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[{"dateFrom":"13.6.","dateTo":"6.9.26","datetimeFrom":"2026-06-13","datetimeTo":"2026-09-06","defaultSource":"/media/3x4fso1c/mm_20260613_bourouissa_p2_raphaelstucky_web_12.jpg","title":"Mohamed Bourouissa","description":"Pour Noubia","exhibitionLongText":"\u003Cp\u003EIn his first solo exhibition in Switzerland, Bourouissa invites the audience on a journey, from Blida in Algeria, where he was born, via the Parisian suburbs, where he now lives, to Osnabr\u00FCck in Germany, where the eventful life of his aunt Noubia Meyer drew to a close. Films, objects, AI animations and photographs: every room brings together groups of works as a stop on this journey, incorporating them within an immersive spatial experience.\u003C/p\u003E\u003Cp\u003ESometimes the works are documentary in nature, sometimes fictional, but they are always built upon lived experience. They report on the life of Bourouissa and of those who are close to him: friends and acquaintances in the Parisian banlieues, a long-term patient at the psychiatric clinic in Blida, and members of his family and his community. Above all, Noubia Meyer, his aunt, who migrated to Germany from Blida as a sex worker and who made over her photographic archive to Bourouissa. Pour Noubia is dedicated to her \u2013 and at the same time to all those whose stories too often remain unseen.\u003C/p\u003E\u003Cp\u003ECurated by Yasmin Naderi Afschar with Mirta Gianocca and Pauline Herrmann\u003C/p\u003E\u003Cp\u003EA publication accompanying the exhibition features previously unpublished photographic series by Mohamed Bourouissa and texts by Oriane Durand, Yasmin Naderi Afschar, Kathleen Rahn and Marie Robin in English, German, French and Arabic. Published by Mousse Publishing, Migros Museum f\u00FCr Gegenwartskunst and Museum Marta Herford.\u003C/p\u003E\u003Cp\u003EA collaboration between Museum Marta Herford and Migros Museum f\u00FCr Gegenwartskunst. The exhibition Mohamed Bourouissa \u2013 Pour Noubia took place from 13th September 2025 to 18th January 2026 at Museum Marta Herford and was curated by Oriane Durand.\u003C/p\u003E\u003Cp\u003EMohamed Bourouissa\u2019s music\u003C/p\u003E\u003Cp\u003ETo mark the opening weekend of the exhibition, the first single \u201AAB\u2019 from his album \u201ALILA\u2018 will be released simultaneously. Each track on the album is dedicated to people who have shaped the artist\u2019s life. During the exhibition, the vinyl record will be available in our museum shop or can be pre-ordered from the label: PAN\u003C/p\u003E\u003Cp\u003EFor the exhibition, Mohamed Bourouissa also curated a playlist. Music plays an important role in his artistic practice and serves as a means of conveying stories and memories. The playlist brings together songs selected by the artist, including tracks from his recently released album, alongside a personal selection by the team at the Migros Museum f\u00FCr Gegenwartskunst.\u003C/p\u003E\u003Cp\u003EDuring the exhibition, visitors were invited to listen to the playlist and contribute their own tracks. The result is a shared collection of songs reflecting a variety of moods, memories, and connections to the exhibition: \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://tidal.com/playlist/446540f4-faaf-4c0e-b6ca-7c2cda4edcc5\u0022 target=\u0022_blank\u0022 rel=\u0022noreferrer noopener\u0022 type=\u0022external\u0022\u003EListen here\u003C/a\u003E (external link).\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/mohamed-bourouissa","target":"_self"},"clusterBy":"2026"},{"dateFrom":"7.2.","dateTo":"25.5.26","datetimeFrom":"2026-02-07","datetimeTo":"2026-05-25","defaultSource":"/media/o5fjh5dm/mm_doa_show_20260316_0023_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Disobedience Archive (Canopy for Broken Time)","description":"In Dialogue with Raqs Media Collective","exhibitionLongText":"\u003Cp\u003ETitled \u003Cem\u003EDisobedience Archive (Canopy for Broken Time)\u003C/em\u003E, this is the most comprehensive presentation to date on view, with fifty film documents in all. The selection of works is a response to the fragility of our time: ecological crises, political polarisation, technological acceleration and ongoing global conflicts. Raqs Media Collective was invited to engage with the premise of the Disobedience Archive. The Collective, for whom time is a central axis in their practice, asks in turn: How can time be experienced beyond the rigid structures of our present moment? \u003C/p\u003E\u003Cp\u003EThe exhibition encounters our fractured present with open spatial structures. The starting point for this is the shamiana, a temporary canopy that is easy to erect, and that plays an important role in the everyday life of South Asia. Food is eaten, celebrations are held and mourning takes place under a shamiana \u2013 and protesters gather here, too. The simple canopy turns into a symbol of togetherness. For, in the words of Raqs Media Collective, to be together under the shamiana means to share time, to become community, to measure the world not in hours, but in gestures of attentiveness towards others.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E\u003Cp\u003ECurated by Marco Scotini in collaboration with Nadia Schneider Willen, Tasnim Baghdadi and Yasmin Naderi Afschar\u003Cbr\u003E\u003C/p\u003E\u003Cp\u003EWith support by Paula Thomaka, Alessia Riva and Mirta Gianocca\u003Cbr\u003E\u003Cbr\u003E\u003Cbr\u003EWith Samir Abdallah, Ravi Agarwal, Navjot Altaf, Atelier d\u2019Architecture Autog\u00E9r\u00E9e (AAA), Atelier Impopulaire, Petra Bauer, Ege Berensel, Bernadette Corporation, Ursula Biemann, Wang Bing, Black Audio Film Collective, Seba Calfuqueo, Simone Cangelosi, Libia Castro \u0026amp; \u00D3lafur \u00D3lafsson, Mao Chenyu, Sim Chi Yin, Cooperativa Cr\u00E1ter Invertido, Critical Art Ensemble, Chto Delat, Ali Essafi, Marcelo Exp\u00F3sito, Harun Farocki and Andrei Ujica, Maria Galindo and Mujeres Creando, Alberto Grifi, Rapha\u00EBl Grisey und Bouba Tour\u00E9, Grupo de Arte Callejero, Grupo Etc\u00E9tera\u2026, Barbara Hammer, Khaled Jarrar, Sara Jorden\u00F6, Sanjay Kak, Karrabing Film Collective, Bani Khoshnoudi, Pedro Lemebel, LIMINAL and Border Forensics, Silvia Maglioni und Graeme Thomson, Angela Melitopoulos, Carlos Motta, Zanele Muholi, P\u0131nar \u00D6\u011Frenci, Daniela Ortiz, Paloma Polo, Oliver Ressler, Mia Eve Rollow \u0026amp; Caleb Duarte, G\u00FCliz Sa\u011Flam, Tita Salina \u0026amp; Irwan Ahmett, Roy Samaha, Urbonas Studio, Mohanad Yaqubi, \u017Delimir \u017Dilnik\u003Cbr\u003E\u003Cbr\u003E\u003Cbr\u003EAnd works by Basel Abbas \u0026amp; Ruanne Abou-Rahme, Ursula Biemann and Graciela Carnevale from the collection of the Migros Museum f\u00FCr Gegenwartskunst\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/disobedience-archive-canopy-for-broken-time","target":"_self"},"clusterBy":"2026"},{"dateFrom":"22.10.","dateTo":"18.1.26","datetimeFrom":"2025-10-22","datetimeTo":"2026-01-18","defaultSource":"/media/hgjku5cd/migros_saul_opening-3_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Fabian Saul: This Is How the Light Remembers","description":"","exhibitionLongText":"\u003Cp\u003EView images (12)\u003C/p\u003E\u003Cp\u003EFor twelve days, two people move through the empty flat of a friend who has passed away \u2013 a space in which texts that have been left behind, music, films and voices from the past echo. Within this experience lies the seed of a quiet hope \u2013 a search, perhaps, for a different future.\u003C/p\u003E\u003Cp\u003EWith \u2018This Is How The Light Remembers\u2019, German author and composer Fabian Saul expands his novel \u2018Die Trauer der Tangente\u2019 (The Mourning of the Tangent) (2024) into an exhibition; the novel turns into an immersive installation.\u003C/p\u003E\u003Cp\u003EMourning appears in this context not as a private retreat, rather as a polyphonic engagement with the world and the beginning of shared solidarity. Private and political mourning permeate one another: the voices of influential artists, thinkers and political figures echo in the death of the loved one. They speak of a world that could have been different, a world that remains ever open to change.\u003C/p\u003E\u003Cp\u003EPerformances, discussions, screenings and concerts expand on the themes in dialogue with figures from the worlds of art, music and literature, exploring the question of how grief can be shared and negotiated not only privately, but socially, too.\u003C/p\u003E\u003Cp\u003EProduction:\u003C/p\u003E\u003Cp\u003EVoice: Tanasgol Sabbagh\u003C/p\u003E\u003Cp\u003ETypography: Ira Ivanova\u003C/p\u003E\u003Cp\u003EScenography: Danica Andjelkovic\u003C/p\u003E\u003Cp\u003ERisograph printing: S\u00E9bastien Millot / Studio Yukiko\u003C/p\u003E\u003Cp\u003ECurated by Tasnim Baghdadi\u003C/p\u003E\u003Cp\u003EThe exhibition is a collaboration between Migros Museum f\u00FCr Gegenwartskunst and \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://www.zuerich-liest.ch/\u0022 target=\u0022_blank\u0022 title=\u0022www.zuerich-liest.ch\u0022 type=\u0022external\u0022\u003Ez\u00FCrich liest 2025\u003C/a\u003E.\u003C/p\u003E\u003Cp\u003ESeveral events can be listened to here. Click here for more information about the events:\u003C/p\u003E\u003Cp\u003E\u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://migrosmuseum.ch/en/events/stoff-aus-luft-das-verschwinden\u0022 target=\u0022_blank\u0022 title=\u0022https://migrosmuseum.ch/en/events/stoff-aus-luft-das-verschwinden\u0022 type=\u0022external\u0022\u003EStoff aus Luft: Das Verschwinden\u003C/a\u003E\u003C/p\u003E\u003Cp\u003E\u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://migrosmuseum.ch/en/events/common-mourning-ein-gespraech-ueber-politiken-der-trauer-mit-ido-nahari-fabian-saul-und-tasnim-baghdadi\u0022 target=\u0022_blank\u0022 title=\u0022https://migrosmuseum.ch/en/events/common-mourning-ein-gespraech-ueber-politiken-der-trauer-mit-ido-nahari-fabian-saul-und-tasnim-baghdadi\u0022 type=\u0022external\u0022\u003E\u00ABCommon Mourning\u00BB \u2013 A Conversation on the Politics of Grief\u003C/a\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/fabian-saul-this-is-how-the-light-remembers","target":"_self"},"clusterBy":"2025"},{"dateFrom":"27.9.","dateTo":"18.1.26","datetimeFrom":"2025-09-27","datetimeTo":"2026-01-18","defaultSource":"/media/dqpn21ms/mm_20251103_haegueyang_exhview_0012_stefanaltenburger_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Haegue Yang: Leap Year","description":"","exhibitionLongText":"\u003Cp\u003ELeap Year is the first comprehensive solo exhibition in Switzerland of Berlin-and-Seoul-based artist Haegue Yang. Spanning over three decades of practice, the exhibition highlights Yang\u2019s unique visual language, which blends abstraction and figuration across sculpture, installation, video, and collage. Structured around the themes of movement, spirituality, community, and domesticity, the exhibition explores the complexities of identity, migration, and cultural hybridity. Her work navigates personal and collective memory, emphasizing constant transformation, emotional resonance, and the tension between familiarity and foreignness.\u003C/p\u003E\u003Cp\u003ERich in cultural references, Yang\u2019s practice draws from Korean and global folk traditions, modernist legacies, creating immersive environments that are both sensorial and conceptual. Leap Year invites visitors into a layered, contemplative experience that reflects the shifting nature of contemporary life and the quiet power of materials, rituals, and spaces.\u003C/p\u003E\u003Cp\u003EThe exhibition is organised by the Hayward Gallery, London in association with Kunsthal Rotterdam, and Migros Museum f\u00FCr Gegenwartskunst, Zurich.\u003C/p\u003E\u003Cp\u003ECurated by Dr. Michael Birchall (Kurator) with Paula Thomaka (assistant curator)\u003C/p\u003E\u003Cp\u003ECuratorial assistant: Linda Addae and Mirta Gianocca (trainees)\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/haegue-yang-leap-year","target":"_self"},"clusterBy":"2025"},{"dateFrom":"8.2.","dateTo":"25.5.25","datetimeFrom":"2025-02-08","datetimeTo":"2025-05-25","defaultSource":"/media/an2lqqq0/mm_pi_2_accumulation_1_studiostucky_5_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Accumulation \u2013 On Collecting, Growth and Excess","description":"First Sequence","exhibitionLongText":"\u003Cp\u003EThe consequences of excessive growth are becoming ever more visible \u2013 and awareness of it is constantly increasing. Yet progress, prosperity and social status continue to be equated with the accumulation of material goods. Accumulation invites visitors to engage with the challenges of and alternatives to excess.\u003C/p\u003E\u003Cp\u003EOver-consumption intensifies the climate crisis, deepens social inequalities and stabilises (neo-)colonial power relations. But what is the way out? What would the transition from a growth-oriented to a common-good-oriented society look like? The artists in this exhibition respond in different ways to this challenge: some address the issues directly, while others develop methodologies and strategies to counteract the logic of material accumulation.\u003C/p\u003E\u003Cp\u003EMuseums, too, are shaped by the logic of growth, as they strive to preserve relevant artistic positions for generations. This is shown in the constant expansion of collections. Should this practice of accumulation by museums be regarded critically? Are there alternative approaches to collecting that should be considered?\u003C/p\u003E\u003Cp\u003EThe exhibited works with their differing perspectives encourage reflection on the challenges of constant growth and invite discussions about visions for a society centred around the common good, environmental responsibility, and social justice.\u003C/p\u003E\u003Cp\u003ENew Works in the Exhibition\u003C/p\u003E\u003Cp\u003EStarting April 2nd, the first sequence of Accumulation will be enriched with additional works: A new production by Cian Dayrit will complement the artist\u0027s existing work displayed on the first floor. The project \u0027The Currency\u0027 by Gregor Kasper, Elom 20ce, and Musquiqui Chihying, also located on the first floor, will be supplemented with new works titled \u00ABThe Rings I \u2013 III\u00BB including photographs, finger rings, a bracelet, and a documentary video about the working conditions in Agbogbloshie.\u003C/p\u003E\u003Cp\u003EThe work Homes from Homes II by Art \u0026amp; Language consists of three groups of works \u2013 previously, two of them were displayed on the ground floor. Starting April 5th, the third group will be shown: a combination of works by Art \u0026amp; Language and pieces from the museum\u0027s collection.\u003C/p\u003E\u003Cp\u003EWith works by Cian Dayrit, Nils Amadeus Lange, Jumana Manna, Reto Pulfer, Selma Selman, Stirnimann-Stojanovic, Sung Tieu, Elom 20ce, Musquiqui Chihying and Gregor Kasper\u003C/p\u003E\u003Cp\u003EFrom the Migros Museum f\u00FCr Gegenwartskunst collection: Art \u0026amp; Language, Maja Bajevic, Thomas Bayrle, Maria Eichhorn, Rachel Harrison, Tobias Kaspar, Liz Magor, Tabor Robak and Andy Warhol\u003C/p\u003E\u003Cp\u003EScreening Times: In the black box on the first floor, two video works are on display\u003C/p\u003E\u003Cp\u003EFilm von Jumana Manna, Wild Relatives (2018): 63:55 Min.\u003C/p\u003E\u003Cp\u003EVideo-Performance von Selma Selman, Motherboards (2023): 08:32 Min.\u003C/p\u003E\u003Cp\u003EFollowing Wild Relatives, Motherboards will be shown twice in succession.\u003C/p\u003E\u003Cul\u003E\u003Cli\u003E\u003Cp\u003E11:20\u003C/p\u003E\u003C/li\u003E\u003Cli\u003E\u003Cp\u003E12:45\u003C/p\u003E\u003C/li\u003E\u003Cli\u003E\u003Cp\u003E14:10\u003C/p\u003E\u003C/li\u003E\u003Cli\u003E\u003Cp\u003E15:35\u003C/p\u003E\u003C/li\u003E\u003Cli\u003E\u003Cp\u003E16:50\u003C/p\u003E\u003C/li\u003E\u003Cli\u003E\u003Cp\u003E18:15 (Thursday only)\u003C/p\u003E\u003C/li\u003E\u003C/ul\u003E","link":{"href":"/en/programmes/exhibitions/accumulation-on-collecting-growth-and-excess","target":"_self"},"clusterBy":"2025"},{"dateFrom":"28.9.","dateTo":"19.1.25","datetimeFrom":"2024-09-28","datetimeTo":"2025-01-19","defaultSource":"/media/42diagpi/mm_20241014_knowledge_exhview_0022_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Knowledge Is a Garden","description":"Uriel Orlow in dialogue with the Migros Museum f\u00FCr Gegenwartskunst collection","exhibitionLongText":"\u003Cp\u003EWith works by Basel Abbas \u0026amp; Ruanne Abou-Rahme, Sammy Baloji, Lothar Baumgarten, Teresa Burga, Maria Eichhorn, Dani Gal, General Idea, Kiluanji Kia Henda, Eva Kot\u2019\u00E1tkov\u00E1, Susan Hiller, Zahra Malkani, Teresa Margolles, Senga Nengudi, Uriel Orlow, Elodie Pong, Ed Ruscha and Munem Wasif\u003C/p\u003E\u003Cp\u003E\u2018Knowledge is like a garden: if it\u2019s not cultivated, it cannot be harvested.\u2019 Taking this West African proverb as its starting point, \u2018Knowledge Is a Garden\u2019 asks what possibilities arise if we understand knowledge that is supposedly fixed as something organic and growing.\u003C/p\u003E\u003Cp\u003EIn the exhibition Uriel Orlow explores what a garden of knowledge can be and what its cultivation and growth signify. In line with his interests the artist sets up a dialogue between his own works and those of the museum collection, which for their part raise questions around the production or suppression of knowledge. This selection is expanded by loans from Basel Abbas \u0026amp; Ruanne Abou-Rahme, Sammy Baloji, Zahra Malkani and Munem Wasif \u2013 artists who engage with suppressed history and traditional knowledge in their artistic practice.\u003C/p\u003E\u003Cp\u003E\u2018Knowledge Is a Garden\u2019 is an artistic engagement with the repression of knowledge, the unjust appropriation of knowledge, and ultimately with multiple forms of knowledge production. Knowledge does not consist of neutral facts and information, and is never all-encompassing. Rather, it is always situated, historical, and, above all, contested and vulnerable. The question of who gets to speak and whose voice is silenced is as urgent as ever \u2013 and marked by global inequality.\u003C/p\u003E\u003Cp\u003EThree loose thematic threads run through the exhibition: the entanglement of knowledge and language, and the loss of both; the extraction of knowledge and exploitation of raw materials in the Global South by countries of the Global North; and the wilful suppression of knowledge as well as consciously looking away.\u003C/p\u003E\u003Cp\u003EBy extension, the exhibition encourages visitors to consider their own knowledge as a garden that must be cultivated.\u003C/p\u003E\u003Cp\u003ECurated by Uriel Orlow with Nadia Schneider Willen\u003C/p\u003E\u003Cp\u003ECuratorial Assistant: Louisa Behr\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/knowledge-is-a-garden","target":"_self"},"clusterBy":"2024"},{"dateFrom":"28.9.","dateTo":"19.1.25","datetimeFrom":"2024-09-28","datetimeTo":"2025-01-19","defaultSource":"/media/1fcptuf4/migros_schwelle_okt_web-6_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Stretching thresholds, holding streams","description":"Jeanne van Heeswijk, Sophie Mak-Schram, and collaborators","exhibitionLongText":"\u003Cp\u003EFor the first time, the Migros Museum f\u00FCr Gegenwartskunst has commissioned an artist working in the field of socially engaged art. Socially engaged art includes artistic practices where artists work with different groups of people as collaborators and develop a project together.\u003C/p\u003E\u003Cp\u003EStretching thresholds, holding streams is a project initiated by artist Jeanne van Heeswijk and developed with Sophie Mak-Schram and collaborators. A growing constellation of invested people from the surroundings of the Museum are being invited to think in and with the museum\u0027s thresholds. Together \u2013 as makers, artists, activists, neighbours, and associations \u2013 they are working on a project that takes its starting point inside the museum and flows in and out of it, over a period of several months. Therefore, a central aspect of the project is the notion of a \u00ABstream\u00BB.\u003C/p\u003E\u003Cp\u003EIt symbolizes the flow of ideas, stories, influences, and ethics that move within, through and around the museum \u2013 connecting it to people, places and ways of knowing outside of it. Vitally, streams also denote both directions of movement and refer to how people enter and bring into the museum as much as vice versa. Just as streams shift the positions of rocks and leave a trace, the project tries to make the museum porous to the local context and alter existing circumstances in mutually beneficial ways.\u003C/p\u003E\u003Cp\u003EThe set of streams will emerge both inside and outside of the museum, taking shape as different sites of learning, activities and encounters. In doing this, the streams invite and share thinking about the different thresholds that exist (spatial, institutional, social) at the Museum and how these can become possible.\u003C/p\u003E\u003Cp\u003EJeanne, Sophie and the collaborators ask the question: what is already streaming out of the museum despite or because of its mechanisms of maintenance, care, preservation, learning, and exhibiting formats? The project allows for co-making as a form of learning to take place in the museum and out of the museum.\u003C/p\u003E\u003Cp\u003EStretching thresholds, holding streams, at its core, will connect with various people and groups in Zurich who will co-make a series of streams and activate existing ones. Within the museum, there will be things to see, places to sit comfortably, ideas to question, and different encounters to learn through and with. From September 28, 2024 onwards, streams will weave into and out of the museum at different paces: with changing physical layouts and activities that visitors can engage and reflect on as these streams unfold.\u003C/p\u003E\u003Cp\u003EStretching thresholds, holding streams tries to unravel the thresholds of the museum.\u003C/p\u003E\u003Cp\u003ESome streams take place visibly for everyone \u2013 however, public participation is unfortunately not possible. Those streams are \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://migrosmuseum.ch/en/welcome-to-school-im-migros-museum-fuer-gegenwartskunst-2\u0022 target=\u0022_blank\u0022 title=\u0022https://migrosmuseum.ch/en/welcome-to-school-im-migros-museum-fuer-gegenwartskunst-2\u0022 type=\u0022external\u0022\u003EWelcome to School\u003C/a\u003E, \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://migrosmuseum.ch/en/welcome-to-school-im-migros-museum-fuer-gegenwartskunst-2-2\u0022 target=\u0022_blank\u0022 title=\u0022https://migrosmuseum.ch/en/welcome-to-school-im-migros-museum-fuer-gegenwartskunst-2-2\u0022 type=\u0022external\u0022\u003ESAE-Greenhouse \u0026amp; School of Commons\u003C/a\u003E and \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://migrosmuseum.ch/en/welcome-to-school-im-migros-museum-fuer-gegenwartskunst\u0022 target=\u0022_blank\u0022 title=\u0022https://migrosmuseum.ch/en/welcome-to-school-im-migros-museum-fuer-gegenwartskunst\u0022 type=\u0022external\u0022\u003ELUNCH LOVE\u003C/a\u003E.\u003C/p\u003E\u003Cp\u003EAn exhibition alongside streams by and with Jeanne van Heeswijk; Sophie Mak-Schram; Lina Zeller; Sara Frikech; Les Complices; Marieta Chemeli Kiptalam and Cihan Inan; Kenza Benabderrazik and the SAE Greenhouse Lab; Aurore Gayet and Zentralw\u00E4scherei; Carla Peca, Etienne Ost and Vicky Baderna, active at Feministisches Streikhaus Z\u00FCrich; Walesca Frank, Laura Rivas Kaufmann, Joslyne Ohoka and Black Stammtisch; Chantelle Lue and the School of Commons; Welcome to School (Lila Klasse and Munira Nour, Safaa Nour and Sabine Hagmann); Stiftung St. Jakob, Flechterei; Mario Espinoza; Khanya; Natalja Burkhardt and Radio LoRa; Autonome Schule Z\u00FCrich\u003C/p\u003E\u003Cp\u003ECurated by Tasnim Baghdadi and Michael Birchall\u003C/p\u003E\u003Cp\u003ECuratorial assistant: Linda Addae\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/stretching-thresholds-holding-streams","target":"_self"},"clusterBy":"2024"},{"dateFrom":"8.6.","dateTo":"8.9.24","datetimeFrom":"2024-06-08","datetimeTo":"2024-09-08","defaultSource":"/media/qlsp2npa/mm_20240617_materialmanipulations_exhview_stefanaltenburger_0007_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Material Manipulations","description":"Sammlung Migros Museum f\u00FCr Gegenwartskunst","exhibitionLongText":"\u003Cp\u003EChapter 2 with works by Marion Baruch, Heidi Bucher, Mart\u00EDn Soto Clim\u00E9nt, Thea Djordjadze, Berta Fischer, Raphael Hefti, Sonia Kacem, Pamela Rosenkranz and Xanti Schawinsky\u003C/p\u003E\u003Cp\u003EMaterial Manipulations is the second chapter of a collection exhibition based on material as an artistic commodity. After \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022/en/programmes/exhibitions/material-memories\u0022 title=\u0022Material Memories\u0022\u003E\u003Cem\u003EMaterial Memories\u0026nbsp;\u003C/em\u003E\u003C/a\u003Eshowed in the first chapter how material can be charged with meaning, the second chapter deals with the aesthetic quality of the materials, focusing on the artistic treatment processes and material experiments.\u003C/p\u003E\u003Cp\u003ENothing is how it should be: stiff metal blinds hang from the ceiling in dance-like poses. The museum glass, usually non-reflecting, is leant against the wall as an oversized sculpture, mirrored. Rigid acrylic glass floats in the room as a ball-like object. Contrasts form the starting point of this exhibition, at the heart of which lies material as an artistic resource and the aesthetic quality of the artworks. As the title Material Manipulations suggests, the latter arises from unconventional methods of treatment and experimentation with material.\u003C/p\u003E\u003Cp\u003ESince the 1960s artists have relied on impermanent or organic materials. For this, they like to work with materials from industry or integrate found objects into their works. Artistic working processes and techniques have long since been subject to constant change and expansion, too. However, in contrast to industrial processing \u2013 where the commercial usage of raw materials is governed by the conditions of mass production \u2013 no boundaries are set on the treatment of material in art.\u003C/p\u003E\u003Cp\u003EThe exhibition shows how artists test the properties of material: techniques are re-interpreted; chance prevails in experimental processing or materials and objects are used for purposes other than those intended. This extension of existing conventions in the creation of art can also be seen as the overcoming of what is already familiar \u2013 only in this way something new can emerge.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/material-manipulations","target":"_self"},"clusterBy":"2024"},{"dateFrom":"8.6.","dateTo":"8.9.24","datetimeFrom":"2024-06-08","datetimeTo":"2024-09-08","defaultSource":"/media/40qjj2ra/mm_20240507_dineoshesheeraisibebopape_pi_studiostucky_4_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Dineo Seshee Raisibe Bopape","description":"(ka) pheko ye \u2013 the dream to come","exhibitionLongText":"\u003Cp\u003E\u00ABMeeting physical force with soul force\u00BB \u2013 Martin Luther King, I have a dream, 1963\u003C/p\u003E\u003Cp\u003E\u00ABKe lorile, ke lorile ke mmona Mme bana baka\u00BB \u2013 Southern African folk song\u003C/p\u003E\u003Cp\u003E(I dreamt I saw the mother of my children)\u003C/p\u003E\u003Cp\u003EIn her solo exhibition, Dineo Seshee Raisibe Bopape (*1981, Polokwane, South Africa) invites visitors to smell, taste, hear, see, feel, walk, sit and dream. In dreaming, the artist explores the connections between the suppressed and fragmented parts of material form, life and the self.\u003C/p\u003E\u003Cp\u003EIn preparing for the exhibition, Bopape immersed herself in the world of dreams, forests, land, water and stories of African rainmakers. It has been a practice of various indigenous cultures globally to administer and receive healing through dreams, in this process engaging various plant life forms. Soil is one of the recurring matters in the exhibition, as a repository of the universe\u0027s memories and potential and as a record of social, historical and political stirrings; a symbol of our collective connection to the nurturing essence of the dreaming Earth.\u003C/p\u003E\u003Cp\u003EThe exhibition (ka) pheko ye \u2013 the dream to come was created in co-operation between the Migros Museum f\u00FCr Gegenwartskunst and the Museum of Contemporary Art Kiasma in Helsinki.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/dineo-seshee-raisibe-bopape","target":"_self"},"clusterBy":"2024"},{"dateFrom":"10.2.","dateTo":"20.5.24","datetimeFrom":"2024-02-10","datetimeTo":"2024-05-20","defaultSource":"/media/kdib0gtp/mm_20240311_tareklakhrissi_exhview_stefanaltenburger_0005_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Tarek Lakhrissi \u2013 Bliss","description":"","exhibitionLongText":"\u003Cp\u003EOpening: Friday, 9 February 2024\u003C/p\u003E\u003Cp\u003EIn his solo exhibition BLISS, Tarek Lakhrissi invites the audience on a journey: in a stage-like setting, visitors become protagonists in search of dreamy moments in the midst of chaos. Over the course of three acts, they encounter immersive installations, an enchanting film work and larger-than-life sculptures.\u003C/p\u003E\u003Cp\u003EThe French poet and artist has a particular interest in conversations about race, class and gender. His captivating poems and installations, borrow their aesthetics from a dazzling and vibrant pop culture, aiming to transform traditional narratives. Lakhrissi often uses autofiction \u2013 the interfusion of a biographical report with fictional elements \u2013 as a tool. Therefore he simultaneously offers his audiences opportunities for identification and tells an imagined story through a myriad of layers.\u003C/p\u003E\u003Cp\u003EBLISS takes the reflective state of mind of melancholy as a starting point to explore themes such as self-discovery, one\u2019s own desire and the social exclusion of marginalized groups. Lakhrissi\u2019s queer and BIPoC first-person perspective is transferable to the daily experience of minorities within a society that is dominated by a white, cisgender and heterosexual majority. An auto-fictional journey of self-discovery reveals itself and expresses the intricate interplay between light and darkness, bliss and melancholy.\u003C/p\u003E\u003Cp\u003ECurator: Dr. Michael Birchall\u003C/p\u003E\u003Cp\u003ECuratorial Assistant: Louisa Behr\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/tarek-lakhrissi-bliss","target":"_self"},"clusterBy":"2024"},{"dateFrom":"10.2.","dateTo":"20.5.24","datetimeFrom":"2024-02-10","datetimeTo":"2024-05-20","defaultSource":"/media/0welejt0/mm_20240311_materialmemories_exhview_stefanaltenburger_0088_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Material Memories","description":"Sammlung Migros Museum f\u00FCr Gegenwartskunst","exhibitionLongText":"\u003Cp\u003EChapter 1 with works by Heidi Bucher, Yael Davids, Thea Djordjadze, Graciela Guti\u00E9rrez Marx, Kris Lemsalu, Liz Magor, Maria Pini\u0144ska-Bere\u015B and Vivian Suter\u003C/p\u003E\u003Cp\u003E\u00ABThe pictures (\u2026) were marked by water, mud and leaves. The turning point came when I accepted that my pictures were not destroyed, rather changed.\u00BB The artist Vivian Suter uses these words to describe what happened when her studio was flooded. It is precisely this idea of material as a repository of traces and memories that serves as the starting point for this exhibition: the approach to the selected works of the collection is via their material quality, and the concern is with how material is charged with meaning, and how raw materials can turn into art.\u003C/p\u003E\u003Cp\u003EPhysical material is the basic prerequisite for every artwork that manifests itself as an object. Since the 1960s artists have naturally drawn on impermanent or organic materials, have worked with materials from industry or integrated found objects into their works. As part of the artistic work process, these materials are merged, combined, formed, altered, coloured, liquified or solidified \u2013 provided they have reached a form that the artist judges to be ready. The exhibition thus examines the way in which meaning is inscribed into the material through the creative process \u2013 whether actual or symbolic It may be traces from the work done, or it may be remnants that bear witness to a performative act. In some cases, the material also stores imprints that come about due to uncontrollable factors, but are permitted \u2013 and so become part of the work itself. In other cases, a material or an object is charged with new meaning due to an action carried out, or the old one is over-written.\u003C/p\u003E\u003Cp\u003EThe exhibition brings together artistic positions from various generations and geographical contexts: common to all, however, is the engagement with unwritten material, onto which they inscribe their own meanings.\u003C/p\u003E\u003Cp\u003ECurator: Nadia Schneider Willen\u003C/p\u003E\u003Cp\u003ECuratorial Assistant: Claudia Heim\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/material-memories","target":"_self"},"clusterBy":"2024"},{"dateFrom":"7.10.","dateTo":"21.1.24","datetimeFrom":"2023-10-07","datetimeTo":"2024-01-21","defaultSource":"/media/k0zcretq/mm_20231016_interdependencies_0006_stefanaltenburger_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Interdependencies: Perspectives on Care and Resilience","description":"","exhibitionLongText":"\u003Cp\u003EOpening: Friday, October 6, 2023\u003C/p\u003E\u003Cp\u003EThe group exhibition Interdependencies: Perspectives on Care and Resilience shows the mutual dependencies that exist between people, societies, and institutions. The fourteen artists offer critical, solution-oriented perspectives on social relationships and power structures. At its heart lie individual and collective experiences of disability, illness and healing. The desire for justice, the pressing need for resistance and the importance of creativity in the charged zone between vulnerability and resilience are central to their works.