the munch museum

Transcription

the munch museum

THE MUNCH MUSEUM
2016
MAPPLETHORPE+MUNCH
JOHNS+MUNCH
JORN+MUNCH
THE MUNCH MUSEUM
ON THE MOVE
DEAR FRIENDS
OF MUNCH
The new Munch Museum in Bjørvika will provide
optimal conditions for Norway’s conceivably
most important contribution to world heritage
– the Munch Collection. The museum’s prominent
location in the city’s harbour area is a signal of
how important art is for our city.
For me personally, in my
first year as Councillor for
Culture at Oslo City Council, it is a great pleasure to
meet such a vital Munch
Museum, which attracts so
many enthusiastic visitors.
I am very much looking
forward to the museum’s
exhibition programme for
2016 with its fascinating
Photo: © Oslo Kommune
series of +Munch exhibitions. The Munch Museum is planning to collaborate with the
Metropolitan Museum of Art in New York on an exhibition, and
the 2016 programme continues the popular +Munch series, first
with a dual exhibition with the pioneering American photo artist
Robert Mapplethorpe, and later in the year with Jasper Johns.
This series has been an outstanding success to date:
Melgaard+Munch attracted new visitors and sparked new debate
on how the legacy that Edvard Munch left the city should be
administered and shared. The moving meeting of the two grandmasters Van Gogh and Munch was embraced by the public as
the rare gift that this huge venture was. Art should move people
and engage them, and the Munch Museum’s vision of creating
strong impressions and strong expressions is spot-on.
I wish the Munch Museum the best of luck with its exhibitions
and activities in 2016!
Rina Mariann Hansen
Vice Mayor of Cultural Affairs
Illustration: Estudio Herreros
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THE MUN CH MUSEUM
A MUSEUM
ON THE MOVE
In 2016 we wish to demonstrate that the Munch Museum is on the move.
Not only physically from Tøyen to Bjørvika, but also in a more figurative
sense. In housing the exceptional Munch collection in a new and modern
museum building, we will have the potential to become one of Northern
Europe’s most important and attractive art museums. Along the way we
are adding an international perspective in terms of quality and expertise
– in the work on developing the visitor experience at the museum, in the
exhibition programme, and in all the other activities we offer our visitors.
Of course all cultural institutions ought to be “on the move”, in order
to engage with and ensure they are at the core of their own era. Art
aims to put the great challenges in life on the agenda, on the individual
Photo: © Vegard Kleven
and the community level alike. In order to remain relevant, fresh and
attractive, the Munch Museum wants to be innovative, generous, open and responsible. These
are the core values that underlie everything we do as a museum on the move.
Work has started on the new museum building in Bjørvika. As part of the preparation for the construction
process, all the museum’s needs and wishes have been identified and reviewed in detail by internal and
external experts. After Herreros Arquitectos won the international architectural competition in 2009,
we have studied nearly a hundred institutions around the whole world to find the very best solutions.
We are very pleased with the plans for the new museum building and are confident that it will be
a valuable addition to the art scene. We believe it will make Oslo more attractive to visitors and
residents, and not least to those who wish to establish themselves in the capital. It will provide
considerable added value, both cultural and financial, for the city and country.
Edvard Munch’s art is one of Norway’s most important contributions to the world’s cultural heritage. The new museum building will really be able to showcase the collection that the City of Oslo
inherited from Edvard Munch in 1944, which consists of nearly 28,000 artworks, 15,000 other
museum objects and the Stenersen Museum’s collections. We want to share the gift that Edvard
Munch left us and with his art enrich the lives of people worldwide.
The programme for 2016 also reflects a new direction that the museum has been pursuing for some
time now. We want to continue to provide moving, fresh and thoroughly modern art and cultural
experiences. The programme continues our highly successful +Munch series of exhibitions. It also
presents our new art project in Bjørvika, The Munch Museum on the Move, and a variety of research
and conservation activities. We run special projects for children and young people, and invite visitors
to explore our shop and café. Our goal is that no one should leave the Munch Museum unmoved.
We are very proud of the programme we are presenting here and hope it inspires people to come
back again and again. We would like to thank everyone who has contributed to our programme
and to our important work of fostering an interest in art, especially among children and young
people. The programme lists all of our partners and includes articles and interviews with some of
our sponsors and friends. We would like to remind you about our attractive membership package
and thank our members who contribute to the museum’s important work.
The Munch Museum’s underlying concept is: strong expressions – strong impressions. We look
forward to welcoming you!
Stein Olav Henrichsen
Director
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C O N TEN T S
CONTENTS
The Munch Museum’s exhibitions. . . . . . . . . . . . . . . . . . . .
5
Mapplethorpe+Munch. . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Johns+Munch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
A Profound Interest:
A Conversation with Curator John Ravenal. . . . . . . . . . . . .
14
Jorn+Munch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
An Energetic Artist:
About Jorn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18
The Munch Museum on the Move. . . . . . . . . . . . . . . . . . .
20
International Exhibitions and Collaborations. . . . . . . . . . . .
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A Parallel Story:
A Conversation with Stein Erik Hagen . . . . . . . . . . . . . . . .
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Research. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Munch in Norway. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Publications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
Guided Tours and Other Activities. . . . . . . . . . . . . . . . . . .
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Calendar of Events 2016. . . . . . . . . . . . . . . . . . . . . . . . .
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Contact Information . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Munch Museum Member. . . . . . . . . . . . . . . . . . . . . . . . .
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Edvard Munch: Photographic self-portrait on the
beach in Warnemünde, 1907 (detail)
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E X HIBITIO NS
2016
EXHIBITIONS
3 October 2015–17 January
6 February–29 May
Vigeland+Munch
Mapplethorpe+Munch
Works by two of the most famous
names in Norwegian art history,
Edvard Munch and Gustav Vigeland,
are displayed side by side in a major
dual exhibition. There are many interesting similarities in their work, development and aspirations, providing
the audience with an opportunity to
discover new connections between
the two.
Robert Mapplethorpe (1946–
1989) is one of the internationally
best-known photographers of the
last 30–40 years. Mapplethorpe
does not refer directly to Edvard
Munch’s art in his photographs,
but it is easy to identify a number
of points of contact when you
look. Both created art that touches
an existential nerve. The themes
of gender and sexuality will be
central in this exhibition.
June–September
18 June–25 September
April
The Munch Museum on
the Move
The Munch Museum is moving parts
of its activities outside the museum’s
four walls. Over the next few years,
the public will be able to experience
a series of temporary, outdoor projects along an axis running from the
current museum in Tøyen to the new
museum in Bjørvika. Relevant art projects by young artists will be exhibited
in various spaces in the borough of
Gamle Oslo (old Oslo), and the Stenersen Collection will be on display at
Kunsthall Oslo in Bjørvika.
14 October–15 January 2017
Edvard Munch at Ekely
Johns+Munch
Jorn+Munch
Edvard Munch’s studio at Ekely
is open to the public during the
summer months. The building is
an attraction in itself. An exhibition
based on documentary material and
audiovisual media presents Munch’s
life and work here.
Jasper Johns was fascinated by
Edvard Munch’s art. Especially from
the late 1970s and throughout the
1980s, Munch was an important
source of inspiration for him. This
fascination is being explored for the
first time in a major exhibition of their
paintings and prints. Johns has been
one of the most prominent artists in
the USA and internationally since
the 1950s.
With his original take on Edvard
Munch, Asger Jorn helped renew
interest in a part of Munch’s work
that had previously been rather overlooked. Jorn recognised these works’
spontaneous, experimental and
painterly qualities, which inspired
his own art. With his abstract-expressive paintings, Jorn was a prominent
figure in both Danish and European
post-war art. This is the first exhibition that examines the relationship
between Jorn and Munch.
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TIT TEL T IL L EG G S T I T T EL
EXHIBITIONS
2016 will continue with our successful exhibition series +Munch, where six artists
are juxtaposed with Edvard Munch. The series aims to present Munch’s art in a new
perspective. This year Munch’s works will be exhibited in tandem with the photographer
Robert Mapplethorpe and the two painters Jasper Johns and Asger Jorn. All three
are world-famous and have each in their own way influenced modern art in the last
half century. We will also be starting the Munch Museum on the Move project where
interesting art projects will be displayed in the city over the next four years. These
will take place along an axis running from the current museum in Tøyen to Bjørvika,
where the new museum building is scheduled to be completed in 2019.
Edvard Munch: Consolation in the Forest, 1924-25 (detail)
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E X HIBITIO NS T H E M U N C H M U S E U M
At first glance, the art of Edvard Munch
and that of Robert Mapplethorpe may
not appear to have much in common.
However, closer inspection reveals a
number of fascinating parallels and
points of contact. It is this complex
relationship that the exhibition
Mapplethorpe+Munch aims to explore.
Robert Mapplethorpe (1946–1989) is one of the most controversial and well-known artists of our
era. He made his breakthrough as a photographer in New York in the late 1970s, and his fame grew
rapidly in both the US and internationally through the 1980s. In 1989 he died of AIDS. Mapplethorpe
worked in black and white photography. For many years he used Polaroid, taking informal pictures
of himself and friends. He then switched a Hasselblad medium-format camera and for the rest of
his career focused primarily on studio-based photography, which afforded maximum control of the
lighting and composition.
He was open about his sexuality from the outset, and made his name with homoerotic images. Not
least, he was notorious for exploring the sadomasochistic subculture among gay men. Mapplethorpe
also worked extensively with nudes, particularly of African-American men, some of whom he had
sexual relations with. Floral still lifes and portraits are also dominant motifs in his work. Whatever the
motif, his highly stylised photographs are always strictly composed, displaying a classical, idealised
beauty. Mapplethorpe was an aesthete and a rebel at the same time.
Juxtaposing Munch and Mapplethorpe reveals several commonalities, such as their widespread use of
traditional genres, primarily portraits and nudes. Another is the existential expression that permeates
their art in different ways. Other commonalities can be found in their self-understanding as artists and
in the way they both caused a scandal with their art. Both were members of a bohemian subculture
of artists that defied the establishment of their era.
The exhibition comprises a series of self-portraits that shows how both Munch and Mapplethorpe
experimented extensively with their own identity as artists, including references to Christian imagery
and symbols. Mapplethorpe was from a Catholic family. In the lithograph Self-Portrait with Skeleton Arm
(1895) and the painting Self-Portrait in Hell (1903) Munch plays on death as a theme and Christian
notions of hell. Mapplethorpe’s self-portrait with devil horns (Self Portrait, 1985) has a similar demonic
element. His work also contains numerous vanitas motifs, such as the self-portrait with a skull (Self
Portrait, 1988) or the evocative portrait of a cranium (Skull, 1988), taken while he was ill with AIDS.
