Scratching the Surface

May 30, 2021 - September 15, 2021
Rieckhallen im Hamburger Bahnhof, Berlin

The exhibition looks to the recent history of art in order to trace some of the entanglements between human beings, technology and nature. The range of works collected in the Rieckhallen extends from post-1960s tendencies such as land art, Arte Povera, and Conceptual Art through to contemporary artistic practices that address environmental and ecological concerns.


Over the course of the past few years, public debate around the ecological crises of our time has broadened and grown more urgent. Phenomena such as climate change, extinction events, the depletion of natural resources and the spread of plastic waste have been acknowledged in different scholarly disciplines as indicators of a new geological epoch: the Anthropocene. This term describes how the actions of humanity (Greek: anthropos) now have a significant impact on developments in the Earth’s structure and systems. The works on display in Scratching the Surface illustrate how human understandings of the notion and image of landscape(s) and the environment have shifted over the past six decades.

Magical Soup
Media Art from the Collection of the Nationalgalerie, the Friedrich Christian Flick Collection and Loans

Opening September 2020
Rieckhallen im Hamburger Bahnhof, Berlin (D)

Spaciously presented across more than 2,000 square metres in Hamburger Bahnhof’s Rieckhallen, the group exhibition Magical Soup features key works complemented by loans representing the latest generation of artists, with a common point of departure being the nexus of sound, image and social space.The group exhibition explores the relationship between hearing, seeing, and the experience of socially shaped space. On display are media art pieces, installations and works on paper dating from the 1970s to the present. Geographical, social and imaginary spaces are negotiated on the basis of music, sounds, noises, and voices, and their notation or visual implementation.


Magical Soup brings together works by the media art pioneers Nam June Paik, Jochen Gerz, Charlemagne Palestine, Ulrike Rosenbach and Keiichi Tanaami; by the multimedia artists Nevin Aladag, Stan Douglas, Cyprien Gaillard, Douglas Gordon, Rodney Graham, Dmitry Gutov, Anne Imhof, Joan La Barbara, Pipilotti Rist, Diana Thater, Lawrence Weiner, Nicole Wermers and David Zink Yi; and by the younger artists Korakrit Arunanondchai, Trisha Baga, Dineo Seshee Bopape, Christine Sun Kim, Sandra Mujinga and Sung Tieu.

Local Histories

December 15, 2018 - September 29, 2019
Rieckhallen im Hamburger Bahnhof, Berlin (D)

The exhibition Local Histories traces the relationships and conditions under which key works in the collections were developed during the second half of the 20th century.

“The history of art and art’s condition at any time are pretty messy”, Donald Judd wrote in 1964 in an article on the New York art scene. In this piece he opposed traditional differentiations of style and genre, advocating instead a more casual encounter with works of art. Judd’s analysis of the local art scene is the starting point for an experiment that takes works from the Friedrich Christian Flick Collection and the Collection of the Nationalgalerie – enhanced by selected loans – and resituates them within the context of their making.

Which art influenced Donald Judd? What connects Konrad Lueg, Sigmar Polke and Gerhard Richter? Which galleries supported Bruce Nauman and Jenny Holzer during the early stages of their careers? Occasionally unusual work constellations provide snapshots of New York and Düsseldorf in the 1960s and 1970s, Cologne in the 1980s, Berlin and Los Angeles in the 1990s.

Curated by Matilda Felix

moving is in every direction.
Environments – Installations – Narrative Spaces

March 17, 2017 - September 17, 2017
Rieckhallen im Hamburger Bahnhof, Berlin (D)

The exhibition “moving is in every direction. Environments – Installations – Narrative Spaces” traces the history of installation art from the 1960s until today with a focus on narrative structures. As the visitors move through the exhibition, they explore expansive walk-in environments, video and sound installations, as well as cross-media works especially developed for the exhibition.

The non-linear narrative structure, put forth by Gertrude Stein, to which the exhibition title relates, serves as a starting point for exploring sculptural arrangements, image sequences, or spatially staged narratives. Within the approximately 3,500 square metres of exhibition space, there are installations by Joseph Beuys, Marcel Broodthaers, Peter Fischli/David Weiss, Isa Genzken/Wolfgang Tillmans, Bruce Nauman, Susan Philipsz, Pipilotti Rist, Bunny Rogers, Gregor Schneider, Thomas Schütte, Christopher Kulendran Thomas, and Wolf Vostell.“moving is in every direction. Environments – Installations – Narrative Spaces” shows works from the collection of the Nationalgalerie, the Friedrich Christian Flick Collection at Hamburger Bahnhof, the Marx collection, the Haubrok Foundation, and selected loans. Alongside the temporary exhibition, permanently installed works by Dan Flavin, Joseph Beuys, Robert Kusmirowski, and Bruce Nauman also form part of the exhibition, as well as a room by Gregor Schneider in the west wing of the ground floor, which has been made accessible once again for this occasion.

