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Visual Arts in the Urban Environment in the German Democratic Republic: Formal, Theoretical and Functional Change, 1949–1980

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Visual Arts in the Urban Environment in the German Democratic Republic: Formal, Theoretical and Functional Change, 1949–1980 Visual arts in the urban environment in the German Democratic Republic: formal, theoretical and functional change, 1949–1980 Jessica Jenkins Submitted: January 2014 This text represents the submission for the degree of Doctor of Philosophy (in partial fulfilment of its requirements) at the Royal College of Art Copyright Statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from this thesis may be published without proper acknowledgment. Author’s Declaration 1. During the period of registered study in which this thesis was prepared the author has not been registered for any other academic award or qualification. 2. The material included in this thesis has not been submitted wholly or in part for any academic award or qualification other than that for which it is now submitted. Acknowledgements I would like to thank the very many people and institutions who have supported me in this research. Firstly, thanks are due to my supervisors, Professor David Crowley and Professor Jeremy Aynsley at the Royal College of Art, for their expert guidance, moral support, and inspiration as incredibly knowledgeable and imaginative design historians. Without a generous AHRC doctoral award and an RCA bursary I would not have been been able to contemplate a project of this scope. Similarly, awards from the German History Society, the Design History Society, the German Historical Institute in Washington and the German Academic Exchange Service in London, as well as additional small bursaries from the AHRC have enabled me to extend my research both in time and geography. In particular, I have been hugely priveleged to have received funding from the above institutions for two trips to the United States including one greatly enriching trip to the Getty Research Institute in Los Angeles. Such awards were also made possible by the support of those who have also employed me as a design writer and teacher during the past three years. Aside from my supervisors I am grateful to Angela Partington and Andrew Spicer at UWE, Nick Pride at University of Gloucestershire, John Law, formerly of Bath School of Art and Design, and John Walters at eye magazine. For feeding me with design commissions in lean times I am thankful to Jo Walton at Minale Design Strategy in Paris, Bruno Wollheim at Coluga Film, and Jane Pavitt, Marta Ajmar and Angela McShane at the V&A in London. I would like also to acknowledge all the staff at the libraries and archives which I have consulted during this research, in particular at the Humboldt University Grimm library in Berlin, the Landesarchiv in Berlin, the Sammlung Industrielle Gesaltung in Berlin, the Bundesarchiv in Berlin, the Akademie der Künste, Berlin, the IRS in Erkner, the Rostock Stadtarchiv, the Sachsen Anhalt Landesarchiv in Merseburg, the Dresden Landesarchiv, the British Library in London, The V&A Art Library in London. Those who have played a central role into my deepening understanding of the processes of cultural change in East Germany are my interviewees. To all of my eye witnesses and their wives and families I owe a huge debt of gratitude for sharing their time, their homes, and their often complex biographies with me. In particular thanks are due to Bruno Flierl in Berlin who shared his critical reflections with me on several occasions at his home on Karl Marx Allee in Berlin, and spontaneously at many other social and academic events. I am hugely grateful for their time and hospitality to the following interviewees: artist, Willi Neubert (deceased), Thale, architect Sigbert Fliegel, Weimar, architect and critic, Wolfgang Kil, Berlin, artists Gerhard Bondzin and Friederun Bondzin, Dresden, graphic designer Axel Bertram, Berlin, historian Martin Schmidt, Hoyerswerda, designer and planner, Rolf Walter, Berlin, architect, Jurgen Deutler, Rostock, artist, Ronald Paris, Berlin, designer Lutz Brandt, Berlin, Brigitte Sieger, Zemplin, Usedom, widow of artist, Kurt Heinz Sieger, artist, Erich Enge, Erfurt, Angelika Petruschiat of Form + Zweck, Berlin, artist, Reinhardt Dietrich, Weimar, poster curator, Ilsa Maria Dorfstecher, Berlin, poster curator, Peter Zimmermann, AdK Berlin, and Andre of the Freundeskreis Walter Womacka. Thanks are due also to eye witnesses who shared their experiences of living around Alexanderplatz, John Tarver, Günter Babst, John Manning and Gerhard Wenzel. Linda Sandino at the RCA was helpful in setting me on course for undertaking these interviews. An inestimable debt of gratitude is due to my two parallel doctoral researchers who