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EPA_Kunstführer_MUC_2015

> D 6 > E wie der für seine monumentalen Flugobjekte inter- national bekannte Henri van Herwegen, genannt Panamarenko, und der an der Grenze von Musik und Technik arbeitende Materialkünstler Fausto Melotti, beide aus der Anfangszeit der Sammlung, runden die Schau der großen Namen ab. Die Gegenüberstel- lung der drei Generationen angesichts der Kontinuität bestimmter Fragestellungen lässt dabei am besten das Prinzip von Forschung und Entwicklung erkennen, das auch nur in der Auseinandersetzung mit und der Reibung an tradiertem Wissen entstehen kann und letztlich die Grundlage von Innovation in der Gesell- schaft darstellt. In einer internationalen Behörde wie dem EPA bilden die professionelle Förderung von zeitgenössischer Kunst und die Abbildung ihrer Entwicklung bis in die Gegenwart die Grundlage von Humanität und Werte- vermittlung in einem Europa, das in die Zukunft schaut, jedoch auch seine Geschichte nicht vergessen hat. Die Neupräsentation aktueller Kunst am Haupt- sitz in München hat das Ziel, diesen Gedanken wie- der aufleben zu lassen und möglichst viele Menschen, die hier arbeiten, zu erreichen. Die vorliegende Bro- schüre, die sich erstmalig der Kunst im Hauptgebäude widmet, möchte exemplarisch anhand von 25 Posi­ tionen einladen, zeitgenössische Kunst aus der Samm- lung des EPA im Rahmen eines Parcours zu entdecken und verstehen zu lernen. KRISTINE SCHÖNERT CONTEMPORARY ART AT THE EPO’S HEADQUARTERS IN MUNICH, BOB-VAN-BENTHEM-PLATZ 1 The motivation for the 2013 re-hang of the EPO’s art collection in its Munich headquarters on the banks of the Isar came from the desire to shine a new light on notable works from a collection that has grown organ- ically over three decades, and to demonstrate how more recent acquisitions can combine with older works to stimulate and inspire the visitor. This undertaking was in direct response to the Isar renovation project, which sought to retain the original character of Gerkan, Marg and Partners’ 1970 s steel frame structure, while taking account of the latest requirements and constraints of current usage. The decision to restore this striking urban construction in a way that did justice to its historic significance also served to set the tone for the revamp of the art collection: first of all, to combat the signs of ageing, pieces originally com- missioned for inside and outside the building were restored. Then, we developed a separate concept for the interior to address the building’s unique archi­ tectural layout and how the space is used by staff. The aim of this art guide is to present this concept. One of the main considerations initially was how to engage with an architectural layout spanning ten floors and use it as the starting point for the curato- rial concept. Focusing on the wall areas opposite the lifts, the conundrum we faced was how to make use of this central space – all seven metres of it – and cre- ate visual cues that would be instantly recognisable to lift and escalator users alike. The answer was to decorate each level with distinctive works of concep- tual art, giving each floor a unique flavour and ena- bling staff to tell at a glance which floor they were on. Excepting one or two floors that, alongside new acquisitions, house pieces from the Office’s early days in a tribute to the origins of the EPO’s collection, entire storeys were given over to individual artists to showcase their work. The result is 71 works by 27 artists from 16 nations on display throughout the building. The rearrangement puts restored commissions from 1980 next to re-hung pieces from the collection and more recent acquisi- tions. Thus, freshly restored 20 th-century classics by artists Bridget Riley, Bernhard Luginbühl, Jean Tinguely,

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