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Mudam Luxembourg

Mudam is the foremost museum dedicated to contemporary art in Luxembourg, and strives to be attentive to every discipline and open to the whole world. Its collection and programme reflect current artistic trends and appreciate the emergence of new artistic practices on a national and international scale.

The building, by famous Sino-American architect Ieoh Ming Pei, is a marvellous dialogue between the natural and historical environment. Standing against the vestiges of Fort Thüngen, it follows the course of the former surrounding walls, and is rooted in the Park Dräi Eechelen (planned by landscapist, Michel Desvigne) which offers magnificent views onto the old town just a short walk from the European district of Kirchberg.

The simple volumes and generous spaces of the building show the mastery of the architectural language by the famous architect in combining stone and glass. The skillful play between interior and exterior, multiplying the selected views onto the park environment whilst opening onto the sky thanks to the audacious glass canopy, is highlighted through the use of the covering in Magny Doré, a honey-coloured limestone which assumes, at any time of the day and in all seasons, subtle nuances depending on the light which it reflects. The museum is spread over three levels of 4,500 m2 of surface area dedicated to the visits. Its construction was begun in January 1999 and it was inaugurated on 1 July 2006.

The cultural project of Mudam is based on a conception of art seen at a poetical distance from the world. Its key words are freedom, innovation, a critical mind, and all this, not devoid of humour. The programme favours every vector of expression while questioning our habits and our representations. It aims to capture not only a way of contemporary thinking, but also the aesthetic language of an age to come.

The Mudam Collection bares witness to contemporary creation in all its technical and aesthetic forms, while remaining open to every other artistic discipline: painting, drawing, sculpture, photography, as well as design, fashion, graphic design and new media are all put on show. Resolutely anchored in the contemporary, the collection endorses poetic variations from the great masters such as Bernd and Hilla Becher, Daniel Buren, Blinky Palermo or Cy Twombly. The museum’s interior and exterior furniture was entrusted to artists and designers such as Erwan and Ronan Bouroullec, Martin Szekely, Konstantin Grcic, Bert Theis, Andrea Blum or David Dubois). The Collection has been put together regarding the evolution of international creation while paying particular attention to the most significant national productions.

Mudam lives this adventure in relation with its public. The last-mentioned are invited to shed all preconceptions before entering the museum, to rid themselves of any prejudices and to apprehend art with a renewed look and in complete freedom. Numerous possibilities are offered in terms of the visit, from the most rigid to the most liberal, leaving a wide choice of exploration. A place for aesthetic discoveries, for reflection and contemplation, Mudam is also a place for conviviality in a restful environment (Mudam Café), and for finding treasures (Mudam Boutique).

contact

Mudam Luxembourg
Musée d’Art Moderne Grand-Duc Jean
3, Park Dräi Eechelen
L-1499 Luxembourg

fon: +352 45 37 85-960
email: info@mudam.lu

 

OPENING HOURS
Wednesday to Friday: 11am – 8pm
Saturday to Monday: 11am – 6pm
Closed on Tuesday.

ENTRANCE FEES
Full price: 5€
Concessions: 3€
(18-26 years old, >60 years old, Amis des Musées, Groups from 15 people. Groups are kindly request to inform Mudam about their visit, phone: +352 45 37 85-1 or e-mail: visites@mudam.lu.)

Photos: © Pierre-Olivier Deschamps / Agence Vu, Musée d'Art Moderne Grand-Duc Jean, Architect: I.M. Pei
Bewertungschronik

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Exhibition

Agnieszka Kurant

Solo exhibition

Agnieszka Kurant (b. 1987, Łódź), whose works explore contemporary phenomena such as artificial intelligence and the relationship between the digital and biological worlds, has been invited to produce a new installation for the Henry J. and Erna D. Leir Pavilion. The exhibition gathers a series of new and existing works, such as Alien Internet (2023), a piece composed of ferrofluid – a black inorganic substance invented by NASA in 1963 – suspended in an electromagnetic field, whose shape changes in response to data collected by digital technologies on the migration and interactions of animals in the world.