\u003C/p\u003E\u003Cp\u003EWe have all experienced the difficulties caused by the COVID-19 pandemic, whether due to isolation, illness or adapting to new situations. What has changed most since then is the way in which we take care of one another \u2013 both in health care and at the workplace, and in our interpersonal relationships. Yet it is not only since the pandemic that there have been shortcomings in social and institutional care \u2013 the most vulnerable members of our society are especially caught up in this situation. The discourse around care has increasingly become a major topic of the day, however. Artists are increasingly creating models that reject ableism, gender norms and social pressure to achieve. The artists in the exhibition are committed to the visibility and equality of people with disabilities and are involved in queer and feminist movements that demonstrate their readiness for change and for resistance.\u003C/p\u003E\u003Cp\u003EIn the exhibition, the focus is on three models of care \u2013 self-care, political care and collective care. For many people, self-care offers space away from the harsh realities of capitalist pressure to achieve. Yet at the same it is a privilege. In the installation Depression Maryam Jafri critiques the appropriation of traditional Chinese healing practices by a global wellness industry. Ezra Benus explores the relation between disease, capitalism and eroticism, and takes as their theme the way in which lived experiences are turned into consumer goods.\u003C/p\u003E\u003Cp\u003ECare and care work are not only a private matter, but also a political one. For some artists in the exhibition, political care means engaging in activism and pointing out grievances in their work in order to bring about change. Brothers Carmen and Antonio Papalia not only take care of each other in their artistic practice, but also resist the pharma industry by cultivating alternative pain killers in the form of cannabis plants. Similarly, Sharona Franklin investigates with her quilt made of gelatine, herbs and biomaterial the power dynamic between the pharma industry and alternative healing methods; moreover, she is a disability rights advocate. The specific discrimination and stigmatisation of persons with disabilities or chronic illnesses are described as ableism. Ableism is frequently interwoven with other structural disadvantages, such as poverty, sexism and/or racism. Carolyn Lazard, in her modified Pain Scale, points out the unequal treatment of people of colour, whose pain is taken less seriously by medical personnel than that of white persons.\u003C/p\u003E\u003Cp\u003ECollective care and cooperation are central to enabling care for all. This concerns not only institutionalised care work, but also the collective willingness to commit to better conditions overall. The exhibition shows approaches that are based on solidarity, empathy and support, and questions and expands upon traditional notions of care. Both the works of Rory Pilgrim and the vacuum cleaner are preceded by a collective care and work process. While Pilgrim examines the relationship between the climate crisis and social support, the vacuum cleaner tackles in his video installation the theme of the failing psychiatric health system, and the power of art to promote resilience \u2013the ability of individuals or societies to deal with changes and crises and to adapt to them.\u003C/p\u003E\u003Cp\u003EIn the museum, too, we wish to take care of different needs. The Caring Space enables visitors to the exhibition to retreat into a space conceived for them and to take a break from everyday life. Here, we invite our visitors to share their experiences and thoughts related to the subject of care, and to leave them behind.\u003C/p\u003E\u003Cp\u003EThe exhibition will include a publication, an extensive public programme and a symposium.\u003C/p\u003E\u003Cp\u003EWith works by: Adina Pintilie, Carmen \u0026amp; Antonio Papalia, Carolyn Lazard, Ezra Benus, Grace Ndiritu, Jesse Luke Darling, Johanna Hedva, Lauryn Youden, Maryam Jafri, Rory Pilgrim, Sharona Franklin, the vacuum cleaner and collaborators, Alina Szapocznikow and Marijke van Warmerdam.\u003C/p\u003E\u003Cp\u003ECurator: Dr. Michael Birchall\u003C/p\u003E\u003Cp\u003EAssistant Curator: Claudia Heim\u003C/p\u003E\u003Cp\u003EArtist Lauryn Youden has recorded a podcast to accompany her work Venus in Scorpio, on view in the exhibition: \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://a.wonnder.com/interdependencies_beitrage_von_lauryn_youden?utm_source=qr_code\u0022 target=\u0022_blank\u0022 data-anchor=\u0022?utm_source=qr_code\u0022 title=\u0022a.wonnder.com\u0022 type=\u0022external\u0022\u003Elisten here\u003C/a\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/interdependencies-perspectives-on-care-and-resilience","target":"_self"},"clusterBy":"2023"},{"dateFrom":"10.6.","dateTo":"17.9.23","datetimeFrom":"2023-06-10","datetimeTo":"2023-09-17","defaultSource":"/media/03aiwtjz/mm_20230717_aof3_exhview_stefanaltenburger_02_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Acts of Friendship \u2013 Act 3","description":"Sammlung Migros Museum f\u00FCr Gegenwartskunst","exhibitionLongText":"\u003Cp\u003EA collaborative exhibition conceived with the museum team including works from the collection of the Migros Museum f\u00FCr Gegenwartskunst.\u003C/p\u003E\u003Cp\u003EOpening Act 3: Friday, June 9, 2023\u003C/p\u003E\u003Cp\u003EAct 3 \u2013 June 10 to September 17, 2023\u003C/p\u003E\u003Cp\u003EPassed:\u003C/p\u003E\u003Cp\u003EAct 1 \u2013 Januar 28 to April 2, 2023\u003C/p\u003E\u003Cp\u003EAct 2 \u2013 April 5 to May 28, 2023\u003C/p\u003E\u003Cp\u003EThese days, we often associate friendship with the notion of a bond based on mutual trust, which supports us, not least in times of crisis. Yet friendships are also complex, contradictory structures that may indeed be subversive in character. Thus, friendships are not only able to support us as individuals in how we behave towards the world around us; they can also be pathway towards making ourselves heard as a collective and thereby rebelling against social (power) structures.\u003C/p\u003E\u003Cp\u003EInspired by Ragnar Kjartanssons\u2019 video installation The Visitors, which can be understood as a homage to friendship, the team of the Migros Museum f\u00FCr Gegenwartskunst has selected for the exhibition, Acts of Friendship works from the collection, that in their view represent a particular aspect of friendship. The selected works, around 30 in all, are shown in three theme-based groups of works.\u003C/p\u003E\u003Cp\u003EWhile the works represent the personal conceptions, approaches and perspectives of the individual team members toward friendship, they also serve as a starting point to reflect on questions around this subject, which is as multifaceted as the various approaches themselves. In Acts of Friendship the concern is not primarily with caring friendships linked to our inner circle, rather it\u2019s about complicity, alliances and solidarity. Thus, the path from togetherness and interaction in familiar company is not far from the sense of community that makes us publicly stand up for convictions and values, and which turns us into a politically active, hands-on collective.\u003C/p\u003E\u003Cp\u003EActs of Friendship \u2013 Act 3\u003C/p\u003E\u003Cp\u003EWith works from the collection by Judith Bernstein, Alighiero Boetti, Annika Eriksson, Alicia Framis, Gabriela Fridriksd\u00F3ttir, Jan Peter Hammer, Lang/Baumann, Teresa Margolles, Bernhard Martin, Juan Mu\u00F1oz and Rirkrit Tiravanija\u003C/p\u003E\u003Cp\u003EAn Act of Friendship for our visitors\u003C/p\u003E\u003Cp\u003EAs part of the three-part collection exhibition Acts of Friendship, admission to the Migros Museum f\u00FCr Gegenwartskunst is free for all visitors until September 17, 2023!\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/acts-of-friendship-act-3","target":"_self"},"clusterBy":"2023"},{"dateFrom":"10.6.","dateTo":"17.9.23","datetimeFrom":"2023-06-10","datetimeTo":"2023-09-17","defaultSource":"/media/lbjnq3ks/mm_230717_pilvitakala_exhview_stefanaltenburger_02_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Pilvi Takala \u2013 Close Watch","description":"","exhibitionLongText":"\u003Cp\u003EOpening: Friday, June 9, 2023\u003C/p\u003E\u003Cp\u003EThe Finnish artist Pilvi Takala presents Close Watch, a new video installation that examines work cultures, communities and the presence of security in our everyday lives. For a period of six months, Takala worked as a security guard in a shopping mall in Finland. This multi-channel installation is based on her experiences and conversations, as well as those of the other security guards working in the mall. The work questions the complex roles security plays in society, providing protection, and at the same time maintaining control.\u003C/p\u003E\u003Cp\u003EAs part of Pilvi Takala\u0027s artwork, the exhibition also includes a website: \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://closewatch.site/\u0022 target=\u0022_blank\u0022 title=\u0022closewatch.site\u0022 type=\u0022external\u0022\u003ECheck it out.\u003C/a\u003E\u003C/p\u003E\u003Cp\u003EThe video-installation was filmed during a three-day workshop organised by Takala, where she and her former colleagues discussed and tested new approaches to their roles as security guards. The conversation she developed is centred around violence, racism and toxic behaviour in the workplace, which reveal themselves through the examples of work experiences reported by the guards.\u003C/p\u003E\u003Cp\u003EAt its core, Close Watch facilitates a shift in expectation and observation; on one hand, as viewers we are confronted with the fact that we are often being closely monitored. On the other hand, our position is shifted to that of the observer: we are the ones watching the security guards discussing their role and working cultures. The inner workings of the world of security are laid bare to the wider public, raising questions about how we wish to be watched.\u003C/p\u003E\u003Cp\u003EThis is Pilvi Takala\u2019s first solo exhibition in Switzerland. Close Watch was first presented in the Finnish Pavilion at the 59th Venice Biennale (2022). At the Migros Musuem f\u00FCr Gegenwartskunst the work has been expanded to include new elements and an expansive public programme addressing the complex themes in the exhibition.\u003C/p\u003E\u003Cp\u003EPilvi Takala\u202F(*1981, lives and works in Berlin and Helsinki) creates video works based on performative interventions in which she researches specific communities to question social structures. The resulting projects have been on view in venues including\u202FSeoul Mediacity Biennale; Manifesta 11, Zurich; Centre Pompidou, Paris; New Museum, New York and Kunsthalle Basel.\u003C/p\u003E\u003Cp\u003ECurator: Dr. Michael Birchall\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/pilvi-takala-close-watch","target":"_self"},"clusterBy":"2023"},{"dateFrom":"6.4.","dateTo":"28.5.23","datetimeFrom":"2023-04-06","datetimeTo":"2023-05-28","defaultSource":"/media/bqajlgug/barlo101074_7_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Acts of Friendship \u2013 Act 2","description":"Sammlung Migros Museum f\u00FCr Gegenwartskunst","exhibitionLongText":"\u003Cp\u003EA collaborative exhibition conceived with the museum team including works from the collection of the Migros Museum f\u00FCr Gegenwartskunst.\u003C/p\u003E\u003Cp\u003EAct 2 \u2013 April 6 to May 28, 2023\u003C/p\u003E\u003Cp\u003EOpening Act 3: Friday, June 9, 2023\u003C/p\u003E\u003Cp\u003EAct 3 \u2013 June 10 to September 17, 2023\u003C/p\u003E\u003Cp\u003EPassed:\u003C/p\u003E\u003Cp\u003EAct 1 \u2013 Januar 28 to April 2, 2023\u003C/p\u003E\u003Cp\u003EThese days, we often associate friendship with the notion of a bond based on mutual trust, which supports us, not least in times of crisis. Yet friendships are also complex, contradictory structures that may indeed be subversive in character. Thus, friendships are not only able to support us as individuals in how we behave towards the world around us; they can also be pathway towards making ourselves heard as a collective and thereby rebelling against social (power) structures.\u003C/p\u003E\u003Cp\u003EInspired by Ragnar Kjartanssons\u2019 video installation The Visitors, which can be understood as a homage to friendship, the team of the Migros Museum f\u00FCr Gegenwartskunst has selected for the exhibition, Acts of Friendship works from the collection, that in their view represent a particular aspect of friendship. The selected works, around 30 in all, are shown in three theme-based groups of works.\u003C/p\u003E\u003Cp\u003EWhile the works represent the personal conceptions, approaches and perspectives of the individual team members toward friendship, they also serve as a starting point to reflect on questions around this subject, which is as multifaceted as the various approaches themselves. In Acts of Friendship the concern is not primarily with caring friendships linked to our inner circle, rather it\u2019s about complicity, alliances and solidarity. Thus, the path from togetherness and interaction in familiar company is not far from the sense of community that makes us publicly stand up for convictions and values, and which turns us into a politically active, hands-on collective.\u003C/p\u003E\u003Cp\u003EActs of Friendship \u2013 Act 2\u003C/p\u003E\u003Cp\u003EWith works from the collection by Phyllida Barlow, Mary Beth Edelson, Esther Eppstein, Fischli/Weiss, Lyle Ashton Harris, Lang/Baumann, Annika Str\u00F6m and Elodie Pong\u003C/p\u003E\u003Cp\u003EAn Act of Friendship for our visitors\u003C/p\u003E\u003Cp\u003EAs part of the three-part collection exhibition Acts of Friendship, admission to the Migros Museum f\u00FCr Gegenwartskunst is free for all visitors until September 17, 2023!\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/acts-of-friendship-act-2","target":"_self"},"clusterBy":"2023"},{"dateFrom":"28.1.","dateTo":"2.4.23","datetimeFrom":"2023-01-28","datetimeTo":"2023-04-02","defaultSource":"/media/slsk3ama/eppst100944_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Acts of Friendship \u2013 Acts 1","description":"Sammlung Migros Museum f\u00FCr Gegenwartskunst","exhibitionLongText":"\u003Cp\u003EA collaborative exhibition conceived with the museum team including works from the collection of the Migros Museum f\u00FCr Gegenwartskunst.\u003C/p\u003E\u003Cp\u003EAct 1 \u2013 Januar 28 to April 2, 2023\u003C/p\u003E\u003Cp\u003EAct 2 \u2013 April 6 to May 28, 2023\u003C/p\u003E\u003Cp\u003EAct 3 \u2013 June 10 to September 17, 2023\u003C/p\u003E\u003Cp\u003EThese days, we often associate friendship with the notion of a bond based on mutual trust, which supports us, not least in times of crisis. Yet friendships are also complex, contradictory structures that may indeed be subversive in character. Thus, friendships are not only able to support us as individuals in how we behave towards the world around us; they can also be pathway towards making ourselves heard as a collective and thereby rebelling against social (power) structures.\u003C/p\u003E\u003Cp\u003EInspired by Ragnar Kjartanssons\u2019 video installation The Visitors, which can be understood as a homage to friendship, the team of the Migros Museum f\u00FCr Gegenwartskunst has selected for the exhibition, Acts of Friendship works from the collection, that in their view represent a particular aspect of friendship. The selected works, around 30 in all, are shown in three theme-based groups of works.\u003C/p\u003E\u003Cp\u003EWhile the works represent the personal conceptions, approaches and perspectives of the individual team members toward friendship, they also serve as a starting point to reflect on questions around this subject, which is as multifaceted as the various approaches themselves. In Acts of Friendship the concern is not primarily with caring friendships linked to our inner circle, rather it\u2019s about complicity, alliances and solidarity. Thus, the path from togetherness and interaction in familiar company is not far from the sense of community that makes us publicly stand up for convictions and values, and which turns us into a politically active, hands-on collective.\u003C/p\u003E\u003Cp\u003EActs of Friendship \u2013 Act 1\u003C/p\u003E\u003Cp\u003EWith works from the collection by Alex Bag\u202F/\u202FPatterson Beckwith, Olaf Breuning, Angela Bulloch, Esther Eppstein, Ruth Erdt, Martin Kippenberger, Lang/Baumann, Muda Mathis, Mickry 3, Claudia \u0026amp; Julia M\u00FCller and Annika Str\u00F6m\u003C/p\u003E\u003Cp\u003EAn Act of Friendship for our visitors\u003C/p\u003E\u003Cp\u003EAs part of the three-part collection exhibition Acts of Friendship, admission to the Migros Museum f\u00FCr Gegenwartskunst is free for all visitors until September 17, 2023!\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/acts-of-friendship-acts-1","target":"_self"},"clusterBy":"2023"},{"dateFrom":"28.1.","dateTo":"28.5.23","datetimeFrom":"2023-01-28","datetimeTo":"2023-05-28","defaultSource":"/media/vqnn5dzx/kjart101157_4a_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Ragnar Kjartansson \u2013 The Visitors","description":"Sammlung Migros Museum f\u00FCr Gegenwartskunst","exhibitionLongText":"\u003Cp\u003ECollection Migros Museum f\u00FCr Gegenwartskunst\u003C/p\u003E\u003Cp\u003EThe Visitors, a 9-channel video installation of the artist Ragnar Kjartansson, transports visitors into the peculiar universe of a historical villa on the Hudson River in Upstate New York. The starting point for this project \u2013 which is shaped by Kjartansson\u2019s enthusiasm for music, his interest in sustained performance, as well as an emotional experience of art \u2013 are texts by the artist \u00C1sd\u00EDs Sif Gunnarsd\u00F3ttir that Kjartansson and Dav\u00ED\u00F0 \u00DE\u00F3r J\u00F3nsson have set to music. For The Visitors, he had the song jointly performed by several musicians from his own circle of friends in various situations in the 43 rooms of the Villa Rokeby. Each of the nine projections highlights one of the rooms and one performer \u2013 with one exception: Outside on the porch of the house are the inhabitants in the role of choir and sonic artillery. The individual scenes thus join up into a space-spanning, filmic tableau, whereby this unique visual and acoustic arrangement shows a complex portrait of the house as well as its (temporary) residents, movingly expressing the experiences of love and loss, separation, and reunion.\u003C/p\u003E\u003Cp\u003EThe Visitors can be read as a homage to friendship, yet it is also an ode on longing and loss. The Visitors is a reference to the title of Abba\u00B4s eponymous album that appeared in 1981, which was to be their last. Shortly after the publication the successful pop band broke up. In contrast, his work The Visitors brought Kjartansson international renown, and it was acclaimed by the press. For example, the British Guardian even described the work as the \u2018Best Artwork of the 21st Century\u2019. With The Visitors a work is presented that illustrates the role of the Migros Museum f\u00FCr Gegenwartskunst as a commissioner of new works and a collecting institution, on the one hand, and can be understood as an outstanding example of the unique working method of the artist, on the other.\u003C/p\u003E\u003Cp\u003ERagnar Kjartansson (*1976, lives and works in Reykjav\u00EDk) last made an appearance in Switzerland with the performance titled Schmerz (eng. Pain) at Zurich\u2019s Theater Spektakel (2022). The Visitors was produced for his solo exhibition at the Migros Museum f\u00FCr Gegenwartskunst in 2012 and has since been exhibited in many international art institutions \u2013 most recently at the San Francisco Museum of Modern Art, San Francisco and the TBA21 Thyssen-Bornemisza Art Contemporary, Madrid (both 2022); V-A-C, GES2, Moscow (2021-2022); High Museum of Art, Atlanta (2021); the Institute of Contemporary Art / Boston (2020); the Museum of Contemporary Art Kiasma, Helsinki (2019-2020). Kjartanssons\u2019 works have been presented in prestigious institutions such as The Metropolitan in New York, Barbican, London and Palais de Tokio, Paris.\u003C/p\u003E\u003Cp\u003EAn Act of Friendship for our visitors\u003C/p\u003E\u003Cp\u003EAdmission to the three-part collection exhibition Acts of Friendship is free for all visitors for the entire duration of the exhibition from January 28 to September 17, 2023. Free admission also applies to the parallel exhibitions Ragnar Kjartansson \u2013 The Visitors and Pilvi Takala \u2013 Close Watch.\u003C/p\u003E\u003Cp\u003E\u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://www.deutschlandfunkkultur.de/ragnar-kjartansson-the-visitors-ausstellung-in-zuerich-dlf-kultur-b72a9a49-100.html\u0022 target=\u0022_blank\u0022 title=\u0022www.deutschlandfunkkultur.de\u0022 type=\u0022external\u0022\u003ERadiobeitrag von Deutschlandfunk Kultur zu Ragnar Kjartansson \u2013 The Visitors\u003C/a\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/ragnar-kjartansson-the-visitors","target":"_self"},"clusterBy":"2023"},{"dateFrom":"24.9.","dateTo":"8.1.23","datetimeFrom":"2022-09-24","datetimeTo":"2023-01-08","defaultSource":"/media/ucndqrpq/mm_pi_renee_green_03_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Ren\u00E9e Green","description":"Inevitable Distances","exhibitionLongText":"\u003Cp\u003EInevitable Distances is a comprehensive survey of Ren\u00E9e Green\u2019s artwork from the early 1980s to the present day. Since the late 1980s Green\u2019s practice has expanded the ways in which art can surface and give form to unwritten histories, collective memory, and cultural exchange. Her work initially came to prominence in the early 1990s and circulated within the social and political flows between the world and the Americas\u2014a concept that includes the United States, Central and South America, as well as the Caribbean, and one which exists in Europe\u2019s various imaginings and projections. In her installations, writings, films, digital media, paintings, drawings and sound works, Green questions the power of cultural institutions and their relationship to language, knowledge and identity. With that in mind, she offers alternative ways for each individual to identify themselves in the present as well as in the future.\u003C/p\u003E\u003Cp\u003EUsing the museum space to make tangible connections between object, image, sound and text, Green\u2019s carefully choreographed exhibition invites visitors to reflect on their own movement and implication in different cultural histories\u2014including stories about the migration of language and of people.\u003C/p\u003E\u003Cp\u003EMotifs of dispersal and displacement are evident in installations such as Idyll Pursuits (1991), where an iconic image of a mountain summit is juxtaposed by the inclusion of a toy kaleidoscope. Pioneering desires for adventure and discovery are undercut with more mundane narratives of confusion and frustration. The viewer is thus invited to see along multiple sight-lines\u2014spatial and temporal, actual and imagined.\u003C/p\u003E\u003Cp\u003EOne of Green\u2019s earliest installations, Sites of Genealogy (1990), is spread throughout the building, and blends personal, fictional, and historical biographies. Green\u2019s self-written diary-like notes reflecting on a year of her life in the early 1990s appear alongside texts from Harriet Jacobs\u2019 Incidents in the Life of a Slave Girl (1861) and Richard Wright\u2019s Native Son (1940). Import/Export Funk Office (1992) traces the global dispersion, translation, and commodification of hip-hop culture and its relationship to ongoing African diasporic cultural forms and life.\u003C/p\u003E\u003Cp\u003EThis exhibition asks: How can we communicate complex histories, and what do those histories reveal back to us about our forms of communication? How do we learn and share knowledge without the need to capture and possess it? How do systems of display and communication affect our relationships to cultural content and life? And what role can pleasure, and imagination play in our lives?\u003C/p\u003E\u003Cp\u003EIn Inevitable Distances, Green\u2019s formally complex work weaves together representations of thinking and living, indicating the encounters and distances travelled in an artist\u2019s life journey, while pointing out to other ways of being.\u003C/p\u003E\u003Cp\u003ERen\u00E9e Green (b. Cleveland, USA, 1959) has had solo exhibitions at the KW Institute for Contemporary Art, Berlin (2021); the Carpenter Center for Visual Arts, Harvard University (2018); the Museum of Modern Art, New York (2012\u20132013); the Yerba Buena Center for the Arts (2010); the Mus\u00E9e cantonal des Beaux-Arts de Lausanne (2009); the Galerie nationale du Jeu de Paume (2008); and the Museum of Contemporary Art, Los Angeles (1993), among others. Her work has also been shown in numerous group exhibitions and biennials, including at the Centre Georges Pompidou (2020); the Museum Ludwig (2019); the 10th Istanbul Biennial (2007); Documenta 11 (2002); the Whitney Biennial (1993); and the 45th Venice Biennale (1993).\u003C/p\u003E\u003Cp\u003EThe exhibition is produced by KW Institute for Contemporary Art, Berlin, in collaboration with Migros Museum f\u00FCr Gegenwartskunst, Zurich.\u003C/p\u003E\u003Cp\u003ECurators: Mason Leaver-Yap with Assistant Curator Sofie Krogh Christensen (KW Institute for Contemporary Art, Berlin), in collaboration with Dr. Michael Birchall (Curator, Migros Museum f\u00FCr Gegenwartskunst), Curatorial Assistant: Joel Spiegelberg, (Trainee, Migros Museum f\u00FCr Gegenwartskunst).\u003C/p\u003E\u003Cp\u003EInevitable Distances is accompanied by a book of the same name, co-published by DAAD Artists-in-Berlin Program, Hatje Cantz Verlag, KW Institute for Contemporary Art and Migros Museum f\u00FCr Gegenwartskunst. Designed by Carolina Aboarrage, the publication includes contributions from the artist Ren\u00E9e Green, Kathrin Bentele, Howie Chen, Emma Hedditch, Katherine McKittrick, Taylor Le Melle, Ima-Abasi Okon and others, and is edited by Mason Leaver-Yap. It will be available in early 2022.\u003C/p\u003E\u003Cp\u003ECode: Survey (Courtesy the artist, Free Agent Media; Bortolami Gallery, New York; Galerie Nagel Draxler, Berlin/Cologne/Munich)\u003C/p\u003E\u003Cp\u003ECode Survey is a website and a component of the artwork Code: Survey (2005/2006). This site-specific and publicly accessible work was conceived for the headquarters of the California Department of Transportation (Caltrans), located in downtown Los Angeles. Further works related to Code: Survey can be seen in the exhibition.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/renee-green","target":"_self"},"clusterBy":"2022"},{"dateFrom":"21.5.","dateTo":"11.9.22","datetimeFrom":"2022-05-21","datetimeTo":"2022-09-11","defaultSource":"/media/uhda2jlt/mm_220523_0088_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Basel Abbas \u0026 Ruanne Abou-Rahme","description":"May amnesia never kiss us on the mouth","exhibitionLongText":"\u003Cp\u003EThe exhibition May amnesia never kiss us on the mouth deals with questions concerning the preservation of memory. The focus lies on how people bear witness to and narrate experiences of violence, loss, displacement, and forced migration through performance. In their works, the artists continuously deal with different forms of resistance and poetic manifestation through dance, music, and language. The two spatial installations May amnesia never kiss us on the mouth: Only sounds that tremble through us (2020-22) and Where the soil has been disturbed (2022) on the first floor of the museum take up these expressive practices and offer visitors a new perspective on how experiences of loss and expressions of resistance from Arabic-speaking contexts can be communicated, archived, and preserved.\u003C/p\u003E\u003Cp\u003EThe works on display are, on the one hand, a multi-channel video and sound piece based largely on filmed footage and written texts by the artists, as well as new performances developed with the musicians Makimakkuk, Haykal, Julmud and the dancer Rima Baransi from Ramallah. Further the immersive work May amnesia never kiss us on the mouth: Only sounds that tremble through us (2020-22) addresses mourning and overlooked forms of resistance in everyday practices. On the other hand, the work Where the soil has been disturbed (2022) shows photographically captured scenes and dried plants from Palestine that symbolize loss and resilience in its various forms. The artists\u2019 archive, which consists of found video clips, their own recordings, written and spoken stories, and collected objects, forms the basis for the work. The archived memories that Abbas and Abou-Rahme have located and recorded in and around Palestine, Iraq, Syria and Yemen both in the real and digital space, contain song, dance, performance as well as expressions of protest. Together, they transmit physical manifestations of a collective memory that revolt against the erasure of marginalised communities in the Arabic-speaking context and lay claim to geographical right to exist, political self-determination and living together in community. The individual and collective memories live on in the work of Abbas and Abou-Rahme and become effective as counter-designs to colonial as well as capitalist narratives and discourses of the West.\u003C/p\u003E\u003Cp\u003EThe exhibition title May amnesia never kiss us on the mouth can consequently be read as a reminder or call to resist forgetting as well as the erasure of histories. Through the exhibition, the artist\u2019s work against a systematic repression supported by political systems of power.\u003C/p\u003E\u003Cp\u003EMay amnesia never kiss us on the mouth is co-commissioned by the Museum of Modern Art, New York, and Dia Art Foundation, New York.\u003C/p\u003E\u003Cp\u003ECurator: Dr. Michael Birchall, Curator, Migros Museum f\u00FCr Gegenwartskunst\u003C/p\u003E\u003Cp\u003ECuratorial Assistant: Joel Spiegelberg, Trainee, Migros Museum f\u00FCr Gegenwartskunst\u003C/p\u003E\u003Cp\u003EThe first part of Basel Abbas and Ruanne Abou-Rahme\u2019s May amnesia never kiss us on the mouth (2020\u201322), subtitled Postscript: After everything is extracted, launched in December, 2020, as part of Dia\u2019s Artist Web Projects. In March, 2022, the digital platform expanded with the launch of the second part of May amnesia never kiss us on the mouth, which includes nearly 170 videos from the artists\u2019 extensive collection of found and unedited online recordings of performances.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/basel-abbas-ruanne-abou-rahme","target":"_self"},"clusterBy":"2022"},{"dateFrom":"21.5.","dateTo":"11.9.22","datetimeFrom":"2022-05-21","datetimeTo":"2022-09-11","defaultSource":"/media/wukmvai1/mm_220523_0021_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"AUS DEN FUGEN - MOMENTE DER ST\u00D6RUNG 2","description":"Sammlung Migros Museum f\u00FCr Gegenwartskunst","exhibitionLongText":"\u003Cp\u003EJulie Becker, Monica Bonvicini, Maurizio Cattelan, Anne-Lise Coste, Hanne Darboven, Sylvie Fleury, Florian Germann, Gianni Motti, Juan Mu\u00F1oz, Ugo Rondinone, Michael Smith, Paul Thek, Nora Turato\u003C/p\u003E\u003Cp\u003EHow do disruptions inform our relationship with our world? To explore this question, the two-part exhibition Aus den Fugen \u2013 Momente der St\u00F6rung (Engl.: Out of joint \u2013 Moments of disruption) gathers works from the museum\u2019s collection. Disruptions can manifest as the soft grinding of sand in the gears, briefly stalling the familiar course of everyday routines. Others are dramatic and radical, shattering our reality. They can put the order of societies, systems, and institutions to the test and expose their inner workings; targeted attempts to create disturbances often serve to articulate critique. Varying in form, disruptions can manipulate our perceptions, displace meanings, and call firmly held beliefs in question.\u003C/p\u003E\u003Cp\u003EIn the second chapter of the exhibition, such destabilisation of our perception of reality, and truth, and how the construction of interconnections and narratives can undermine these ideas, are a central concern. The artist Julie Becker, for instance, delves into the myth of a hidden connection between the album The Dark Side of the Moon (1973) by the band Pink Floyd and the movie The Wizard of Oz (1939). By letting us experience that the album is allegedly a secret soundtrack for the film, her work also interrogates the mechanisms of this kind of mythmaking. In Hanne Darboven\u2019s and Paul Thek\u2019s works, complex interconnections between themes from social and cultural contexts emerge in the works themselves, seemingly asserting a convoluted personal truth. Art of this sort prompts us to reflect on how we ourselves conceive of the idea of truth and negotiate it both individually and socially.\u003C/p\u003E\u003Cp\u003EThe exhibition also surveys scenarios of disruption that arise in reaction to global events or are projected in the realm of fiction, on the movie screen or in literature. Michael Smith\u2019s work, for example, which the artist produced between 1983 and 1985 applies the means of satire to the threat of a nuclear disaster, a very real danger especially during the Cold War. By shaping our interpretation of reality, however, imaginary scenarios of disruption can have social consequences as well. An installation by Monica Bonvicini and sculptures by Juan Mu\u00F1oz, meanwhile, distort familiar architectonic structures to sinister effect. Here, resistance and rage, vulnerability and disintegration are intimately interwoven. The exhibition moreover presents works that look at disruptive characters. While Ugo Rondinone took inspiration from the clown, who critiques prevailing realities and can unmask social anxieties, Florian Germann, on the other hand, draws upon the phenomenon of the poltergeist who allegedly haunts and harasses people.\u003C/p\u003E\u003Cp\u003EAs in the first chapter, art\u2019s own relationship with disruption plays an additional key role. Rather than reflecting on the social from an outside observer\u2019s position, art is deeply entangled with it. Artists can critique the status quo, subvert conventions, and open up fresh perspectives as well as spaces of possibility. In this sense, art and disruption are close kin, confronting us with how we see and make sense of things and our individual as well as collective self-images.