Featured Events in Munich in September, 2024 (May Updated)

The Kunsthalle München presents the first major retrospective on Dutch fashion artists Viktor&Rolf in Germany. For more than three decades, Viktor Horsting and Rolf Snoeren have been exploring with breathtaking virtuosity the boundaries between the worlds of haute couture and art. Celebrated for their unconventional approach to design, their creations have been embraced by artists such as Madonna, Tilda Swinton, Lady Gaga, Doja Cat, and Cardi B and were staged in numerous ballets, as well as an opera directed by Robert Wilson. Reflecting the duo’s passions, obsessions and singular vision, the spectacular scenography will showcase 100 of their most daring creations—many exhibited for the first time—along with numerous videos, sketches, the timeless frangrances like Flowerbomb and Spicebomb, with porcelain dolls dressed in the designers’ iconic creations, and works by renowned visual artists like Andreas Gursky, Ellen von Unwerth and Herb Ritts. The exhibition is developed by the Kunsthalle München in collaboration with the Canadian curator Thierry-Maxime Loriot. He also curated the extraordinary exhibitions Jean Paul Gaultier. From the Sidewalk to the Catwalk (2015), Peter Lindbergh. From Fashion to Reality (2017), and Thierry Mugler. Couturissime (2020/21) which met with great critical and public success in Munich. Viktor&Rolf. Fashion Statements is organized by the Kunsthalle München and curated by Thierry- Maxime Loriot in collaboration with Maison Viktor&Rolf and L’Oréal Luxe.

“Afterglow", by artist Luisa Baldhuber (b. 1994, Munich), references the design of Munich’s English Garden and transposes it as an installation composed of light and wall painting in the staff entrance of Haus der Kunst. The English landscape gardens of the 18th and 19th centuries reflected the principle of a natural landscape. Despite their intended closeness to nature, these gardens are ultimately artificial parks, based on the aesthetic of landscape painting and an idealised view of nature. In this sense, the English Garden also stands for the human desire and need for a natural landscape in an increasingly industrialised and technological environment. The sharp contrast between the “wild” and romantic natural park and the Neoclassical architecture of Haus der Kunst, built at the time of National Socialism, will also be consciously addressed in the installation “Afterglow". Baldhuber’s expansive installations, in which the artist works with the interaction of coloured light and wall paint, are aimed at overcoming the spatial boundaries of an architectural space. In doing so, she draws attention to the original architecture, questioning notions of our world that manifest themselves in buildings. The abstract ceiling picture for instance takes up the minimalistic style of the Light and Space movement that originated in Southern California in the 1960s, which is an important reference in Baldhuber’s artistic work. Through the optical expansion of the space and the shifting coloured moods, “Afterglow” rouses memories of being under the open sky and lets us dream for a moment. Curated by Anna Schneider.

“Afterglow", by artist Luisa Baldhuber (b. 1994, Munich), references the design of Munich’s English Garden and transposes it as an installation composed of light and wall painting in the staff entrance of Haus der Kunst. The English landscape gardens of the 18th and 19th centuries reflected the principle of a natural landscape. Despite their intended closeness to nature, these gardens are ultimately artificial parks, based on the aesthetic of landscape painting and an idealised view of nature. In this sense, the English Garden also stands for the human desire and need for a natural landscape in an increasingly industrialised and technological environment. The sharp contrast between the “wild” and romantic natural park and the Neoclassical architecture of Haus der Kunst, built at the time of National Socialism, will also be consciously addressed in the installation “Afterglow". Baldhuber’s expansive installations, in which the artist works with the interaction of coloured light and wall paint, are aimed at overcoming the spatial boundaries of an architectural space. In doing so, she draws attention to the original architecture, questioning notions of our world that manifest themselves in buildings. The abstract ceiling picture for instance takes up the minimalistic style of the Light and Space movement that originated in Southern California in the 1960s, which is an important reference in Baldhuber’s artistic work. Through the optical expansion of the space and the shifting coloured moods, “Afterglow” rouses memories of being under the open sky and lets us dream for a moment. Curated by Anna Schneider.