have been examining East Germany's public art and urban spaces, Torsten Lange of the Bartlett, University of London, and Mtanous Elbeik of Potsdam University. The overlaps in our research interests provided for countless inspirational exchanges of ideas and knowledge without ever a hint of propretorialness. These mutually supportive academic exchanges which have developed into friendships have helped sustain my interest and belief in the value this research. Antje Kirsch of the Kunst + Bau Verein Dresden has also been generous in sharing her ideas and considerable knowledge on some of the artists and the stories behind their works. Jose Renau's biographer, Fernando Bellon has been exceptionally generous in sharing his material with me. Florian Urban also generously shared his own research material with me. For their pursuit and documentation of the remains of East German public art and visual culture I must acknowledge the enthusisastic dedication of several flickr contributors, whose images have been an important visual resource for me. Most notably I have drawn on the image collections of Martin Maleschka and Jim Cooper. For both financial and unfailing moral support I am truly grateful to my mother, Jane Quincey. Finally, heartfelt thanks are due to Peter and Roberta, my partner and daughter, for their love, and encouragement throughout, as well as for their company from Berlin to London and back to Berlin again, as well as through many a cycling odysee through the retired areas of the former East Germany. Abstract Since the unification of East and West Germany in 1990, most of the urban fabric of the former East Germany has been altered beyond recognition or completely dismantled. However, during the four decades of the German Democratic Republic, public spaces and the works of visual arts within them were the subject of intense critical discussion, and formed the basis for the development of theories on the socialist character of art and architecture, which evolved from the late 1960s as Komplexe Umweltgestaltung "Complex Environmental Design". This thesis makes an original contribution to knowledge by making visible and elucidating the cultural-political significance of that urban visual culture, dematerialised and dispersed since the fall of the Berlin Wall. It examines the political, social and artistic function of murals, paintings, sculptures, applied arts, form design, and visual communication within East German architecture and public spaces, and seeks to complexify the commonly understood historical narrative which traces a rupture from the doctrine of an extravagant Socialist Realism to a form of impoverished Modernism. This change is better understood as a gradual and halting evolution, in which art as a medium for projecting the ideal of socialism was displaced by an understanding of design as a means of sustaining the experience of it. Furthermore, the narratives, formal and material qualities of some of the works examined – overlooked even in contemporary re-appraisals of East German art history – rather than being marginal to Socialist Realism, actually opened up spaces for its development. The thesis centres on forms of public art during and after the transition to the industrial mass production of architecture in the mid 1950s. The early phase in the 1950s is illustrated through the two first industrial cities, Eisenhüttenstadt and Hoyerswerda, built to serve iron and coal production respectively. The "scientific and technological revolution", proclaimed by SED first secretary Walter Ulbricht in the 1960s, was to accelerate the process of modernity, in the understandings of the function of urban planning and the role of design for planning, architecture and consumer culture. This change saw a move towards functionalist-oriented planning for Halle Neustadt (from 1964), the centre of new chemical and synthetics production, and a radical move to modernity in the re-construction of city centres up until 1969. This radical change exposed the conception of architecture as an art (Baukunst) favoured by traditionalists in the Bauakademie in particular, to challenges by modernisers who held that art should be considered as primarily functional and thus separate from art. Complex Environmental Design, as this work will demonstrate, gradually replaced the Socialist Realist ideal of Baukunst and the "synthesis" between art and architecture, and became established by the mid 1970s as an interdisciplinary practice in which all visual art forms – architecture, fine arts, crafts, form design, graphic design and landscape design – were to be integrated within the complex planning of the built environment. I shall argue that this inclusion of all artistic disciplines in the design of the built environment formed a compromise between competing ideas between
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