Christoph Büchels Installation „Training Ground for Training Ground for Democracy“

October 22, 2016 - January 29, 2017, main hall of the Hamburger Bahnhofs, Berlin

The work is part of the first donation by Friedrich Christian Flick in 2008 to the Nationalgalerie and is being shown here for the first time since its creation in 2007 at Art Basel Miami Beach. Coinciding with the presidential elections in the USA on 8 November 2016, the installation raises questions about the running and lawfulness of democratic elections and about access to the ballot. Its siting of a polling station in a dystopian kindergarten is part of an interrogation of political, military, legal and cultural scenarios in American society that the artist has been pursuing for many years.

The voting booths in the interior of the container, which is surrounded by fencing and fitted with surveillance cameras, make reference to the US election campaign of 2000, from which George W. Bush emerged as President by a very narrow margin. Suspended amidst the remains of a children’s party on the roof of the container, which is accessible via a ladder, is a leaflet bomb of the kind used to deliver propaganda material as part of psychological warfare. The Christmas decorations call to mind ubiquitous manifestations of hypercapitalism and the ambivalent holiday mood in US military camps.

"A Few Free Years: Donations by Friedrich Christian Flick to the Nationalgalerie

November 28, 2015 - March 13, 2016, Historical Hall of the Hamburger Bahnhof and Rieckhallen, Berlin

In this exhibition the Hamburger Bahnhof is just presenting a choice of the 268 works which have been donated by Friedrich Christian Flick to the Nationalgalerie in 2008 and 2014. Starting in the main historical hall of the Hamburger Bahnhof with the installations "5050 Stacked Paintings", 1998 by Richard Jackson and "Saloon Theater", 1995-1999 by Paul McCarthy, the whole space of the Rieckhallen is showing installations by Thomas Schütte, Jason Rhoades, Dieter Roth or Bruce Nauman as well as works by Georg Baselitz, Martin Kippenberger, Cindy Sherman, Wolfgang Tillmans, Nam June Paik, Franz West or videos by Marcel Broodthaers, Nathalie Djurberg or David Claerbout.

Wall Works

The exhibition “Wall Works” takes place in conjunction with a purchase enabled by the Verein der Freunde der Nationalgalerie of a convolute of architecture-based wall works that were originally developed for Edition Schellmann. An initial selection from these new acquisitions is presented in dialogue with works from the museum's collections, in particular from the Friedrich Christian Flick Collection im Hamburger Bahnhof. Also the exhibition includes works created specifically for the exhibition by the Berlin based artists Friederike Feldmann, Katharina Grosse, and Nasan Tur.

The majority of the wall paintings and objects in the exhibition are based on artistic designs that have been adapted to the spatial situation of the museum and carried out on site. The spectrum of techniques employed ranges from installations of drawings and painting to the use of silkscreen and wallpaper and sculptural wall objects and video works. Each work creates a unique ensemble incorporating wall space, pictorial space, and architectural space.

Martin Kippenberger. Sehr gut, very good

February 23, 2013 - August 18, 2013, Rieckhallen im Hamburger Bahnof, Berlin (D)

On February 25, 2013 Martin Kippenberger would have celebrated his 60th birthday.
In this occasion, the Hamburger Bahnhof is presenting the incredible variety of his artistic production in its entire spectrum. Works from the Friedrich Christian Flick Collection and from different lenders will be exhibited in the Rieckhallen as well as on different locations of the Hamburger Bahnhof.

The exhibition is curated by Udo Kittelmann and Britta Schmitz, Co-Curator is Miriam Halwani

Paul McCarthy. The Box

July 17, 2012 - November 04, 2012, Neue Nationalgalerie, Berlin (D)

The exhibition at the Neue Nationalgalerie reveals one of Paul McCarthy´s key works: an oversized wooden box, into which McCarthy has built his entire studio, i.e. the setting for his creativity and the production of his artworks. The installation appears outwardly to be an inconspicuously simple trunk, yet inside a stunning variety of things that reference not only McCarthy himself, but his extensive creations from the beginning of his career to the present as well.

The box with over 3,000 fixed objects from his studio - tables, equipment, tools or boxes - is tilted 90 degrees. Due to the rotation, it becomes an almost surreal spatial experience. This ties into McCarthy's radical performance art and opens up new perspectives on the creative space.