Biography:
Agnieszka Kurant (b. 1978, Łódź, Poland) has presented solo exhibitions at the Kunstverein Hannover, Hanover (2023); Castello di Rivoli, Turin (2022); Muzeum Sztuki, Łódź (2021); Design Museum Gent, Ghent (2019); SCAD Museum of Art, Savannah (2017); SculptureCenter, New York (2013) and Stroom den Haag, The Hague (2013). In 2015, she was invited to create a work for the façade of the Solomon R. Guggenheim Museum, New York. Her works have recently been shown in group exhibitions at the Villa Carmignac, Porquerolles (2023); Palazzo Bollani, Venice as part of the 59th Venice Biennale (2022); Hamburger Kunstverein, Hamburg (2021) and Museum of Modern Art, New York (2020). The artist participated in residencies at the Berggruen Institute, Los Angeles, in 2020–21 and the MIT Center for Art, Science & Technology, Cambridge, from 2017 to 2019. She lives and works in New York.

Curator: Sarah Beaumont

The exhibition is organised with the support of the Kunstverein Hannover.

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Performance

red bridge project

Lemi Ponifasio - The Manifestation

The Manifestation ist eine Performance von epischem Ausmaß, die mit der Mitwirkung von 150 Personen aus verschiedenen gesellschaftlichen Gruppen rechnet, welche Luxemburg als Raum, Lebenswelt und Kultur definieren. Über die physischen Räume der Institutionen hinaus bringt The Manifestation die Menschen durch Zeremoniell, Redekunst, Tanz, Musik und Essen zusammen und lädt alle zum Mitmachen ein. The Manifestation wird vor dem Grand Théâtre de la Ville de Luxembourg beginnen, die Parade führt über die Rote Brücke, dann an der Philharmonie vorbei, bis zum Gelände des Mudam.

Biografie
Der neuseeländisch-samoanische Regisseur und Choreograf Lemi Ponifasio (1965, Lano, Samoa) ist bekannt für seine radikalen, «Kosmovision» genannten, theatralen Vorstöße und seine Zusammenarbeit mit indigenen Gemeinschaften und Kulturen. Ponifasio gründete 1995 MAU, das die philosophische Grundlage seiner Arbeit bietet und zugleich den roten Faden, der sich durch diese zieht. MAU ist gleichzeitig die Bezeichnung für die Menschen und Gemeinschaften, mit denen er zusammenarbeitet. MAU ist das samoanische Wort für die Erklärung der Wahrheit in einer Sache, im Kontext einer im Raum stehenden Transformation. Nach der belgischen Choreografin Anne Teresa De Keersmaeker (2017/18) und dem südafrikanischen Künstler William Kentridge (2020/21) ist Ponifasio der dritte Künstler, der die künstlerische Leitung des red bridge project übernimmt, einer interdisziplinären Zusammenarbeit zwischen dem Mudam, den Théâtres de la Ville de Luxembourg und der Philharmonie.

Im Rahmen des: red bridge project

Eine Zusammenarbeit zwischen:
Mudam
Théâtres de la Ville de Luxembourg
Philharmonie

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Exhibition

Jason Dodge. Tomorrow, I walked to a dark black star

A Model: Epilogue

In the context of the group exhibition A Model, Jason Dodge (b. 1969, Newtown, Pennsylvania) has been invited to conceive an epilogue. Tomorrow, I walked to a dark black star materialises as a solo show within a group exhibition.

An epilogue is understood as a speech or piece of text added at the end of a play or book, often making a brief statement about what happens to the characters after the play or book is finished. The exhibition, as epilogue, becomes at once medium–object–subject, working together to tap into how we perceive things, and subsequently transform them. This reverse way of mounting an exhibition of an artist’s work in an existing exhibition, consisting in the addition of a layer to something already existing, gives way to an exploration of the potentials of both a group show and a solo show, disturbing and expanding their respective frames and temporalities.

Jason Dodge is interested in the landscape that we see and the landscape of our lives, what we have and what we think, who we connect to and who we distance ourselves from – the things that comprise this work come directly from the landscape we have made together. Think of a pocket emptied out on any day, the traces of a part of us can be seen in bits of paper, some coins, a ticket for something, some dust, proof you were here, proof you were living.

The things and traces that comprise Dodge’s work remind us that bodies and minds are not displaced from each other. Just as our bodies are part of other systems and organisms and connected to other bodies. Dodge enacts a shared experience in which cause and effect, touching and letting go, are a circular event. These familiar, at times marginal, remains become strange to us through the artist’s gestures. This exhibition Tomorrow, I walked to a dark black star takes on the language contained in existing things and how we transform them over and over.

