One house, four museums: ART (Sammlung Moderne Kunst der Bayerischen Staatsgemäldesammlungen), PRINTS & DRAWINGS (Staatliche Graphische Sammlung München), ARCHITECTURE (Technical University of Munich’s Architecture Museum) and DESIGN (Die Neue Sammlung – The Design Museum).
A good neighbour
In the epoch in which we live, we find ourselves confronted with new challenges. The boundaries between public and private have become blurred. Old ties are being dissolved, new alliances are forming, the value of peaceful coexistence is being put to the test. International artists invited by Elmgreen & Dragset illuminate notions of good neighbourliness and ways of interacting with neighbours and foreigners. As the first cooperation between the Pinakothek der Moderne and the Istanbul Biennale, ‘a good neighbour’ will also contribute to building new connections between Turkey and Germany.
Fig.: Burçak Bingöl, Follower, 2017, Courtesy of the Artist, Foto: Poyraz Tütüncü
Flats, Flats, Flats! Housing in Bavaria 1918 | 2018
The topic of housing development is as relevant today as it was 100 years ago. This exhibition forms part of the centenary celebrations marking the founding of the Free State of Bavaria and places a special focus on the evolution of residential architecture in Bavaria in the context of political decisions and actions, and against the backdrop of economic and social factors. The exhibition will address the ways in which concepts of space and architectural solutions reflect specific living conditions, and will also look at construction and housing programs – in particular the promotion of social housing in Bavaria and the attempt to boost the living conditions of a broad sector of society. By looking at a range of building styles – from detached homes to small housing estates and low-rise ‘Zeilenbau‘ developments, through to large-scale housing estates – light is shed not just on urban development, but also on the more rural regions of Bavaria.
An exhibition by the Bavarian Ministry of the Interior, for Building and Transport, in collaboration with the Architekturmuseum der TU München in the Pinakothek der Moderne.
Fig.: Parkstadt Bogenhausen, Matthä Schmölz, Helmut von Werz und Johann Christoph Ottow, Hans Knapp-Schachleitner, Johannes Ludwig und Franz Ruf (Gesamtplanung), 1954-1956 © Wohnungs- und Siedlungsbau Bayern GmbH & Co. OHG, Foto: Kurt Otto, 1958 Wohnsiedlung Schuberthof, Augsburg, 1928-1930, Thomas Wechs Bild: Architekturmuseum Schwaben
SketchBook[Hi]Story. Sketchbooks from the Collection of the Staatliche Graphischen Sammlung
For centuries, drawing and writing in sketchbooks has been an essential component of artistic practice. The graphic traces in the books are characterised by both their extreme immediacy and their heterogeneity, allowing perceptions, thoughts and memories to be preserved, structured, and reflected upon. At the same time, sketchbooks provide a safe space for developing new visual ideas beyond all aesthetic expectations and conventions. With this exhibition, the theme of the sketchbook will for the first time take centre stage in a comprehensive museum display. The Staatliche Graphische Sammlung München has in its care more than 260 sketchbooks – kept by painters, illustrators, sculptors, architects, as well as travel sketchbooks – ranging from the 18th century right up to the present day. Utilising this rich collection, the exhibition will trace the evolutionary history of the medium, and – progressing through the centuries right up to the present – initiate dialogues between sketchbooks, artists and viewers.
Fig.: Fritz von Uhde, 1848-1911, Skizzenbuch, undatiert, Staatliche Graphische Sammlung München © Staatliche Graphische Sammlung München
Under the stairs: Tableau Vivant
Für das Jahr 2018 lädt Die Neue Sammlung die “Klasse für Freie Kunst / Gold- und Silberschmieden” von Prof. Suska Mackert an der Akademie der Bildenden Künste Nürnberg ein, ihre Arbeiten in der Pinakothek der Moderne zu präsentieren. Seit 2008 ermöglicht das Ausstellungsformat “Under the stairs” den jüngsten Schöpfungen im Bereich Schmuck einen frühen Auftritt in der Öffentlichkeit. Das Projekt Tableau Vivant der Nürnberger Schmuckklasse zeigt Arbeiten von Studierenden und von Alumni. Ein wichtiges Grundcharakteristikum der Klasse Suska Mackert ist dabei das kollektive Arbeiten. Neben den real existierenden Materialien, aus denen der Schmuck am Ende besteht, fliessen so auch “Materialien” mit ein, die man mit Verhaltensmustern und menschlichen Erwartungen beschreiben kann.