Both artists portray themselves at existential extremes: as can be seen in Munch’s self-portrait photographs from the beginning of the century, and Mapplethorpe’s early Polaroids in which he explores
his own sexuality in front of the camera. Here the two artists meet in the same medium.
Both artists explored the topics of masculinity, sexuality and gender. The connections that can be
drawn here are ambiguous and fascinating. Like Munch, Mapplethorpe worked extensively with female
nudes, most prominently in a series of photographs from the early 1980s of Lisa Lyon, a pioneer in
female body building. Here he turns stereotypes about the female body on their head.
The many portraits in the exhibition prove both artists’ mettle as outstanding portrait artists. Mapplethorpe’s numerous still lifes with flowers have no direct counterpoint in Munch, but are included
in the exhibition in several places. They are both erotic and counterbalance the allusion, both direct
and indirect, in the self-portraits and portraits to the transient nature of life.
Period: 6th February to 29th May
Venue: The Munch Museum
Curator: Jon-Ove Steihaug
The exhibition is based on the museum’s own collection of Munch and what is one of the largest
private collections of Mapplethorpe photographs in the world, which is part of Stein Erik Hagen’s
Canica art collection. This is the first time this collection is presented publicly. It is also the first
major Mapplethorpe exhibition in Norway and the first time Mapplethorpe is exhibited with Munch.
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All Mapplethorpe works: © Robert Mapplethorpe Foundation. Used by Permission.
Munch’s art has had a far greater
influence on Jasper Johns than we
have previously been aware of.
This exhibition examines the connection between Edvard Munch’s work and one of the truly great
names in contemporary art – Jasper Johns. Never before has there been such a comprehensive
exhibition of Johns’ art in Scandinavia.
Johns (born in 1930) made his breakthrough on the American art scene in the latter half of the 1950s,
with paintings based on widely known symbols like the American flag, targets, numbers and letters.
His art broke with the subjective and spontaneous painting of the abstract expressionism that had
dominated American art in the 1940s and 1950s. Together with artists like Robert Rauschenberg,
Johns was a precursor to the 1960s’ pop art in the US. He also had close relationships at this time
with other artists, including the choreographer Merce Cunningham and the composer John Cage.
An important source of inspiration for Johns was Marcel Duchamp and his conceptual approach to
creating art.
Johns explicitly distanced himself from the idea of art as subjective expression. He thus forms something
of a counterpoint to the expressionist tradition that Munch helped found. It is therefore particularly
interesting that Johns at a later stage became interested in Munch’s art. His first direct encounter with
Munch was at an exhibition at the Museum of Modern Art in New York in 1950, when Johns was 20.
We do not know much about what kind of impression Munch’s art left on the young Johns, but some
25 years later – from the late 1970s – references to Munch started appearing in his work. This was
a period of important changes in Johns’ art, in terms of both motifs and form. He started including
figurative elements, spatial perspective, references to time and existential issues in his pictures. He
has been inspired by Munch’s treatment of topics such as love, fear, illness and death, among others.
At the same time he was also interested in Munch’s experimental approach to art.
With this exhibition we aim to show that Munch has had a far greater influence on Johns than was
previously known. The exhibition consists of about 130 works – paintings, prints, drawings and photographs. An important factor is the way Munch’s late self-portrait Between the Clock and the Bed
(1940–1943) is linked to Johns’ series of abstract cross-hatch works that became something of a
signature motif for him in the 1970s. The similarity between Johns’ cross-hatch pattern and the pattern
on the bedspread in Munch’s self-portrait was not originally intended. However, from 1980–1984 Johns
chose to use this similarity explicitly in a series of paintings with the same title as Munch’s painting.
Another part of the exhibition focuses on how Johns has been inspired by another of Munch’s
self-portraits, a lithograph in which Munch places a skeleton arm under his own portrait, as an
emblem of death. Johns was also interested in Munch’s suggestive use of shadow and the human
figure. This is particularly noticeable in a series of paintings from the second half of the 1980s where
Johns introduces the human figure as a subject in his pictures for the first time. This reflects a new
existential element in his art.
Period: 18th June to 25th September
Curator: John Ravenal
Johns+Munch is a joint project with the Virginia Museum of Fine Arts (VMFA) in Richmond, USA.
After its spell at the Munch Museum, the exhibition will be shown there in autumn 2016. The
curator of the exhibition is John Ravenal, the former curator at VMFA, and the current director
of the deCordova Sculpture Park and Museum outside Boston, USA. Ravenal is the editor of
the exhibition catalogue, which is published by Yale University Press. It is fully illustrated and
contains an article written by Ravenal.
Edvard Munch: Self-portrait. Between the Clock and the Bed, 1940–43
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A PROFOUND INTEREST
:
“What do you regard as the exhibition’s highpoint?”
Curator John Ravenal points out the connections and
differences between Jasper Johns and Edvard Munch.
“The exhibition offers a once in a lifetime chance to see important works
by Johns and Munch together. It is the very first time that Johns’ Between
the Clock and the Bed paintings will be exhibited together with Munch’s
Self-Portrait. Between the Clock and the Bed. The works in the final hall
will also dwell on shadows and ghosts in the works of Johns and Munch. I
believe it will show a new and emotionally captivating connection between
the two artists.”
“Two continents and almost 70 years separate the artists Jasper Johns
and Edvard Munch. An exhibition presenting their works side-by-side may
therefore seem surprising to some. How did the idea of the Johns+Munch
exhibition come about?”
“Johns’ last main works used hatching.
The abstract patterns covering the entire
canvas, which is what he exclusively produced in his paintings from 1973–1982,
are part of the collection of the Virginia
Museum of Fine Arts (VMFA), and are
named after Munch’s late Self-Portrait.
Between the Clock and the Bed. I worked
at the VMFA for around 17 years and had
long been fascinated by this connection.
When I decided to arrange an exhibition
on the theme, I discovered that Johns’
Portrait of Jasper Johns
interest in Munch was far more profound
than art connoisseurs had demonstrated. The opportunity to work with the
Munch Museum made this exhibition possible.”
“Jasper Johns is today referred to as one of the world’s leading, living artists.
He is 86 and still an active artist. What does he think about exhibiting his
works alongside those of Edvard Munch?”
“Despite art connoisseurs having written about Johns’ interest in Munch
since the 1980s, this is the first exhibition that explores the connection
in depth. In the meetings I have had with Johns, he was receptive to the
idea. It is well known that he refrains from explaining his work and prefers
to leave interpretation to critics, connoisseurs and spectators. At the same
time, he has supported the project and loaned works from his personal
collection. I’m convinced he is looking forward to seeing his works be
compared with Munch’s works.”
“How was Johns inspired by Munch and how is this expressed in his works?”
“The first time Johns saw Munch’s works was in 1950 at the Museum of
Modern Art in New York. In the mid-1970s he again became interested
in Munch and used some of Munch’s motifs in his own works. It started
with woodcuts, which recur in many of Munch’s prints. Then came the
references to Munch’s famous Self-Portrait with Skeleton Arm (1895) in the
Savarin monotypes from 1978 and the red arm in the Savarin lithographs
from 1981, which even included Munch’s initials. I believe it was these
motifs that resulted in Johns exploring Munch’s larger themes of life and
death, and that this in turn, in the works from the early 1980s, inspired
him to greater emotional expression.”
“Do you think the exhibition can also provide new insight into Edvard
Munch’s art?”
“Any action by a viewer can be seen as a reactivation of the art object.
The spectators link the work to the present by interpreting it. This creates
new meaning in relation to the spectators’ own convictions, knowledge
and experience. This sort of creative response is especially visible in
artists since they adapt motifs and techniques from the past for new
purposes in their own works. Munch has inspired many contemporary
artists, including Joseph Beuys, Anselm Kiefer and Jim Dine. Johns’
interest in Munch is especially subtle and complex. This exhibition can
provide a deeper understanding of Johns’ creative process and, through
this, show that Munch’s works are vital, dynamic and constantly relevant
to the moment here and now.”
John Ravenal. Photo: © David Stover, Virginia Museum of Fine Arts
John Ravenal was for many years a curator at the Virginia Museum
of Fine Arts, which will host the Johns+Munch exhibition in autumn
2016. Since 2015 he has been the director of the deCordova Sculpture Park and Museum in Massachusetts.
Jasper Johns: Cicada, 1979. © Jasper Johns/Licensed by VAGA, New York, NY
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This exhibition provides a chance
to become better acquainted with
the later paintings of Munch and his
importance for the Danish artist
Asger Jorn’s body of works.
As a young artist, Asger Jorn (1914-73) was part of the avant-garde and surrealistic artist scene in
Copenhagen in the 1930s. However, it was not before he was in his forties that Jorn found his personal
artistic means of expression. Immediately after peace was declared in 1945, Jorn travelled, aged
just 30, to Oslo to see an extensive retrospective of Edvard Munch’s works at the National Gallery.
Munch’s name and art were well known on the international art scene when he died in 1944. Like
today, it was his works from the 1890s for which he was best known. However, the exhibition at the
National Gallery primarily featured works from the later period of Munch’s body of works, in other
words from the period after the turn of the century. Jorn was already very familiar with Munch’s earlier
art, but Munch’s later works surprised him and made an impression.
In the later Munch, Jorn discovered a painter with a direct, spontaneous and intense form of expression. This form of expression resonated with the young artist who at the time had a background from
surrealism’s spontaneous painting. The artistic liberation that Jorn finds in Munch is the main theme
of the Jorn+Munch exhibition.
One should be cautious about drawing simple conclusions about artistic influence. The differences
between Munch and Jorn are more immediately eye-catching than the similarities. For example, their
works differ from each other when it comes to technique and visual expression, and there are no
immediate similarities in their motifs.
Nonetheless, it is possible to demonstrate that a change takes place in Jorn’s works after he saw
Munch’s art in the National Gallery. Jorn was particularly interested in Munch’s intense use of colour
and his direct and gestural manner in the works from after the turn of the century. He was also inspired
by the organic and curved lines one finds in Munch’s works from the 1890s. Jorn’s visual expression
and manner change markedly in this period.
Jorn’s relationship with Munch is not just expressed through formal points in common. One can also
discern a deeper thematic and artistic connection between the two artists. Jorn has commented on
this connection in writing, but he also expresses it by quoting from certain motif and composition
forms of Munch’s in some places.
From the end of the 1940s, and for many years after that, Munch appears to have been a challenging
and important reference point for Jorn’s body of works; not that this means Munch can be considered
the key to fully explaining Jorn’s art.
In a larger perspective, this exhibition looks more closely at Munch’s significance in the development
of the modernistic painting in the latter half of the 20th century, as well as how Munch, as one of
many, has influenced later generations of artists, in this case Asger Jorn.
