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He Big “Mitte-Struggle” Politics and Aesthetics of Berlin's Post
Martin Gegner he big “mitt e-struggl e” politics and a esth etics of t b rlin’s post-r nification e eu urbanism proj ects Abstract There is hardly a metropolis found in Europe or elsewhere where the 104 urban structure and architectural face changed as often, or dramatically, as in 20 th century Berlin. During this century, the city served as the state capital for five different political systems, suffered partial destruction pós- during World War II, and experienced physical separation by the Berlin wall for 28 years. Shortly after the reunification of Germany in 1989, Berlin was designated the capital of the unified country. This triggered massive building activity for federal ministries and other governmental facilities, the majority of which was carried out in the old city center (Mitte) . It was here that previous regimes of various ideologies had built their major architectural state representations; from to the authoritarian Empire (1871-1918) to authoritarian socialism in the German Democratic Republic (1949-89). All of these époques still have remains concentrated in the Mitte district, but it is not only with governmental buildings that Berlin and its Mitte transformed drastically in the last 20 years; there were also cultural, commercial, and industrial projects and, of course, apartment buildings which were designed and completed. With all of these reasons for construction, the question arose of what to do with the old buildings and how to build the new. From 1991 onwards, the Berlin urbanism authority worked out guidelines which set aesthetic guidelines for all construction activity. The 1999 Planwerk Innenstadt (City Center Master Plan) itself was based on a Leitbild (overall concept) from the 1980s called “Critical Reconstruction of a European City.” Many critics, architects, and theorists called it a prohibitive construction doctrine that, to a certain extent, represented conservative or even reactionary political tendencies in unified Germany. -
Berlin - Wikipedia
Berlin - Wikipedia https://en.wikipedia.org/wiki/Berlin Coordinates: 52°30′26″N 13°8′45″E Berlin From Wikipedia, the free encyclopedia Berlin (/bɜːrˈlɪn, ˌbɜːr-/, German: [bɛɐ̯ˈliːn]) is the capital and the largest city of Germany as well as one of its 16 Berlin constituent states, Berlin-Brandenburg. With a State of Germany population of approximately 3.7 million,[4] Berlin is the most populous city proper in the European Union and the sixth most populous urban area in the European Union.[5] Located in northeastern Germany on the banks of the rivers Spree and Havel, it is the centre of the Berlin- Brandenburg Metropolitan Region, which has roughly 6 million residents from more than 180 nations[6][7][8][9], making it the sixth most populous urban area in the European Union.[5] Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one- third of the city's area is composed of forests, parks, gardens, rivers, canals and lakes.[10] First documented in the 13th century and situated at the crossing of two important historic trade routes,[11] Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).[12] Berlin in the 1920s was the third largest municipality in the world.[13] After World War II and its subsequent occupation by the victorious countries, the city was divided; East Berlin was declared capital of East Germany, while West Berlin became a de facto West German exclave, surrounded by the Berlin Wall [14] (1961–1989) and East German territory. -
Ar204 Art and Interpretation
