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Met Classics: Berlin
Met Classics: Berlin Dear Traveler, Please join Museum Travel Alliance from May 24-30, 2021 on Met Classics: Berlin. Enjoy behind-the-scenes explorations of Berlin's most fascinating museums and art spaces, including Sammlung Boros, a dazzling private collection of contemporary art housed in an above-ground World War II-era bunker. Delight in a curator-led exclusive tour of the Jewish Museum Berlin, Europe's largest museum devoted to Judaism, housed within a zinc-paneled architectural masterpiece designed by Daniel Libeskind to reflect the tensions of German- Jewish identities. We are delighted that this trip will be accompanied by Chris Noey as our lecturer from The Metropolitan Museum of Art. This trip is sponsored by The Metropolitan Museum of Art. We expect this program to fill quickly. Please call the Museum Travel Alliance at (855) 533-0033 or (212) 302-3251 or email [email protected] to reserve a place on this trip. We hope you will join us. Sincerely, Jim Friedlander President MUSEUM TRAVEL ALLIANCE 1040 Avenue of the Americas, 23rd Floor, New York, NY 10018 | 212-302-3251 or 855-533-0033 | Fax 212-344-7493 [email protected] | www.museumtravelalliance.com BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB Travel with Met Classics The Met BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB -
Daxer & Marschall 2015 XXII
Daxer & Marschall 2015 & Daxer Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com XXII _Daxer_2015_softcover.indd 1-5 11/02/15 09:08 Paintings and Oil Sketches _Daxer_2015_bw.indd 1 10/02/15 14:04 2 _Daxer_2015_bw.indd 2 10/02/15 14:04 Paintings and Oil Sketches, 1600 - 1920 Recent Acquisitions Catalogue XXII, 2015 Barer Strasse 44 I 80799 Munich I Germany Tel. +49 89 28 06 40 I Fax +49 89 28 17 57 I Mob. +49 172 890 86 40 [email protected] I www.daxermarschall.com _Daxer_2015_bw.indd 3 10/02/15 14:04 _Daxer_2015_bw.indd 4 10/02/15 14:04 This catalogue, Paintings and Oil Sketches, Unser diesjähriger Katalog Paintings and Oil Sketches erreicht Sie appears in good time for TEFAF, ‘The pünktlich zur TEFAF, The European Fine Art Fair in Maastricht, European Fine Art Fair’ in Maastricht. TEFAF 12. - 22. März 2015, dem Kunstmarktereignis des Jahres. is the international art-market high point of the year. It runs from 12-22 March 2015. Das diesjährige Angebot ist breit gefächert, mit Werken aus dem 17. bis in das frühe 20. Jahrhundert. Der Katalog führt Ihnen The selection of artworks described in this einen Teil unserer Aktivitäten, quasi in einem repräsentativen catalogue is wide-ranging. It showcases many Querschnitt, vor Augen. Wir freuen uns deshalb auf alle Kunst- different schools and periods, and spans a freunde, die neugierig auf mehr sind, und uns im Internet oder lengthy period from the seventeenth century noch besser in der Galerie besuchen – bequem gelegen zwischen to the early years of the twentieth century. -
Virtual Germans
Berlin Program for Advanced German & European Studies Berlin Program Summer Workshop Virtual Germans June 19-20, 2014 Freie Universität Berlin Preliminary Program In her travels through Eastern Europe in the 1990s, the writer Ruth Ellen Gruber noted that non-Jews were embracing, creating, and marketing an idea of Jewishness that had little to do with the Jews who had lived in the region before the Holocaust. Through practices and cultural products, these “virtual Jews” had come in dialog with “their own visions of Jews and Jewish matters, and themselves.” In recent years, the historian Winson Chu has adapted this concept to show the enactment of a “virtually German” culture that serves commercial interests, European reconciliation, and cosmopolitan credentials in Poland today. In 2014, the Berlin Program summer workshop will invite papers that expand upon the idea of “virtual Germans” in a variety of constellations, including Germans and German-speakers who have fashioned new identities for themselves abroad, people living in Germany of diverse backgrounds whose German belonging is contested, as well as constructions of Germanness in the virtual realm of cyberspace and in the classroom. This workshop will pay special attention to the global flow of “Germanness” as well as to its local constructions. By exploring such representations and contestations, we can see how new definitions of Germanness arise and how new inclusions and exclusions are made. Thursday, June 19 9:00-9:15 Arrival & Coffee 9:15-9:30 Opening Remarks & Introduction 9:30-11:00 -