A change takes place in Jorn’s
works after he saw Munch’s art
in the National Gallery.
Period: 14th October to 15th January
Curators: Oda Wildhagen Gjessing and
Lars Toft-Eriksen
Asger Jorn: The Emigrants, 1953. © Donation Jorn, Silkeborg/BONO 2015
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AN ENERGETIC
ARTIST
Asger Jorn is one of the most important Danish artists of the last century. He worked in mediums such as painting, graphic
art, drawing, and ceramics, and wrote books and articles on everything from aesthetics to politics. Jorn was a dynamic
artist who made contacts wherever he travelled; he was the initiator of many projects, founded artist collaborations and
established journals.
Asger Oluf Jørgensen (later Jorn) was born on
3 March 1914 in Vejrum in Jutland, Denmark.
In 1929 he moved to Silkeborg, where he also
started teacher training college. Jorn’s political
engagement was awoken early on and he was,
for periods, a member of the Communist Party
of Denmark.
After graduating from teacher training college,
Jorn decided to become an artist. In the second
half of the 1930s he was often in Paris where
he became a student of Fernand Léger. He was
particularly interested in artists like Miró, Max
Ernst and Jean Arp.
Together with artist friends, including Egill Jacobsen, Ejler Bille and Carl-Henning Pedersen, Jorn
established the journal Helhesten in 1941. They
wanted to unify ideas from modern European
art with Danish traditions and folk art, and have
since been referred to as the spontaneousabstract movement.
Asger Jorn, 1953. Photo: © Poul Pedersen, Donation Jorn, Silkeborg
Jorn believed that the young Danish art that
emerged in the war years was of major importance. So, when liberation
came in 1945, it was important to him to travel abroad and find out what
other artists had been working on. The first place he travelled to was Oslo. He
came here to see an extensive Edvard Munch retrospective at the National
Gallery. The exhibition was an epoch-making experience that had a major
influence on Jorn’s subsequent development.
In the early 1960s, Jorn embarked on a major project focusing on old Nordic
folk art. This resulted in a vast archive of more than 25,000 photographs by
the French photographer Gerard Franceschi. The idea was that the archive
would become a centre for studies in old Nordic art: the Scandinavian
Institute of Comparative Vandalism. He gave up the project in 1965, but
later published books on the subject.
With Jorn as the driving force, the COBRA group was established (COpenhagen, BRussels and Amsterdam) in 1948. The collaboration lasted just
three years, but would have a profound influence on art from a historical
perspective.
1964 saw the first retrospective on Jorn’s work in Basel, Amsterdam and
and at Louisiana (near Copenhagen). In the same year, he refused the
prestigious Guggenheim Award because he did not want to participate in
what he believed was a commercial game in which artists were compared
to each other and ranked.
At the end of the 1940s and during the 1950s, Jorn struggled with poor
health and a turbulent private life. In spring 1951 he was admitted to hospital
in Silkeborg with tuberculosis.
Jorn died in Århus, Denmark on 1 May 1973. He is buried in the cemetery
at Grötlingbo Church on the island of Gotland in Sweden.
In 1954, he settled in Albissola in Italy where he worked a lot with ceramics.
Jorn lived a wanderer’s life in the middle of the 1950s, travelling back and
forth between France, Germany and Italy especially. From 1957 to 1961
he was a member of the avant-garde movement Situationist International.
Asger Jorn: Tristesse blanche, 1958. © Donation Jorn, Silkeborg/BONO 2015
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THE MUNCH MUSEUM
ON THE MOVE
In the next few years, the public will be able to experience a series of temporary, contemporary art projects along an axis running
from the current museum in Tøyen to the new museum in Bjørvika. The Munch Museum wants to further develop the Stenersen
Museum’s commitment to contemporary art and to lay the foundation for the opening of the new Munch Museum in Bjørvika in 2019,
which will also house the Stenersen Collection. We have talked with the manager and curator of the project, Natalie Hope O’Donnell.
“Why is the Munch Museum focusing on contemporary art?”
“And what, specifically, will the public experience?”
“The background is that at the start of the year we are moving our activities from the Stenersen Museum’s premises in Vika. When the Munch
Museum is completed in Bjørvika in 2019, both the Munch Collection and
the Stenersen Collection will be located there. In the meantime, the Munch
Museum in Motion project will continue the
legacy of Rolf E. Stenersen and his interest in
contemporary art – particularly with a focus
on the so-called ’young artist’.”
“The first event will take place in the spring in the form of a conference.
Here we will ’dig’ deeper into the theme and investigate the potential that
exists in the chosen geographical area. Among other things, we will look
more closely at the extensive art project PiG that took place in Gamlebyen
“How far along are you in the planning of the
art projects?”
“We are in the start-up phase and have
established an international reference
group of well-qualified professionals who
will quality assure the project. This includes
Charles Esche from the Van Abbemuseum in
Eindhoven, Rachel Anderson from Artangel in
London, and Pooja Sood from Khoj Workshops
in New Delhi. We will also be working with
external curators and established artist organisations and galleries, such as the Young Artists
Society and Kunsthall Oslo, an arts institution
that is already established in Bjørvika.”
“How will the urban space be utilised?”
“The projects will take place within a geographically specified triangle, anchored at its
outermost points in Tøyen, Bjørvika and Ekeberg. We are basing our work on the keyword
’motion’ and envisage, among other things,
walking tours playing a key role. ’Neighbourliness’ is another important point. We are
interested in getting to know the community
in the defined area and view both the local
community and the existing arts scene as
important resources and partners. The plan is
to invite the artists to respond to some of the
locally rooted aspects that are found within
this ’Munch triangle’.”
Sofia Hultin, I’m Every Lesbian, Malmø (2014).
Photo: © Johan Björkwall
20
(the old town) in 1994 where more than 60 art projects based on the local
community and local history were displayed.
Following this, the Swedish artist Sofia Hultin will carry out her now wellknown project I’m Every Lesbian, where she collects stories from lesbians
and communicates them in the form of a walking tour.”
“What do you think is the most important aspect of this project?”
“It is both important and positive that the Munch Museum wants to instil
an active focus on contemporary art in this way. It is also important that
the project finds concrete means of activating the public’s awareness of the
moving process that both the Stenersen Museum and the Munch Museum
face. The Munch Museum in Motion is, in many ways, part of an urban
development perspective where locally anchored contemporary art projects
could encourage people to reflect on local community and daily life in a
constantly changing borough. It is important to appreciate and build up
what we have,” concludes Hope O’Donnell.
Sofia Hultin, I’m Every Lesbian, Malmø (2014).
Photo: © Johan Björkwall
Project manager: Natalie Hope O’Donnell
Curators: Natalie Hope O’Donnell and Kari Brandtzæg
The Munch Museum in Motion:
– A four-year programme of contemporary art in the area bordered
by Tøyen, Bjørvika and Ekeberg.
– Will continue showing the Stenersen Museum’s collections and
art profile in collaboration with Kunsthall Oslo.
Rolf E. Stenersen’s Collection:
– Donated to the Municipality of Aker (later Oslo) in 1936
– Incorporated into the Munch Museum in 2010
– Will be co-located with the Munch Collection in the new
museum in Bjørvika in 2019
Jakob Weidemann: Partisan, 1946 (detail). © Jakob Weidemann/BONO 2015
21
BABYSCREAM
– a dose of culture for new parents
Join one of our guided tours designed specially for parents and babies.
The tour is ideal for post-natal groups looking to do something a bit different.
Bring a baby carrier or borrow one of our strollers.
If your child is less than three months old, you can bring your own pram into the exhibition.
The tours are led by one of our expert museum guides, and a bite to eat in the coffee bar
Stockfleths after the tour rounds the outing off perfectly.
BABYSCREAM:
6 January
6 April
4 May
22 June
7 September
2 November
7 December
WHEN: 1.00 PM PRICE: NOK 60 per adult with baby
For up-to-date information, see munchmuseet.no
Proud contributor to an
increased interest in art
We are proud to have contributed to the growing public
interest in Munch. By supporting unique art dissemination
projects our aim is to increase interest in visual art, in
particular among children and young adults.
The aim of the DNB Savings Bank Foundation is to be a
significant patron, supporter and catalyst in the Norwegian art
world. We are in the process of building up a significant art
collection, and lending it to Norwegian museums on a longterm basis. Priority is given to artists and works that are little
known in Norway, so that our museums have the opportunity
to convey new and alternative histories to a broad public.
Edvard Munch, Self-portrait with Cigarette (1895). Photo © Sverre Chr. Jarlid
EFFECTIVE PUBLICITY
FOR YOUR COMPANY
Do you wish to have your company associated with
one of the world’s most famous artists and Norway’s
national treasure?
As a sponsor you will have exclusive access to exhibitions
and events at the Munch Museum. A sponsor agreement
will provide your company with the following and more:
Edvard Munch: Madonna, 1894
• Valuable branding
• Affiliation with leading international brands and
quality products in the cultural sector
• Access to relevant target groups
• Unique access to international networks
Do you want to learn more about what your company
can gain from a collaboration with us? Contact us for
an obligation free sponsor chat: Tel. 97 05 78 19 or
info.munch@munchmuseet.no
THE MUN CH MUSEUM
EDVARD MUNCH’S WINTER STUDIO
AT EKELY IS OPEN FOR THE SUMMER
Edvard Munch’s studio at Ekely is open to the public during the summer months. The building is an attraction in itself, and an
exhibition based on documentary material and audiovisual dissemination presents Munch’s life and work here.
In 1916 Munch bought the property that would remain his home until his
death in 1944. The work on decorating the Aula had given him a taste
for large-scale designs, and during the remainder of his life he worked on
several other monumental projects, which constitute an important part of
his oeuvre. With time, a number of other studios sprouted up around the
4.5 hectare plot. At Ekely Munch finally had enough space to work. The first
solid winter studio – designed by the architect behind Oslo City Hall Arnstein
Arneberg – was built in 1919–20, and several other summer and open-air
studios were built as needs arose. Many large pictures were left hanging
outside in summer and winter, protected only by a narrow pitched roof.
Munch liked having his pictures on permanent display, both for inspiration
and to be able to continue working on them. His life at Ekely was dominated
by his all-consuming work, and he invested most of his money in building
facilities to enable him to work. The good working conditions are reflected
in the large, colourful production, inspired by the immediate surroundings.
The passing of the seasons is depicted in a series of landscapes from the
apple orchard and the old elm forest, and paintings of the winter night and
the red barn are among Munch’s most famous works painted here. He
painted pictures of horses ploughing and farmers at work; indeed he kept
a horse as a model, and he immortalised his dogs in various works. In his
self-portraits from Ekely, Munch investigates his own moods and is ruthless
in his self-exposure. In his outdoor studios he worked on the monumental
Frieze of Life and other large-format projects. However, the eye disease that
Munch suffered in 1930 was a turning point in his life. The desire for peace
to work became increasingly urgent and led to his self-imposed isolation.
