Generali Foundation Collection. One central theme-based group of works comprises objects in which art, design, and architecture merge to shape but also articulate a critique of utopian ideas. It is a prologue for the planned collection exhibitions, which will rotate several times a year.
Curators: Sabine Breitwieser, Director, with Christin a Penetsdorfer Assistant Curator
The Generali Foundation has entrusted its internati onally acclaimed collection to the Museum der Moderne Salzburg as a permanent loan. This first show, offering a selection of roughly 2,100 works by 130 artists, will provide insight into some of the characteristics of this renowned collection.
One central theme-based group of works comprises objects in which art, design, and architecture merge to shape but also articulate a critique of utopian ideas. Bruno Gironcoli’s phallic sculptures, Dan Graham’s glass pavilions, Hans Hollein’s Mobile Office (1969), Gordon Matta-Clark’s interventions in aban doned buildings, and Walter Pichler’s TV-Helmet (1967) have meanwhile become icons of this theme.
The high expectations in new technologies and media since th e 1960s have also flowed into numerous works that examine their effects on people. The “feminist-actionist” and “expanded-cinema”-works by VALIE EXPORT, especially her TAPP- und TASTKINO (Tap and Touch Cinema) (1968) and Harun Farocki’s video installations tac kle some of these issues in profound groups of works. Works by the younger generation of artists have also contributed to a discussion of th is topic from a current perspective.
A number of works in the collection contain—to quote the artist and writer Allan Sekula—“photography against the grain” in conjunctio n with a media critique, such as Sanja Ivekovic ́ ’s photo collages, Martha Rosler’s photo-text-installation about the Bowery in New York, and Sekula’s cinematic photo essa ys. Years ago, headlines proclaimed the Generali Foundation an “Institution for Institutional Critique.” The collection does actually contain numerous artists w hose works focus on the conditions of art, and ask what we actually want fr om art. Early on in his Condensation Cube (1965), Hans Haacke made visible how visitors have an impact on an artwork. Adrian Piper negotiates hegemonies an d stereotypes in the art world, and Andrea Fraser humorously introduces us to the re al life going on in a museum in the course of performances as “museum tours.”
With this exhibition, the Museum der Moderne Salzbur g is writing the pre-text to a new, rotating collection exhibition, in which works from the Generali Foundation collection will enter into dialogue with other, ext ensive holdings from the museum— from the in-house works through to the Federal Photo graphy Collection and the FOTOGRAFIS Bank Austria collection to the MAP collection
Images: Walter Pichler, Kleiner Raum (Prototyp 4), 1967, Skulptur, 3 Teile, Helm, Polyester, weiss lackiert, Mikrofon, 48 x 40 x 40 cm Basis, Aluminium, PVC-Folie, 20 x 100 x 100 cm, Schwarz-weiß-Fotografie, Silbergelatine auf Leinwand, Lautsprecher, 202 x 102 cm © Generali Foundation, Foto: Werner Kaligofsky
Hans Haacke, Und Ihr habt doch gesiegt, 1988, Dreiteilige Installation nach einem Projekt auf dem Platz am Eisernen Tor, Graz, © Bildrecht, Wien, 2014, Generali Foundation, Foto: Werner Kaligofsky
Christine Forstner T +43 662 842220-601 M +43 664 8549983 firstname.lastname@example.org
Invitation to the Press Preview for the exhibition Friday, April 25, 2014, 11 a.m.
Opening: Saturday, April 26, 2014, 11 a.m.
Museum der Moderne Salzburg
Mönchsberg 32, 5020 Salzburg, Austria
Tuesday - Sunday: 10.00 am - 6.00 pm
Wednesday: 10.00 am - 8.00 pm
Adults: € 8,-
Seniors: € 6,-
Children (6 to 15 years): € 6,-
Youth (16 to 18 years): € 6,-
Students (to 26 years): € 6,-
Groups over 10 persons: € 7,-/person
Family ticket: € 12