Under the title Systems & Subjects, the different collection holdings at the Museum der Moderne Salzburg are set in relation to each other as a new arrangement. The work selection presents a thematic dialogue of the various collections—Generali Foundation Collection, the MAP Collection and the print collection—in conjunction with recent donations.
After the inaugural and highly successful presentation of selected works from the newly acquired Generali Foundation Collection, this new show sets the stage for inspiring encounters between the various holdings of the museum. For that purpose, we have embarked on research into artworks from the early twentieth century to the present, relating to the overall theme of the exhibition Systems & Subjects. Works have been selected to permit a thematically focused dialogue between the Generali Foundation Collection, the print collection, the MAP Collection, and recent donations. The exhibition features works by artists such as Max Beckmann, George Grosz, Karl Rössing, and Max Klinger in interaction with works by Bruno Gironcoli, Harun Farocki, Hans Haacke, Mary Kelly, Július Koller, Anna Oppermann, Allan Sekula, Franz West, Heimo Zobernig, and others.
The origins of the museum, founded in 1983 on the basis of a donation by the art dealer Friedrich Welz, will be traced with a selection from the museum’s print collection. It is a great leap, not only in time, to the new acquisitions of the Generali Foundation Collection and recent donations of works by Lynn Hershman Leeson and Andreas Siekmann. Typical Modernist works that focus on an image of humanity are juxtaposed with conceptual approaches in art from the 1960s and 1970s. In the works from the 1960s to the present, mostly installations, the subject is considered within the framework of physical, economic and social systems.
The similarities and differences in some areas between the works are surprising—for example, the passers-by photographed by David Lamelas in 1970 in Milan and George Grosz’s drawings of contemporaries in Ecce Homo (1923). Fetishism in different forms is a discernibly common motif in the works of Bruno Gironcoli, Anna Oppermann, Franz West, and Max Klinger. The drawings by Karl Rössing (1927—31), an installation by Andreas Siekmann (2001), and conceptual works by Maria Eichhorns (1997—2002) offer very different views of the sociopolitical and economic situation. One basic theme recurs again and again: the status of the subject within social systems, in other words the condition humaine.
With works by Robert Barry, Max Beckmann, Maria Eichhorn, Harun Farocki, Morgan Fisher, Bruno Gironcoli, George Grosz, Hans Haacke, Lynn Hershman Leeson, Mary Kelly, Anselm Kiefer, Max Klinger, Július Koller, Edward Krasiński/Eustachy Kossakowski, David Lamelas, Dorit Margreiter/Anette Baldauf, Anna Oppermann, Karl Rössing, Martha Rosler, Allan Sekula, Andreas Siekmann, Franz West, Stephen Willats, Heimo Zobernig
Curators: Sabine Breitwieser, Director, and Beatrice von Bormann, Curator (Modern Art)
Presented by Generali Foundation
Museum der Moderne Salzburg
5020 Salzburg, Austria
5020 Salzburg, Austria