In 1940 Munch bequeathed his remaining works to the City of Oslo. The
collection consisted of around 1,100 paintings, 3,000 drawings, 18,000
prints and six sculptures, plus sketchbooks, printing plates and lithographic
stones. His extensive collection of letters and notes, photographs and books
were also included in the bequest. After Munch’s death in 1944, the City
of Oslo bought the entire Ekely property from his estate in 1946. The City
Council decided that the site should be used to benefit visual artists and
be developed by the cooperative building association OBOS, and in 1951
artists started moving into the 44 newly built artists’ residences with a
studio, designed by the architects Jens and Wenche Selmer.
The villa where Munch lived was demolished in 1960. The winter studio,
which was extended to its present form in 1929 and was designed by his
friend, the architect Henrik Bull, is now the only original building that remains
from Munch’s time at Ekely. In 2013 work started on renovating the studio,
and in 2015 the outdoor section of the studio, which has now been restored
to its original form, was opened to the public. The Norwegian Directorate
of Cultural Heritage listed the winter studio and the studio gardens as a
historical heritage site in 1997, along with the artists’ colony, which was
listed as a prime example of housing construction after the Second World
War and an important manifestation of the development of the welfare state.
Photo: © The Munch Museum
When: June to September
Where: Edvard Munch’s winter studio at Ekely,
Jarlsborgveien 14, Oslo
Curator: Petra Pettersen
Website: For opening hours and directions, see:
www.munchs-ekely.no, which also presents over 400
Munch paintings from Ekely.
Edvard Munch at Ekely, 1938. Photo: Ragnvald Væring. © O. Væring Eftf.
Edvard Munch: Woman with Poppies, 1918-19
24
25
© Munchmuseet/Munch-Ellingsen Gruppen/BONO 2014
EXPERIENCE EDVARD MUNCH
The Munch Museum, Thon Hotels and Color Line
cooperate to strengthen interest in Edvard Munch’s art.
Book your travel, accomondation and tickets to the
museum at Thon Hotels and Color Line.
munchmuseet.no | colorline.com | thonhotels.com
Chamber Music at the Munch Museum
6 FEBRUARY
W.A. Mozart (1756–1791) – Quintet in D
minor KV 421 (arr. Franz Rosinack 1748–
1823) Oboe, violin, 2 violas and cello
MOVEMENT: Allegro moderato, Andante,
Menuetto, Allegretto ma non tanto
Egil Hovland (1924–2013) – Cantus VIII op.
126 for oboe and string quartet
Arthur Bliss (1891–1975) – Quintet for oboe
and string quartet
MOVEMENT: Assai sostenuto-ModeratoAllegro assai agitato-Tempo I-Molto meno
mosso, Andante con moto-Allegro moderatoTempo I, Vivace
FEATURING: David Friedmann Strunck,
obo, Elise Båtnes, violin, Alison Rayner,
violin and viola, Henninge Landaas, viola,
Bjørn Solum, cello
5 MARCH
Joseph Haydn (1732–1809)
– “Sunrise” String quartet in B flat major
Felix Mendelssohn (1809–1847)
– String quartet no. 3 in D major, op. 44, 1st
movement
FEATURING: Eileen Siegel, violin, Daniel
Dalnoki, violin, Benedicte Royer, viola,
Katharina Hager-Saltnes, cello
2 APRIL
UNEARTHING FORGOTTEN
TREASURES
Arnold Bax (1883–1953) – Fantasy Sonata for
viola and harp 23'
MOVEMENT: Allegro molto, Allegro moderato,
Lento espressivo, Allegro
Photo: © Trygve Indrelid
André Jolivet (1905–1974) – Chant de Linos
for flute, harp, violin, viola and cello 12'
Jean Cras (1879–1932) – Quintet for flute,
violin, viola, cello and harp 23'
MOVEMENT: Assez animé, Animé, Assez lent,
sans traîner, Très animé
FEATURING: Helen Benson, flute, Alison
Rayner, violin, Benedicte Royer, viola,
Johannes Martens, cello, Birgitte Volan Håvik,
harp
7 MAY
Johannes Brahms (1833–1897) – Sextet no.
1 in B major, op. 18
Richard Strauss (1864–1949)
– Metamorphosen (septet)
violin, Povilas Syrrist-Gelgota, viola, Toril
Syrrist-Gelgota, cello, Kenneth Ryland, Double
bass, Gonzalo Moreno, piano
15 OCTOBER
Johan Svendsen (1840–1911) – String
quintet op. 5
Ludwig van Beethoven (1770–1827) – String
quintet op. 29
FEATURING: Baard Winther Andersen, violin,
Hans Morten Steensland, violin, Åshild Breie
Nyhus, viola, Anders Rensvik, viola, Cecilia
Götestam, cello
5 NOVEMBER
Guillaume Connesson (1970) – “Techno
parade” for flute, clarinet and piano 5’
FEATURING: Niels Aschehoug, violin, Kristin
Skjølaas, violin, Anders Rensvik, viola, Povilas
Syrrist-Gelgota, viola, Katharina HagerSaltnes, cello, Kari Ravnan, cello, Glen Lewis
Gordon, double bass
Nino Rota (1911–1979) – Trio for flute, violin
and piano 13'
3 SEPTEMBER
LA BONNE CHANSON
Maurice Ravel (1875–1937) – Mother Goose,
quintet 25’
Giocchino Rossini (1792–1868) – Quartet for
violin, viola, cello and double bass 15'
Johannes Brahms (1833–1897) – “Two
songs” for mezzo-soprano, viola and piano 10'
Reinhold Glière (1975–1956) – Duet for viola
and double bass 10 '
Gabriel Fauré (1845–1924) – “La bonne
chanson” soprano, piano and string
quintet 20’
FEATURING: Asta Kriksciunaite, soprano,
Leah Meredith, violin, Emil Huckle-Kleve,
The programme may be subject to change.
Further information at munchmuseet.no
Guillaume Connesson (1970–) – “Disco
Tocata” Duet for clarinet and cello 3'
3 DECEMBER
Johannes Brahms (1833–1897)
– Piano quartet no. 2 in A major, op. 26 53'
MOVEMENT: I. Allegro non troppo, II. Poco
Adagio, III. Scherzo: Poco Allegro, IV. Finale:
Allegro
FEATURING: Eileen Siegel, violin, Henninge
Landaas, viola, Kari Ravnan, cello, Alex
Taylor, piano
Welcome
28
INTERNATIONAL
EXHIBITIONS
The Munch Museum collaborates with many international museums, by initiating
and contributing to major exhibitions and by lending works from the collections for
longer and shorter periods.
In 2016 the public will have the opportunity to experience the result of an extensive
collaboration with the Virginia Museum of Fine Arts in the USA. Works by Jasper
Johns and Edvard Munch have been juxtaposed to form the exhibition Johns+Munch,
which will be shown in both Richmond and Oslo.
We have contributed a number of works to the exhibition at the Neue Galerie in New
York Munch and Expressionism, which opens in February. We are also lending a
work to what is going to be one of spring’s major art events in New York, when the
Metropolitan Museum opens its new programme at the Met Breuer, in the building
that used to house the Whitney Museum.
This year the Munch Museum will also be present at exhibitions at major museums
in Toronto, London and Amsterdam.
Edvard Munch: From the Riviera, 1892
29
IN T E RN AT I O N A L E X HIBITIO NS
EDVARD MUNCH
IN NEW YORK
Munch and Expressionism is
conceived as a sequel to the Neue
Galerie’s successful exhibition Van
Gogh and Expressionism, staged
in collaboration with the Van Gogh
Museum, Amsterdam in 2007.
Whereas in the case of Van Gogh the aim was to show
his influence on Expressionism, Munch’s relationship
with the younger generation of German and Austrian
Expressionists was far more a question of dialogue.
Like Van Gogh, Munch played a vital role in German art
politics; his work was appreciated in Germany before he
became renowned in his native Norway. While Munch’s
prints and paintings initially exerted a strong stylistic and
thematic influence on Expressionist artists at the turn
of the 20th century, Munch subsequently responded
Photo: © Hülya Kolbas, Neue Galerie
to their innovations. Expressionism helped Munch
to reinvent his nineteenth-century Symbolist style and to forge a vibrantly contemporary modernism.
The exhibition will thus demonstrate Munch’s interaction with German and Austrian art with the aim of
throwing new light on the defining characteristics of Expressionism. It will be organized thematically to
show how Munch’s techniques, subjects and style were taken up and transformed by younger artists;
and how Munch, in turn, responded by reinterpreting his original themes and compositions from an
Expressionist point of view.
The exhibition will be curated by Expressionist expert Dr. Jill Lloyd, who was also responsible for the
2007 exhibition Van Gogh and Expressionism. The aim of the exhibition is to pay homage to Edvard
Munch as a father of Expressionism, and also to demonstrate his seminal role as a participant in the
Expressionist movement.
Period: 18th February to 13th June
Venue: Neue Galerie, New York
Curator: Dr. Jill Lloyd with consultation
from Professor Reinhold Heller
Further information:
http://www.neuegalerie.org
Edvard Munch: Separation, 1896
Edvard Munch: Puberty, 1914-16
30
EDVARD MUNCH
IN VIRGINIA
The exhibition Johns+Munch is a joint
project with the Virginia Museum
of Fine Arts (VMFA) in Richmond,
Virginia, USA.
After having been shown in the Munch Museum
in the summer, the exhibition Johns+Munch
will travel to Richmond in autumn 2016. The
curator of the exhibition is John Ravenal, the
former curator of VMFA and the current director
of the deCordova Sculpture Park and Museum
in Massachusetts, USA. He is editor of the
fully illustrated exhibition catalogue, published
by Yale University Press, which contains an
in-depth article by Ravenal himself.
Photo: © Virginia Museum of Fine Arts
The exhibition examines the connection
between Edvard Munch’s work and one of the truly great names in contemporary art – Jasper Johns.
Our aim is to show that Munch has had a far greater influence on Johns than was previously known.
The exhibition consists of about 130 works – paintings, prints, drawings and photographs. A key
element is the way Munch’s late Self-portrait. Between the Clock and the Bed (1940–43) is linked
to Johns’ series of abstract cross-hatch works that became something of a signature motif for him in
the 1970s. The similarity between Johns’ cross-hatch pattern and the pattern on the bedspread in
Munch’s self-portrait was not originally intended. However, Johns chose to use this similarity explicitly
in a series of paintings from 1980–1984, which he gave the same title as Munch’s painting.