Die Ausstellung “Tableau Vivant” wird von Suska Mackert in Zusammenarbeit mit Benjamin Lignel und Nadja Soloviev kuratiert.
Fig.: Clemens Brosinsky. Objekte “Jawohl!”, 2016, Stahl, Aluminium. Foto: Clemens Brosinsky
2018 will mark 50 years since the first International Silver Jewelry Symposium in Jablonec in 1968, in what was then Communist Czechoslovakia. To celebrate the 50th anniversary of this unique moment in the history of studio jewelry, Die Neue Sammlung is staging an exhibition where the works created for the exhibition will be on display again for the first time. From the middle of the 19th century, Jablonec nad Nisou became a mecca for the jewelry industry, thanks to its proximity to the centres of Bohemian glass-making at Libereč and Železný Brod. Glass beads and jewelry were exported as far afield as Africa and industrial exhibitions were staged. At the end of the 1960s, however, the world-wide economic downturn also hit the Czechoslovakian jewelry industry. The symposium was an attempt to find a way out of this dilemma by harnessing modern ideas, promoting international exchange and building on the success which Czechoslovakian jewelry had enjoyed at the world exhibitions in Brussels in 1958 and Montreal in 1967.
Fig.: Pavel Krbalek, CSR. Necklace. Silver. Done at 1. Silver Smithing Symposium Jablonec nad Nisou, 1968. Photo: Adolf Vrhel
Germaine Krull. Métal
Photographer Germaine Krull’s reputation as an avant-garde artist comes largely from her groundbreaking portfolio ‘Métal’ (1928). Using unusual perspectives and cropped details, she depicts iron constructions like cranes, bridges, machines, and the Eiffel Tower. The sequence of images in the portfolio turns the individual images into a filmic ‘dance of naked metal’, portraying these gigantic metal constructions as dynamic monuments of a modern age. The exhibition presents all 64 plates from the portfolio ‘Métal’, along with additional original photographs from the series from the collections of the Ann and Jürgen Wilde Foundation.
Fig.: Germaine Krull, Tour Eiffel, 1927 © Nachlass Germaine Krull, Museum Folkwang, Essen
Paul Klee. Construction of mystery
‘Construction of Mystery’ is the first major exhibition of Paul Klee’s work to be held at the Pinakothek der Moderne. The substantial holdings in Munich will be presented alongside more than 120 works from important Klee collections in Europe, the United States or Japan. The show follows Paul Klee’s path as a ‘thinking artist’ who systematically explores and transcends the boundaries of the rational in his work. At the centre of the exhibition is the 1920s, a time in which Klee responded to the challenges of the new technological world and its impact on the creativity of the modern artist. As a Bauhaus master, Klee questioned the dominance of rationalism and strove to balance understanding and feeling, construction and intuition. This exhibition shows the continued relevance of Klee’s work, addressing fundamental conflicts of the modern subject.
Fig.: After the Drawing 19/75 [Absorption], 1919 Lithograph, 1st state, hand-coloured in watercolour, 22.2 x 16 cm Zentrum Paul Klee, Bern, donation of Livia Klee © Zentrum Paul Klee, Bern, Bildarchiv
Fritz Winter (1905-1976) began his artistic career in 1927 at the Bauhaus in Dessau as a pupil of Wassily Kandinsky, Oskar Schlemmer and Paul Klee. Parallel to the exhibition ‘Paul Klee. Construction of Mystery,‘ the Fritz Winter Foundation is showing the artist’s early works from the 1920s up until the 1940s. Two new acquisitions from the work group ‘Triebkräfte der Erde‘ (Driving Forces of the Earth) that the artist painted in secret after being deemed ’degenerate‘ by the Nazis in 1944, form the highlight. The ‘Triebkräfte der Erde‘ were celebrated in the post-war period as key works that display the wealth of abstact forms and, to this day, epitomise the quality and potentiality of works of art created in ’inner emigration‘. The presentation of 16 works in Room 15 will show a small selection from the new core holdings of the Fritz Winter Foundation on permanent loan to the Bayerische Staatsgemäldesammlungen. An inventory catalogue of the 151 paintings and works on paper that make up these new core holdings will be published at the same time.