AR204 ART AND INTERPRETATION Art and Aesthetics Module: Art Objects and Experience Fall 2019 Seminar Leader: Geoff Lehman Course Times: Wednesday, 9:00- 10:30 and Friday, 10:45-12:15 (9:00-12:15 for museum visits) Email: [email protected] Office Hours: Tuesdays, 14:00-16:00 Course Description Describing a painting, the art historian Leo Steinberg wrote: “The picture conducts itself the way a vital presence behaves. It creates an encounter.” In this course, we will encounter works of art to explore the specific dialogue each creates with a viewer and the range of interpretive possibilities it offers. More specifically, the course will examine various interpretive approaches to art, including formal analysis, iconography, social and historical contextualism, aestheticism, phenomenology, and psychoanalysis. Most importantly, we will engage interpretation in ways that are significant both within art historical discourse and in addressing larger questions of human experience and (self- )knowledge, considering the dialogue with the artwork in its affective (emotional) as well as its intellectual aspects. The course will be guided throughout by sustained discussion of a small number of individual artworks, with a focus on pictorial representation (painting, drawing, photography), although sculpture and installation art will also be considered. We will look at works from a range of different cultural traditions, and among the artists we will focus on are Xia Gui, Giorgione, Bruegel, Mirza Ali, Velázquez, Hokusai, Manet, Picasso, Man Ray, Martin, and Sherman. Readings will focus on texts in art history and theory but also include philosophical and psychoanalytic texts (Pater, Wölfflin, Freud, Merleau-Ponty, Barthes, Clark, and Krauss, among others). -
List of Contents
List of Contents Foreword 7 The Architectural History of Berlin 9 The Buildings 25 Gothic St. Nikolaikirche (St. Nicholas Church, Mitte) 16 • St. Marienkirche (St. Mary's Church) 18 • St. Nikolaikirche (St. Nicholas Church, Spandau) 20 • Dorfkirche Dahlem (Dahlem Village Church) 22 Renaissance Jagdschloss Grunewald (Grunewald Hunting Palace) 24 • Zitadelle Spandau (Spandau Citadel) 26 • Ribbeckhaus (Ribbeck House) 28 Baroque Palais Schwerin (Schwerin Palace) 30 • Schloss Köpenick (Köpenick Palace) 32 • Schloss Friedrichsfelde (Friedrichsfelde Palace) 34 • Schloss Charlottenburg (Charlottenburg Palace) 36 • Zeughaus (Armoury) 38 • Parochialkirche (Parochial Church) 40 • Sophienkirche (Queen Sophie Church) 42 • Staatsoper (State Opera) Unter den Linden and Hedwigskathedrale (St. Hedwig's Cathedral) 44 • Humboldt- Universität (Humboldt University) and Alte Bibliothek (Old Library) 46 • Ephraim-Palais (Ephraim Palace) 48 • Deutscher Dom (German Dome Church) and Französischer Dom (French Dome Church) 50 • Die Stadt- palais (Town Palaces) Unter den Linden 52 Classicism Schloss Bellevue (Bellevue Palace) 54 • Brandenburger Tor (Branden- burg Gate) 56 • Pfaueninsel (Peacock Island) 58 • Neue Wache (New Guardhouse) 60 • Schauspielhaus / Konzerthaus (Playhouse/ Concert Hall) 62 • Friedrichswerdersche Kirche (Friedrichswerder Church) 64 • Altes Museum (Old Museum) 66 • Schloss Klein-Glienicke List of Contents 13 Bibliografische Informationen digitalisiert durch http://d-nb.info/1008901288 (Klein-Glienicke Palace) 68- Blockhaus Nikolskoe and St. -
Fiberartoral00lakyrich.Pdf
University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Gyongy Laky FIBER ART: VISUAL THINKING AND THE INTELLIGENT HAND With an Introduction by Kenneth R. Trapp Interviews Conducted by Harriet Nathan in 1998-1999 Copyright 2003 by The Regents of the University of California has been Since 1954 the Regional Oral History Office interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Gyongy Laky, dated October 21, 1999. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Commemorative Courtyard Permanent Exhibition Special Exhibitions
