![]() 218: A sheet of paper crumpled into a ball (US letter), 1999 122: All the Sounds on a Drum Machine, 1995–2000 The Rite of Universal Intercourse (Driftwood bench), 2004 ![]() The two parts of the exhibition are linked in particular by the presence of certain artists in both shows, appearing in different contexts.Įxhibition website of Neues Museum Nuremberg Highlights from the collection will be shown in a two-part exhibition with very different presentation formats. Where we are concerned, the ability to think and reflect should not be understood in overly complex terms – much of the work on show is very accessible, humorous and direct. Neues Museum is showing more than one hundred works from our collection. The exhibition title Out of Order refers not to some kind of malfunction, but to a resistance to any ordering principle, reflecting the mischievousness and non-conformism. As well as museum-scale material, sculpture, painting, photography, and film, we also collect installations and small-format ephemera. Our focus is on international conceptual art at the turn of the millennium, covering the contemporary art of the last three decades. We began collecting professionally at the end of the 1980s. These and many more works from our collection, by artists including Hans-Peter Feldmann, Günther Förg, Wade Guyton, Georg Herold, Cady Noland, Charlotte Posenenske, Florian Pumhösl, Karin Sander, and Christopher Williams, will be featured in this two-part exhibition. At the same time, behind their diverse media surfaces there is always also humor or subtle charm: in the mobile white wall by the Austrian artist Heimo Zobernig, for example in the opulent floral bouquet, renewed every day, on a tall plinth by the Dutch artist Willem de Rooij in the Saros wall by the London-based German photographer Wolfgang Tillmans, a photographic portrait of the phenomenon of the solar eclipse, supplemented by photographs from other sources with a similar feel. In formal terms, the pieces are often reduced and conceptual. Minimalist, black-and-white or monochrome are just some qualities of many works in our collection. Looking at our collection, it becomes clear that thinking about art, its aesthetic dimension, its ability to communicate, its quest for knowledge and the sublime, and its purpose within society, in general, is a question that is immanent within the system, but also an important factor in current artistic production. Herold, Haugaard Madsen, West, Zobernigįor us, art is primarily a question of being able to think.Die Erde, zur gleichen Zeit halb so klein und doppelt so groß.He had solo exhibitions at The Museum of Modern Art in New York in 1997 and Whitechapel Gallery in London, among others, and died at the age of 65 on Jin Vienna, Austria. At documenta IX, the artist debuted his first large-scale public installation: Auditorium, featuring 72 couches made of steel, carpets, and foam placed in a parking lot, garnering critical acclaim and the attention of the international art world. ![]() ![]() During this time, West also developed a series of Adaptives, humorous plaster abstract objects meant to be worn on the face or around the waist. His early work was inspired by the Viennese Actionism movement of the early 70s, consisting of applying or “adapting” new materials to everyday objects such as wrapping coke bottles in gauze or creating large “sausage-like” sculptures out of welded metal. Born on Februin Vienna, Austria, West did not begin studying art until the age of 30, graduating from the Academy of Fine Arts Vienna in 1983. Perhaps best known for his colorful, playful public art, his work can be found in cities all over the world, notably including New York’s Central Park. Franz West was an Austrian sculptor and Conceptual artist.
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