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).
CHILDREN CAN ART… (Kinder können Kunst…)
In our open program, children can view, understand and experience art. In doing so, they not only get to know the museum, but also design imaginative works themselves. While the children are creative at different stations, parents can visit the museum or take part in one of our Sunday tours.
With the team of the art education.
Every Sunday 1pm-5pm, Pinakothek der Moderne, studio on the ground floor.
For children from 5 to 12 years, Participation and admission are free.
Entry possible at any time, no registration required, last admission: 4 pm.
Limited number of participants, Participation is limited to a maximum of two hours. For a little break in between, you can give your kids a snack or drink.
Fig.: Falk Kagelmacher.
Raus aus dem Haus, rein ins Museum! Jeden Monat machen wir Eltern mit Babys das Angebot, in entspannter Atmosphäre eine Auswahl von Werken unserer Sammlungen zu erleben. Ausgangspunkt für die einstündige Führung sind Ihre eigenen Betrachtungen und Wahrnehmungen, die Sie mit anderen interessierten Eltern austauschen. Die Kunsthistorikerinnen und Kunstvermittlerinnen Barbara Dabanoglu und Jessica Krämer, selbst Mütter, begleiten Sie abwechselnd bei diesen Rundgängen. Wenn es um Babyschreien, Stillpausen usw. geht, können Sie also ganz beruhigt sein. Ihr Baby wird vorzugsweise getragen.
Im heißesten Monat des Jahres widmet sich die Känguruführung ausgewählten Sommerbildern unterschiedlichster Art: Einmal verführen sommerliche Farben und Licht den Betrachter, dann erheitert ein leicht und luftiger Rhythmus die Gemüter und schließlich stacheln hitzige Bildthemen zu regen Diskussionen an…
Treffpunkt: Museumsinformation | Die Führung ist im Eintrittspreis enthalten
Begrenzte Anzahl an Teilnahmeplätzen | Anmeldung unter email@example.com oder T 089 23805-198
Abb.: Kunst und Spiele, Foto: Franziska Pietsch
DISCOVERY TOURS (Entdeckertouren)
Children and parents this is for you! Join the new `discovery tour` through the Pinakothek der Moderne and help us to solve exciting mysteries! We welcome all explorers from the age of 5 accompanied by an adult. At the information desk of the museum you will always receive a brochure with information about the tour. The discovery tour can be completed in English, Italian, Spanish, French, German or Arabic.
When? During the opening hours of the Pinakothek der Moderne
Where? Barer Straße 40, 80333 Munich
Costs? The discovery tour is a free offer
Tip: On Sundays admission to the Pinakothek der Moderne is only € 1, children under 18 are always free.
Fig.: Carla Nagel.
We invite you to meet people of different backgrounds, language and all ages!
Our creative workshops lead us first to selected works of art and then to our studio in the Pinakothek der Moderne. After getting to know each other in a playful way, we are inspired by the works in the museum and then try out exciting artistic techniques ourselves. Based on ART and the common WORK, this project creates the SPACE for intercultural exchange.
The topics are offered alternately. One or more times participation is possible. Participation and admission are free.
Only with registration under firstname.lastname@example.org or T. 089 12 13 23 42. Limited number of participants.
For families with children from 7 years, young people, young adults, adults, seniors (Please indicate at the time of your registration which group of participants you are counting so that we can organize mixed age groups). Participation of minors only in the company of a supervised adult.
19.10.18, 15.00-17.30, ArtWorkSpace: Inspiration Architecture and Ludwig II
26.10.18, 15.00-17.30, ArtWorkSpace: Surprise Workshop
02.11.18, 15.00-17.30, ArtWorkSpace: Wildlife and Collage
03.11.18, 14.00-17.00, ArtWorkSpace: Open Atelier
09.11.18, 15.00-17.30, ArtWorkSpace: Portrait and Monotype
16.11.18, 15.00-17.30, ArtWorkSpace: Line and Ornament
23.11.18, 15.00-17.30, ArtWorkSpace: Shape in Space
30.11.18, 15.00-17.30, ArtWorkSpace: Surprise Workshop
Fig.: Lukas Loske.
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
Himalaya Goldsteins Stube
The new collection display also features one of the largest whole-room installations by the Swiss video artist Pipilotti Rist (b. 1962), now on show again for the first time in several yeahirs.
The work Himalaya Goldsteins Stube combines everyday furnishings, video projections, light, and music to create a richly evocative environment. Superimposed over the space’s sensual materials are flickering video images, projected from armchairs, side tables, and lamps. These ghostly emanations penetrate the space’s dimensions and flit between layers of reality. The interior and exterior world, the public and private are melded into one.
Fig.: Pipilotti Rist, Himalaya Goldsteins Stube, 1998/99, Photo: Bayerische Staatsgemäldesammlungen, Nicole Wilhelms © Pipilotti Rist
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.
Grande Decorazione. Italian Monumental Painting in Prints. Works from three centuries
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
Palaces and Factories. The Architecture under King Ludwig II
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
Around us the city
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?
Fig.: Jonathan Meese in the exhibition “Meese´s Odyssey”, Foto: Jörg Koopmann
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.
Friedrich von Borries: Politics of Design. Design of Politics
30.11.2018 ‐ 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.
The Pinakothek der Moderne will already close at 2 P.M. on Saturday, 24 November, as well as the museum café at Pinakothek der Moderne. On the following Sunday 25 November, your visit will be possible again during the regular opening hours.
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.
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.