ALT-MOABIT Hauptbahnhof Regierungsviertel Spree Reichstag LINDEN UNTER DEN Brandenburger Tor FRIEDRICHSTRASSE 7. JUNI GROSSER STERN STRASSE DES 1 HOFJÄGERALLEE T I E R GAR TEN MITTE Bus 200 Landwehrkanal TIERGARTENSTRASSE LEIPZIGER STRASSE Bahnhof Kulturforum Potsdamer Platz Zoologischer Bus M 48 Garten REICHPIETSCHUFERBus M 85 STAUFFENBERGSTR. Gedächtniskirche BUDAPESTER STR. LÜTZOWUFER Bus M 29 SCHÖNEBERGER UFER LÜTZOWPLATZ KURFÜRSTENDAMMTAUENTZIENSTRASSE WITTENBERGPLATZ KREUZBERG KURFÜRSTENSTRASSE KLEISTSTRASSE SCHÖNEBERG POTSDAMER STR. Kurfürstenstraße Getting here Opening hours The German Resistance Free tours around selected Bus M 29 Mondays to Wednesdays, Fridays Memorial Center oers various parts of the exhibition, with Bus stop: Gedenkstätte 9 a.m.–6 p.m. activities for groups of visitors informative talks on resistance Deutscher Widerstand Thursdays 9 a.m.–8 p.m. who register prior to their visit. activities in German, English, Saturdays, Sundays, and Bus M 48, Bus M 85 French, or Italian. public holidays 10 a.m.–6 p.m. Entrance is free of charge. Bus stop: Kulturforum, Closed on Christmas Day, New The topics can be decided 5-minute walk We will be glad to add your Year’s Eve, and New Year’s Day on during registration or address to the German Bus 200 Free entry directly before the tour. Resistance Memorial Center Bus stop: Tiergartenstraße, Length: 90-120 minutes events mailing list on request. 5-minute walk Seminars on specific topics Public tours: U1 of resistance against National Every Sunday, 3 p.m. Station: Kurfürstenstraße, Socialism in German, English, 10-minute walk French, or Italian. U2, S1, S2, S25 Topics and length: By Station: Potsdamer Platz, coordination upon registration 10-minute walk Please register at least 6 to 8 weeks before the desired appointment. -
Lange Nacht Der Museen JUNGE WILDE & ALTE MEISTER
31 AUG 13 | 18—2 UHR Lange Nacht der Museen JUNGE WILDE & ALTE MEISTER Museumsinformation Berlin (030) 24 74 98 88 www.lange-nacht-der- M u s e e n . d e präsentiert von OLD MASTERS & YOUNG REBELS Age has occupied man since the beginning of time Cranach’s »Fountain of Youth«. Many other loca- – even if now, with Europe facing an ageing popula- tions display different expression of youth culture tion and youth unemployment, it is more relevant or young artist’s protests: Mail Art in the Akademie than ever. As far back as antiquity we find unsparing der Künste, street art in the Kreuzberg Museum, depictions of old age alongside ideal figures of breakdance in the Deutsches Historisches Museum young athletes. Painters and sculptors in every and graffiti at Lustgarten. epoch have tackled this theme, demonstrating their The new additions to the Long Night programme – virtuosity in the characterisation of the stages of the Skateboard Museum, the Generation 13 muse- life. In history, each new generation has attempted um and the Ramones Museum, dedicated to the to reform society; on a smaller scale, the conflict New York punk band – especially convey the atti- between young and old has always shaped the fami- tude of a generation. There has also been a genera- ly unit – no differently amongst the ruling classes tion change in our team: Wolf Kühnelt, who came up than the common people. with the idea of the Long Night of Museums and The participating museums have creatively picked who kept it vibrant over many years, has passed on up the Long Night theme – in exhibitions, guided the management of the project.We all want to thank tours, films, talks and music. -
The Acoustic City
The Acoustic City The Acoustic City MATTHEW GANDY, BJ NILSEN [EDS.] PREFACE Dancing outside the city: factions of bodies in Goa 108 Acoustic terrains: an introduction 7 Arun Saldanha Matthew Gandy Encountering rokesheni masculinities: music and lyrics in informal urban public transport vehicles in Zimbabwe 114 1 URBAN SOUNDSCAPES Rekopantswe Mate Rustications: animals in the urban mix 16 Music as bricolage in post-socialist Dar es Salaam 124 Steven Connor Maria Suriano Soft coercion, the city, and the recorded female voice 23 Singing the praises of power 131 Nina Power Bob White A beautiful noise emerging from the apparatus of an obstacle: trains and the sounds of the Japanese city 27 4 ACOUSTIC ECOLOGIES