For the artist, things exist, always in the present tense. While we can trace our relationship to something we can recognise, we can never know its complete story. The title Tomorrow, I walked to a dark black star, a line from a poem by Alfred Starr Hamilton (b. 1914 – 2015, Montclair, New Jersey), is also a found element in the epilogue. The gap in syntax between the future and the past tense highlights the artist’s ability to trouble fixed entities. What are the boundaries between what the artist has done and what we have done?

Biography:
Jason Dodge (b. 1969, Newtown, Pennsylvania) has presented exhibitions in galleries, museums, biennials, art centres, and artist-run spaces since the late 1990s. His work is held in several public collections. In 2012 Dodge founded and continues to edit the poetry imprint Fivehundred places. Dodge recently presented the solo exhibitions Cut a Door in the Wolf, MACRO, Rome (2021) and They lifted me into the sun and packed my empty skull in cinnamon, a six-part exhibition held at Akwa Ibom, Athens; Guimaraes, Vienna; MOREpublishers with Gevaert Editions, Brussels; Galleria Franco Noero, Turin and Gern en Regalia, New York (2020); at the height of the pandemic each exhibition was installed by several artists including Eva Barto, SoiL Thornton and Giorgio Griffa. Other solo exhibitions include: Jason Dodge with Ishion Hutchinson: The Broad Church of Night, the Neubauer Collegium for Culture and Society, curated by Dieter Roelstraete, Chicago (2018); Water Paper Cut, Schinkel Pavillon, Berlin (2017); Behind this machine anyone with a mind who cares can enter, IAC – Institut d’Art Contemporain de Villeurbanne (2016). Dodge co-curated Enemy of the Stars with Krist Gruijthuijsen at KW Institute, Berlin (2017). His work has recently been included in The Collection for the 21st Century at the Hamburger Bahnhof – Nationalgalerie der Gegenwart, Berlin (2023) and in group exhibitions at Castello di Rivoli, Museo d’Arte Contemporanea, Turin (2020); the Hammer Museum, Los Angeles (2018); MIT List Visual Arts Centre, Cambridge, USA (2017). He lives on Møn.

Miniguides:
Download the exhibition booklet and learn more about the exhibition

Curators:
Bettina Steinbrügge with Sarah Beaumont, Clément Minighetti and Joel Valabrega

The exhibition is supported by:
Banque Degroof Petercam Luxembourg

Thanks to:
The Danish Arts Foundation
Carlsberg Foundation

Jason Dodge’s Tomorrow, I walked to a dark black star is presented across all exhibition spaces dedicated to the exhibition A Model on levels 0 and 1.

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Exhibition

Biennale Arte 2024: A Comparative Dialogue Act by Andrea Mancini and Every Island

A Comparative Dialogue Act challenges the entrenched notion of individual artistic authorship by presenting a collection of works where artists relinquish ego in favour of a profound exploration of collective creativity through the medium of sound.

A programme of residencies taking place over the duration of the Biennale will transform the pavilion into a production space where each individual exploration will contribute to a shared body of work.

This exhibition explores the transformative potential of sound as a medium for cultivating connection and understanding. It aims to transcend the limits set by singular perspectives of what Sound can lend to the acts of interpreting, distorting and appropriating

Sound as a Medium

The title, ‘A Comparative Dialogue Act’, encapsulates the nature of this experimental project – an exploration of diverse sonic languages and a contemplation of dialogue beyond the visual, into the immersive world of sound as a tool for negotiation.

Four artists are invited to explore the elements that define their individual practices and artistic methods. Each artist is asked to create a sound library representing their unique approach by the start of the Biennale. Each of these libraries will be a part of the Pavilion space to become one shared tool. During the six months of the Biennale, each artist will appropriate and use this libraryto create a soundscape. The aim is to stimulate collaboration and community through an understanding and interpreting of what was made available by others, while allowing, in exchange, the use of each other’s libraries to create distinct works and performances.

The body of work, both the libraries and the residencies’ productions, will constantly be absorbed and integrated anew – challenging notions of authorship and appropriation, each contribution will be shared, contributing to a dialogue between the artist present at a given time and those who came before, or will come to inhabit the space in turn.

Each artist will engage in a series of performances. The performance is part of the collective artwork and is the moment during which each artist presents their contribution in public. Although the artists never physically cross paths, their explorations intersect in a cyclically unfolding process of synthesis through interference, understanding and trust.

During the performances, artists may manipulate and combine the body of sounds as they wish, while incorporating new and live material. The resulting sequence of pieces will be published as a vinyl record, to be released at the end of the Biennale.