Fig.: Fritz Winter. Triebkräfte der Erde, 1944 / Driving forces of the earth, 1944. Mischtechnik auf Papier, 29,6 x 21 cm. Fritz-Winter-Stiftung, Bayerische Staatsgemäldesammlungen. Foto: Johannes Haslinger, Bayerische Staatsgemäldesammlungen © Fritz-Winter-Stiftung
Ikko Tanaka: Faces. Posters
Inspired by the Bauhaus, American Jazz and the aesthetic tradition of Japan, Ikko Tanaka (1930-2002) remains one of the most influential Japanese designers. The exhibition is dedicated to the theme of the face in the poster oeuvre of this communicator between Japanese culture and the West. The parade of faces gliding past the ambling viewer is akin to a Gallery of Beauties, rendered in radical geometric abstraction, calligraphic expressivity or captured in photographs, emblematic, distorted, as impenetrable mask, surreal, playful … With noblesse, sublimely seductive or tantalizing, all of these faces want to catch the viewer’s attention, be it for Noh or Kabuki theatre, exhibitions, communications companies or a collection by fashion designer Issey Miyake.
Fig.: Ikko Tanaka, Chiba ’91, 1991. Offset, Photo: Die Neue Sammlung – The Design Museum © Ikko Tanaka 1991 / licensed by DNPartcom
Hella Jongerius & Louise Schouwenberg – Beyond the New
Dutch product designer Hella Jongerius and design theorist Louise Schouwenberg have been invited to develop a site-specific installation for the Paternoster Hall at Pinakothek der Moderne. They are thus continuing the ten-month exhibition format for contemporary positions in design that kicked off in 2015 with Konstantin Grcic and continued with Werner Aisslinger. Hella Jongerius has made a name for herself with her very specific way of combining craftsmanship and industrial manufacturing. Her furniture, textile and ceramic designs are meant as a symbiosis of high and low-tech, of past and present, of traditional and innovative materials. In her research, Louise Schouwenberg, head of the department of contextual design at the renowned Design Academy in Eindhoven, mainly focuses on the interface between art and design. Together with Louise Schouwenberg in 2015 Hella Jongerius authored the ‘Beyond the New. A Search for Ideals in Design’ manifesto. It opposes an industry that believes the sole goals of production are the idea of the ‘new’ and commercial success. They contrast this to the conviction that industry first taps the potential of current manufacturing opportunities when it tackles new challenges that address high quality, sustainable products and also foster design that can be free and experimental.
Fig.: Hella Jongerius & Louise Schouwenberg – Beyond the New. Die Neue Sammlung – The Design Museum, Munich. Photo: Roel van Tour
Roni Horn. PI
The 45-part work ‘PI’, created in Iceland by Roni Horn (b. 1955) is one of this artist’s major works. Like a researcher out in the field, she illustrates the diverse facets of this specific place, about which she has also created a series of artist’s books and sculptures.
Fig.: Roni Horn, PI, 1998, 45-teilige Fotoarbeit (Detail), Bayerische Staatsgemäldesammlungen, Sammlung Moderne Kunst, Pinakothek der Moderne
Anselm Kiefer – The Michael and Eleonore Stoffel Foundation acquires five works by Anselm Kiefer
The Michael & Eleonore Stoffel Foundation has worked in close collaboration with the Bayerische Staatsgemäldesammlungen to acquire on behalf of the latter institution five works by Anselm Kiefer. The acquisition marks a milestone in the development of the collection. Anselm Kiefer has created a body of work that broke the silence surrounding the German past in the Third Reich, while also finding a poignant language for articulating the global intertwinement of human civilization. He delves deep into old Christian, Kabbalistic, and Far Eastern traditions, explores the world’s great mythical, religious, and poetic texts, and forges links between them and the world as it is experienced today. The monumental painting ‘Der Sand aus den Urnen’ (2009) and the two large wall pieces transferred onto lead in 2011 and entitled ‘OCCUPATIONS’ (1969/2011) as well as the two display cases ‘Die 12 Stämme’ (2010) and ‘Morgenthau’ (2016) will now form an additional highlight in the collection profile at the Pinakothek der Moderne.
