Independent Collectors

ARNDT Collection

Tiffany Wood and Matthias Arndt aim to collect works that create disturbance

Zandile Tshabalala, My mothers garden: Umcimbi III (A gathering III), 2022, Acrylic on canvas, 200 × 200 cm
Zandile Tshabalala, My mothers garden: Umcimbi III (A gathering III), 2022, Acrylic on canvas, 200 × 200 cm

With locations in Berlin (Germany), Melbourne (Australia) and Athens (Greece), the ARNDT Collection has evolved over the last two decades to represent an assemblage of artist’s pieces from across the globe.

This ongoing “collage” engages with artworks by artists who inspire new ways of seeing and apprehending the world through their practices, thus embodying the collection’s raison d’être. The broad overview of artists in the ARNDT Collection includes selected emerging and established International and Australian artistic positions.

Collectors, Matthias Arndt, and Tiffany Wood, aim to collect works that create disturbance and allow for a reassessment of lines of questioning and understanding. Represented artists within the collection invite audiences to move away from accepted value systems and conventional reasoning in order to pose fundamental questions concerning the human condition. Without a prescribed agenda or aim for completion this confluence of pieces will continue to evolve and change in order to expand upon these dialogues. As the collection grows, new and emerging positions are acquired on a regular basis in addition to works by existing artists.

Designed by CHROFI architectural practice, the ARNDT Collection’s ARTBARN art space located in Cape Schanck, Victoria, Australia, was recently awarded the winner of the Award for Residential Architecture – Houses (New) as part of the Victorian Architecture Awards. The ARTBARN presents a range of curated exhibitions that include select works from the ARNDT collection in addition to special projects and collaborations with a range of international artists and creatives.

For more information visit the ARNDT Collection.

Ambera Wellmann, Apologetic Power, 2019, oil on linen, 49 x 69 x 2 cm
Ambera Wellmann, Apologetic Power, 2019, oil on linen, 49 x 69 x 2 cm
Kaylene Whiskey, Anangu Kungka and London Lady, 2020, acrylic on linen, 167 × 198 × 2,2 cm
Kaylene Whiskey, Anangu Kungka and London Lady, 2020, acrylic on linen, 167 × 198 × 2,2 cm
Gareth Sansom, Not in the eye, 2018, Oil and enamel on linen, 183 × 244 cm
Gareth Sansom, Not in the eye, 2018, Oil and enamel on linen, 183 × 244 cm
Alicja Kwade, Be-Hide-else, 2017, Stone, iron, mirror mirror: 117 x 68 cm approx, stone: 44 x 59 x 76 cm, total width: 217 cm approx
Alicja Kwade, Be-Hide-else, 2017, Stone, iron, mirror mirror: 117 x 68 cm approx, stone: 44 x 59 x 76 cm, total width: 217 cm approx
Yannis Kounellis, Untitled, 2016, Iron, wood and fabric 100 × 79 × 39 cm
Yannis Kounellis, Untitled, 2016, Iron, wood and fabric 100 × 79 × 39 cm
Thomas Hirschhorn, Nail-Antigone, 2013 Mannequin, wood, resin, screws, 164 × 75 × 68 cm
Thomas Hirschhorn, Nail-Antigone, 2013 Mannequin, wood, resin, screws, 164 × 75 × 68 cm
Raphael Adjetey Adjei Mayne, TAKE A PICTURE, 2021 Acrylic and African wax print on canvas, Unstretched 205 × 190 cm
Raphael Adjetey Adjei Mayne, TAKE A PICTURE, 2021 Acrylic and African wax print on canvas, Unstretched 205 × 190 cm
Collins Obijiaku, Red Head II, 2021, Oil and charcoal on canvas, 47 x 39.5 in (119.4 x 100.3 cm)
Collins Obijiaku, Red Head II, 2021, Oil and charcoal on canvas, 47 x 39.5 in (119.4 x 100.3 cm)
Isa Genzken, Soziale Fassade, 2002, Mirror film and coloured tape on aluminium, 70 × 100 cm
Isa Genzken, Soziale Fassade, 2002, Mirror film and coloured tape on aluminium, 70 × 100 cm
Alvin Ong, Night Walk, 2021, Oil on Canvas, 200 × 250 cm
Alvin Ong, Night Walk, 2021, Oil on Canvas, 200 × 250 cm
Xiyao Wang, Happy New Year no.1, 2021, Acrylic, oil stick on canvas, 190 × 150 cm
Xiyao Wang, Happy New Year no.1, 2021, Acrylic, oil stick on canvas, 190 × 150 cm
Jenny Brosinski, NO MATTER WHAT I DO, 2022, oil, charcoal, spraypaint on canvas, 202 × 162 cm
Jenny Brosinski, NO MATTER WHAT I DO, 2022, oil, charcoal, spraypaint on canvas, 202 × 162 cm
Sophie Calle, The view of my life, 2010, The Autobiographies, Colour photograph, aluminium, text, frame, 170 x 100 cm + 50 x 50 cm 3/ 5E
Sophie Calle, The view of my life, 2010, The Autobiographies, Colour photograph, aluminium, text, frame, 170 x 100 cm + 50 x 50 cm 3/ 5E
Cornelius Annor, “The younger generation” Or Akyiremma, 2022, acrylic, fabric and fabric transfer on canvas, 151 × 121 cm
Cornelius Annor, “The younger generation” Or Akyiremma, 2022, acrylic, fabric and fabric transfer on canvas, 151 × 121 cm
George Condo, The smoking bum, 2008, oil on canvas, 101 × 91 cm
George Condo, The smoking bum, 2008, oil on canvas, 101 × 91 cm
Joseph Beuys, La rivoluzione siamo Noi, 1972, Light pause on polyester film, 192,4 × 100,2 cm, 56 of 180 numbered prints from a total circulation of 198 copies. Modern Art Agency, Naples, and Edition Tangente, Heidelberg.
Joseph Beuys, La rivoluzione siamo Noi, 1972, Light pause on polyester film, 192,4 × 100,2 cm, 56 of 180 numbered prints from a total circulation of 198 copies. Modern Art Agency, Naples, and Edition Tangente, Heidelberg.