\u003C/p\u003E\u003Cp\u003ECurator: Nadia Schneider Willen, Collection Curator, Migros Museum f\u00FCr Gegenwartskunst\u003C/p\u003E\u003Cp\u003ECuratorial Assistant: Viktor H\u00F6mpler, Curatorial Assistant / Researcher, Migros Museum f\u00FCr Gegenwartskunst\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/aus-den-fugen-momente-der-stoerung-2","target":"_self"},"clusterBy":"2022"},{"dateFrom":"29.1.","dateTo":"1.5.22","datetimeFrom":"2022-01-29","datetimeTo":"2022-05-01","defaultSource":"/media/3u3p1xhx/100905_view2_2_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"AUS DEN FUGEN - MOMENTE DER ST\u00D6RUNG","description":"Sammlung Migros Museum f\u00FCr Gegenwartskunst","exhibitionLongText":"\u003Cp\u003E!Mediengruppe Bitnik, Lynda Benglis, Vanessa Billy, Alighiero Boetti, Christoph B\u00FCchel, Andrea Fraser, Guerrilla Girls, Fabrice Gygi, Lynn Hershman Leeson, Gianni Motti, Cady Noland, Yuri Pattison, Pipilotti Rist, Katharina Sieverding, Hito Steyerl\u003C/p\u003E\u003Cp\u003EDisruptions can manifest as the soft grinding of sand in the gears, briefly stalling the familiar course of everyday routines. Others are dramatic and radical, shattering our reality. The exhibition Aus den Fugen \u2013 Momente der St\u00F6rung (English: Out of joint \u2013 Moments of disruption) gathers works from the collection that relate to disturbing events, phenomena, or actions in order to question how such interference informs our relationship with our world.\u003C/p\u003E\u003Cp\u003ESocieties, systems, and institutions frequently find themselves under pressure to respond to unexpected disturbances that challenge their regular operations. Irritating, debilitating, and destabilizing incidents can uncover hidden structures and functionalities. This makes them potentially instructive: they can expose the weakness of a system or the actual distribution of power. Targeted acts of disruption often serve to articulate critique and resistance. Their effects may be felt on a symbolic level, undermining or displacing narratives or significances. Not uncommonly, disturbances spark change.\u003C/p\u003E\u003Cp\u003EThe exhibition features moments of disruption that manifest differently: in some instances, artists depart from historic events or incidents of disruption that they personally experienced; in others, it is the works themselves that act as disruptors in specific contexts. A work by Katharina Sieverding, for example, is based on a major blackout in New York that brought the city to a halt. Christoph B\u00FCchel\u2019s group of sculptures grapples with the profoundly destabilizing effects of terrorist threats. Works by !Mediengruppe Bitnik, the Guerrilla Girls, and Gianni Motti are disruptive in their own right or document disturbances. These artists intervene in artistic, political, and societal contexts in order to interrogate their prevailing rules. For decades, the Guerrilla Girls have been staging poster campaigns to draw attention to sexism and racism in the art world and to pose critical challenges to institutions and their self-images. On view in the exhibition are works by Gianni Motti that probe and undermine the power of political institutions and large technology companies. Works like these demonstrate how disruptions can engage in a status quo and alter it. In addition to spotlighting the critical potential of disruptions, the exhibition explores how irritation and subversion can open up new perspectives and spaces of possibility.\u003C/p\u003E\u003Cp\u003ECurator: Nadia Schneider Willen (Collection Curator, Migros Museum f\u00FCr Gegenwartskunst)\u003C/p\u003E\u003Cp\u003ECuratorial assistant: Viktor H\u00F6mpler (Trainee, Migros Museum f\u00FCr Gegenwartskunst)\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/aus-den-fugen-momente-der-stoerung","target":"_self"},"clusterBy":"2022"},{"dateFrom":"29.1.","dateTo":"1.5.22","datetimeFrom":"2022-01-29","datetimeTo":"2022-05-01","defaultSource":"/media/dosfsaqy/mi-res-2262_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Evan Ifekoya","description":"~ Resonant Frequencies","exhibitionLongText":"\u003Cp\u003EThe London-based artist and energy worker Evan Ifekoya presents their first solo exhibition in Switzerland at the Migros Museum f\u00FCr Gegenwartskunst. ~ Resonant Frequencies is an immersive sound installation that transforms the ground floor of the museum into a multisensory environment for exploring the divine within us. Sound plays a central role in Ifekoya\u2019s practice, stemming from a desire to examine being and knowing inside and outside of visual perception.\u003C/p\u003E\u003Cp\u003EWhen entering the museum, we come across the first \u2018portal unit\u2019, a space for individual and collective encounter, that is at the same time a refuge for visitors. Through the central sun \u2013 a sound and sculptural object \u2013 we hear the voice of Oceanic Sage (the artist\u2019s pseudonym). The sun, which in some cultures is considered as divinity itself, functions as an orientation or perspective that acknowledges that our bodies, minds, and spirits are intertwined.\u003C/p\u003E\u003Cp\u003EIn each of the portal units we are introduced to a sound composition that creates a vibration within us. In effect, our bodies become an instrument. The durational sound composition, with contributions from Ifekoya and five collaborators \u2013 Alero, Rahima Gambo, Ma\u00EFa Nunes, Clay Ch\u00E9ni\u00E8re (a.k.a. chaos clay) and MINQ \u2013examines the knowing that emerges in community. Intentionally prioritising the reality of those who have historically and systematically been excluded from sacred spaces, Ifekoya works with \u2018Solfeggio frequencies\u2019 \u2013 vibrations that are believed to help us find balance and harmony and provide resonating healing properties for mind and body. The experience of sound, silence and listening enables altered states of consciousness.\u003C/p\u003E\u003Cp\u003EA guiding question for the artist is how do we learn to listen to resonance? And how might these practices of attuning to our resonant frequencies connect us to our inner light beyond the darkness? Ifekoya\u2019s work is informed by wisdom keepers inside and outside of Indigenous traditions and practices, with the elevation of Black and queer consciousness in mind. Through multiple forms of embodied, ancestral, and spiritual practices, with a particular focus on the use of drums, the artist investigates what it means to make a way of life, despite living under constant state violence. The artist practices sound healing as a divine inheritance through an exploration into resonant frequencies, and invites you to you to discover yourself.\u003C/p\u003E\u003Cp\u003ECurator: Dr. Michael Birchall (Curator, Migros Museum f\u00FCr Gegenwartskunst)\u003C/p\u003E\u003Cp\u003ECuratorial assistant: Lucas Hagin (Trainee, Migros Museum f\u00FCr Gegenwartskunst)\u003C/p\u003E\u003Cp\u003EAn accompanying publication designed by Studio Marie Lusa with essays by Kojo Abudu, Michael Birchall, Evan Ifekoya and Grace Ndiritu will be published by Scheidegger \u0026amp; Spiess in March 2022.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/evan-ifekoya","target":"_self"},"clusterBy":"2021"},{"dateFrom":"18.9.","dateTo":"9.1.22","datetimeFrom":"2021-09-18","datetimeTo":"2022-01-09","defaultSource":"/media/2tib5bnl/mm_211004_0065_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Korakrit Arunanondchai","description":"Songs for dying / Songs for living","exhibitionLongText":"\u003Cp\u003ESongs for dying / Songs for living is Korakrit Arunanondchai\u2019s first institutional solo exhibition in Switzerland and the first to present the artist\u2019s two most recent videos Songs for dying (2021) and Songs for living (created in collaboration with Alex Gvojic, 2021) together. With video installations, an extensive painting and objects, the exhibition creates atmospheric spaces of storytelling.\u003C/p\u003E\u003Cp\u003EBirth, decreation, and death are thresholds of heightened consciousness from which Korakrit Arunanondchai generates his storytelling and formal inquiries. Through video, painting, and installation, the artist processes personal experiences while probing their sociohistorical contingencies. The intricate codependency of these forms asks fundamental questions regarding existence and meaning, especially when understood outside of a Western ontological framework.\u003C/p\u003E\u003Cp\u003EIn Songs for dying / Songs for living, Arunanondchai has divided up the exhibition space into three interconnected acts: each one speaks to a transformative potential which catalyzes the others. Departing from the loss of his grandfather, the artist unfolds stories that carry the idea of self and the community into the space of the unknowable. Ghosts, shamans, and a dying sea turtle are not only metaphors but also the mediums from which processes of becoming and decomposition must pass through. In these stories, rich in mythological references and symbols, Arunanondchai simultaneously takes up social and political realities of life in Thailand, which is characterized by military rule, monarchy, and pro-democracy protests. Songs shape the arc of the exhibition, which lead the audience through a polyphonic narrative in which events are testified to the emotional and transcendent impulses of peoples, nations, and beings living under the symbols of higher powers.\u003C/p\u003E\u003Cp\u003EKorakrit Arunanondchai (b. Bangkok, Thailand, 1986) lives and works in New York and Bangkok. Recent solo exhibitions include: Kunsthall Trondheim (2021), Serralves Museum, Porto (2020), Secession, Vienna (2019) and Kasseler Kunstverein, Kassel (2018). Arunanondchai\u2019s work has been presented at numerous biennials and festivals, with recent presentations at the Gwangju Biennial (2021), Yokohama Triennial (2020), the Venice Biennale (2019) and the Whitney Biennial (2019).\u003C/p\u003E\u003Cp\u003EThe exhibition Songs for dying / Songs for living is realized in co-production with the Kunstverein in Hamburg and is on view in Hamburg from December 4, 2021. It is accompanied by the most comprehensive publication to date on Korakrit Arunanondchai\u2019s practice, jointly produced by the Migros Museum f\u00FCr Gegenwartskunst, the Kunstverein in Hamburg, and the Museo Serralves in Porto on the occasion of three solo exhibitions at the institutions between 2020 and 2022.\u003C/p\u003E\u003Cp\u003EFor parents and guardians: The content of the videos in the exhibition by Korakrit Arunanondchai might be disturbing.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/korakrit-arunanondchai","target":"_self"},"clusterBy":"2021"},{"dateFrom":"18.9.","dateTo":"9.1.22","datetimeFrom":"2021-09-18","datetimeTo":"2022-01-09","defaultSource":"/media/3l2n1mzo/limal101179_view08_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"LAURA LIMA \u2013 PLAYFUL GEOMETRY","description":"Sammlung Migros Museum f\u00FCr Gegenwartskunst\n","exhibitionLongText":"\u003Cp\u003ELaura Lima\u0027s installation Bar Restaurant (2010) in dialogue with works by Valentin Carron, Sylvie Fleury, Donald Judd, Sol LeWitt, Robert Mangold, and Olivier Mosset from the collection of the Migros Museum f\u00FCr Gegenwartskunst.\u003C/p\u003E\u003Cp\u003EGeometric shapes as bodies in three dimensions, as objects on the wall, painted on canvases, or in the form of found everyday objects: the exhibition Playful Geometry gathers works from the collection that present variations on a geometric core vocabulary. lts centerpiece is the Brazilian artist Laura Lima\u0027s (b. 1971) installation Bar Restaurant (2010) , which is activated by a performance component. Taking a playful approach, Lima seats objects that come with different art-historical references at tables and serves them a round of beers. \u003C/p\u003E\u003Cp\u003EConspicuously many of the guests are geometric bodies such as spheres, cubes, and cylinders, whose glasses, once empty, are refilled by an attentive individual appearing in the role of server. Lima creates an experimental arrangement that probes the space between reality and illusion and offers a humorous challenge to the art-historical canon. The multifaceted work is presented in dialogue with selected pieces from the collection distinguished by certain aspects that invite associative connections to Bar Restaurant. \u003C/p\u003E\u003Cp\u003EThe register of geometric abstraction provides the basis for this encounter. Other aspects in which the works evince similarities include strategies of reference to the history of art and appropriation as well as the humorous and parodic reinterpretation of quotations.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/laura-lima-playful-geometry","target":"_self"},"clusterBy":"2021"},{"dateFrom":"22.5.","dateTo":"5.9.21","datetimeFrom":"2021-05-22","datetimeTo":"2021-09-05","defaultSource":"/media/xgthnz3c/mm_210621_0021_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Yael Davids","description":"One Is Always a Plural ","exhibitionLongText":"\u003Cp\u003EFor the exhibition One Is Always a Plural, artist Yael Davids has selected art from the Migros Museum f\u00FCr Gegenwartskunst\u2019s collection to bring into dialogue with her own works. She engages with the institution and its collection in an unusual manner. The foundational ideas of the Feldenkrais Method play a key role in the design of the exhibition and selection of works. This holistic body-oriented technique believes that movement principles form the basis of every human action, and it aims to expand self-image through carefully performed movement sequences. Davids examines the potential of the Feldenkrais approach in a completely different area, in the experience of art. She invites visitors not only to \u201Csee\u201D art but also to find another way of accessing it through body and movement.\u003C/p\u003E\u003Cp\u003EOver the course of the exhibition, the audience is cordially encouraged to actively participate in classes, led by professional Feldenkrais teachers. Participants will have the opportunity to visit the exhibition before and after the lessons.\u003C/p\u003E\u003Cp\u003EYael Davids in dialogue with Eleanor Antin, Phyllida Barlow, Marion Baruch, Georg Baselitz, Lothar Baumgarten, Heidi Bucher, Graciela Carnevale, Thea Djordjadze, Marlene Dumas, Jimmie Durham, VALIE EXPORT, Hans-Peter Feldmann, Graciela Guti\u00E9rrez Marx, Ferdinand Hodler, Hudinilson Jr., Dorothy Iannone, Sol LeWitt, Anna Maria Maiolino, Babette Mangolte, Sara Mas\u00FCger, Senga Nengudi, Henrik Olesen, Luis Pazos, Robert Ryman, Hanna Schwarz, Mierle Laderman Ukeles, Philip Wiegard, and Cathy Wilkes from the collection of the Migros Museum f\u00FCr Gegenwartskunst and loans from the Noa Eshkol Foundation for Movement Notation and Jon Mikel Euba.\u003C/p\u003E\u003Cp\u003EYael Davids lives and works in Amsterdam. Selected international solo exhibitions, installations, and performances include: A Daily Practice, Van Abbemuseum, Eindhoven, 2020; Dying Is a Solo, Museo Tamayo, Mexico City, 2018; documenta 14, Athens / Kassel, 2017; La distance entre V et W, Les Laboratoires d\u2019Aubervilliers, Paris, 2015; Gesture in Diaspora, Galerie f\u00FCr Zeitgen\u00F6ssische Kunst, Leipzig, 2015; Ending with Glass, Kunsthalle Basel, 2011; Learning to Imitate in Absentia I, Picture This, Bristol, 2011; Where Times Becomes Art, Palazzo Fortuny, performance division, Venice Biennale, 2005.\u003C/p\u003E\u003Cp\u003EIn cooperation with the \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://vanabbemuseum.nl/en\u0022 target=\u0022_blank\u0022 title=\u0022vanabbemuseum.nl\u0022 type=\u0022external\u0022\u003EVan Abbemuseum\u003C/a\u003E, Eindhoven\u003C/p\u003E\u003Cp\u003EThe exhibition is supported by: \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022https://www.mondriaanfonds.nl/en/homepage-2/\u0022 target=\u0022_blank\u0022 title=\u0022www.mondriaanfonds.nl\u0022 type=\u0022external\u0022\u003EMondriaan Fonds\u003C/a\u003E.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/yael-davids","target":"_self"},"clusterBy":"2021"},{"dateFrom":"24.10.","dateTo":"9.5.21","datetimeFrom":"2020-10-24","datetimeTo":"2021-05-09","defaultSource":"/media/keigyjde/mm_201102_0093_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Potential Worlds 2: Eco-Fictions","description":"","exhibitionLongText":"\u003Cp\u003EThe group exhibition Potential Worlds 2: Eco-Fictions follows up on the questions raised by Potential Worlds 1: Planetary Memories by laying out speculative projections of the web of relationships between humans and nature in light of today\u2019s ecological situation. The consequences of environmental devastation have made it plain that we need to understand humanity to be an integral part of rather than the center of the world. \u003C/p\u003E\u003Cp\u003EThe first chapter of the exhibition series, \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022/en/programmes/exhibitions/potential-worlds-1-planetary-memories\u0022 title=\u0022Potential Worlds 1: Planetary Memories\u0022\u003E\u003Cem\u003EPotential Worlds 1: Planetary Memories,\u003C/em\u003E\u003C/a\u003E turned the spotlight on the ways in which humans took possession of the natural world in pursuit of power and resources and the repercussions for nature as well as communities. Building on these insights, Potential Worlds 2: Eco-Fictions inquires into the potential worlds that might emerge from the ruins of humanity\u2019s making: What can we do with the detritus of contemporary life and the traces of destruction? Given the precarious situation in which the world finds itself, how can we begin to look for new ways of life? Which role can art as a technological, scientific, and social experiment play in this quest? \u003C/p\u003E\u003Cp\u003EThe artists in the exhibition sketch visions of potential worlds and underscore that we need to imagine possible futures in concrete terms for alternative modes of life to come into being. They reflect on how we treat nature and craft ideas for novel forms of life on earth. We\u2019re sure you\u2019ll be inspired!\u003C/p\u003E\u003Cp\u003EIn collaboration with YARAT Contemporary Art Space, Baku\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/potential-worlds-2-eco-fictions","target":"_self"},"clusterBy":"2020"},{"dateFrom":"7.3.","dateTo":"11.10.20","datetimeFrom":"2020-03-07","datetimeTo":"2020-10-11","defaultSource":"/media/ghfhaojd/101250_view02_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Potential Worlds 1: Planetary Memories","description":"","exhibitionLongText":"\u003Cp\u003EPotential Worlds 1: Planetary Memories is the first in a series of two exhibitions that will explore the relationship between humans and nature. The art gathered in both shows scrutinizes the interactions between man and nature from a variety of angles and limns potential future scenarios of life on earth. \u003C/p\u003E\u003Cp\u003EThe works on view in the first chapter draw attention to the ways in which the environment has been appropriated in the pursuit of power and resources, shedding light on the repercussions for both nature and social fabrics. They also interrogate conceptions of knowledge in the natural sciences that have been developed in the course of man\u2019s power-driven appropriation of the natural world.\u003C/p\u003E\u003Cp\u003EAn accompanying publication with essays by Benjamin H. Bratton, T. J. Demos, Suad Garayeva-Maleki \u0026amp; Heike Munder, Reza Negarestani and Jussi Parikka, as well as short texts by Milena B\u00FCrge, Anna Fech and Rabea Kaczor will be released in the summer of 2020.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/potential-worlds-1-planetary-memories","target":"_self"},"clusterBy":"2020"},{"dateFrom":"30.11.","dateTo":"23.2.20","datetimeFrom":"2019-11-30","datetimeTo":"2020-02-23","defaultSource":"/media/15ua12k1/mm_191202_0055_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Lily van der Stokker","description":"Help help a little old lady here","exhibitionLongText":"\u003Cp\u003ELily van der Stokker (b. Den Bosch, Netherlands, 1954) has been renowned since the early 1990s for her playful wall paintings in bright colors. Floral motifs and ornamental clouds are dominant elements in works whose aesthetic and fluorescent palette bring Pop art to mind. Meticulously executed in a time-consuming and labor-intensive process, the murals are based on small-format drawings the artist prepares with scrupulous precision. Simplicity and humor are hallmarks of van der Stokker\u2019s oeuvre. Integrated text fragments or affirmative messages such as \u201CFriendly Good,\u201D or \u201CHoi\u201D often directly address the viewer. \u003C/p\u003E\u003Cp\u003ERecurrent concerns in her art revolve around the stereotype of \u201Cfemininity,\u201D ostensible banalities, but also the economics of art and everyday life or the artist\u2019s existence. Her playful use of color can also be read as a challenge to a conventional bourgeois conception of art for which exuberant colorfulness is incompatible with reflective gravitas. The solo exhibition at the Migros Museum f\u00FCr Gegenwartskunst provides the most comprehensive insight into van der Stokker\u2019s oeuvre to date, encompassing more than 10 wall paintings as well as several drawings dating from the late 1980s to the present.\u003C/p\u003E\u003Cp\u003EThe solo exhibition at the Migros Museum f\u00FCr Gegenwartskunst was curated by Dr. Raphael Gygax and provides a comprehensive insight into van der Stokker\u2019s oeuvre to date. An accompanying publication has been released in collaboration with the Stedelijk Museum, Amsterdam, and Roma Publications.\u003C/p\u003E\u003Cp\u003ELily van der Stokker lives and works in Amsterdam and New York. Selected solo exhibitions: Stedelijk Museum, Amsterdam (2018), Hammer Museum, Los Angeles (2015), New Museum, New York (2013), Museum Boijmans Van Beuningen, Rotterdam (2010), Tate St. Ives (2010).\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/lily-van-der-stokker","target":"_self"},"clusterBy":"2019"},{"dateFrom":"31.8.","dateTo":"10.11.19","datetimeFrom":"2019-08-31","datetimeTo":"2019-11-10","defaultSource":"/media/3opowmfy/mm_191104_0060_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"United by AIDS \u2014 An Exhibition about Loss, Remembrance, Activism and Art in Response to HIV/AIDS","description":"","exhibitionLongText":"\u003Cp\u003EThe extensive group show United by AIDS\u2014An Exhibition about Loss, Remembrance, Activism and Art in Response to HIV/AIDS sheds light on the multifaceted and complex interrelation between art and HIV/AIDS from the 1980s to the present. It examines the blurring of the boundary between art production and HIV/AIDS activism and spotlights artists who have been leading voices in this creative discourse, which remains vital today. The presentation gathers positions that illustrate the diversity of the (artistic) response to the HI virus and AIDS, with an explicit focus on works that address themes such as isolation, transformation, and the inexorable passing of time and mortality in relation to the politics of the body and representation. \u003C/p\u003E\u003Cp\u003ESince the introduction of highly active antiretroviral therapy in the second half of the 1990s, AIDS has widely come to be seen as a phenomenon of the past, with little significance for the life of our societies today. On the global scale, however, deaths due to complications from AIDS still number almost one million per year. Divided into four chapters, the exhibition seeks to untangle the complex and diverse narratives around HIV/AIDS and discuss their fragility in a contemporary perspective.\u003C/p\u003E\u003Cp\u003EFeaturing works by over 40 artists, the exhibition will be curated by Dr. Raphael Gygax. The exhibition will be accompanied by the publication of the anthology United by AIDS \u2013 An Anthology on Art in Response to HIV/AIDS.\u003C/p\u003E\u003Cp\u003EWith works by Absalon, Charles Atlas, Lyle Ashton Harris, Marc Bauer, Judith Bernstein, Nayland Blake, Gregg Bordowitz, Andrea Bowers, fierce pussy, Avram Finkelstein, Rafael Fran\u00E7a, General Idea, Nan Goldin, Felix Gonzalez-Torres, Gran Fury, Group Material, Anna Halprin, Keith Haring, Hudinilson Jr., Jochen Klein, Peter Kunz Opfersei, St\u00E9phan Landry, Zoe Leonard, Donald Moffett, Carlos Motta, Rosa von Praunheim, Real Madrid, Lili Reynaud-Dewar, Hunter Reynolds, Prem Sahib, Ch\u00E9ri Samba, Vittorio Scarpati \u0026amp; Cookie Mueller, Ellen Spiro \u0026amp; Cheryl Dunye, Edward Thomasson, Wolfgang Tillmans, Sue Williamson, David Wojnarowicz \u0026amp; Ben Neill, Martin Wong.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/united-by-aids-an-exhibition-about-loss-remembrance-activism-and-art-in-response-to-hivaids","target":"_self"},"clusterBy":"2019"},{"dateFrom":"25.5.","dateTo":"18.8.19","datetimeFrom":"2019-05-25","datetimeTo":"2019-08-18","defaultSource":"/media/um0bnobo/mm_190701_0001_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Stephen Willats","description":"Languages of Dissent","exhibitionLongText":"\u003Cp\u003EThe work of the British conceptual artist Stephen Willats (b. London, 1943) interrogates structures of community life and social interaction. Exploring the modular architecture of social housing projects, he spotlights forms of individual creative adaptation that defy the uniformity and functionality of the spaces. Such dissent with normative parameters is especially Interesting to Willats because it is where individuality reveals itself and selfdetermination is articulated. \u003C/p\u003E\u003Cp\u003EHe finds similar modes of nonconformist expression in London\u2019s experimental underground club scene and in places on the urban periphery where teenagers seek escape from institutional or conformist pressures. His understanding of what art is and does is reflected in a collaborative and interdisciplinary practice that takes inspiration from sciences beyond the realm of art. \u003C/p\u003E\u003Cp\u003ESince the 1960s, his work has been influenced by cybernetics, the study of reciprocal relations in dynamic systems, which helps him think through autonomous forms of organization and their structures of control and communication. Providing him with both a method and an aesthetic vocabulary, it is fundamental to his redefinition of the social function and agency of art.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder (director, Migros Museum f\u00FCr Gegenwartskunst), the exhibition is accompanied by a monograph with essays by Bronac Ferran, John Kelsey, Andrew Wilson, and Heike Munder.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/stephen-willats","target":"_self"},"clusterBy":"2019"},{"dateFrom":"16.2.","dateTo":"12.5.19","datetimeFrom":"2019-02-16","datetimeTo":"2019-05-12","defaultSource":"/media/kkmp5rzo/mm_190218_0089_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Producing Futures \u2013 An Exhibition on Post-Cyber-Feminisms","description":"","exhibitionLongText":"\u003Cp\u003EIn the group show Producing Futures\u2014An Exhibition on Post-Cyber-Feminisms, the Migros Museum f\u00FCr Gegenwartskunst surveys the causes championed by feminists in the post-internet era. The maturation of a number of technologies and the associated digitization of many or perhaps all domains of life have progressed to a point where a digitally engendered media universe arguably defines the compass of our reality and the meanings we find in it.\u003C/p\u003E\u003Cp\u003E The cyber-feminists of the 1990s hoped to harness the internet\u2019s potential for communication and networking to establish cyberspace as a realm of liberation and self-empowerment; the time has come for a critical review of this optimism. The new freedoms opened up by the World Wide Web have gone hand in hand with the entrenchment of existing hierarchies and power structures. \u003C/p\u003E\u003Cp\u003EThe exhibition revisits the cyber-feminist movement\u2019s historic aspirations and visions, contrasts them with the contemporary situation, and inquires into ways in which its ideas may still be productive. The presentation accordingly undertakes a critical engagement with different feminist approaches that turn the spotlight on the tension between the body and technology and on discriminatory gender norms. For instance, the con-tributing artists reflect on and defamiliarize the offerings of various online platforms in order to further blur the boundaries between the virtual and real, the online and offline domains, as well the genders.\u003C/p\u003E\u003Cp\u003E Many of the works pursue a holistic approach, drawing on (medical) science, the occult, and other fields to stimulate a more comprehensive discussion and generate ideas for a livable future of emancipation, gender justice, and social equality.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/producing-futures-an-exhibition-on-post-cyber-feminisms","target":"_self"},"clusterBy":"2019"},{"dateFrom":"20.11.","dateTo":"3.2.19","datetimeFrom":"2018-11-20","datetimeTo":"2019-02-03","defaultSource":"/media/1xynnd2n/eichh101282_10_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Maria Eichhorn","description":"Zw\u00F6lf Arbeiten / Twelve Works (1988-2018)","exhibitionLongText":"\u003Cp\u003EReduction, the hallmark of the oeuvre of the artist Maria Eichhorn (b. Bamberg, Germany, 1962), is also the defining characteristic of her exhibition at the Migros Museum f\u00FCr Gegenwartskunst. It is evident in the number of works selected for the show\u2014twelve, dating from the past thirty years\u2014and their specific formal idiom. \u003C/p\u003E\u003Cp\u003EThe presentation pointedly disrupts habits of seeing and makes room for fresh thinking. Eichhorn\u2019s practice prompts critical scrutiny of entrenched norms that regiment everyday life and art, with a particular focus on socioeconomic processes. \u003C/p\u003E\u003Cp\u003EThe issues she raises spotlight questions of value, time, property, and ownership, categories whose agency the artist deliberately undermines. Based on wide-ranging research, her art charts new forms of political action. Several of the works on display, including the seminal 72 Paintings (1992/93), are in the Migros Museum f\u00FCr Gegenwartskunst\u2019s collection. Eichhorn rose to international renown with contributions to numerous biennials, including the Venice Biennale (1993, 2001, and 2015), Documenta11 (2002), and documenta 14 (2017).\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/maria-eichhorn","target":"_self"},"clusterBy":"2018"},{"dateFrom":"25.8.","dateTo":"11.11.18","datetimeFrom":"2018-08-25","datetimeTo":"2018-11-11","defaultSource":"/media/avki1bnk/mm_180903_070_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Koki Tanaka","description":"Vulnerable Histories (A Road Movie)","exhibitionLongText":"\u003Cp\u003EIn view of the worldwide rise of nationalism, populism, and xenophobia, the artistic social studies of Koki Tanaka (b. Tochigi, Japan, 1975) focus on how we live together in societies. Realized especially for his exhibition at the Migros Museum f\u00FCr Gegenwartskunst, the project Vulnerable Histories (A Road Movie) (2018) highlights an example from Tanaka\u2019s native country, the mutual incomprehension and mistrust between Zainichi Koreans and ethnic Japanese, to plead for vigilance toward racism and discrimination. \u003C/p\u003E\u003Cp\u003EThe project centers on a series of conversations in various settings between two protagonists who have not met before. Shadowed by the artist and his camera team, they travel to various locations in Tokyo to grapple with questions of (their own cultural) identity and how to take a stand against the simplistic worldviews of racist groups. The films that grew out of the project illustrate that coexistence and mutual appreciation are possible if we talk to each other: private as well as public conversations are key. \u003C/p\u003E\u003Cp\u003EThe exhibition provides a framework for continuing the exchange of ideas Tanaka initiates. Visitors are encouraged to approach the \u201Clive speakers\u201D who will be present in the gallery for the entire duration of the presentation. Various representatives of the art and academic worlds will join them to foster further discussion in a variety of formats.\u003C/p\u003E\u003Cp\u003EWith support from Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture)\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/koki-tanaka","target":"_self"},"clusterBy":"2018"},{"dateFrom":"25.8.","dateTo":"11.11.18","datetimeFrom":"2018-08-25","datetimeTo":"2018-11-11","defaultSource":"/media/zpfbqgae/pipilotti_001_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display: Pipilotti Rist","description":"Show a Leg (Raus aus den Federn)","exhibitionLongText":"\u003Cp\u003ECollection on Display presents a work by the video artist Pipilotti Rist from the collection of the Migros Museum f\u00FCr Gegenwartskunst: Show a Leg (Raus aus den Federn) (2001), a sprawling installation composed of video sequences and colorful spotlights sweeping over panels of variously textured curtain fabric; in conjunction with the hypnotic soundtrack, they immerse the visitor in a dreamlike scenery. \u003C/p\u003E\u003Cp\u003EThe protagonists of Show a Leg\u2014as of many of Pipilotti Rist\u2019s works\u2014are strong female figures: conscious of their own vulnerability, they rebel against social and moral as well as self-imposed constraints and playfully savor their newfound self-determination.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-pipilotti-rist","target":"_self"},"clusterBy":"2018"},{"dateFrom":"12.8.","dateTo":"26.5.18","datetimeFrom":"2018-08-12","datetimeTo":"2018-05-26","defaultSource":"/media/atvda0yz/mm_180625_019_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Teresa Burga","description":"Aleatory Structures","exhibitionLongText":"\u003Cp\u003ESince the 1960s, the Peruvian artist Teresa Burga (b. Iquitos, Peru, 1935) has created works that constitute a fine-grained record of the social realities of her time. Her extensive oeuvre encompasses Pop Art-style paintings and environments as well as conceptual drawings and objects and cybernetic installations. The unifying constant in the artist\u2019s formally and aesthetically diverse output in a wide range of media is her insistent endeavor to visualize complex social structures, but also the individual\u2019s capacity for practical self-determination.