The year 1967 marked the beginning of our present era: The modern era, which assumed that everything could be arranged with uniform buildings, furniture and rights, made room for a new, unusual and idiosyncratic phase.

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Architects saw the amusement park as the perfect city, While designer*Dissolve yourself from traditional taste. It was a time when the focus was no longer on systems but on individual self-realization.

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The emergence of new media connected the world, with images becoming a platform where style and recognition were central.

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The exhibition highlights the rise of the information society, the expansion of financial markets and the influence of subcultures, music styles and fashion trends.

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A highlight of the exhibition is the Bundeskunsthalle itself, which opened in 1992 — a sign of the end of the Cold War and parallel to the publication of Fukuyama's “The End of History.”

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However, the story has run its course, and today there is a renewed debate about postmodernism. Some blame them for Trump's election success, while others denounce their freedoms. At the same time, post-modern aesthetics are experiencing a revival through social media.

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Designers and architects are now enthusiastic about post-modern ideas of diversity, contradiction and decentralization. In a time of flaring up cultural struggles, the exhibition holds up a mirror to the present day that serves to determine direction:

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Once before, new media have overturned all securities; depression and uncertainty have given rise to artistic risks and a more diverse society.

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Produced by post-modern architecture and design greats Nigel Coates and Neville Brody, the exhibition chronologically takes you through everything that set the tone between 1967 and 1992:

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Movies, fashion, art, design, architecture, technology and music. Artists such as Jenny Holzer and Jean-Paul Goude have restaged historical works specifically for the exhibition.

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The exhibition EVERYTHING AT ONCE: POSTMODERNISM, 1967—1992 was curated by Eva Kraus and Kolja Reichert and runs until January 28, 2024 at the Bundeskunsthalle in Bonn (Helmut-Kohl-Allee 4 53113 Bonn). You can find more information here.

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With works from (selection):

Pedro Almodovar — Ant Farm — Apple Macintosh — Martine Bedin — Ricardo Bofill — Neville Brody — Judith Butler — David Byrne — Lucinda Childs — Nigel Coates — Combahee River Collective — Comme des Garçons — Coop Himmelb (l) au — Gilles Deleuze — Jacques Derrikuda — Peter Eisenman — Michel Foucault — Francis Foucault Yama — Jean Paul Gaultier — Frank Gehry — General Idea — Jean-Paul Goude — Michael Graves — David Hockney — Hans Hollein — Jenny Holzer — Arata Isozaki — Frederic Jameson — Charles Jencks — Alejandro Jodorowsky — Philip Johnson — Grace Jones — Rem Koolhaas — Kengo Kuma — Karl Lagerfeld — Louise Lawler — Michael Mann — Martin Margiela — Gordon Matta-Clark — Richard Meier — Alessandro Mendini — Issey Miyake — Claude Montana — Charles Moore — MOSCHINO — Nathalie Du Pasquier — Gustav Peichl — Gaetano Pesce — Renzo Piano — Paco Rabanne — Aldo Rossi — Ed Ruscha — Denise Scott Brown — Cindy Sherman — SITE — Thomas Gordon Smith — Ettore Sottsass — James Stirling — Studio 65 — Sturtevant — Stanley Tigerman — U.S.A. For Africa — Oswald Mathias Ungers — Robert Venturi — Roger Vadim — Gianni Versace — Madelon Vriesendorp — Andy Warhol — Vivienne Westwood — James Wines — Harumi Yamaguchi and more

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Curatorial team: Eva Kraus, Kolja Reichert

Exhibition Director: Susanne Annen

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Photos via Bundeskunsthalle

Header image: Hans Hollein, lace sketch, Elephant for modern art Frankfurt, 1982 © Hollein Private Archive