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Mudam Luxembourg

Mudam is the foremost museum dedicated to contemporary art in Luxembourg, and strives to be attentive to every discipline and open to the whole world. Its collection and programme reflect current artistic trends and appreciate the emergence of new artistic practices on a national and international scale.

The building, by famous Sino-American architect Ieoh Ming Pei, is a marvellous dialogue between the natural and historical environment. Standing against the vestiges of Fort Thüngen, it follows the course of the former surrounding walls, and is rooted in the Park Dräi Eechelen (planned by landscapist, Michel Desvigne) which offers magnificent views onto the old town just a short walk from the European district of Kirchberg.

The simple volumes and generous spaces of the building show the mastery of the architectural language by the famous architect in combining stone and glass. The skillful play between interior and exterior, multiplying the selected views onto the park environment whilst opening onto the sky thanks to the audacious glass canopy, is highlighted through the use of the covering in Magny Doré, a honey-coloured limestone which assumes, at any time of the day and in all seasons, subtle nuances depending on the light which it reflects. The museum is spread over three levels of 4,500 m2 of surface area dedicated to the visits. Its construction was begun in January 1999 and it was inaugurated on 1 July 2006.

The cultural project of Mudam is based on a conception of art seen at a poetical distance from the world. Its key words are freedom, innovation, a critical mind, and all this, not devoid of humour. The programme favours every vector of expression while questioning our habits and our representations. It aims to capture not only a way of contemporary thinking, but also the aesthetic language of an age to come.

The Mudam Collection bares witness to contemporary creation in all its technical and aesthetic forms, while remaining open to every other artistic discipline: painting, drawing, sculpture, photography, as well as design, fashion, graphic design and new media are all put on show. Resolutely anchored in the contemporary, the collection endorses poetic variations from the great masters such as Bernd and Hilla Becher, Daniel Buren, Blinky Palermo or Cy Twombly. The museum’s interior and exterior furniture was entrusted to artists and designers such as Erwan and Ronan Bouroullec, Martin Szekely, Konstantin Grcic, Bert Theis, Andrea Blum or David Dubois). The Collection has been put together regarding the evolution of international creation while paying particular attention to the most significant national productions.

Mudam lives this adventure in relation with its public. The last-mentioned are invited to shed all preconceptions before entering the museum, to rid themselves of any prejudices and to apprehend art with a renewed look and in complete freedom. Numerous possibilities are offered in terms of the visit, from the most rigid to the most liberal, leaving a wide choice of exploration. A place for aesthetic discoveries, for reflection and contemplation, Mudam is also a place for conviviality in a restful environment (Mudam Café), and for finding treasures (Mudam Boutique).

contact

Mudam Luxembourg
Musée d’Art Moderne Grand-Duc Jean
3, Park Dräi Eechelen
L-1499 Luxembourg

fon: +352 45 37 85-960
email: info@mudam.lu

 

OPENING HOURS
Wednesday to Friday: 11am – 8pm
Saturday to Monday: 11am – 6pm
Closed on Tuesday.

ENTRANCE FEES
Full price: 5€
Concessions: 3€
(18-26 years old, >60 years old, Amis des Musées, Groups from 15 people. Groups are kindly request to inform Mudam about their visit, phone: +352 45 37 85-1 or e-mail: visites@mudam.lu.)

Photos: © Pierre-Olivier Deschamps / Agence Vu, Musée d'Art Moderne Grand-Duc Jean, Architect: I.M. Pei
Bewertungschronik

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Exhibition

Eleanor Antin

A Retrospective

Eleanor Antin (1935, New York) is considered a pioneer representative of conceptual, feminist art. Her multimedia practice – spanning photography, film and video, performance, text, installation and drawing – explores questions of identity and politics through stories that intertwine personal and historical. Fictional alter egos, such as The King, The Ballerina or The Nurse appear in many projects in various forms, subverting the forces behind societal roles and historical narratives. The iconic photographic series 100 Boots (1971–73) – a road movie without people – is an example of the witty, ironic and political awareness that characterises her work. Carving: A Traditional Sculpture (1972) is an early feminist examination of the female body through taxonomy systems, often driven by patriarchal and colonial forces. Antin’s practice has been groundbreaking for subsequent generations of artists working with performance and self-representation.