\u003C/p\u003E\u003Cp\u003E The latter, Burga argues, is inextricably bound up with the exchange of information and an understanding of its contexts, which can empower people to take charge of their own lives and become actively engaged in their communities. As a female exponent of Latin American art, Burga was often ahead of her time. Due to the political situation in her native Peru, which long suffered under a military dictatorship and struggled with severe economic crises, she worked largely in isolation from the local and international arts scenes. The comprehensive retrospective is the artist\u2019s first solo exhibition in Switzerland.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/teresa-burga","target":"_self"},"clusterBy":"2018"},{"dateFrom":"17.2.","dateTo":"13.5.18","datetimeFrom":"2018-02-17","datetimeTo":"2018-05-13","defaultSource":"/media/uxahsovs/mm_180312_159_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Oscar Tuazon, Banks Violette","exhibitionLongText":"\u003Cp\u003ECollection on Display showcases selected works from the collections of the Migros Museum f\u00FCr Gegenwartskunst. The new exhibition puts the focus on sculptures by Oscar Tuazon and Banks Violette. Despite the considerable differences between their formal aesthetics, both artists\u2019 works point up the fragility of our existence. Tuazon\u2019s sculptural objects bear the marks of physical disintegration; Violette signals decay with a symbolism derived from the iconography of heavy metal music.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display","target":"_self"},"clusterBy":"2018"},{"dateFrom":"17.2.","dateTo":"13.5.18","datetimeFrom":"2018-02-17","datetimeTo":"2018-05-13","defaultSource":"/media/b3zbfcs1/charles_atlas_3_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Charles Atlas","description":"Scary, Scary, Community Fun, Death","exhibitionLongText":"\u003Cp\u003EComplex video installations and seminal films documenting dance and performance art have made Charles Atlas (b. St. Louis, Mo., 1949) a leader in the field of film and video art. Atlas rose to renown with projects on which he worked with choreographers including Merce Cunningham and Michael Clark as well as the fashion designer and performance artist Leigh Bowery. His network of creative collaborators largely coincides with his circle of friends: many of his works from the 1980s and 1990s are portraits of fellow protagonists of the New York underground scene and the contemporary milieu that scrutinize aspects of biopower and the politics of bodies and identity. \u003C/p\u003E\u003Cp\u003EThe defining feature of Atlas\u2019s work is his ongoing investigation of the expressive potentials of time-based media. He explores questions of the segmentation and structuring of the visual space as well as contemporary issues in the politics of representation. The exhibition at the Migros Museum f\u00FCr Gegenwartskunst, the artist\u2019s first solo show in Switzerland, unites five video installations from the past two decades.\u003C/p\u003E\u003Cp\u003EThe exhibition was curated by Raphael Gygax.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/charles-atlas","target":"_self"},"clusterBy":"2018"},{"dateFrom":"18.11.","dateTo":"4.2.18","datetimeFrom":"2017-11-18","datetimeTo":"2018-02-04","defaultSource":"/media/mthfjuoi/extra_bodies_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Extra Bodies \u2013 The Use of the \u2039Other Body\u203A in Contemporary Art","description":"","exhibitionLongText":"\u003Cp\u003EThe exhibition sheds light on a phenomenon in art that first rises to prominence in the 1990s and then explodes in the early years of the new millennium: the artistic practice of resorting to and deploying \u2018extra bodies\u2019. Artists select these \u2018other bodies\u2019 because of their specific social or biosocial role\u2014which is why they may also be characterized as extras. All works on view share a basic \u2018performative\u2019 or \u2018theatrical\u2019 quality. Strikingly, the viewer is neither drawn into the action nor invited to participate. \u003C/p\u003E\u003Cp\u003EUnlike many artistic productions discussed under the rubric of relational aesthetics, these pieces do not demand his active engagement. Taking up both exhibition floors at the museum, the extensive group exhibition featuring numerous works from the collection scrutinizes the various modes in which extras with their social and biosocial roles are presented, and function, in art.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/extra-bodies-the-use-of-the-other-body-in-contemporary-art","target":"_self"},"clusterBy":"2017"},{"dateFrom":"26.8.","dateTo":"5.11.17","datetimeFrom":"2017-08-26","datetimeTo":"2017-11-05","defaultSource":"/media/ftiomzn2/mm_170918_017_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Jimmie Durham","description":"God\u0027s Children, God\u2019s Poems","exhibitionLongText":"\u003Cp\u003EThe artist, poet, author and political activist Jimmie Durham (b. 1940) began his career in the USA. There, alongside campaigning for the rights of indigenous peoples, he developed a sculptural and performance-based way of working, in which he also addresses ethical issues and nationalist narratives. Durham became internationally famous in the 1980s, especially for his sculptures and installations deconstructing state mythologies. Since moving to Europe in 1994, Durham has been scrutinizing his new geopolitical and cultural-historical surroundings. \u003C/p\u003E\u003Cp\u003EFor the Migros Museum f\u00FCr Gegenwartskunst he realizes the project God\u2019s Children, God\u2019s Poems (2017), which explores the relationship between humans and nature. The artist turns the gallery space into the scene of a congregation of fourteen sculptures, made out of the skulls of Europe\u2019s largest animal species, supplemented by materials such as metal, wood, and fabric. Durham\u2019s sculptural assemblages featuring animal skulls reflect his audience\u2019s sometimes stereotypical ideas about nature and society and suggest a possible way to transcend the particularly European classic dichotomies of nature vs. culture and subject vs. object.\u003C/p\u003E\u003Cp\u003EJimmie Durham lives and works in Berlin and Naples. He is an artist, poet, essayist and political activist. His works have been presented in numerous exhibitions around the world, most recently, for instance, at the Armand Hammer Museum of Art in Los Angeles (2017), the Whitney Museum of American Art in New York (2014, 2003, 1993), the Venice Biennale (2015, 2005, 2003, 2001, 1999), Museo Madre, Naples (2013, 2008), M HKA \u2013 Museum of Contemporary Art in Antwerp (2012), Swiss Institute in New York (2012), Documenta in Kassel (2012, 1992), the 29th S\u00E3o Paulo Biennial (2010), Centre Pompidou in Paris (2010), Kunsthalle Bern (2010), Mus\u00E9e d\u0027Art moderne de la Ville de Paris (2009) and Museum Ludwig in Cologne (2006).\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/jimmie-durham","target":"_self"},"clusterBy":"2017"},{"dateFrom":"26.8.","dateTo":"5.11.17","datetimeFrom":"2017-08-26","datetimeTo":"2017-11-05","defaultSource":"/media/ixdeau5j/cod_rituals_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Rituals","exhibitionLongText":"\u003Cp\u003EThe exhibition format Collection on Display presents works from the Migros Museum f\u00FCr Gegenwartskunst\u2019s collection in a three-part series of thematic shows titled Communities, Rules and Rituals. Building on the previous installments \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022/en/programmes/exhibitions/collection-on-display-12\u0022 title=\u0022Collection on Display (12)\u0022\u003ECommunities\u003C/a\u003E and \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022/en/programmes/exhibitions/collection-on-display-1\u0022 title=\u0022Collection on Display (1)\u0022\u003ERules\u003C/a\u003E, Rituals explores the social functions of rituals and the significance of ritual performative actions in contemporary art.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-14","target":"_self"},"clusterBy":"2017"},{"dateFrom":"20.5.","dateTo":"13.8.17","datetimeFrom":"2017-05-20","datetimeTo":"2017-08-13","defaultSource":"/media/urnoo0p5/rules_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Rules","exhibitionLongText":"\u003Cp\u003EThe exhibition format Collection on Display presents works from the collection of the Migros Museum f\u00FCr Gegenwartskunst as a three-part themed series with the title Communities, Rules and Rituals. The second exhibition, Rules, brings together works that look at rules in the charged environment of normative practice and individual creative freedom.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-1","target":"_self"},"clusterBy":"2017"},{"dateFrom":"20.5.","dateTo":"13.8.17","datetimeFrom":"2017-05-20","datetimeTo":"2017-08-13","defaultSource":"/media/y1mhzmfr/bajevic_2_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Maja Bajevic","description":"Power, Governance, Labor","exhibitionLongText":"\u003Cp\u003EIn a large overview exhibition, the Migros Museum f\u00FCr Gegenwartskunst presents the oeuvre of French-Bosnian artist Maja Bajevic (b. 1967 in Sarajevo, Bosnia-Herzegovina). This exhibition concentrates on her works from the last ten years, supplemented by new pieces, which were produced for this exhibition. Since the mid-1990s, the artist has worked on a very wide range of different issues, encompassing globalisation, inclusion/exclusion, exploitation, neo-liberalism and their reciprocal effects. At the same time, Bajevic also repeatedly raises the issue of personal identity and homeland, and how these are constituted or \u201Cmade impossible\u201D. \u003C/p\u003E\u003Cp\u003EThe presentation at the Migros Museum f\u00FCr Gegenwartskunst demonstrates Bajevic\u2019s ongoing work on themes like the abuse of power and religion, migration and marginalisation of the foreign, and the tension between local and global, while also positioning her oeuvre within the tradition of art that performs a social, informative function and focuses on changing prevalent convictions.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/maja-bajevic","target":"_self"},"clusterBy":"2017"},{"dateFrom":"18.2.","dateTo":"7.5.17","datetimeFrom":"2017-02-18","datetimeTo":"2017-05-07","defaultSource":"/media/qzupyzsc/mm_170403_079_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Liz Magor","description":"you you you","exhibitionLongText":"\u003Cp\u003EIn her native Canada and beyond, the artist Liz Magor (b. 1948) is regarded as one of the most influential contemporary sculptors; the oeuvre she has built since the 1970s has guided an entire generation of younger artists. Her art investigates the culture of production and value and the associated ambivalent relationship humans have with consumer goods. The retrospective focuses on sculptures and installations the artist created in her studio in Vancouver over the past three decades. Composed of found everyday objects, her allegorical tableaus question idealized notions of nature embedded in modern culture and penetrate the psychology of desire and addiction. From an art-historical perspective, Liz Magor\u2019s decades-long engagement with the world of material things and their resonance has led her to stake out a highly idiosyncratic position. \u003C/p\u003E\u003Cp\u003EPresented casually, without pedestals, her meticulously finished sculptures are defined by a profoundly affecting physicality. In light of the recent \u00ABmaterial turn\u00BB in the work of younger artists, but also in the humanities and cultural studies, Magor\u2019s art speaks forcefully to contemporary concerns. The Migros Museum f\u00FCr Gegenwartskunst presents the first extensive exhibition of Liz Magor\u2019s oeuvre in Switzerland.\u003C/p\u003E\u003Cp\u003EThe exhibition at the Migros Museum f\u00FCr Gegenwartskunst was conceived in close collaboration with the Kunstverein in Hamburg and realized in partnership with the Mus\u00E9e d\u2019art contemporain de Montr\u00E9al and Contemporary Art Gallery, Vancouver.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/liz-magor","target":"_self"},"clusterBy":"2017"},{"dateFrom":"18.2.","dateTo":"7.5.17","datetimeFrom":"2017-02-18","datetimeTo":"2017-05-07","defaultSource":"/media/pe3hszh3/cod_communities_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Communities","exhibitionLongText":"\u003Cp\u003EThe exhibition format \u00ABCollection on Display\u00BB presents works from the collection of the Migros Museum f\u00FCr Gegenwartskunst as a three-part themed series with the title Communities, Rules and Rituals. The first exhibition, Communities, showcases artists who adopt different perspectives to scrutinise issues involving \u00ABcommunities\u00BB. The works address the construction of collective identities and focus on the resultant distinction from a possible Other.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-12","target":"_self"},"clusterBy":"2017"},{"dateFrom":"9.12.","dateTo":"5.2.17","datetimeFrom":"2016-12-09","datetimeTo":"2017-02-05","defaultSource":"/media/ga1llvl5/black101044_11_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"20 \u2013 An Exhibition in Three Acts: Karla Black","description":"Principles Of Admitting","exhibitionLongText":"\u003Cp\u003EAs part of the anniversary exhibition 20 \u2013 An Exhibition in Three Acts, the Migros Museum f\u00FCr Gegenwartskunst presents the room-filling sculpture Principles Of Admitting (2009) by Scottish artist Karla Black (b. 1972, lives and works in Glasgow). \u003C/p\u003E\u003Cp\u003EEvery time this work from the collection of the Migros Museum f\u00FCr Gegenwartskunst is exhibited, it is produced anew from plaster powder, colour pigments and make-up ingredients. It is characterised by its temporary and site-specific nature, dimensions and unconventional use of materials, and thus serves as an example of the many works in the collection that feature processual and performative aspects.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/20-an-exhibition-in-three-acts-karla-black","target":"_self"},"clusterBy":"2016"},{"dateFrom":"2.12.","dateTo":"4.12.16","datetimeFrom":"2016-12-02","datetimeTo":"2016-12-04","defaultSource":"/media/e5hlx4ov/kotat101243_2_200527_084900_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"20 \u2013 An Exhibition in Three Acts: Eva Kot\u2019\u00E1tkov\u00E1","description":"Collection of Suppressed Voices","exhibitionLongText":"\u003Cp\u003EFor Eva Kot\u2019\u00E1tkov\u00E1 (b. 1982, Prague), issues pertaining to the construction of societal norms, modes of behaviour and control mechanisms are central to her work as an artist. As part of the anniversary exhibition 20 \u2013 An Exhibition in Three Acts, the Migros Museum f\u00FCr Gegenwartskunst is to exhibit Kot\u2019\u00E1tkov\u00E1\u0027s Collection of Suppressed Voices(2014), an installation that simultaneously serves as a stage area. \u003C/p\u003E\u003Cp\u003EAs the work\u0027s title already implies, the artist poetically presents a \u0022collection of suppressed voices\u0022, which are represented by various ceramics and activated by a performance. Here, Kot\u2019\u00E1tkov\u00E1 establishes a thematic link to the discourse on biopolitics, as informed, for instance, by Michel Foucault or Giorgio Agamben. \u003C/p\u003E\u003Cp\u003EFoucault introduced this concept in his book The Will to Knowledge (1976), in which he described the tendency of the modern state to control the human body more and more, and to bring in a wide variety of disciplinary techniques for this purpose. Kot\u2019\u00E1tkov\u00E1\u0027s work can be read as a response to this, which on the basis of \u0022bodies and objects, gives rise to something new and deals with identities in new ways\u0022. This piece from the collection is presented for the first time in Switzerland as a three-day interlude.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/20-an-exhibition-in-three-acts-eva-kot-atkova","target":"_self"},"clusterBy":"2016"},{"dateFrom":"15.10.","dateTo":"27.11.16","datetimeFrom":"2016-10-15","datetimeTo":"2016-11-27","defaultSource":"/media/ro4bljo5/b_00176_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"20 \u2013 An Exhibition in Three Acts: Collection Revisited 1960\u20131982","description":"","exhibitionLongText":"\u003Cp\u003EEver since it was founded, the Migros Museum f\u00FCr Gegenwartskunst has intensively addressed the positions of artists whose work is characterised by the use of performance-based, processual or social-interventionist strategies. This has been demonstrated by solo exhibitions, such as those by Gianni Motti (2004), Spartacus Chetwynd (2007) or Karla Black (2009), and retrospectives on artists like Heidi Bucher (2004), Tadeusz Kantor (2008) or Xanti Schawinsky (2015). \u003C/p\u003E\u003Cp\u003EMany such artists, who often confront a collection with complex curation issues, have found their way into the collection. The collection presentation Collection Revisited \u2013 1960-1982 looks at artists from this period who use these artistic strategies to criticise and change social circumstances and the role of women, but also the rules of the art scene and a male hegemonic writing of art history. A new in-depth art-historical reception of many of these artists has taken place just in the last ten years.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/20-an-exhibition-in-three-acts-collection-revisited-1960-1982","target":"_self"},"clusterBy":"2016"},{"dateFrom":"15.10.","dateTo":"5.2.17","datetimeFrom":"2016-10-15","datetimeTo":"2017-02-05","defaultSource":"/media/xzhh2uhe/museum_revisited_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"20 \u2013 An Exhibition in Three Acts: Museum Revisited 1996\u20132016","description":"","exhibitionLongText":"\u003Cp\u003EThe Migros Museum f\u00FCr Gegenwartskunst celebrates its twentieth anniversary \u2013 an excellent occasion to turn the focus on the institution itself. We will try to envision its future while also looking back on its past, undertaking a searching and multifaceted examination of the history of the museum and its collection as well as our curatorial program. \u003C/p\u003E\u003Cp\u003EThe section of the exhibition on view in the ground floor galleries Museum Revisited \u2013 1996\u20132016 shines a spotlight on the everyday operations of the museum and presents unusual glimpses of what is going on behind the scenes, with particular emphasis on our art education activities. Publications, posters, photographic and video documentation, and archival materials trace the outlines of our work over the past two decades.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/20-an-exhibition-in-three-acts-museum-revisited-1996-2016","target":"_self"},"clusterBy":"2016"},{"dateFrom":"11.6.","dateTo":"18.9.16","datetimeFrom":"2016-06-11","datetimeTo":"2016-09-18","defaultSource":"/media/yzwdqrn4/unspecified_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Manifesta 11","description":"What People Do For Money: Some Joint Ventures","exhibitionLongText":"\u003Cp\u003EThis summer, the Migros Museum f\u00FCr Gegenwartskunst is one of the main venues of Manifesta 11. From the 11th of June to the 18th of September 2016, this biennial, curated by Christian Jankowski under the heading \u0022What People Do For Money: Some Joint Ventures\u0022, will be at home in the exhibition spaces on the L\u00F6wenbr\u00E4ukunst site (Migros Museum f\u00FCr Gegenwartskunst, LUMA Westbau / POOL etc. and Kunsthalle Zurich).\u003C/p\u003E\u003Cp\u003EMore information: \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022http://m11.manifesta.org/en\u0022 target=\u0022_blank\u0022 title=\u0022m11.manifesta.org\u0022 type=\u0022external\u0022\u003EManifesta 11\u003C/a\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/manifesta-11","target":"_self"},"clusterBy":"2016"},{"dateFrom":"20.2.","dateTo":"16.5.16","datetimeFrom":"2016-02-20","datetimeTo":"2016-05-16","defaultSource":"/media/thhbbppy/ian-cheng_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Ian Cheng","description":"Forking at Perfection","exhibitionLongText":"\u003Cp\u003EThe work of the American artist Ian Cheng (b. 1984) explores the nature of mutation and the capacity of humans to relate to change. Drawing on principles of video game design, improvisation, and Darwinian brutality, Cheng has developed so-called \u201Clive simulations,\u201D living virtual ecosystems that begin with basic programmed properties, but are left to self-evolve without authorial control or end.\u003C/p\u003E\u003Cp\u003EHis simulations model the dynamics of often imaginative organisms and ecologies, but do so with the unforgiving causality found in nature itself. What results is a cascade of emergent behaviors that the artist can manage but never truly master. \u003C/p\u003E\u003Cp\u003EThis process is punctuated by states of chaos, collapse, cannibalization, recombination, perfection, luck and boredom. Cheng, who studied cognitive science at the University of California, Berkeley, describes his simulations as akin to a \u201Cneurological gym\u201D: a format for viewers to deliberately exercise the feelings of confusion, anxiety, and cognitive dissonance that accompany the experience of unrelenting change. In his first solo exhibition in Switzerland, Cheng presents two versions of the simulation Emissary Forks At Perfection: as a panoramic projection originally shown in 2015; and as its mutation, or \u00ABfork\u00BB, in the form of a tablet-based experience that invites viewers to physically explore the world of the simulation, its organisms, and its ongoing dynamics.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/ian-cheng","target":"_self"},"clusterBy":"2016"},{"dateFrom":"20.2.","dateTo":"16.5.16","datetimeFrom":"2016-02-20","datetimeTo":"2016-05-16","defaultSource":"/media/lecfpdch/a_8449692_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Momentary Monuments","exhibitionLongText":"\u003Cp\u003ECollection on Display returns with Momentary Monuments, an exhibition of works that explore the significance and function of the monument broadly conceived for a wide-ranging discussion of memory and forgetting. The show unites art from our collection familiar to friends of the museum with rarely-seen pieces and new acquisitions that make their debut in Zurich.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-7","target":"_self"},"clusterBy":"2016"},{"dateFrom":"21.11.","dateTo":"7.2.16","datetimeFrom":"2015-11-21","datetimeTo":"2016-02-07","defaultSource":"/media/5cqpv1a5/resistance-performed_3_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Resistance Performed \u2013 Aesthetic Strategies under Repressive Regimes in Latin America","description":"","exhibitionLongText":"\u003Cp\u003EThe exhibition presents stratagems artists devised to articulate dissent. The focus is on historic positions from Argentina, Brazil, Chile, Colombia, Peru, and Uruguay since the late 1960s that bear witness to how oppositionists worked\u2014and often risked their lives\u2014to offer resistance to Latin America\u2019s repressive political systems. The show highlights strategies of linguistic self-empowerment in the formats of performance art, interventions, and actions as practices of resistance. \u003C/p\u003E\u003Cp\u003EThese pieces are presented in dialogue with works by contemporary artists from Central and South America who address the repercussions and lingering effects of dictatorial regimes. The selection is designed to unearth positions that have sunken into obscurity and draw attention to others that have not yet received the art-historical attention they merit.\u003C/p\u003E\u003Cp\u003EWith generous support from the artEDU Foundation\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/resistance-performed-aesthetic-strategies-under-repressive-regimes-in-latin-america","target":"_self"},"clusterBy":"2015"},{"dateFrom":"29.8.","dateTo":"8.11.15","datetimeFrom":"2015-08-29","datetimeTo":"2015-11-08","defaultSource":"/media/uapjdc52/moon_jeon_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"MOON Kyungwon \u0026 JEON Joonho in collaboration with Urban-Think Tank","description":"News from Nowhere: Zurich Laboratory","exhibitionLongText":"\u003Cp\u003EThe Korean artists MOON Kyungwon \u0026amp; JEON Joonho create works that address elemental questions concerning contemporary civilization in light of political, socioeconomic, and ecological changes. The exhibition project News from Nowhere, which they jointly initiated in 2012, is premised on a post-apocalyptic scenario: humanity has been wiped out almost entirely and is forced to reconsider long-held convictions that may no longer be tenable. The project is designed as a steadily evolving ensemble; earlier iterations were presented in Kassel (documenta 13) and Chicago. For their exhibition in Zurich, MOON \u0026amp; JEON collaborate with the team of Urban-Think Tank (ETH Zurich), a leading think tank for urban design and sustainable and social architecture.\u003C/p\u003E\u003Cp\u003EWith the artists, they developed the idea of a mobile agora that also underlies the exhibition architecture. The design is based on the agora of classical antiquity, which was not only an important place of assembly, but also served to constitute community and identity. Movable tribunes for the spectators transform the gallery space into a scene of interaction. A wheeled instrument based on a bicycle was developed in collaboration with sound artists. It recorded and processed sounds and pictures of the city of Zurich and extends the installation beyond the museum\u2019s walls, connecting Zurich to cities around the world. Other partners in the exhibition and its engagement with questions of space are the Future Cities Laboratory and the Chair of Information Architecture at ETH Zurich, where scientists trained in arange of disciplines study ways to secure a sustainable future for cities. In 2014, they launched an online seminar (\u0022Massive Open Online Course\u0022), that is freely accessible at no charge; its purpose is to share and discuss the researchers\u0027 findings with interested students worldwide.\u003C/p\u003E\u003Cp\u003EWith generous support from the Korea Foundation Culture and Arts Support Program (2015)\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/moon-kyungwon-jeon-joonho-in-collaboration-with-urban-think-tank","target":"_self"},"clusterBy":"2015"},{"dateFrom":"29.8.","dateTo":"8.11.15","datetimeFrom":"2015-08-29","datetimeTo":"2015-11-08","defaultSource":"/media/xgdmtbyw/experimental_arrangements_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Experimental Arrangements","exhibitionLongText":"\u003Cp\u003EThe exhibition format Collection on Display showcases selected works from the collection of the Migros Museum f\u00FCr Gegenwartskunst.Titled\u003C/p\u003E\u003Cp\u003EExperimental Arrangements, the new installation gathers works that are designed as test assemblies or (pseudo-scientific) experiments, or visualize and contemplate the production and classification of knowledge. Artistic practices work with, and reflect on, new scientific insight, technological progress, the characteristics of highly specialized materials, as well as man\u2019s double role as an object as study and researcher. Many of the works on display focus on the significance of the (mimetic) image as a form of exposition and the question of the (re)presentation or (re)interpretation of \u0022existing\u0022 utopias. \u003C/p\u003E\u003Cp\u003EAll works are recent acquisitions and on view in the museum for the first time. The arrangement of exhibits from the collection thus becomes an experimental setup that generates a narrative or brings certain perspectives into focus.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-3","target":"_self"},"clusterBy":"2015"},{"dateFrom":"30.5.","dateTo":"16.8.15","datetimeFrom":"2015-05-30","datetimeTo":"2015-08-16","defaultSource":"/media/twanyu0x/toys-redux_2_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Toys Redux - On Play and Critique","description":"","exhibitionLongText":"\u003Cp\u003EThe group exhibition brings together artists who make creative use of formats and imagery from popular culture usually addressed to children or teenagers. Such adoptions and manipulations of motifs from video games, television shows, movies, and cartoons should not be seen as mere pop-cultural quotations: they simultaneously comment on the capitalist production of these consumer worlds. \u003C/p\u003E\u003Cp\u003ETheir pop aesthetic and the promise of an \u0022innocent\u0022 and playful universe of childlike fantasy contrast with the underlying reality of neoliberal advertising and marketing strategies. The thematic exhibition unfolds a dialogue between works by artists from several generations, including selected pieces from the Migros Museum f\u00FCr Gegenwartskunst\u0027s own collections, and expands on one of the museum\u0027s ongoing central themes previously explored in shows by Cory Arcangel (2005), Marvin Gaye Chetwynd (2007), and Alex Bag (2011) as well as Deterioration, They Said (2009).\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/toys-redux-on-play-and-critique","target":"_self"},"clusterBy":"2015"},{"dateFrom":"21.2.","dateTo":"17.5.15","datetimeFrom":"2015-02-21","datetimeTo":"2015-05-17","defaultSource":"/media/anohpvaa/a_6574630_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Xanti Schawinsky","description":"","exhibitionLongText":"\u003Cp\u003EThe Migros Museum f\u00FCr Gegenwartskunst presents the first comprehensive retrospective of the oeuvre of the Swiss artist Alexander \u201CXanti\u201D Schawinsky (born Basel, 1904\u2013died Locarno, 1979). In his lifetime, Schawinsky was mainly known for his work in the theater department at the Bauhaus. In the 1930s, while teaching at Black Mountain College, a legendary art college in North Carolina that provided refuge for many European emigrants during the Nazi era, Schawinsky, building on his Bauhaus work, developed his dramatic theory known as \u201CSpectodrama.\u201D Involving multimedia productions, it represents an early form of the \u201Chappening,\u201D which would later be made famous by another affiliate of the same institution, John Cage. Schawinsky\u2019s work as a painter also addresses the dissolution of the medium\u2019s boundaries and focuses on the process, for instance in his Track series, which he \u201Cpainted\u201D with the aid of a car.\u003C/p\u003E\u003Cp\u003EBeyond the avant-garde utopias of the Bauhaus and his proto-happening art, Schawinsky\u2019s oeuvre is linked in many ways to the majory tendencies in European as well as American prewar and postwar 20th-century modernism. His work may thus also be seen as representative of the transatlantic exchange of artistic ideas that was induced by the political situation and had a lasting impact on art history. This exhibition is the first to present the full breadth of Schawinsky\u2019s outstanding oeuvre (which was inaccessible to the public for several decades) and positions it both within a historical context and in relation to its continuing effect on the present.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/xanti-schawinsky","target":"_self"},"clusterBy":"2015"},{"dateFrom":"22.11.","dateTo":"8.2.15","datetimeFrom":"2014-11-22","datetimeTo":"2015-02-08","defaultSource":"/media/1dkbfeqy/cod_schlingensief_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Christoph Schlingensief","exhibitionLongText":"\u003Cp\u003EThe practice of Christoph Schlingensief (born 1960, Oberhausen) represents a foray through diverse types of artistic engagement \u2013 from film-making to activism, from acting to directing, from painting to journalism. \u003C/p\u003E\u003Cp\u003EThe multiplicity of materials that this implies has not only blurred the boundaries between traditional artistic categories but has also entailed a deconstruction and reconstruction of visual worlds; absorbing everything into itself, denying linearity and classical narration, the work makes excessive demands on the viewer\u2019s sensory abilities. In the effort to summarise Schlingensief\u2019s activities, one feels tempted to apply the term \u2018universal\u2019. \u003C/p\u003E\u003Cp\u003EOutput from the past two years of this complex practice has been brought together for the artist\u2019s first solo exhibition in a Swiss institution: from a (re-)deconstruction of \u201CKaprow City\u201D (2006) \u2013 initially presented on a revolving stage at the Volksb\u00FChne in Berlin \u2013 and the 16mm film installation \u201C18 Bilder pro Sekunde\u201D (2007) to a first presentation of the film version of \u201CThe African Twintowers\u201D (2005-07).\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-2","target":"_self"},"clusterBy":"2014"},{"dateFrom":"22.11.","dateTo":"8.2.15","datetimeFrom":"2014-11-22","datetimeTo":"2015-02-08","defaultSource":"/media/ooemt5ok/tsang_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Wu Tsang","description":"Not in my language","exhibitionLongText":"\u003Cp\u003EWu Tsang (b. 1982) is an artist, performer, and filmmaker based in Los Angeles (USA). His multimedia-oriented oeuvre focuses on narratives that construct identity and the self in relation to others. In particular, Tsang is interested in the socio-political dimensions of communities and is also significantly inspired by his involvement with queer, trans, and immigrant communities in Los Angeles. \u003C/p\u003E\u003Cp\u003EEvoking \u201Cthe underground\u201D as a site of cultural resistance, Tsang considers how fantasy can play an important role in representing social movements. For instance, his award-winning 2012 film Wildness documents a legendary party venue in Los Angeles, which has been a popular meeting point for the Latin American transgender community for decades. Through magical realism and personal narrative, the film invites discussion of documentary strategies and societal circumstances. Wu Tsang\u0027s first institutional solo exhibition in Europe brings together works from the years 2008 to 2014.