Frau in Rückenansicht schreibt mit Kreide "Museum" auf ein Scheunentor
© Foto: Catherine Peter

Collection Now: 4 Parkbänke mit 4 Papierkörben

With Collection Now, the Albertinum presents a selection of new acquisitions and donations, placing them in dialogue with older works from the collection and loans from younger artists. As an experimental format, it focuses on the future of collecting and seeks to explore new approaches to narrating the present. Collection Now weaves together painting, sculpture, drawing, and video from nearly six decades of art history, focusing on their ongoing exploration of the subject within the tension of the public sphere. The works on view show boundaries outlined and dissolved, architectures staged and made porous, and control asserted and undone.

  • DATES 26/11/2024—31/12/2025
  • Opening Hours daily 11—17, Monday closed Thursday 17—20 (late opening "Wolfgang Tillmans. Weltraum")
  • Admission Fees normal 14 €, reduced 10,50 €, under 17 free, groups (10 persons and more) 12,50 €
Book online

Sammlung Jetzt

Works such as Christa Jeitner’s textile painting Gefängniszelle (Prison cell; 1968) and Gabriele Stötzer’s video performance Zelle 5 (Cell 5; 1990) seek a visual language for the experiences of violence within the GDR prison system that elude representation. These works echo in pieces such as Dora Budor’s frottage drawing Terror Terroir (2023) and Matthias Groebel’s video work Trusted Faces (1995/2022), which reflect today’s more insidious forms of privatization and the restriction of shared spaces of experience.

Im räumlichen

At the spatial and conceptual center of the presentation is 4 Parkbänke mit 4 Papierkörben (4 park benches and 4 paper baskets; 1973), a significant early work by the artist Inge Mahn, newly donated to the Albertinum collection. Mahn’s practice draws on the environments of social interaction. With formal rigor and a touch of humor, her sculptures and site-specific installations dissect institutional architectures, examining how spaces such as schools, public areas, or museums create subjectivities. Over the course of her career, she developed a concentrated artistic vocabulary defined by the consistent reduction of her materials to plaster: in loosely applied layers, she encased wooden or metal constructions in a uniform white, always allowing the personal to emerge through the imperfect, the "unclean" hand of the artist.

Frau in Rückenansicht schreibt mit Kreide "Museum" auf ein Scheunentor
© Foto: Catherine Peter
Inge Mahn vor ihrem Scheunenmuseum in Groß Fredenwalde

Mit Werken

With works by Dora Budor, Dan Graham, Matthias Groebel, Christa Jeitner, Inge Mahn, Maria Nordman, Sigmar Polke, Karin Sander, Sturtevant, Gabriele Stötzer, and Willy Wolff.

weitere

Further Exhibitions
08/03/2025 —29/06/2025
[Translate to English:]
15/10/2024 —02/02/2025
12/11/2024 —23/03/2025
Oberkörper einer Frau mit langen Haaren, bedeckt von grünen Blättern
To top

We are using cookies!

You can revoke your consent at any time.

The Staatliche Kunstsammlungen Dresden uses cookies to provide you with an optimal website experience. These primarily include cookies that are necessary for the operation of the website.

Click on "Accept all" to accept all cookies. You can change and revoke your consent at any time. For this purpose, the "Change cookie settings" button is available at the bottom of the page. Functional cookies will continue to be executed even without your consent.

If you would like to adjust the cookies used, you can reach the settings via the "Select" button.

You can find more information under Privacy or Imprint.