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EPA_KF_MUC_Grasser_Web_2012

7 > E tion. Many of the artworks on display engage with issues in science and technology, albeit imbued with the artists’ sense of playfulness, irony, pop culture, philosophy, humour or simple aesthetics. The profile of the works of art on display here reflect curiosity about the new and not yet established.This openness connects with the EPO’s daily business of rewarding innovation. Openness towards the novel, the readiness to take risks and persistence in research investment: these factors are reflected in the sheer volume of patent applications. The EPO, with its mission of pro­ moting innovation, competitiveness and economic growth in Europe by granting high-quality patents, collects contemporary art precisely because it is symbolic of those characteristics of innovation and gives expression to them in a multitude of ways. What is always exciting is how individual pieces of art hold up at the workplace. Bringing together a sample of twelve works of art, this brochure invites you to discover and learn to appreciate art from the European Patent Office’s collection. Kristine Schönert enormous light well in the roof of each of these struc­ tures lets natural light flood in to illuminate their interiors. The concrete frame construction with its aluminium-and-glass façade is topographically part the EPO’s PschorrHöfe complex, which has grad­ ually been taking shape since the early 1990s on the former site of the Hacker-Pschorr brewery in re­ sponse to various plans for spatial expansion. The new building on Grasserstraße is the EPO’s fifth con­ struction in Munich. Facets of its design and layout set it apart in a number of ways from the other struc­ tures in the PschorrHöfe. The decision to exhibit contemporary art required the building company to satisfy a number of specific expectations. One of the demands of the art concept was that the more complex artistic installations be developed during the architectural planning phase, integrating them as part of the building. With site-specific interventions by such artists as Heimo Zober­nig, Tomás Saraceno, Katarina Löfström, Philippe Decrauzat, John Armleder and Keith Sonnier, post-minimalist, non-figurative pieces were prom­i­ nently installed in the building’s most heavily fre­ quented areas, each a symbol of the very special link between art and architecture, regardless of the imposing or social nature of the selected location. In addition to outstanding examples of conceptual pho­ tography by Jean-Luc Mylayne,Wolfgang Tillmans, Thomas Feuerstein and Josephine Pryde, the building boasts works that run the gamut from non-figura­ tive to post-minimalist painting by Poul Gernes, Olivier Mosset, Philippe Decrauzat, Hubert Scheibl, Rémy Hysbergue and Tauba Auerbach. This international selection of artworks includes not only well-established contemporary artists but also young newcomers from the post-1970 genera­ > E

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