As the single work exhibited in the expansive hall, "The Box" is granted particular significance. The narrowness of the studio - the private space - meets the expansiveness of the surrounding - the public space. At the same time, this artwork relates to the collection housed in the Neue Nationalgalerie, which is exhibited in the basement. Specific points of connection can be found to the cultural assemblage from the 1960's exhibited here (Daniel Spoerris "Snare-picture") or Bruce Nauman's early studio videos ("Bouncing in the Corner"). The view into the studio, a constantly recurring theme by modern artists, is in this version by Paul McCarthy the portrait of an unsparing artist who is willing to reveal everything.


September 15, 2011 – January 13, 2013, Rieckhallen im Hamburger Bahnhof, Berlin

The Flick Collection’s exhibition, ‘Architektonika,’ focuses on the symbiotic relationship between contemporary art and architectural practice. Featuring an array of sculptures, photographs, film works and paintings, the art exhibited in the Rieckhallen, although primarily sourced from the Collection’s archives, is strengthened with works from the National Gallery as well as a few select loans.

Taking the 1960s as its conceptual starting point, ‘Architektonika’ presents a myriad of different spatial forms betoken of this interdisciplinary cross-roads. The installations, pictorial spaces and sculptural works on display borrow from architectural motifs; reflecting and providing commentary upon the common practices in the design of buildings and urban spaces. They primarily focus on the plastic and sculptural qualities of architectural structures, without losing sight of the socio-economic implications inherent within our constructed world. ‘Architektonika’ seeks to unlock the door on imaginary spaces, stir memories of well-known buildings and revive fantastic visions of previously- imagined futures.

In conjunction with these artworks, the exhibition also features the work of leading architects once active in Germany. Situated between Halls 2 and 3, these include Bruno Taut and Wenzel Hablik, with their designs for crystal and domed buildings dating from the early modernist period, as well as Frei Otto and Ludwig Leo who, in their own way, combined functionalism with a pictorial quality. This parallel display seeks to illustrate the importance of visionary architecture on the dialogue between art and architecture over the course of the twentieth century.

Works from the Flick Collection include pieces by Absalon, Jürgen Albrecht, Carl Andre, Sophie Calle, Nina Fischer & Maroan el Sani, Peter Fischli / David Weiss, Thomas Florschuetz, Isa Genzken, Dan Graham, Mika Taanila, Rachel Khedoori, Sol LeWitt, Gordon Matta-Clark, Bruce Nauman, Manfred Pernice, Andrea Pichl, Ascan Pinckernelle, Hermann Pitz, Dieter Roth & Björn Roth, Jason Rhoades, Anri Sala, Thomas Schütte, Thomas Struth, James Turrell and Jeff Wall.

Bruce Naumann, Dream Passage

May 28 – October 10, 2010, Hamburger Bahnhof, Berlin

‘Dream Passage,’ a collaboration between the Hamburger Bahnhof and the Friedrich Christian Flick Collection, presents the first major retrospective of the internationally acclaimed artist, Bruce Nauman. With unprecedented detail and academic rigour, the works on display from the Collection’s archive, including examples of Nauman’s ‘experiential architecture,’ are central in defining the prominent position of this psychologically challenging, evocative artist.
Extraordinarily prolific, Nauman has worked with a diverse range of media. His extensive oeuvre includes sculptures, films and videos, photographs, neon works, prints, installations and vocal works. At the end of the 1960s, Nauman began constructing corridors and rooms which, entered upon by visitors, powerfully evoke the experiences of entrapment and abandonment. His relentless questioning of the human soul, and the implicit role his audience must therefore play, is powerfully demonstrated with the complex work, ‘Corridor Installation’ (Nick Wilder Installation) from 1970, where visitors, recorded by a video camera , are forced to confront their own image. ‘Corridor with Mirror and White Lights’ (1971), on the other hand, cannot be entered, yet despite this, Nauman’s use of mirrored surfaces leaves his viewers with no choice but to succumb to his wishes for self-reflection.
Often explicitly political, Nauman’s engagements with sculpture became vessels for critique in the beginning of the 1980s.  Powerful in its formal simplicity, ‘Musical Chair,’ (1983) juxtaposes the suspended form of a chair with metal wires, illustrating the artist's disdain for the torture and violence implicit in the totalitarian regimes of the period. Other examples are complex neon works such as ‘American Violence,’ which plays with the iconography of the swastika, (1981-82), and ‘Sex and Death / Double 69,’ (1985), which examines the connections between sex, violence and death. Somewhat brutally rendered in neon, Nauman’s light works betray the twisted underside of advertising in American billboard culture. Nauman’s iconic installation, ‘Clown Torture,’ (1987) also deals with the themes of torture and psychological violence. In this multi-channel video work, the play of the clowns is transformed - from the expectation of an entertaining game into an unending act of direct, sinister aggression. The cruelty which often remains undetected in Vaudeville and circus acts is thus transformed into a disturbing medley of human surveillance, manipulation and trauma.
As well as presenting a significant body of works by Nauman for ‘Dream Passage’ from the Collection, Friedrich Christian Flick has donated one of the artist’s most iconic sculptural installations, ‘Room with My Soul Left Out, Room That Does Not Care,’ to the Hamburger Bahnhof for permanent display. Located in Hall 5 of the Rieckhallen, this architectural sculpture, made from three interlinked corridors, is exhibited for the first time since its conception in 1984, and was installed in close co-operation with the artist. Reconciling itself with the brutal, barren architecture of the Rieckhallen, Nauman deliberately tries to cultivate an all-pervading sense of extreme, existential desolation and thus forces us to question our position in space and time. Another Nauman work donated by Friedrich Christian Flick, ‘Double Cage Piece,’ (1974) has been exhibited outside Hamburger Bahnhof since 2005.
On the occasion of the exhibition ‘Dream Passage,’ the Flick Collection presents further work by Bruce Nauman in the Rieckhallen space, where a dialogue between the artists and his contemporaries, such as Robert Morris, Richard Serra and Eva Hesse, is duly negotiated. The work of younger artists, such as Richard Jackson, Dieter Roth, Manfred Pernice, Nikolaus Lang and Paul McCarthy is also exhibited in order to convey the historical gravitas associated with Nauman’s collective works on display.
In conjunction with this, a comprehensive reader is published to accompany the exhibition, where concepts central to Nauman’s oeuvre are elucidated and theoretically framed. The publication contains a collection of philosophical, literary and scholarly texts that facilitate further analyses of the artist and his contemporaries.

