Louisiana's aquisitions for the collection over the past three years. Fifty+ artists take over the South Wing and part of the underground Graphics Wing with more than 150 works of new international art. The extensive exhibition adds a long list of new names to the Louisiana collection – names that are not yet familiar to the general public but which in time will be.
The exhibition offers a diversity of works and genres, from small drawings to imposing sculptures, from photography to installation, from painting to video. But first and foremost it sends a signal about what Louisiana wants to show with a collection which in the future perspective will be more and more interesting to bring into play from hanging to hanging.
Louisiana is well known as a museum of modern art and one of the virtues of the modern museum is to keep up with the times and find the art in which the times are changing. This kind of timeliness comes as a result of the scanning of the art scene the museum is now presenting.
Louisiana's collecting strategy follows three premises: Closing obvious gaps in the collection retrospectively, if possible – a current example is Allen Ruppersberg, no spring chicken as an artist, whose conceptual art from the seventies on played a major role on the Los Angeles scene with which the museum has a relationship.
Supplementing existing groups of works with new acquisitions that extend the understanding and coverage of the collection – the Asger Jorn room now has three new pictures; there are new works in the collection by Poul Gernes, Sigmar Polke, Georg Baselitz and others. Buying contemporary art by young and youngish artists – and this is where the main thrust of the exhibition lies.
The exhibition has been realized with support from the C.L. David Foundation and Collection.
IN THE EXHIBIT
“As strange as the title Pink Caviar may sound, it suits the extravagant content …a witness to the diversity reflecting contemporary art's material and thematic lack of transparency.”