Period: Autumn 2016
Venue: Virginia Museum of Fine Arts,
Richmond, VA, USA
Curator: John Ravenal
Further information:
http://vmfa.museum
Edvard Munch: Angst, 1896
Edvard Munch: Madonna, 1895/1902 (detail)
32
LONDON:
ROYAL ACADEMY OF ARTS
Painting the Modern Garden: Monet to Matisse
The Royal Academy of Arts in London is organizing an innovative exhibition
that examines the role of gardens in the paintings of Claude Monet and his
contemporaries. With Monet remaining the touchstone, the exhibition also
looks broadly and deeply at the garden theme in modern art through the
inclusion of paintings by other Impressionists, Post-Impressionists, and
avant-garde artists of the early twentieth century.
Period: January 30th–April 17th
AMSTERDAM:
VAN GOGH MUSEUM
Splendour and Misery. Images of Prostitution in France 1850-1910.
Splendour and Misery will be the first major exhibition dedicated to the
representation of prostitution in late 19th and early 20th century art. It will
concentrate on the depiction of the subject in France, by both French and
foreign artists, fascinated by those involved and by its physical context, and
will chart how they continued to find new pictorial means to represent both
the hard realities and the fantasies of this sub-culture.
Period: February 19th–July 19th
NEW YORK:
THE METROPOLITAN MUSEUM
OF ART
Unfinished. Thoughts Left Visible.
The exhibition will explore the fascination with unfinished works of art in
all media and across time, with a particular focus on those moments when
the qualities of such objects were debated and admired, and when an
intentionally non finito aesthetic took hold.
Period: March 7th–September 5th
PARIS:
MUSÉE MARMOTTAN MONET
Hodler/Monet/Munch
This exhibition is devoted to Claude Monet, Ferdinand Hodler and Edvard
Munch. It will focus on reporting the important role of these artists at the
turn of the 20th century.
Period: September 15th–June 11th 2017
34
ROME:
CASA DI GOETHE
At the Foot of the Pyramid: 300 Years of the Cemetery for
Foreigners in Rome
The main theme of this exhibition is the tour of Italy, past and present,
and Italian-German cultural exchange. It is an exhibition of paintings,
drawings and prints from the 18th to early 20th centuries to illustrate the
history of this place dedicated to citizens of non-Catholic faith who died
in papal Rome.
Period: September 22th–November 13th
BONN:
KUNSTMUSEUM BONN
Interiors from Edvard Munch to Max Beckmann
The exhibition concentrates on the period at the end of the 19th century,
a heyday in the culture of the interior, but likewise, it is a time when the
very stability of the interior is jolted and a spreading disconcertedness
becomes more and more evident.
Period: October 20th–January 29th 2017
TORONTO:
ART GALLERY OF ONTARIO
The Mystical Landscape: From Monet to Carr
The Mystical Landscape will be the first to investigate, in depth, the role
of mysticism in Western art of this period. It will also expand the canon
of the symbolist landscape by exploring the migration of this genre from
Europe and Scandinavia to North America between the mid 1880s to
the mid 1930s.
Period: October 22th–January 29th 2017
35
THE MUN CH MUSEUM
STEIN ERIK HAGEN
– A PARALLEL STORY
The investment company Canica owns one of Norway’s largest private art collections and works from the collection will be
on display in two of the Munch Museum’s exhibitions in 2016. Business man Stein Erik Hagen and his family are behind the
collection. How did he become interested in art?
Stein Erik Hagen made his fortune
through the grocery shop chain Rimi.
Today, he is the chairman of the board
of the branded consumer goods
company Orkla.
Canica’s art collection is one of the
country largest private art collections.
It belongs to the investment company
Canica, which was founded by Hagen in
1985 and is owned by his family.
In 2016, Canica’s art collection will contribute works to the Mapplethorpe+Munch and
Jorn+Munch exhibitions.
“It is a passion that grew gradually,” says Hagen.
“In the beginning my approach was personal and
impulsive. When I first bought expensive paintings
as a twenty-something I did so for myself based
on what I could envisage hanging on my own
walls. Later, when there was no room for more art
on my walls, the question of how the collection
should be developed further arose. I very much
wanted to formalise the work around the collection and see whether it could achieve greater
significance than just on a purely private level.”
The art historian Steinar Gjessing was hired in
2000 and given expert responsibility for new
investments.
“The question was: how could we create something
special, something that did something other than
just follow the same path as other collectors? The
starting point was the art I already had. There was
a lot of different, classic Norwegian art, and some
of this – albeit surprisingly little – we have sold.
In other words, we were basically searching for a
direction. We wanted to collect art we thought had
been lacking in Norway; we wanted to complement
and elaborate, and perhaps even add to, the art
that already existed in Norwegian museums.”
“It therefore seemed natural to look to Nordic
modernism and experiment with the forms of
this,” explains Hagen. “Today, such art represents
an important sub-collection and the majority of
Nordic art has been supplemented with some
European works that together show the connections and influences between the artists.”
“In terms of period, the collection spans from the
1800s to around the 1960s.”
“This is where we stop, because there are many
other collectors who cover contemporary art!
However, in parallel with this I have collected
around 470 photographs. I have kept this activity
somewhat separate from the rest of the art collection and it has been based in New York. This
collection contains some newer art, including
works by Mablethorpe, that is on display in the
museum in Mapplethorpe+Munch.”
“Besides the exhibition you mention, Canica is
contributing to the Jorn+Munch exhibition in 2016.
And in 2013, more than 200 works from Canica’s
art collection were shown in the From Munch to
Slettemark exhibition. Why did the company specifically choose to work with the Munch Museum?”
we did so because we think it is exciting that the
museum is working on renewal. Trying to actualise
and create discussion about such a great artist
as Munch is interesting.”
“Do you have a favourite Munch work?”
“That would have to be Fertility, which is part of
our collection! However, I think Munch produced
many fantastic pictures. Just what it is that makes
his and other great artists’ pictures appealing is
often difficult to put into words. But pictures that
can communicate a type of quality and produce
an aura that means many people recognise – and
let themselves be attracted by – what they portray,
are fascinating.”
“Do you think the company gains anything from
the partnership?”
“The most important thing for us is being able to
contribute to that the art that has been collected
– the parallel story inherent in the collection –
can mean something to the public and that as
many people as possible can enjoy it. There is
little point in having lots of pictures if they are all
sitting in a storeroom!”
“First and foremost because it has taken the
initiative when it comes to exciting and quite
challenging projects. We lend pictures to a number of places. We have art on long-term deposit
at KODE - formerly Lysverket - in Bergen, the
National Gallery of Denmark in Copenhagen,
and from 2015, we lent a Munch picture to the
Van Gogh Museum in Amsterdam, which will be
with them for five years. We also work with several
places in Norway and internationally.”
“In other words, the Munch Museum is not the
only museum we are working with. But, when we
decided to become part of these major projects
36
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RESEARCH
Research is one of the very cornerstones of the Munch Museum’s exhibitions,
publications and collection management. The Museum is currently working on
several fundamental research projects related to our own collection.
Digitisation is an important part of this. In an extensive project Munch’s drawings,
which number almost 8,000, have now been digitally catalogued. We are also
documenting and transcribing all the correspondence to Munch. This is part of
our long-standing project to digitise Munch’s texts and make them available in the
open archive eMunch.
We are also studying the many tools and tubes of paint that Munch left behind,
including chemical analysis of the pigments and binding agents he used, and examining the colour change in his paintings. The goal is continuous improvement of our
conservation methods in order best to preserve Munch’s paintings for posterity.
Edvard Munch: Summer Night. Inger on the Beach, 1889. © KODE Kunstmuseene i Bergen. Photo: © Dag Fosse.
38
39
RE SE A RCH
RESEARCH WITH CRITICAL PERSPECTIVES
Lars Toft Eriksen’s project looks at
how Munch has been written into a
narrative of the artist as genius.
“The starting point for the thesis was Rolf Stenersen’s biography Close-up of a Genius from 1944.
I examine how Stenersen has identified Munch
as genius using various literary tropes. However,
the project also extends beyond Stenersen’s book
and looks at the conception of Munch through
his own self-staging and the history of how his
art was received.”
“How far have you come?”
“I am in the initial phase; so many issues are still
open. The project is a collaboration between the
University of Oslo and the Munch Museum, and
forms part of my post at the museum. I continue
to work as a curator and am also considering how
this project can be made relevant for curatorial
and museological questions.”
“How has Munch been identified as a genius?”
“That is difficult to explain in just a few words!
However, one example that shouldn’t be afforded
too much weight is the comparisons between
Munch’s facial features and those of Leonardo da
Vinci. These can be found in Stenersen’s book, as
well as in Munch-biographer Pola Gauguin’s - and
are almost parodic given Leonardo is the embodiment of genius in European cultural history.”
and museums, contribute to an entire industry
linked to Munch’s body of work. Specifically, I
hope the project will also be relevant in relation
to how we think about the development of the
new Munch Museum in Bjørvika.”
“Why is it important to research Munch?”
“That is a challenging question. Is it more important to research Munch than other artists? One
can, of course, compare Munch with other modernist stars such as Picasso, Matisse or Van Gogh,
among whom he also belongs today. But this
does not make his art important in itself. Part of
the backdrop to the research project is looking
more closely at the investments that lie behind the
place Munch has been assigned in art history.”
“How could the research be used?”
“I think that the project can contribute critical
perspectives on how we, as art historians, curators
Lars Toft-Eriksen is an art historian and has worked as a curator
for many years. Today, he works at the Munch Museum. Photo:
© Vegard Kleven
PAINTED PHILOSOPHY – OR THE PICTURE AS THOUGHT?
With a background in art history,
aesthetics and philosophy, Gustav
Jørgen Pedersen asks questions about
Munch and philosophy.
“I wanted to approach Munch’s body of work from
a philosophical standpoint and I claim that art, like
philosophical thought, can reinforce and challenge
its period’s understanding of what is and what
has importance. The way in which we approach
art plays a role in how we understand art history
and the sort of interpretations one can arrive at.”
“Why Munch?”
“I could have used many bodies of work as a
starting point and hope the thesis can open the
way for other approaches to art history in general. However, Munch holds a special position in
modern art history, Norwegian art and in relation
to the question I am posing, among other things
because he tried to give visual form to existential
themes. Since the first book about Munch, it has
been said that he ’almost painted a philosophy’.
Munch himself wrote that he had philosophical
ambitions for his art. That makes it exciting to enter
into a dialogue with his body of work.”
“Was he a philosopher painter?”
“When one says that Munch expresses angst, reference is often made to the Danish philosopher Søren
Kierkegaard. But Munch’s artistic understanding of
angst is not identical to Kierkegaard’s texts. Art is its
own way of saying something that cannot be reduced
to illustrating philosophical thought. It is a figurative
expression, which on its own premise sheds light
on what it means to be human in a given historical
situation. Thought can also be something that takes
place outside philosophy and art has, historically,
played a vital role in our understanding of the world.