This first major retrospective since 1999 – and the first ever in Europe – presents Antin’s œuvre in full breadth. The exhibition highlights the continued relevance and influence of her work from the late 1960s till today, when issues of power imbalance and collective and individual representation have taken on renewed urgency.

Biography

New Yorker artist Eleanor Antin (b. 1935) is a key figure emerging from the Conceptual art movements of the 1970s and she remains a leading feminist figure today. Her ground-breaking practice spans five decades and has covered themes surrounding identity, gender, autobiography, class and social structures. Antin’s multi-disciplinary approach includes installation, painting, drawing, writing and most notably photo- graphy and performance.

Over the last fifty years Antin has performed and exhibited her work internationally. She has been the subject of numerous solo exhibitions including Multiple Occupancy: Eleanor Antin’s ‘Selves’, ICA, Boston, MA (2014); Eleanor Antin: Historical Takes, San Diego Art Museum, San Diego, CA (2008); Eleanor Antin: Real Time Streaming, Arnolfini, Bristol, UK and Mead Gallery, Warwick, UK (2001); Eleanor Antin Retrospective, Los Angeles County Museum of Art, Los Angeles, CA (1999); and Eleanor Antin: Selections from the Angel of Mercy, Whitney Museum of American Art, New York, NY (1997). In 1975, her seminal exhibition 100 Boots debuted at The Museum of Modern Art in New York.

Most recently, Antin’s work has been featured in notable institutional group exhibitions such as Chrysalis: The Butterfly Dream exhibition, Centre D’art Contemporain, Geneva (2023); Mapping an Art World, MOCA, Los Angeles (2023) and The Museum of Contemporary Art, San Diego (2023). As a performance artist, she has appeared in venues all around the world, including the 37th International Art Exhibition at the Venice Biennale, Italy (2005) and The Sydney Opera House, Australia (2002). Her work is included in public collections such as the Art Institute of Chicago; the Whitney Museum, the Museum of Modern Art, the Jewish Museum and the San Francisco Museum of Modern Art, amongst others.

In 2019 she revisited and recreated one of her most important early works, CARVING: A Traditional Sculpture, for the exhibition Time’s Arrow at LACMA and the Art Institute of Chicago.

Curators: Bettina Steinbrügge, assisted by Julie Kohn
Exhibition Architecture by: Diogo Passarinho Studio
Media Partner: Le Monde

The exhibition is organised in collaboration with the Kunstmuseum Liechtenstein and MOCAK The Museum of Contemporary Art in Kraków, and is accompanied by the most extensive monograph on the artist to date. Through this retrospective, Mudam affirms its responsibility as a public institution to critically revisit and recontextualise underrepresented feminist voices, while contributing to a more inclusive and reflective art historical discourse.

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Exhibition

Andrea Mancini & Every Island

A Comparative Dialogue Act

Originally created for the Luxembourg Pavilion at the 60th Venice Biennale in 2024, A Comparative Dialogue Act is the result of an ongoing collaboration between artist and musician Andrea Mancini (1989, Luxembourg) and the multidisciplinary Brussels-based collective Every Island (Alessandro Cugola, Astrid Lykke Nielsen, Caterina Malavolti, Juliane Seehawer and Martina Genovesi). At the intersection of visual art, performance and sound, the exhibition turns into an experimental site in which guest artists hosted by Mancini and Every Island create new performative pieces drawing from a shared sonic library. The result is a collective artwork in which sound, space and body intertwine as the floor and glass panels on wheels act as speakers. The resonating architecture and objects contribute to an immersive experience in a shared sensory field.

In Venice in 2024, four international artists started an experimental living archive consisting of numerous sonic fragments provided by each one of them – ranging from snippets of recorded previous performances, newly made digital tunes, field recordings, and spoken word. During their short residencies, the pavilion was accessible for audiences to witness the evolution of this collective creation.

Over the course of Mudam’s exhibition, four newly invited artists expand this library by reworking it once more. During their short residencies – similarly consisting of production, experimentation and performances – each participant presents new pieces integrating material from the library assembled by all eight contributors. During the intervals between live events, recordings of the newly created pieces are played, alternating with a selection of library fragments.