Established in 1950 as a “studio restaurant” and venue for the Munich art scene in the east wing of Haus der Kunst, P1 has developed into one of the most desirable locations in the club landscape in Germany since the mid-1980s. Whitney Houston's first concert in front of a European audience, a party for Tina Turner where counterfeit D-Mark notes rained from the ceiling, footballers in love, scandals, and spectacular celebrations – there are countless stories about P1. On the occasion of its 40th anniversary – the restaurant was opened in its current form in 1984 – Haus der Kunst now dedicates an exhibition to the club as part of the “Archives in Residence” exhibition series. P1 is one of the few clubs, if not the only nightspot, that lives next door to an art exhibition house. Not unlike Haus der Kunst, P1 continually reinvents itself. To this day, it is an essential part of international club culture and a popular destination for different generations of night owls. Clubs are spaces for artistic expression and experimentation, places for participation and identity formation, venues for encounters and desire. Sound and lighting, dance floor, and lounging area create open spaces in which guests are transported from the real world of everyday life into their own reality of an endless night. The exhibition in the Archiv Galerie of Haus der Kunst, which was developed on the basis of archive material, also opens up such a world to visitors. The design of the room is, on the one hand, a reminiscence of the initial location. On the other hand, the room elements are based on the minimalist design of the Milanese designer Matteo Thun, who designed the club in the 2000s. The idea of participation continues – retrospectively – in the exhibition. Haus der Kunst invites visitors to share their personal P1 stories and memorabilia and thus expand the exhibition digitally. As part of the exhibition, a magazine about P1 and its history and stories will be published. Curated by Sabine Brantl and Lydia Antoniou.

Established in 1950 as a “studio restaurant” and venue for the Munich art scene in the east wing of Haus der Kunst, P1 has developed into one of the most desirable locations in the club landscape in Germany since the mid-1980s. Whitney Houston's first concert in front of a European audience, a party for Tina Turner where counterfeit D-Mark notes rained from the ceiling, footballers in love, scandals, and spectacular celebrations – there are countless stories about P1. On the occasion of its 40th anniversary – the restaurant was opened in its current form in 1984 – Haus der Kunst now dedicates an exhibition to the club as part of the “Archives in Residence” exhibition series. P1 is one of the few clubs, if not the only nightspot, that lives next door to an art exhibition house. Not unlike Haus der Kunst, P1 continually reinvents itself. To this day, it is an essential part of international club culture and a popular destination for different generations of night owls. Clubs are spaces for artistic expression and experimentation, places for participation and identity formation, venues for encounters and desire. Sound and lighting, dance floor, and lounging area create open spaces in which guests are transported from the real world of everyday life into their own reality of an endless night. The exhibition in the Archiv Galerie of Haus der Kunst, which was developed on the basis of archive material, also opens up such a world to visitors. The design of the room is, on the one hand, a reminiscence of the initial location. On the other hand, the room elements are based on the minimalist design of the Milanese designer Matteo Thun, who designed the club in the 2000s. The idea of participation continues – retrospectively – in the exhibition. Haus der Kunst invites visitors to share their personal P1 stories and memorabilia and thus expand the exhibition digitally. As part of the exhibition, a magazine about P1 and its history and stories will be published. Curated by Sabine Brantl and Lydia Antoniou.

準備迎接一場規模盛大、內容豐富的展會吧！韋伯維森 2024即將於巴伐利亞的慕尼黑市，傲然展開其壯觀的篇章。此次展會將於2024年9月11日，在知名的Zenith - Die Kulturhalle舉行，屆時將匯聚眾多行業專家、領導者及創新領航者。韋伯維森 2024致力於提供一個交流平台，讓參與者深入洞悉最新技術、商業策略和市場趨勢。若您對此領域的發展抱有熱情，請務必鎖定這場在德國慕尼黑的盛會。票價及更多詳細資訊，敬請留意後續的更新。不見不散，韋伯維森 2024，期待您的蒞臨。

預備迎接盛大展覽盛會——2024年慕尼黑ZLF。這場令人矚目的活動將於2024年9月21日，在巴伐利亞的慕尼黑舉行。想要探尋前沿科技、體驗新興產業趨勢的專業人士和業界精英，皆不容錯過此次在德國慕尼黑的難得機會。屆時，參展者將匯聚於此，展示他們的創新和專業，為到訪的觀眾帶來一場視野廣闊的信息盛宴。不論是企業代表或是個人，皆可在這個平台上交流思想，攜手推動行業進步。單論這場2024年慕尼黑ZLF的規模與影響力，即足以吸引全球目光。各位專業人士，請準時預約這場國際級的交流盛會，我們期待在慕尼黑與您相見。

