SKD Annual Report 2017

www.skd.museum Annual report Annual report 2017 2017 Staatliche Kunstsammlungen Dresden Staatliche Kunstsammlungen Powered by IN THE TRADITION OF THE COLLECTION OF THE HOUSE OF WETTIN A.L. Annual report 2017 4 Foreword Contents Focus 8 Power and fashion 12 Gerhard Richter 14 International symposium Exhibitions 18 Beneath Italian Skies 20 Dresden · Europe · The World 22 You May Also Like: Robert Stadler New exhibition formats at the 24 Ethnographical Museums 26 Karl-Heinz Adler 28 Geniale Dilletanten 31 All in All 34 Käthe Kollwitz and Marlene Dumas 36 Carl Lohse. Expressionist 38 Special exhibitions 2 A changing The museum institution and the public 46 Archiv der Avantgarden gets underway 80 Diversity in unity 49 Back to Go! 82 Spot on The Wondrous Course New home for the Puppentheatersammlung 51 84 of the Planets In Memoriam Martin Roth Cooperation between 52 86 Dresden and Prague 87 Highlights Science and research Visitor numbers Spring meeting of the Provenance 92 56 Research Working Group 93 Economic indicators 58 Congress of German Art Historians in Dresden 59 DFG project “Museums in NS Germany” Acknowledge- 60 Free State of Saxony returns human remains ments 62 Works of art return 96 Perseverance and good luck 63 Conservation challenges at the Münzkabinett 98 Acquisitions and gifts Sculptures from the early Aegean to the end Friends associations 64 of Hellenism 105 65 Another accolade from the Wissenschaftsrat 106 Supporters and sponsors 66 Ivory art at the Grünes Gewölbe in Dresden 68 Vermeer’s “Girl Reading a Letter at an Open Window” 110 Museums and institutions 69 The furniture of Jean-Pierre Latz 112 Publication details 70 Highlights 72 Research projects 74 Publications 3 Foreword 2017 was a politically eventful year: Donald Trump was elected as the new US president; Britain began negotiating its way out of the European Union; in Turkey, the electorate voted to transform the country from a parliamentary democracy into a presidential system, and at the German federal elections, the major parties suffered serious losses. But how does all that affect Staat- liche Kunstsammlungen Dresden? That was the question examined at the international symposium “The Role of Encyclopaedic Museums in Complex Political Times (in Europe)”, which took place in Dresden’s Lipsiusbau to accompany the Jerusalem Arts Festival at the Israel Museum and the London Arts Festival at the British Museum. It is not only the case, after all, that global nationalist tendencies seem to be testing Europe’s identity and dem- ocratic values; even freedom of thought and means of artistic expression are at risk. In view of their social responsibility and educational mission, encyclopaedic museums are duty-bound to take a stance on social develop- ments. This includes examining how the collections generate knowledge, and what taxonomy is applied to them, how pieces have ended up in the collections, what view of the world the presentations subscribe to and how they write history. This was the context in which the first human remains were returned from the Museum für Völkerkunde Dresden to Hawai’i. These remains were stolen from burial caves in Hawai’i between 1896 and 1902 and sold directly to the Museum für Völkerkunde Dresden and Arthur Baessler, a patron of the museum. These human remains, previously seen as “objects”, were rehuman- ised with respect, recognising and paying tribute to the cultural and religious traditions of their country of origin, returning their inherent individuality to them. Their return to their cultural context can by no means be seen as a loss; rather, it is an opportunity which actually opens the door to future research projects and cultural exchange. Questions regarding the provenance of “ethnographic objects” acquired and stolen in the colonial context are answered through intensive research and trusting cooperation with their countries of origin. The collection and exhibition of such “objects” cannot be restricted to a purely scientific act. When an item is transformed into a museum exhibit, this is the result of a chain of circumstances and interwoven layers of history. Discovering those layers and telling their story was the goal of the workshop exhibition held by the Museum für Völkerkunde in the Japanisches Palais entitled “Prologue #1–10”. A search for a new means of presentation resulted in ten vibrant, interactive installations facilitating a creative analysis of the ethnographic collections and offering a space for engaging with and discussing ideas. 