A Comparative Dialogue Act brings together a line-up of positions to probe the potential of sound as a medium for creative negotiation, intervention and cross-pollination. By combining live and archival elements, a dialogue comes to life, nourished by the ever-shifting exchanges between artists who never met yet connect on this experimental platform through the shared language of music.

Guest artists at Mudam:

Cucina Povera
Performance: 25 September 2025, 20:30 (exhibition opening)
Production phase: 26 September 2025, all day
Performance: 27 September 2025, 16:30

bela
Production phase: 6–7 November 2025, all day
Performances: 8–9 November 2025, 16:30

Katarina Gryvul
Production phase: 11–12 December 2025, all day
Performances: 13–14 December 2025, 16:30

Thomas Lea Clarke
Production phase: 15–16 January 2026, all day
Performances: 17–18 January 2026, 16:30

Artistes in residence at Biennale di Venezia 2024:
Bella Báguena, Célin Jiang, Selin Davasse and Stina Fors

Biographies

Andrea Mancini (1989, Luxembourg) is a multidisciplinary artist and musician whose work explores the relationship between space, subject and sound through performances, installations and video. His work was recently presented at the Kulturfabrik, Esch-sur-Alzette; Les Rotondes, Luxembourg (2023); Casino Luxembourg – Forum d’art contemporain (2022 and 2021) and the Cité internationale des arts, Paris (2021). He is also active on the electronic music scene under the pseudonym Cleveland and has released several albums on Amsterdam label Kalahari Oyster Cult. He has also launched his own label, Suzi. Andrea Mancini lives and works in Brussels.

The collective Every Island was founded in 2021 and now comprises Alessandro Cugola, Caterina Malavolti, Damir Draganić, Juliane Seehawer, Martina Genovesi and Astrid Lykke Nielsen. Its research into the role of performativity in architecture results in the creation of ephemeral installations. Every Island’s work has been presented at several institutions and festivals including Horst Arts and Music, Vilvoorde (2024); Bozar, Brussels (2023); MAD, Brussels (2023); Mudam Luxembourg (2022); Kunstencentrum Viernulvier, Ghent (2022); Santarcangelo Festival, Rimini (2022) and Mont des Arts, Brussels (2021). Every Island is based in Brussels.

Andrea Mancini and Every Island are currently representing Luxembourg at the 60th International Art Exhibition – La Biennale di Venezia with an exhibition titled A Comparative Dialogue Act on show in the Luxembourg Pavilion until 24 November 2024.

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Exhibition

Tiffany Sia - Baloise Art Prize 2024

Tiffany Sia (1988, Hong Kong), winner of the Baloise Art Prize 2024, explores the material properties of film and their impact on the narratives and perception of space. In her film The Sojourn (2023), recently donated to the Mudam Collection, she travels to Taiwan to follow in the footsteps of martial arts film director King Hu (1931–97). As Sia argues in her book On and Off-Screen Imaginaries (2024), Hu in his iconic films ‘reconstructed his birthplace, Beijing, which he’d left as a child and could no longer return to, reflecting on an old world that resided in the recesses of memory’ and displaced in the misty mountain of Taiwan, the location of many of his films. In The Sojourn, Sia collects the impressions of Shih Chun (1935), the lead actor in Hu’s Dragon Inn (1967). Chun recalls how the fog affected the way the image was rendered against the backdrop of the Hehuanshan mountains in Dragon Inn. In Sia’s work, visual meditation is infused with subtle discrepancies: images are projected onto a distorting medium, evocative of the slippery experience of exilic memory.

Biography:
Tiffany Sia (1988, Hong Kong) has had solo exhibitions at ajh.pm, Bielefeld (2023) and at Artists Space, New York (2021). Her work has been shown in group exhibitions at the Fondazione Prada, Milan (2023); the Museum of Modern Art, New York (2023); the Seoul Museum of Art (2022) and the Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2022). Her films have been screened at festivals such as MoMA Doc Fortnight (2024 and 2021), Open City Documentary Festival, London (2024); TIFF Toronto International Film Festival (2024); New York Film Festival (2022 and 2021) and Flaherty Film Seminar, Hamilton (2022). She received the Baloise Art Prize in 2024 and the George C. Lin Emerging Filmmaker Award in 2022. She is the author of On and Off-Screen Imaginaries (Primary Information, 2024). Tiffany Sia lives& and works in New York.

