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7 > E> E lay the foundation for humanitarianism and cultural values in a Europe capable of looking into the future without forgetting the past. The re-hang of contempo- rary art in the Munich headquarters aims to rein- force this ideal and reach as many of the people who work here as possible. This brochure, the first of its kind dedicated to art in the main building, features 25 works, and invites you to discover and learn about contemporary art through the medium of the EPO’s collection. KRISTINE SCHÖNERT Panamarenko, Fausto Melotti, Victor Vasarely or Jesús Rafael Soto now hang alongside works by estab- lished middle-generation artists like Heimo Zobernig, Yves Oppenheim, Jeremy Moon, Attila Csörgő, Malene Landgreen and Ann Edholm, which in turn rub shoul- ders with more recent pieces from such artists as Philippe Decrauzat (* 1974), Stéphane Dafflon (* 1972), Jarosław Fliciński (* 1965), Nicolas Chardon (* 1974), Daniel Pflumm (* 1968) or Esther Stocker (* 1974). With a keen eye, you will thus be able to spot three gen­ erations of artist in a single space that captures the essence of the EPO’s 30-year-old art collection. The re-hang throws into sharp relief how the collec- tion’s classic pieces, which engage primarily with visual principles, machine-based aesthetics, kinetic light installations and technology, continue to inspire a new generation of artists and motivate them to engage with the same themes. Large-scale kinetic light instal- lations built especially for the EPO by cybernetic artists Nicolas Schöffer and Rolf Lieberknecht stand shoulder to shoulder with the recycled creations of wry, tongue-in-cheek machine art by New Realists Bernhard Luginbühl, Jean Tinguely and Eduardo Paolozzi. The questions of perception engaged with by op-art icons Bridget Riley, Victor Vasarely and Jesús Rafael Soto have been taken up and developed fur- ther in innovative ways by younger artists (Philippe Decrauzat, Esther Stocker, Jarosław Fliciński, Nicolas Chardon). Rounding off the collection, we have works from conceptual mavericks such as Henri van Her­wegen (Panamarenko), known internationally for his monumental flying objects, and material artist Fausto Melotti, whose works combine music and tech- nology, both of them belonging to the collection’s early period. Given the timelessness of certain issues, the juxtaposition of the three generations highlights the principle of research and development that relies on engagement with and a questioning of tradi- tional knowledge, and ultimately provides the basis for innovation in society. In an international public authority such as the EPO the professional patronage of contemporary art and the representation of today’s artistic developments