Museum of Modern Art Munich

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The Museum of Modern Art Munich (MfMK Munich) is an imaginary museum and was created in 1991 from an artistic project.

history

The Museum of Modern Art Munich (MfMKM) was originally designed as a virtual museum . However, due to its exhibitions in other museums, art halls and art associations from 1994 onwards, it is often referred to as a real museum. This museum does not have its own collections.

In the early days of the museum's exhibitions, the simple invitation cards and complicated eight-sided folding cards with partly philosophical texts could be seen.

With the opening of the Würzburg branch in 1999, the museum got its own exhibition space.

Content

The museum was created in 1991 as a project from the artistic work of Hans-Peter Porzner's Art and Everyday Life (1981–1988) . This cycle with around 180 large objects and installations was exhibited in its entirety for the first time in 1988 in the Galerie Mosel und Chekhov, Munich. The exhibition catalog "Diamonds in the Millstone Gear" was published.

The MfMK Munich continues to this day the initially formulated perspective problem strands of art and everyday life (1981–1988) , but it is increasingly moving away from the artist. The individual thematic focal points of art and everyday life (1981–1988) were, for example, the subjects of postage stamps, art on postage stamps, the art of postage stamps, the postage stamp value system and the art value system or the analysis of the relationships between artist, collector, gallery, museum, audience , Journalism and politics expanded and thus shifted from the subjective to the objective perception.

From 1998 the economic art is a dominant topic. It illuminates the creativity processes in business, in advertising and the corresponding products in terms of artistic relevance. The question of the extent to which artistic processes migrate to other areas, influence them and, conversely, how the artist reacts to these contexts and implements them artistically, is scientifically researched through the museum's exhibition projects.

The overarching context of the museum activities is characterized by the reflection on the art business .

The art of the Museum of Modern Art Munich

Hans-Peter Porzner understood the actions of the Museum of Modern Art Munich, i.e. the sending of invitation cards and the placing of advertisements in art magazines, only in the context of their topicality as art. According to this definition , opening the envelope was no longer an art, collecting and storing the cards was no longer. The ads in the respective art magazines were only art until the next issue number appeared. The expiry time was often only one or three months. If an art magazine appeared only twice a year, the expiry time was half a year. Porzner thus reflected on attempts at definition that had become famous in the early 1960s - from, for example, the founder of the first video gallery Gerry Schum to Joseph Beuys .

The system failure

“The big mistake ” has accompanied the Museum of Modern Art Munich since it was founded in 1991, that is from the very beginning. The error is actually pointedly systematically staged, and the productive power of the error is sought. In this way, Hans-Peter Porzner interprets, for example, Hegel's dialectic between being and nothing ( logic ), Sigmund Freud's “Theory of Promise ” to corresponding issues from Barnett Newman to Dieter Roth . The Museum of Modern Art in Munich stands for a metalanguage . It determines the location of the museum, its originality, its authenticity . The museum differentiates between a thing of art and mere products of market participation, consumer art, ie the art business. It is working on a language to encircle the physics between art and consumer art, the matter of natural world relations , the subject- object relation.

Würzburg branch

Since the establishment of the branch, the museum has increasingly devoted its exhibitions to the topic of Arte Povera and the Würzburg hotel tower project as another milestone in Economic Art.

Adaptation after 1998

The first series of advertisements by the MfMK Munich on the topic of Economic Art was placed in the Swiss art magazine Artis Zeitschrift für neue Kunst in 1995. This topic was then mainly promoted in the art magazine art Das Kunstmagazin from 1998.

The inner structure of Economic Art, which was geared towards expansion , partially led to the responsibility for the artistic design being handed over to the then employee of the Cologne gallery Luis Campagña, the artist Markus Schneider. He designed part of the advertising series for the MfMK Munich in the last edition of Artis at the end of 1997. This advertising series by Markus Schneider - the first adaptation of the MfMK Munich project - laid the groundwork for the cooperation between the MfMK Munich and the Kiel entrepreneur Peter Niemann and the Essen artist Gunhild Söhn from 1998 and on a cooperation between Peter Niemann and Gunhild Söhn.

The collaboration between the MfMK Munich and Gunhild Söhn resulted in a systematic adaptation of the invitation cards and concepts of the MfMK Munich. Gunhild Söhn then increasingly organized his own exhibitions on this basis.