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Die Sammlungen. The Collections. Les Collections

February 16, 2010 - until further notice, Hamburger Bahnhof, Berlin (D)

The Friedrich Christian Flick Collection currently presents important works from its archives in a series of rotating exhibitions, which occupy the 10,000 square metres of space at its disposal in the Hamburger Bahnhof. The Rieckhallen, opened in 2004, contains part of the Flick Collection currently displayed. A further 2000 prize works of contemporary European and North American art are constantly being reinterpreted in a series of thoughtful and thematically-driven exhibitions.

In conjuction with this, Minimalist and Post-Minimalist artworks are on display in Rooms 1 and 2. These including leading examples by Donald Judd, Dan Flavin and John McCracken, as well as by Robert Morris, Bruce Nauman and Richard Serra. These works form a dialogue with those by more contemporary figures such as Heimo Zobernig, Manfred Pernice or Rachel Khedoori.

In contrast to Minimalism’s smoothness and clarity of form, the sprawling structure of Dieter Roth's 'Garden Sculpture' (1968) is now displayed alongside the fragile carcasses of both Bruce Nauman and Nikolaus Lang in Halls 3 and 4 of the Reickhallen. These lead the viewer towards Nauman’s extraordinarily evocative sculpture in Hall 5, titled 'Room with My Soul Left Out, Room That Does Not Care.' (1984) Visitors are encouraged to edge their way through the work, and recognize Nauman’s extreme evocation of existentialist abandonment.

Also displayed are important examples of Nauman's video work, which examines core questions on the perception and placement of self in relation to others, as well as the issues surrounding the performative display of the artist’s body.

Mind the Gap

May 19, 2009 – September 04, 2009, Werkraum im Hamburger Bahnhof, Berlin (D)

"Mind the Gap" presents predominantly sculptural works, which explore interstices and cavities, unresolved conditions and discrepancies.

The gap becomes palpable in Gordon Matta-Clark’s interventions and “anarchitectures” and is similarly an essential sculptural element in Via Lewandowsky’s Berliner Zimmer. Ceal Floyer bores into our imagination using acoustic means and Isa Genzken’s architectural pieces attest far more to instability and fragility than they do to sturdiness. With all the cuts and gaps, the holes and ruptures, the notion of solid ground becomes shaky and clarity begins to falter.

Yet the gap is also implicitly manifest in the discrepancy between the object and the artwork, between the functional item and sculptural expression. Here the ruptures, cracks and incompleteness serve as a demarcation line between quotidian and artistic givens. It is a boundary, however, which can be transgressed again and again in the process of viewing, of traversing this uneven terrain poised between artistic intervention and a structure informed by life, between abstraction and concrete reference, between formal and narrative readings.

Die Kunst ist super!

