The exhibition "Pictures in Time - Goetz Collection in Haus der Kunst" investigates the relationship between the still and moving image. Carefully selected shots (often based on models in painting) are dominant in the films, videos and slide projections on display here. Abraham Cruzvillegas presents "The Autoconstruccion Suites".
Pictures in Time - Goetz Collection in Haus der Kunst
24-01-2014 - 15-06-2014
In 2011, after renovating its former air raid shelter, Haus der Kunst started a long-term cooperation with the Goetz Collection, which is unparalleled in both its quality and variety, in which selections of videos and film installations from the collection are presented. In September 2013, Ingvild Goetz announced the donation of parts of her comprehensive collection to the State of Bavaria. The congenial partnership between Haus der Kunst and the Goetz Collection represents a strong base for deepening the exploration of the collection and developing further presentations.
Pictures in Time investigates the relationship between the still and moving image. Carefully selected shots—often based on models in painting—are dominant in the films, videos and slide projections on display here. The remarkable slowness with which the images in these works follow each other also draws attention to the aspects of subject and time.
A noteworthy role in the selection of works in Pictures in Time assumes the "tableau vivant" (French for "living picture"), or the reenactment of paintings and sculptures by real people. This practice of reducing a theater performance to a single image evolved in France in the mid-1800s. When video art of the 1990s revisited this format, the focus was on minimal movement, such as the inhaling and exhaling of performers, who, as living beings, could not remain motionless. In Sam Taylor-Wood's film The Servant (2007), a breath of air that ignites the flame of a cigarette lighter animates the static image. The minimal movement makes the passage of time perceptible, which distinguishes this film from a painting. Otherwise, the nearly four-minute film shows a single static image: A man on a dark street about to light a cigarette. He stands half turned away from a house window, out of which a woman gazes.
Some of the videos selected forgo plot, sound, and voice, thereby shifting attention entirely to the image. Trusting in the narrative power of images, Selg's Storråda (2011) e.g. creates an action that is structured like a filmed series of paintings without need of dialogue. Sigrid Storråda ("The Proud"), a tenth-century Viking queen, refused to accept the Christian faith. Selg shows artist Habima Fuchs's depiction of Storråda as she leaves her community to find a new purpose in harmony with nature. Storråda is a parable about separation, parting, departure, and renewal. In expressive settings, both the external events as well as the inner transformation of the main character unfold.
Blumenprojektion, Herbst (Flower Projections, Autumn) by Fischli & Weiss is rooted in the genre of landscape painting and still life, and so is Kathrin Sonntag's slide projection Annex, whereas Seth Price opted for a clear conceptual approximation to the medium of painting.
Exhibited works include:
Yael Bartana, Entartete Kunst lebt / Degenerate Art Lives, 2010
Peter Fischli & David Weiss, Blumenprojektion, Herbst (Flower Projections, Autumn), 1998
Gary Hill, Remarks on Color, 1994
Cyril Lachauer, 32 m.ü.NHN. - 114.7 m.ü.NHN. (II), 2012
Seth Price, 'Painting' Sites, 2000–1
Florian Pumhösl, You have several times been paralleling or anticipating some (as yet not fully appreciated) recent developments in exact science—of which you may not be fully aware (few are), 2001
Robin Rhode, Untitled, Spade for Spade, 2005
Anri Sala, time after time, 2003
Markus Selg, Moloch (Juggernaut), 2007; Storråda, 2011
Kathrin Sonntag, ANNEX, 2010
Sam Taylor-Wood, The Servant, 2007
Zhao Liang, Heavy Sleepers, 2006
The Autoconstrucción Suites
25 January – 25 May 2014
"Autocontrucción" (auto-construction) is the term Abraham Cruzvillegas (born 1968) uses to describe his art, the roots of which lie in the improvised construction methods and techniques of his native Mexico City. In this first major survey of his artistic career to be presented in Europe, Cruzvillegas combines his dynamic sculptural language with natural materials and found objects. He thus blurs the boundaries between art and craft and between industrial and manual production. For Cruzvillegas, the sculptural form is a process of change, action, solidarity, and transformation. Over the past decade, Cruzvillegas has created an impressive body of work that reflects his interest in the forms and matter surrounding Ajusco, a volcanic area south of the Mexican capital.
"Abraham Cruzvillegas: The Autoconstrucción Suites" is organized by the Walker Art Center, Minneapolis, MN, USA, and presented by Haus der Kunst.
Major support for the exhibition is provided by the Andy Warhol Foundation for the Visual Arts. Additional support is generously provided by Nelly and Moisés Cosío Espinosa, the Rose Francis Foundation, Gabriela and Ramiro Garza, Eugenio Lopez, Leni and David Moore, Jr., Donna and Jim Pohlad, Mike and Elizabeth Sweeney, and Marge and Irv Weiser.
The exhibition at Haus der Kunst in Munich has been generously supported by Thomas Dane Gallery, London / Regen Projects, Los Angeles / Galerie Chantal Crousel, Paris / kurimanzutto, Mexico City
Elena Heitsch tel +49 89 21127115 fax +49 89 21127157 firstname.lastname@example.org
Opening view 25th January 2014
Haus der Kunst
Prinzregentenstrasse 1, Munich
Hours:Monday — Sunday 10 am — 8 pm Thursday 10 am — 10 pm
Admission: Combined ticket 12 € / reduced 10 €