From October 2, 2026, to February 21, 2027, the Kunsthaus Zürich presents the first exhibition to directly juxtapose the work of the Austrian painter Maria Lassnig and the Norwegian artist Edvard Munch. Around 150 works open a fascinating dialogue about the body, perception, and the cycle of life – showcasing two exceptional artistic positions in a new context.
At the same time, with this exhibition, the Kunsthaus reminds us that the museum possesses the largest collection of Munch paintings outside of Norway: a treasure to be cherished.
With the exhibition "Maria Lassnig and Edvard Munch. "Painting Flow = Life Flow" the Kunsthaus Zürich presents for the first time a double exhibition that connects the work of the Austrian artist Maria Lassnig (1919–2014) with that of the Norwegian painter Edvard Munch (1863–1944). The exhibition title takes its name from a Lassnig painting from 1996 and refers to a central idea shared by both artists: painting as an expression of existential experience and as a means of self-reflection.
Although more than half a century separates them, Lassnig and Munch share a common interest in the big questions of human existence. Both explore the body, emotions, and the relationship between humankind and nature in their art. While Munch focuses on the cyclical nature of life, death, and renewal, Lassnig consistently directs her gaze inward. Her so-called "body awareness paintings" arise from the immediate sensation of her own body and give inner states a distinctive painterly form.
FIRST DUAL EXHIBITION OF TWO EXCEPTIONAL ARTISTS
For the first time, the exhibition reveals the diverse points of contact—as well as the differences—between the two bodies of work. Developed as part of a four-year collaboration with the Hamburger Kunsthalle, initiated by directors Ann Demeester and Alexander Klar, the exhibition at the Kunsthaus Zürich highlights the institution’s close historical connection to Edvard Munch.
This relationship dates back to the 1920s. Under the direction of Wilhelm Wartmann—the director at the time—the Kunsthaus dedicated a comprehensive exhibition to Munch in 1922, featuring over 70 paintings and more than 430 works on paper. Looking back, the artist described this as one of his "most comprehensive and best solo exhibitions" and one of his finest artistic experiences. That same year, the first Munch paintings entered the Kunsthaus collection. Subsequent exhibitions and numerous acquisitions followed, shaping the museum’s significant Munch holdings to this day.
Maria Lassnig also shares a close connection with the Kunsthaus Zürich. In 2002, she received the Roswitha Haftmann Prize—Europe’s most lucrative award for contemporary visual art, which is presented at the Kunsthaus. Just a year later, the Kunsthaus dedicated a solo exhibition to her and, in 2004, acquired the painting *Geballte Gewalt* (Clenched Force). Additional works were added to the museum’s Prints and Drawings Collection.
The fundamental concept for this dialogue was developed by the Berlin-based scholar and curator Hans Dieter Huber, who initiated the project. Working together with Sandra Gianfreda (curator at the Kunsthaus Zürich) and Brigitte Kölle (curator and head of the collection at the Hamburger Kunsthalle), they created an exhibition that opens up new art-historical perspectives. Peter Pakesch of the Maria Lassnig Foundation supported the project from the outset, providing key inspiration.
COLOR AS THE LANGUAGE OF PERCEPTION
Maria Lassnig engaged deeply with art history—and Edvard Munch was among her most important points of reference. She described him as an artist who "penetrated to the deepest layers of the psyche and its existential threat." Her influence is evident not only in her expressive use of color but also in her free brushwork and lifelong spirit of experimentation.
Her 1983 painting *Traditionskette* (Chain of Tradition) demonstrates just how consciously Lassnig positioned herself within a painterly tradition. Diego Velázquez, Edvard Munch, and Vincent van Gogh appear behind her—forming, as it were, an artistic family tree in whose lineage she situates herself. For this exhibition, it has been possible to locate the work and make it accessible to the public once again after a long period.