Fig.: Anselm Kiefer, Der Sand aus den Urnen [The Sand from the Urns], 2009, Acrylic, oil, shellac, sand and charcoal on canvas, 280 x 570 cm, © Anselm Kiefer, Photo: Charles Duprat
Olaf Metzel – Reise nach Jerusalem/ Musical Chairs
For the opening of the Pinakothek der Moderne, Olaf Metzel created a sculpture that highlighted the stage-like appearance of the staircase. The artist was particularly interested by the lone column on the mid-landing, which he dressed in a dazzling robe of colourful acrylic glass, in the centre of which he stacked deformed plastic chairs. Metzel named this eccentric work ‘Journey to Jerusalem’, (the West-German name for musical chairs) and it soon became one of the museum’s most iconic works. This expansive work may be seen again on the occasion of the museum’s 15th anniversary.
FUTURO. A Flying Saucer in Town
Die Neue Sammlung is presenting its acquisition of the spectacular FUTURO in the outdoor area of the Pinakothek der Moderne.
The FUTURO is not only the best-known and most innovative dwelling of its kind, but also one of the first plastic houses in the world that could enter serial production. No other object better embodies the faith in technology and belief in the future of the Space Age that typified the late 1960s than FUTURO. It is hardly surprising that it would become the epitome of utopian design. Made of prefabricated segments of fiberglass-reinforced polyester, the house could be put to various uses. Originally designed as a ski hut in inaccessible terrain, it could equally serve as a weekend home, mobile classroom or even a bank branch. In its design, furnishings and on account of its flexible usage FUTURO is an excellent example of the visionary design ideas of that era between Pop and social revolution, which were ultimately ousted by the concept of functionalism.
Fig.: FUTURO house, Pinakothek der Moderne, Photo: A. Laurenzo.
African Mobilities. This is not a Refugee Camp Exhibition
26.04.2018 ‐ 19.08.2018
‘African Mobilities’ is not concerned exclusively with the architecture of the refugee camp. Instead, it seeks to explore how cities and towns might become sites of refuge for African populations on the move, while simultaneously reckoning with the ways in which colonial geographies of extraction are enfolded within seemingly new zones of resource extraction. The show aims to rethink the geography of African migrations and the challenges and opportunities they pose for doing architecture and urbanism differently: through an exploration of architectures at the intersection of migration, displacement and digital technology. The exhibition connects fourteen diverse locations through workshops, commissioned projects and master classes: Johannesburg, Harare, Kampala, Addis Ababa, Munich, Luanda, Abidjan, Lagos, New York, Dakar, Nairobi, London, Lubumbashi, and Praia. It is based on a trans-national and interdisciplinary approach to architectural research and design, showing both current work and creative research-driven work that offer future possible urban scenarios and architectural prototypes, brought about by a world in motion.
This initiative is funded by the German Federal Cultural Foundation and supported by the Goethe-Institut.
Fig.: Shanty Megastruktur © Olalekan Jeyifous
Königsklasse IV. Contemporary Art at Herrenchiemsee PalaceLaib | Warhol | Flavin | Rainer | Basquiat
18.05.2018 ‐ 03.10.2019
The summer exhibition ‘Königsklasse’ will once again be taking place in the splendid Herrenchiemsee Palace constructed by King Ludwig II, featuring major works from the Pinakothek der Moderne. Rooms devoted to the art of Wolfgang Laib, Andy Warhol, Dan Flavin, Arnulf Rainer and Jean-Michel Basquiat will be recontextualized within the palace’s incomplete historical architecture. This interaction is enriched by the education and outreach program ‘Königskunde’. From 01 July to 09 September, young art educators will welcome visitors daily between 10.00 a.m. and 05.00 p.m., inviting them to take part in a dialogue. The aim is not to improve knowledge, but to discuss the aesthetic dimensions of artworks and spaces, culture and nature. In cooperation with the Bayerische Schlösserverwaltung.
In Focus: Giorgio Vasari. The 450th anniversary of the 2nd edition of the ‘Vite’ in 1568
25.05.2018 ‐ 03.06.2018
Born in Arezzo, Giorgio Vasari (1511-1574) became architect and court painter to the Medicis, building the Uffizi in Florence and painting the frescoes in the dome of the city’s cathedral church of Santa Maria del Fiore. He became most famous, however, as the biographer of Italian artists. His work ‘Le Vite de’ più eccellenti pittori scultori ed architettori’ first appeared in 1550 and was republished in a second, much altered and extended edition in 1568. The ‘Vite’ contains the biographies of 108 artists, drawn from a period of over three hundred years, from Giovanni Cimabue to Michelangelo. The exhibition presents drawings by Vasari, his circle and followers, who already revered him as a writer on art (fig.). Drawings by Pollaiuolo and El Greco, now in Munich but originally in Vasari’s famous ‘Libro de’ disegni,’ will also be on show, as will a major drawing by the young Michelangelo, which illustrates in a most striking manner the early artistic promise which Vasari described.
