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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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Ausstellung

Cosima von Bonin

Songs for Gay Dogs

Populated by animals and cartoon characters, Songs for Gay Dogs is a monographic exhibition by German artist Cosima von Bonin (1962, Mombasa) that highlights her most recent creations. The exhibition presents works produced over the past ten years, alongside new commissions and some well-known works. It unfolds in a series of staged scenes involving familiar characters pulled from the world of animation, comic strips or from under the sea. Cult figures such as Daffy Duck and Bambi take part in the exhibition, alongside fish, whales, scallops, rabbits, sharks and pigs.

Cosima von Bonin has established herself as a singular figure in contemporary art by way of infusing sharp and humorous perspectives on our society. Her textile, sculptural and multimedia installations subvert pop culture icons and luxury industry emblems, staging stuffed animals and everyday objects that uncover the absurdity of power relations and mass consumption. Coming of age in the vibrant art scene of Cologne in the 1990s, Cosima von Bonin drew from the irreverent spirit of that time and established long-lasting artistic collaborations. Her interest in experimental electronic music sparked at the same time and manifests itself in the exhibition through soundscapes composed by Moritz von Oswald (1962, Hamburg).

The artist appropriates words, patterns and ideas from a wide range of sources, such as brands, TV shows, cartoons, fashion, art history and pop music. She plays with our expectations and enjoys deceiving them. Colourful and seductive, her recent works use and misuse symbols of entertainment and marketing codes that govern our daily lives, prompting us to reflect on the ideologies that underpin them.

Comparing museum galleries to the aisles of a supermarket, Cosima von Bonin fills them with works that seem to come alive and gain a certain autonomy. Her characters are often caught mid-action or, on the contrary, completely idle. She gives them anthropomorphic features that make them look strangely familiar, inviting viewers to reflect on existential questions that remain unanswered. Setting the pace of the exhibition, these scenes are reminiscent of our human interactions, rituals, games and symbols. All are deft metaphors for life in society.

Cosima von Bonin (b.1962, Mombasa, Kenya) lives and work in Cologne. Her work has been the subject of major exhibitions at Schirn Kunsthalle, Frankfurt (2024); Magasin III Jaffa, Tel Aviv (2019); CCS Bard, Annandale-on-Hudson (2018); Oakville Galleries, Ontario (2017); Sculpture Center, New York (2016); mumok – Museum moderner Kunst Stiftung Ludwig Wien, Vienna (2014); Mildred Lane Kemper Art Museum, St. Louis (2011); Museum Ludwig, Cologne (2011); Musée d’art moderne et contemporain, Geneva (2011); Museum of Contemporary Art, Los Angeles (2007); Kölnischer Kunstverein, Cologne (2004); Kunstverein Hamburg (2001) and Museum Fridericianum, Kassel (1994) among others. She participated in the 59th Biennale di Venezia (2022); Skulptur Projekte Münster (2017); Glasgow International (2016) and Documenta, Kassel (2007 & 1982). Her work is held in numerous public collections including Mudam – Musée d’Art Moderne Grand-Duc Jean, Luxembourg; Museum Ludwig, Cologne; mumok – Museum moderner Kunst Stiftung Ludwig Wien, Vienna; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York and Stedelijk Museum, Amsterdam.

Curator: Clementine Proby
Associate Curator: Clément Minighetti
Musical compositions: Moritz von Oswald

Thanks to: ifa - Institut für Auslandsbeziehungen

Catalogue: Cosima von Bonin: Songs for Gay Dogs

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1 Ausstellung

Radical Software

Women, Art & Computing 1960–1991

During the 1960s and 1970s, artists, musicians, poets, writers and filmmakers experimented with computer technology. Working in collaboration with mathematicians, computer scientists and engineers, they produced the first computer-generated images, music and texts. By the end of the 1970s, computer technology had been applied in a diverse range of artistic contexts, from the production of drawing and painting to filmmaking and performance. Its influence on contemporary art has been far-reaching, spanning several different artistic movements.

Radical Software: Women, Art & Computing 1960–1991 presents work by artists who were amongst the first to use the computer – mainframe and minicomputers – as a tool for artmaking. They are accompanied by other artists who made the computer their subject or worked in a computational way. The exhibition begins with works made in academic or industrial computer labs and ends with others made on the first personal computers in the last years before the internet. Set within a period that was also marked by the second wave of feminism, it documents a lesser-known history of the inception of digital art, countering conventional narratives on art and technology by focusing entirely on female figures.