Review of Theyear's Work
Review of theYear’s Work Melanie Aspey, Director of The Rothschild Archive Researchers Numerous visits to the London reading room have been made by members of an ambitious research project led by Pauline Prevost Marcilhacy. The project aims to record and catalogue the many thousand objects – pictures, jewels, statuary, objets d’art – presented to museums and gal- leries in France by members of the Rothschild family. Ulrich Leben, a member of the team, is a contributor to this issue of the Review. The Archive has received a number of publications and offprints from members of the research team, including Les Rothschild et la Commande architec- turale: collaboration ou maîtrise d’oeuvre, in Architectes et Commanditaires, Cas particuliers du XVIè au XXè edited by Tarek Berrada (Paris: Louvre, 2006); Charlotte de Rothschild, Artiste, Collectionneur et Mécène in Histoires d’Art – Mélanges en l’Honneur de Bruno Foucart, vol.ii, edited by B. Jobert, A. Goetz et S. Texier, (Paris: 2008) and Le grand Appartement de l’Hôtel St Florentin, fleuron de l’architecture néoclassique by Fabrice Ouziel in L’Estampille / L’Objet d’Art, September 2008. Sponsored by a Rothschild family trust in France, the project is a collaborative venture with the Louvre. Dr Junji Suzuki contacted the Archive in the course of his research into the development of Japanese gardens in France. Dr Suzuki had long suspected that the Japanese gardens at Boulogne-sur-Seine, the property of Baron Edmond de Rothschild, were the work of the renowned gardener Wasuke Hata. During his visit to the Archive he was able to confirm this and also identified a picture of Mr Hata in a collection of photographs presented to the Archive in 2005 by Baroness Benjamin de Rothschild. -
Wir Sind Jetzt
Magazin zur Erö nung des neuen Jüdischen Museums Frankfurt Magazin zur Erö WIR SIND JETZT Mgzin zur Eröffnung des neuen Jüdischen Museums Frnkfurt jüdischesmuseum.de WIR SIND JETZT Magazin zur Eröffnung des neuen Jüdischen Museums Frankfurt Jüdisches Museum Frankfurt Magazin zur Eröffnung Jüdisches Museum Frankfurt Magazin zur Eröffnung Sehr geehrte Damen und Herren, Liebe Leserinnen und Leser, liebe Freundinnen und Freunde des Jüdischen Museums, liebe Freundinnen und Freunde des Jüdischen Museums, geehrte Besucherinnen und Besucher, nun ist es endlich soweit: 5 Jahre lang haben wir für Sie das neue Jüdische ich freue mich, dass in nur wenigen Wochen unser Jüdisches Museum, Museum geplant. Uns Gedanken über dessen Form und Inhalt gemacht, das erste jüdische Museum der Bundesrepublik, wieder öffnen wird. Konzepte für Ausstellungen entworfen, uns über Bildungsziele und vor Während der Sanierung des Rothschild-Palais und den Arbeiten am allem darüber verständigt, was unsere Arbeit nachhaltig relevant macht. Neubau öffnete das Museum über die ganze Stadt verteilt viele Türen, Wir haben den Blick weit in die Zukunft schweifen lassen, unser Wissen auch in die digitale Welt hinein. Es folgte dabei dem Leitbild eines Mu- um die jüdische Geschichte Frankfurts und Europas vertieft, um in der seums ohne Mauern, das sich mit seiner diversitätssensiblen Bildungs- Gegenwart agieren zu können. Mit diesem Magazin, dem Lichtbau von arbeit für eine offene und pluralistische Gesellschaft einsetzt. Angesichts Staab Architekten, unserer neuen Dauerausstellung in zwei Teilen, un- eines gesellschaftlichen Klimas, in dem Hetze alltäglich geworden ist serem Bildungs-, Veranstaltungs- und Vermittlungsprogramm steht es und die verbale und tätliche Gewalt gegen Menschen zunimmt, ist die nun vor Ihnen: unser vielseitiges, zeitgemäßes und lebendiges Museum, Arbeit des Jüdischen Museums relevanter denn je. -
