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City of Displacement: on the Unsteadiness of Berlin Sites and Sights1
WEIMARPOLIS, Multi-disciplinary Journal of Urban Theory and Practice Vol. 1, Issue 2, pp. 53-64, ISSN 1869-1692 City of Displacement: On the unsteadiness of Berlin sites and sights1 Marc Schalenberg Helsinki Collegium for Advanced Studies Email: [email protected] Abstract This essay starts from the observation that the city of Berlin, throughout the 20th century, has been particularly prone to shift buildings in their entirety or in parts to other sites. These shiftings have to be seen against their specific backgrounds, such as war destruction, technological refurbishment, myth making, symbolic or memory politics by the respective political regime, resuming the “spirit” or name of a place for reasons of identification or marketing. But beyond those, the disposition to translocate can be understood as symptomatic in a city whose narratives, images and practices have been explicitly oriented towards the “new”, “unsteady” and “shiftable”. Attempts to remove material objects – not less than their meanings – are to be found in completely diverse political and cultural contexts. It seems an interesting challenge, therefore, to transcend the level of individual instances of displacements and try to test some concepts recently suggested in Urban Studies, like “habitus” or “intrinsic logic” for Berlin. Zusammenfassung Der Beitrag geht von der in Berlin vor allem im 20. Jahrhundert auffallenden Bereitschaft aus, Bauwerke oder Teile von ihnen an andere Orte der Stadt zu versetzen. Jenseits der konkreten Hintergründe (z.B. Kriegszerstörung, technische Modernisierung, „Mythenbildung“, Symbol- und Erinnerungspolitik des jeweiligen politischen Regimes, Anknüpfen an den „Geist“ eines Ortes bzw. Namens aus identifikatorischen oder kommerziellen Gründen) wird diese Disposition als symptomatisch verstanden für eine Stadt, deren Narrative, (Selbst-) Bilder und Praktiken stark am „Neuen“, „Unsteten“ und „Verrückbaren“ orientiert waren und sind. -
157 Christian Klusemann, Regionalism in GDR-Modernism of the 1960S and 1970S
REGIONALISM IN GDR-MODERNISM OF THE 1960s AND 1970s Christian Klusemann Philipps-Universität Marburg, Kunstgeschichtliches Institut / Philipps University Marburg, Department of Art History, Marburg, Germany Abstract The widespread narrative that all GDR-Metropolises were overwritten by a soul- and faceless socialist variant of post-war modernism must be questioned at least regarding some cities. Although whole streets were torn down in the 1960s and 1970s and history was only partially appreciated, there can be found a series of modernist buildings respecting local traditions. Thus, regionalisms express themselves in traditional building materials – in the early 1960s most prominently in the Northeastern City of Rostock, whose brick-faced postwar buildings in the centre were recently categorized as ‘Nordmoderne’ (‘northern modernism’). In the late 1960s and early 1970s, meanwhile, attempts have been made in Potsdam to adapt new modern structures to existing baroque and classicist buildings by materials, facade colours or vertical subdivisions of facades – in order to merge new and old buildings into a ‘harmonic’ unity. Regarding the development of modernism in East Germany, the regionalisms mentioned above seem to have different roots. As the Haus der Schiffahrt in Rostock’s Lange Straße could be explained as late successor of the 1950s Stalinist doctrin of the ‘National Tradition’, buildings such as the Institut für Lehrerbildung or Staudenhof in Potsdam seem to be efforts to avoid increasing monotony of east-modern architecture. Keywords: GDR, Socialism, Rostock, Potsdam Although whole streets were torn down in many East German cities in the 1960s and 1970s and history was only partially appreciated, there can be found a series of modernist buildings respecting local traditions. -
The Baroque in West Germany: Creating Regional Identity in the Post-National Federal State