Fig.: Antonio del Pollaiuolo (1431/32–1498), Study for an equestrian monument of Francesco Sforza, ca. 1480 © Staatliche Graphische Sammlung München
Ólafur Elíasson– WASSERfarben
07.06.2018 ‐ 02.09.2018
Without doubt, the Danish installation artist of Icelandic origin, Olafur Eliasson (b. 1967), is one of the most outstanding artists of our times. Like no other, he captures the imagination of people around the globe – also outside the museum world – with his large art projects. What is less known is that Olafur Eliasson also trained as a draughtsman when studying at the Royal Danish Academy of Fine Arts from 1989 until 1995. His drawings are still of central importance to his work that encompasses all other media. Initial ideas are formulated in drawings that the artist refers to time and again in the course of a project. The impression is given that Eliasson’s thought process is recorded in such drawings.
The comprehensive exhibition ‘WATERcolours‘ at the Staatliche Graphische Sammlung München is a world premiere that presents Olafur Eliasson’s multifaceted skills as a draughtsman for the first time. The curatorial idea is to show the close emotional and intellectual congruence between his drawings and his installation art and to let them be re-lived as a sensuous experience.
Fig.: Olafur Eliasson, Your unpredictable sameness, 2014. View of installation in Olafur Eliasson’s studio, 2016. Photo: María del Pilar García Ayensa / Studio Olafur Eliasson. Courtesy of the artist; neugerriemschneider, Berlin © 2014 Olafur Eliasson
Photography Today: Private Public Relations
15.06.2018 ‐ 07.10.2018
How do we experience the public sphere in a global, chaotic and digitised world, and what kind of role does photography assume in this context? With ‘Private Public Relations’, the Sammlung Moderne Kunst is continuing its exhibition series ‘Photography Today’ on innovative trends in contemporary photography, which it kicked off in 2016. With the rise of social media, and against the backdrop of an increasingly radicalised political climate, there is a great need to interpret the fragmented, global social space in which we currently live. This exhibition deals with the relationship between the photographic image and public space in the digital age.
Kindly supported by the Alexander Tutsek Foundation.
Fig.: Sadie Benning, rainy day/gender 1, 2017, Courtesy die Künstlerin, Susanne Vielmetter Los Angeles Projects und Mary Boone, New York. Foto: Chris Austin
Photography from the Collection of the Ann and Jürgen Wilde Foundation
01.07.2018 ‐ 01.09.2018
Photographs from the collection of the Ann and Jürgen Wilde Foundation go on display in thematic or monographic exhibitions that rotate every half year. The collection is primarily dedicated to the photography of the New Objectivity and avant-garde movements of the 1920s and 1930s, featuring works by photographers such as Aenne Biermann, Karl Blossfeldt, Florence Henri, Germaine Krull, Albert Renger-Patzsch, August Sander, and Friedrich Seidenstücker.