German History Reflected
The Detlev Rohwedder Building German history reflected GFE = 1/2 Formathöhe The Detlev Rohwedder Building German history reflected Contents 3 Introduction 44 Reunification and Change 46 The euphoria of unity 4 The Reich Aviation Ministry 48 A tainted place 50 The Treuhandanstalt 6 Inception 53 The architecture of reunification 10 The nerve centre of power 56 In conversation with 14 Courage to resist: the Rote Kapelle Hans-Michael Meyer-Sebastian 18 Architecture under the Nazis 58 The Federal Ministry of Finance 22 The House of Ministries 60 A living place today 24 The changing face of a colossus 64 Experiencing and creating history 28 The government clashes with the people 66 How do you feel about working in this building? 32 Socialist aspirations meet social reality 69 A stroll along Wilhelmstrasse 34 Isolation and separation 36 Escape from the state 38 New paths and a dead-end 72 Chronicle of the Detlev Rohwedder Building 40 Architecture after the war – 77 Further reading a building is transformed 79 Imprint 42 In conversation with Jürgen Dröse 2 Contents Introduction The Detlev Rohwedder Building, home to Germany’s the House of Ministries, foreshadowing the country- Federal Ministry of Finance since 1999, bears wide uprising on 17 June. Eight years later, the Berlin witness to the upheavals of recent German history Wall began to cast its shadow just a few steps away. like almost no other structure. After reunification, the Treuhandanstalt, the body Constructed as the Reich Aviation Ministry, the charged with the GDR’s financial liquidation, moved vast site was the nerve centre of power under into the building. -
Digital German-Jewish Futures: Experiential Learning, Activism, and Entertainment
German Studies Faculty Publications German Studies 12-15-2020 Digital German-Jewish Futures: Experiential Learning, Activism, and Entertainment. Kerry Wallach Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/gerfac Part of the Jewish Studies Commons, Other Film and Media Studies Commons, and the Other German Language and Literature Commons Share feedback about the accessibility of this item. Recommended Citation Wallach, Kerry. “Digital German-Jewish Futures: Experiential Learning, Activism, and Entertainment.” In The Future of the German Jewish Past: Memory and the Question of Antisemitism, edited by Gideon Reuveni and Diana Franklin, 239-51. Purdue: Purdue University Press, 2020. This open access book chapter is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Digital German-Jewish Futures: Experiential Learning, Activism, and Entertainment. Abstract The future of the German-Jewish past is, in a word, digital, and not only in the sense of digital humanities or digital history. Future generations of scholars, students, and the general public will engage with the past online in the same ways—and for many of the same reasons—that they engage with everything else. There needs to be something redeeming, enjoyable, or at least memorable about studying history for people to feel that it is worthwhile. For many, the act of learning about the past serves as a kind of virtual travel, even an escape, to another time and place. Learning about German-Jewish history becomes possible on a regular basis when it is easily accessible through the newest media on computers, cell phones, and other electronic devices. -
Coco Schumann VJAZZ 66 Page 7