Throughout the thirty-week duration of the Biennale and its programme of residencies, the space will remain continuously accessible to the public: the installation of the pavilion is designed to foster moments of appropriation and performance, without setting boundaries between artist and audience, who, instead, will coexist.

Physical description of the pavilion:
The pavilion is conceived as an infrastructure for the transmission of sound. Technology is used to develop a local experiment investigating the transmission of knowledge and work in progress. The notion of openness is here not bound to the absence of limits, but rather to appropriation of ‘the other’ and its contribution to collective and open-ended scenarios.

The pavilion’s infrastructure is constituted of four elements: four walls, a floor, a ceiling, and a curtain façade.

The four walls, or ‘Sound Wall’, are the central piece and sound system itself. They are on wheels, allowing the artist to interact and work them as they are arranged or re-arranged in the space. Each trolley supports a glass panel: the sound is transmitted through one of them via a transducer, a loudspeaker component that lacks the frame and cone of traditional speakers and functions by vibrating a rigid surface to create sound.

The artist decides how to use the sound walls during their residency. The sound walls serve as tools during the performance, and to play the recorded library of sounds and produced pieces when no artist is present. The four sound walls can be in syntony, looping a previous performance, as well as in interference with each other. Each of these moments of confrontation or interference between the work of several artists is defined as ‘dialogue’.

The floor, constructed with standard floating floor panels left bare, functions as a vibrating surface tuned to the walls. The aluminium tiles are fixed to a network of Bass shakers, a type of transducer that transmits bass frequencies to floors. The suspended ceiling hosts a light installation and the electrical nerve of the installation, while a curtain façade acoustically divides the pavilion from the rest of the Sale d’Armi.

In line with the notion of continuous appropriation which will shape the pavilion’s content, the infrastructure is also physically altered. The metallic coating of the floor is engraved with symbols and texts that become a temporal record of the pavilion itself, but also the colophon and description of the work. It presents the timeline of appropriations, becoming a palimpsest for the audience to map moments of performance and moments of dialogue.

Visual identity concept:
“The visual identity has originated from a collaborative process, wherein we designed a collective idiosyncratic alphabet based on the writings of everyone involved in the pavilion, including artists and the curator. The typeface was then optimized to provide instructions to a CNC machine, converting human strokes into numeric instructions for the milling machine. This process facilitated the production of all the necessary graphic materials, from the poster to the floor of the pavilion itself”, Lorenzo Masson

Publication:
The exhibition will be accompanied by a publication and a vinyl record. The publication will act as a prequel and include a commissioned essay by writer and musician Dan Fox as well as a curatorial statement by Joel Valabrega, alongside a rich visual contribution by the commissioned artists. The record will be released at the end of the Biennale and stands as a sequel, comprising the resulting activity taking place at the Pavilion over six months. Together they will form a tangible, physical trace of A Comparative Dialogue Act. They will be published by Mudam Luxembourg - Musée d’Art Moderne Grand-Duc Jean, and designed by Lorenzo Mason.

Biographies:

Andrea Mancini (b. 1989) is a Luxembourgish artist and musician based in Brussels. Mancini’s practice is interdisciplinary and investigates the relationship between space, form and the realm of sound through composition, installations and video environments activated by performance practices. His recurrent work method consists in confronting the intangible materiality of sound, the tension it creates and the texture it unveils. Mancini’s work also uses codes from club-culture, a scene he has been a part of for a number of years under his alias ‘Cleveland’. The artist’s works have recently been shown in exhibitions, festivals and labels such as Rotondes (2023), Kalahari Oyster Cult (2023), Casino Luxembourg (2023) and Cité internationale des arts in Paris (2022), among others.

Every Island was founded in Brussels in 2021 by Alessandro Cugola, Caterina Malavolti, Damir Draganic, Juliane Seehawer and Martina Genovesi. As a collective their spatial research focuses on the role of performativity in architecture, which translates into volatile building projects and installations. Their projects develop spaces that are open to different uses and consequently abandon inherited binary and conventional models. Space becomes a design tool that defines an alternative common ground. By provoking a confrontation between the spectator and the work, Every Island ‘arrives at scenarios in which seeing, acting and imagining become fundamental’. The work of the collective has been shown in several institutions and performative arts festivals, including Mudam Luxembourg (2022), Santarcangelo dei Teatri (2022), VIERNULVIER (2022) and BOZAR (2023).