4 Another aspect of provenance research which has a political dimension is the origin of museums’ acquisitions after 1933. With their “Daphne” project, Staatliche Kunstsammlun- gen Dresden are one of the leading international institutions in this field, and hosted the spring meeting of the Arbeitskreis Provenienzforschung e.V. provenance research working group. This focused on evacuated works, art lost in the war or returned from the Soviet Union, and works “salvaged” from private owners in post-war East Germany or seized under GDR “law”. The Kunstsammlungen have always been a place for cultural discussion, and open to ideas, artists and works from all over the world. Carrying on that tradition, taking it further by asking new questions, and sharing it with others remains one of the greatest tasks of the coming years. One example of this is the research programme “Europe/World”. Two previously almost unknown groups in the collections of the Kupferstich-Kabinett formed the basis for the exhibition “Stories in miniatures. The collection of Indian painting in the Kup- ferstich-Kabinett”. In cooperation with the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS) in Mumbai, these items were presented to the public for the first time following their lavish restoration. Another research project focused on using planetary clocks to understand the processes by which inherited astronomical knowledge is received and transformed. The results were presented in the exhibition “The Wondrous Course of the Planets – A Heavenly Machine for Elector August of Saxony” at the Mathematisch-Physikalischer Salon. New formats clearly conveyed astronomical and technological aspects of the planetary clock from Dresden, and showed how important knowledge of the planets was to the region’s rulers. The Archiv der Avantgarden, the newest member of the Staatliche Kunstsammlungen Dres- den association, was temporarily housed in several rooms of the Japanisches Palais. “Reprise and Repetition” was the first essay presented by the Archiv der Avantgarden to deal primarily with the role of the archive as a place to store memories from the past. It showed items from Egidio Marzona’s collection of some 1.5 million pieces. During an “object talk”, the archive displayed pioneering, historical items of furniture by Marcel Breuer, Mies van der Rohe and others, discussing their path to becoming modern-day lifestyle icons. Three exhibitions were dedicated to contemporary artistic work. The Albertinum’s “Skulls” and the Kupferstich-Kabinett’s “Hope and Fear” offered parallel presentations of works from the artist Marlene Dumas, of Cape Town. To mark Gerhard Richter’s 85th birthday, the Ger- hard Richter Archiv also held an exhibition featuring 32 new pieces by the artist. Describing the many other, no less significant exhibitions and activities would go beyond the narrow limits of this foreword. That is the purpose of the 2017 annual report, as found below. The results are thanks to the untiring efforts of the staff at Staatliche Kunstsammlungen Dresden, our colleagues from all over the world and our supporters and sponsors, to whom I would like to express my heartfelt thanks. Prof. Dr Marion Ackermann Director General of Staatliche Kunstsammlungen Dresden 5 Focus View of the new permanent exhibition “Electoral Wardrobe” in the Renaissance wing of Dresden’s Residenzschloss It all began in 2010 with the Türckische Cammer, continued in 2013 in the Riesensaal and in 2016 with “Concept and Encounter: The World around 1600” before reaching a Power and temporary apogee in 2017 with three new exhibition areas: work on the new permanent presentation for the Rüstkam- mer in the Residenzschloss (Royal Palace). Planned by fashion Prof. Dr Dirk Syndram, director of the Rüstkammer and the Grünes Gewölbe, and curated by Dr Jutta Charlotte von Bloh, the presentations “The Rise of Electoral Power in Saxony” and “Electoral Wardrobe” have been housed on the The new permanent first floor of the newly completed Renaissance wing since 9 April 2017. On 16 September 2017, the Silberwaffensaal exhibitions at the (Silver Weaponry Room) also opened to the public as a link Rüstkammer in the between the Riesensaal and the Münzkabinett. The space covers 1,113 newly designed square metres, fitted Residenzschloss by the architect Peter Kulka with exhibition architecture that is adapted to suit the historical setting, yet ultra-modern, and which deliberately reveals damage and different layers of time. The exhibition starts with the section “The Rise of Electoral Power in Saxony” in the east wing. This presents ceremonial weapons used by the House of Wettin from the late Middle Ages to the end of the 16th century. They express wealth and power, and bear powerful witness to the German and European art of goldsmithing and armoury. The members of the Wettin dynasty’s personal weapons, especially the electoral swords, bring to life a crucial epoch in Saxon history, during which Frederick the Belligerent became Elector of Saxony in 1423, the Reformation was set in motion under the Ernestine elector Frederick the Wise and Maurice, Duke of Saxony came to power as an elector for the Albertine branch Visitor admiring gambeson and hose from Saxon electoral regalia, c. 1584–1590, Rüstkammer, SKD 8 Marvelling at the sumptuous mitre belonging to Margrave Albert V of Brandenburg, c. 1514, Rüstkammer, SKD Exhibition opening, from left: Dr Jutta Charlotte von Bloh, senior curator at the Rüstkammer and exhibition curator, Stanislaw Tillich, the Saxon premier, Prof.

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