VJAZZ 66 May 2015 ISSN: 2203-4811 Proactively Collecting, Archiving and Disseminating Australian Jazz Distribution 650 QUARTERLY MAGAZINE OF THE AUSTRALIAN JAZZ MUSEUM. FOUNDING PATRON: The late WILLIAM H. MILLER M.A., B.C.L. (Oxon.) 15 Mountain Highway, Wantirna Melway Ref. 63 C8 (All correspondence to: PO Box 6007 Wantirna Mall, Vic. 3152) Registered No: A0033964L ABN 53 531 132 426 Ph (03) 9800 5535 email: [email protected]. Web page: www.ajm.org.au VJAZZ 66 Page 6 Coco Schumann VJAZZ 66 Page 7 COCO SCHUMANN - A SWING LEGEND By Detlef Ott compiled by Ralph Powell In November last year Detlef and Kerstin Ott visited the Australian Jazz Museum seeking infor- mation on their friend and com- patriot, German jazz guitarist, Coco Schumann. They spent sev- eral hours at the Museum and were both delighted and im- pressed with the resources made available. The following is translated from the original German article by Detlef Ott entitled “Solange ich Musik mache, habe ich keine Zeit, alt zu werden” published in the Just For Swing Gazette (Vol. 6, April 2014 pp.10-11) “As long as I make music, I have no time to grow old” Coco Schumann – a Swing Legend celebrates his 90th Birthday S a teenager of 12 Heinz Jakob while listening to the newest records violin player Helmut Zacharias with Schumann often listened to the from the USA on portable Gramophone whom he was befriended until his death A swing orchestras behind the fence players. With Ella Fitzgerald’s “A Tisket, in 2002. of the legendary Entertainment Palaces a Tasket” he became infected with the In 1943 Coco was denounced and was of Berlin. -
Whole Dissertation Hajkova 3
Abstract This dissertation explores the prisoner society in Terezín (Theresienstadt) ghetto, a transit ghetto in the Protectorate Bohemia and Moravia. Nazis deported here over 140, 000 Czech, German, Austrian, Dutch, Danish, Slovak, and Hungarian Jews. It was the only ghetto to last until the end of Second World War. A microhistorical approach reveals the dynamics of the inmate community, shedding light on broader issues of ethnicity, stratification, gender, and the political dimension of the “little people” shortly before they were killed. Rather than relegating Terezín to a footnote in narratives of the Holocaust or the Second World War, my work connects it to Central European, gender, and modern Jewish histories. A history of victims but also a study of an enforced Central European society in extremis, instead of defining them by the view of the perpetrators, this dissertation studies Terezín as an autarkic society. This approach is possible because the SS largely kept out of the ghetto. Terezín represents the largest sustained transnational encounter in the history of Central Europe, albeit an enforced one. Although the Nazis deported all the inmates on the basis of their alleged Jewishness, Terezín did not produce a common sense of Jewishness: the inmates were shaped by the countries they had considered home. Ethnicity defined culturally was a particularly salient means of differentiation. The dynamics connected to ethnic categorization and class formation allow a deeper understanding of cultural and national processes in Central and Western Europe in the twentieth century. The society in Terezín was simultaneously interconnected and stratified. There were no stark contradictions between the wealthy and majority of extremely poor prisoners. -
Thomas Hengstenberg Felix Nussbaum and His Time
PREFACE Thomas Hengstenberg FELIX NUSSBAUM AND HIS TIME Featuring more than 140 works, this exhibit draws our attention to a generation of artists born in the late 19th and early 20th centuries who set out to engage in their craft in the changing, unpredictable times pre- and post-WW I. Many of them enjoyed great success in the brief period between the world wars. Keen experimenters and with a strong will to effect change, they had significant influ- ence on the cultural and social life of the day. However, their hopes that the tur- bulent, crisis-ridden decades of the early 20th century would be followed by an era of stability for a society renewed in freedom were ultimately dashed when the Nazis gained power in Germany. Like most creative thinkers and innovators of that time, artists too became a target of the powers that be if they refused to have their works be misused for propaganda purposes or to be enlisted and monopolised for the systemised national arts programme of the dictatorship. Even before 1933 nationalistic and national-socialistic groups had defamed these artists as “anti-German” and sub- jected them to the full destructive force of a powerful movement that opposed and rallied against all things “non-Aryan” or stood in contradiction to the political and philosophical views of the party. What began as rhetorical confrontations, censorships and book burnings, progressively intensified into systematic psy- chological terror and brutal assaults against non-conformists and those per- ceived to be different, and ultimately ended in the persecution, forced migration and genocide of millions. -
