Migros Museum für Gegenwartskunst

Accumulation – On Collecting, Growth and Excess
Second Sequence

Exhibition
14.06.25 – 27.07.25

Gianni Motti, Moneybox, 2009, Sammlung Migros Museum für Gegenwartskunst, © Gianni Motti. Photo: Studio Stucky.
Gianni Motti, Moneybox, 2009, Sammlung Migros Museum für Gegenwartskunst, © Gianni Motti. Photo: Studio Stucky.
Gianni Motti, Moneybox, 2009, Sammlung Migros Museum für Gegenwartskunst, © Gianni Motti. Photo: Studio Stucky.
Gianni Motti, Moneybox, 2009, Sammlung Migros Museum für Gegenwartskunst, © Gianni Motti. Photo: Studio Stucky.
Rindon Johnson, Parallel circuit 1: How is power measured? How is your house wi- red? How do you keep time? You can never reach the last number. A resistor lights up because it resists the flow. A bird in space, really? A complete flow, repair, repair, what’s at the end? How much can you absorb? Are you happy with your clean closet? Do you have debts? Regrets? Happy to have a closet or a hole, this night, I mean day, I. Listening is playing without your bow on the string. We didn’t eat half of anything. Neal. I won’t mouth it, I’ll say it again one leg on top of another just here please, no the body itself is an abstraction we cannot help admiring. Nobody is coming to save us! Is what is inside me, myself? Is this potentially you, I? I probably used 5 quarters of your stomachs, the other quarters I don’t know where it went, I have so many questions, no answers let’s begin again, how was power measured?, 2025, courtesy of the artist, commissioned by Migros Museum für Gegenwartskunst. Photo: Studio Stucky.
Rindon Johnson, Parallel circuit 1: How is power measured? How is your house wi- red? How do you keep time? You can never reach the last number. A resistor lights up because it resists the flow. A bird in space, really? A complete flow, repair, repair, what’s at the end? How much can you absorb? Are you happy with your clean closet? Do you have debts? Regrets? Happy to have a closet or a hole, this night, I mean day, I. Listening is playing without your bow on the string. We didn’t eat half of anything. Neal. I won’t mouth it, I’ll say it again one leg on top of another just here please, no the body itself is an abstraction we cannot help admiring. Nobody is coming to save us! Is what is inside me, myself? Is this potentially you, I? I probably used 5 quarters of your stomachs, the other quarters I don’t know where it went, I have so many questions, no answers let’s begin again, how was power measured?, 2025, courtesy of the artist, commissioned by Migros Museum für Gegenwartskunst. Photo: Studio Stucky.
Bare Minimum Collective, An Accumulation of Care, 2025, courtesy of Bare Minimum Collective, commissioned by Migros Museum für Gegenwartskunst. Photo: Studio Stucky.
Bare Minimum Collective, An Accumulation of Care, 2025, courtesy of Bare Minimum Collective, commissioned by Migros Museum für Gegenwartskunst. Photo: Studio Stucky.
Bare Minimum Collective, An Accumulation of Care, 2025, courtesy of Bare Minimum Collective, commissioned by Migros Museum für Gegenwartskunst. Photo: Studio Stucky.
Bare Minimum Collective, An Accumulation of Care, 2025, courtesy of Bare Minimum Collective, commissioned by Migros Museum für Gegenwartskunst. Photo: Studio Stucky.
Bare Minimum Collective, An Accumulation of Care, 2025, courtesy of Bare Minimum Collective, commissioned by Migros Museum für Gegenwartskunst. Photo: Studio Stucky.
Bare Minimum Collective, An Accumulation of Care, 2025, courtesy of Bare Minimum Collective, commissioned by Migros Museum für Gegenwartskunst. Photo: Studio Stucky.
Sandra Poulson, Hope As A Praxis, 2021, courtesy of the artist and Carlos Marsano. Photo: Studio Stucky.
Sandra Poulson, Hope As A Praxis, 2021, courtesy of the artist and Carlos Marsano. Photo: Studio Stucky.
Sandra Poulson, Hope As A Praxis, 2021, courtesy of the artist and Carlos Marsano. Photo: Studio Stucky.
Sandra Poulson, Hope As A Praxis, 2021, courtesy of the artist and Carlos Marsano. Photo: Studio Stucky.
Mierle Laderman Ukeles, Touch Sanitation, 1979–1980/2017, Sammlung Migros Mu- seum für Gegenwartskunst, © Mierle Laderman Ukeles. Photo: Studio Stucky.
Mierle Laderman Ukeles, Touch Sanitation, 1979–1980/2017, Sammlung Migros Mu- seum für Gegenwartskunst, © Mierle Laderman Ukeles. Photo: Studio Stucky.
Joana Hadjithomas & Khalil Joreige, Borehole 1, 2019, Sammlung Migros Museum für Gegenwartskunst, © Joana Hadjithomas & Khalil Joreige. Photo: Studio Stucky.
Joana Hadjithomas & Khalil Joreige, Borehole 1, 2019, Sammlung Migros Museum für Gegenwartskunst, © Joana Hadjithomas & Khalil Joreige. Photo: Studio Stucky.
Mimi Ọnụọha, These Networks In Our Skin, 2021, courtesy of the artist. Photo: Studio Stucky.
Mimi Ọnụọha, These Networks In Our Skin, 2021, courtesy of the artist. Photo: Studio Stucky.
Daniel Arnan Quarshie, Into the Badlands, 2024 (links), Kwatserekwa Mpaboa, 2024 (rechts), Courtesy of the artist. Photo: Studio Stucky.
Daniel Arnan Quarshie, Into the Badlands, 2024 (links), Kwatserekwa Mpaboa, 2024 (rechts), Courtesy of the artist. Photo: Studio Stucky.
Daniel Arnan Quarshie, Kwatserekwa Mpaboa, 2024, courtesy of the artist. Photo: Studio Stucky.
Daniel Arnan Quarshie, Kwatserekwa Mpaboa, 2024, courtesy of the artist. Photo: Studio Stucky.
Wang Bing, 15 hours, 2017, courtesy of the artist and Galerie Chantal Crousel, Paris, Foto: Studio Stucky.
Wang Bing, 15 hours, 2017, courtesy of the artist and Galerie Chantal Crousel, Paris, Foto: Studio Stucky.
Yuri Pattison, Infinite Corridor, Infinite Sunset (Remove the Blue), 2017, Sammlung Mig- ros Museum für Gegenwartskunst, © Yuri Pattison. Photo: Studio Stucky.
Yuri Pattison, Infinite Corridor, Infinite Sunset (Remove the Blue), 2017, Sammlung Mig- ros Museum für Gegenwartskunst, © Yuri Pattison. Photo: Studio Stucky.

Location

Migros Museum für Gegenwartskunst
Limmatstrasse 270
8005 Zürich
Switzerland
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Website
https://migrosmuseum.ch

Published on: 22.06.25