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| Sammlung Boros | |
|---|---|
| Name | Sammlung Boros |
| Native name | Sammlung Boros |
| Established | 2008 |
| Location | Berlin, Germany |
| Type | Contemporary art collection |
| Founder | Christian Boros |
Sammlung Boros is a private contemporary art collection housed in a converted World War II bunker in Berlin. Founded by Christian Boros and developed with collectors, curators, and architects, the collection stages rotating exhibitions that link contemporary painting, sculpture, installation, performance, and video art. The project draws international artists and institutions into dialogue with Berlin's postwar urban history and the global art market.
The collection originated when Christian Boros acquired the bunker at Reinhardtstraße in the Mitte district, a site with wartime and Cold War resonance connected to World War II, Nazi Germany, and the Allied occupation of Germany. Early phases involved collaboration with figures from the Berlin scene including curators associated with Kunst-Werke Berlin, Hamburger Bahnhof, and cube berlin. Inauguration events referenced networks that include Berlin Biennale, documenta, and collectors linked to Museum of Modern Art, Tate Modern, Centre Pompidou, Stedelijk Museum, and Guggenheim Museum. The timeline intersects with cultural policy shifts in Germany, urban redevelopment in Mitte, Berlin, and debates sparked by institutions such as Deutsche Oper Berlin and Berliner Philharmonie.
The holdings emphasize contemporary practices by artists who have shown at venues like Venice Biennale, São Paulo Biennial, Whitney Biennial, Manifesta, Skulptur Projekte Münster, and Documenta. Artists represented include names connected to exhibitions at MoMA PS1, Serpentine Galleries, Palazzo Grassi, Fondazione Prada, Museo Nacional Centro de Arte Reina Sofía, Museum of Contemporary Art Chicago, ICA London, Hayward Gallery, and MAXXI. Rotating shows have juxtaposed work resonant with histories curated by institutions such as Solomon R. Guggenheim Museum, Neue Nationalgalerie, K20 Düsseldorf, Kunsthalle Zürich, Fondation Louis Vuitton, Guggenheim Bilbao, and San Francisco Museum of Modern Art. Loans and exchanges have involved collections like moma, Tate, Art Institute of Chicago, LACMA, Rijksmuseum, M HKA, MAMCO, and university museums including Yale University Art Gallery and Harvard Art Museums.
The bunker conversion was designed by architectural teams conversant with projects at sites such as Herzog & de Meuron and OMA, and it sits within a built environment near Unter den Linden, Alexanderplatz, and Friedrichstraße. The adaptation engages with preservation practices discussed in contexts like ICOMOS, Deutscher Presserat, and heritage debates similar to projects at Kulturforum Berlin and Tempelhof Airport. The building’s materiality evokes comparisons with conversions such as Tate Modern's Turbine Hall, Zeitz MOCAA, Emscher Park, and adaptive reuses undertaken by firms that worked on Reichstag restorations and projects by David Chipperfield and Daniel Libeskind.
Exhibition-making at the site follows curatorial strategies in conversation with curators and directors who have led programs at MoMA, Tate Modern, Louvre, Guggenheim, Serpentine, Museo Reina Sofía, Kunsthalle Bern, Fondazione Prada, Staatsgalerie Stuttgart, and Haus der Kunst. Installations reference practices by artists associated with Marina Abramović, Olafur Eliasson, Ai Weiwei, Anish Kapoor, Günther Uecker, Gerhard Richter, Joseph Beuys, Andreas Gursky, Cindy Sherman, Jeff Koons, Damien Hirst, Thomas Demand, Wolfgang Tillmans, Pipilotti Rist, Kara Walker, Bruce Nauman, Dan Flavin, Yayoi Kusama, Yoko Ono, Bill Viola, Walter De Maria, John Cage, Louise Bourgeois, Jenny Holzer, Taryn Simon, Samson Young, Hito Steyerl, Thomas Hirschhorn, Ilya Kabakov, Danh Võ, Philippe Parreno, Rirkrit Tiravanija, Mark Leckey, Michael Müller, Tatiana Trouvé, Erik Bulatov and others whose works have intersected institutional shows at venues such as Venice Biennale and Whitney Museum of American Art.
Public access is arranged through timed tickets and guided visits comparable to arrangements at Neues Museum, Pergamon Museum, Berlinische Galerie, Deutsches Historisches Museum, and private institutions like Fondation Beyeler. Educational programs engage with partnerships reminiscent of collaborations between Berlin University of the Arts, Humboldt-Universität zu Berlin, Freie Universität Berlin, Technische Universität Berlin, and cultural foundations such as Stiftung Preußischer Kulturbesitz and Kulturstiftung des Bundes. Outreach echoes residency and workshop models promoted by DAAD, Goethe-Institut, European Cultural Foundation, British Council, and Asia Art Center.
Critical attention situates the collection within debates engaged by critics and publications affiliated with Artforum, Frieze, ArtReview, The Art Newspaper, Der Spiegel, Frankfurter Allgemeine Zeitung, Die Zeit, Süddeutsche Zeitung, and broadcast features on Deutschlandfunk Kultur. Discussion touches on ethics of private collections debated alongside cases involving Guggenheim, Gérard Wertheimer, Kunstpalast, and controversies similar to those surrounding collectors in New York City, London, Paris, Zurich, and Los Angeles. Scholarly critique references exhibition histories scrutinized in journals tied to Getty Research Institute, Smithsonian Institution, Oxford University Press, Cambridge University Press, and university-centered symposia held at Courtauld Institute of Art, Columbia University, and Princeton University.
Category:Museums in Berlin Category:Contemporary art galleries