Joel Valabrega (b. 1991) is Curator of Performance and Moving Image at Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean. She holds a master’s degree in Architecture (Milano and Venice). Valabrega has worked within institutional contexts as well as in independent spaces. Valabrega is part of the curatorial team responsible for programming of MEGA, a Milanese project space. In the past she has worked as visiting curator at the V-A-C Foundation in Moscow & Venice (2018-2019). Recent exhibitions, performances and commissions include projects with Tarek Atoui, Alexandra Bachzetsis, Pauline Boudry & Renate Lorenz, Cecilia Bengolea, Trajal Harrell, Ligia Lewis, Ari Benjamin Meyers and Nora Turato.

The Ministry of Culture has appointed:
Kultur | lx – Arts Council Luxembourg as commissioner and organiser

Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, Joel Valabrega as curator

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Exhibition

A Model

Group exhibition

We all have ideas of what a contemporary art museum should be. Those who founded Mudam Luxembourg, for example, envisioned a museum that would encompass many aspects of contemporary culture, such as art, design and architecture. While one believes the museum to be a place for the presentation of modern art, others view it as a showcase for Luxembourgish creation. And some see Mudam as a space for collectivity, for openness, for events and an experimental approach.

In general, what a museum does is to assemble, examine and revise narratives about artworks, artists, times and places. In 2022, ICOM expanded the definition of a museum: ‘A museum is a nonprofit, permanent institution in the service of society that explores, collects, conserves, interprets and exhibits tangible and intangible heritage. Open to the public, accessible and inclusive, museums promote diversity and sustainability. They operate and communicate ethically, professionally and with the participation of communities, offering diverse experiences for education, enjoyment, reflection and knowledge sharing.’

A Model is an exhibition that proposes a reflection on the role of the museum at the beginning of the twenty-first century. It reaffirms the need to think of the institution as a living place, sensitive and receptive to contemporary debates. A Model considers the possibilities that arise when museum collections are reimagined as active and performative environments. A Model brings together more than thirty artists, some to conceive new commissions, some inspired by and in dialogue with works from the collection. And A Model wants to start a conversation about the museum you would like Mudam to be.

The exhibition was inspired in part by artist and activist Palle Nielsen’s project The Model – A Model for a Qualitative Society. First presented at the Moderna Museet in Stockholm in 1968, Nielsen’s exhibition wanted to open the museum by proposing an adventure playground open to all children.

This exhibition is the second chapter of A Model, a three-part project that unfolds from 1 December 2023 to 8 September 2024. It follows A Model: Prelude – Rayyane Tabet. Trilogy and will be concluded by A Model: Epilogue – Jason Dodge. Tomorrow, I walked to a dark black star.

Curator: Bettina Steinbrügge
Associate curators: Sarah Beaumont, Clément Minighetti and Joel Valabrega
Research team: Tess Mazuet, António Mendes, Carlotta Pierleoni, Jade Saber

Artists: Alvar Aalto, Sophia Al Maria, James Richmond Barthé, Nina Beier und Bob Kil, Tomaso Binga, Anna Boghiguian, Andrea Bowers, Robert Breer und Pontus Hultén, Matilde Cerruti Quara, Ali Cherri, Tony Cokes, Nayla Dabaji, Jason Dodge, Claire Fontaine, Matthew Angelo Harrison, General Idea, María Jerez und Edurne Rubio, Isaac Julien, Marysia Lewandowska, Hanne Lippard, Renzo Martens, Melvin Moti, Oscar Murillo, Palle Nielsen, Khandakar Ohida, Daniela Ortiz, Walid Raad, Finnegan Shannon, Krista Belle Stewart, SUPERFLEX, Rayyane Tabet, Su-Mei Tse, Nora Turato, Dardan Zhegrova

The exhibition is supported by: Banque Degroof Petercam Luxembourg
Thanks to: The Danish Arts Foundation, Carlsberg Foundation, Peintures CIN, Colors by Tectone

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Exhibition

Mudam Collection

The most important collection of contemporary art in Luxembourg

Resolutely international in its scope and ambition, the collection's holdings consist of close to 700 works of art in all media by artists from Luxembourg and around the world.