The Baroque in West Germany: creating regional identity in the post-National Federal State. Exhibitions as mass media ‘for a wide audience’ Meinrad v. Engelberg Do individual countries and states develop an ‘image of the Baroque’ that is specific, typical of its era, clearly defined and visibly distinct from that of other nations? Is it thus possible to make a statement about the rather numerous and diverse Baroque exhibitions in West Germany – the ‘old’ Federal Republic of Germany prior to 1990 – that meaningfully integrates the individual case into an overall context? The following essay advocates the thesis that a common ‘meta-narrative’ is hidden behind this diversity, integrating the art of the Baroque affirmatively into the simultaneously forming self-image of the young ‘Bonn Republic’, namely, that of a post-nationalist, European-networked, historically rooted, profoundly federalist ‘Kulturnation’. Surely more than any other form of presentation, the (thematic) exhibition may be considered the most typical medium for conveying art to the public, at least since the second half of the twentieth century.1 The ceremonial queue through elaborately promoted events, which for some time have been given the booming epithet ‘blockbuster’, manifest their success today and provide evidence of their unbroken acceptance in the ‘event’ society .2 Unfortunately, by nature the exhibition, unlike the film or the book, is an ephemeral, fleeting medium: the temporary spatial disposition of this form of presentation usually disappears without a trace after the closing party and is in essence more poorly documented, and less thoroughly discussed in the press, than, for example, the stage sets of theatre productions.3 For that reason, I am taking 1 This does not refer to classic exhibition formats such as the Salons de Paris or to monographic shows of artists, but rather to project in which a certain (historical) theme is presented and discussed with a variety of disparate objects. -
Frederician Rococo at the Service of the German Empire: the 1900 Paris World’S Fair and the Decorative Arts
Frederician Rococo at the Service of the German Empire: Th e 1900 Paris World’s Fair and the Decorative Arts Tobias Locker* Frederician Rococo at the Service of the German Empire: The 1900 Paris World’s Fair and the Decorative Arts Abstract At the end of the nineteenth century the decorative sculptor Johann Melchior Kambly was re- discovered by the German art historian Paul Seidel as an artist of the Frederician Rococo. Kam- bly’s workshop had produced, amongst other things, stately furniture with gilt bronze mounts in the eighteenth century, and after Seidel’s discovery would provide the historical roots for a prestigious branch of the German Empire’s contemporary artistic industry keen to catch up with its competitors, especially the French. Th e article shows how this argument, based on Seidel’s fi ndings, was exploited for nationalistic purposes at the 1900 World’s Fair in Paris. An explana- tion is given of how it was used on two levels—within the context of the exhibition presented at the German Pavilion, and at the exhibition of a prestigious contemporary furniture ensemble at that World’s Fair that the luxury cabinetmaker Julius Zwiener had created for the German Emperor. * Th is text was conceived within El Rococó del regnat de Frederic el Gran al servei de l’Imperi Alemany: the framework L’Exposició Universal de París de 1900 i les arts decoratives of the research project acaf/art iv Resum “Cartografías A fi nals del segle xix l’historiador de l’art alemany Paul Seidel va redescobrir l’escultor i deco- analíticas, críticas rador Johann Melchior Kambly com a artista destacat del Rococó a la Prússia del regnat de y selectivas del entorno Frederic el Gran. -
LJMU Research Online