Fig.: Karl Blossfeldt, Eryngium bourgatii. Bourgati’s Sea Holly, before 1928 © Ann and Jürgen Wilde Foundation, Pinakothek der Moderne
Palaces and Factories. The Architecture under King Ludwig II
26.09.2018 ‐ 13.01.2019
This exhibition, which marks the 150th anniversary of the TU Munich, sheds light on the architectural history of the Kingdom of Bavaria during the reign of Ludwig II (1864-1886). The exhibition provides the first ever survey of the buildings constructed under his aegis, and of the projects that went unrealised. The focus is not just on the world-famous royal palaces and the spectacular theatre projects which Ludwig II personally commissioned, but also on the public and private architectural developments of his time. These include prominent buildings such as the Munich Rathaus (Town Hall), the Munich Academy of Fine Arts and the ‘Bayreuth Festival Theatre’, but also buildings which are less well-known, but are architecturally outstanding and of cultural-historical significance, such as the original building of the ‘New Polytechnic School’ (now TU) in Munich, the synagogues in Munich and Nuremberg, the factory buildings of the Augsburg textile quarter and the ephemeral architecture created for the ‘Bayerische Landes-, Industrie-, Gewerbe- und Kunstausstellung’, held in 1882 in Nuremberg
Fig.: Meußdoerferr’sche Malzfabrik, Kulmbach, 1883-1887, Foto: Ulrike Myrzik
Grande Decorazione. Italian Monumental Painting in Prints. Works from three centuries
13.10.2018 ‐ 06.01.2019
It was in monumental painting that Italian art reached its apogee. Michelangelo’s Sistine Chapel ceiling and ‘Last Judgement’, the frescoes of Raphael, Pietro da Cortona and Tiepolo are among the most memorable creations of the human imagination. One of the earliest exponents of Italian monumental art was Andrea Mantegna, among whose major works is the ‘Triumph of Caesar’, made up of ten, large-scale panels which were originally mounted on one wall. Around 1500, Mantegna, ever the innovator, also produced a version of this work as a copper engraving (fig.). From then on, wall and ceiling paintings of all sorts were reproduced as prints. Out of an old art form a new one was born, one whose aim was to translate large and complex works into a format which was easy to comprehend and to handle. The printed sheets could be admired anywhere and they conveyed the concept of the artworks they represented in a way which was easier to grasp than the originals themselves. The exhibition presents around 120 works which are astonishing for their size and for their extraordinarily striking appeal as fully developed works of art.
Fig.: Giulio Campagnola, Andrea Mantegna, Werkstatt, Die Elefanten, Variation zu Andrea Mantegna, Karton V, „Triumphzug Cäsars“, Hampton Court, um 1500, Kupferstich, 283 x 259 (Blatt), 1490/1500, Staatliche Graphische Sammlung, München
Friedrich von Borries: Politics of Design. Design of Politics
01.11.2018 ‐ 01.09.2019
‘Politics of Design. Design of Politics’ is the programmatic title of the exhibition by Friedrich von Borries, which will be shown from November 2018 to September 2019 in the Paternoster Hall and the Permanent Collection. In a series of interactions with and interventions in the Collection, architect and design theorist von Borries sets out to demonstrate the extent to which there is an intrinsically political side to design. After all, design objects always also come about in a political context and their development is often motivated by socio-political goals. This ‘politics of design’ is juxtaposed to the ‘design of politics’, a project that explores how design can shape and change politics. How can design contribute to society’s social and cultural development? Both exhibition sections will be complemented by a subjective reflection on Friedrich von Borries’ own output to date.
14.11.2018 ‐ 03.03.2019
In the Greek saga, the hero Odysseus survives dangerous adventures on his odyssey and completes mysterious tasks – returning home at the end perhaps as a different person. Like a contemporary Odysseus, in this exhibition, the artist Jonathan Meese (born 1970 in Tokyo and based in Berlin) sets off on an imaginary journey, making various stops along the way. In drawings, pictures and sculptures from over 20 years of artistic production, encounters with the most diverse, ambivalent protagonists and situations take place, which the artist approaches in his archaic role as symbolic redeemer and liberator. Visitors to the exhibition get to accompany the plucky, provocative artist on his voyage, but where will it end?
Daily 10 am – 6 pm
On Mondays closed
On Thursdays 10 am – 8 pm
10 Euro/ reduced 7 Euro
On Sundays 1 Euro
Audioguide 4,50 Euro
Admission is free for children and young people under the age of 18.
Other prices apply for special exhibitions.
Paul Klee. Construction of Mystery (including permanent exhibition/ presentation)
Monday – Saturday 15 Euro/ reduced 10 Euro
Sunday 9 Euro/ reduced 7 Euro
Admission is free for children and young people under the age of 18.
Day Pass 12 Euro (Pinakotheken, Museum Brandhorst, Sammlung Schack)
5-Visit Pass 29 Euro (Pinakotheken, Museum Brandhorst, Sammlung Schack)
Special exhibitions are not included.
Detailed information on special opening times, public holidays and reductions can be found here.
Underground trains U3 and U6 will take you to Odeonsplatz, from where you can take city bus 100, direction Hauptbahnhof Nord, to Pinakotheken station. From Karlsplatz / Stachus you can take tram 27, direction Petuelring, or 28, direction Scheidplatz and get off at the station Pinakotheken.
Barrier-free access from Barer Straße; another access from the Gabelsbergerstraße / corner Türkenstraße.
Staff parking Gabelsbergerstraße; Please ring the barrier and show the disabled parking permit.