A small nucleus of the collection consists of fashion and design objects. Over 54 works are the result of commissions by Mudam for its distinctive architectural context. The constitution of the collection traces back to the first acquisitions for the museum in the 1990s, the creation of the Museum of Modern Art Grand-Duc Jean Foundation in 1998, and the opening of the Museum in 2006. While the decade of the 1960s serves as an historic point of reference for contemporary art, the majority of works in the collection date from 1989 to the present. An exception to this historical span is the ensemble of furniture for the Paimio Sanatorium, designed between 1931 and 1933 by the architect Alvar Aalto, and acquired in 2002.

Nancy Spector (Artistic director – Chief Curator of the Solomon R. Guggenheim Foundation in New York), Daniel Birnbaum (Director of Acute Art in London) and Adam Szymczyk (Artistic Director of documenta 14) were named members of the Mudam Collection Scientific Committee until 2020, with Mudam Board representative Paul di Felice. The committee is presided by Mudam director, Suzanne Cotter.

Works from the collection currently on show at Mudam

Stephan Balkenhol, Portaits de SS.AA.RR. Le Grand-Duc Jean et La Grande-Duchesse Joséphine-Charlotte
Ronan & Erwan Bouroullec, Mudam Café
Thomas Hirschhorn. Flugplatz Welt/World Airport
Suki Seokyeong Kang
Michel Paysant, Nano-portraits de SS.AA.RR. le Grand-Duc Henri et la Grande-Duchesse Maria Teresa
Recent Donations and Long-Term Loans
Martin Szekely, Lobby
Bert Theis, Drifters
Su-Mei Tse, Many Spoken Words
Worlds in Motion
Works from the collection currently on show at Park Dräi Eechelen

Maria Anwander, The Present
Nairy Baghramian, Beliebte Stellen/Privileged Points
Andrea Blum, gardens + fountains + summer café
Fernando Sánchez Castillo, Bird Feeder
David Dubois, Chênavélos & Bancs-terre
Ian Hamilton Finlay, HUIUS SECULI CONSTANTIA ATQUE ORDO INCONSTANTIA POST ERITATIS A ST.J

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Online-Shop

Mudam Store

Visit the online store!

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3 Exhibition

Enfin seules

Photographs from the Archive of Modern Conflict

Enfin seules (alone at last) presents a selection of over two hundred images from the Archive of Modern Conflict. Established in London in 1992, the Archive describes itself as ‘a repository for the lost and forgotten stories that lie hidden in the photographic record’. Initially focusing on ‘conflict, it has grown into something more resembling a laboratory than a traditional archive’. Today it is one of the largest collections of photography in the world, comprising over eight million images and producing books and exhibitions that span a multitude of genres.

Presenting photographs from across several continents and a period spanning 140 years, Enfin seules offers a fresh look at the photography of the natural world, revelling in the diversity and individual character of its subjects. The exhibition reflects the eclectic interests of the Archive, drawing on images from the mid-nineteenth century to the 1970s to imagine a world where all animal and insect life has disappeared from Earth.

Conceived as an immersive environment organised around a central, cavernous space, the galleries will be wallpapered with photographs from the Archive. Images of flora, fungi, tree-trunks, ferns, roots, stalagmites and aurorae are enlarged to form a panorama of plants, rocks and light that provide the backdrop for an array of recent and historical prints. Spanning several generations of photography and encompassing various processes and techniques, images by renowned artists and photographers as well as figures from the history of botany, astronomy, mathematics and science are presented alongside those of amateur enthusiasts or unknown figures.

The Archive of Modern Conflict has held exhibitions at PHotoESPAÑA, Madrid (2018); Les Rencontres d’Arles (2017 and 2018); Tate Modern (2014), Hayward Gallery, London (2013), The Museum of Contemporary Art Toronto (2013) and Paris Photo (2012). Their award-winning imprint, AMC Books, has published over seventy books and regularly publishes the journal AMC2.

European Month of Photography (EMOP) is a network of photography festivals taking place every two years in Berlin, Lisbon, Luxembourg, Paris and Vienna. The collaboration seeks to strengthen the international photography scene by promoting partnerships, exchange and support for young artists. The European Month of Photography in Luxembourg is organised by Café-Crème asbl.