Martino Gamper will be in residence at Haus der Kunst, creating a series of newly designed chairs, a development of his celebrated long-running project 100 Chairs in 100 Days. During the run of the exhibition, the new chairs will be freely reconfigured by the public and the staff — to gather, to rest, and to play — turning the Mittelhalle into a vibrant, constantly changing social space. The reconfigurations will be based on a series of rules that Gamper will deliver at the beginning of the project, defining a choreography that will transform the appearance of the whole space weekly. Alongside furniture, Gamper will create a new light design that will change the atmosphere of the Mittelhalle from a usually transitory space to one of gathering. Speaking about the project, Martino Gamper said: “For Haus der Kunst, the furniture will be made in a variety of ways including craft and industrial processes, using a huge range of materials. The chairs will be experimental, fit for purpose but imperfect, rather than products they are vehicles to explore seating as a sculptural object.” The project highlights the path towards new forms of engagement and learning that Haus der Kunst started in 2023. It has been developed in cooperation between Martino Gamper, the curatorial team and the engagement and learning team at Haus der Kunst. Developed in cooperation between Martino Gamper, the curatorial team and the engagement and learning team at Haus der Kunst (Andrea Lissoni, Emma Enderby, Hanns Lennart Wiesner, Pia Linden, Camille Latreille). Martino Gamper’s Sitzung at Haus der Kunst München illuminated by Occhio.

Martino Gamper will be in residence at Haus der Kunst, creating a series of newly designed chairs, a development of his celebrated long-running project 100 Chairs in 100 Days. During the run of the exhibition, the new chairs will be freely reconfigured by the public and the staff — to gather, to rest, and to play — turning the Mittelhalle into a vibrant, constantly changing social space. The reconfigurations will be based on a series of rules that Gamper will deliver at the beginning of the project, defining a choreography that will transform the appearance of the whole space weekly. Alongside furniture, Gamper will create a new light design that will change the atmosphere of the Mittelhalle from a usually transitory space to one of gathering. Speaking about the project, Martino Gamper said: “For Haus der Kunst, the furniture will be made in a variety of ways including craft and industrial processes, using a huge range of materials. The chairs will be experimental, fit for purpose but imperfect, rather than products they are vehicles to explore seating as a sculptural object.” The project highlights the path towards new forms of engagement and learning that Haus der Kunst started in 2023. It has been developed in cooperation between Martino Gamper, the curatorial team and the engagement and learning team at Haus der Kunst. Developed in cooperation between Martino Gamper, the curatorial team and the engagement and learning team at Haus der Kunst (Andrea Lissoni, Emma Enderby, Hanns Lennart Wiesner, Pia Linden, Camille Latreille). Martino Gamper’s Sitzung at Haus der Kunst München illuminated by Occhio.

The Kunsthalle München presents the first major retrospective on Dutch fashion artists Viktor&Rolf in Germany. For more than three decades, Viktor Horsting and Rolf Snoeren have been exploring with breathtaking virtuosity the boundaries between the worlds of haute couture and art. Celebrated for their unconventional approach to design, their creations have been embraced by artists such as Madonna, Tilda Swinton, Lady Gaga, Doja Cat, and Cardi B and were staged in numerous ballets, as well as an opera directed by Robert Wilson. Reflecting the duo’s passions, obsessions and singular vision, the spectacular scenography will showcase 100 of their most daring creations—many exhibited for the first time—along with numerous videos, sketches, the timeless frangrances like Flowerbomb and Spicebomb, with porcelain dolls dressed in the designers’ iconic creations, and works by renowned visual artists like Andreas Gursky, Ellen von Unwerth and Herb Ritts. The exhibition is developed by the Kunsthalle München in collaboration with the Canadian curator Thierry-Maxime Loriot. He also curated the extraordinary exhibitions Jean Paul Gaultier. From the Sidewalk to the Catwalk (2015), Peter Lindbergh. From Fashion to Reality (2017), and Thierry Mugler. Couturissime (2020/21) which met with great critical and public success in Munich. Viktor&Rolf. Fashion Statements is organized by the Kunsthalle München and curated by Thierry- Maxime Loriot in collaboration with Maison Viktor&Rolf and L’Oréal Luxe.