Curators: Marie-Noëlle Farcy, assisted by Vanessa Lecomte

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Exhibition

Agnes Denes - The Living Pyramid

Close to the museum, on the esplanade of the Park Dräi Eechelen, opposite the Ville Haute, Mudam will present the iconic artwork The Living Pyramid (2015) by Hungarian-American artist Agnes Denes (1931, Budapest), a pioneering figure of ecological and environmental art. Conceived as a monumental sculpture with a natural life cycle, The Living Pyramid takes the form of a nine-metre-high pyramid on which grow more than two thousand flowering plants selected by the artist from local flora. Denes originally created this work for the Socrates Sculpture Park in New York and has since reproduced it on several occasions,including documenta 14, held in Kassel, Germany in 2017. For this new presentation, The Living Pyramid is augmented by an audience participation project, also imagined by Denes.

In the months leading up to the installation, participants are invited to complete a questionnaire on the meaning of life. Their responses will be gathered in a time capsule, which will be buried near the pyramid and opened in a thousand years.

Agnes Denes (1931, Budapest) has had solo exhibitions at the Shed, New York (2020); the Santa Monica Museum of Art (2012); the Ludwig Museum, Budapest (2008); the Chelsea Museum, New York (2004); the Herbert F. Johnson Museum of Art – Cornell University, Ithaca (1992); Kunsthalle Nürnberg (1982) and the Institute of Contemporary Art, London (1979). Her work has been shown in group exhibitions at the Nevada Museum of Art, Reno (2021); the Museum of Modern Art, Warsaw (2020); Muzeum Sztuki, Łódź (2019); the Museum of Modern Art, New York (2018); Centre Pompidou-Metz (2016); the Museu de Arte Moderna, Rio de Janeiro (2014); the Art Institute of Chicago (2011) and the Centre Pompidou, Paris (2009). Works by Denes are included in the collections of institutions such as the Art Institute of Chicago; Frac Lorraine, Metz; the Philadelphia Museum of Art; the Centre Pompidou, Paris; the Israel Museum, Jerusalem; the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the National Gallery of Art, Washington D.C.; SFMOMA, San Francisco and the Whitney Museum of American Art. Agnes Denes lives and works in New York.

Curators: Clément Minighetti, assisted by Zuzana Fabianova

Agnes Denes: The Living Pyramid is presented in collaboration with LUGA – Luxembourg Urban Garden.

In partnership with LUGA – a city-wide, open-air exhibition of urban gardens – Mudam presents two major monographic projects in Luxembourg’s public spaces: the recreation of The Living Pyramid by Agnes Denes in Park Dräi Eechelen and a new soundinstallation by Susan Philipsz developed for the Aquatunnel, a landmark feature of the city’s World Heritage Site situated below the Ville Haute in Luxembourg.

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Exhibition

Susan Philipsz - The Lower World

Scottish artist Susan Philipsz (1965, Glasgow), known for her installations exploring the sculptural and emotional dimensions of sound, has been invited to create a new work for Luxembourg’s Aquatunnel, aunique landmark of the city’s urban heritage. The 900-metre-long tunnel runs beneath the Ville Haute, connecting the Pétrusse Valley to the Pfaffenthal Quarter. Featuring the artist’s voice and playing through twelve speakers placed in different parts of the tunnel, the sound installation The Lower World evokes both the sound of civil defence sirens and the song of the Sirens, who, in Greek mythology, lured sailors to their deaths. ‘The separated voices will be arranged in such a way that the siren sound will in turn be melodic, melancholic, dissonant and haunting as it passes through the space: a current of sound that will appear to rise and fall, coming in waves. With this work, I mean to fill the Aquatunnel with sounds, working with the specificities of the space and encouraging visitors, through multiple associations, to think about their surroundings,’ observes the artist.