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/wu-tsang","target":"_self"},"clusterBy":"2014"},{"dateFrom":"30.8.","dateTo":"9.11.14","datetimeFrom":"2014-08-30","datetimeTo":"2014-11-09","defaultSource":"/media/11ifavcr/a_6569003-04_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"John Armleder, Richard Jackson, Robert Kusmirowski, A.R. Penck, Markus Raetz, Gerhard Richter, Pamela Rosenkranz, Niele Toroni, Christopher Wool","exhibitionLongText":"\u003Cp\u003ECollection on Display presents selected works from the collection of the Migros Museum f\u00FCr Gegenwartskunst.\u003C/p\u003E\u003Cp\u003EThe second exhibition of the current cycle, which is about excess in terms of form and motif, addresses painting and drawing in a broad sense. This part is not only about works that contribute to the writing of painting\u2019s history, but also those that take a humorous look at the history of painting and deal with the role of the artist in an ironic or self-deprecating manner. The centerpiece of the exhibition consists of works shown as part of a collection exhibition for the first time: The Laundry Room (2007\u20132014) by American artist Richard Jackson and Variation \u00FCber ein Thema von Kasimir Malewitsch \u2013 Variation on a Theme of Kazimir Malevich (2011) by Polish artist Robert Kusmirowski. These two larger installations are supplemented by works from John Armleder, A.R. Penck, Markus Raetz, Gerhard Richter, Pamela Rosenkranz, Niele Toroni and Christopher Wool, which address painting\u0027s heritage and connect with the discourse on the effect of painting.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-11","target":"_self"},"clusterBy":"2014"},{"dateFrom":"30.8.","dateTo":"9.11.14","datetimeFrom":"2014-08-30","datetimeTo":"2014-11-09","defaultSource":"/media/iownigsi/mm_iannone_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Dorothy Iannone","description":"Censorship And The Irrepressible Drive Toward Love And Divinity","exhibitionLongText":"\u003Cp\u003ESince the early 1960s, Dorothy Iannone (b. 1933 in Boston, lives and works in Berlin) has been actively exploring ways of representing unconditional love. Her oeuvre encompasses paintings, drawings, collages, video sculptures, audio pieces, objects, and artist\u2019s books. A narrative element grounded in literature, history and mythology, as well as in personal experiences, feelings and relationships, runs through these works. \u003C/p\u003E\u003Cp\u003EThis, her first major solo exhibition in Switzerland, retrospectively sheds light on Dorothy Iannone\u2019s work, starting with her artist\u2019s book The Story Of Bern, which she created in 1969 in response to the censorship of her artworks. Since the 1960s, the authenticity and originality of the artist\u2019s work has contributed to openness about sexuality and the strengthening of female autonomy. When bringing her works to the public, she manifests keen understanding in handling subject matter that remains often uncomfortable and controversial, even today.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/dorothy-iannone","target":"_self"},"clusterBy":"2014"},{"dateFrom":"24.5.","dateTo":"17.8.14","datetimeFrom":"2014-05-24","datetimeTo":"2014-08-17","defaultSource":"/media/nalbxtmh/margolles_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Teresa Margolles","description":"La b\u00FAsqueda","exhibitionLongText":"\u003Cp\u003EThe works by Mexican artist Teresa Margolles (b. 1963, Culiac\u00E1n) revolve around themes such as death, violence and social exclusion. Since the start of the 1990s, she has also worked in the forensic medicine department of an autopsy facility in Mexico City, where numerous, mostly anonymous, victims of violent crime are brought in on a daily basis. Her works, which adhere to a minimalist approach, are produced against this societal backdrop. Since 2005, this artist has mainly examined the extreme violence in the northern Mexican border city of Ciudad Ju\u00E1rez and the drug war that is raging there. Also for her first institutional solo exhibition in Switzerland, Margolles is addressing Ciudad Ju\u00E1rez as a place of crime. At the center is a mysterious series of female homicides that has been ongoing since the start of the 1990s. Here, Margolles is primarily interested in the traces that the brutal crimes leave behind on architectures, and how these shape people\u0027s everyday lives. By transposing such traces into an exhibition space, the artist generates a charged interplay between mundane presentation and grim realism.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/teresa-margolles","target":"_self"},"clusterBy":"2014"},{"dateFrom":"24.5.","dateTo":"17.8.14","datetimeFrom":"2014-05-24","datetimeTo":"2014-08-17","defaultSource":"/media/suobgdz5/cod_fleury_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Jean-Marc Bustamante, Liz Craft, Sylvie Fleury, Rachel Harrison, Kerstin Kartscher, Dawn Mellor, David Renggli","exhibitionLongText":"\u003Cp\u003ECollection on Display presents selected works from the collection of the Migros Museum f\u00FCr Gegenwartskunst.\u003C/p\u003E\u003Cp\u003EThe new three-part cycle focuses on excesses, in terms of form and motif. Via surplus or reduction of marks and materials, visual languages emerge between high and low culture. Similarly, rapid, spontaneous and sketchy ways of working become gestures of excess. The pieces shown in this first part are based on artistic strategies that combine elements of pop and kitsch. The works deal with the status quo and the art-historical connotations of media such as painting and drawing, which have been developing beyond the limitations of the tableau format for quite some time.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-8","target":"_self"},"clusterBy":"2014"},{"dateFrom":"15.2.","dateTo":"11.5.14","datetimeFrom":"2014-02-15","datetimeTo":"2014-05-11","defaultSource":"/media/xbopwge1/a_6556268_72_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Jan Dibbets, Jimmie Durham, Esther Eppstein, Urs Fischer, Andrea Fraser, David Renggli, Tatiana Trouv\u00E9","exhibitionLongText":"\u003Cp\u003ECollection on Display presents selected works from the collection of the Migros Museum f\u00FCr Gegenwartskunst. The current cycle focuses on functions, models and interpretations of space and the interior in contemporary art. The works, shown in three parts, address specific spatial arrangements and their conceptualizations. The first collection exhibition in 2014 completes the cycle that commenced last year. In the third part, installations by Jan Dibbets, Jimmie Durham, Esther Eppstein, Urs Fischer, David Renggli and Tatiana Trouv\u00E9 can be seen.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-5","target":"_self"},"clusterBy":"2014"},{"dateFrom":"15.2.","dateTo":"11.5.14","datetimeFrom":"2014-02-15","datetimeTo":"2014-05-11","defaultSource":"/media/2qfnppq2/a_6556336_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Sacr\u00E9 101 \u2013 An Exhibition Based on \u2039The Rite of Spring\u203A","description":"","exhibitionLongText":"\u003Cp\u003EWith the exhibition project \u0022Sacr\u00E9 101\u2014An Exhibition Based on The Rite of Spring,\u0022 the Migros Museum f\u00FCr Gegenwartskunst traces the interplay between dance and the visual arts in a sustained engagement with Igor Stravinsky\u2019s ballet Le Sacre du printemps (The Rite of Spring). The work features revolutionary music and choreography, and its premiere in Paris one hundred and one years ago is regarded as one of modernism\u2019s great breakthrough moments. This ballet, in which a virgin sacrifices her life to the god of spring and dances herself to death, has lost none of its fascination. In addition to a selection of Le Sacre dance documentation\u2014some of the material is presented in an exhibition setting for the first time\u2014the show features works of art, most of which were created specially for the occasion by the invited artists, that engage with the ballet, its context, and its history in a wide variety of ways, while focusing on the iconography, as well as on aspects regarding the content. Xavier Le Roy and Alexis Marguerite Teplin contribute performance pieces that are integral parts of the presentation, which also includes the American artist Eleanor Antin\u2019s seminal work Recollections of My Life with Diaghilev 1919\u20131929 (1977\u20131978) and the graphic oeuvre of Vaslav Nijinsky (ca. 1919); both have never been displayed in Switzerland.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/sacre-101-an-exhibition-based-on-the-rite-of-spring","target":"_self"},"clusterBy":"2014"},{"dateFrom":"23.11.","dateTo":"2.2.14","datetimeFrom":"2013-11-23","datetimeTo":"2014-02-02","defaultSource":"/media/0enmnrdu/laura-lima-1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Laura Lima","description":"Bar Restaurant","exhibitionLongText":"\u003Cp\u003EThe artistic practice of Laura Lima (b. Governador Valadares, Brazil, 1971; lives and works in Rio de Janeiro, Brazil) is defined by her fascination with the complexity of social relations and forms of human behavior. Her scenarios, in which the human body is often the central medium and driving force, combine performative components with a wide range of media of artistic expression such as drawings, sculptures, and installations. Lima herself never acts in her pieces, instead instructing selected protagonists to enact her dramaturgic designs. The Brazilian artist\u2019s first solo exhibition in Switzerland features \u0022The Naked Magician\u0022 (2008/10/13) and \u0022Bar Restaurant\u0022 (2010/13), a selection of performative installations that focuses on the question of magic.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/laura-lima","target":"_self"},"clusterBy":"2013"},{"dateFrom":"23.11.","dateTo":"2.2.14","datetimeFrom":"2013-11-23","datetimeTo":"2014-02-02","defaultSource":"/media/scjh0w2y/cod_vece_framis_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Emmanuelle Antille, Christoph B\u00FCchel, Angela Bulloch, Phil Collins, Alicia Framis, Olaf Nicolai, Cady Noland, Costa Vece, Stephen Willats","exhibitionLongText":"\u003Cp\u003ECollection on Display presents selected works from the collection of the Migros Museum f\u00FCr Gegenwartskunst. The current cycle focuses on functions, models, and interpretations of space and interiors in contemporary art. The installations, shown in three parts, address specific spatial arrangements and their conceptualizations. In the second part, works by Emmanuelle Antille, Christoph B\u00FCchel, Angela Bulloch, Phil Collins, Alicia Framis, Olaf Nicolai, Cady Noland, Costa Vece, and Stephen Willats are on display. They examine the participatory potential of architectures and the viability of social community and the individual in space.\u003C/p\u003E\u003Cp\u003ECurator: Judith Welter, Collection Conservator, Migros Museum f\u00FCr Gegenwartskunst\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-13","target":"_self"},"clusterBy":"2013"},{"dateFrom":"31.8.","dateTo":"10.11.13","datetimeFrom":"2013-08-31","datetimeTo":"2013-11-10","defaultSource":"/media/hoqega1t/a_6550506_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Monica Bonvicini, Heidi Bucher, Tom Burr, Urs Fischer, Pamela Rosenkranz, Markus Schinwald, Cathy Wilkes","exhibitionLongText":"\u003Cp\u003ECollection on Display presents selected works from the collection of the Migros Museum f\u00FCr Gegenwartskunst. The new exhibition series consists of three shows devoted to the functions and possibilities of space and the role of the interior in contemporary art. The first installment brings together works by Monica Bonvicini, Heidi Bucher, Tom Burr, Urs Fischer, Pamela Rosenkranz, Markus Schinwald and Cathy Wilkes.\u003C/p\u003E\u003Cp\u003EThe presentations from the collection are curated by Judith Welter (Collection Curator, Migros Museum f\u00FCr Gegenwartskunst).\u003C/p\u003E\u003Cp\u003EIn collaboration with the project \u0022Anagrammatic Spaces: Interiors in Contemporary Art\u0022 at the University of Berne (supported by the Swiss National Science Foundation), we will organize an extensive program of events to be held in conjunction with the exhibitions.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-6","target":"_self"},"clusterBy":"2013"},{"dateFrom":"31.8.","dateTo":"10.11.13","datetimeFrom":"2013-08-31","datetimeTo":"2013-11-10","defaultSource":"/media/srveyxpp/a_6550556_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Carey Young","description":"Legal Fictions","exhibitionLongText":"\u003Cp\u003ECarey Young (b. 1970, lives and works in London) uses a variety of media to explore the relationships between the body, language, rhetoric, and systems of power. Her exhibition at the Migros Museum f\u00FCr Gegenwartskunst is her first solo show in Switzerland and the first to focus on her innovative body of work featuring law and legal language. The show will include a number of new commissions that are contextualised by various earlier works.\u003C/p\u003E\u003Cp\u003EYoung\u2019s law-based works address the monolithic power of the legal system. The artist examines law as a conceptual and abstract space in which power, rights, and authority are played out through varying forms of performance and language. With the drafting assistance of legal advisers, her works often take the form of experimental but functional legal instruments such as contracts, and also employ media such as video, installation, and text. The works in the show call law\u2019s authority into question and create slippages in the law by playfully adopting as well as disrupting its forms and methods and by highlighting its gaps, ambiguities, and subjectivities.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/carey-young","target":"_self"},"clusterBy":"2013"},{"dateFrom":"23.5.","dateTo":"18.8.13","datetimeFrom":"2013-05-23","datetimeTo":"2013-08-18","defaultSource":"/media/0rnjozsu/a_6545829_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Geoffrey Farmer","description":"Let\u0027s Make the Water Turn Black","exhibitionLongText":"\u003Cp\u003EThe artistic practice of Geoffrey Farmer (b. Vancouver, 1967; lives and works in Vancouver) integrates forms of collecting and scholarship employed by cultural historians, and draws on a diverse repertoire. After extensive research, the artist builds collections that unite aspects of visual art, literature, music, politics, history, and sociology, and crystallize in sprawling theatrical installations. Each of Farmer\u2019s works comments on its own temporality\u2013be it by alluding to the passage of time within a work, by referring to its production phase, or by itself constantly changing over time. \u0022Let\u2019s Make the Water Turn Black\u0022 combines these three, echoing a 1968 composition by Frank Zappa, from which it also borrows the title. Choreographed sculptures on a stage coalesce into a multifaceted and atmospheric work that unfolds over the course of the day and presents an improvised chronology of the American musician.\u003C/p\u003E\u003Cp\u003EThe exhibition is a coproduction of the Migros Museum f\u00FCr Gegenwartskunst, Nottingham Contemporary, Kunstverein Hamburg, and the P\u00E9rez Art Museum Miami. Each institution will present a different version of the show as it evolves over time.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/geoffrey-farmer","target":"_self"},"clusterBy":"2013"},{"dateFrom":"4.5.","dateTo":"18.8.13","datetimeFrom":"2013-05-04","datetimeTo":"2013-08-18","defaultSource":"/media/vlbbv0na/a_6548376_81_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"John Armleder, Stefan Burger, Valentin Carron, Edward Krasi\u0144ski, Manfred Pernice","exhibitionLongText":"\u003Cp\u003E\u0022Collection on Display\u0022 presents selected works from the collection of the Migros Museum of Contemporary Art. The current presentation from the collection continues the cycle on contemporary sculptural practice we launched last year. The works by John Armleder, Stefan Burger, Valentin Carron, Edward Krasi\u0144ski, and Manfred Pernice on display in the third and final chapter of the exhibition are exemplary of today\u0027s creative production in sculptural art. We are delighted to present a series of works by Valentin Carron - who represents Switzerland at this year\u0027s Venice Biennale - that has never been on display at the Migros Museum of Contemporary Art. Also shown for the first time are newly acquired works by John Armleder, Edward Krasi\u0144ski and Manfred Pernice.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-10","target":"_self"},"clusterBy":"2013"},{"dateFrom":"9.2.","dateTo":"21.4.13","datetimeFrom":"2013-02-09","datetimeTo":"2013-04-21","defaultSource":"/media/di3hzvht/a_6538263_66_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Heidi Bucher, Thea Djordjadze, Berta Fischer, Loredana Sperini, Katja Strunz","exhibitionLongText":"\u003Cp\u003E\u00ABCollection on Display\u00BB presents selected works from the collection of the Migros Museum f\u00FCr Gegenwartskunst. The first two presentations from the collection to be held in 2013 continue the exhibition cycle on contemporary sculptural praxis launched last year. The works by Heidi Bucher, Thea Djordjadze, Berta Fischer, Loredana Sperini, and Katja Strunz on display in the second chapter of the exhibition examine the status of sculpture and the ways it is perceived, and reflect the history and transformations of sculptural praxis.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-9","target":"_self"},"clusterBy":"2013"},{"dateFrom":"9.2.","dateTo":"21.4.13","datetimeFrom":"2013-02-09","datetimeTo":"2013-04-21","defaultSource":"/media/yizo3vjk/a_6538213_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Stephen G. Rhodes","description":"The Law of the Unknown Neighbor: Inferno Romanticized","exhibitionLongText":"\u003Cp\u003EThe sprawling installations of the American artist Stephen G. Rhodes (b. Houston, Texas, 1977; lives and works in Berlin and New Orleans) combine a variety of media and are based on historical and cultural sources. Rhodes creates distinctive restless and elliptical systems in which he addresses issues such as repression and trauma. The Migros Museum f\u00FCr Gegenwartskunst presents \u00ABThe Law of the Unknown Neighbor: Inferno Romanticized\u00BB, the artist\u2019s first solo show at a European art institution.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/stephen-g-rhodes","target":"_self"},"clusterBy":"2013"},{"dateFrom":"17.11.","dateTo":"27.1.13","datetimeFrom":"2012-11-17","datetimeTo":"2013-01-27","defaultSource":"/media/jvjhxslx/barlo101073-und-74_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection on Display","description":"Phyllida Barlow, Jimmie Durham, Daniel Knorr, Mark Leckey","exhibitionLongText":"\u003Cp\u003EWith the renovation of the L\u00F6wenbr\u00E4ukunst-Areal, the Migros Museum f\u00FCr Gegenwartkunst finally has a permanent framework for the presentation of its collection: a spacious exhibition floor will host temporary shows offering insight into different aspects of the museum\u2019s holdings. The first three presentations from the collection are dedicated to contemporary work in sculpture. Selected works illustrate multifaceted and dynamic developments and the growing dissolution of the boundaries that conventionally define sculpture. The first chapter features works by Phyllida Barlow, Jimmie Durham, Daniel Knorr, and Mark Leckey.\u003C/p\u003E\u003Cp\u003EIn recent years, issues of sculpture have been a major focus of the exhibition programming at the Migros Museum f\u00FCr Gegenwartskunst and the museum\u2019s efforts to enlarge its collection. The three-part presentation of works from the collection brings together works that raise questions concerning the possibilities of sculptural production. As a genre, sculpture\u2014whether figural or abstract\u2014occupied a central position in the history of art from the classical age to the modernist era. \u003C/p\u003E\u003Cp\u003EAs the art historian Rosalind Krauss has argued, since the onset of postmodernism, the conception of sculpture has been expanded as its boundaries have become blurry\u2014sculpture has quite literally been knocked off its pedestal. Sculptural work extended into a variety of media and materials, exploring the possibilities of space.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-on-display-4","target":"_self"},"clusterBy":"2012"},{"dateFrom":"17.11.","dateTo":"27.1.13","datetimeFrom":"2012-11-17","datetimeTo":"2013-01-27","defaultSource":"/media/rxpctw3q/kjart101157_14_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Ragnar Kjartansson","description":"The Visitors","exhibitionLongText":"\u003Cp\u003EAfter a comprehensive renovation and expansion of its galleries in the L\u00F6wenbr\u00E4ukunst-Areal, the Migros Museum f\u00FCr Gegenwartskunst reopens with the first Swiss solo exhibition of the Icelandic artist Ragnar Kjartansson (b. 1976; lives and works in Reykjav\u00EDk). Kjartansson\u2019s enthusiasm for music and his interest in performance art are evident in the project The Visitors, which was conceived specifically for the Migros Museum f\u00FCr Gegenwartskunst. The video installation transports the beholder to a peculiar universe: in the various rooms of an almost two-hundred-year-old villa on the picturesque Hudson River in New York State, the artist, his friends, and residents perform a \u201Cfeminine nihilistic gospel song.\u201D The Visitors is an act of homage to friendship\u2014and also, a bit, to the Swedish pop band ABBA.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/ragnar-kjartansson","target":"_self"},"clusterBy":"2012"},{"dateFrom":"11.2.","dateTo":"20.5.12","datetimeFrom":"2012-02-11","datetimeTo":"2012-05-20","defaultSource":"/media/dv4gwovb/a_4525976_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Tour d\u0027Horizon - Werke aus der Sammlung migros museum f\u00FCr gegenwartskunst","description":"","exhibitionLongText":"\u003Cp\u003ELothar Baumgarten, Georg Baselitz, Jan Dibbets, Martin Disler, Donald Judd, Sol LeWitt, Richard Long, Robert Mangold, A. R. Penck, Giuseppe Penone, Gerhard Richter, Robert Ryman, Klaudia Schifferle\u003C/p\u003E\u003Cp\u003EFebruary 11\u2013March 4, 2012\u003C/p\u003E\u003Cp\u003EAtelier van Lieshout, Carlos Amorales\u003C/p\u003E\u003Cp\u003EMarch 7\u201325, 2012\u003C/p\u003E\u003Cp\u003EArt \u0026amp; Language\u003C/p\u003E\u003Cp\u003EMarch 28\u2013April 15, 2012\u003C/p\u003E\u003Cp\u003EGianni Motti\u003C/p\u003E\u003Cp\u003EApril 18\u2013May 20, 2012\u003C/p\u003E\u003Cp\u003EAfter the collection exhibitions in Vaduz, Kassel and Krems, the migros museum f\u00FCr gegenwartskunst presents a variety of works from the collection before another presentation in Bolzano. The Migros-Genossenschafts-Bund\u2019s collection was created in 1957, when the Migros\u2019s statutes were set down, providing for the Migros-Kulturprozent (Migros Culture Percentage); the late 1970s brought a new focus on international contemporary art and greater professionalization. Divided into four sections, Tour d\u2019Horizon offers insights into the different interests and thematic standpoints that guided acquisition policies over the decades, but also addresses specific aspects and issues of how a collection is built. The show focuses on the presentation of exemplary works that have not been on public display in a long time, if ever. Organized along a chronology of the collection\u2019s acquisitions, the exhibition is accompanied by a program of events that examine a wide range of questions about collecting and the history of the collection.\u003C/p\u003E\u003Cp\u003EThe fourth and final section of the exhibition project Tour d\u2019Horizon\u2014Works from the collection of the migros museum f\u00FCr gegenwartskunst brings the first presentation of a spectacular new work the museum purchased last year: Gianni Motti\u2019s room-sized piece Moneybox (2009). The work consists of 20.000 one-dollar bills suspended on wires from the gallery ceiling and just beyond the visitor\u2019s reach. Motti charts a humorous approach to the interrelation between art and money. The presentation of this work concludes the migros museum f\u00FCr gegenwartskunst\u2019s exhibition programming at Hubertus Exhibitions; over the summer, the museum will move back to its home at the freshly renovated L\u00F6wenbr\u00E4u-Areal.\u003C/p\u003E\u003Cp\u003ECurated by Judith Welter\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/tour-dhorizon-werke-aus-der-sammlung-migros-museum-fuer-gegenwartskunst","target":"_self"},"clusterBy":"2012"},{"dateFrom":"25.1.","dateTo":"29.1.12","datetimeFrom":"2012-01-25","datetimeTo":"2012-01-29","defaultSource":"/media/kxgb4xfm/dsc_0057_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Hate Radio","description":"","exhibitionLongText":"\u003Cp\u003EDue to serious illness of actor Dorcy Rugamba the live performances unfortunately had to be cancelled. The live performances will be replaced by a permanent video installation.\u003C/p\u003E\u003Cp\u003EPurchased tickets will be fully refunded.\u003C/p\u003E\u003Cp\u003ETickets purchased at Billett-Service Migros-City can be returned there until February 29, 2012. Those who bought their tickets through the webshop at \u003Ca data-router-slot=\u0022disabled\u0022 href=\u0022http://migrosmuseum.ch\u0022 type=\u0022external\u0022\u003Emigrosmuseum.ch\u003C/a\u003E will be given notice.\u003C/p\u003E\u003Cp\u003ENEW evening program:\u003C/p\u003E\u003Cp\u003EWednesday, January 25, 2012, 7pm // Opening of the theater installation and drinks with the participants of Hate Radio.\u003C/p\u003E\u003Cp\u003EFriday, January 27, 2012, 7pm // Open discussion with Milo Rau, Jens Dietrich (dramatic advisor IIPM) and Robert Stockhammer (Professor for Literary Studies), moderation Hayat Erdogan (Department Publications IIPM)\u003C/p\u003E\u003Cp\u003ESaturday, January 28, 2012, 7pm // Panel discussion on \u00ABMedia and Violence\u00BB with Carolin Emcke (Publicist), Elisabeth Bronfen (Professor of English and American Studies) and Valentin Groebner (Historian), moderation Milo Rau.\u003C/p\u003E\u003Cp\u003ESunday, January 29, 2012, 7pm // Panel discussion on \u00ABArt and Crime\u00BB with Sylvia Sasse (Slavicist), Stefan Zweifel (Publicist, Translator and Curator) und Klaus Theweleit (Writer, Sociologist), moderation Milo Rau.\u003C/p\u003E\u003Cp\u003EThe evening program is free of charge.\u003C/p\u003E\u003Cp\u003EThe installation will be accessible to the public free of charge on:\u003C/p\u003E\u003Cul\u003E\u003Cli\u003E\u003Cp\u003EJanuary 25 and 27 from noon 9pm\u003C/p\u003E\u003C/li\u003E\u003Cli\u003E\u003Cp\u003EJanuary 26 from noon to 8pm\u003C/p\u003E\u003C/li\u003E\u003Cli\u003E\u003Cp\u003EJanuary 28 and 29 from 11am to 9pm\u003C/p\u003E\u003C/li\u003E\u003C/ul\u003E","link":{"href":"/en/programmes/exhibitions/hate-radio","target":"_self"},"clusterBy":"2012"},{"dateFrom":"19.11.","dateTo":"15.1.12","datetimeFrom":"2011-11-19","datetimeTo":"2012-01-15","defaultSource":"/media/mdpfmjuy/germa10114700_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Florian Germann","description":"The Poltergeist Experimental Group (PEG) Applied Spirituality and Physical Spirit Manifestation","exhibitionLongText":"\u003Cp\u003EIn his wide-ranging cycles of works, each of which is devoted to a unifying thematic narrative, the Swiss artist Florian Germann (b. 1978; lives and works in Zurich) creates complex systems of reference, playing with the role of the artist-researcher as he approaches fields as diverse as culture, science, and nature. Most of his works look like hybrids between physical instruments and modernist sculptures, suggesting experimental arrangements whose overarching meaning emerges only gradually. \u003C/p\u003E\u003Cp\u003EGermann\u2019s works often set out from historic figures and mythological and fantastic motifs he subjects to a revisionary rewriting, interweaving factual and fictional aspects. For his first solo exhibition at an institution, Germann has created an extensive new cycle of works; to be publicly displayed for the first time at the migros museum f\u00FCr gegenwartskunst, it is based on his study of \u201Capparitions\u201D and their physical substance, the so-called ectoplasm.\u003C/p\u003E\u003Cp\u003EThe exhibition is curated by Raphael Gygax.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/florian-germann","target":"_self"},"clusterBy":"2011"},{"dateFrom":"28.5.","dateTo":"14.8.11","datetimeFrom":"2011-05-28","datetimeTo":"2011-08-14","defaultSource":"/media/bmek5thz/bagal101151_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Alex Bag","description":"","exhibitionLongText":"\u003Cp\u003ESince the early 1990s, the artist Alex Bag (b. 1969, USA) has been one of the most interesting protagonists of video performance art. Today, an entire generation of younger artists regard her work as an important point of reference. She became known for her technically simple videos that address the entertainment industry and its various formats, but also the art system with its lingering romantic notions of the artist\u2019s life, and subject these sources to humorous treatment. Bag articulates her social critique with impressive precision, expressing a profound unease with our contemporary culture; an extraordinarily versatile actress, she usually appears in her own work, playing a great variety of roles. The migros museum f\u00FCr gegenwartskunst is the first institution to present an exhibition offering a comprehensive survey of Bag\u2019s oeuvre.\u003C/p\u003E\u003Cp\u003ETwo thematic fields that intersect at various points are central to the artist\u2019s interests: on the one hand, Bag examines interactions between high and popular culture; on the other, she analyzes structural characteristics and economic laws governing the art world. Several works explore how authorities or authoritarian structures shape artistic careers: Untitled Fall \u201995 (1995) examines art school, The Van (2001) is about the market, and Untitled (Project for the Whitney Museum) (2009) or The Artist\u2019s Life (1996) finally looks at how neoliberalism has institutionalized the pressure to innovate, perform, produce, and succeed. The formal framework for Bag\u2019s videos derives from a variety of formats of television culture\u2014from documentaries, dating and talk shows across reality television to commercial breaks: everything is product, everything is market, everything lends itself to appropriation by the artist. Bag turns to the flood of images that fill the televised world and dissects them using various strategies of defamiliarization.\u003C/p\u003E\u003Cp\u003EWearing costumes, masks, and make-up, the artist plays most roles herself, aiming not at a naturalistic performance based on the attempt to feel the part (which is generally considered \u201Cgood\u201D and \u201Cprofessional\u201D acting, in the tradition of Constantin Stanislavski\u2019s theory of the theater), but instead seeking out a moment of difference or surfeit (the roots of \u201Coveracting\u201D lie in the comedian\u2019s performance) and unfinishedness. This Beckettian aspect of defamiliarization also serves to direct our attention to the spoken text, which is a central element in Bag\u2019s work. She writes the scripts for her own videos; her language mimics that of the various show formats she works with and occasionally feels like pure quotation. Her writing technique is comparable to the work of postmodern authors who use sampling in a critical engagement with the erosion of meaning brought on by the growing prevalence of repetition and linguistic templates in our society. \u003C/p\u003E\u003Cp\u003EThe performance serves primarily to lend scenic articulation to the text. Bag eschews complex stages and settings as well as elaborate camerawork that would enable her to create exciting sequences in the editing studio. Bag\u2019s works deploy a video aesthetic defined by immediacy that is clearly distinct from the \u201Cartificiality\u201D of Hollywood\u2019s cinematic aesthetic. Cheap to produce, the video image has stood, and still stands, for an intimate picture; the rise of video technology has been fueled primarily by private uses.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/alex-bag","target":"_self"},"clusterBy":"2011"},{"dateFrom":"2.5.","dateTo":"30.10.11","datetimeFrom":"2011-05-02","datetimeTo":"2011-10-30","defaultSource":"/media/zcdbvgqu/a_4514726_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"The Garden of Forking Paths - Ein Skulpturenprojekt auf dem Hof der Familie Blum in Samstagern ZH","description":"","exhibitionLongText":"\u003Cp\u003EDuring the summer months, the migros museum f\u00FCr gegenwartskunst sculpture project \u201CThe Garden of Forking Paths\u201D will be a guest on the Froh Ussicht estate, owned by the Blum family in Samstagern, Zurich. The project alludes to the Sacro Bosco in Bomarzo (Italy), the enchanted Renaissance garden, which features sculptures shrouded in mystery, and eccentric architecture that over time became overgrown (so-called \u201Cfollies\u201D). The invited artists will create their own fantastic narratives. The project title refers to a story by Argentinean novelist Jorge Luis Borges (1899\u20131986), indicating the analogy between imagination and spatial structures, in which he described the labyrinth as possibly the most fundamental human experience. Entwined with the ideas from the enchanted garden of Sacro Bosco, the project yields a mythical, cerebral cosmos, in which the artists integrate their work in their own ways.\u003C/p\u003E\u003Cp\u003EThe garden as a primordial form of the confrontation with nature has always been a human preoccupation. Its design reflects each societal organisation in all its political, sociological and psychological aspects. Whether we talk of paradise itself, monastic implementation, the Baroque pleasure garden, post-Enlightenment primeval landscaping, the landscaped park, public parks or urban oases, the garden is a place of harvest, but also of contemplation, rendering peace and happiness. It bewitches the senses and serves the escapist desire to flee the world, while still remaining a material means for cultivation, ensuring the provision of real sustenance.