The first section of the two-part exhibition focuses primarily on women’s roles and women’s (self-)representation in art, while the second section presents the genres and themes chosen by women, as well as their artistic achievements and accomplishments over the past fifty years, through their works in the museum.
The present exhibition features the project shown in Venice completed with a selection of works realised by the artist in the last decade, that can be considered as prefigurations, in their topics and technical formulations, of the works hosted this year by the Hungarian Pavilion at the Biennale.
The first section of the two-part exhibition focuses on women’s roles and women’s (self-)representation in art, while the second section presents the genres and themes chosen by women, as well as their artistic achievements and accomplishments over the past half century, through their works in the museum.
The exhibition Reversed Objects raises a number of questions ranging from the status of objects as either mere things or artworks to the functioning of art institutions, while touching on various themes and disciplines. The exhibition Reversed Objects explores the reasons for the presence, and the various meanings, of traditional craft techniques, which have become increasingly prevalent in contemporary art over the last 10–15 years.
The exhibition aims to showcase the cultural context and genealogy of one of the defining architectural forms of 20th-century Hungary. As a medium for private, self-built construction and an architectural manifestation of modernization, the cube house was a spontaneous response of vernacular architecture to the societal demands for housing.
Caring is a common experience for all of us, shaping our lives from birth until death. It can be interpreted on the personal level (self-care) or projected onto relationships between people (maternal or parental care, elderly care). Still, it can also be extended to caring for nonhumans and, in a broader sense, for the Earth itself.
Márton Nemes is one of the most innovative representatives of the young generation of painters, who experiments with a 21st century reinterpretation of the image, pushing the boundaries of traditional painting in material and space.
In the framework of Bartók Spring, the museum will present the exhibition of a jazz musician and photographer with a special talent.
The Ludwig Museum’s exhibition titled À la recherche de Vera Molnar pays tribute to the artistic legacy of Vera Molnar, who passed away shortly before her 100th birthday.
The Esterházy Privatstiftung is announcing the Esterházy Art Award again in 2023.
The exhibition’s title Handle with Care refers to the vulnerability of those in need of care, the asymmetrical relationship between carer and cared for, the fragility of life and our ecosystem, and the cracks and gaps in the social care system, but most of all, it calls attention to the need for collective responsibility.
The aim of the exhibition is to present and contextualise a current tendency in contemporary art, and especially in painting. The artworks, mainly by artists of the middle-aged generation, are constantly revisiting familiar characters from the cartoons of the 1990s.
The starting point of the exhibition is the contemporary ornamental patterns that cover the metal grid structure of the new Ethnographic Museum’s facade, built as part of the Liget Budapest Project.
A selection from the video collection of the Ludwig Museum - Museum of Contemporary Art
The exhibition Art after the Shoah brings together two artists who understood each other on both an artistic and human level in their efforts not to forget the injustice and crimes against the Jews.
The exhibition ... Everything Is up in the Clouds ... is an overview of András Lengyel’s rich oeuvre, spanning his entire career, yet it is not a retrospective, as new works are still being created today. Through thematic blocks, it traces the process by which the oeuvre, which grew out of Fluxus and conceptual art, has been developed in postmodernism through action, photo-based reproduced graphics, Mail Art and paintings.
This year, the Hungarian Pavilion at the 59th Venice Biennale will feature a solo exhibition by Zsófia Keresztes, entitled After Dreams: I Dare to Defy the Damage, which could perhaps never be more topical than after the pandemic crisis.
Touch Nature – One theme, two locations, 18 artists
The guiding principle of the exhibition is the adaptation of both material and personal sources of trauma by means of the tools of visual art and a novel analysis of their performative representation.
Zsófia Keresztes puts on display her new, multi-sculpture installation in the Hungarian Pavilion that she created specifically for the Biennale Arte 2022. Her work deals with the stages in one’s search for identity.
“The crisis consists precisely in the fact that the old is dying and the new cannot be born, in this interregnum a great variety of morbid symptoms appear.” (Antonio Gramsci)
Place Value is not the first exhibition dedicated to displaying our new acquisitions. This year’s selection is special in that it mainly includes works that have been acquired – purchased with the help of the NKA colleges, deposited by the Ludwig Stiftung in Aachen, or donated by artists and art collectors – over the last 7–8 years and only those that have not been shown in our permanent and temporary exhibitions before, thus providing the public with a sense of novelty.
Krisztián Frey (1929–1997) is one of the outstanding representatives of the Hungarian neo-avant-garde of the sixties and an early Swiss pioneer of international computer art. With this large-scale oeuvre exhibition, the museum is repaying an old debt.