September 05, 2009 – February 14, 2010, Rieckhallen im Hamburger Bahnhof, Berlin (D)

Die Kunst ist super ! (Art is super!) is a new exhibition of contemporary art from the Friedrich Christian Flick Collection.  Also featuring specific works from the National Gallery, The Marx and Marzona Collections, it concerns itself with an attempt to expose a surprising variety of thematic and monographic constellations present in the art of today. At selected points in the exhibition, the works from the Flick Collection are complemented by works loaned by artists; some specifically created for the rooms on show, and some loaned from the rich collections of Berlin's museum landscape.

The exhibition presents many interesting binaries in terms of the works it attempts to reinterpret. The contrast between the stringent forms of Minimal Art and the proliferating structure of Gartenskulptur (Garden Sculpture) by Dieter Roth, and the contrast between the mirror-clad monumental cubes by Isa Genzken and Otto Zitko's dancing lines, are characteristic of the thoughtful, rigorously academic curatorship which undermines the Flick Collection’s engagement with the Rieckhallen space.
The imagery of human homelessness explored by Bruce Nauman and Absalon are juxtaposed with the cosily- furnished Heim (Home) by Franz West and Zimmer (Room) by Pipilotti Rist. In an age that has seen (supposedly) reliable systems of value collapse into crisis, their underlying instability is laid bare for all to see.
In this exhibition at the Hamburger Bahnhof, The Flick Collection presents a new intellectual standpoint; art as independently variable. With unprecedented flexibility, the many fictions, illusions and conflicting themes threading between the works on display all agree with one conclusion: Art is Super!


Wolfgang Tillmans. Lighter. New works, works from the Nationalgalerie, the Friedrich Christian FlickCollection in Hamburger Bahnhof, and loans

March 21, 2008 – August 31, 2008

The Flick Collection is delighted to present a large-scale, solo exhibition featuring the work of Wolfgang Tillmans, one of Germany’s premier fine-art photographers. Exhibited in the Hamburger Bahnhof, ‘Lighter; New Works’ offers the first comprehensive overview of Tillmans’ complex oeuvre seen in Berlin to date.

On view amongst other works are the legendary portraits, still lifes, urban views and landscapes through which Tillmans shaped the sensibility of the 1990s.  A photographer who immediately defies categorization, Tillman’s extensive body of work challenged the photographic medium to undergo renewed transformation.

Providing an additional focus to this exhibition, The Flick Collection is pleased to showcase a selection of Tillman’s abstract works, which continue to expand both the artist’s visual cosmos and vocabulary. The space-filling, atmospheric images of the "Freischwimmer" (Swimming to Freedom) series, along with the "Lighter" and "Paper Drop" studies, evoke a seemingly sculptural quality. Focusing entirely on the magical qualities of paper, these works, until now, have never been seen in Germany as an ensemble.

Encompassing more than 200 works from the period 1986 to 2008, the Flick Collection also showcases pivotal pieces such as the early photocopy works, (1988-1990) the "Turner Prize" Room (2000) and the elaborate table installation "Truth Study Center." (2005-2007) Unprecedented in its thoroughness, the exhibition presents a liberated, thoughtful retrospective of one of photography’s key figures in the twenty-first century.

Becoming Visible. Photographic works from the Friedrich Christian Flick Collection

March 21, 2008 - - August 10, 2008, Riekhallen im Hamburger Bahnhof, Berlin (D)

In an era characterized by mass production and the seemingly-limitless distribution of photographic imagery, contemporary artists’ engagement with the camera raises numerable questions and opportunities for critique. What precisely are we seeing when contemplating these images? What relationship do they have to the reality they represent? Does the reality seen in photographs become perceptible only through them, or do they instead render strange a putatively familiar reality?

Alongside the retrospective of German artist Wolfgang Tillmans, the Flick Collection is pleased to present a thematically-driven, group exhibition of contemporary photography. Situated in the space of the Rieckhallen, the collective ensemble seeks to highlight selected positions in the artistic photography of today; re-asserting the increasingly important place the medium has held in the visual arts since 1970.

The exhibition features works by artists who have elaborated their views of the world photographically. Centrally significant are questions concerning the physiology and psychology of vision, and those related to the social, economic, historical, and cultural contexts referred to by these photographers. The Flick Collection’s democratic approach to compiling these works reveals the extraordinary, diverse opportunities present within photography’s visual language.

On display are works by, among others, Jeff Wall, Rodney Graham and Stan Douglas, by Bernd and Hilla Becher, Candida Höfer, Axel Hütte, Thomas Ruff and Thomas Struth, and by Peter Fischli & David Weiss and Beat Streuli.

Cult of the Artist: "I can't just slice off an ear every day". Deconstructing the Myth of the Artist. 