So it is strange that no one has asked the question:
If Munch’s art is ’almost a painted philosophy’, what
does his art contribute to the history of thought?”
Munch, among the research community and
the public. The idea that paintings may be a form
of thought is not new, but not much research has
been conducted from an art history perspective.
There are no clear models for how to do this and
in this sense the research is experimental.”
The research period extends to January 2017.
“How do you think the research could be used?”
“I hope the project will provide room for a slightly
different way of thinking about art and about
40
Photo: © Ove Kvavik
“DEAR MUNCH!”
“I close my eyes in the darkness –
My innards are lit up and sparkle –
The Planets are illuminated –
the atoms glow –”
Note, undated, MM N 533
“Dear Munch! – would you do us the pleasure of drinking a cup of
coffee with us tomorrow – Thursday – evening at half past eight?
With greetings! Your devoted Jonas Lie”
Letter, dated 18 November 1896, MM K 666
A telegram from the King, a letter from prison, a postcard from the Sahara, and an invitation to
a New Year’s party. Discussions about the work on the Aula, and the recipe for the world’s best
nettle soup.
Throughout his life Edvard Munch received letters, postcards and telegrams – from family, friends,
business contacts and fellow artists. The 5,800 letters in the archive provide a unique insight into
Munch’s life and work. For the first time the letters are now available to everyone in the digital
archive eMunch.no.
The digital archive also contains some 8,000 manuscript pages written by Munch himself, including work notes, diaries, literary sketches and letters he sent. The most important texts – around
1,100 pages – have been translated into English.
emunch.no
RE SE A RCH
EDVARD MUNCH’S DRAWINGS
COLLECTED FOR THE FIRST TIME
Edvard Munch produced some 8,000 drawings, which are a veritable
treasure that only a small minority of people are familiar with. The catalogue
of Munch’s graphic works (2001) and his paintings (2009), and the online
publication of his writings (2010) have been important milestones in the
work to increase interest in and knowledge of Edvard Munch and his work.
His drawings are now the only major part of his artistic production that is
still not available to a wider audience.
The drawings are the very foundation of Munch’s art. He drew constantly
and pretty much anywhere: while travelling, in cafés, outdoors, at home
and – of course – in his studio. He drew his family and friends, children
and workers, the middle class and Bohemians, mermaids and madonnas.
Disparate as they are, most of his drawings do have one thing in common:
they are informal, effortless and impulsive. It is in his drawings that we get the
most intimate glimpses into the life of Edvard Munch as an artist and a man.
While many of Munch’s drawings have been exhibited, both in special exhibitions and as part of other exhibitions, the vast majority of his drawings have
remained unknown to researchers, art lovers and the public alike. This is
partly due to the sheer number of drawings, and partly because paper is a
light-sensitive material that cannot be exhibited as frequently as paintings. Now,
for the first time, this large and important body of work is being made available
to the public and will be an invaluable tool for researchers around the world.
More than 90 per cent of Munch’s drawings are stored in the Munch Museum.
This project will result in the digitisation of all of Edvard Munch’s drawings,
a richly illustrated publication and an exhibition at the Munch Museum. The
project is scheduled to be completed in December 2016.
Edvard Munch: Comfort, 1894
Number of drawings: approx. 8,000
Available in December 2016
Curator: Magne Bruteig, The Munch Museum
This project is supported by the Bergersen Foundation
Edvard Munch: Standing Female Nude, 1889
Edvard Munch: Self-portrait with Lyre, 1897
42
43
How often have you followed a debate in Norway, only to
come away thinking: “What a waste of time – I didn’t learn
anything new, it was just the same old people beating each
other over the head with the same old arguments”?
Social debates tend to be dominated by political interests or by special interest groups with
strong arguments. The cultural and business sectors often pull out of the debate, or refrain
from participating, for whatever reason. It is a relatively rare occurrence that we hear extremely
controversial views or ground-breaking, new – and possibly dangerous – ideas. Many debates
stick to a well-worn and safe track, with familiar voices spouting familiar arguments.
The Waterfront Ideas is a not-for-profit debate arena, with individual events to be held at the
Munch Museum and the Deloitte building in Oslo. The events are open to anyone who wishes
to attend, and more detailed information is provided under the individual event.
10 February, 20 April, 11 August and 9 November 2016
thewaterfront.no #thewaterfrontideas
Foto: Stian Schioldborg / Magenta Studios
Photo: © Stian Schioldborg
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Edvard Munch: Knelende kvinne , akva rell, 1921
Edvard Munch: At the Grand Cafe, 1889
WELCOME TO
THE MUSEUM SHOP
We have a varied and inspiring selection of products, among them reproductions of famous
Munch motifs, espresso cups, colouring crayons and drawing materials produced especially for
the Munch Museum.
In our shop you will find a broad selection of books and exhibition catalogues on Edvard Munch.
Members of the Munch Museum’s club are given a 15% discount.
The shop follows the museum’s opening hours and is accessible without an entrance ticket
to the exhibition.
+ 47 23 49 35 00
www.munchmuseet.no
Proud sponsor since 1991
MUN CH IN N O RWAY
FOLLOW IN MUNCH’S FOOTSTEPS
– IN NORWAY
Vågå
6
In the course of his long life, Edvard Munch
lived and worked in many different places –
in Norway and abroad. The search for new
inspiration kept him on the move. There are
eight towns and villages in Norway that have a
particular Munch connection. If you would like
to learn more about his life and art, why not
visit some of them – or even all of them, on a
grand tour. Along the way you will recognise
many of Munch’s famous, monumental motifs.
Løten
5
Oslo
Vestby
(Hvitsten)
1 3
4
2
Fredrikstad
Moss
Horten (Åsgårdstrand)
Bergen
Kragerø
Illustration: Melkeveien designkontor as
1
Åsgårdstrand
2
Kragerø
Edvard Munch’s house in Åsgårdstrand is open to visitors from May to September and provides insight into how the artist lived. Group tours outside
ordinary opening hours can also be arranged. There are guided walking tours
through Munch’s landscapes, and separate walks are offered for children,
followed by workshop activities. For more detailed information, see: www.
munchshus.no. Why not stay at Thon Hotels Åsgårdstrand, which offers a
“Munch package” including accommodation and a guided tour. For more
information, see: thonhotels/asgardstrand.no
Walk in Edvard Munch’s footsteps and visit the places the artist lived and
painted during his time in this idyllic seaside town. You will recognise
scenery from some of his most famous Kragerø motifs, such as the view of
the bay where he painted The Sun and Bonneviebukta, which inspired the
painting Ship being Scrapped. Guided tours can be booked from Kragerø
municipality: post@kragero.kommune.no
Edvard Munch: The Girls on the Bridge, 1927 (detail)
Edvard Munch: The Sun, 1911 (detail)
48
MUN CH IN N O RWAY
3
Moss
In Moss you can walk in Edvard
Munch’s footsteps by following
a marked trail with information boards along the way. The
boards provide information
about Munch’s art from the
period he spent in the town, with
several located in places where
scenes from paintings can be
recognised. VisitMoss arranges
guided walks in Munch’s footsteps in the summer. For more
information on the marked trail
and guided walks, see: www.
VisitMoss.no
4
5
Løten
The Munch Centre is part of the Klevfos Industrial Museum and is located
in close proximity to Engelaug Farm, where Munch was born. Here you
can learn about the Munch family’s time in Løten, Edvard Munch as a child
and young man, and his early development as an artist. Follow the Munch
trail with information boards at places linked to the family. The trail starts
at the Munch Centre and is open all year. The farmhouse at Engelaug is
privately owned, but a viewpoint has been established where visitors can
take photographs. For more detailed information, see: www.klevfos.no /
www.loten.kommune.no/munch.
Edvard Munch: Ingeborg Kaurin, 1911-12 (detail)
Fredrikstad
Visit six sites with ties to Edvard Munch’s family. The trail begins in Isegran,
continues through Blomstertorget to Storgata 26, and then on to Glemmen Church, where Munch’s parents were married. The next stop is the
Old Glemmen Church, with the family plot where his mother’s ancestors
are buried. The trail ends at the piers in Hankø. Each of the sites has an
information board where you can read more about the history of the site.
Guided walks can be booked from Visit Fredrikstad & Hvaler, tel. (+47) 69
30 46 00 / info@visitfredrikstadhvaler.com. For more detailed information,
see: www.munchfredrikstad.no
Engelaug Farm. Unknown photographer. The Munch Museum archives
6
Vågå
The “In Munch’s footsteps” trail is a cultural-historical walk connecting
various places that are associated with Munch. Each of the three stops has
a “sound shower” where visitors can listen to an episode of the audio-play
“Portrait of my great-grandmother”. Here you can join Munch as he wanders
around Vågå. The audio-play is a work of fiction that aims to provide an
insight into how Munch may have felt visiting the village, thoughts he may
have had about his ancestors who had lived here, and how this may have
shaped him as a man and as an artist. For more information, see: www.
munchivaga.no. For queries about guided tours, contact Vågå municipality
on tel. (+47) 61 29 36 00 or e-mail postmottak@vaga.kommune.no.
Portrait photograph of Karen Bjølstad. Unknown photographer.
The Munch Museum archives.
Vågå Vicarage, 2014. Photo: © Roar Strand
49
PUBLI C ATIO NS
FOR BOOK LOVERS!
Publications about Edvard Munch’s life and work
PUBLICATIONS
THE MUNCH MUSEUM
VAN GOGH+MUNCH
Edited by Maite van Dijk, Magne Bruteig and Leo Jansen
Mercatorfonds in collaboration with the Van Gogh Museum
and the Munch Museum, 2015
GUTTORM GUTTORMSGAARD
– KNOWN UNKNOWN
Parallels have been drawn between Edvard Munch and Vincent van Gogh
for more than a century. They are both known for their highly expressive
works, revolutionary style and fascinating, turbulent lives. Although they
were contemporaries, they never met. However, Munch was inspired by
Van Gogh. This richly illustrated book, published in connection with the
exhibition Van Gogh+Munch at the Munch Museum in Oslo and the Van
Gogh Museum in Amsterdam in 2015–16, is the first to cast light on the
main parallels in their collected works, artistic ideals and personal lives,
highlighting the deeper similarities between these two pioneering artists. The
catalogue includes articles by Reinhold Heller, Jill Lloyd, Uwe M. Schneede
and the three editors and is available in English, Dutch and Norwegian.