So did the entrepreneur Peter Niemann at the same time. Here, too, the products of the MfMK Munich were adapted.

Peter Niemann used his entrepreneurial skills. At that time he was operating in areas of art - as an entrepreneur and as an artist. He defined himself as an entrepreneur in the sense of a possibility to give art a form from here.

Like Gunhild Söhn, Peter Niemann increasingly transformed the invitation cards and advertising series of the MfMK Munich, altogether the iconography of the MfMK Munich into an expressive concept that made collaboration with other and real museums and independent of the MfMK Munich possible in the first place. The conditions remained bound to a mimetic connection. At the same time, however, there are still brochures in cooperation with the MfMK Munich. Is known Peter Niemann by striking sticker "If I park here is art" has become.

Overall, the Würzburg entrepreneur Wolfgang P. Weinhold is more neutral . Advertisements in the art magazine art from 2005. Wolfgang P. Weinhold presented himself as an entrepreneur and his product.

The direct collaboration with Gunhild Söhn and Peter Niemann ran from 1998 to about 2002. The collaboration with Wolfgang P. Weinhold extended for about two years.

The collaboration with Anton Höger

The collaboration between the MfMK Munich and the entrepreneur and artist Anton Höger is quite different . The aim of this cooperation was to convert the artist and student of the Vienna School of Fantastic Realism , who began painting again from 2000, into a form of contemporary art. The last two double-sided ad series were designed accordingly. This type of cooperation was made possible by the invitation card Dr. Sauer + Partner of the MfMK Munich prepared. The collaboration with Anton Höger extended from 2006 to 2008.

Shuttle service in Lower Franconia

Between 2002 and 2011, the MfMK Munich branch in Würzburg organized very different collaborations with the most important museums and exhibition centers in Lower Franconia with the aim of setting up a shuttle service in Franconia and the starting point in Würzburg.

The project was accompanied by the Würzburg city newspaper primaSonntag, which is published every Sunday, with almost twenty articles by editor Claudia Penning-Lother.

Many collaborations with museums e.g. B. with the Martin von Wagner Museum , with the city ​​collections Schweinfurt , with the museums Schloß Aschach (Bad Bocklet) , with the museum in the Kulturspeicher Würzburg , with the Grafschaftsmuseum Wertheim . Every single station was reported. The outermost limit marked the cooperation with the town hall of the city of Uffenheim . Furthermore cooperation with the AOK Würzburg, with schools in Würzburg, with business premises, restaurants, cafés, pubs.

Mainly the architectural sculptures of the MfMK Munich were exhibited in museums.

The MfMK Munich tried to win different museums and partners. In relation to this venture, the museum has been transformed into an organization office. One can speak of the “loss of the imaginary”.

The collaborations were loosely agreed; Occurring dysfunctions brought the whole thing into a crisis in 2005/06, also with regard to the claims to participation in the direction of singularity. The MfMK Munich has increasingly said goodbye to its heroic years of the imaginary between 1991 and 1994 since the first placement of advertising series in art magazines from 1995 and the real cooperation with museums from 1994.

The project was canceled in 2011 and has not been resumed to date.

The veiled philosophy

After a long break in 2019, the MfMK Munich again ran advertising series in the Bremen art magazine artist. The series of advertisements in issue 119 “New Works by Udo Kittelmann” reflects the contribution made by the artist group Fort in issue 118. The MfMK hereby continues to refer to the ad placed twenty-four years earlier in the art magazine Texte zur Kunst 1995.

Repetitions, expansions and transitions of entire advertising series refer to a text (subtext) that is developed process-wise.

In Texts on Art 1995/96, advertisements were published continuously from No. 19 to No. 23. Some advertisements were also placed here, which identify themselves as advertisements for the MfMK Munich simply by the words “Advertisement: MfMK” on the top left or top right. The subject matter-of-factness was presented with these ad series in this art newspaper. In these text books of the art magazine, the advertisements assemble themselves into a text.

The advertisements in the philosophical journal of the blue rider show the direction of these advertisements in art magazines.

The advertisement series communicate with each other over a period of time that is sometimes far apart (allelopoiesis). The individual texts in the individual art magazines reveal themselves in terms of a connection between the present and the past, between history and history.