October 03, 2008 – February 22, 2009, Rieckhallen im Hamburger Bahnhof, Berlin (D)

The esteemed position of the artist as the ‘heroic soldier of individuality’ was critically examined and discussed by the Avant-garde in the early twentieth century. Such notions of autonomous creative genius consequentially became a theme which artists, working within these new theoretical parameters, exhaustively grappled with. Influenced to some extent by Barthes’ discourse, ‘The Death of the Author,’ (1967) the artists featured in the Flick Collection’s new exhibition have both interrogated and deconstructed a range of stereotypes associated with the (often masculinized) ideal of creative genius.

The Flick Collection’s group show, playfully ironic in its title, questions these conventional models of authorship, which have become critically scrutinized along with traditional notions of masculine and feminine creativity. The extensive works within the Collection are thus interpreted to highlight these self-reflexive engagements throughout a period of modern history; stemming from the witty male banter invested in Dada and Duchamp to the institutionally-critiquing work of Andrea Fraser in the 1990s. At times humorously, at times sarcastically, at times even destructively, the status of the artist within the art world has been the object of sustained reflection, and categories such as authenticity and subjectivity are duly interrogated.

On display from the Collection are works by Francis Alÿs, Art & Language, Azorro, Bernadette Corporation, George Brecht, Marcel Broodthaers, Marcel Duchamp, Maria Eichhorn, VALIE EXPORT, Peter Fischli & David Weiss, FLUXUS, Andrea Fraser, Dan Graham, Rodney Graham, Richard Jackson, Christian Jankowski, Martin Kippenberger, Sarah Lucas, Paul McCarthy, Bruce Nauman, Adrian Piper, Pipilotti Rist, Ugo Rondinone, Dieter Roth, Ed Ruscha, Antje Schiffers, Cindy Sherman, Sturtevant, Vibeke Tandberg, Lawrence Weiner.

There is never a stop and never a finish. In memoriam Jason Rhoades

May 05, 2007 - August 19, 2007

To commemorate the recent untimely death of the American artist, Jason Rhoades, the Flick Collection presents an exhibition specifically focusing on the imagery of trash in art from the 1960s onwards. Besides a significant amount of works by Rhoades, the exhibition pays homage with installations, sculptures, paintings, photographs and graphic works by other artists featured in the collection; namely Dieter Roth, Otto Mühl, Paul McCarthy and Martin Kippenberger.

With their piles of plastic waste and other scrap materials,  Roth, Daniel Spoerri, Isa Genzken, and Rhoades elevate our preconceived notion of ‘worthless’ rubbish into a realm of art. The "Materialaktionen" of Mühl and McCarthy, material-rich happenings, confront the spectator with "dirty" images which provoke repulsion and disgust at their crude viscerality. A trashy painting style and acrid irony are the weapons with which Martin Kippenberger and Albert Oehlen battle against hollow pathos and "regressive" expressivity. All these artists, with Rhodes at the helm, move between the definition of form on the one hand, and its dissolution on the other. In doing so, they touch upon poignant questions of transience and the survival of civilization.

Von Francis Picabia bis Jason Rhoades. Werke aus der Friedrich Christian Flick Collection im Hamburger Bahnhof

August 21, 2007 – January 27, 2008

Roman Signer - Works from the Friedrich Christian Flick Collection at the Hamburger Bahnhof and Loans

September 30, 2007 - January 27, 2008, Rieckhallen im Hamburger Bahnhof, Berlin (D)

Since the early 1970s, the Swiss artist Roman Signer has carried out performances involving everyday objects such as tables, barrels, balloons, bicycles, or kajaks. In carefully meditated and laid-out arrangements, these objects meet with the chosen elements of water, earth, air, and fire. Over the years, Signer has thus created a multifaceted oeuvre of "time sculptures," which take on a variety of different manifestations and forms.

The Flick Collection’s extensive presentation of Signer’s work includes numerous objects, drawings, photographs and films by the artist, including the documentation of Signer’ installing an artificial volcano at the landscape park of Wörlitz in the summer of 2007.

Parralel with this monographic exhibition on Signer, the exhibition currently on display in the Rieckhallen focuses on artists from the West Coast of America, including Paul McCarthy, Mike Kelley, Raymond Pettibon, and Jason Rhoades.

From Carl Andre to Bruce Nauman
Works from the Friedrich Christian Flick Collection im Hamburger Bahnhof, the collections of the Staatlichen Museen zu Berlin and collection Marzona

April 29, 2006 - August 13, 2006
Rieckhallen im Hamburger Bahnhof, Berlin (D)

Richard Jackson. Works from the Friedrich Christian Flick Collection at the Hamburger Bahnhof

May 19, 2006 – August 13, 2006, Rieckhallen im Hamburger Bahnhof, Berlin (D)

The Friedrich Christian Flick Collection is pleased to present its second one-man retrospective, dedicated to the American artist Richard Jackson. Since the 1960s, Jackson has concerned himself with a neo-Pollockian concept of performative painting.