Susan Philipsz (1965, Glasgow) has recently had solo exhibitions at fjk3 – Contemporary Art Space, Vienna (2024); Kunstmuseum Brandts, Odense (2023); SFMOMA, San Francisco (2022); Kunstmuseum, Bonn (2021); the Auckland Art Gallery (2020); Castello di Rivoli (2019) and Tate Modern, London (2018). Her work has been shown in group exhibitions at the West Bund Museum x Centre Pompidou, Shanghai; ZKM, Karlsruhe (2024); Castello di Rivoli; the Calouste Gulbenkian Foundation, Lisbon (2023); Kunstnernes Hus, Oslo; the Santa Barbara Museum of Art (2022) and the National Gallery of Victoria, Melbourne (2020). Philipsz’s work is held in the collections of institutions such as the Baltimore Museum of Art; Beyeler Foundation, Basel; Hamburger Kunsthalle; Castello di Rivoli; the Hirshhorn Museum and Sculpture Garden, Washington DC; Museo Nacional Centro de Arte Reina Sofía, Madrid; the Museum of Contemporary Art, Chicago; Museum Ludwig, Cologne; SFMOMA, San Francisco and the Walker Art Center, Minneapolis. Susan Philipsz lives and works in Berlin.

Curator: Bettina Steinbrügge

Susan Philipsz: The Lower World is presented in collaboration with LUGA – Luxembourg Urban Garden.

In partnership with LUGA – a city-wide, open-air exhibition of urban gardens – Mudam presents two major monographic projects in Luxembourg’s public spaces: the recreation of The Living Pyramid by Agnes Denes in Park Dräi Eechelen and a new soundinstallation by Susan Philipsz developed for the Aquatunnel, a landmark feature of the city’s World Heritage Site situated below the Ville Haute in Luxembourg.

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Exhibition

Radio Luxembourg: Echoes across borders. New Collection Display

Group exhibition

This presentation brings together a dozen of artists for whom sculpture, and by extension a heightened attention to the materiality of their works, play a key role. The selected works sketch out cultural, social and political histories, revealing the traces of& collective and individual memory imbued within found objects, material experimentations or certain artisanal techniques. From the forged-iron architecture inherited from nineteenth-century engineering to the struggle for women’s and workers’ rights and environmental activism in the 1970s and 1980s in the United States, these works are rooted in historical epochs. The New Collection Display weaves a dialogue between the museum’s existing collection and a selection& of major works that have recently joined the Mudam Collection thanks to a donation by the German collectors Gaby and Wilhelm Schürmann, with the support of the members of the Cercle des collectionneurs of the museum. This ensemble of works, dating primarily from the 1990s and 2000s, has additionally strengthened the presence of women artists in the Mudam Collection.

Artists: Leonor Antunes, Silvia Bächli, Monika Baer, Andrea Bowers, Miriam Cahn, Jessica Diamond, Dominique Ghesquière, Annette Kelm, Eva Kot’átková, Carine Krecké, Zoe Leonard, Brigit Megerle, Isa Melsheimer, Hana Miletić, Hendl Helen Mirra, Henrike Naumann, Charlotte Posenenske, Monika Sosnowska, Joëlle Tuerlinckx, Diana Thater, Nora Turato

Curators: Wilhelm Schürmann and Marie-Noëlle Farcy, assisted by Vanessa Lecomte

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Exhibition

Mudam Collection

The most important collection of contemporary art in Luxembourg

Resolutely international in its scope and ambition, the collection's holdings consist of close to 700 works of art in all media by artists from Luxembourg and around the world.

A small nucleus of the collection consists of fashion and design objects. Over 54 works are the result of commissions by Mudam for its distinctive architectural context. The constitution of the collection traces back to the first acquisitions for the museum in the 1990s, the creation of the Museum of Modern Art Grand-Duc Jean Foundation in 1998, and the opening of the Museum in 2006. While the decade of the 1960s serves as an historic point of reference for contemporary art, the majority of works in the collection date from 1989 to the present. An exception to this historical span is the ensemble of furniture for the Paimio Sanatorium, designed between 1931 and 1933 by the architect Alvar Aalto, and acquired in 2002.