Important exhibitions

Awards and grants

  • 1989, sponsorship award from the City of Munich
  • 1995, grant from the City of Munich

Literature (selection)

  • Exhibition catalog "Art and Everyday Life" Hans-Peter Porzner Diamonds in the millstone gear Text by Christoph Blase, Hans-Peter Porzner, Galerie Mosel & Chekhow, Munich 1988. ISBN 3-925987-04-5 .
  • Justin Hoffmann: Brazen lies promote the truth. What the artist Hans-Peter Porzner aims for with his bogus invitation cards In: Süddeutsche Zeitung, Münchener Kulturberichte, No. 117, p. 15, Monday, May 24, 1993.
  • Renate Puvogel : Hans-Peter Porzner. In: Artis, magazine for new art. Volume 45, December 1993 / January 1994, pp. 36-39.
  • Exhibition catalog: Resistance. Thoughts for the future . Haus der Kunst, December 11, 1993 to February 20, 1994. Helmut Kronthaler, Intervention as an Artistic Strategy. Spotlights on continuity and change in the practice of socially committed art since the 1960s . P. 42, ISBN 3-89322-616-8 .
  • Matthias Kampmann: The art of invitation. Hans-Peter Porzner and his imaginary museum visit Düsseldorf. Westfälische Rundschau, Dortmund, Jan. 26, 1995.
  • Kunsthalle zu Kiel Dr. Hans-Werner Schmidt, contribution: Hans-Peter Porzner Das Projekt , 1997 ( germangalleries.com ).
  • Art History Institute Ruhr University Bochum Asja Kaspers The Museum of Museums - The Hagen show for determining the position of the museum . Contribution: The Museum of Modern Art, 1999 ( kgi.ruhr-uni-bochum.de ).
  • Joachim Fildhaut: New impulses for the visual arts | Hans-Peter Porzner and his museum for modern art. Würzburger Stadtbuch, pp. 209–213, 2000 on BVB BibliotheksVerbund Bayern.
  • Exhibition catalog: a | vacate . WORKING IN THE MUSEUM. 61 current projects in the Hamburger Kunsthalle , published by Hamburger Kunsthalle, 2000. Hans-Peter Porzner Image and Function. Museum of Modern Art Munich 2000, p. 64 f., Contribution MfMK Munich: The time of Laotse , p. 114, Hans-Peter Porzner. Image and function. Museum of Modern Art Munich , p. 166. ISBN 3-7757-9055-1
  • A journey ... with the Museum of Modern Art in Munich to museums in Franconia - Part 1. The Museum of Modern Art in Munich presents the collection of the Count Luxburg Museums in Aschach Castle. In: Vernissage . Bavaria & Austria, exhibitions spring / summer 2005, pp. 40–53.
  • A journey ... with the Museum of Modern Art in Munich to museums in Franconia - Part 2. The museum in the Kulturspeicher Würzburg and the extensions to the Museum of Modern Art in Munich. In: Vernissage, Bavaria & Austria, exhibitions autumn / winter 2005/06, pp. 48–61.
  • A journey ... with the Museum of Modern Art Munich to museums in Franconia - Part 3. The Museum of Modern Art Munich Würzburg branch. In: Vernissage, Bavaria & Austria, exhibitions spring / summer 2006, pp. 46–57.
  • A journey ... with the Museum of Modern Art Munich Würzburg branch. Into his own workshop - Part 1. In: Vernissage, Bavaria & Austria, exhibitions autumn / winter 2006/2007, pp. 38–51.
  • A trip ... with the Museum of Modern Art Munich Würzburg branch to the Würzburg art magazine "Number, magazine for culture in Würzburg and Künzelsau" . In: Vernissage, Süd, exhibitions spring / summer 2007, pp. 76–83.
  • Beate Reese : The Municipal Collection: Artists, Themes and History. Short guide / museum in the Kulturspeicher Würzburg , excursus: Hans-Peter Porzner: “Art and everyday life” , p. 136 f., Würzburg 2009. ISBN 978-3-88778-336-5 .