A self-confessed art anarchist who grew up during the zeitgeist of Abstract Expressionism, Jackson works with paint and canvas, yet the result is not painting in its traditional sense, but rather an exponentially expanded field. Creating architectural spaces made up of canvases, or wall-filling paintings produced by using reversed, mechanically rotating canvases, this retrospective of Jackson’s work presents a unique glimpse into the artist’s unique aesthetic investigations.

With three of Jackson's large-scale key works from the 1980s, and a selection of his conceptual models and drawings, the Flick Collection’s presentation of Jackson’s work is the first in Berlin to offer a complete survey this Los Angeles-based artist.

Beyond Cinema: The Art of Projection

September 29, 2006 - February 25, 2007, Rieckhallen im Hamburger Bahnhof, Berlin (D)

Wherever we go, we are constantly surrounded by moving images. In a sphere of art, such images have increasingly developed a life of their own: existing "beyond the cinema," where the convention of viewing film in dark auditoriums is consistently undermined. Now, images project themselves freely onto walls, are set side by side in multiple projections, are arranged as walk-in installations and are conceived as stagings in specially-designed architectures.

‘Beyond Cinema,’ the latest thematic exhibition from the Friedrich Christian Flick Collection, focuses on major film and video installations of the 1990s and their historical precedents.  Amongst others, it features the ravishing projections of Swiss artist Pipilotti Rist, Bruce Nauman's existentialist image of the body, the psychologically-charged film spaces of Eija-Liisa Ahtila and the highly conceptual installations of Canadian artist Rodney Graham. These contemporary forages into the world of cinema exemplify both the artistic and theoretical debates which surrounded the development of the projected image during the 1960s. Groundbreaking works, such as the films of Marcel Broodthaers, Dan Graham and the experimental filmmaker Valie Export, can be viewed in dialogue with the more contemporary works from the Collection’s extensive archives.

With thematic sections such as "Phantasmagoria", "Body Double" and "Repertory Cinema", the Flick Collection’s latest exhibition outlines the significant movement of the projected image to a realm outside the traditional cinematic space. At the same time, it demonstrates how subject matter, techniques and conceptual notions have shaped this form of media art to the present day. Ultimately, ‘The Art of Projection’ is a school of perception, offering an extraordinary experience of filmic effects - such as light, shadow, motion, sound and reflection - to its contemporary audience.

Parallel to the exhibition, Kino Arsenal will screen films, and a scholarly symposium will be held.

Urs Fischer. Works from the Friedrich Christian Flick Collection at the Hamburger Bahnhof

June 02, 2005 – August 07, 2005, Rieckhallen im Hamburger Bahnhof, Berlin (D) hall 1

The Friedrich Christian Flick Collection is pleased to present its first one-man exhibition, focusing on the extraordinarily diverse output of Zurich-based artist, Urs Fischer. The exhibition showcases a variety of Fischer’s work from the past decade, presenting an evocative melting pot of sculptures, installations and pictures, as well as site-specific installations. Of particular interest is Fischer’s “Baked Master's Basket”, (1999) which has been purposely rebuilt and restaged for this exhibition in the Rieckhallen.

An artist renowned for his affectionate, yet incisive treatment of quotidian objects and materials, Urs Fischer is perpetually engaged with an interrogation into, and a visualization of, both process and contingency. Drawing viewers into an artistic universe characterised by a playful, bitingly humorous defamiliarisation of our world, Fischer brings us face to face with an inexhaustible supply of motifs. From the frequently-eroticized phantasmagoria of waste, dissolution, decay and deformation, he seamlessly moves to reveal both the beauty of transience and the emergence of the new.

With a selection of some 50 works of art from the Flick Collection’s archives, Fischer's first major solo exhibition in Berlin offers an opportunity for us to gain insight into the prolific practice of this exciting young artist.

Fast nichts - Minimal Artworks from the Friedrich Christian Flick Collection im Hamburger Bahnhof

September 24, 2005 – April 23,  2006, Rieckhallen im Hamburger Bahnhof (D)

Following the success of its inaugural survey, entitled "Friedrich Christian Flick Collection im Hamburger Bahnhof,” the Flick Collection is delighted to present a new, thematically-driven exhibition. ‘Fast Nichts – Minimal Artworks from the Friedrich Christian Flick Collection,’ is an exploratory survey of the history of the Minimalist Aesthetic, which emerged out of the art of the 1960s and beyond. Literally translated as ‘almost nothing,’ the exhibition seeks to highlight the reduction of form and silence of simplicity which gracefully manifests itself within works present in the Flick Collection; including the contributions of Sol LeWitt, Carl Andre, Richard Serra, Bruce Nauman, Robert Smithson, Robert Barry, On Kawara, Richard Artschwager, Absalon, De Rijke/De Rooij and Toba Khedoori amongst others. 