Nancy Spector (Artistic director – Chief Curator of the Solomon R. Guggenheim Foundation in New York), Daniel Birnbaum (Director of Acute Art in London) and Adam Szymczyk (Artistic Director of documenta 14) were named members of the Mudam Collection Scientific Committee until 2020, with Mudam Board representative Paul di Felice. The committee is presided by Mudam director, Suzanne Cotter.

Works from the collection currently on show at Mudam

Stephan Balkenhol, Portaits de SS.AA.RR. Le Grand-Duc Jean et La Grande-Duchesse Joséphine-Charlotte
Ronan & Erwan Bouroullec, Mudam Café
Thomas Hirschhorn. Flugplatz Welt/World Airport
Suki Seokyeong Kang
Michel Paysant, Nano-portraits de SS.AA.RR. le Grand-Duc Henri et la Grande-Duchesse Maria Teresa
Recent Donations and Long-Term Loans
Martin Szekely, Lobby
Bert Theis, Drifters
Su-Mei Tse, Many Spoken Words
Worlds in Motion
Works from the collection currently on show at Park Dräi Eechelen

Maria Anwander, The Present
Nairy Baghramian, Beliebte Stellen/Privileged Points
Andrea Blum, gardens + fountains + summer café
Fernando Sánchez Castillo, Bird Feeder
David Dubois, Chênavélos & Bancs-terre
Ian Hamilton Finlay, HUIUS SECULI CONSTANTIA ATQUE ORDO INCONSTANTIA POST ERITATIS A ST.J

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Online-Shop

Mudam Store

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4 Exhibition

Enfin seules

Photographs from the Archive of Modern Conflict

Enfin seules (alone at last) presents a selection of over two hundred images from the Archive of Modern Conflict. Established in London in 1992, the Archive describes itself as ‘a repository for the lost and forgotten stories that lie hidden in the photographic record’. Initially focusing on ‘conflict, it has grown into something more resembling a laboratory than a traditional archive’. Today it is one of the largest collections of photography in the world, comprising over eight million images and producing books and exhibitions that span a multitude of genres.

Presenting photographs from across several continents and a period spanning 140 years, Enfin seules offers a fresh look at the photography of the natural world, revelling in the diversity and individual character of its subjects. The exhibition reflects the eclectic interests of the Archive, drawing on images from the mid-nineteenth century to the 1970s to imagine a world where all animal and insect life has disappeared from Earth.

Conceived as an immersive environment organised around a central, cavernous space, the galleries will be wallpapered with photographs from the Archive. Images of flora, fungi, tree-trunks, ferns, roots, stalagmites and aurorae are enlarged to form a panorama of plants, rocks and light that provide the backdrop for an array of recent and historical prints. Spanning several generations of photography and encompassing various processes and techniques, images by renowned artists and photographers as well as figures from the history of botany, astronomy, mathematics and science are presented alongside those of amateur enthusiasts or unknown figures.

The Archive of Modern Conflict has held exhibitions at PHotoESPAÑA, Madrid (2018); Les Rencontres d’Arles (2017 and 2018); Tate Modern (2014), Hayward Gallery, London (2013), The Museum of Contemporary Art Toronto (2013) and Paris Photo (2012). Their award-winning imprint, AMC Books, has published over seventy books and regularly publishes the journal AMC2.

European Month of Photography (EMOP) is a network of photography festivals taking place every two years in Berlin, Lisbon, Luxembourg, Paris and Vienna. The collaboration seeks to strengthen the international photography scene by promoting partnerships, exchange and support for young artists. The European Month of Photography in Luxembourg is organised by Café-Crème asbl.