LJMU Research Online Keil, A The Preußenrenaissance Revisited: German–German Entanglements, the Media and the Politics of History in the late German Democratic Republic http://researchonline.ljmu.ac.uk/id/eprint/10556/ Article Citation (please note it is advisable to refer to the publisher’s version if you intend to cite from this work) Keil, A (2016) The Preußenrenaissance Revisited: German–German Entanglements, the Media and the Politics of History in the late German Democratic Republic. German History, 34 (2). pp. 258-278. ISSN 0266-3554 LJMU has developed LJMU Research Online for users to access the research output of the University more effectively. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LJMU Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. The version presented here may differ from the published version or from the version of the record. Please see the repository URL above for details on accessing the published version and note that access may require a subscription. For more information please contact [email protected] http://researchonline.ljmu.ac.uk/ The Preußenrenaissance Revisited: German-German Entanglements, the Media and the Politics of History in the late German Democratic Republic* André Keil I. Introduction -
History of the Site Press Kit
HISTORY OF THE SITE PRESS KIT THE PERMANENT EXHIBITIONS OF THE STIFTUNG HUMBOLDT FORUM IM BERLINER SCHLOSS FROM 20 JULY 2021 “You can only understand the Humboldt Forum in its present shape and design if you can imagine the special history of this extraordinary site. In this respect, an examination of the history of the site is a central task with a focus on the Berlin Palace, the Palace of the Republic and the Humboldt Forum itself.” Hartmut Dorgerloh, General Director of the Humboldt Forum Cover: © Staatliche Museen zu Berlin, Museum für Vor- und Frühgeschichte / Stiftung Humboldt Forum im Berliner Schloss / Photo: David von Becker 2 CONTENT 3 Introduction 4 Video panorama 5 Palace Cellar 6 Sculpture Hall 8 Flashbacks 13 Brief chronology 14 Dates and information 3 City district, Monastery, Palace, Parade Ground, Palace of the Republic, open space: Scarcely any other site in Berlin has experienced such a concentration of social, urban, political and cultural developments over the past 800 years as the site on which today‘s Humboldt Forum is situated. Numerous princes and politicians have worked and built or remodelled here, making their political claims visible. The Humboldt Forum is a new building on a special site. Its creation is HISTORY OF THE SITE: ONE AREA, FOUR EXHIBITIONS closely connected with its 800-year history and the symbolic political Four exhibitions in the Humboldt Forum recount in over 1500 square charge of this place. Numerous debates about its future were conducted; metres the history of this disputed site – from the city in the Middle they continue today with different focus points. -
Esmt Berlin Rauminformationen Room Information
ESMT BERLIN RAUMINFORMATIONEN ROOM INFORMATION ESMT BERLIN 1 INHALTSVERZEICHNIS CONTENT 3 In jeder Hinsicht exzellent 3 Excellent in every respect 4 Foyer EG 4 Foyer EG 5 Restaurant 5 Restaurant 6 Bookshop 6 Bookshop 7 Café 7 Café 8 Study Room 00.14, 00.15 (groß) 8 Study Room 00.14, 00.15 (large) 9 Seminar Room 00.17 9 Seminar Room 00.17 10 Auditorium 3 10 Auditorium 3 11 Study Room (klein) 11 Study Room (small) 12 Study Room 00.33 Videokonferenzraum 12 Study Room 00.33 Video Conference Room 13 Foyer 1 13 Foyer 1 14 Forum 14 Forum 15 Competence Center 15 Competence Center 16 Garden View 16 Garden View 17 Study Room (klein), Etage 1 17 Study Room (small), floor 1 18 Study Room (klein), Etage 1+1 18 Study Room (small), floor 1+1 19 Foyer 2 19 Foyer 2 20 Auditorium 1 20 Auditorium 1 21 Auditorium 2 21 Auditorium 2 22 Auditorium Maximum 22 Auditorium Maximum 23 Wandelgang 23 Colonnade 24 ESMT Etagenplan 24 ESMT Floor Plan 25 Preisliste Raummieten 25 Price List Room Rental 26 Preisliste Personalkosten 26 Price List Personnel Costs 27 Preisliste Technik 27 Price List Technical Equipment 30 Preisliste Ausstattung 30 Price List Furnishings, Equipment 32 Preisliste Verpflegungspauschale 32 Price List Catering Package 33 Allgemeine und technische Nutzungsbedingungen 33 General and technical terms KONTAKT / CONTACT Marco Müller Julia Vater Head of External Event Coordination Event Coordinator Phone: +49 30 21231 – 1216 Phone: +49 30 21231 – 1217 E-mail: [email protected] E-mail: [email protected] ESMT BERLIN 2 IN JEDER HINSICHT EXZELLENT EXCELLENT IN EVERY WAY Die ESMT Berlin wurde 2002 auf Initiative 25 führender ESMT Berlin was founded in 2002 by 25 leading global globaler Unternehmen und Verbände gegründet. -