2018 Annual Report 10 Association of European Jewish Museums BUDAPEST
www.aejm.org Annual Report association of european jewish museums Annual 2018 Report Table of Contents Preface 3 Activities 4 Grants 12 Cooperation 16 Communications 19 New Members 20 Board & Staff 21 Supporters 21 Committees 22 Association of European Jewish Museums Annual Report 2 association of european jewish museums AEJM Preface The Association of European Jewish Museums looks back on a successful year in which we organised five programmes at different locations across Europe. All its programmes have been awarded the official label of the European Year of Cultural Heritage. 2018 was the final year that AEJM and the Jewish Museum Berlin were able to benefit from a multiple-year grant from the German Federal Foreign Office, which allowed us to organise ten successful curatorial seminars in five years. The final editions of the Advanced Curatorial Education Pro- gramme were held in Frankfurt and Jerusalem. It is my pleasure to thank our organising team in Vienna, Dr. Felicitas Heimann-Jelinek and Dr. Michaela Feurstein-Prasser, for their enthusiasm and dedication that were key to turning our curatorial seminars into a success. We warmly thank our partners and sponsors, first and foremost the Rothschild Foundation Hanadiv Europe for its continuing support. Without the commitment of the following AEJM members as partner institutions, our activities could not have been successful: the Hungarian Jewish Museum and Archives in Budapest, POLIN Museum of the History of Polish Jews in Warsaw, and Museum “Jews in Latvia” in Riga, the Jewish Museum Frankfurt, and The Israel Museum in Jerusalem. The AEJM team was also instrumental in organising all our activities and I would like to thank our team in Amsterdam for all their efforts: Managing Director Eva Koppen, Communication Officer Robbie Schweiger, and Conference Coordinator Nikki Boot. -
M Useum & a Rchitektur
r e r u t u t k c e e t t i i h h c c r r a A & & m m u u e e s s u u m M Felix-Nussbaum-Haus Osnabrück Kunsthalle Bielefeld MAR Ta Herford phæno Wolfsburg Jüdisches Museum Berlin Deutsches Historisches Museum Berlin Museum & Architektur museum & architecture Vorwort/Foreword 4 Felix-Nussbaum-Haus Osnabrück 6 Kunsthalle Bielefeld 10 MAR Ta Herford 14 ph æno Wolfsburg 18 Jüdisches Museum Berlin 24 Deutsches Historisches Museum Berlin 28 Die Architekten/The architects 32 Information 38 Vorwort I Foreword Sechs Museen, fünf Architekten, eine Achse – das ist kurz gefasst die Idee, die dieser Broschüre zugrunde liegt. Auf der Route zwischen Berlin und Six museums, five architects, one axis – in short, this is the idea behind this publication. From Berlin to Osnabrück, stopping in Wolfsburg, Bielefeld Osnabrück mit Zwischenstopps in Wolfsburg, Bielefeld und Herford finden Sie sechs Museen mit ganz unterschiedlicher thematischer Ausrichtung, and Herford along the way, you will discover six museums, each with a different thematic emphasis. Yet they have a significant unifying factor, they are die doch etwas sehr Verbindendes haben: avantgardistische Museumsarchitekturen, die zu den Meilensteinen der Architekturgeschichte gehören. all incorporate avant-garde museum structures – milestones of architectural history. The architectural conception of museum buildings is an interes - Die architektonische Konzeption von Museumsbauten stellt seit jeher eine reizvolle Herausforderung für die großen Architektinnen und Architekten ting challenge for any major architect. You can form your own opinion of the exciting interaction of form, function and content at these different sites. dar.