Including photographs by:
Anna Atkins (b. 1799, Tonbridge; d. 1871, Halstead), Paul Marcellin Berthier (b. 1822, Paris; d. 1912, Paris), Brassaï (b. 1899, Brașov; d. 1984, Beaulieu-sur-Mer), Adolphe Braun (b. 1812, Besançon; d. 1877, Dornach), Fred Payne Clatworthy (b. 1875, Dayton; d. 1953, Estes Park), Thomas Joshua Cooper (b. 1946, San Francisco), William Craven (b. 1809, London; d. 1866, Scarborough), Maxim Petrovich Dmitriev (b. 1858, Povalichino; d. 1948 Nizhny Novgorod), Henry John Elwes (b. 1846, Cheltenham; d. 1922, Cheltenham), Dmitri Yermakov (b. 1845, Tbilisi; d. 1916, Tbilisi), Amelia Elizabeth Gimingham (b. 1833, London; d. 1918, Axbridge), Fay Godwin (b. 1931, Berlin; d. 2005, Hastings), Dr. Conrad Theodore Green (b. 1863, Kirkburton; d. 1940, Birkenhead), Petr Helbich (b. 1929, Prague), John Karl Hillers (b. 1843, Hanover; d. 1925, Washington), Frederick Hollyer (b. 1838, London; d. 1933, Blewbury), Bertha Jaques (b. 1863, Covington; d. 1941, Chicago), Edward Dukinfield Jones (b. 1848, Derby; d. 1938, Los Angeles), August Kotzsch (b. 1836, Dresden; d. 1910, Dresden), Axel Lindahl (b. 1841, Mariestad; d. 1906, Södertälje), Lee Miller (b. 1907, Poughkeepsie; d. 1977, Chiddingly), Paul-Émile Miot (b. 1827, Trinidad; d. 1900, Paris), Charles Nègre (b. 1820, Grasse; d. 1880 Grasse), Ferdinand Quénisset (b. 1872, Paris; d. 1951, Juvisy-sur-Orge), Willy Ronis (b. 1910, Paris; d. 2009, Paris), Jaroslav Rössler (b. 1902, Smilov; d. 1990 Prague), José María Sert (b. 1874, Barcelona; d. 1945, Barcelona), Carlo Baldassare Simelli (b. 1811, Stroncone; d. after 1877), Fredrick Carl Størmer (b. 1874, Skien; d. 1957, Oslo), Josef Sudek (b. 1896, Kolín; d. 1976, Prague), Graham Sutherland (b. 1903, London; d. 1980, London), Eugen Wiškovský (b. 1888, Dvůr Králové nad Labem; d. 1964, Prague) and Shikanosuke Yagaki (b. 1897, Kyoto; d. 1966).

Exhibition Concept: Timothy Prus (Archive of Modern Conflict)

Curators:
Timothy Prus
Assisted by Ed Jones, Luce Lebart, Giulia Shah, and Michelle Wilson
Michelle Cotton
Assisted by Sarah Beaumont, and Christophe Gallois

Exhibition Design: Polaris Architects

The exhibition is conceived by the Archive of Modern Conflict for Mudam on the occasion of the European Month of Photography (EMOP).

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19.05.21, 23:32, KP Enfin seules heiß endlich allein

Die älteste Künstlerin dieser Ausstellung wurde 1799 geboren. Das ist insofern etwas Besonderes, weil es um Fotografie geht und die Fotografie erst um 1820 erfunden wurde. Enfin seules heiß endlich allein und ist der Name der Ausstellung mit Werken des Archive of Modern Conflict. Diese Archiev, dass sich zunehmend selbst zu einem Laboratorium rund um die Fotografie entwickelt, versteht sich selbst als “Aufbewahrungsort für die vergessenen und verborgenen Geschichten, die versteckt in seinem fotografischen Fundus liegen.” Und da liegt einiges wie diese Ausstellung im Rahmen des Europäischen Monats der Fotografie (EMOP) im Mudam Luxembourg Musée d’Art Moderne Grand-Duc Jean in Luxemburg stattfindet.

19.05.21, 23:32, KP Enfin seules heiß endlich allein

Die älteste Künstlerin dieser Ausstellung wurde 1799 geboren. Das ist insofern etwas Besonderes, weil es um Fotografie geht und die Fotografie erst um 1820 erfunden wurde. Enfin seules heiß endlich allein und ist der Name der Ausstellung mit Werken des Archive of Modern Conflict. Diese Archiev, dass sich zunehmend selbst zu einem Laboratorium rund um die Fotografie entwickelt, versteht sich selbst als “Aufbewahrungsort für die vergessenen und verborgenen Geschichten, die versteckt in seinem fotografischen Fundus liegen.” Und da liegt einiges wie diese Ausstellung im Rahmen des Europäischen Monats der Fotografie (EMOP) im Mudam Luxembourg Musée d’Art Moderne Grand-Duc Jean in Luxemburg stattfindet.