Austin Mathews Edited Thesis Final 2
STALINISM AND SURVIVAL: THE POLITICAL MOTIVES OF WALTER ULBRICHT by Austin S. Matthews, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Masters of Arts with a Major in Political Science December 2013 Committee Members: Theodore Hindson, Chair Robert Gorman William DeSoto COPYRIGHT by Austin S. Matthews 2013 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Austin S. Matthews, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION This work is dedicated to the memory of my uncle, Michael McClean. ACKNOWLEDGEMENTS To my family: I am indebted to your generosity. Without you, none of this would have been possible. Your encouragement in pursuing education has brought to me a fulfillment in life that I could’ve never imagined. You have provided me with treasures that are beyond words. My sincerest love to you; may this work be a testament to your parenting. To Dr. Theodore Hindson: I will forever remember the course I took with you regarding the political history of Stalinism. That class had two significant impacts on my life. The first was that the subject matter inspired my current academic pursuits. -
East Germany: the Stasi and De-Stasification
East Germany: The Stasi and De-Stasification JOHN O. KOEHLER hortly after Mikhail Gorbachev was installed as secretary general of the Sovi- Set Union’s Communist Party in the spring of 1985, he began to pursue his liberalization policies of glasnost and perestroika. The impact was felt almost immediately within the ruling Sozialistische Einheitspartei Deutschlands (SED), the Communist Party of the East German Deutsche Demokratische Republik (DDR). Gorbachev’s policies gave new hope for political, economic, and social renewal to those disenchanted with the gerontological Stalinist leadership of Erich Honecker and his sycophants.1 A new wind was blowing from the East, generated by the “great teacher”—the Soviet Union. In line with the USSR’s change of course, both Moscow’s German- language propaganda magazine, Sputnik, and its weekly newspaper, Neue Zeit, reprinted Gorbachev’s speeches and editorialized on the necessity for reforms of the socialist system. For East Germany’s leaders, however, they became hostile publications and were banned despite protests emanating from Moscow. Nonethe- less, they presaged a major change: For the first time since the founding of the DDR in 1949, the restlessness of Party members and much of the citizenry could not be blamed on the capitalist enemy of the proletariat. Until the mid-1980s, opposition to the regime was largely underground, although hundreds of thousands of burghers spent time in penitentiaries for pub- licly voicing their discontent. The repression began immediately after the end of World War II, carried out by Soviet security services and German Communist Party veterans (both those who had been in exile in the Soviet Union and those that had survived Nazi imprisonment). -
CHAPTER 1 Until the 19Th Century, Berlin's Center Was a Small German
CHAPTER 1 BERLIN IN THE NINETEENTH CENTURY Until the 19th century, Berlin’s center was a small German city on a river with a bridge for easy crossing, a castle for protection and a market square as a place for commerce. At first each side of the river settlement had a different name, Cölln on the western side and Berlin on the eastern side. The town of Cölln was first mentioned in a document in 1237, and Berlin across the river in 1244. Both towns formed a trading union and developed in parallel, but they did not formally unify until 1709. As a colonial settlement on Germany’s eastern frontier, Berlin/Cölln lacked the cultural history of western and southern German towns with their Roman roots. Instead, Berlin/Cölln were founded on land the Germanic tribes took from eastern European Slavic tribes in the colonization drives around 1200. Most residents of this early city were traders or craftsmen as the opportunity to travel up and down the river Spree and to cross the river was the reason for the commercial success of the city. This was enhanced when the local prince electors built a castle near the river crossing to protect the burgeoning market place. Berlin’s and Cölln’s combined medieval center covered only a small area, with Cölln as the smaller of the two, on the island now known as Museum Island or Fischer Island, with the castle which grew into the massive Hohenzollern Palace. Berlin across the river could be reached by the only bridge, the current Rathausbrücke. -