Including photographs by:
Anna Atkins (b. 1799, Tonbridge; d. 1871, Halstead), Paul Marcellin Berthier (b. 1822, Paris; d. 1912, Paris), Brassaï (b. 1899, Brașov; d. 1984, Beaulieu-sur-Mer), Adolphe Braun (b. 1812, Besançon; d. 1877, Dornach), Fred Payne Clatworthy (b. 1875, Dayton; d. 1953, Estes Park), Thomas Joshua Cooper (b. 1946, San Francisco), William Craven (b. 1809, London; d. 1866, Scarborough), Maxim Petrovich Dmitriev (b. 1858, Povalichino; d. 1948 Nizhny Novgorod), Henry John Elwes (b. 1846, Cheltenham; d. 1922, Cheltenham), Dmitri Yermakov (b. 1845, Tbilisi; d. 1916, Tbilisi), Amelia Elizabeth Gimingham (b. 1833, London; d. 1918, Axbridge), Fay Godwin (b. 1931, Berlin; d. 2005, Hastings), Dr. Conrad Theodore Green (b. 1863, Kirkburton; d. 1940, Birkenhead), Petr Helbich (b. 1929, Prague), John Karl Hillers (b. 1843, Hanover; d. 1925, Washington), Frederick Hollyer (b. 1838, London; d. 1933, Blewbury), Bertha Jaques (b. 1863, Covington; d. 1941, Chicago), Edward Dukinfield Jones (b. 1848, Derby; d. 1938, Los Angeles), August Kotzsch (b. 1836, Dresden; d. 1910, Dresden), Axel Lindahl (b. 1841, Mariestad; d. 1906, Södertälje), Lee Miller (b. 1907, Poughkeepsie; d. 1977, Chiddingly), Paul-Émile Miot (b. 1827, Trinidad; d. 1900, Paris), Charles Nègre (b. 1820, Grasse; d. 1880 Grasse), Ferdinand Quénisset (b. 1872, Paris; d. 1951, Juvisy-sur-Orge), Willy Ronis (b. 1910, Paris; d. 2009, Paris), Jaroslav Rössler (b. 1902, Smilov; d. 1990 Prague), José María Sert (b. 1874, Barcelona; d. 1945, Barcelona), Carlo Baldassare Simelli (b. 1811, Stroncone; d. after 1877), Fredrick Carl Størmer (b. 1874, Skien; d. 1957, Oslo), Josef Sudek (b. 1896, Kolín; d. 1976, Prague), Graham Sutherland (b. 1903, London; d. 1980, London), Eugen Wiškovský (b. 1888, Dvůr Králové nad Labem; d. 1964, Prague) and Shikanosuke Yagaki (b. 1897, Kyoto; d. 1966).

Exhibition Concept: Timothy Prus (Archive of Modern Conflict)

Curators:
Timothy Prus
Assisted by Ed Jones, Luce Lebart, Giulia Shah, and Michelle Wilson
Michelle Cotton
Assisted by Sarah Beaumont, and Christophe Gallois

Exhibition Design: Polaris Architects

The exhibition is conceived by the Archive of Modern Conflict for Mudam on the occasion of the European Month of Photography (EMOP).

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19.05.21, 23:32, KP Enfin seules heiß endlich allein

Die älteste Künstlerin dieser Ausstellung wurde 1799 geboren. Das ist insofern etwas Besonderes, weil es um Fotografie geht und die Fotografie erst um 1820 erfunden wurde. Enfin seules heiß endlich allein und ist der Name der Ausstellung mit Werken des Archive of Modern Conflict. Diese Archiev, dass sich zunehmend selbst zu einem Laboratorium rund um die Fotografie entwickelt, versteht sich selbst als “Aufbewahrungsort für die vergessenen und verborgenen Geschichten, die versteckt in seinem fotografischen Fundus liegen.” Und da liegt einiges wie diese Ausstellung im Rahmen des Europäischen Monats der Fotografie (EMOP) im Mudam Luxembourg Musée d’Art Moderne Grand-Duc Jean in Luxemburg stattfindet.

19.05.21, 23:32, KP Enfin seules heiß endlich allein

Die älteste Künstlerin dieser Ausstellung wurde 1799 geboren. Das ist insofern etwas Besonderes, weil es um Fotografie geht und die Fotografie erst um 1820 erfunden wurde. Enfin seules heiß endlich allein und ist der Name der Ausstellung mit Werken des Archive of Modern Conflict. Diese Archiev, dass sich zunehmend selbst zu einem Laboratorium rund um die Fotografie entwickelt, versteht sich selbst als “Aufbewahrungsort für die vergessenen und verborgenen Geschichten, die versteckt in seinem fotografischen Fundus liegen.” Und da liegt einiges wie diese Ausstellung im Rahmen des Europäischen Monats der Fotografie (EMOP) im Mudam Luxembourg Musée d’Art Moderne Grand-Duc Jean in Luxemburg stattfindet.