Web links

Individual evidence

  1. Thomas Wulffen : The art of announcement - Hans-Peter Porzner and his art. In: Artist - The art magazine. Issue No. 85, ( artist-kunstmagazin.de ). Retrieved May 21, 2016.
  2. ^ Thomas Wulffen: Hans-Peter Porzner - Museum? Museum! In: Kunstforum International . Volume 202, p. 36, 196–199, 2010. Title: Fiktion der Kunst. kunstforum.de ( Memento of the original from April 7, 2016 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 21, 2016. @1@ 2Template: Webachiv / IABot / www.kunstforum.de
  3. Justin Hoffmann : Brazen lies promote the truth. What the artist is aiming for with his bogus invitation cards. In: Süddeutsche Zeitung . Munich culture. Monday, May 24, 1993, No. 117, p. 15.
  4. Susanne Titz: Lecture - The phenomenology of making. A call to emancipation. On the occasion of the exhibition “Sculptural Action” at Haus der Kunst , January 17, 2012. In: Contribution to YouTube. 30:12 to 30:17. Retrieved December 7, 2016.
  5. Justin Hoffmann: Brazen lies promote the truth. What the artist Hans-Peter Porzner aims for with his bogus invitation cards In: Süddeutsche Zeitung. Munich Culture Reports, No. 117, p. 15, Monday, May 24, 1993.
  6. ^ Beat Wyss : A misprint. Panofsky versus Newman - Missed Chances of a Dialogue. In: Kunstforum International. Volume 119. 1992, title: DOCUMENTA IX, p. 121 ( kunstforum.de ). Retrieved December 9, 2016.
  7. “Roth drew a respectful line between the amateurism he celebrated and the traditional art of music. 'Das Wilde (at Schönberg, for example)', he wrote in his diary in 1973, 'cannot be so wild because it is composed for the player who has to discipline it (who does not master the instrument he can be the wildest).' ”- Jens Hinrichsen: Hamburger Bahnhof shows Dieter Roth. Ingenious dilettante: the artist Dieter Roth loved weird tones. The Hamburger Bahnhof in Berlin shows in an exhibition how he brushed the music against the grain with the Viennese Actionists. In: Der Tagesspiegel. April 9, 2015. ( tagesspiegel.de ). Retrieved November 9, 2016.
    Raimar Stange: Rochelle Feinstein. In: Artist - The art magazine. Issue No. 109, p. 28.
  8. Hans-Peter Porzner: KUNST UND ALLTAG 1988/2001. An interpretation of the sentence “It is art and everyday life” according to the specification of “Art and everyday life 1” with regard to a first language for a “metaphysics of phenomenology” as a “first science”. With a text by Hans-Peter Porzner. Exhibition cat. of the Mosel and Chekhov Gallery in Munich. Munich 2001, ISBN 3-925987-23-1 ( galerie-mosel-tschechow.de ). Retrieved December 9, 2016.
  9. Illustration of the Würzburg hotel tower. Retrieved November 7, 2019.
  10. The Art of the Postage Stamp - The Art of the Postage Stamp. In: Artis Volume 47, August / September 1995, pp. 21–24;
    With regard to the perspective consequences of Economic Art, see, for example, the following ad series in the Bremen art magazine artist Kunstmagazin . Economic Art I Hannover 2000. St. Jerome in the case. Interpretation and interpretation of the analytical-impressionistic art history part I. Rudolf Kuhn and Michael Baxandall. Modern floor plans. Part I Hans Sedlmayr / Erich Hubala. In: artist Kunstmagazin issue 40, 3/1999, p. 52 f.
  11. Creativity processes in the economy. In: art No. 4, April 1998, p. 123 f .; Equipment. In: art No. 5, May 1998, p. 111; Economic Art I Hannover 2000. In cooperation with Frink & Partner. Advertising - product - service - economic decision. Interactive, cross-company dynamization processes. F&P finds art and creates everyday life - F&P finds everyday life and creates art. In: art No. 6, June 1998, p. 127; Economic Art I Kiel 1998. In: art No. 8, August 1998, p. 99; Economic Art Hannover 2000. Figures in children's surprises. On the architecture of art after 1990. In: art no. 11, November 1998, p. 119.
    These ad series were introduced with a double-sided ad with Hans Baschang . Hans Baschang. In: art No. 2, February 1998, p. 90 f.