Edited by Jon-Ove Steihaug
Pax Forlag in collaboration with
the Munch Museum, 2015
Guttorm Guttormsgaard has been a central figure in the Norwegian art world
since the 1960s. His artistic career spans a number of phases, mediums
and idioms. The catalogue was published in connection with the comprehensive exhibition at the Stenersen Museum in 2015, where this rich and
substantial oeuvre was first presented in its full scope. Articles by Jon-Ove
Steihaug, Johanna Drucker, Lars Mørch Finborud, Ellef Prestsæther and
Espen Søbye. Published in Norwegian.
VIGELAND+MUNCH. BEHIND THE MYTHS
Edited by Trine Otte Bak Nielsen
Mercatorfonds in collaboration with
MELGAARD+MUNCH
the Munch Museum, 2015
Edited by Lars Toft-Eriksen
Hatje Cantz in collaboration with the
Gustav Vigeland and Edvard Munch worked at the same time and moved
in the same social circles and artistic movements of the era. The relationship between them is surrounded by myth, with many people claiming the
two were rivals. This richly illustrated art book, which was published in
English and Norwegian in connection with the Munch Museum’s exhibition
Vigeland+Munch. Behind the Myths in 2015–16, clarifies the links between
these two giants of Norwegian art history by presenting their works in
parallel. There are many interesting similarities in their work, development
and aspirations, providing an opportunity to discover new connections
between the two. The book also presents Munch’s sculptures, which have
not previously received much attention. The book includes articles by Per
Faxneld, Petra Pettersen, Stanisław Przybyszewski, Guri Skuggen, Jarle
Strømodden and Trine Otte Bak Nielsen. Graphic design by Snøhetta.
Munch Museum, 2015
What relevance does Edvard Munch have today? And what new perspectives
can be shed on Munch’s art via juxtaposition with a contemporary artist like
Bjarne Melgaard? The Munch Museum explores these questions in the exhibition Melgaard+Munch. The catalogue was published in connection with the
exhibition and includes articles by Patricia G. Berman, David Lomas, Øystein
Sjåstad and Lars Toft-Eriksen. Graphic design by Snøhetta. Published in English.
A GLORIOUS DAY
René van Blerk
Gyldendal Norsk Forlag in collaboration with the Van Gogh
Museum and the Munch Museum, 2015
MAPPLETHORPE+MUNCH
Edited by Jon-Ove Steihaug
This picture book for children was published in connection with the exhibition Van Gogh+Munch at the Munch Museum and the Van Gogh Museum
in 2015–16. The book tells a story where Vincent van Gogh and Edvard
Munch meet in a dream. They both have their painting gear with them and
are walking to the beach together. There is a lot to see. But what should they
paint? The book is illustrated by Erik Kriek and introduces the reader to the
two artists’ worlds, from a child’s perspective.
Mercatorfonds in collaboration with the Munch Museum, 2016
Robert Mapplethorpe (1946–1989) is one of the internationally best-known
photographers of the last 30–40 years. He made his breakthrough in the
late 1970s in the United States and remained a controversial and highly
debated artist until he died of AIDS. Mapplethorpe does not refer directly to
50
PUBLI C ATIO NS
Edvard Munch’s art in his photographs, but if you look it is clear that both
have created art that touches an existential nerve. They address issues of
gender and sexuality that are important to them and their contemporaries
and worked on many of the same types of motifs, including self-portraits,
portraits and nudes. The catalogue will be published in English connection
with the exhibition Mapplethorpe+Munch at the Munch Museum in 2016
and includes articles by Richard Meyer and Jon-Ove Steihaug. Graphic
design by Snøhetta.
“review” of Munch’s pictures. The following year Ritter’s virtuoso text was
published in the book Etudes d’art étranger. Ritter maintained that “the
daub-painting, cold Norwegian” was a genius. Professor of art history
Øivind Storm Bjerke has written a detailed afterword, and the illustrations
were edited by the Munch Museum’s Research Librarian Lasse Jacobsen.
Published in Norwegian.
SOMEWHERE OUT THERE I AM HAPPY
Camilla Groth – Poems
JOHNS+MUNCH
Flamme Forlag, Oslo, 2015
Edited by John Ravenal
Yale University Press, 2016
Using a selection of Edvard Munch’s paintings and prints as her starting
point, Camilla Groth writes her way into them – into the portraitees’ thoughts
and lives. What is the young girl perched on the edge of the bed thinking,
as Edvard’s gaze brushes over her again and again? Somewhere out there
I am happy reverses the relationship between the artist and the subject of
the work of art: now they are staring back at him. Published in Norwegian.
Jasper Johns (born 1930) has been one of the most prominent artists in the
USA and internationally since the 1950s. Johns+Munch is the first exhibition
to focus on Johns’ fascination with Edvard Munch’s art. Especially from the
late 1970s and throughout the 1980s, Munch was an important inspiration,
especially Munch’s late Self-portrait. Between the Clock and the Bed. In
his prints too Johns was inspired by Munch. The exhibition, which will be
shown at the Munch Museum in 2016, is a collaboration with the Virginia
Museum of Fine Arts (Richmond, VA).
HIGH SUMMER IN HVITSTEN
Hans-Martin Frydenberg Flaatten
Orfeus Forlag and Vestby Municipality’s cultural service, 2016
JORN+MUNCH
Edited by Lars Toft-Eriksen and Oda Gjessing
This book explores who Edvard Munch was when he lived and worked in
Hvitsten. He bought Nedre Ramme in 1910 and owned the property until
his death in 1944. Inspired by the surroundings, he continued to work on
the drafts for the monumental paintings for the University Aula in Oslo here.
Through contemporaneous eyewitness accounts, an intimate portrait is
drawn of Munch the man and his everyday life at Nedre Ramme.
Mercatorfonds in collaboration with the Munch Museum, 2016
With his abstract-expressive painting, Asger Jorn (1914–1973) was a prominent figure in both Danish and European post-war art. He was part of the
COBRA group of artists and was active on many fronts. Jorn was particularly
interested in Edvard Munch’s later works. Jorn recognised these works’
spontaneous, experimental and painterly qualities, which inspired his own
art. With his original take on Munch, he helped renew interest in a part of
Munch’s work that had previously been rather overlooked. Jorn+Munch,
which is being shown at the Munch Museum in 2016, is the first exhibition
to examine the relationship between the two artists.
LIBRARY
The Munch Museum’s library primarily contains literature about Edvard
Munch: books, dissertations, exhibition catalogues and articles, as well
as newspaper clippings and documentary photographs. It also contains
transcriptions of Munch’s correspondence, diaries and notes, which are
being published on the digital archive eMunch.no on an ongoing basis as
the transcriptions are completed. The library has contributed to many books
and catalogues, and also to a number of film productions. The library, which
also contains Munch’s private book collection from Ekely, is open to the
public by appointment.
OTHER
PUBLICATIONS
EDVARD MUNCH, ARTES BOOK 18
William Ritter
Pax Forlag, 2015
1905 saw an exhibition of Edvard Munch’s works in Prague that shocked
the European public. Art connoisseur, critic and cosmopolitan William
Ritter was also provoked. He wrote an incensed, yet also deeply fascinated
51
L E AV E R E A L I T Y B E H I N D
Experience the new era of TV.
6/6
6/6
M3 Anbefaler
6/6
10/10
SUHD TV JS9005 65”
Lyd og Bilde, 2015-05-15
Din side, 2015-03-30
M3, 2015-03-25
Watt, mai 2015
Tek.no, 2015-03-11
ASGER JORN: GRÆDEØJNE, 1940 73,5 X 60 CM © DONATION JORN, SILKEBORG / BONO 2014 FOTO: © CANICA KUNSTSAMLING 3022
Annonse_Munch_new_Grædeøjne.indd 1
GAN APPEL BAERTLING BERGMAN RIAN
BILLGREN CARLSUND WEIDEMANN LÉGER
CONSTANT EIKAAS CORNEILLE EDEFELDT
EGEDIUS TIDEMAND EKELAND FREDDIE
GORMLEY BILLE HECKEL JORN KARSTEN
KEYSER KRØYER WERENSKIOLD MAILLOL
MAPPLETHORPE MUNCH NESCH ALFELT
NOLDE LUNDSTRØM PECHSTEIN SALTO
SVANBERG MILLES THAULOW WILLUMSEN
KIRKEBY FEARNLEY CLAUSEN LILJEFORS
HELLESEN SOHLBERG AULIE BONNIER
COLLETT RODIN ECKERSBERG JERICHAU
SLETTEMARK FERLOV KIEFER VIGELAND
SCHMIDT-ROTTLUFF SCHARFF WARSINSKI
STRØMME WINGE BJERKE-PETERSEN ETC
16.06.15 10:47
Øyafestivalen
Tøyenparken, Oslo
August 9-13 2016
Foto: Johannes Granseth
Øyafestivalen, Norway's biggest
music festival, is proud to cooperate
and share this beautiful park
with The Munch Museum.
ACTIVITIES FOR
CHILDREN AT THE
MUNCH MUSEUM
Find the picture
Get a map from the
ticket office and go on a
treasure hunt through the
exhibition. Can you find
the details in the pictures
and put them in the
right place?
Family Sunday with YoungScream
Join us for a family outing with a difference.
After a guided tour of the exhibition, children
are given the opportunity to experiment and
try out different artistic methods. Ideal for
children aged 7 to 12 years. There will also be
drop-in workshops that are open to everyone
in the Munch studio, on the first Sunday of
every month.
Open workshops
Come and try your hand at making a
print, painting or film clip, or explore
another artistic technique together with
professional artists. The Munch Museum
arranges regular workshops for children,
families and adults, often linked to the
changing exhibitions.
Activities for school groups
Schools and kindergartens that wish to visit the
Munch Museum are always very welcome. Admission is free for school children and their teachers.
For more information and reservations: booking@
munchmuseet.no.
Through the City of Oslo’s “Cultural Rucksack”
programme, all year 7 classes in schools in Oslo can
visit the Munch Museum. Visits include a lecture,
guided tour and workshop.
Photo: © Øystein Thorvaldsen
54
GUID ED T O URS A N D OT H E R ACT I V I T IE S
ACTIVITIES
Guided tours
Would you like to learn more about the current exhibition and individual works in our collection? A guided tour of
the Munch Museum provides unique insight into the art on display and the exhibition context to which it belongs.
Guided tours are conducted by knowledgeable art professionals with considerable experience in bringing works of
art to life, making them interesting and topical. Private guided tours can be booked at booking@munchmuseet.no.
BabyScream
At home with a baby? The BabyScream guided tours are very popular with new parents on parental leave. Tours
are free with paid admission to the Museum.
Senior tours
Senior citizens are offered a guided tour and workshop where they can try their hand at various art techniques
together with a professional artist. The length of the tour can be adapted to groups’ individual needs.
* This tour is available free of charge for seniors living in Oslo through the Cultural Walking Stick programme.