The exhibition explores this dialogue through surprising connections between motifs and themes. Both artists engage with human vulnerability, illness and death, the bond between humanity and nature, and the relationships between humans and animals. It is precisely their differences in style and era that give rise to striking resonances.
context. His use of line, color, and composition can be reinterpreted through
the lens of Lassnig’s painting. At the same time, the depth of Munch’s influence
on Lassnig’s artistic thinking becomes apparent. The exhibition offers a chance
to view Munch through Lassnig’s eyes—and to rediscover both artists.
MAJOR LOANS FROM OSLO AND VIENNA
Featuring around 150 works, including 78 paintings, the exhibition provides a
comprehensive overview of both artists’ oeuvres. Prestigious loans from the
Munch Museum in Oslo and the Maria Lassnig Foundation in Vienna enable
numerous juxtapositions never before seen.
CATALOGUE
A richly illustrated catalogue accompanies the exhibition, featuring essays,
an interview with writer Siri Hustvedt (conducted by Sandra Gianfreda),
quotes from Maria Lassnig and Edvard Munch, poems by their contemporaries,
and brief statements by contemporary artists.
Maria Lassnig, Three Graces, 2011
Oil on canvas, 200 x 155 cm
Kunstmuseum Bonn, permanent
loan from KiCo Collection © Maria Lassnig Stiftung / 2026,
ProLitteris, Zurich*, photo: Jens Ziehe - ARTOTHEK
Maria Lassnig, Married Couple, 2001
Oil on canvas, 100 x 125 cm
Städtische Galerie im Lenbachhaus und
Kunstbau Munich, KiCo Collection © Maria Lassnig Stiftung / 2026,
ProLitteris, Zurich*
Maria Lassnig, Two Ways of Being (Double Self-Portrait), 2000
Oil on canvas, 100.3 x 124.7 cm
Maria Lassnig Foundation,© Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*
Maria Lassnig, Flow of Paint =
Flow of Life, 1996
Oil on canvas, 205 x 155.5 cm
Maria Lassnig Foundation, © Maria Lassnig Stiftung / 2026,
ProLitteris, Zurich*
Maria Lassnig, The Great Wave, 1995 Pencil, watercolour, gouache on paper,
47.5 x 65.1 cmMaria Lassnig Foundation, © Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*
Edvard Munch, Two Human Beings. The Lonely Ones, c. 1935
Oil on canvas, 91 x 129,5 cm
Munchmuseet, Oslo, photo: Munchmuseet, Oslo
Maria Lassnig, Chain of Tradition,
1983
Oil on canvas, 204 x 130 cm
Private collection, © Maria Lassnig
Stiftung / 2026, ProLitteris, Zurich*,
photo: Ulrich Ghezzi
Maria Lassnig, Balled-Up Violence,
1988
Oil on canvas, 200 x 200 cm
Kunsthaus Zürich, 2004 © Maria Lassnig Stiftung /
2026, ProLitteris, Zurich*
Maria Lassnig, Sleeping with a Tiger, 1975
Oil on canvas, 106.5 x 1270 cm
The Albertina Museum, Vienna, permanent loan from Oesterreichische Nationalbank
© Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*, photo: Graphisches Atelier Neumann
Edvard Munch, Vampire in the Forest, 1916–1918 Oil on canvas, 150 x 137 cm
Munchmuseet, Oslo, photo: Munchmuseet, Oslo
Edvard Munch, Madonna, 1895
Lithograph, 64 x 48 cm
Munchmuseet, Oslo, Foto: Munchmuseet, Oslo
Edvard Munch, Self-Portrait with the Spanish Flu, 1919
Oil on canvas, 150 x 131 cm
The National Museum, Oslo, photo: Nasjonalmuseet / Børre Høstland
Edvard Munch, Girls on the Pier, 1901
Oil on canvas, 83.8 x 129.6 cm
Hamburger Kunsthalle / photo: Elke Walford – ARTOTHEK
Edvard Munch, Winter Night, c. 1900 Oil on canvas, 81 x 121 cm Kunsthaus Zürich, 1931