The taking of guide dogs and epilepsy warning dogs is permitted with appropriate labeling. For the blind and visually impaired, a tactile orientation plan is available at the information desk.
More information: +49 (0)89 23805-360
The beginning of the Modern Art Collection (Sammlung Moderne Kunst) of the Bavarian State Painting Collections in 1950 formed seven works of art. Within a few decades, the Bavarian State Painting Collections reached world level – supported by foundations such as the collections Sofie and Emanuel Fohn, Martha and Markus Kruss and Günther Franke. From now around 3000 works only a small selection is shown in the 35 halls in the Pinakothek der Moderne. The prelude is marked by the ‘Still Life with Geraniums’ by Henri Matisse, which was created around 1910.
Fig.: Sammlung Moderne Kunst, Bayerische Staatsgemäldesammlungen
The presentation of the Neue Sammlung – The Design Museum in the Pinakothek der Moderne follows the architectural structure of the building: it provides order, sequence and staging of things. A set of monumental shelving – two stories high – forms the entrance to the permanent design exhibition. Like a giant type case it contains objects that hint at the wide range to be found in the design collection: from visionary ideas to everyday objects, from valuable one-offs to mass products, from a racing bike’s prototype to the finished model for series production of a car body.
‘The humanization of society by design’ – is the vision that always gives design new impetus.
Fig.: Die Neue Sammlung – The Design Museum
In the planning stage
The Neue Sammlung – The Design Museum is planning a visible storage which will be open to the public. The 540-square metre space earmarked for the project already exists in the lower basement of the west wing of the Pinakothek der Moderne. It has direct access to the exhibition rooms and is currently used as an internal storeroom. The visible storage display will allow the design museum to put more of its holdings on show, using a very specific and original approach. Like the picture sequences on a storyboard, objects will be grouped together to illustrate different themes. These might concern connections between material and form, national design styles or the style of a particular era. Visitors will thus not only receive a behind-the-scenes look into the oldest design museum in the world, but also into questions of modern and contemporary design. The objects displayed in visible storage will tell different kinds of stories; stories about variety, about the contemporaneity of the uncontemporary, about the progress of an idea from inception to realisation.
Fig.: Die Neue Sammlung – The Design Museum
The Modern Art Collection (Sammlung Moderne Kunst) of the Bavarian State Painting Collections in the Pinakothek der Moderne picks up precisely where the Neue Pinakothek ends, namely with the art that came after 1900 or thereabouts. With its stock totaling more than 20,000 works, it is one of the world’s leading institutions for painting, sculpture, photography and new media. Its collection ranges from the most important avant-garde movements of the early 20th century to current contemporary art. In dialogues offering comparisons and in rooms dedicated to individual artists, the displayed works raise formal and contextual issues about modern art. These artworks reflect how conditions have changed in an age shaped by technological optimism, the cult of progression on the one hand and by a heightened awareness of crises on the other. Particular attention is paid to making the historical circumstances of the 20th and 21st centuries visible in the presentation of the collection, and conveying the impact of war and dictatorship, for example, on art.
Within the rich collection of Expressionist works, the Cubist and Futurist redefinition of autonomous art contrasts with the question of man’s changed circumstances in Modernism. The artists of the ‘Brücke’, the ‘Blaue Reiter’ and Max Beckmann, who is represented in unique depth, address this issue impressively, as is also the case with modern photography, represented with August Sander, Albert Renger-Patzsch and Florence Henri. Pablo Picasso’s pictorial fantasies and formal richness of invention are illuminated in large groups of works along with the Surrealist enigmas of the worlds portrayed by Max Ernst, René Magritte and Salvador Dalí.
Important themes since 1960, such as the formal and contextual extension of the term ‘art’, the ‘upgrading’ of the trivial, and the ensuing related debate on whether low-brow and high-brow are equal in status are at the center of extensive groups of works by Joseph Beuys, Andy Warhol, Dan Flavin, Donald Judd, Georg Baselitz, Jeff Wall, Rosemarie Trockel, and Anselm Kiefer. The latest developments are expressed specifically in spatial installations, performance and media art (Pipilotti Rist, Wolfgang Tillmans). Here the presentation is changed more frequently, as in the nearby Brandhorst Museum, which likewise belongs to the Bavarian State Painting Collections.
