The collecting activity of Munich-based Ingvild Goetz spans the mediatic diversity of today’s artistic forms of expression. Besides drawings, prints, paintings, and photographs, one of her focuses is on works on video and film, space-related installations, and multiple projections. The collection encompasses a total of 4,000 works by over three hundred artists. The Goetz Collection has its own museum building, designed by Jacques Herzog and Pierre de Meuron and completed in 1993, where it makes its holdings accessible to the public in alternating exhibitions.
Before Ingvild Goetz discovered her passion for collecting art, she was a successful gallerist. She opened her first gallery spaces, Art in Progress, in Zurich in 1970. The Swiss public, however, found the artistic positions she represented foreign and offensive. An action she organized with the artist Wolf Vostell even resulted in the cancellation of her work permit. Ingvild Goetz ultimately left Switzerland in 1973 and moved into her gallery in Munich, which she continued to run until 1984. Since then, she has been assembling her own collection, today one of most distinguished private collections of its kind in the world.
With its 1997 exhibition Arte Povera: Arbeiten und Dokumente der Sammlung Goetz 1967 bis heute, the Weserburg presented a selection from the collection for the first time in Bremen. It included prominent works which only several decades after their creation went down in art history by artists such as Giovanni Anselmo, Giuseppe Penone, Jannis Kounellis, Michelangelo Pistoletto, and Mario Merz. In the ensuing years, the Weserburg was time and again permitted to exhibit loans from the collection, and in 2004, the museum held a year-long, alternating show entitled Female Identities? that presented works by a number of women artists. The most recent show, The Morning After: Works on Video from the Goetz Collection, comprised further important works from the collection. It featured works of video art that do not avail themselves of the aesthetic of an overstrung video clip culture but rather in poetic images allow the viewer to have unaccustomed and in part completely new visual experiences.
Further information is available at sammlung-goetz.de
Joachim Kreibohm in conversation with Ingvild Goetz (1997)