Representation and the Recurring Past in Post-Unification Berlin
CONJURED SPACES: REPRESENTATION AND THE RECURRING PAST IN POST-UNIFICATION BERLIN by KIMBERLY JEAN PHILLIPS B.A. (Hons.), The University of Victoria, 1997 M. A., The University of British Columbia, 2000 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Fine Arts) THE UNIVERSITY OF BRITISH COLUMBIA September 2007 © Kimberly Jean Phillips, 2007 11 ABSTRACT Behind the mask of new architecture rapidly transforming Berlin's visage in the years following Germany's reunification in 1990 lie profound anxieties over the nature and implications of the city's reconstruction in the face of an irresolvable past and an unclear future. A disenchanted and destabilized eastern population, resurfacing questions over the definition of "Germanness" and the German nation, and the sudden collision of two very different official narratives of the National Socialist and communist pasts frustrate the city's desire to present a unified identity in the first years after the fall of the Berlin Wall. To access this difficult terrain, my dissertation departs markedly from the focus of much of the published literature on the post-unification city and looks not to Berlin's new building projects themselves but rather to the more unstable spaces between architecture: those more marginal or unresolved sites and surfaces which, in states of flux, paralysis, or neglect, are more vulnerable to (and revealing of) the possibilities of appropriation and disturbance. This study considers three temporary, site-specific installations that for brief moments haunted such sites in Berlin during the first volatile years after 1990: Shimon Attie's 1991-1992 photographic projections entitled The Writing on the Wall, the 1993 simulation in canvas of Berlin's demolished Stadtschloss, and Christo and Jeanne- Claude's famed wrapping of the Reichstag in 1995. -
Rauminformationen Room Information
ESMT BERLIN RAUMINFORMATIONEN ROOM INFORMATION ESMT BERLIN 1 INHALTSVERZEICHNIS CONTENT 3 In jeder Hinsicht exzellent 3 Excellent in every respect 4 Foyer EG 4 Foyer EG 5 Restaurant 5 Restaurant 6 Bookshop 6 Bookshop 7 Study Room 00.14, 00.15 (groß) 7 Study Room 00.14, 00.15 (large) 8 Seminar Room 00.17 8 Seminar Room 00.17 9 Auditorium 3 9 Auditorium 3 10 Study Room (klein), EG 10 Study Room (small), ground floor 11 Study Room 00.33 Videokonferenzraum 11 Study Room 00.33 Video Conference Room 12 Foyer 1 12 Foyer 1 13 Auditorium 4 13 Auditorium 4 14 Forum 14 Forum 15 Palace View 15 Palace View 16 Tower View 16 Tower View 17 Garden View 17 Garden View 18 Study Room (klein), Etage 1 18 Study Room (small), floor 1 19 Study Room (klein), Etage 1+1 19 Study Room (small), floor 1+1 20 Foyer 2 20 Foyer 2 21 Auditorium 1 21 Auditorium 1 22 Auditorium 2 22 Auditorium 2 23 Auditorium Maximum 23 Auditorium Maximum 24 Wandelgang 24 Colonnade 25 Garten 25 Garden 26 ESMT Etagenplan 26 ESMT Floor Plan 27 ESMT Services 27 ESMT Services 29 Allgemeine und technische Nutzungsbedingungen 29 General and technical terms KONTAKT / CONTACT Event-Team / External Event Coordination Phone: +49 30 21231 – 1200 E-mail: [email protected] ESMT Rauminformationen 2018, Version 1, gültig ab 01.01.2018 / ESMT Room Information, version 1, valid from 01.01.2018 ESMT BERLIN IN JEDER HINSICHT EXZELLENT EXCELLENT IN EVERY RESPECT Die ESMT Berlin ist eine internationale, forschungsorientierte ESMT Berlin was founded by 25 leading global companies and private wissenschaftliche Hochschule (Business School), die institutions.