Friedrich Christian Flick Collection im Hamburger Bahnhof. First presentation of the Collection

September 02, 2004 – August 07, 2005. Hamburger Bahnhof, Berlin (D)

The 2004 inaugural exhibition, ‘The Friedrich Christian Flick Collection at the Hamburger Bahnhof,’ marks the collection’s first, thematically-driven presentation. Shown within the public sphere for the first time, this extensive selection of 400 works is spread out to encompass the entirety of the space offered, occupying both the Hamburger Bahnhof and the newly-developed space of the adjacent Rieckhallen.

With unprecedented breadth and quality, the exhibition manages to convey a sense of the historically-important chapters which helped define visual culture in the last two centuries. Its vision, in the spirit of the Museum’s dedication to ‘Gegenwart,’ (the present,) seeks to simultaneously look forwards from this historical standpoint to the art of today. Thus, whilst pivotal figures such as Francis Picabia, Marcel Duchamp and Alberto Giacometti are meticulously represented, the work of important contemporary artists, such as Bruce Nauman and Paul McCarthy, are also subjected to rigorous theoretical framing. With no specific focus on medium, movement or specific chronologies, the displays from the Flick Collection’s extensive archives seek to unpick the intellectual, thematic and thought-provoking threads which weave themselves through each chapter of the exhibition.

The initial landscape of the exhibition remains intensely thematic and essayistic in its approach. Yet while works are grouped in accordance with common themes, such as Martin Kippenberger, Paul McCarthy and Duane Hanson’s preoccupation with ‘The Creation Myth,’ the works of pivotal artists, such as Jason Rhoades, Rodney Graham and Bruce Nauman, are granted individual attention. Nauman, in particular, is represented in the exhibition with an unrivalled group of works; collectively seeking to communicate the artist’s intensely prolific train of thought and myriad of processes. Spread throughout the exhibition, Nauman’s work forges its own epicentre in the central space of the Kleihues Hall. Elsewhere in the exhibition, this concept of ‘process’ is granted a platform for discussion with works by Nam June Paik, Peter Fischli and David Weiss, Roman Signer and Dieter Roth taking centre stage.

The ‘performative turn’ and arts’ continuous investigation into site-specificity are boldly addressed throughout the exhibition; manifesting themselves within both the performance-as-medium works by Nauman and Diana Thater, (amongst others,) and the identity-constructing, metamorphic imagery of artists such as Cindy Sherman. A section devoted to the investigation of the ‘spatial turn,’ aptly titled ‘The Third Space’ seeks to disentangle the blurred boundaries between art and architecture undertaken by artists Gordon Matta-Clark, Jeff Wall and Rachel Khedoori. Elsewhere, site-specific installations such as Pipilotti Rist’s ‘The Room’ (1994) reflect the constructed psychologies existing between public museum and private space; an issue which finds itself simultaneously discussed in works such as Khedoori’s ‘Pink Room’ (2000) and Dan Graham’s architectural treatise, ‘Homes for America’ (1966.) The often-uneasy relationship between artists’ works on display is also addressed in the museum’s decision to entwine the repertoire of Martin Kippenberger with that of his contemporary, Franz West, in a specific section titled ‘Service Area.’

Whilst some artists critique the conceptual limitations of space, others within the exhibition focus their attention inwardly; towards their own bodies and that of the human race at large. This section, entitled ‘Bodily Inscriptions,’ uses the vast plethora of representational possibilities available as its theoretical starting point. Here, sexuality and the sexist gaze implicit within works by McCarthy and Richard Prince respectively, find themselves juxtaposed with the violence and self doubt of Larry Clark and Mike Kelley. As well as this bodily self-awareness, which stemmed from the durational video works of Bruce Nauman and Fluxus filmmakers also on display, the exhibition also presents a group of artists whose self-questioning extends into the world around them. Grouped under the rhetoric of ‘Being Satisfied Here and Now,’ this section features works by Isa Genzken, Wolfgang Tillmans and Thomas Struth. The imagination of the self is the key to these artist’s investigations. Whilst Tillmans’ documentation of the 1990s’ techno scene relies on his status as an initiated, hip insider, Genzken’s monolithic blocks are the produce of a hermetic self-containment. These two artists, deliberately placed in close proximity with one another, coax out a variety of thoughtful dialogues.

To compliment the exhibition’s web of thematic enquiry, a comprehensive catalogue will be published, detailing all artists and works selected for the inaugural exhibition.