Thyssen-Bornemisza Art Contemporary (T-B A21) was founded in 2002 by Francesca von Habsburg. She described how the foundation originated in her attempt to acquire To Touch, the work by Janet Cardiff included in this exhibition. Cardiff's desire to place To Touch with a public institution such as an art museum, rather than sell to an individual collector, provided the impetus to establish T-B A21. Starting from the idea of a collection led on to thinking about how to present, exhibit, publicize, and maintain the works.
A major characteristic of T-B A21 is that in addition to acquisitions, it commissions between 2 and 4 new works each year. Through these commissions, it supports the creation of art in a variety of formats, including projects that are architectural, site-specific, performative, or incorporate audio interventions. A feature of commissions is that you never know for sure what will result. While attempting to avoid intruding on the creative process any more than necessary, there are occasions where giving the artist a friend's encouragement is appropriate, sometimes standing at the artist's side and collaborating to address the challenges of a new medium of expression. TB A21's chief curator, Daniela Zyman pointed out that decisions on new projects are made through an organic process, often emerging from chance discussions while working alongside an artist.
Asked if contemporary art could actually change society, von Habsburg confidently asserted her conviction that it could, and went on to explain her desire to entice and draw in an audience by exhibiting art. That, she explained, is why the current exhibition has so many playful works—she wants the audience to enjoy the exhibition. Both von Habsburg and Zyman lavish love and affection on the artists, works, and exhibitions they are involved with. This characteristic came out clearly in the session, with the way that they had built up close relationships with the works and the artists leaving a strong impression on the audience.

MAMC Night

On Tuesday 21 April, the MAMC Night for “The Kaleidoscopic Eye: Thyssen-Bornemisza Art Contemporary Collection” was held. The event consisted of two programs: a gallery tour titled “Viewing the world in a new light: through the artworks of ‘The Kaleidoscopic Eye’,” and a special lecture, “The future of contemporary art collections.” The gallery tour, which was conducted by Araki Natsumi (exhibition curator, Mori Art Museum), began with a sea of amazed faces, as participants became entranced by the intense light emitted from Cerith Wyn Evans' artwork. The piece, which was recreated especially for the Mori Art Museum, uses 270 fluorescent tubes, each six meters in length. And this was just the beginning. As those who have seen the exhibition will remember, it is full of artworks that use light, sound and other media to stimulate the senses in myriad ways. Walking through the exhibition, Araki discussed the concepts and messages behind the artworks, helping viewers gain an understanding of the new perspectives they offer on the world. A particularly large number of participants could be seen nodding their heads in front of Klaus Weber's “Public Fountain LSD Hall”, which explores the relationship between openness and exclusivity. The gallery tour came to an end with Ritu Sarin / Tenzing Sonam's video work, “Some Questions on the Nature of Your Existence,” which caught the attention of many with its images of Tibetan Buddhist monks partaking of intense debate. Most participants remained glued to the spot, watching the video until its end. Soon after the gallery tour, the special lecture was given by Nanjo Fumio (Director, Mori Art Museum). The lecture, which was themed on contemporary art collections, took as its starting point the collection, founded by Francesca von Habsburg, on which “The Kaleidoscopic Eye” is based. Nanjo introduced a broad range of collecting styles, illustrating his talk with photographs taken during his visits with art collectors the world over. One collector who Nanjo had visited exhibited an installation work so large you wondered how they got it in their house. Another focused on Chinese art. Nanjo pointed out that despite the differences in collecting styles it is the commitment made to the installation environment that is the most crucial factor in determining a truly first-class art collector. Some collectors have even founded art museums just to house their collections, astonishing us with both their devotion to art and the apparently limitless nature of their financial resources. Nanjo even showed pictures of his own art collection, which is displayed in his home. Needless to say, the assembled MAMC members were suitably impressed. About half of the attendees raised their hands when Nanjo asked how many people had purchased an artwork in the past. Who knows? Maybe one day another first-class art collector will emerge from their ranks in the future. Normally, this would have been the end of the night, however, there was a reason that Nanjo was clad in a fashionable red scarf and a bright red necktie. Yes, those new items were birthday presents that Nanjo had received that very day - from museum staff, to celebrate his 60th birthday. Nanjo took the opportunity to express his deep appreciation to all of the MAMC members, and a toast of Austrian white wine “Schloss Schoenbrunn” was prepared. Everyone was delighted to enjoy a relaxing moment over some very nice wine. We would like to thank all those members and their guests who braved heavy rain to join us on the evening. We look forward to welcoming you and all our other MAMC members at the next MAMC Night.

Being dazzled by the intense light of Untitled, by Cerith Wyn Evans Stepping into the artwork, Y, by Carsten Höller Artwork that gives expression to exclusivity within an open environment, Public Fountain LSD Hall, by Klaus Weber Special lecture: “The future of contemporary art collections” Why was Nanjo wearing a red scarf and necktie?