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Villa Romana Fellows 2014 - International Artists Live in Florence
AxME - Ellen Gallagher at the Tate Modern
In the Urban Jungle - Hou Hanru Curates the 5th Auckland Triennial
The Golden Rider: Lenbachhaus Radiates New Splendor - supported by Deutsche Bank Stiftung
Imran Qureshi in New York´s Metropolitan Museum
Beyond Borders - Arab Female Artists at the ZKM
Master of Institutional Critique - Deutsche Bank Foundation Sponsors John Knight Project in Portikus
A Fantastic Journey - Wangechi Mutu in Sydney and Durham


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The Golden Rider
Lenbachhaus Radiates New Splendor - supported by Deutsche Bank Stiftung

Munich is celebrating: After four years of construction, the Lenbachhaus has reopened. Sir Norman Foster and his team carefully refurbished the landmark museum on Königsplatz. In addition, the British star architect added a golden cube to the sienna-colored Renaissance Revival villa, catapulting the museum into the 21st century. Among the sponsors of this elaborate project are the Jubilee Foundation of Deutsche Bank in Favor of Lenbachhaus, which was established in 1992 on the occasion of the 100th anniversary of Deutsche Bank Munich. Since then, the foundation has enabled purchases of works by artists such as Jeppe Hein and Isa Genzken and became involved in the art education program for children and students.  

Since the reopening, Munich residents have stood in lines to experience the new Lenbachhaus. The eleven-meter high atrium, in which the museum’s past and present meet face to face, is particularly spectacular. Like an installation, part of the historic villa’s façade projects into the hall. Olafur Eliasson’s eight-meter-high sculpture Wirbelwerk sets a futuristic accent. Naturally, the works of the Blaue Reiter (Blue Rider) form the core of the museum’s collection. The paintings of Gabriele Münter, Franz Marc, and August Macke are hanging on colored walls, as they were before the renovation, while Wassily Kandinsky’s canvases on black atlas silk glow even more intensely. The presentation of the contemporary art is also impressive. Conceptual works by Roman Opalka and On Kawara are combined with an opulent Murano-glass chandelier by Cerith Wyn Evan, and large photographic works by Wolftang Tillmanns encounter an Isa Genzgen assemblage. And four new Beuys rooms with key works such as the environment Zeige deine Wunde (1974/75) demonstrate that the work of the art shaman has lost none of its fascination.

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