  12. See also the advertisement series Economic Art Hannover 2000. Rudolph Kuhn / Michael Baxandall, Ralph Maurer Architektur. In: artist Heft 39, 2/1999, p. 51, p. 52 f.
  13. See also the activity of Markus Schneider at that time. Retrieved November 7, 2019.
  14. www. chaos at the end of the century.dx. In: Artis Volume 49, October / November 1997, pp. 14, 67.
  15. The name of the art magazine was continued by the MfMK Munich in collaboration with Peter Niemann for the production of various exhibition brochures from 2000 onwards. Peter Niemann then produced further editions for this. See notes 28 to 31.
  16. ^ Peter Niemann, Imprint of the Friedrich Niemann company . Retrieved November 4, 2019.
  17. Gunhild Söhn / Peter Niemann. G. Söhn, The Wedding at Cana. In: artist Heft 45, 4/2000, p. 55 f.
  18. Gunhild Söhn / Peter Niemann. G. Söhn, The Wedding at Cana. In: artist Heft 45, 4/2000, p. 52 f .; Gunhild Söhn. Two Shoes. In: artist issue 46, 1/2001, p. 52 f.
  19. See e.g. B. the invitation card Gunhild Söhn - The Museum of Modern Art Munich collection of the Dortmunder Kunstverein e. V. , November 2 - December 16, 2001.
  20. ^ Exhibition directory of the Dortmunder Kunstverein e. V. from 1985 to 2010. PDF. Retrieved November 7, 2019.
  21. See, for example, the exhibition catalog Die Sammlung Gunhild Söhn. des Kunstmuseum Ahlen , June 1 - August 10, 2008. “Publication as part of the exhibition Fette Beute - the dialogale quartet.” ISBN 3-941100-05-X .
  22. ^ Exhibition archive Gunhild Söhn. On the website of kunstaspekte. Retrieved November 4, 2019.
  23. ^ Entry on the artist Gunhild Sohn. On the website of kunstmarkt.com. Retrieved November 8, 2019.
  24. Peter Niemann's exhibition biography. On the website of Peter Niemann. Retrieved November 7, 2019.
  25. Artist biography Peter Niemann. On the Nord Art website, Nord Art 2017. Accessed November 7, 2019.
  26. The entrepreneur Peter Niemann. In: art No. 4, April 2000, p. 116; The entrepreneur Peter Niemann. Original spare parts concept. In: artist Heft 43, 2/2000, p. 52 f .; Issue 44, 3/2000, pp. 46-53, passim.
  27. Sigrid Feeser: Look and crank, collect and be desperate. The Museum of Modern Art Munich in the Mannheimer Kunstverein - Never mind that it is not really interesting, just as a concept. In: Rheinpfalz , May 26, 2002. "... Peter Niemann is one of them, who as an entrepreneur is his own patron ..."
  28. ^ Peter Niemann: Oh museum, my museum. New concepts for museum work. Thomas Deecke, Peter Niemann. 2002. 5-sided cardboard folding card issued for the New Museum Weserburg Bremen . ( peterniemann.de ). Retrieved November 7, 2019.
  29. ^ Peter Niemann: Go to the museum with Boris Groys and Jan van Geluwe. Cardboard book Artis, 52nd year, issue 105. Hans-Werner Schmidt, Peter Niemann. 2004. Special edition for the Museum of Fine Arts in Leipzig . ( peterniemann.de ). Accessed November 7, 2019.
    Boris Groys : About contemporary art. In: Go to the museum with Boris Groys and Jan van Geluwe. Cardboard book Artis, 52nd year, issue 105. Hans-Werner Schmidt, Peter Niemann. 2004. Special edition for the Museum of Fine Arts in Leipzig.
  30. Illustration of the brochure. ( peterniemann.de ). Retrieved November 4, 2019.
  31. Illustration of the brochure. ( peterniemann.de ). Retrieved November 4, 2019.
  32. ^ Image of the sticker on Peter Niemann's website. ( peterniemann.de ). Retrieved November 7, 2019.
  33. Cosmopolitan No. 6, June 2001, p. 24.
    Who has the originals? New stickers by Peter Niemann as limited editions for the Museum of Modern Art in Munich. In: art No. 6 June 2001, p. 112.
  34. Wolfgang P. Weinhold. Abrex. The 2nd Hz Melencholia II . In: art No. 1, January 2005, p. 31. Wolfgang P. Weinhold. Abrex. The 2nd Hz Melencholia II. In: art No. 3, March 2005, p. 41. Wolfgang P. Weinhold. Abrex. The 2nd Hz Melencholia II. In: art No. 6, June 2006, p. 111.
  35. Illustration of the Abbrex product . On the Innowep website. Retrieved November 5, 2019.
