Moderne e.V. Photo: Bayerische Staatsgemäldesammlungen © Amelie von Wulffen, courtesy Gió Marconi, Mailand / Galerie Meyer Kainer, Wien / Freedman Fitzpatrick, Los Angeles
08.11.2019 ‐ 04.10.2020
Pinakothek der Moderne

100 paintings, objects, and films from around 40 international contemporary artists invite us to intuitively approach art from an emotional perspective.

What does art provoke in us? To what extent does our view of art depend on our personal experiences and memories? Which feelings emerge as we contemplate works of art, if our gaze is led by intuition alone?

The exhibition FEELINGS seeks to encourage this direct dialogue between artwork and viewer in order to stimulate an intense emotional engagement. The works exhibited are characterized by enigmatic motifs and atmospheric visual spaces. Joy, excitement, anger, revulsion, sadness, and numerous other emotional reactions may ensue upon viewing the works. The choice of exhibits is subjective; the art historical context and explanatory wall texts have been deliberately omitted.

When does a picture attract us, when does it repel us? The study of emotions is still a young branch of psychology, sociology, history, and neuroscience. Ever since the Enlightenment, the focus has been on humankind as primarily rational beings; their view of the world and images was dominated by intellect above all else. Today, however, it can be proven that emotions have much more influence over us than we have previously wanted to admit. It is no coincidence that politics and advertising have long—and thoroughly manipulatively—relied on using images to evoke feelings and then utilized these for their own ends. Art, on the other hand, is formed in free contexts, creates a purely personal relationship with the audience, and exists without a discernible purpose.

The exhibition features contributions from the following artists:
Hans Aichinger, Jan Albers, Monika Baer, Heike Kati Barath, Vlassis Caniaris, Gregory Crewdson, Alex Da Corte, Nathalie Djurberg und Hans Berg, Drei Hamburger Frauen, Marlene Dumas, Elmgreen & Dragset, Tracey Emin, Gotthard Graubner, Wade Guyton, Thilo Jenssen, Nikita Kadan, Tadeusz Kantor, Ruprecht von Kaufmann, Mike Kelley und Paul McCarthy, Jochen Klein, Rosa Loy, Rosilene Luduvico, Stephan Melzl, Olaf Metzel, Robert Morris, Miwa Ogasawara, Catherine Opie, Laura Owens, Beate Passow, Richard Prince, Bernhard Prinz, Alexandra Ranner, Wilhelm Sasnal, Markus Schinwald, Norbert Schwontkowski, Cindy Sherman, Sam Taylor Johnson, Rosemarie Trockel, Gillian Wearing, Amelie von Wulffen and Artur Zmijewski.

Curators: Bernhart Schwenk and Nicola Graef

The exhibited works are from the holdings of the Bavarian State Painting Collections, the Goetz Collection, and other private collections.

The exhibition is supported by PIN. Freunde der Pinakothek der Moderne e. V.