\u003C/p\u003E\u003Cp\u003EIn 1522, Prince Orsini created the Sacro Bosco in Bomarzo, which symbolises an extreme in the conception of the garden: lacking any inherent function it exists as a locus of pure enchantment. These words greet its visitor: \u0022When you enter here contemplate one by one and then tell me if so many wonders are affected by deception or simply through art.\u0022 Round each corner are new fantastic figures of gods, animals, monsters and architectures that present a puzzle to be deciphered. In following the intricate paths the visitor opens up a story of human passions and follies. When Salvador Dal\u00ED visited the garden he declared it anticipated Surrealist art. The sculpture project The Garden of Forking Paths, refers back to the idea of such an enchanted garden full of \u201Cfollies\u201D, but in contradistinction to the Sacro Bosco, it is incorporated into a productive farming estate. This \u2013 in spite of its rational and economic logic \u2013 is often charged with romantic associations. It stands for a transfigured contemplation of origins, for authenticity and honesty, and provides the framework for this artistic confrontation with the garden and the \u201Cfolly\u201D.\u003C/p\u003E\u003Cp\u003EThe project has been split into two parts. Work by five artists will be presented on May 1, 2011: Pablo Bronstein, Liz Craft, Fabian Marti, Peter Regli, and Thiago Rocha Pitta.\u003C/p\u003E\u003Cp\u003EPart 2 opens on Sunday, July 10, 2011, from 5pm - 9pm. In addition to the projects inaugurated on May 1, works by Ida Ekblad, Geoffrey Farmer, Kerstin Kartscher and Ragnar Kjartansson will be presented.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/the-garden-of-forking-paths-ein-skulpturenprojekt-auf-dem-hof-der-familie-blum-in-samstagern-zh","target":"_self"},"clusterBy":"2011"},{"dateFrom":"11.12.","dateTo":"20.2.11","datetimeFrom":"2010-12-11","datetimeTo":"2011-02-20","defaultSource":"/media/bi4ffylh/a_123733226695_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Displaced Fractures \u2013 \u00DCber die Bruchlinien von Architekturen und ihren K\u00F6rpern","description":"","exhibitionLongText":"\u003Cp\u003EArt has always been the sensorium of the fragile, brittle and porous of the human. In this group exhibition, however, human fracture lines are not treated directly in terms of the human body, but instead by using architecture as a surrogate. The fractures and interfaces of buildings form metaphors for the breaks in human existence. The term \u201CDisplaced Fractures\u201D derives from the medical world, and describes a phenomenon whereby bone fractures reveal themselves in other places than the major stress site. The term \u201Cdisplacement\u201D is also used in psychology. \u003C/p\u003E\u003Cp\u003EIn the new spaces of the migros museum f\u00FCr gegenwartskunst, installations, spatial interventions and sculptures working with the displacement of symptoms are given prominence. What dominates here is the area of tension between the refusal of form and monumental creations, between subjective and formal, rational gestures.\u003C/p\u003E\u003Cp\u003EIn an analogy to the notion of \u201CDisplaced Fractures,\u201D projection surfaces are rendered on the building which, in spite of its stability, is subject to temporality, and an opening up to questions of its existential orientation and existence. Through such actions on this alleged fixedness, the discourse on sculpture demonstrates the precariousness of the present and makes it palpable. In works exhibited by artists such as Klaus Winicher or Phyllida Barlow, the formless, already posited by Rosalind Krauss and Yves Alain Bois as a synonym for that which is repressed, is elaborated upon in material and form. As the work of Oscar Tuazon and Kilian R\u00FCthemann shows, it is not alienation that is thematized here, but instead the impossibility of bringing the modulations of the building\u2019s fracture lines and the unruly ability to live to expression. \u003C/p\u003E\u003Cp\u003ELifeless material becomes a metaphor for the body, as Klara Lid\u00E9n\u2019s work shows, whether in cautious construction or spontaneous collapse. The works exhibit the structures of the architectonic exactly like personal traces. They are precise attitudes in which the formal culmination materializes, as Emilie Ding\u2019s concrete support structures or Ulrich R\u00FCckriem\u2019s stone cuboids testify. The dynamic application of colors and the use of free forms make these subjective interventions particularly distinctive. They bear witness to the presence of the human and ultimately, through free and defiant handling, signify the vulnerability of the present and of memory.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder (migros museum f\u00FCr gegenwartskunst) and Thomas D. Trummer (Siemens Stiftung).\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/displaced-fractures-ueber-die-bruchlinien-von-architekturen-und-ihren-koerpern","target":"_self"},"clusterBy":"2010"},{"dateFrom":"25.9.","dateTo":"28.11.10","datetimeFrom":"2010-09-25","datetimeTo":"2010-11-28","defaultSource":"/media/vwulbhd5/a_1235828_pano_25364_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Une Id\u00E9e, une Forme, un \u00CAtre - Po\u00E9sie / Politique du corporel","description":"","exhibitionLongText":"\u003Cp\u003EThe exhibition unites works by eight international contemporary artists as well as by Alina Szapocznikow (1926\u20131973). The material qualities of these works are distinguished by their close contact with, or derivation from, the human body. In contradistinction to the mechanisms of visual shock in 1980s and 1990s Abject art, where corporeality was a central theme, the use of these materials can here be described as subject to rigorous formal aesthetic reduction. The result is a tension between the object\u2019s reduced form and the energy it is endowed with by the absent body. The renewed interest in how to transmit corporeality in works of art, in the \u2018imprints of the human,\u2019 opens art-historical, sociopolitical, but also poetic perspectives on art.\u003C/p\u003E\u003Cp\u003EIn the history of Western art, the human body and its \u2018traces\u2019 have long been a central topic\u2014as an object of anatomical examination, for instance, or as a body of meaning to be venerated in the relic. To this day, the discourse around relics\u2014be they body parts of a saint, his or her possessions, or objects that have been in contact with other relics\u2014and the related discourse of the vera icon (the \u2018true image\u2019) play an important role in Catholicism, but also in Buddhism. The works included in the exhibition draw on these discourses, among other sources, taking them further toward an \u2018anthropology of the image\u2019 (Hans Belting). Unlike the vera icon, however, which is an object of veneration, the works shown in the exhibition are distinguished by their Janus-like character, permitting of a double reading: a sociopolitical one, but a poetic one as well. This double reading is made possible by an excess in the reduction of signification taking place on the formal-aesthetic level. In the simplicity of their gesture, the works refer to a conceptual-minimalist strategy while being charged with history. The concepts of the readymade and the objet trouv\u00E9 likewise play an important role for the artists included in the exhibition. Their works can be read as repositories of knowledge, vessels of memory, or as performative works of art that also take up the idea of the contact relic in the classical sense.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/une-idee-une-forme-un-etre-poesie-politique-du-corporel","target":"_self"},"clusterBy":"2010"},{"dateFrom":"13.6.","dateTo":"1.8.10","datetimeFrom":"2010-06-13","datetimeTo":"2010-08-01","defaultSource":"/media/nxfh1rqr/a_1235828_pano_25364_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"ars viva 09/10 \u2013 Geschichte/History","description":"Mariana Castillo Deball, Jay Chung \u0026 Q Takeki Maeda, Dani Gal","exhibitionLongText":"\u003Cp\u003EAt a time of increasing media dominance, where we are exposed daily to ever greater amounts of data, even the most up-to-date things rapidly become outmoded. In this context, a preoccupation with history appears to offer a possibility to pause and slow down. This year the renowned ars viva exhibition, organized by the Kulturkreis der deutschen Wirtschaft, awarded prizes to Mariana Castillo Deball, Jay Chung \u0026amp; Q Takeki Maeda and Dani Gal, artists who have converged anew on the term \u201Chistory\u201D, accommodating societal developments not purely attributed to confusing and increasingly rapid forums of communication.\u003C/p\u003E\u003Cp\u003EMariana Castillo Deball, Jay Chung \u0026amp; Q Takeki Maeda, and Dani Gal examine historical fragments, documents, and objects in a new light. The artists take on the roles of amateur archaeologists as they work with found objects and fragments; even though it is clear that all display an obvious interest in historical objects, not one of them actually provides any sort of conclusion regarding history as a whole. Rather, they play an associative game, which formally resembles Aby Warburg\u2019s Mnemosyne Atlas, while reflecting upon personal encounters with objects and places.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/ars-viva-0910-geschichtehistory","target":"_self"},"clusterBy":"2010"},{"dateFrom":"13.6.","dateTo":"1.8.10","datetimeFrom":"2010-06-13","datetimeTo":"2010-08-01","defaultSource":"/media/loxhez1g/a_123242222525_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection","description":"","exhibitionLongText":"\u003Cp\u003EThis collection presentation emphasizes on its space-filling, performative installations. Purchasing for the collection has resulted largely from exhibition productions, or working with the artist. In this way it has been possible to acquire various large installative works.\u003C/p\u003E\u003Cp\u003EFor the performance of \u0022The Fall of Man, A Puppet Extravaganza\u0022, first shown at the Tate Triennial in 2006, Spartacus Chetwynd (*1973 London) constructed a complex stage installation. Chetwynd not only reconstructs and deconstructs elements of theatrical history, but takes the virtual representation of power and culture as her theme.\u003C/p\u003E\u003Cp\u003EGustav Metzger\u0027s (*1926 Nurenberg) \u0022Liquid Crystal Environment\u0022 (1965\u20131998) was premi\u00E8red at a rock concert by The Who at the Round House in London in 1966. His kaleidoscopic liquid crystal structures provided a psychedelic stage set.\u003C/p\u003E\u003Cp\u003EKatharina Sieverding\u2019s (*1945 Prague) work \u0022Transformer\u0022 (1973\u201374) circles around the complex and multi-layered question of individual identity and its relation to existing social structures.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-20","target":"_self"},"clusterBy":"2010"},{"dateFrom":"6.3.","dateTo":"30.5.10","datetimeFrom":"2010-03-06","datetimeTo":"2010-05-30","defaultSource":"/media/5jem1ilk/a_122801219502_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"While Bodies Get Mirrored. An Exhibition about Movement, Formalism and Space","description":"","exhibitionLongText":"\u003Cp\u003EThis group exhibition brings together works that thematise the relation of tension between movement and space, and in so doing take up and reactivate a formalist vocabulary of signs. One focus of the exhibition is the influence of (post) modern dance and choreography in contemporary art. \u003C/p\u003E\u003Cp\u003EAnother central theme is the re-presentation of the performative, and the notation of movement and dancerly activities through the most varied media, ranging from classical photography and the filmic through to the sculptural and installative.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax and Heike Munder\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/while-bodies-get-mirrored-an-exhibition-about-movement-formalism-and-space","target":"_self"},"clusterBy":"2010"},{"dateFrom":"21.11.","dateTo":"21.2.10","datetimeFrom":"2009-11-21","datetimeTo":"2010-02-21","defaultSource":"/media/emckqkpl/a_1224698_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Tatiana Trouv\u00E9","description":"A Stay Between Enclosure and Space","exhibitionLongText":"\u003Cp\u003ETatiana Trouv\u00E9 (born 1968 in Cosenza, lives and works in Paris) became known for her room constructions, architectonic interventions, and snake-like metal sculptural objects that are seemingly solidified in movement \u2013 as if frozen. In her artworks Tatania Trouv\u00E9 often explores the association between the \u201Cinner\u201D and the \u201Couter\u201D on both material and psychological levels. Psychological spaces are turned outwards and become concrete, uncanny \u201Cinner\u201D spaces. For this, her first solo exhibition in Switzerland, Tatiana Trouv\u00E9 is exhibiting an installative spatial structure with architectonic interventions and large format drawings.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/tatiana-trouve","target":"_self"},"clusterBy":"2009"},{"dateFrom":"29.8.","dateTo":"8.11.09","datetimeFrom":"2009-08-29","datetimeTo":"2009-11-08","defaultSource":"/media/sdzf5wpm/a_122277112678_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"DETERIORATION, THEY SAID","description":"","exhibitionLongText":"\u003Cp\u003EAmerican artists Cory Arcangel, Jessica Ciocci \u0026amp; Jacob Ciocci / Paper Rad, Shana Moulton and Ryan Trecartin \u0026amp; Lizzie Fitch, have been brought together for the exhibition entitled \u201CDETERIORATION, THEY SAID\u201D. Each will present an individual project in the migros museum f\u00FCr gegenwartskunst. In their works the artists create an overreaching, colour-charged aesthetic of excessive density of content, reacting to the consumer-oriented condition of Western society, while at the same time formulating something out of it. In their image spaces the four positions address a culture of excess, constructing their critique via a form of appropriation, which simultaneously releases a veritable deluge of images. In the tradition of experimental film and \u201CScatter Art\u201D they probe potential unconventional narrative patterns and test for the disintegration of stereotypes. As a result, the video works are often shown in sculptural settings, in which fragments of pop culture and hand-crafted forms are amalgamated into an \u201Cintermedial Gesamtkunstwerk\u201D.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/deterioration-they-said","target":"_self"},"clusterBy":"2009"},{"dateFrom":"16.5.","dateTo":"16.8.09","datetimeFrom":"2009-05-16","datetimeTo":"2009-08-16","defaultSource":"/media/u5djdio1/a_1219198_pano9601_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Christoph Ruckh\u00E4berle","description":"","exhibitionLongText":"\u003Cp\u003EThe migros museum f\u00FCr gegenwartskunst is presenting the painter Christoph Ruckh\u00E4berle (born 1972 in Pfaffenhofen, lives and works in Leipzig) in his first solo exhibition in Switzerland. The visual world of Ruckh\u00E4berle, who studied animated film at the California Institute of the Arts before his studies at the Academy of Visual Arts Leipzig, is peopled by odd hard-edged figures, standing in front of coloured rhythmic backgrounds. Colourful drawings of faces recall carved masks, composed from a rich and playful vocabulary of forms. These forms, and the wealth of colours in Ruckh\u00E4berle\u2019s works, are broken not only by skewed visual angles or perspectival inconsistencies, but also through the use of expressionist and surreal borrowings.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/christoph-ruckhaeberle","target":"_self"},"clusterBy":"2009"},{"dateFrom":"16.5.","dateTo":"16.8.09","datetimeFrom":"2009-05-16","datetimeTo":"2009-08-16","defaultSource":"/media/li4prdrc/a_12190069704_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Karla Black","description":"","exhibitionLongText":"\u003Cp\u003EThe migros museum f\u00FCr gegenwartskunst is presenting the work of Scottish artist Karla Black (born 1972 in Alexandria, lives and works in Glasgow) in her first solo exhibition in Switzerland. Plaster, chalk dust and Vaseline, or substances such as face powder, lipstick and nail varnish make up Black\u2019s raw materials. The ephemeral works \u2013 whether transparent cellophane arranged sculpturally to hang from the ceiling, or fragile works of gossamer-fine powder sprinkled onto the floor \u2013 present references to the Minimal Art and Conceptual Art of the 1960s and 1970s. Black simultaneously extends the classical notion of sculpture through a process-oriented, performative handling of cultural connotations and untypical materials. Not only does she create an oppositional model to the brute effect of Minimal Art, but through the use of unstable and simple substances she ties into the history of antiform, begun for instance by Robert Morris in his use of felt, or Eva Hesse in her deployment of latex.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/karla-black","target":"_self"},"clusterBy":"2009"},{"dateFrom":"21.2.","dateTo":"3.5.09","datetimeFrom":"2009-02-21","datetimeTo":"2009-05-03","defaultSource":"/media/wihmnnbu/a_12190329706_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Josephine Meckseper","description":"","exhibitionLongText":"\u003Cp\u003ESituated somewhere between the trappings of political activism and mass consumerism, the works of Josephine Meckseper (born 1964 in Lilienthal, lives and works in New York) are like sculptural collages that evoke the paradoxes of the current capitalist value system.\u003C/p\u003E\u003Cp\u003EIn Meckseper\u2019s first solo exhibition in Switzerland, the migros museum f\u00FCr gegenwartkunst is exhibiting a series of new works investigating the complex interaction between the auto and oil industries and the war in Iraq.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/josephine-meckseper","target":"_self"},"clusterBy":"2009"},{"dateFrom":"26.11.","dateTo":"8.2.09","datetimeFrom":"2008-11-26","datetimeTo":"2009-02-08","defaultSource":"/media/vtuhmk2n/burrt101011_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Dawn Mellor","description":"","exhibitionLongText":"\u003Cp\u003EIn her images Dawn Mellor (born 1970 in Manchester, lives and works in London) deconstructs the interactive structure of the cult of celebrity \u2013 which appears in our culture to have been elected as a substitute for religion \u2013 by means of black humour fabricating a relationship between star and his/her believer, the fan. In so doing the artist herself frequently takes the role of an obsessed follower. Through a frequently self-chosen \u201Cpainterly\u201D role Mellor destroys the moral codes communicated through mass entertainment vouching for a deliberated immorality. Whereby in the face of the obsessive image worlds the question is also continually asked about the actual standardised taste of the observer and its verification. Mellor\u2019s painting style is simultaneously fed by surrealism, the colourfulness of Pop Art and the intentional bad taste of a Joe Coleman. In her first institutional presentation in Switzerland the painter is to exhibit amongst other works, the 120 part portrait cycle \u201CVile Affections\u201D (2007\u20132008) as well as numerous new large-scale works, drawings and a wall painting.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/dawn-mellor","target":"_self"},"clusterBy":"2008"},{"dateFrom":"13.9.","dateTo":"29.9.08","datetimeFrom":"2008-09-13","datetimeTo":"2008-09-29","defaultSource":"/media/3kshfn31/dsc7046_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Von denen die \u00FCberleben / Of Those Who Will Survive","description":"","exhibitionLongText":"\u003Cp\u003EIn the project \u00ABVon denen die \u00FCberleben / Of those who will survive\u00BB the migros museum f\u00FCr gegenwartskunst is entering the space of the theatre for the first time, and thereby pursuing once again the strategy of crossing the boundaries between the arts. As a starting point on the one hand serves an interest in working together with three visual artists and three authors, respectively their texts, thus forming an entity within the theatre space, on the other the existential question of the (im)possible survival of the human. The Icelandic artist Gabr\u00EDela Fri\u0111riksd\u00F3ttir uses as a point of departure Jeremias Gotthelf\u2019s novella Die \u00ABschwarze Spinne\u00BB (The Black Spider) (1842) newly interpreted with the dancer Erna \u00D3marsd\u00F3ttir and accompanied by sound by the musician J\u00F3nas Sen. Through her text-space-installation Dutch artist Mathilde ter Heijne investigates the survival of a matrilinear social structure in South West China, that of Mosuo. Within this society marriage between man and woman is unknown. As a result this ethnic group has to struggle not only against traditional moral conceptions, but against the socialism of the People\u2019s Republic of China, and also against today\u2019s increasing sex tourism and all its side effects. This is met with scenes from a Swiss marriage, which the writer and journalist Erwin Koch has researched. The third duo, featuring the German writer Sibylle Berg and the Canadian artist Jon Pylypchuk, offer a darker future: a \u00ABvictory of the animals\u00BB. Are they suffering from depression these new masters of the world? Do they experience pain? Do they suffer? Do they have a father, and if so, are there family conflicts, or is the animal of the future simply material, with no burdensome and obsolete social attachments? The experience is accompanied by the singer and musician Sina.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/von-denen-die-ueberleben-of-those-who-will-survive","target":"_self"},"clusterBy":"2008"},{"dateFrom":"30.8.","dateTo":"26.10.08","datetimeFrom":"2008-08-30","datetimeTo":"2008-10-26","defaultSource":"/media/c0bfr4za/mm_scan_1609_026_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Tadeusz Kantor","description":"","exhibitionLongText":"\u003Cp\u003ETadeusz Kantor (born 1915 in Wielopole Skrzy\u0144skie, died 1990 in Krakow) is one of the most significant Polish artists of the 20th century. Alongside his work as a visual artist he was also involved in the performing arts: he is regarded as a pioneering theatre reformer influenced by the ideas of avant-garde artists. Kantor was particularly interested in disrupting the illusion created by classical theatre, and aimed to break up the prevailing distancing engendered by the stage situation and open it up to real life. He was thus among those 20th-century artists who proclaimed and practised an open concept of art transgressing all its boundaries. The artist attained world renown in the 1970s with the travelling theatre group Cricot\u00B2, which he established in the mid-1950s.\u003C/p\u003E\u003Cp\u003EInstead of a traditional retrospective, structured according to periods and categories, the exhibition at the migros museum f\u00FCr gegenwartskunst is informed by a free scenic character, which attempts to exhibit Kantor\u2019s works as a Gesamtkunstwerk. This holistic concept held true for Kantor throughout his life. The focal point of the exhibition is the investigation of the performative, and the crossover between theatre and the visual arts. Thus it is a continuation of the content-discursive debate on current artistic interests in combination with and overlapping theatrical performative approaches in contemporary art, which has already been investigated in several previous exhibition projects.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/tadeusz-kantor","target":"_self"},"clusterBy":"2008"},{"dateFrom":"31.5.","dateTo":"17.8.08","datetimeFrom":"2008-05-31","datetimeTo":"2008-08-17","defaultSource":"/media/i04fcgfy/mm_scan_1609_025_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Sammlung - Collection","description":"","exhibitionLongText":"\u003Cp\u003EThis exhibition has been organised to mark the 30th anniversary of the Migros-Genossenschafts-Bund\u2019s collecting activities, and has involved a three-year overhaul of the entire collection. A large number of old and new works from the collection is being displayed, encompassing all the various collection periods \u2013 from Minimalism and Conceptual Art in the 1960s and 1970s to contemporary works setting socio-political, performative, glamorous or surreal strategies off against each another. The integration of the collection, which looks at contemporary art production directed at a broad-minded public and provides continual exposure to new and different thematic points of view, into a lively environment, is the central concern of the exhibition. With this purpose in mind, exhibition architecture by Markus Schinwald is being used, which gives the observer the opportunity to have a \u201Cnew view\u201D of the works.\u003C/p\u003E\u003Cp\u003EThe exhibition architecture of this comprehensive collection presentation has been created by a further development of the display form of Markus Schinwald\u2019s exhibition, which was on view in the museum from 16th February to 18th May 2008. Schinwald, who oriented his spatial design to that of Friedrich Kiesler (1890\u20131965), has achieved more than a mere arrangement of the works; he has furthered the concept of holistic Correalism, which opposed the dominating advocacy of Functionalism in Kiesler\u2019s time. It is the individual requirements of people or the works themselves that figure in the foreground and for which flexible designs have to be created. In this way the exhibition of the collection works fuses different periods and conceptual foci \u2013 whether socio-political approaches, the phenomenon of the \u201Cuncanny\u201D, subcultures in music, or the discourse of glamour. The exhibition display uses the \u201CTrager and Leger (T and L) system\u201D, which integrates the spectator into the spatial and temporal context. Kiesler developed the so-called \u201CT\u002BL System\u201D in 1924 for the Internationale Ausstellung neuer Theatertechnik in Vienna. It comprises a flexible, free-standing construction for the presentation of objects and pictures. Within it the spectator is made conscious of his role as \u201Cactive see-er\u201D (aktiver Sehender), and can follow and develop his/her own analogies and narrative strands. Kiesler described his concept of this architecture in the following terms: \u201CContact, not separation and resignation. They are set up for participation not isolation.\u201D\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder and Markus Schinwald\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/sammlung-collection","target":"_self"},"clusterBy":"2008"},{"dateFrom":"16.2.","dateTo":"18.5.08","datetimeFrom":"2008-02-16","datetimeTo":"2008-05-18","defaultSource":"/media/sbibmqcy/mm_scan_1609_024_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Markus Schinwald","description":"","exhibitionLongText":"\u003Cp\u003EThe psychological debate between space and body, the uncanny and the disquieting, the deficits and the irrational depths of the individual and collective being \u2013 all are themes at play in the works of Markus Schinwald (born 1973, Salzburg). The most varied media are fused with apparent lightness in his work \u2013 from nightmarish films and puppet-like sculptures to re-worked history painting, and prosthetic design and clothes creations, which are subtly choreographed with one another. In his largest solo museum exhibition to date, Schinwald has created an architectonic overall production, which in the form of its display is oriented to the spatial designs of Austro-American stage designer and artist, Friedrich Kiesler (1890-1965).\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/markus-schinwald","target":"_self"},"clusterBy":"2008"},{"dateFrom":"25.8.","dateTo":"21.10.07","datetimeFrom":"2007-08-25","datetimeTo":"2007-10-21","defaultSource":"/media/ocqbijco/mm_scan_1609_022_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Olaf Breuning","description":"","exhibitionLongText":"\u003Cp\u003ESince the late 1990s, this Swiss artist (born 1970 in Schaffhausen, lives and works in New York) has produced quotation-rich works, which refer back to the imaginary visual memory of the West and its pictorial worlds. He has gained recognition through his films, staged photography, and colourful, huge-eyed, infantile sculptures and drawings, which comment on reality in a laconic manner. \u003C/p\u003E\u003Cp\u003EA primary element in his work is an artificiality, which each presentation and figure composition makes visible and in so doing opens up a large range of reception forms. In this substituting of each original and challenging significance, the image and subject combine to form a motionless, waiting coexistence in a theatrical adult playground of stage effects, upon which the works are arranged, shrugging their shoulders in the absence of a narrative superstructure.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/olaf-breuning","target":"_self"},"clusterBy":"2007"},{"dateFrom":"30.6.","dateTo":"12.8.07","datetimeFrom":"2007-06-30","datetimeTo":"2007-08-12","defaultSource":"/media/p3ahdrsa/gygif100905_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection Part 2","description":"","exhibitionLongText":"\u003Cp\u003EIn the context of a series of exhibitions over the course of the year combining various viewpoints the second collection presentation gathers together a choice of works that have been acquired by the museum since its founding. \u003C/p\u003E\u003Cp\u003EThe current concern of the exhibition is to have the works make contact with current art production to integrate them in lively contemporary environment. The exhibition Collection Part II involves purchases of the early phase of the museum which take on various forms of stereotypical images, structures of perception and representation of power and violence.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-part-2","target":"_self"},"clusterBy":"2007"},{"dateFrom":"2.6.","dateTo":"12.8.07","datetimeFrom":"2007-06-02","datetimeTo":"2007-08-12","defaultSource":"/media/fkspfyby/rondi100803_1b_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Henrik Olesen","description":"some gay-lesbian artists and / or artists relevant to homo-social culture born between c. 1300-1870 / Sex-Museum 2005-2007","exhibitionLongText":"\u003Cp\u003ESince the mid-1990s, Henrik Olesen (born 1967 in Denmark, lives and works in Berlin) has used media such as collage, sculpture and minimalistic spatial intervention to investigate the societal constitution and construction of identity and historiography. \u003C/p\u003E\u003Cp\u003EThrough the appropriation of image sources and contextual shifting of apparent implicitness, Olesen probes the associations between homosexuality and its criminalisation in the past as well as in the present. His archival work sheds light on the enduring existence of other homosexual spaces and inscribes homosexual subculture once more into the history of art and culture.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/henrik-olesen","target":"_self"},"clusterBy":"2007"},{"dateFrom":"28.4.","dateTo":"24.6.07","datetimeFrom":"2007-04-28","datetimeTo":"2007-06-24","defaultSource":"/media/olmljual/mm_scan_1609_023_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Rachel Harrison","description":"Voyage of the Beagle","exhibitionLongText":"\u003Cp\u003ENew York artist Rachel Harrison (b. 1966) combines pop-cultural fragments with hand-made, painted forms to make inter-media sculptures, which in turn form installations. The art critic Johanna Burton has compared the multi-faceted sculptures with a stream of lava traveling along the cultural landscape, concealing, engulfing and preserving.\u003C/p\u003E\u003Cp\u003E But in spite of all their playfulness, they display references to classical themes and work categories of the 20th century, including minimalism. The artist cautiously resumes the discourse concerning space, plinth, material and the potential for contemplation of monolithic works, and brings the specifically sculptural hierarchies into question, presenting us with her version of a contemporary, self-reflexive sculpture.\u003C/p\u003E\u003Cp\u003E Alongside the most recently created photo series and sculptures named after famous men, entitled Voyage of the Beagle, the migros museum f\u00FCr gegenwartskunst is exhibiting the installation \u201CTrees For the Forest\u201D (2007) created here on site.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/rachel-harrison","target":"_self"},"clusterBy":"2007"},{"dateFrom":"24.2.","dateTo":"22.4.07","datetimeFrom":"2007-02-24","datetimeTo":"2007-04-22","defaultSource":"/media/ajcockeh/foto-3_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Spartacus Chetwynd","description":"","exhibitionLongText":"\u003Cp\u003EThe British artist Spartacus Chetwynd, also known as Lali Chetwynd (born 1973, in London where she now lives and works), has become known for her baroque and surreal performances, which are charged with humorous image quotations from art history, melded with pop culture references. In the performance \u201CAn Evening with Jabba the Hutt\u201D (2003) Chetwynd gives centre stage to the figure and merciless slave trader from the film series \u201CStar Wars\u201D (1977/1980/1983), and gives him the chance to repair his sleazy reputation by hosting a night on world politics. \u003C/p\u003E\u003Cp\u003EIn the tradition of the grotesque, she combines elements from Giotto\u2019s frescoes, characters from Hieronymus Bosch, or Yves Klein\u2019s \u201CAnthropometries\u201D (1960) with heavy metal music, Michael Jackson\u2019s music video \u201CThriller\u201D (1984), or the 1980s TV series \u201CThe Incredible Hulk\u201D. Chetwynd will present a new installative performance production for the migros museum f\u00FCr gegenwartskunst.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/spartacus-chetwynd","target":"_self"},"clusterBy":"2007"},{"dateFrom":"24.2.","dateTo":"27.5.07","datetimeFrom":"2007-02-24","datetimeTo":"2007-05-27","defaultSource":"/media/5r0lqr5m/buett99001_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection Part 1","description":"","exhibitionLongText":"\u003Cp\u003EThe collection presentation, divided into two stages, forms the prelude to a series of exhibitions, in which works from the migros museum f\u00FCr gegenwartskunst\u2019s collection are brought together from various standpoints in the present year.