  36. "Then his father moved him to take over the" computer stuff "in his newly founded temporary employment agency." On the website of inFranken.de. Retrieved November 12, 2019.
  37. 1982 founded by Dipl.-Ing. Anton Höger Sr. in Augsburg under the name diwa Gesellschaft für Montagen, Wartungen und Zeitarbeit GmbH. On the Diwa company website. Retrieved November 12, 2019.
  38. a b Anton Höger - Inexhaustible. Art book. Hirmer Verlag, 2012, ISBN 978-3-7774-6091-8 .
  39. See: Anton Höger. In: art No. 9 / September 2006, p. 120;
    The following ad series now in cooperation with the MfMK Munich: Anton Höger. The king seeks. In: art No. 11 / November 2006, p. 124;
    Museum spaces between original and copy - original copies in the typical style of Fantastic Realism: A commentary on Anton Höger's imagery. In art No. 12 / December 2006, p. 106; Anton Höger. Realism and Fantastic Realism from 2006. In the mirror point of modern painting and modern installation. Susanne and the two old people . In: art No. 12 / December 2006, p. 107;
    Uwe M. Schneede: From Käthe Kollwitz to Van Gogh. From the work: Between drawing and sculpture No. 3. From the work: Museum: Mimesis No. 1/2 / 3. From the work: Schematism cycle II A. Or: Eduard Beaucamp meets Gustav Klimt. Or: A speech on art history by Kurz Badt, Uwe M. Schneede, Rainer Metzger and Alfred Nemeczek. “A commentary on the presentation of Anton Höger's objective art fantasies” in the art magazine art. In: art No. 1 / January 2007, p. 104; New concrete art. From March 21, 2001. In: art No. 1 / January 2007, p. 105;
    Comments on Chapter IV. In: art No. 2 / February 2007, p. 102, New concrete art. From March 21, 2001. In: art No. 2 / February 2007, p. 103.
  40. Dr. Sauer + Partner. Business Matching & Acquisitions. Outplacement. Offer and conditions. In: Invitation card of the MfMK Munich, 1993.
  41. Information on the exhibition locations and stations up to 2005. In: A journey ... with the Museum of Modern Art Munich to museums in Franconia - Part I. The Museum of Modern Art Munich presents the Aschach Castle Collection. Bad Bocklet, Uffenheim. In: Vernissage , Bavaria & Austria, exhibitions spring / summer 2005, p. 53.
  42. ( website of primaSonntag. ) Retrieved on November 7, 2019.
  43. Claudia Penning-Lother: “The question of reality and imagination. The Museum of Modern Art in Munich presents Balthasar Neumann ”is the name of the architectural sculpture. The sculpture can currently be seen in the Martin von Wagner Museum. In: primaSonntag January 25, 2004, p. 2.
  44. Claudia Penning-Lother: Series of architectural sculptures continued. The architectural sculpture A 13 is part of the series "The Museum of Modern Art Munich presents ..." and can be seen in the Schweinfurt Municipal Collections. This also includes the architectural sculpture “The Museum of Modern Art Munich presents Balthasar Neumann” in the Martin von Wagner Museum in Würzburg. In: primaSonntag,! 4. March 2004, p. 4.
  45. ^ Claudia Penning-Lother: Global, regional, what's in between. Architectural sculpture A 3 (construction period 1999–2003), extension of the Museum of Modern Art in Munich, currently on display in the Aschach Castle Museums. (Museums Schloß Aschach, Schloßstraße 24, Bad Bocklet / Aschach.) In: primaSonntag, May 16, 2004, p. 2.
  46. ^ Claudia Penning-Lother: Cooperations: Sound, art from the region and the Museum of Modern Art in Munich. Museum im Kulturspeicher breaks new ground. Museum of Modern Art. In: primaSonntag, January 23, 2005, p. 2.
  47. ^ Claudia Penning Lother: Art in and with nature. A journey ... with the Museum of Modern Art Munich to museums in Franconia - Part 1. The Museum of Modern Art Munich presents the Aschach Castle Collection. Bad Bocklet, Uffenheim. In: Vernissage, Bavaria & Austria, exhibitions spring / summer 2005, p. 52.
  48. ^ Annette Späth: A management report. A trip ... with the Museum of Modern Art Munich to museums in Franconia - Part I. The Museum of Modern Art Munich presents the Aschach Castle Collection. Bad Bocklet, Uffenheim. In: Vernissage, Bavaria & Austria, exhibitions spring / summer 2005, pp. 41–49.