“Afterglow", by artist Luisa Baldhuber (b. 1994, Munich), references the design of Munich’s English Garden and transposes it as an installation composed of light and wall painting in the staff entrance of Haus der Kunst. The English landscape gardens of the 18th and 19th centuries reflected the principle of a natural landscape. Despite their intended closeness to nature, these gardens are ultimately artificial parks, based on the aesthetic of landscape painting and an idealised view of nature. In this sense, the English Garden also stands for the human desire and need for a natural landscape in an increasingly industrialised and technological environment. The sharp contrast between the “wild” and romantic natural park and the Neoclassical architecture of Haus der Kunst, built at the time of National Socialism, will also be consciously addressed in the installation “Afterglow". Baldhuber’s expansive installations, in which the artist works with the interaction of coloured light and wall paint, are aimed at overcoming the spatial boundaries of an architectural space. In doing so, she draws attention to the original architecture, questioning notions of our world that manifest themselves in buildings. The abstract ceiling picture for instance takes up the minimalistic style of the Light and Space movement that originated in Southern California in the 1960s, which is an important reference in Baldhuber’s artistic work. Through the optical expansion of the space and the shifting coloured moods, “Afterglow” rouses memories of being under the open sky and lets us dream for a moment. Curated by Anna Schneider.

For over six decades, Liliane Lijn (b. 1939, New York, USA) has focused on the inter­section of visual art, literature, and scientific thought, creating an extensive array of works that include sculpture, site-specific installations, paintings, and moving images. Her body of work reveals a connection with Surrealist ideas, ancient mythologies, and feminist, scientific, and linguistic thought. A key focus of Lijn is considering how to visualise the invisible, using the latest materials and experimenting with reflection, motion, and light, as she explained, she wanted to “see the world in terms of light and energy". She conducted research into invisibility, using and exploring the visualisation of electronic waves, forces, vibration, light, and sound. As Lijn noted, “I wanted people to see sound”. The exhibition at Haus der Kunst is Lijn’s first institutional solo exhibition of this scale, presenting her painting, drawing, sculptural, film work, and installations. The show centres on her sculptural works from the 1980s, as well as a survey of her oeuvre, showing works from the late 1950s and today. Influenced by the second wave of feminism and her own experiences as a woman, Lijn became increasingly focused on the human form and the female body. In her sculptures from the 1980s, Lijn presents futuristic and female archetypes, part machine, part animal, and part plant, constructed from soft feather dusters, synthetic fibers, and industrial materials such as piano wire, steel, and optical glass prisms. These works reflect her on­going exploration of a new, feminine form. The exhibition is developed in cooperation with the mumok – Museum moderner Kunst Stiftung Ludwig Wien. In conjunction with the exhibition, a monograph on Liliane Lijn will be co-published with mumok. Curated by Emma Enderby with Teresa Retzer.

For over six decades, Liliane Lijn (b. 1939, New York, USA) has focused on the inter­section of visual art, literature, and scientific thought, creating an extensive array of works that include sculpture, site-specific installations, paintings, and moving images. Her body of work reveals a connection with Surrealist ideas, ancient mythologies, and feminist, scientific, and linguistic thought. A key focus of Lijn is considering how to visualise the invisible, using the latest materials and experimenting with reflection, motion, and light, as she explained, she wanted to “see the world in terms of light and energy". She conducted research into invisibility, using and exploring the visualisation of electronic waves, forces, vibration, light, and sound. As Lijn noted, “I wanted people to see sound”. The exhibition at Haus der Kunst is Lijn’s first institutional solo exhibition of this scale, presenting her painting, drawing, sculptural, film work, and installations. The show centres on her sculptural works from the 1980s, as well as a survey of her oeuvre, showing works from the late 1950s and today. Influenced by the second wave of feminism and her own experiences as a woman, Lijn became increasingly focused on the human form and the female body. In her sculptures from the 1980s, Lijn presents futuristic and female archetypes, part machine, part animal, and part plant, constructed from soft feather dusters, synthetic fibers, and industrial materials such as piano wire, steel, and optical glass prisms. These works reflect her on­going exploration of a new, feminine form. The exhibition is developed in cooperation with the mumok – Museum moderner Kunst Stiftung Ludwig Wien. In conjunction with the exhibition, a monograph on Liliane Lijn will be co-published with mumok. Curated by Emma Enderby with Teresa Retzer.