\u003C/p\u003E\u003Cp\u003E The current emphasis of the concept is to integrate the collection, which connects contemporary art production, to a live environment. Quite particularly the emphasis is on taking into consideration exhibitions which originated in the migros museum f\u00FCr gegenwartskunst. \u003C/p\u003E\u003Cp\u003EThe presentation links essentially new purchases, dedicated to sub and pop-culture themes, as well as taking up the commensurate aesthetic. At the centre lies the content-oriented debate, wrestling with music and formal aesthetic quotes of pop or subculture and their influences on contemporary art production.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-part-1","target":"_self"},"clusterBy":"2007"},{"dateFrom":"18.11.","dateTo":"11.2.07","datetimeFrom":"2006-11-18","datetimeTo":"2007-02-11","defaultSource":"/media/mz4nggy0/zh9d2423a-312_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Robert Kusmirowski","description":"","exhibitionLongText":"\u003Cp\u003EThe Polish artist Robert Kusmirowski (*1973) is known for his (time) intense stagings of places and spaces of past times. Using simple materials the artist creates meticulous simulations which appear to the eye like perfect replicas of places and objects. These spaces of the past, so carefully transferred and combined with the present, make his installations appear to have broken through the principle of irreversible time. \u003C/p\u003E\u003Cp\u003EThe installations are pervaded by a nostalgia which, however, does not fall victim to melancholy romanticism. Instead, they are treated with the reflective notion of nostalgia implemented by the language and literature theorist Svetlana Boym. No attempt is made to re-establish the past, but rather to reflect upon an individual and collective relationship to time and history. For the solo exhibition in the migros museum f\u00FCr gegenwartskunst Robert Kusmirowski had produced, in a spatially comprehensive installation, a mysterious, old training camp \u2013 recalling the Soviet technology dream during the Cold War.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/robert-kusmirowski","target":"_self"},"clusterBy":"2006"},{"dateFrom":"26.8.","dateTo":"22.10.06","datetimeFrom":"2006-08-26","datetimeTo":"2006-10-22","defaultSource":"/media/2w5f1jya/manon1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"It\u0027s Time for Action (There\u0027s no Option). About Feminism","description":"","exhibitionLongText":"\u003Cp\u003EThe exhibition title \u201CIt\u2019s Time For Action (There\u0027s No Option)\u201D quotes Yoko Ono\u2019s song of the same name recorded in 2000 and stands for the common attitude shared by the female artists of the group exhibition. The exhibition has gathered works of various generations that have distinguished themselves by dint of a self confident, non conformist position. \u003C/p\u003E\u003Cp\u003EFrom the beginning of her artistic activity in the early 1960s, before the official term feminism became currency, the Japanese artist Yoko Ono dealt with gender specific role patterns and rebelled against the outmoded hierarchical and patriarchal structures. Nonetheless she avoided the term feminism \u2013 even during its heyday in the 1970s. But she fought, as with many of the artists whose works are exhibited here, for the abolishing and deconstruction of boundaries in artistic, societal and political areas, and pleaded in a Beauvoirian sense for the acceptance of many identities.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/its-time-for-action-theres-no-option-about-feminism","target":"_self"},"clusterBy":"2006"},{"dateFrom":"24.6.","dateTo":"13.8.06","datetimeFrom":"2006-06-24","datetimeTo":"2006-08-13","defaultSource":"/media/dsnnq4ut/dsc3163_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Gabriela Fridriksd\u00F3ttir","description":"Inside the Core","exhibitionLongText":"\u003Cp\u003EIcelandic artist Gabriela Fri\u0111riksd\u00F3ttir\u2019s (*1971) drawings, sculptures, music experiments and videos create a microcosm tending towards Surrealism, peopled with hybrid and sexually charged beings that can be read as metaphors for melancholy and excess. \u003C/p\u003E\u003Cp\u003EAlongside the earlier work \u201CTetral\u00F3g\u00EDa\u201D the artist will present \u201CInside the Core\u201D, a room installation specially produced for the migros museum f\u00FCr gegenwartskunst.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/gabriela-fridriksdottir","target":"_self"},"clusterBy":"2006"},{"dateFrom":"24.4.","dateTo":"13.8.06","datetimeFrom":"2006-04-24","datetimeTo":"2006-08-13","defaultSource":"/media/osnc5mmb/strun100996_3bearbeitet_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection","description":"","exhibitionLongText":"\u003Cp\u003EThe exhibition connects the most recent purchases that have been made with the works already purchased for the permanent collection of the migros museum f\u00FCr gegenwartskunst. In the buying history of the museum it has not only been the presentation of the work that was of foremost importance but also the primacy of the idea and the resulting processes. The fundamental necessity to consider societal questions is also met by an undertaking of social responsibility \u2013 in the precise meaning of the intentions of the Migros founder Gottlieb Duttweiler. \u003C/p\u003E\u003Cp\u003EThanks to a progressive buying policy during the 1990\u2019s the collection features numerous important works of Swiss as well as international artists. The integration of the collection into a lively environment, in touch with contemporary art production and addresses an open-minded public form the current concerns of the conception.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-15","target":"_self"},"clusterBy":"2006"},{"dateFrom":"8.4.","dateTo":"18.6.06","datetimeFrom":"2006-04-08","datetimeTo":"2006-06-18","defaultSource":"/media/cehdamul/chaimcocteau_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Marc Camille Chaimowicz","description":"Z\u00FCrich Suite","exhibitionLongText":"\u003Cp\u003EMarc Camille Chaimowicz\u2019s installations and performances from the early 1970s revolve thematically around the opposition between the intimate and the formal, the private and the public, and the circumstances of life therein. They situate the artist (born in post-War Paris) in a new generation of artists who distanced themselves from the prevailing discourse of art, and through their working methods consciously resisted categorisation. \u003C/p\u003E\u003Cp\u003EChaimowicz com-bines various media such as sculpture, painting, drawing and photography, with elements from the decorative arts, such as furniture, ceramics, carpets and wallpaper, from which he composes complex arrangements. These often have a great effect on the space they occupy and strike an anachronistic and melancholy chord. Metaphor, synaesthetic sense perception and the procedural are at the forefront of his entire oeuvre.\u003C/p\u003E\u003Cp\u003E Over recent years, Marc Camille Chaimowicz, who began work in 1969 and was among the first European artists to work with performances and installations, has been rediscovered by a younger generation of artists, and adopted as a significant role model. In this retrospective solo exhibition the migros museum f\u00FCr gegenwartskunst is exhibiting a selection of works spanning a period of four decades.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/marc-camille-chaimowicz","target":"_self"},"clusterBy":"2006"},{"dateFrom":"21.1.","dateTo":"26.3.06","datetimeFrom":"2006-01-21","datetimeTo":"2006-03-26","defaultSource":"/media/4hldqqlr/05a_fbm_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"While Interwoven Echoes Drip into a Hybrid Body \u2013 an Exhibition about Sound, Performance and Sculpture","description":"","exhibitionLongText":"\u003Cp\u003EIn recent times the use of sound has precipitated an increased fusion between performance art and sculpture, resulting in the emergence of new hybrid forms. These new forms not only question traditional sculpture by expanding conceptual boundaries, they also liberate sound from its peripheral status as a prop for performance and video art. \u003C/p\u003E\u003Cp\u003EThe works displayed in the exhibition continue with the new \u201Ccrossover\u201D consciousness of the 1990s and demonstrate the hybridity and diversity of these forms.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax and Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/while-interwoven-echoes-drip-into-a-hybrid-body-an-exhibition-about-sound-performance-and-sculpture","target":"_self"},"clusterBy":"2006"},{"dateFrom":"12.11.","dateTo":"8.1.06","datetimeFrom":"2005-11-12","datetimeTo":"2006-01-08","defaultSource":"/media/cndh0hi2/bruno-peinado_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Bruno Peinado","description":"Silence Is Sexy","exhibitionLongText":"\u003Cp\u003EThe French artist Bruno Peinado (born 1970) achieves in his work an amalgamation of the image world of Western pop culture with the aesthetics and content of diverse cultures. This results in a sampled, deterritorialised hybrid, which moves beyond copyright culture and the Western language of signs. This solo exhibition at the migros museum f\u00FCr gegenwartskunst is a satellite project of the Biennale d\u0027art contemporain de Lyon 2005.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/bruno-peinado","target":"_self"},"clusterBy":"2005"},{"dateFrom":"12.11.","dateTo":"8.1.06","datetimeFrom":"2005-11-12","datetimeTo":"2006-01-08","defaultSource":"/media/332dkisu/mm_scan_1609_020_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Peter Saville Estate","description":"","exhibitionLongText":"\u003Cp\u003EThe legendary cover of the New Order single \u201CBlue Monday\u201D (1983) and, for example, the cover of the Joy Division album \u201CUnknown Pleasures\u201D (1979), were to bring the Manchester graphic designer Peter Saville (born 1955) worldwide renown. In this solo exhibition at the migros museum f\u00FCr gegenwartskunst, his archive is being fully opened to the public for the first time to reveal three decades of work. \u003C/p\u003E\u003Cp\u003EUsing a reduced, Modernist style Peter Saville has made key innovations in the field of visual communications, and in recent times he has had a profound effect on the interplay between art, design and advertising. At the beginning of the 1990s his \u201Ccool design\u201D made a lasting impression on the art of the YBA (Young British Artists), for instance on Sarah Morris and Darren Almond, making it safe to say that Peter Saville has indeed influenced a generation of Pop culture.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/peter-saville-estate","target":"_self"},"clusterBy":"2005"},{"dateFrom":"27.8.","dateTo":"30.10.05","datetimeFrom":"2005-08-27","datetimeTo":"2005-10-30","defaultSource":"/media/vmwfk2gp/humor_15_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"When Humour Becomes Painful","description":"","exhibitionLongText":"\u003Cp\u003EFrom Dada to Fluxus, from Concept Art to the 90s generation, humour as a visual strategy and philosophical method in art has taken a central place. This exhibition attempts less to reveal the comic, the satire or the grotesque but rather art that applies itself directly to the mechanisms of humour.\u003C/p\u003E\u003Cp\u003ECurated by Felicity Lunn and Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/when-humour-becomes-painful","target":"_self"},"clusterBy":"2005"},{"dateFrom":"4.6.","dateTo":"14.8.05","datetimeFrom":"2005-06-04","datetimeTo":"2005-08-14","defaultSource":"/media/kedluzdl/cleaning_piece_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Yoko Ono","description":"Horizontal Memories","exhibitionLongText":"\u003Cp\u003EThe Japanese artist Yoko Ono (b. 1933) will be presented to a wider public in Switzerland for the first time in the comprehensive solo exhibition at the migros museum f\u00FCr gegenwartskunst. Yoko Ono organised her first happenings and performances as early as the 1950s, and later on was one of the driving forces behind the Fluxus movement. The exhibition combines her most important works from the 1960s and 1970s with more recent ones, providing an overview of her creative output. It includes installations, sculptures, films and photographs as well as her famous Instructions. Emphasis is also placed on the artist\u2019s musical work.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/yoko-ono","target":"_self"},"clusterBy":"2005"},{"dateFrom":"2.4.","dateTo":"22.5.05","datetimeFrom":"2005-04-02","datetimeTo":"2005-05-22","defaultSource":"/media/djgbdjuf/taani101006_2_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Mika Taanila","description":"Human Engineering","exhibitionLongText":"\u003Cp\u003EThe works of Mika Taanila (b. 1965) evolve in the realms of documentary film, experimental music, its visual transformation and the set-up of scientific experiments. Nostalgia and belief in the future collide and mingle in his films, while the exploration of technological developments and artificial intelligence, and their social and philosophical implications run through his creative work like constant threads.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/mika-taanila","target":"_self"},"clusterBy":"2005"},{"dateFrom":"2.4.","dateTo":"22.5.05","datetimeFrom":"2005-04-02","datetimeTo":"2005-05-22","defaultSource":"/media/ga5eeidq/arcan101002_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Cory Arcangel","description":"Nerdzone Version 1","exhibitionLongText":"\u003Cp\u003EIn the early 1980s, the 8-bit Nintendo NES game console revolutionised the entertainment market. From then on computer technology was no longer used purely for work purposes, but also for the masses as a medium for entertainment. In his works, Cory Arcangel (b. 1978) makes use of the games console, long since overtaken by millions of bits, and \u2018hacks\u2019 into its games. The progress of some games is interrupted and short-circuited, and they are reduced to their monochrome picture backgrounds, while other games are given a new narrative. Underlying the works is not just a nostalgic idea, but also an evaluation and reinterpretation of the game system, as well as an interest in composing electronic minimal music using 8-bit technology.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/cory-arcangel","target":"_self"},"clusterBy":"2005"},{"dateFrom":"22.1.","dateTo":"20.3.05","datetimeFrom":"2005-01-22","datetimeTo":"2005-03-20","defaultSource":"/media/vyflympz/g6m32611korrigiert_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Paul Noble","description":"","exhibitionLongText":"\u003Cp\u003ESince 1995, Paul Noble (*1963) has worked on monumental pencil drawings of a fictitious town called \u201CNobson Newtown\u201D. These works link the buildings and places that constitute the geography, history and mythology of \u201CNobson Newtown\u201D. The exhibition at the migros museum f\u00FCr gegenwartskunst provides the first opportunity to view the \u201CNobson Newtown\u201D project in Switzerland.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/paul-noble","target":"_self"},"clusterBy":"2005"},{"dateFrom":"22.1.","dateTo":"20.3.05","datetimeFrom":"2005-01-22","datetimeTo":"2005-03-20","defaultSource":"/media/5iehtprm/ausstellungsansicht_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Sammlung migros museum f\u00FCr gegenwartskunst (selected by Paul Noble)","description":"","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/sammlung-migros-museum-fuer-gegenwartskunst-selected-by-paul-noble","target":"_self"},"clusterBy":"2005"},{"dateFrom":"13.11.","dateTo":"9.1.05","datetimeFrom":"2004-11-13","datetimeTo":"2005-01-09","defaultSource":"/media/ftll4ci0/mm_scan_1609_030_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Heidi Bucher","description":"Mother of Pearl","exhibitionLongText":"\u003Cp\u003EThe exhibition \u201CHeidi Bucher: Mother of Pearl\u201D at the migros museum f\u00FCr gegenwartskunst is the first large-scale retrospective of Buchers work since her death. During the 1970s and 1980s, Heidi Bucher (1926-1993) became known for the latex \u2018layerings\u2019 that she crafted for spatial architectures. As well as these layers or \u2018skins\u2019 , which represent the core of the exhibition, the show includes drawings, sculptures and a video performance, together with the film \u201Cspaces are shells, are skins\u201D, by George Reinhart.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/heidi-bucher","target":"_self"},"clusterBy":"2004"},{"dateFrom":"28.8.","dateTo":"31.10.04","datetimeFrom":"2004-08-28","datetimeTo":"2004-10-31","defaultSource":"/media/3ksfofci/mm_scan_1609_028_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"The Future Has a Silver Lining. Genealogies of Glamour","description":"","exhibitionLongText":"\u003Cp\u003EThis exhibition presents a variety of histories \u2013 and counter-histories \u2013 of the relationship between art and glamour. As a radiant, strategic category of aesthetic practice, glamour is ubiquitous, but it has never really been acknowledged and honoured as such.\u003C/p\u003E\u003Cp\u003EThe following questions might help to structure your visit to the exhibition: How have artists reflected the demands of mass-culture models of beauty and superiority? What was \u2013 and is \u2013 the influence of film stars and pop musicians on artists\u2019 self-image and identity? How, and under what circumstances, do artistic practice and the construction of glamour cross paths? To what extent does an engagement with glamour imply an engagement with the archives and catalogues of the glamorous?\u003C/p\u003E\u003Cp\u003EThe exhibited works do not offer any simple answers. Instead, they persistently raise even more questions, showing the complexity of the links between art and glamour. The significance of these links for art history and contemporary art are only just beginning to be acknowledged, despite the recurrent evocations and condemnations of the glamorous within the art world.\u003C/p\u003E\u003Cp\u003ECurated by Tom Holert and Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/the-future-has-a-silver-lining-genealogies-of-glamour","target":"_self"},"clusterBy":"2004"},{"dateFrom":"12.6.","dateTo":"8.8.04","datetimeFrom":"2004-06-12","datetimeTo":"2004-08-08","defaultSource":"/media/0n5ibtbw/mm_scan_1609_017_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"It\u0027s All an Illusion - a Sculpture Project","description":"","exhibitionLongText":"\u003Cp\u003E\u201CIt\u2019s All an Illusion\u201D is a walk through a fictive park, a stroll through a world of memories of adolescent love, it is the idea of landscape, of a romantic escape to the countryside, of a sunset reflected on the waters of a lake. Images traditionally referring to the outdoors, which, within the museum space, are divorced from their original temporal and spatial setting, appear to be floating in mid-air.\u003C/p\u003E\u003Cp\u003E\u201CIt\u2019s All an Illusion\u201D takes on the concept of sculpture. A type of sculpture that has developed out of painting, bringing forth its proper sense of three-dimensionality. A type of sculpture that takes on new challenges, liberating itself from strict spatial or temporal confinement, yet still drawing on the roots of its own tradition. A type of sculpture that succumbs to a romanticised notion of nature, but which is transferred from the exterior to the interior, decontextualised within the White cube, its frailness and ambiguity laid bare. \u201CIt\u2019s All an Illusion\u201D demonstrates the reworking of minimalist precepts into design quotations, and their gradual return to an artistic context. It is a kaleidoscopic attempt to uproot all static points of reference, to underline their constructedness and to subject them to a process of displacement and abstraction.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/its-all-an-illusion-a-sculpture-project","target":"_self"},"clusterBy":"2004"},{"dateFrom":"3.4.","dateTo":"31.5.04","datetimeFrom":"2004-04-03","datetimeTo":"2004-05-31","defaultSource":"/media/kfjpin22/02_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"L\u0027Air du Temps - Collection Printemps / \u00C9t\u00E9 2004","description":"","exhibitionLongText":"\u003Cp\u003ECollecting implies a continuous movement back and forth. To collect means to establish a history, but it also means to rework and renew it.\u003C/p\u003E\u003Cp\u003EThe exhibition \u201CL\u2019air du temps \u2013 collection printemps/\u00E9t\u00E9 2004\u201D presents the latest acquisitions of the migros museum f\u00FCr gegenwartskunst together with earlier works from the collection. Throughout the history of the collection, it has not only been the presentation of a given work that matters, but also the primacy of the idea behind it and the process that springs from it. This is why it is necessary to render an account of social issues and to acknowledge social responsibility, precisely along the lines laid down by Migros founder Gottlieb Duttweiler. \u003C/p\u003E\u003Cp\u003EThanks to a progressive acquisitions policy throughout the 1990s, the collection holds numerous important works by Swiss and international artists. Apart from those that reflect the earlier positions of Minimalist or Conceptual Art, many of the works in the collection are marked by an element of participation, and contribute to contemporary artistic discourses. At present, the conceptual priority of the curators is to integrate the collection within a lively environment that is in touch with contemporary artistic production and addresses an open-minded audience.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax and Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/lair-du-temps-collection-printemps-ete-2004","target":"_self"},"clusterBy":"2004"},{"dateFrom":"24.1.","dateTo":"21.3.04","datetimeFrom":"2004-01-24","datetimeTo":"2004-03-21","defaultSource":"/media/qxyhxxzg/mm_scan_1609_015_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Gianni Motti","description":"Plausible Deniability","exhibitionLongText":"\u003Cp\u003EHe celebrates his own funeral, masquerades as a professional soccer player, speaks in the name of the people of Indonesia at the UN Human Rights Convention, causes earthquakes and repeatedly mimes the evil terrorist who secretively infiltrates a system, causing it to implode from within.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/gianni-motti","target":"_self"},"clusterBy":"2004"},{"dateFrom":"15.11.","dateTo":"11.1.04","datetimeFrom":"2003-11-15","datetimeTo":"2004-01-11","defaultSource":"/media/04unariy/18_22_23_24_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Mounir Fatmi","description":"","exhibitionLongText":"\u003Cp\u003EObstacles refers to the impossibility of ever truly fulfilling a desire, be it political, existential, or aesthetic in nature. The question of the foreign, of the Other, is a continuity in the work of Mounir Fatmi, who was born 1970 in Morocco, and lives and works in Paris and Tangier. Fatmi reflects upon his proper position as an artist who feels alienated from the cultural context that surrounds him.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/mounir-fatmi","target":"_self"},"clusterBy":"2003"},{"dateFrom":"15.11.","dateTo":"11.1.04","datetimeFrom":"2003-11-15","datetimeTo":"2004-01-11","defaultSource":"/media/0n4ps3e5/mm_scan_1609_003_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Art \u0026 Language","description":"","exhibitionLongText":"\u003Cp\u003EArt \u0026amp; Language was initially the name of a group of English artists who preferred to work collectively and anonymously, and the title of a magazine founded in 1968. Art \u0026amp; Language proposes a critical analysis of relations between art, society and politics. With the Linguistic Turn as its historical background, Art \u0026amp; Language combines artistic and discursive issues, calling into question many of the systemic assumptions of artistic theory and practice. \u003C/p\u003E\u003Cp\u003ESince 1976, the Art \u0026amp; Language project has been the work of Mel Ramsden and Michael Baldwin with the literary and theoretical collaboration of Charles Harrison. Working in a variety of media from painting to rock music, Ramsden and Baldwin, who were among the founders of Conceptual Art, are still concerned with many of the questions that remain unresolved as a consequence of \u201CModernism\u00B4s nervous breakdown\u201D.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/art-language","target":"_self"},"clusterBy":"2003"},{"dateFrom":"23.8.","dateTo":"2.11.03","datetimeFrom":"2003-08-23","datetimeTo":"2003-11-02","defaultSource":"/media/wmzjyfmi/sta759129_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Mark Leckey","description":"","exhibitionLongText":"\u003Cp\u003EIn 1993, when the fame of the Young British Artists\u00B4 reaches its peak, London artist Mark Leckey withdraws from the tumultuous circumstances on the island, and moves to San Francisco. Six years later, he returns to London with the video \u201CFiorucci Made Me Hardcore\u201D, a 15-minute journey into the epicenter of British youth culture, of which critics are saying it\u00B4s the best thing they\u00B4ve ever seen.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/mark-leckey","target":"_self"},"clusterBy":"2003"},{"dateFrom":"23.8.","dateTo":"2.11.03","datetimeFrom":"2003-08-23","datetimeTo":"2003-11-02","defaultSource":"/media/cj1g1tcr/mickry-3_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"It\u0027s in Our Hands","description":"","exhibitionLongText":"\u003Cp\u003E\u201CIt\u2019s in Our Hands\u201D brings together works from the collection of the migros museum f\u00FCr gegenwartskunst and contemporary work from the Zurich art scene. The basic concept for the exhibition is the inexhaustible drive that is the lust for life.\u003C/p\u003E\u003Cp\u003ECurated by Raphael Gygax\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/its-in-our-hands","target":"_self"},"clusterBy":"2003"},{"dateFrom":"23.8.","dateTo":"2.11.03","datetimeFrom":"2003-08-23","datetimeTo":"2003-11-02","defaultSource":"/media/ceelug1a/o_bamgboye_exit_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Olad\u00E9l\u00E9 Bamgboy\u00E9","description":"","exhibitionLongText":"\u003Cp\u003EBorn 1963 in Odu-Eku, Nigeria, Olad\u00E9l\u00E9 Ajiboy\u00E9 Bamgboy\u00E9 has been living in London since 1996. In Bamgboy\u00E9\u2019s artwork, statements on issues of identity, of representations of African culture, and a critical approach to new forms of scientific and artistic technologies are condensed into mixed media installations and textual supplements.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/oladele-bamgboye","target":"_self"},"clusterBy":"2003"},{"dateFrom":"7.6.","dateTo":"10.8.03","datetimeFrom":"2003-06-07","datetimeTo":"2003-08-10","defaultSource":"/media/qapokqam/mm_scan_1609_031_2cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"The African Exile Museum","description":"","exhibitionLongText":"\u003Cp\u003E\u201CThe African Exile Museum\u201D is a mobile exhibition platform for contemporary African art. Sixteen artistic positions tell a story about the social changes that are currently taking place on the African continent. It concerns questions of multiple identities, of the close interweaving of urbanity and the collapse of social systems as well as the personal stories about them.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/the-african-exile-museum","target":"_self"},"clusterBy":"2003"},{"dateFrom":"7.6.","dateTo":"10.8.03","datetimeFrom":"2003-06-07","datetimeTo":"2003-08-10","defaultSource":"/media/audhj3xm/aemt08a_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Kendell Geers","description":"Terrorealism","exhibitionLongText":"\u003Cp\u003EIn his work Kendell Geers constructs simple, poetic situations in which a destabilising and often violent moment is inherent, and which in their direct confrontation challenge observers to position themselves, to \u2018relate themselves\u2019 to them. The room-filling installations are characterised equally by antagonism and the attempt to acquire the conceptual tradition of the modern.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/kendell-geers","target":"_self"},"clusterBy":"2003"},{"dateFrom":"22.3.","dateTo":"25.5.03","datetimeFrom":"2003-03-22","datetimeTo":"2003-05-25","defaultSource":"/media/yfhlzl4l/bild-11_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Bewitched, Bothered and Bewildered. Spatial Emotion in Art and Architecture","description":"","exhibitionLongText":"\u003Cp\u003EEvery story is a travel story, a spatial practice. Narrative structures like our lives are spatial syntaxes, and their network contains a vertiginous multiplicity of spatial trajectories and metaphors. The present epoch has been proclaimed as the epoch of space; we are in the epoch of juxtaposition, the epoch of near and far, of side-by-side, of dispersed. Connections and intersections are our everyday experience. Space seems to have appropriated us, and to have possessed and determined our psychophysical states of acting and being. Everything seems to be spatialised and space has become the dominant feature of daily life: in a prison space we are trapped between a torture chamber and pleasure-palace, between fascination and lament.\u003C/p\u003E\u003Cp\u003EThe exhibition takes as its point of departure three contexts in which space occupies a central position: Sigmund Freud\u2019s notion of \u201Cdas Unheimliche\u201D and psychoanalytical elaboration of space and its emotion; Michel Foucault\u2019s other spaces \u2013 heterotopias and their counter-site qualities of socio-political implications; and Walter Benjamin\u2019s outmoded and repressed space with all its auratic traces (fake or authentic) of philosophical and historic charge.\u003C/p\u003E\u003Cp\u003E\u201CBewitched, Bothered and Bewildered\u201D aims to exploit the psychological associations of space with its multiplicity of emotional overtones, mapping its extremes and its psychic environment. Focusing on spatial pathologies (agoraphobia, vertigo, claustrophobia...), the exhibition identifies space as a cause of mental disorder, fear or estrangement, ultimate trauma. Hysteria, panic and neurosis overlap with other spatial stories of psychic unrest and unease: distortions and perversions (warped space); anxiety and enigmas (haunted space); spatial inconvenience and discomfort, perfectly domestic and yet alienating; space half-spoken, half-pronounced: a promise, a puzzle, a magic spell, temptation.\u003C/p\u003E\u003Cp\u003ECurated by Adam Budak and Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/bewitched-bothered-and-bewildered-spatial-emotion-in-art-and-architecture","target":"_self"},"clusterBy":"2003"},{"dateFrom":"25.1.","dateTo":"2.3.03","datetimeFrom":"2003-01-25","datetimeTo":"2003-03-02","defaultSource":"/media/fswmiex4/vecec100932_2_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection","description":"Frozen, Snow, White","exhibitionLongText":"\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-21","target":"_self"},"clusterBy":"2003"},{"dateFrom":"25.1.","dateTo":"2.3.03","datetimeFrom":"2003-01-25","datetimeTo":"2003-03-02","defaultSource":"/media/aicpbxo4/m05_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Re:View: Switzerland\u0027s Most Promising Young Video Artists","description":"","exhibitionLongText":"\u003Cp\u003EAt a time when film projections are venturing into the Museum and artistic video installations are becoming cinematic, there is a demand for new ways of looking at things. The basic assumption of \u201Cre:view\u201D is that in video, film and multimedia there are several overlapping (sub-) types, and distinct boundaries no longer exist.The area in which film assumes some of the features of installations and art videos have cinematic qualities is therefore being promoted in a special competition.The aim of \u201Cre:view\u201D is to support innovative working methods and forms of presentation.\u003C/p\u003E\u003Cp\u003EAn external jury for 2001, comprising the artist Muda Mathis, the cineaste Yves Yersin, Mario Casanova, head of the Centro d\u2019Arte Contemporanea, Bellinzona, came together for a two-day meeting. The jury was supported by the programme designer and art director Frank Hyde-Antwi.\u003C/p\u003E\u003Cp\u003ECurated by Frank Hyde-Antwi and Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/review-switzerlands-most-promising-young-video-artists-2","target":"_self"},"clusterBy":"2003"},{"dateFrom":"9.11.","dateTo":"5.1.03","datetimeFrom":"2002-11-09","datetimeTo":"2003-01-05","defaultSource":"/media/wluf3pyy/dsc_14_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"\u00D6konomien der Zeit","description":"","exhibitionLongText":"\u003Cp\u003EWhen we talk about \u201Ceconomy of time\u201D, we generally mean using our time efficiently. \u201C\u00D6konomien der Zeit\u201D looks at the many different ways in which we can use time economically, even if it means wasting it. The exhibition is centred around artistic approaches that depict their own ways of ordering and managing time by reflecting on current values and temporal structures.\u003C/p\u003E\u003Cp\u003E At the heart of these different viewpoints are issues of policy in image representation and historiography, the examination of what seem to be the increasingly ephemeral validity of products and images. Behind all this is the observation that our perception of everyday things is frequently organised into short-lived units of perception, despite our knowledge of the multifaceted nature of general interrelations: our attention is directed in each case at the here and now, or more precisely at whatever is closest to us at any particular time.