19.05.21, 23:32, KP Enfin seules heiß endlich allein

Die älteste Künstlerin dieser Ausstellung wurde 1799 geboren. Das ist insofern etwas Besonderes, weil es um Fotografie geht und die Fotografie erst um 1820 erfunden wurde. Enfin seules heiß endlich allein und ist der Name der Ausstellung mit Werken des Archive of Modern Conflict. Diese Archiev, dass sich zunehmend selbst zu einem Laboratorium rund um die Fotografie entwickelt, versteht sich selbst als “Aufbewahrungsort für die vergessenen und verborgenen Geschichten, die versteckt in seinem fotografischen Fundus liegen.” Und da liegt einiges wie diese Ausstellung im Rahmen des Europäischen Monats der Fotografie (EMOP) im Mudam Luxembourg Musée d’Art Moderne Grand-Duc Jean in Luxemburg stattfindet.

6

Mudam Luxembourg

Musée d’Art Moderne Grand-Duc Jean

Mudam is the foremost museum dedicated to contemporary art in Luxembourg, and strives to be attentive to every discipline and open to the whole world. Its collection and programme reflect current artistic trends and appreciate the emergence of new artistic practices on a national and international scale.

The building, by famous Sino-American architect Ieoh Ming Pei, is a marvellous dialogue between the natural and historical environment. Standing against the vestiges of Fort Thüngen, it follows the course of the former surrounding walls, and is rooted in the Park Dräi Eechelen (planned by landscapist, Michel Desvigne) which offers magnificent views onto the old town just a short walk from the European district of Kirchberg.

The simple volumes and generous spaces of the building show the mastery of the architectural language by the famous architect in combining stone and glass. The skillful play between interior and exterior, multiplying the selected views onto the park environment whilst opening onto the sky thanks to the audacious glass canopy, is highlighted through the use of the covering in Magny Doré, a honey-coloured limestone which assumes, at any time of the day and in all seasons, subtle nuances depending on the light which it reflects. The museum is spread over three levels of 4,500 m2 of surface area dedicated to the visits. Its construction was begun in January 1999 and it was inaugurated on 1 July 2006.

The cultural project of Mudam is based on a conception of art seen at a poetical distance from the world. Its key words are freedom, innovation, a critical mind, and all this, not devoid of humour. The programme favours every vector of expression while questioning our habits and our representations. It aims to capture not only a way of contemporary thinking, but also the aesthetic language of an age to come.

The Mudam Collection bares witness to contemporary creation in all its technical and aesthetic forms, while remaining open to every other artistic discipline: painting, drawing, sculpture, photography, as well as design, fashion, graphic design and new media are all put on show. Resolutely anchored in the contemporary, the collection endorses poetic variations from the great masters such as Bernd and Hilla Becher, Daniel Buren, Blinky Palermo or Cy Twombly. The museum’s interior and exterior furniture was entrusted to artists and designers such as Erwan and Ronan Bouroullec, Martin Szekely, Konstantin Grcic, Bert Theis, Andrea Blum or David Dubois). The Collection has been put together regarding the evolution of international creation while paying particular attention to the most significant national productions.

Mudam lives this adventure in relation with its public. The last-mentioned are invited to shed all preconceptions before entering the museum, to rid themselves of any prejudices and to apprehend art with a renewed look and in complete freedom. Numerous possibilities are offered in terms of the visit, from the most rigid to the most liberal, leaving a wide choice of exploration. A place for aesthetic discoveries, for reflection and contemplation, Mudam is also a place for conviviality in a restful environment (Mudam Café), and for finding treasures (Mudam Boutique).
OPENING HOURS
Wednesday to Friday: 11am – 8pm
Saturday to Monday: 11am – 6pm
Closed on Tuesday.

ENTRANCE FEES
Full price: 5€
Concessions: 3€
(18-26 years old, >60 years old, Amis des Musées, Groups from 15 people. Groups are kindly request to inform Mudam about their visit, phone: +352 45 37 85-1 or e-mail: visites@mudam.lu.)

Photos: © Pierre-Olivier Deschamps / Agence Vu, Musée d'Art Moderne Grand-Duc Jean, Architect: I.M. Pei

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Ratings & reports Mudam Luxembourg

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