19.05.21, 23:32, KP Enfin seules heiß endlich allein

Die älteste Künstlerin dieser Ausstellung wurde 1799 geboren. Das ist insofern etwas Besonderes, weil es um Fotografie geht und die Fotografie erst um 1820 erfunden wurde. Enfin seules heiß endlich allein und ist der Name der Ausstellung mit Werken des Archive of Modern Conflict. Diese Archiev, dass sich zunehmend selbst zu einem Laboratorium rund um die Fotografie entwickelt, versteht sich selbst als “Aufbewahrungsort für die vergessenen und verborgenen Geschichten, die versteckt in seinem fotografischen Fundus liegen.” Und da liegt einiges wie diese Ausstellung im Rahmen des Europäischen Monats der Fotografie (EMOP) im Mudam Luxembourg Musée d’Art Moderne Grand-Duc Jean in Luxemburg stattfindet.

8

Mudam Luxembourg

Musée d’Art Moderne Grand-Duc Jean

Mudam is the foremost museum dedicated to contemporary art in Luxembourg, and strives to be attentive to every discipline and open to the whole world. Its collection and programme reflect current artistic trends and appreciate the emergence of new artistic practices on a national and international scale.



The building, by famous Sino-American architect Ieoh Ming Pei, is a marvellous dialogue between the natural and historical environment. Standing against the vestiges of Fort Thüngen, it follows the course of the former surrounding walls, and is rooted in the Park Dräi Eechelen (planned by landscapist, Michel Desvigne) which offers magnificent views onto the old town just a short walk from the European district of Kirchberg.



The simple volumes and generous spaces of the building show the mastery of the architectural language by the famous architect in combining stone and glass. The skillful play between interior and exterior, multiplying the selected views onto the park environment whilst opening onto the sky thanks to the audacious glass canopy, is highlighted through the use of the covering in Magny Doré, a honey-coloured limestone which assumes, at any time of the day and in all seasons, subtle nuances depending on the light which it reflects. The museum is spread over three levels of 4,500 m2 of surface area dedicated to the visits. Its construction was begun in January 1999 and it was inaugurated on 1 July 2006.



The cultural project of Mudam is based on a conception of art seen at a poetical distance from the world. Its key words are freedom, innovation, a critical mind, and all this, not devoid of humour. The programme favours every vector of expression while questioning our habits and our representations. It aims to capture not only a way of contemporary thinking, but also the aesthetic language of an age to come.



The Mudam Collection bares witness to contemporary creation in all its technical and aesthetic forms, while remaining open to every other artistic discipline: painting, drawing, sculpture, photography, as well as design, fashion, graphic design and new media are all put on show. Resolutely anchored in the contemporary, the collection endorses poetic variations from the great masters such as Bernd and Hilla Becher, Daniel Buren, Blinky Palermo or Cy Twombly. The museum’s interior and exterior furniture was entrusted to artists and designers such as Erwan and Ronan Bouroullec, Martin Szekely, Konstantin Grcic, Bert Theis, Andrea Blum or David Dubois). The Collection has been put together regarding the evolution of international creation while paying particular attention to the most significant national productions.



Mudam lives this adventure in relation with its public. The last-mentioned are invited to shed all preconceptions before entering the museum, to rid themselves of any prejudices and to apprehend art with a renewed look and in complete freedom. Numerous possibilities are offered in terms of the visit, from the most rigid to the most liberal, leaving a wide choice of exploration. A place for aesthetic discoveries, for reflection and contemplation, Mudam is also a place for conviviality in a restful environment (Mudam Café), and for finding treasures (Mudam Boutique).
OPENING HOURS
Wednesday to Friday: 11am – 8pm
Saturday to Monday: 11am – 6pm
Closed on Tuesday.

ENTRANCE FEES
Full price: 5€
Concessions: 3€
(18-26 years old, >60 years old, Amis des Musées, Groups from 15 people. Groups are kindly request to inform Mudam about their visit, phone: +352 45 37 85-1 or e-mail: visites@mudam.lu.)

Photos: © Pierre-Olivier Deschamps / Agence Vu, Musée d'Art Moderne Grand-Duc Jean, Architect: I.M. Pei

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