All images courtesy of the ARNDT Collection.

Australia (15)

White Rabbit

Judith Neilso’s collection is located in an old factory in Sydney’s industrial district.

JAHM – Justin Art House Museum

Given its spacious and unorthodox design, the JAHM looks more like a public exhibition venue than a private residence.

Lyon Housemuseum

A 40-minute tram ride from Melbourne takes you to this unique hybrid space

The Elliott Eyes Collection

In the Victorian townhouse of the Elliot Eyes Collection, art fills every available wall and corner. Interview with Gordon Elliott.

Observance & Turbulent Water

Two Exhibitions at the University of Melbourne’s Buxton Contemporary

Palmer Sculpture Landscape

Greg Johns has created a symbiotic relationship between art and the ancient landscape of South Australia

Get Nude With Art and Stuart Ringholt

Buxton Contemporary has a new artistic support project, ‘Light Source commissions’, launched with Stuart Ringholt’s “Looking at a painting without clothes on in the safety of your own home”.

Bauhaus Now!

The Buxton Contemporary, shares "Bauhaus Now!" with a range of contemporary experiments inspired by the Bauhaus diaspora.

Lyon Housemuseum 2017

If collecting is about the bond between artwork and collector, then the Lyon Housemuseum is the result of when art and life merge together.

Austrian Contemporary Art

Sliced into the green hills of Austria's Carinthia district you'll find the sleek, exposed concrete building that the Museum Liaunig calls home.

22nd Biennale of Sydney

The 22nd Biennale of Sydney, NIRIN, lives on through a diverse virtual program to be launched soon, as well as this Online Exhibition in the meantime!

Museum of Old and New Art

Collector and philanthropist David Walsh has created Australia’s largest private museum.

Matthias Arndt

„In the beginning and in the end, you have to love your artworks for their inherent value, the beauty but also the artistic vision they represent“

A Blueprint for Ruins – The White Rabbit Gallery

A Blueprint for Ruins highlights the urban references in 21st-century Chinese art and is the most successful exhibition of the collection so far.