Along with the Kupferstichkabinetts in Berlin and Dresden, the Staatliche Graphische Sammlung München (SGSM) is one of the three most important museums of drawings and prints in Germany and one of the largest organizations of its kind in the world. Its inventory of some 400,000 works of art on paper is growing constantly thanks to gifts and a focused acquisitions policy. The collection covers all eras of prints and drawings, from the 12th century right up to the 21st century. The holdings center around Old German and Dutch drawings and prints, Italian Renaissance drawings and 19th century German drawings. Another of its main focuses is on classical modern art and international prints up until the present day.
The Staatliche Graphische Sammlung München started out as a cabinet of engravings and drawings (Kupferstich- und Zeichnungskabinett) established by Elector and Count Palatine Charles Theodore at his palace in Mannheim. It was subsequently transferred to Munich in the 1790s and important collections of prints were acquired after the dissolution of the monasteries in Bavaria following the secularization process there. Run as an independent museum institute as of 1874, the Kabinett has been housed in Haus der Kulturinstitute on Munich’s Königsplatz since 1948. The building is home to the repositories for its valuable inventories and a study room which is open to the public.
In Pinakothek der Moderne the Staatliche Graphische Sammlung München is able to rely on exhibition premises that fully befit its status and its high standards in conservation. Special curated exhibitions are organized there on a constant basis, showing works of art on paper spanning 500 years, presented in ever-changing, inspiring configurations.
The Architecture Museum was founded in 1868 at the same time as the Technical University as a means of collecting and presenting architectural works for educational purposes. After it lost its significance for the study of architecture in the years between the two World Wars, it was changed into a repository for archives and a research institution. Following damage in World War II, the architectural treasures remained hidden from public view for a number of years. In 1975 the collection was converted into an archive for museum purposes in order to once again make the items accessible to the public. As it did not have any exhibition rooms of its own, the collection worked together with other museums, in particular the Municipal Museum of Munich, (Münchner Stadtmuseum).
Thanks to a continual stream of new acquisitions, the Architecture Museum now holds one of the largest specialist collections on architecture in Germany. Its stock comprises some 500,000 drafts by more than 1,000 architects, 200,000 photographs, and 1,300 models, as well as a large number of sample works, documents and increasingly also digital archives. The oldest drawings date back to the 16th century, the oldest model to the 17th century. Among the highlights are works by Balthasar Neumann, Friedrich von Gärtner, Leo von Klenze, Theodor Fischer, Erich Mendelsohn, Erik Gunnar Asplund, Le Corbusier, Günter Behnisch, Daniel Libeskind or Peter Zumthor. The focus of the collection is on German architecture of the 19th and 20th centuries, though it also includes important new projects and competition entries, drawings and models by leading international architects and important documents on construction technology.
With more than 100,000 items from the areas of industrial design, graphic design, computer culture, mobility, and arts and crafts, Die Neue Sammlung – The Design Museum is one of the largest and most important museums of applied art of the 20th and 21st centuries. Die Neue Sammlung – The Design Museum is a leader in the fields of industrial and product design. The museum is also considered the world’s oldest design museum. The idea and initiative for its foundation are closely interwoven with the Werkbund movement formed in 1907 in Munich. The ‘Moderne Vorbildersammlung’, or Modern Samples Collection, established from 1912 onwards, formed the backbone of the Neue Sammlung – The Design Museum, which formally became a state institution in 1925 and opened its doors as a museum in 1926 with the aim of identifying, collecting and preserving new work of the highest quality.
From the very beginning, Die Neue Sammlung – The Design Museum distinguished itself from the museums of applied arts or arts-&-crafts museums that existed at that time – by consciously championing what was then modern and thus cutting-edge, contemporary design. To this very day, this clear agenda defines the objectives of the Neue Sammlung – The Design Museum.
The collection’s international holdings are focused primarily on a time frame from 1900 to the immediate present. The museum holdings span a broad range with collections covering more than 20 different thematic areas. Alongside objects of industrial design, they include important collection fields such as ceramics, metal or glass and furniture, textiles or jewelry. The graphic design department ranges from posters about packaging design to book design. Die Neue Sammlung – The Design Museum is dedicated to important thematic exhibitions as well as to solo shows. Contemporary designers are invited to develop site-specific projects.
With the presentation of its museum holdings, its exhibitions and its multifold educational programs, Die Neue Sammlung – The Design Museum reflects current discourses on the content and shape of design museums, on how design contents are received, and on the current significance of design.