Established in 1950 as a “studio restaurant” and venue for the Munich art scene in the east wing of Haus der Kunst, P1 has developed into one of the most desirable locations in the club landscape in Germany since the mid-1980s. Whitney Houston's first concert in front of a European audience, a party for Tina Turner where counterfeit D-Mark notes rained from the ceiling, footballers in love, scandals, and spectacular celebrations – there are countless stories about P1. On the occasion of its 40th anniversary – the restaurant was opened in its current form in 1984 – Haus der Kunst now dedicates an exhibition to the club as part of the “Archives in Residence” exhibition series. P1 is one of the few clubs, if not the only nightspot, that lives next door to an art exhibition house. Not unlike Haus der Kunst, P1 continually reinvents itself. To this day, it is an essential part of international club culture and a popular destination for different generations of night owls. Clubs are spaces for artistic expression and experimentation, places for participation and identity formation, venues for encounters and desire. Sound and lighting, dance floor, and lounging area create open spaces in which guests are transported from the real world of everyday life into their own reality of an endless night. The exhibition in the Archiv Galerie of Haus der Kunst, which was developed on the basis of archive material, also opens up such a world to visitors. The design of the room is, on the one hand, a reminiscence of the initial location. On the other hand, the room elements are based on the minimalist design of the Milanese designer Matteo Thun, who designed the club in the 2000s. The idea of participation continues – retrospectively – in the exhibition. Haus der Kunst invites visitors to share their personal P1 stories and memorabilia and thus expand the exhibition digitally. As part of the exhibition, a magazine about P1 and its history and stories will be published. Curated by Sabine Brantl and Lydia Antoniou.

迎接未來，不容錯過的展會盛事——藍帶 2024，權威降臨德國慕尼黑。這場集結創新、業界頂尖的交流盛宴，即將在象徵文化薈萃之地Zenith拉開序幕。2024年9月3日，慕尼黑 - Zenith - Die Kulturhalle將飄揚著藍帶的榮耀，匯聚來自世界各地的專業人士和商界領航者。無論是尋求合作夥伴、探索市場趨勢，抑或拓展商機，藍帶 2024均為您提供一個絕佳的舞台。切勿錯過，敬請鎖定詳情，與未來並肩而立。

迎接未來，不容錯過的展會盛事——藍帶 2024，權威降臨德國慕尼黑。這場集結創新、業界頂尖的交流盛宴，即將在象徵文化薈萃之地Zenith拉開序幕。2024年9月3日，慕尼黑 - Zenith - Die Kulturhalle將飄揚著藍帶的榮耀，匯聚來自世界各地的專業人士和商界領航者。無論是尋求合作夥伴、探索市場趨勢，抑或拓展商機，藍帶 2024均為您提供一個絕佳的舞台。切勿錯過，敬請鎖定詳情，與未來並肩而立。

The MUNICH FABRIC START is an international fabric trade fair The MUNICH FABRIC START is an international fabric trade fair. Various exercises of spinning, non-woven, weaving, knitting, buttons, trims, jewellery components, fastenings, hang tags, garment making, testing, software as well as dyestuff and chemicals, etc. in the Manufacturing, Fabrication, Repair & Maintenance, Textile, Fabrics & Yarns industries get limelight, thanks to this show. This event defines Trends and innovations in buttons, trims, jewellery components, fastenings, hang tags and a range of other functional and decorative accessories and solutions. Information Source: Messe Munchen GmbH | expotobi

準備迎接一場規模盛大、內容豐富的展會吧！韋伯維森 2024即將於巴伐利亞的慕尼黑市，傲然展開其壯觀的篇章。此次展會將於2024年9月11日，在知名的Zenith - Die Kulturhalle舉行，屆時將匯聚眾多行業專家、領導者及創新領航者。韋伯維森 2024致力於提供一個交流平台，讓參與者深入洞悉最新技術、商業策略和市場趨勢。若您對此領域的發展抱有熱情，請務必鎖定這場在德國慕尼黑的盛會。票價及更多詳細資訊，敬請留意後續的更新。不見不散，韋伯維森 2024，期待您的蒞臨。

The largest Exhibition of International Real Estate United Property Expo is the largest professional exhibition of international real estate. The largest construction companies, real estate agencies, banks, and property developers from foreign countries will take part in the exhibition. It gives all visitors an opportunity to discuss directly with professionals the issues of buying and renting property abroad, and to get advice on mortgages, taxes, investments, and the like. Participants have the opportunity to talk to major real estate developers and agencies without intermediaries. Information Source: United Expo | expotobi