  49. Georg Schöck, (1st Mayor of Uffenheim): Uffenheim - The city with the golden parts. A short excursion into the city's history. In: A journey ... with the Museum of Modern Art Munich to museums in Franconia - Part I. The Museum of Modern Art Munich presents the Aschach Castle Collection. Bad Bocklet, Uffenheim. In: Vernissage, Bavaria & Austria, exhibitions spring / summer 2005, p. 50 f., The architectural sculpture on display can still be seen there today.
  50. Claudia Pennig-Lother: AOK as part of an imaginary museum. In: primaSonntag, November 14, 2004, p. 2;
    Claudia Pennig-Lother:
    Art in the pub (en). Art and everyday life. Exhibition location restaurant “Zum Loisl”, another architectural sculpture in the “Wirtshaus Zur Gemütlichkeit”. In: primaSonntag, July 18, 2004, p. 4;
    Claudia Penning-Lother:
    Van Gogh's straw hat or: Are we going to give up art? An art street in Grombühl. In: primaSonntag, October 10, 2004, p. 4;
    Claudia Pennig-Lother: with the Steinbachtal School:
    wall paintings, mosaics, sculptures from the 50s and 60s in Würzburg. Art is everyday life. In: primaSonntag, November 28, 2004, p. 3;
    Claudia Penning-Lother:
    Würzburg art project expanded. Art is created in everyday life. The Museum of Modern Art Munich presents the two shop windows in the Grombühler Petrinistraße. In: primaSonntag, November 20, 2005, p. 2;
    Claudia Penning-Lother:
    Museum of Modern Art Munich presents 50 years of Grombühler restaurants. The Museum of Modern Art in Munich gives the restaurant “Zum Loisl” an artistic platform in the shop windows on the corner of Gabelsberger- and Petrinistraße. In: primaSonntag, August 6, 2006, p. 2;
    Claudia Penning-Lother:
    The Museum of Modern Art Munich presents: Exhibition series in the city: The art after the art market art. A question of authenticity. Together with City-Gold. In: primaSonntag, August 3, 2006, p. 7. Here for the first time in the visitor information the name Shuttle Service;
    Claudia Penning-Lother:
    The Museum of Modern Art Munich is exhibiting in Café Victoria. How does art behave in everyday life. In: primaSonntag, September 7, 2008, p. 3;
    Claudia Penning-Lother:
    "The 'red thread" of modern art runs through Würzburg. From the front and back. (Together with the men's outfitter “Filo Rosso.”) In: primaSonntag, October 19, 2008, p. 2;
    Claudia Penning-Lother:
    The Museum of Modern Art Munich presents art in the copy shop. Original or copy - what makes art? In: primaSonntag, December 4, 2008, p. 2;
    Claudia Penning-Lother: The Museum of Modern Art in Munich presents the ruins of the Würzburg hotel tower. In: primaSonntag, January 23, 2001, p. 8; Message from the Museum of Modern Art in Munich: My hangover was injured in the hotel tower. In: primaSonntag, May 1, 2011, p. 2;
    Claudia Penning-Lother: Museum of Modern Art Munich: Appeal for donations for the hotel tower. In: primaSonntag, June 12, 2011, p. 2.
  51. A journey ... with the Museum of Modern Art Munich to museums in Franconia - Part 1. The Museum of Modern Art Munich presents the Aschach Castle Collection. Bad Bocklet, Uffenheim. In: Vernissage, Bavaria & Austria, exhibitions spring spring / summer 2005, pp. 40–53;
    A journey ... with the Museum of Modern Art in Munich to museums in Franconia - Part 2. The museum in the Kulturspeicher Würzburg and the extensions to the Museum of Modern Art in Munich. In: Vernissage, Bavaria & Austria, exhibitions autumn / winter 2005, pp. 48–61;
    A journey ... with the Museum of Modern Art Munich to museums in Franconia - Part 3. The Museum of Modern Art Munich Würzburg branch. Motivations for a renewed recapitulation of the analysis of the art operating system - a repetition: 1987–93 / 2002–? / Intensifications. In: Vernissage, Bavaria & Austria, exhibitions spring / summer 2006, pp. 46–57;