Photo: © Christina Andersen
Theme tours
This year we are running a number of theme tours related to the ongoing exhibitions. Visit our website for
more details.
Audio guides
Would you like to learn more about the artworks on display? The Munch Museum has audio guides in Norwegian
and English for all its exhibitions. The public can listen to information about the artworks through soundtracks
linked to pictures in the exhibition.
Lectures and seminars
Take the opportunity to become better acquainted with Munch’s works. The Munch Museum arranges various
lectures and seminars through the year on topics related to the exhibitions. See the more detailed programme
in the calendar.
Photo: © The Munch Museum
Workshop for adults
Fancy challenging your creative side? Book a workshop for you and your friends where you will be introduced
to drawing, painting and printing.
Photo: © Øystein Thorvaldsen
Film programme
Every day, films about Edvard Munch’s life and art are shown in the cinema on a revolving basis. There is an
overview of the film programme on the website.
Further information at munchmuseet.no
55
C A LENDA R O F E V EN T S
2016
VIGELAND+MUNCH 03 OCT 2015–17 JAN
MAPPELTHORPE+MUNCH 6 FEB–29 MAY
JOHNS+MUNCH 18 JUNE–25 SEPT
JORN+MUNCH 15 OCT–15 JAN 2017
06.01
10.01.
17.01
11–17.01
18–31.01
uided tour of the exhibition
G
Vigeland+Munch in Norwegian
BabyScream. Guided tour of the
exhibition Vigeland+Munch for
adults on parental leave
Guided tour of the exhibition
Last week of the exhibition
Vigeland+Munch
Mini exhibition: Highlights from
the Edvard Munch collection
FEBRUARY
04.02
05.02
06.02
07.02
07.02
07.02
10.02
14.02
21.02
25.02
28.02
05.03
13.03
20.03
27.03
31.03
he exhibition
T
Mapplethorpe+Munch opens to
the Munch Museum’s Membership
Club
The exhibition
Mapplethorpe+Munch opens to
the public
Chamber Music Concert by the
Oslo Philharmonic Orchestra
Family Sunday
Mapplethorpe+Munch
Mapplethorpe+Munch by the
curator
Guided tour for the Munch
Museum’s Membership Club of the
exhibition Mapplethorpe+Munch by
the curator
The Waterfront Ideas debate
Mapplethorpe+Munch in Norwegian
L ATE NIGHT. Photo workshop
Family Sunday
Mapplethorpe+Munch
Oslon Philharmonic Orchestra
03.04
06.04
07–08.4
09.04
10.04
17.04
20.04
24.04
28.04
hamber Music Concert by the
C
Family Sunday
Mapplethorpe+Munch
exhibition Mapplethorpe+Munch for
Conference: Gamlebyen as
manifesto
Super Saturday
Mapplethorpe+Munch
06.03
04.05
exhibition Mapplethorpe+Munch for
07.05
08.05
08.05
Family Sunday
Mapplethorpe+Munch
15.05
22.05
23–29.05 Last week of the exhibition
Mapplethorpe+Munch
29.05
31.05–12.06Mini exhibition: Highlights from
16.06
18.06
18.06
19.06
22.06
26.06
he exhibition Johns+Munch opens
T
to the public
Johns+Munch by the curator
Guided tour for the Munch
Museum’s Membership Club of the
exhibition Johns+Munch by the
curator
Family Sunday Johns+Munch
exhibition Johns+Munch for adults
on parental leave
Johns+Munch in Norwegian
L ATE NIGHT
JULY
03.07
04.07
10.07
17.07
24.07
28.07
31.07
he workshop is open every day in
T
July
and English
Celebration: 4th of July
and English
and English
and English
L ATE NIGHT
and English
MAY
JUNE
MARCH
17.06
30.06
APRIL
02.04
JANUARY
03.01
06.03
AUGUST
07.08
11.08
14.08
21.08
25.08
27.08
28.08
The workshop is open every day
in August
and English
and English
and English
L ATE NIGHT
Super Saturday Johns+Munch
and English
SEPTEMBER
he exhibition Johns+Munch
T
opens to the Munch Museum’s
Membership Club
56
03.09
04.09
C
C A LENDA R O F E V EN T S
Edvard Munch between the sculpture he made of himself and of Workers in Snow, Ekely 1932. © The Munch Museum
Johns+Munch in Norwegian and
English
04.09
Family Sunday Johns+Munch
07.09
exhibition Johns+Munch for adults
on parental leave
11.09
and English
16.09
Kulturnatt
18.09
and English
19–25.09 Last week of the exhibition
Johns+Munch
25.09
and English
26.09–09.10Mini exhibition: Highlights from
OCTOBER
13.10
14.10
15.10
16.10
16.10
he exhibition Jorn+Munch
T
opens to the Munch Museum’s
Membership Club
The exhibition Jorn+Munch opens
to the public
Family Sunday Jorn+Munch
Jorn+Munch by the curator
16.10
27.10
23.10
30.10
30.10
uided tour for the Munch Museum’s
G
Membership Club of the exhibition
Jorn+Munch by the curator
L ATE NIGHT
Jorn+Munch in Norwegian
Halloween at the museum
20.11
24.11
27.11
DECEMBER
03.12
NOVEMBER
02.11
05.11
06.11
06.11
09.11
13.11
18.11
abyScream. Guided tour of the
B
exhibition Jorn+Munch for adults on
parental leave
Munch, Modernism and Modernity
Conference
L ATE NIGHT
03.12
04.12
04.12
07.12
11.12
12.12
18.12
29.12
C
Super Saturday Jorn+Munch
exhibition Jorn+Munch for adults on
parental leave
Edvard Munch’s birthday
L ATE NIGHT
The calendar may be subject to change.
For updated and complete information about the events:
munchmuseet.no
57
VISITOR INFORMATION
Opening Hours
Ticket Prices
Every day: 10–16
Last Thursday of every month: 10–21
Adults: NOK 100
Seniors (67), students, groups of more than 10 persons: NOK 60
Free entry for children under the age of 18
Periods closed
1–5 February, 13–17 June, 10–13 October
Visiting Address
Summer Season
18 June–25 September. Every day: 10–17
Tøyengata 53, 0578 Oslo
Telephone: (+47) 23 49 35 00
E-mail: info.munch@munchmuseet.no
Religious and Public Holidays
For further information:
Closed on the following dates: 1 January, 1 May, 17 May,
23–26 December, 31 December
munchmuseet.no
Det Kongelige Slott
Akerselva
Botanisk hage
Tøyenparken
Nationalteatret T
THE MUNCH MUSEUM
Stortinget T
Tøyen T
Jernbanetorget T
Grønland T
Illustration: Melkeveien designkontor as
Responsible Editor: Stein Olav Henrichsen
Paper: 300g and 120g Edixion
© Munchmuseet 2015
All reproduced artworks by Edvard Munch are
in the collection of the Munch Museum unless
otherwise noted
Written contributions: Jon-Ove Steihaug,
Lars Toft-Eriksen, Oda Gjessing, Kjersti
Horndalsveen Eilertsen, Janicke Iversen
Photos of Edvard Munch’s works:
© The Munch Museum
Design: Melkeveien designkontor as
Printed by: IT Grafisk
The Munch Museum is an independent
agency of the City of Oslo
Front page: Jasper Johns: Savarin, 1977.
© Jasper Johns/Licensed by VAGA,
New York, NY
Page 5: Edvard Munch: Blossom of
Pain. ‘Quickborn’, 1897 (detail) / Robert
Mapplethorpe: Self-portrait (with cane), 1988.
© Robert Mapplethorpe Foundation. Used
by Permission. / Jakob Weidemann: Partison,
1946 (detail). © Jakoc Weidemann/BONO
2015 / Edvard Munch in the winter studio
at Ekely, 1938 (detail). Photo: Ragnvald
Væring, © O. Væring Eftf. / Edvard Munch:
Self-portrait. Between the Clock and the Bed,
1940–43 (detail) / Asger Jorn: The Emigrants,
58
1953 (detail). © Donation Jorn, Silkeborg.
Page 10–11: Edvard Munch: Bathing men,
1918 (detail)
Page 34–35: Edvard Munch (detail): Apple
Tree in the Garden, 1932–42 / The Sun,
1910–13 / Christmas in the Brothel, 1903–04
/ Kiss in the Field, 1943 / The Seine at SaintCloud, 1890 / Murder, 1906 / The Grave of
P.A. Munch, 1927
THE MUN CH MUSEUM
SPONSORS AND PARTNERS
Bergesenstiftelsen
Partners:
Main sponsors:
Art Gallery of Ontario, Toronto
Cappelen Damm Forlag, Oslo
Color Line, Oslo
Deloitte Norge, Oslo
Bergesenstiftelsen
Flamme Forlag, Oslo
Gyldendal Forlag, Oslo
Herreros Arquitectos, Madrid
Sponsor of the Munch Museum’s Membership
Programme and International Activities:
KODE – Bergen Art Museum
Lens Magazine, Beijing
LPO Arkitekter, Oslo
Mercatorfonds, Brussels
Ministry of Culture, Government of the Republic of India,
New Delhi
Ministry of Culture, Oslo
Ministry of Foreign Affairs, Oslo
Munch communities: Fredrikstad kommune, Horten kommune, Kragerø
kommune, Løten kommune, Moss kommune, Vestby kommune og
Vågå kommune
Sponsor of The Edvard Munch Art Award:
Musee d’Orsay, Paris
Museum Jorn, Silkeborg
National Museum of Art, Architecture and Design, Oslo
Neue Galerie, New York
Norwegian Consulate General, New York
Benefactors:
Nye og kloke hoder, Oslo
Orfeus Forlag, Oslo
Pax Forlag, Oslo
Royal Academy of Arts, London
Scenario Interiørarkitekter
Skira, Milano
Snøhetta, Oslo
Stiftelsen Edvard Munchs Atelier, Oslo
The Mapplethorpe Foundation, New York
The Metropolitan Museum of Art, New York
Thon Hotels, Oslo
University of Oslo
University of Pisa, Department of Chemistry and
Industrial Chemistry
Contributors:
Van Gogh Museum, Amsterdam
Virginia Museum of Fine Arts, Richmond VA
VisitOslo
Westerdals, Oslo
Winterthur Museum, Conservation Department, Winterthur DE
Øyafestivalen, Oslo
ÅF Advansia Norge, Oslo
59
MUNCHMUSEET
MEMBER
EXPERIENCE EDVARD MUNCH
FOR A YEAR
• Free priority admission WITH A GUEST
• Invitations to exclusive events for members only
• Free admission to the Louisiana Museum of Modern Art
in Denmark and the National Museum in Oslo
• 15% discount in the museum shop
Supported by:
munchmuseet.no/en/member

the munch museum

Transcription

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