\u003C/p\u003E\u003Cp\u003ECurated by Hans-Christian Dany and Astrid Wege\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/oekonomien-der-zeit","target":"_self"},"clusterBy":"2002"},{"dateFrom":"24.8.","dateTo":"27.10.02","datetimeFrom":"2002-08-24","datetimeTo":"2002-10-27","defaultSource":"/media/4akn53kw/hd02_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Henry J. Darger","description":"","exhibitionLongText":"\u003Cp\u003EHenry Darger (1892 to 1973) is an insider tip on the art scene. His works are much discussed, but rarely seen in the original. Darger lived in an obsessive fantasy world; he wrote a novel of over 15,000 pages, which he illustrated with watercolour drawings. The migros museum is now putting on an exhibition of a selection of these illustrations.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/henry-j-darger","target":"_self"},"clusterBy":"2002"},{"dateFrom":"24.8.","dateTo":"27.10.02","datetimeFrom":"2002-08-24","datetimeTo":"2002-10-27","defaultSource":"/media/ou0ahu4t/cw04_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Cathy Wilkes","description":"","exhibitionLongText":"\u003Cp\u003ECathy Wilkes was born in 1966 in Belfast, and studied at the Glasgow School of Art and at the University of Ulster in Belfast. In 1989 she was a co-founder of the Women\u2019s Library in Glasgow; she organised exhibitions and worked in the artist\u2019s collective \u201CElisabeth Go\u201D.\u003C/p\u003E\u003Cp\u003EIn extensive installations, full of subliminal allusions, Cathy Wilkes arranges found objects with small-format paintings and delicate geometric constructions made of wood. A worn-out garden lounger, a folding table, an ancient heater are the supporting protagonists of these sets. A patina of dust, scratches and rust coats the furniture and implies the story of its use.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/cathy-wilkes","target":"_self"},"clusterBy":"2002"},{"dateFrom":"15.6.","dateTo":"11.8.02","datetimeFrom":"2002-06-15","datetimeTo":"2002-08-11","defaultSource":"/media/pr0ntvex/3_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"St. Petrischnee","description":"","exhibitionLongText":"\u003Cp\u003E\u201CSt. Petrischnee\u201D is a variety of positions from the 1960s and 1970s, the age that sought to expand or to move beyond the old rules of art history and of society. Seldom have there been such radical advances, causing older generations so much anxiety and alarm. An entire generation of youth was in upheaval, attacking the fallout of the Cold War, attacking petit-bourgeois hypocrisy and parochialism, attacking nuclear rearmament and the Vietnam war. Subversive strategies were debated and experimented with: the postulation of free love, sit-ins, the peace movement, consumption of mind-expanding drugs, conspiratorial Maoist cells, the politicisation of the working classes, support for guerrilla operations in the Third World, the counter-culture of the communes... For the young, it was all about tolerance, but ultimately the views of individual groups led to divisions, radicalisation of political ideas or to a politically passive party culture.\u003C/p\u003E\u003Cp\u003EOut of this mood of upheaval, the young generation sought to escape the dictates of Modernism, and also to break away from Minimal Art, at the time the predominant trend in art. There were already early signs of participatory environments, but these were largely disregarded until some years later.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/st-petrischnee","target":"_self"},"clusterBy":"2002"},{"dateFrom":"13.4.","dateTo":"2.6.02","datetimeFrom":"2002-04-13","datetimeTo":"2002-06-02","defaultSource":"/media/kvsfnkrv/dsc_4043_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Mathilde ter Heijne","description":"TRAGEDY","exhibitionLongText":"\u003Cp\u003EThe psyche of human beings, the Spannungsbogen* of mutual understanding and not understanding and the question of cultural differences determine the work and thinking of the Dutch artist Mathilde der Heijne (1969).\u003C/p\u003E\u003Cp\u003EHer subject is self-sacrifice for one\u2019s own, as for propagated ideals, for love or for one\u2019s own country. Detached and uncompromising, she works to the limits of social and individual behaviour and cultural differences. In this way she examines the concept and expectation of love in different geographical surroundings, the integration attempts in our western latitudes or how far dogmatisms in politics affect individual behaviour.\u003C/p\u003E\u003Cp\u003ETer Heijne links fiction and documentary material to fragile narration. She uses this in order to involve the observer in equally unstable realities. Art in this case offers the necessary everyday distance which enables her to enforce the confrontation.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/mathilde-ter-heijne","target":"_self"},"clusterBy":"2002"},{"dateFrom":"2.2.","dateTo":"1.4.02","datetimeFrom":"2002-02-02","datetimeTo":"2002-04-01","defaultSource":"/media/qbcc3op5/absalon_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"The Collective Unconsciousness","description":"","exhibitionLongText":"\u003Cp\u003EWhat happens when everyday events take even the prophets of doom by surprise? Hard times indeed! Even in Albrecht D\u00FCrer\u2019s time the impetus to modernise, to leave the Middle Ages behind and enter the Renaissance, had a disturbing feeling about it. And today? \u003C/p\u003E\u003Cp\u003EOur perception is moulded by the flood of media images that stir up a deep-seated fear of change in our traditional lifestyle. But recent events have wrought dramatic changes in the way we feel angst. Digitalised angst assails us at ever increasing speed. Fuelled by the media, fears of recession, mad cow disease and the events of 11 September follow each other, inextricably linked on the projection screen of our collective unconsciousness. But how is the social construction between individual and collective action? An example is the consolation of religion respectively its substitutes as a sign of proper incapacity of action.\u003C/p\u003E\u003Cp\u003ECurated by Heike Munder\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/the-collective-unconsciousness","target":"_self"},"clusterBy":"2002"},{"dateFrom":"10.11.","dateTo":"13.1.02","datetimeFrom":"2001-11-10","datetimeTo":"2002-01-13","defaultSource":"/media/qyrbbuer/hillo6jpeg_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Christine Hill","description":"Volksboutique","exhibitionLongText":"\u003Cp\u003EProjects by Christine Hill (*1968, lives in New York and Berlin) combine artistic work with everyday life. They provide an insight into various production processes and, among other things, enable the viewer to participate directly.\u003C/p\u003E\u003Cp\u003EThe \u201CVolksboutique\u201D has grown away from any concrete connection with a specific place and has developed into a kind of travelling enterprise. Basically, it is a label under which different products are produced and specific forms of organisation are tested. In 1996, the artist opened a fully operating second-hand shop in Berlin in which she also acted the part of saleswoman. The public were also invited to play the double role of observer and customer at one and the same time, thereby gaining an insight into the artist\u0027s working processes while being directly involved with the project. The visitors\u0027 interest was attracted not only by the project\u0027s organisation but also by the direct interaction and transparency of the artistic working process. The \u201CVolksboutique\u201D is a venue, a container for ideas and a sales platform. Christine Hill not only sells her products under her brand name, she also acts as her own manager.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/christine-hill","target":"_self"},"clusterBy":"2001"},{"dateFrom":"10.11.","dateTo":"13.1.02","datetimeFrom":"2001-11-10","datetimeTo":"2002-01-13","defaultSource":"/media/3ebhonq4/mm_scan_1609_034_1bal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Costa Vece","description":"Look Back in Anger","exhibitionLongText":"\u003Cp\u003ECosta Vece (*1969, lives in Zurich) works close to reality. In dense juxtapositions of art and life, his installations always have an exciting impact. Usually using simple and emphatically base materials, Vece operates with a kind of merchandise recycling, frequently using elements that normally serve as means of packaging or transport rather than products in their own right: cardboard boxes, pallets, chocolate paper, oil drums and other containers. With video images collected along the way, trenchant sound tracks and more or less complicated lighting effects, the artist breathes new life into these structures.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/costa-vece","target":"_self"},"clusterBy":"2001"},{"dateFrom":"10.11.","dateTo":"13.1.02","datetimeFrom":"2001-11-10","datetimeTo":"2002-01-13","defaultSource":"/media/5o3d3bux/dsc_7661_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Club Hollywood - Collection","description":"","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/club-hollywood-collection","target":"_self"},"clusterBy":"2001"},{"dateFrom":"20.10.","dateTo":"28.10.01","datetimeFrom":"2001-10-20","datetimeTo":"2001-10-28","defaultSource":"/media/pxcntysq/shahbazi_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"M Family","description":"","exhibitionLongText":"\u003Cp\u003ECurated by Frank Hyde-Antwi and Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/m-family","target":"_self"},"clusterBy":"2001"},{"dateFrom":"25.8.","dateTo":"14.10.01","datetimeFrom":"2001-08-25","datetimeTo":"2001-10-14","defaultSource":"/media/14ee1ow0/screen.jpg","title":"Re:View: Switzerland\u0027s Most Promising Young Video Artists","description":"","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/review-switzerlands-most-promising-young-video-artists-1","target":"_self"},"clusterBy":"2001"},{"dateFrom":"25.8.","dateTo":"14.10.01","datetimeFrom":"2001-08-25","datetimeTo":"2001-10-14","defaultSource":"/media/z2ydnwdw/ex01143_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Wim Delvoye","description":"Cloaca","exhibitionLongText":"\u003Cp\u003EThe Belgian artist Wim Delvoye (*1965, lives in Gent) became known to a wider public at the 1992 documenta 9 exhibition. Now, nine years later, the migros museum is presenting the first museum exhibition of his work in Switzerland. The focal point of the exhibition is the monumental installation \u0022Cloaca\u0022, a representation of the human digestive system.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/wim-delvoye","target":"_self"},"clusterBy":"2001"},{"dateFrom":"1.6.","dateTo":"12.8.01","datetimeFrom":"2001-06-01","datetimeTo":"2001-08-12","defaultSource":"/media/r52pktbt/mm_scan_1609_047_1cbll_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection","description":"","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-17","target":"_self"},"clusterBy":"2001"},{"dateFrom":"1.6.","dateTo":"12.8.01","datetimeFrom":"2001-06-01","datetimeTo":"2001-08-12","defaultSource":"/media/qrapyfqc/amorales014_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Carlos Amorales","description":"Cabaret Amorales","exhibitionLongText":"\u003Cp\u003EIn his first large solo exhibition, the Mexican artist Carlos Amorales (*1970, currently living in Amsterdam) has created a pathway with new installations for the migros museum. In his artistic work, Amorales devotes himself to sociocultural and sociopolitical questions, focussing on his Mexican origins. Always designed as a performance, his work challenges the beholder to take a position.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/carlos-amorales","target":"_self"},"clusterBy":"2001"},{"dateFrom":"31.3.","dateTo":"20.5.01","datetimeFrom":"2001-03-31","datetimeTo":"2001-05-20","defaultSource":"/media/ys1f0wqp/dsc_5671_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Olaf Nicolai","description":"Enjoy / Survive","exhibitionLongText":"\u003Cp\u003EIn his first solo exhibition in Switzerland, the German artist Olaf Nicolai (*1962, lives in Berlin) will be presenting new works and selected work groups from recent years. Nicolai\u2019s artistic work is devoted to analysing the processes of perception, thereby provoking a different way of receiving it. The exhibition in the migros museum will be subdivided into a series of different empirical moments, all of which can be experienced individually.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/olaf-nicolai","target":"_self"},"clusterBy":"2001"},{"dateFrom":"2.2.","dateTo":"11.2.01","datetimeFrom":"2001-02-02","datetimeTo":"2001-02-11","defaultSource":"/media/ldzlwovl/107_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Piotr Uklanski","description":"Special Sneak Preview","exhibitionLongText":"\u003Cp\u003EPreviews are an exclusive and exciting affair, especially if an exhibition or a film is eagerly awaited. Piotr Uklanski (*1969, lives in New York) is organizing a couple of previews with the latest American strips in the Migros Museum, as a brief exhibition project. And this means: more previews for all!\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/piotr-uklanski","target":"_self"},"clusterBy":"2001"},{"dateFrom":"4.11.","dateTo":"18.3.01","datetimeFrom":"2000-11-04","datetimeTo":"2001-03-18","defaultSource":"/media/1jsltdv3/mm_scan_1609_036_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Let\u0027s Be Friends","description":"","exhibitionLongText":"\u003Cp\u003EThe migros museum will be showing works from its own collection until 18 March 2001. Since the opening in May 1996, an exemplary selection of works from the Nineties has been put together. Over a hundred new installations, videos and photographs have been purchased during the last years. In most cases it concerns the works of artists who have exhibited in the museum.\u003C/p\u003E\u003Cp\u003ECurated by Gianni Jetzer and Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/lets-be-friends","target":"_self"},"clusterBy":"2000"},{"dateFrom":"26.8.","dateTo":"22.10.00","datetimeFrom":"2000-08-26","datetimeTo":"2000-10-22","defaultSource":"/media/ojtn0fzb/206_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Personal Brandscape","description":"","exhibitionLongText":"\u003Cp\u003ECurated by Gianni Jetzer\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/personal-brandscape","target":"_self"},"clusterBy":"2000"},{"dateFrom":"26.8.","dateTo":"22.10.00","datetimeFrom":"2000-08-26","datetimeTo":"2000-10-22","defaultSource":"/media/g5lfmpm5/mm_scan_1609_009_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Alicia Framis","description":"Remix Buildings / Loneliness in the City","exhibitionLongText":"\u003Cp\u003EThe Spanish artist Alicia Framis will be guesting in Zurich with her project \u201CLoneliness in the City\u201D, following appearances in Barcelona, Dordrecht and Helsinki. A mobile tent structure commissioned by the artist will be erected on the Sch\u00FCtzenareal (opposite the Museum). \u003C/p\u003E\u003Cp\u003EFor a number of years now, Alicia Framis has been much talked about with her interventions in the public arena. Many of her works have a strong social background. Different classes of society are deliberately included in her art projects.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/alicia-framis","target":"_self"},"clusterBy":"2000"},{"dateFrom":"17.6.","dateTo":"13.8.00","datetimeFrom":"2000-06-17","datetimeTo":"2000-08-13","defaultSource":"/media/cs2jmekk/mm_scan_1609_032_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Maurizio Cattelan","description":"La rivoluzione siamo noi","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/maurizio-cattelan","target":"_self"},"clusterBy":"2000"},{"dateFrom":"8.4.","dateTo":"4.6.00","datetimeFrom":"2000-04-08","datetimeTo":"2000-06-04","defaultSource":"/media/14ee1ow0/screen.jpg","title":"Re:View: Switzerland\u0027s Most Promising Young Video Artists","description":"","exhibitionLongText":"\u003Cp\u003ECurated by Frank Hyde-Antwi and Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/review-switzerlands-most-promising-young-video-artists","target":"_self"},"clusterBy":"2000"},{"dateFrom":"8.4.","dateTo":"4.6.00","datetimeFrom":"2000-04-08","datetimeTo":"2000-06-04","defaultSource":"/media/5ctfhaxp/136_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Mike Kelley","description":"Sublevel, Framed and Frame, Test Room","exhibitionLongText":"\u003Cp\u003EThe migros museum will be presenting Switzerland\u2019s first comprehensive one-man exhibition by the Californian artist Mike Kelley. On show will be three fairly monumental installations and a couple of small-format work groups. Kelley\u2019s works have subversive potential. In his art the American exploits seemingly banal objects and uses them repeatedly to expose hidden meanings.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/mike-kelley","target":"_self"},"clusterBy":"2000"},{"dateFrom":"22.1.","dateTo":"19.3.00","datetimeFrom":"2000-01-22","datetimeTo":"2000-03-19","defaultSource":"/media/2vcfwnz3/207_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"SAT 4: PAC \u0026 KLAT","description":"","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/sat-4-pac-klat","target":"_self"},"clusterBy":"2000"},{"dateFrom":"22.1.","dateTo":"19.3.00","datetimeFrom":"2000-01-22","datetimeTo":"2000-03-19","defaultSource":"/media/nufbeld5/219_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Stefan Banz","description":"Gulliver","exhibitionLongText":"\u003Cp\u003EStefan Banz (*1961, lives in Lucerne) works directly from his private space. Since 1987 his artistic interest has been centred on his own family. Not least for reasons of economy \u2013 Banz describes himself as having a dual role as a father bringing up his children and as an artist. In the migros museum, the Swiss artist is presenting his \u201CGulliver\u201D project. This covers both groups of work from recent years and also a new installative work which fills several rooms. The approach is always conceptual, and Banz\u2019s creations incorporate photography, video, installation art, painting and text.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/stefan-banz","target":"_self"},"clusterBy":"2000"},{"dateFrom":"6.11.","dateTo":"9.1.00","datetimeFrom":"1999-11-06","datetimeTo":"2000-01-09","defaultSource":"/media/gyjh1ptq/105_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"PEACE","description":"","exhibitionLongText":"\u003Cp\u003E\u201CPeace\u201D explores the chances for peace on Earth on an artistic level. \u201CPeace\u201D is seen as a metaphor of reality, as an ironic challenge and a paradigmatic gesture. A dozen international artists will be taking part in \u201CPeace\u201D. The exhibition will be accompanied by a peaceful supporting programme and a lavishly illustrated catalogue with texts by different authors. \u003C/p\u003E\u003Cp\u003E\u201CPeace\u201D deals with artists who are able to create a peaceful atmosphere, artists whom you think of having something to do with peace, but not one-dimensionally using peace as their subject matter. \u201C\u003C/p\u003E\u003Cp\u003EPeace\u201D should leave open space for reflecting on the most different dimensions of our everyday culture. \u201CPeace\u201D deals with a key value of everyday life, spanning a wide network of sociological, psychological, political, moral and also aesthetic issues. \u003C/p\u003E\u003Cp\u003EIn this sense, \u201CPeace\u201D is a way of showing, both on a loose as well as on an engaged level, a specific late twentieth-century and early twentyfirst-century concept of the social relevance of contemporary art. \u201CPeace strives for meaning.\u003C/p\u003E\u003Cp\u003ECurated by Gianni Jetzer and Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/peace","target":"_self"},"clusterBy":"1999"},{"dateFrom":"28.8.","dateTo":"24.10.99","datetimeFrom":"1999-08-28","datetimeTo":"1999-10-24","defaultSource":"/media/sfxbjoqv/006_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection","description":"","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/collection-16","target":"_self"},"clusterBy":"1999"},{"dateFrom":"28.8.","dateTo":"24.10.99","datetimeFrom":"1999-08-28","datetimeTo":"1999-10-24","defaultSource":"/media/eqjbmmnk/mm_scan_1609_008_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Cady Noland \u0026 Olivier Mosset","description":"MONO","exhibitionLongText":"\u003Cp\u003ECady Noland and Olivier Mosset have had a considerable influence on other artists - of both their own and of a younger generation. References to everyday life are loosely woven into their works; the two have no problems in dealing with the \u2018real\u2019 world. Mosset, for instance, refers to long trips on his Harley-Davidson as being an important experience for his painting. There are parallels in the artistic vocabularies of the two. Their works are precise, direct and reduced to the bare essentials. Noland and Mosset are joining forces for the first time, putting on a double exhibition in the migros museum.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/cady-noland-olivier-mosset","target":"_self"},"clusterBy":"1999"},{"dateFrom":"14.6.","dateTo":"20.6.99","datetimeFrom":"1999-06-14","datetimeTo":"1999-06-20","defaultSource":"/media/bpwlr4kb/fiscu9916304_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"SAT 3: What a Mess (Liste Basel)","description":"","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/sat-3-what-a-mess-liste-basel","target":"_self"},"clusterBy":"1999"},{"dateFrom":"12.6.","dateTo":"15.8.99","datetimeFrom":"1999-06-12","datetimeTo":"1999-08-15","defaultSource":"/media/5cucavwn/104_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Uri Tzaig","description":"B/W","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/uri-tzaig","target":"_self"},"clusterBy":"1999"},{"dateFrom":"3.4.","dateTo":"30.5.99","datetimeFrom":"1999-04-03","datetimeTo":"1999-05-30","defaultSource":"/media/zq1hphvg/hessn100900_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection","description":"","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-18","target":"_self"},"clusterBy":"1999"},{"dateFrom":"3.4.","dateTo":"30.5.99","datetimeFrom":"1999-04-03","datetimeTo":"1999-05-30","defaultSource":"/media/k2mmwssu/232_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Atelier van Lieshout","description":"The good, the bad \u002B the ugly","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/atelier-van-lieshout","target":"_self"},"clusterBy":"1999"},{"dateFrom":"3.4.","dateTo":"30.5.99","datetimeFrom":"1999-04-03","datetimeTo":"1999-05-30","defaultSource":"/media/dapgqtrz/langb99020_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"SAT 2: L/B (Lang/Baumann) Beautiful Corner","description":"","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/sat-2-lb-langbaumann-beautiful-corner","target":"_self"},"clusterBy":"1999"},{"dateFrom":"17.2.","dateTo":"12.4.99","datetimeFrom":"1999-02-17","datetimeTo":"1999-04-12","defaultSource":"/media/xbyjj3lp/sat1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"SAT 1: Fabrice Gygi","description":"","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/sat-1-fabrice-gygi","target":"_self"},"clusterBy":"1999"},{"dateFrom":"30.1.","dateTo":"21.3.99","datetimeFrom":"1999-01-30","datetimeTo":"1999-03-21","defaultSource":"/media/go1hrbtc/036_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection","description":"Make Your Home a Pleasure Zone","exhibitionLongText":"\u003Cp\u003ECurated by Gianni Jetzer and Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-22","target":"_self"},"clusterBy":"1999"},{"dateFrom":"30.1.","dateTo":"21.3.99","datetimeFrom":"1999-01-30","datetimeTo":"1999-03-21","defaultSource":"/media/gklpexl4/137_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Christine Borland","description":"","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/christine-borland","target":"_self"},"clusterBy":"1999"},{"dateFrom":"7.11.","dateTo":"10.1.99","datetimeFrom":"1998-11-07","datetimeTo":"1999-01-10","defaultSource":"/media/qcxjdjnu/235_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Sylvie Fleury","description":"Hot Heels","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/sylvie-fleury","target":"_self"},"clusterBy":"1998"},{"dateFrom":"28.8.","dateTo":"6.9.98","datetimeFrom":"1998-08-28","datetimeTo":"1998-09-06","defaultSource":"/media/luvdff1e/banzs99006_5_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Diana.98","description":"","exhibitionLongText":"","link":{"href":"/en/programmes/exhibitions/diana98","target":"_self"},"clusterBy":"1998"},{"dateFrom":"22.8.","dateTo":"18.10.98","datetimeFrom":"1998-08-22","datetimeTo":"1998-10-18","defaultSource":"/media/wckl12sx/ex01253_1_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Rirkrit Tiravanija","description":"Das soziale Kapital","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/rirkrit-tiravanija","target":"_self"},"clusterBy":"1998"},{"dateFrom":"27.6.","dateTo":"9.8.98","datetimeFrom":"1998-06-27","datetimeTo":"1998-08-09","defaultSource":"/media/b42ac0uv/ateli100800_99_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection","description":"","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection-19","target":"_self"},"clusterBy":"1998"},{"dateFrom":"27.6.","dateTo":"9.8.98","datetimeFrom":"1998-06-27","datetimeTo":"1998-08-09","defaultSource":"/media/ycwfly21/ex01005_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Ironisch / Ironic","description":"","exhibitionLongText":"\u003Cp\u003EOne essential aspect of contemporary art is the artistic attitude which it conceals, which can only be taken interpretively from the finished product. This attitude represents a particular view of the world. In the late 1990s, this perspective is increasingly characterised by an ironic way of approaching reality. That is to say, that while it is certainly possible to discern references to reality, these are rarely one-dimensional, or over-determinative, but rather ambivalent, remote and/or playfully humorous. \u201CIronisch/Ironic\u201D shows five artistic viewpoints which could hardly be more diverse. It would therefore be wrong to apply the label \u2018ironic\u2019 to the artists. Rather, the five viewpoints pick out five elements which are associated in five different ways with the term \u2018ironic\u2019.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/ironisch-ironic","target":"_self"},"clusterBy":"1998"},{"dateFrom":"4.4.","dateTo":"14.6.98","datetimeFrom":"1998-04-04","datetimeTo":"1998-06-14","defaultSource":"/media/i4qgbxsb/128_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Angela Bulloch","description":"Superstructure","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/angela-bulloch","target":"_self"},"clusterBy":"1998"},{"dateFrom":"31.1.","dateTo":"22.3.98","datetimeFrom":"1998-01-31","datetimeTo":"1998-03-22","defaultSource":"/media/pacbryn3/mm_scan_1609_011_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"John Baldessari","description":"RMS W VU: Wallpaper, Lamps and Plants","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/john-baldessari","target":"_self"},"clusterBy":"1998"},{"dateFrom":"31.1.","dateTo":"22.3.98","datetimeFrom":"1998-01-31","datetimeTo":"1998-03-22","defaultSource":"/media/14ee1ow0/screen.jpg","title":"Jean-Baptiste Barriere","description":"Reality Check","exhibitionLongText":"\u003Cp\u003ESound installation\u003C/p\u003E\u003Cp\u003ECurated by Peter R\u00E9vai\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/jean-baptiste-barriere","target":"_self"},"clusterBy":"1998"},{"dateFrom":"8.11.","dateTo":"11.1.98","datetimeFrom":"1997-11-08","datetimeTo":"1998-01-11","defaultSource":"/media/xkafu5ya/135_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"HIP: Special Guest Susann Walder","description":"","exhibitionLongText":"\u003Cp\u003E\u201CHIP\u201D is a compilation of works documenting the most recent acquisitions of the Museum of Contemporary Art. Susann Walder is acting as \u201CSpecial Guest\u201D. Walder\u0027s new exhibit and new purchases from the last two years make up a course featuring a variety of atmospheres. Neither the art collection, nor the ambience are distinctively \u201Chip\u201D, even though this expression quite effectively defines a lifestyle background for artistic output in the late 1990s. In this exhibition, the closeness to reality of modern art is picked out and emphasised as a central theme.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/hip-special-guest-susann-walder","target":"_self"},"clusterBy":"1997"},{"dateFrom":"23.8.","dateTo":"26.10.97","datetimeFrom":"1997-08-23","datetimeTo":"1997-10-26","defaultSource":"/media/5emop53d/mm_scan_1609_044_1cbll_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Collection","description":"","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/collection","target":"_self"},"clusterBy":"1997"},{"dateFrom":"23.8.","dateTo":"26.10.97","datetimeFrom":"1997-08-23","datetimeTo":"1997-10-26","defaultSource":"/media/jpoam0wi/heen-en-weer-1997_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Marijke van Warmerdam","description":"Mitenand","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/marijke-van-warmerdam","target":"_self"},"clusterBy":"1997"},{"dateFrom":"31.5.","dateTo":"10.8.97","datetimeFrom":"1997-05-31","datetimeTo":"1997-08-10","defaultSource":"/media/xe4hvc00/132_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Flexible","description":"","exhibitionLongText":"\u003Cp\u003E\u201CFlexible\u201D is arguably the word (or non-word) of the year. \u201CFlexible\u201D in a deregulated market economy denotes a magic formula for the availability of resources; in a crisis-ridden labour market, where it functions as an adjective describing a new kind of service, it signifies individual attention. \u201CFlexible\u201D in art represents a pragmatic approach to the media and project-oriented creativity.\u003C/p\u003E\u003Cp\u003E\u201CFlexible\u201D offers itself as a metaphor for contemporary developments in art, in that the picture is by no means homogeneous. In the art of the nineties, extremes come together not only in the employment of widely different media but also in the approach to reality. The exhibition endeavours to demonstrate this intuitively by confrontations between different projects. The projects chosen for \u201CFlexible\u201D were either those which, in terms of growth, were trying to determine their dimensions, or those which still had potential for development; young art whose search for lasting authority was not merely characterized by a severe and logical attitude.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/flexible","target":"_self"},"clusterBy":"1997"},{"dateFrom":"1.2.","dateTo":"19.5.97","datetimeFrom":"1997-02-01","datetimeTo":"1997-05-19","defaultSource":"/media/dt0prkgb/005_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Juan Mu\u00F1oz","description":"","exhibitionLongText":"\u003Cp\u003EMu\u00F1oz\u2018 figurative drawings and sketches are often caricature-like. The installations have an enigmatic, occasionally witty effect; \u201CWaiting for Jerry\u201D is a mouse-hole from which issues the signature tune of the \u201CTom and Jerry\u0027 cartoons. The \u201CRaincoat-Drawings\u201D show interiors, furnished but deserted as if, like the balconies, anticipating an entry. Or have the occupants just left?\u003C/p\u003E\u003Cp\u003EWithout words - Mu\u00F1oz\u0027 pieces are often strikingly mute - concrete situations are created. The extensive exhibition, occupying some 800 square meters, culminates in a new work, \u201CPlaza\u201D. In it, thirty-three almost life-size, strangely smiling Chinese figures people the Museum\u0027s top light exhibition space.\u003C/p\u003E\u003Cp\u003E\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/juan-munoz","target":"_self"},"clusterBy":"1997"},{"dateFrom":"12.10.","dateTo":"19.1.97","datetimeFrom":"1996-10-12","datetimeTo":"1997-01-19","defaultSource":"/media/iazjeouf/099_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Douglas Gordon","description":"","exhibitionLongText":"\u003Cp\u003EDouglas Gordon (*1966, lives in Glasgow) will present a major installation of work at the Museum f\u00FCr Gegenwartskunst Z\u00FCrich. A group of large video projections transforms the museum\u0027s temporary exhibition hall into an intense visual and conceptual arena. By means of subtle intervention, Gordon appropriates existing film material which he alters very slightly and represents to the viewer as large scale projections.\u003C/p\u003E\u003Cp\u003EThe Museum f\u00FCr Gegenwartskunst Z\u00FCrich will also show another group of works by the artist; wall texts that have been created over the last five years. Although these take the form of words on walls, quite often they have had a more socially active role; Gordon sent various texts by letter to selected names and addresses and often used other \u2018collaborators\u2019 to speak the texts over the telephone in crowded bars, late at night.\u003C/p\u003E\u003Cp\u003EGordon will also make a \u201CReading Room\u201D in which different video tapes, books and catalogues that the artsit has chosen can be viewed.\u003C/p\u003E\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/douglas-gordon","target":"_self"},"clusterBy":"1996"},{"dateFrom":"7.7.","dateTo":"22.9.96","datetimeFrom":"1996-07-07","datetimeTo":"1996-09-22","defaultSource":"/media/005fe03q/mm_scan_1609_042_1cbll_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Paul Thek","description":"The wonderful world that almost was","exhibitionLongText":"\u003Cp\u003ECurated by Bernhard Mendes B\u00FCrgi and Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/paul-thek","target":"_self"},"clusterBy":"1996"},{"dateFrom":"5.5.","dateTo":"15.9.96","datetimeFrom":"1996-05-05","datetimeTo":"1996-09-15","defaultSource":"/media/5dffnsjg/mm_scan_1609_040_1cbll_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Ugo Rondinone","description":"Dog Days Are Over","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/ugo-rondinone","target":"_self"},"clusterBy":"1996"},{"dateFrom":"5.5.","dateTo":"15.9.96","datetimeFrom":"1996-05-05","datetimeTo":"1996-09-15","defaultSource":"/media/vi4jweed/mm_scan_1609_013_1cal_2fccaf30a4a93558cc8797a27d86be2d.jpg","title":"Die Sammlung / The Collection","description":"","exhibitionLongText":"\u003Cp\u003ECurated by Rein Wolfs.\u003C/p\u003E","link":{"href":"/en/programmes/exhibitions/die-sammlung-the-collection","target":"_self"},"clusterBy":"1996"}]