David Novak Cinemas’ sonic residues 138 Strange accumulations: soundscapes of late modernity Stephen Barber in J. G. Ballard’s “The Sound-Sweep” 33 Matthew Gandy Acoustic ecology: Hans Scharoun and modernist experimentation in West Berlin 145 Sandra Jasper 2 ACOUSTIC FLÂNERIE Stereo city: mobile listening in the 1980s 156 Silent city: listening to birds in urban nature 42 Heike Weber Joeri Bruyninckx Acoustic mapping: notes from the interface 164 Sonic ecology: the undetectable sounds of the city 49 Gascia Ouzounian Kate Jones The space between: a cartographic experiment 174 Recording the city: Berlin, London, Naples 55 Merijn Royaards BJ Nilsen Eavesdropping 60 5 THE POLITIcs OF NOISE Anders Albrechtslund Machines over the garden: flight paths and the suburban pastoral 186 3 SOUND CULTURES Michael Flitner Of longitude, latitude, and -
Unesco Welterbe Museumsinsel Berlin
to the list of UNESCO World Heritage. World UNESCO of list the to pm, closed Mondays closed pm, 8 to Thurs pm, 6 – am 10 Sun – Tues Mondays closed pm, 8 to Thurs pm, 6 – am 10 Sun – Tues pm 8 to Thurs pm, 6 – am 10 Sun – Mon Mondays closed pm, 8 to Thurs pm, 6 – am 10 Sun – Tues added was Berlin Museumsinsel 1999 In century. 19th the to Entrance: Monbijoubrücke Entrance: Kolonnadenhof) (via Bodestraße Entrance: James-Simon-Galerie) or Kolonnadenhof (via Lustgarten Am Entrance: world, ancient the through history, early and Age Stone the Entrance: Bodestraße Bodestraße Entrance: collections. The encyclopaedic spectrum of works spans from from spans works of spectrum encyclopaedic The collections. art unique Berlin’s zu Museen Staatliche the housing Museum (Ethnological Museum) with European artworks. European with Museum) (Ethnological Museum Schadow are on view in the sculpture hall. hall. sculpture the in view on are Schadow is the mysterious “Berlin Golden Hat” from the Bronze Age. Bronze the from Hat” Golden “Berlin mysterious the is architecture museum of years 100 represent buildings Its Museum” juxtaposes masterpieces from the Ethnologisches Ethnologisches the from masterpieces juxtaposes Museum” Rauch, Berthel Thorvaldsen, Antonio Canova and Rudolph Rudolph and Canova Antonio Thorvaldsen, Berthel Rauch, from the Stone Age to the Middle Ages. One of the highlights highlights the of One Ages. Middle the to Age Stone the from level. upper the on display on is Period Imperial Roman the and important and most beautiful museum ensembles in the world. world. the in ensembles museum beautiful most and important the exhibition “Beyond Compare. -
BERLIN Elite Guide to Berlin
DESTINATION GUIDE SERIES BERLIN ELITE GUIDE TO BERLIN HIGHLIGHTS OF BERLIN 3 ONLY ELITE 4 Elite Traveler has selected the most exclusive VIP experiences CONCIERGE RECOMMENDATIONS 5 We asked Berlin’s top concierges to share their personal recommendations SONY CENTER, POTSDAMER PLATZ for the perfect day in the city WHERE TO ➤ STAY 8 ➤ DINE 15 ➤ BE PAMPERED 18 BERLIN SKYLINE WHAT TO DO ➤ DURING THE DAY 19 ➤ DURING THE NIGHT 21 ➤ FEATURED EVENTS 25 ➤ SHOPPING 26 LOCAL ART: ‘LIMIT’, ANTON BURDAKOV NEED TO KNOW ➤ PRIVATE JET TERMINALS 30 ➤ USEFUL INFORMATION 31 ➤ EXCLUSIVE TRANSPORT 31 ‘VERSUS’ AT THE CHAMELEON THEATER TRAVELER DESTINATION GUIDE SERIES ELITE DESTINATION GUIDE | BERLIN www.elitetraveler.com 2 HIGHLIGHTS OF BERLIN Don’t miss out on Berlin’s wealth of attractions, adventures and experiences ith an eye toward the future, ‘remaking’ itself, and today you’ll find the Berlin has now bloomed into a modern ‘Wwith resolve in our hearts, let us city in better shape than ever. metropolis, and this new lease of life remember history, and answer our destiny, is infectious. The streets are alive with and remake the world once again.’ Brand new shops, bars, hotels and young, creative types lured here by the restaurants have transformed Berlin from freewheeling spirit, and for art and music Those were the words of Barack Obama battle ground to consumer haven, while there are few better cities to visit right now. as he addressed Berlin in 2008, and they the noblest relics of the past have been go some way to capturing the spirit of the restored to their former glory. -
