Feb. 17, 2020
From solo exhibitions featuring art stars such as Cindy Sherman, Thomas Schütte and Gerhard Richter to group shows with the likes of Katharina Grosse, Juergen Teller and Wolfgang Tillmans as well as Albrecht Dürer, Sigmar Polke and Ernst Ludwig Kirchner, me Collectors Room has become a staple in Berlin’s art scene—albeit one with a unique agenda. Upon its founding, collector Thomas Olbricht made one wish: to present and elicit moving energies, hence the space’s titular “me”. Such a flow of energy often stems from the display of diverse objects, genres and epochs, as witnessed in the roster of artists Olbricht has collected, alongside a treasure trove of Art Nouveau objects, designer furniture, African wood sculptures, stamps and even globes. This year, in celebration of its 10th anniversary, me Collectors Room is hosting a special exhibition dedicated to its founding topic. While all of the space’s exhibitions display items that are part of Olbricht’s private collection, this show, titled ‘Moving Energies – 10 years me Collectors Room Berlin,’ will not only display his collection but actually recreate parts of Olbricht’s private sphere.
In ‘Moving Energies,’ which opens February 29th, some of Olbricht’s private rooms will be recreated through stage sets that render the collector’s inspirations and ideas publicly accessible, and visitors will have the chance to view a wider selection of Olbricht’s collection than has ever been presented. Highlights are to include a special space dedicated to a selection of 170 editions by Gerhard Richter (Olbricht owns the entire set) and the presentation of never-before-exhibited works by Pippilotti Rist, Dana Schutz, Nicole Eisenmann, Peter Halley, Katharina Grosse and Anselm Kiefer, among others.
Upstairs in the Wunderkammer, which is always host to precious Renaissance and Baroque objects, stamps, model fire engines and paper-maché plants, all of which have been long-time focuses for Olbricht, will additionally be displayed. Olbricht has been collecting stamps since the age of five and the hand-crafted plants were permanent fixtures in German schools at the turn of the century.
Taking into account the exhibition’s contemporary, art historical and cultural positions, it can be seen as a compelling synopsis of Olbricht’s wide-ranging collection. With ‘Moving Energies,’ Olbricht is offering the public the special opportunity to gain insight into a collector’s thought process and personal collection.