Curators: Michelle Cotton, assisted by Sarah Beaumont

Artists: Rebecca Allen, Elena Asins, Colette Stuebe Bangert & Charles, Jeffries Bangert, Gretchen Bender, Gudrun Bielz & Ruth Schnell, Dara Birnbaum, Inge Borchardt, Barbara Buckner, Doris Chase, Analívia Cordeiro, Betty Danon, Hanne Darboven, Bia Davou, Agnes Denes, VALIE EXPORT, Anna Bella Geiger, Isa Genzken, Dominique Gonzalez-Foerster, Lily Greenham, Samia Halaby, Barbara Hammer, Lynn Hershman Leeson, Grace C. Hertlein, Channa Horwitz, Irma Hünerfauth, Charlotte Johannesson, Alison Knowles, Beryl Korot, Katalin Ladik, Ruth Leavitt, Liliane Lijn, Vera Molnár, Monique Nahas & Hervé Huitric, Katherine Nash, Sonya Rapoport, Deborah Remington, Sylvia Roubaud, Miriam Schapiro, Lillian Schwartz, Sonia Sheridan, Nina Sobell, Barbara T. Smith, Tamiko Thiel, Rosemarie Trockel, Joan Truckenbrod, Anne-Mie Van Kerckhoven, Ulla Wiggen

The exhibition is organised by Mudam Luxembourg and Kunsthalle Wien, Vienna.

(Image: Dara Birnbaum, Pop-Pop Video: Kojak/Wang, 1980 © Courtesy of Dara Birnbaum and Electronic Arts Intermix (EAI), New York)

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Ausstellung

Xanti Schawinsky + Monster Chetwynd

Xanti Schawinsky: Play, Life, Illusion - a Retrospective
Monster Chetwynd: Xanti Shenanigans


This is the first retrospective dedicated to the Swiss American artist Alexander ‘Xanti’ Schawinsky (1904, Basel – 1979, Locarno) outside his native country, Switzerland.

Marked by the spirit of the Bauhaus, where the artist studied in the 1920s, and of the Black Mountain College (USA), where he taught in the latter half of the 1930s, Schawinsky’s work is characterised by its multidisciplinary nature: theatre, scenography, photography, graphic design, painting and typography are among the fields the artist explored during a career spanning six decades.

Formally diverse and guided by constant experimentation, Schawinsky’s work bears close and varied connections with main movements of pre- and post-war modernism in the United States and Europe – the continent the artist left to escape Nazism and fascism in 1936, and where he returned to in the 1960s. His practice is emblematic of the transatlantic artistic exchanges sparked by the Second World War that left a lasting impression on art history, of which Schawinsky was a key player.

Xanti Schawinsky: Play, Life, Illusion – a Retrospective covers Schawinsky’s artistic trajectory from his early pieces, driven by concerns around scenic space and the relationship between man and machine, to the pictorial work he developed from the 1940s onwards, gradually integrating a processual and performative approach to the medium of painting.

The exhibition also highlights the graphic artwork that Schawinsky created during the time he spent in Milan (1933–6), as well as his experimental pieces in the field of theatre around his concept of ‘Spectodrama’, through which he wanted to gather ‘colour and shape, movement and lights, sound and words, pantomime and music, graphic art and improvisation’. The pioneering role that Schawinsky played in the development of performance art still echoes in the artistic practice of today.

Situated in Mudam’s Foyer, the space that connects the two galleries of Schawinsky’s retrospective, British artist Monster Chetwynd (1973, London) was invited to create a new installation in response to Schawinsky’s oeuvre. With a similar transdisciplinary approach, Xanti Shenanigans borrows from Schawinsky’s motifs and artistic principles, while adapting them to Chetwynd’s own visual and performative universe.

Biographies:

The work of Xanti Schawinsky (b. 1904, Basel – d. 1979, Locarno) has been presented in solo exhibitions at the Museo Casa Rusca, Locarno (2023); Bergen Kunsthall, Bergen (2016); Migros Museum für Gegenwartskunst, Zurich (2015); Drawing Center, New York (2014); Bauhaus-Archiv, Berlin (1986); Galleria Comunale d’Arte Moderna, Bologna (1975); Landesmuseum, Wiesbaden (1963) and Berkshire Museum, Pittsfield (1954), amongst others. Schawinsky’s work can be found in the collections of many institutions, including the Drawing Center, New York; J. Paul Getty Museum, Los Angeles; Migros Museum für Gegenwartskunst, Zurich; Museum of Modern Art, New York; MASILugano, Lugano and Philadelphia Museum of Art, Philadelphia.

Monster Chetwynd (b. 1973, London) has held solo exhibitions at the Schirn Kunsthalle, Frankfurt (2023); Migros Museum für Gegenwartskunst, Zurich (2022); Konsthall C, Stockholm (2021); De Pont museum, Tilburg (2019); Villa Arson, Nice (2019); Tate Britain, London (2018); CCA Centre for Contemporary Art, Glasgow (2016); Bonner Kunstverein, Bonn (2016); Nottingham Contemporary, Nottingham (2014) and Le Consortium, Dijon (2008). Her work was also presented at the 16th Istanbul Biennial (2019); Liverpool Biennial (2016) and the 3rd Thessaloniki Biennale of Contemporary Art (2011). Monster Chetwynd lives and works in Zurich.

Invited curator:
Raphael Gygax

The exhibition is organised by:
Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and the Kunsthalle Bielefeld, in collaboration with the Estate of Xanti Schawinsky

The exhibition is supported by:
Art Mentor Foundation Lucerne

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Ausstellung

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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Ausstellung

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

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4 Ausstellung

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.

8

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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