Großer Geber James Simon Schenkte Den Berliner Museen Die Nofretete
Das Programmheft für die Ausstellungen und Veranstaltungen im Juli, August und September 2019 Großer Geber James Simon schenkte den Berliner Museen die Nofretete. Mit der Eröffnung der James- Simon-Galerie wird ein Mäzen geehrt, dessen Großzügigkeit nicht nur die Museen bereicherte Natur in Gips Die Jubiläumsausstellung der Gipsformerei erkundet die uralte Technik der Naturabformung Was macht eigentlich ...? Heike Kropff ist Leiterin Bildung & Kommunikation – ein stressiger Job, voll spannender Herausforderungen In KooperatIon mIt eDItorIaL Alte Inhalt 4 nachrichten Freunde, aus den museen 6 James Simon: neue ein Geschenk für die museen 10 Wege Was macht eigentlich ...? 12 ausstellungen und Veranstaltungen 22 museumsshop michael eissenhauer, Generaldirektor 23 der Staatlichen museen zu Berlin Kalender für Juli, august und September ein kleines Gemälde aus der gerade zu ende stellt somit den historischen Zustand vor gegangenen ausstellung „mantegna und den Zerstörungen des Zweiten Weltkriegs 30 Bellini“ berührt mich auf besondere Weise. wieder her. Kinder und Familien Das andachtsbild „maria mit dem schlafen- Ich bin glücklich und dankbar, dass wir das Kult Während die abtreibungsdebatte in den USa heiß den Kind“ ist nicht nur ästhetisch und kunst- Bauwerk mit dem namen James Simons historisch herausragend, es erinnert auch verbinden können. er steht nicht nur für läuft, wird Frauen in europa heute die macht über 31 an eine der wichtigsten persönlichkeiten in eine bedeutende persönlichkeit, die über und Körper adressen, preise, Öffnungszeiten ihre eigenen Körper zumindest juristisch garan- der Geschichte der Berliner museen. James die Förderung der museen hinaus auch im Überblick Simon (1851–1932), dem wir auch zahlreiche stets die Bildung breiter Schichten förderte tiert. Im 19. -
For Immediate Release George Condo
FOR IMMEDIATE RELEASE GEORGE CONDO: NEW WORKS OPENING RECEPTION: APRIL 27, 6-8PM 20 East 79th Street, New York Skarstedt is pleased to present George Condo: New Works, an exhibition of new sculptures and paintings on view from April 27 – June 24, 2017 at Skarstedt Upper East Side, 20 East 79th Street, New York, NY 10075. In December 2014 Condo began working on Origin, a small wood sculpture he hand-painted, cut, and glued together. Origin soon became the subject of three larger-scaled variations in bronze. These variations represent a return to methods of sculpting that the artist first took up with his earliest three-dimensional works in the late 1980s—using wood, clay, plaster, paint, fabric, and found objects to create bronze sculptures that incorporate both figurative and abstract elements. Here we see Condo’s concept of the “simulated found object,” which he explored in his earliest exhibited paintings in the 1980s, combined with the use of real found objects from his studio into entirely new figurative forms in bronze. Condo cuts, screws, and hinges together flat surfaces of plywood into angular figurative representations then applies layers of plaster, clay and paint squeezed directly from the tube, “knowing that once cast in bronze all of my markings will remain present and be reinvigorated in the patinated surfaces,” the artist says. Writing in 2015 on the subject of what he referred to as Condo’s “unedited human disasters,” Simon Baker described his sculptures as having: “the barest suggestion of anatomical specificity barely distinguishable from the raw materials from which they were produced, but as with Condo’s work in every medium, openly manifesting a dramatic and irrepressible joy in the process of production.” (Simon Baker, Painting Reconfigured, pg.