    A journey ... with the Museum of Modern Art Munich to museums in Franconia. In the workshop of himself - Part I. In the metalworking shop Gredel & Söhne, metal sculptor Würzburg and to Carl Rottmann in the Schackgalerie in Munich. A trip to his new partners in Munich - Part I Galerie Florian Sundermann and Galerie Michael Heufelder and Koos. In: Vernissage, Bavaria & Austria, exhibitions autumn / winter 2006/2007, pp. 38–51;
    A journey ... with the Museum of Modern Art Munich Würzburg branch to the Würzburg art magazine number “Magazine for Culture in Würzburg and Künzelsau”. number twenty and number twenty-one. Part 2. Number twenty-two. In: Vernissage, Süd, exhibitions spring / summer 2007, pp. 76–83.
  52. The project and the state of affairs were documented with these advertising series.
  53. a b c d e f Ad series of the MfMK Munich in the following issues: 20, 21, 22, 23, 24, 25, 30, 31. Ad series in other issues, passim. On the website of the art magazine number. Retrieved November 15, 2019.
  54. The individual collaborations could not be compared with a cooperation between a client and an artist or a workshop in the traditional sense of art history. A modern trait, from which, as has been shown, even the art historian could not free himself.
    Aby Warburg : "It is one of the basic facts of the culture of the early Florentine Renaissance that works of art owe their creation to the mutual understanding cooperation between clients and artists, that is, from the outset, to a certain extent, are to be seen as a compensation product between the customer and the master to be executed." In: Ders .: Bildniskunst and Florentine bourgeoisie, I: Domenico Ghirlandaio in S. Trinita, The portraits of Lorenzo de'Medici and his relatives. In: Gesammelte Schriften, 2 vol., Leipzig 1932, IS 89–126; on this Ronald G. Kecks: Domenico Ghirlandaio and the painting of the Florentine Renaissance. Chapter: Artistic tasks of the time and their general requirements. Italian research by the Kunsthistorisches Institut in Florenz, edited by Max Seidel. Fourth episode, vol. II. Munich et al., 2000, p. 89. Cf. the texts by Claudia Penning-Lother listed here and the advertising series in the Würzburg art magazine number, passim.
  55. artist issue 119, 2/2019, p. 52 f .; artist issue 120, 3/2019, pp. 59–61, 64 o., 65 o .; artist issue 121, 4/2019, pp. 48–51, 54 f., 59 f.
  56. ^ Cover of the art magazine artist with the name of the artist group Fort. On the website of the art magazine artist. Retrieved November 22, 2019.
  57. artist issue 119, 2/2019, p. 52 f.
  58. artist issue 118, 1/2019, pp. 18–32.
  59. Frankincense. In: Texts on Art August 1996, Volume 6 No. 23, U 2. (This advertisement imagines an exhibition by the Kölnischer Kunstverein with its director at the time, Udo Kittelmann .)
  60. ^ Texts on Art August 1995, Volume 5 No. 19, p. 20;
    Texts on Art November 1995, Volume 5 No. 20, p. 26;
    Texts on Art March 1996, Volume 6 No. 21, p. 2 f .;
    Texts on Art May 1996, 6th year No. 22, p. U 2;
    Texts on Art August 1996, 6th year No. 23, U 2;
    Texts on Art November 1996, Volume 6 No. 24, p. 26.
  61. ^ Texts on Art March 1996, Volume 6 No. 21, p. 2 f. (Doubling, repeating U1 and U2);
    Edited by Alex Inkeles / readings on modern sociology. In: Texts on Art May 1996, Volume 6 No. 22, P. U 2. (Illustration: Cover of the book).
  62. Famous Germans under the condition of reflection of medium and general range. In: the blue reiter journal for philosophy No. 2/1995, p. 55;
    The new illusionists at the end of the 20th century. In: the blue reiter Journal for Philosophy No. 2/1995, (second edition), p. 55;
    Art. Cigarette advertising. A picture story in four episodes. The sweet porridge. A fairy tale by the Brothers Grimm. Creativity Processes in Business Part III. In: the blue reiter journal for philosophy No. 7/1998, p. 99.
  63. ^ The first editions of the blue reiter journal for philosophy. On the website of the journal. Retrieved November 22, 2019.
  64. Allelopoiesis - Concepts to describe cultural change. Annual conference 2014 of the SFB 644. PDF. Retrieved November 20, 2019.