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Press Release Berlin, 15 February 2019
Press Release Berlin, 15 February 2019 Schlüter’s colossal sculptures have arrived in the Humboldt Forum The eight surviving colossal sculptures from the workshop of the famous sculptor and architect Andreas Schlüter have returned to the Schlossplatz – their place of origin. The sandstone figures, which are all on loan from the Staatliche Museen zu Berlin – Stiftung Preußischer Kulturbesitz, were recently transported from the Bode Museum and the Palace Workshop to the Humboldt Forum, where they have been put on display in the Sculpture Hall. When the Humboldt Forum opens at the end of this year, visitors will be able to see these marvellous sculptures, united once more as an intrinsic part of the history of the location. Schlüter’s eight sandstone sculptures originally stood in the Berlin Palace courtyard that bears his name – the Schlüterhof. They were among the few sculptures that were fortunately salvaged from the ruins of the Palace before its demolition in 1950. With the exception of the nineteenth-century copy of Antinous, they were all made in the seventeenth century. Six of the sculptures originally crowned the columns in front of the great courtyard portal, where, at over three metres high, they served as dignified ornamentation for the palace courtyard. They represent a canon of the ideal virtues of a ruler. Meleager, for example, stands for heroism and the protection of his subjects, Apollo symbolizes the nurturing of art and science, whilst Mercury represents the promotion of trade and the economy. The other two[NM1], the robed [ERJ2]female figures Industry and Harmony, adorned the interior wall of Gateway 1. -
HUF-10P-Formatiert-Final-1-150316 EN LA Ab LA
The Humboldt-Forum is ► an international meeting point and forum for the world The Humboldt-Forum aims to improve our understanding of the globalised world in which we live by raising questions and also searching for solutions. It is our goal to promote interaction between different cultures and to increase mutual understanding. In today’s mediated world, geographical distances / dimensions are less and less determining factors for many people. However, this change has not been accompanied by an increase in genuine understanding for one another, so it is all the more important to support this understanding, and to highlight developments in relationships between cultures and societies. The forum seeks to illuminate the tasks with which we are faced – in our cultures, societies, economies, and politics. ► a new home for equal rights, tolerance and democracy The Berlin Palace and the square where it is situated look back on a turbulent history. Even as the palace conjures notions of the building’s historical identity, the reconstructed palace will primarily serve as the home of the Humboldt-Forum; and thus help foster a respectful and equitable world community founded on the principle of diversity. History, however, will not be buried in the process: a number of freely accessible areas will address the palace’s history and reveal traces of the past. ► a historical, present, and future obligation Following in the spirit of Alexander and Wilhelm von Humboldt, the brothers who give the Humboldt-Forum its name and conceptual ideas, the forum is characterised by its cosmopolitan worldview and democratic consciousness. Actors and partners of the Humboldt-Forum committed to this tradition include the Stiftung Preussischer Kulturbesitz (Prussian Cultural Heritage Foundation) with its two National Museums, the Berlin State, with especially the Humboldt-Universität zu Berlin, as well as the Stiftung Berliner Schloss – Humboldt Forum (Berlin Palace – Humboldt Forum Foundation). -
Ankauf Reimarherbst-Erläuterungsbericht
Wiedererrichtung des Berliner Schlosses 771828 Bau des Humboldt-Forums im Schlossareal Berlin Erläuterungstext Wettbewerbsentwurf Leitidee des Entwurfes ist es mit dem Bau des Humboldt-Forums den städtebaulichen Raum entsprechend des historischen Vermächtnisses wieder herzustellen und den Dialog mit den angrenzenden Strukturen wieder aufzunehmen. Diesem Ansatz folgend wird die Stereometrie des ehemaligen Berliner Schlosses mit zwei Höfen und dem Apothekerflügel aufgenommen und neu interpretiert. Raum Der Baukörper definiert und hierarchisiert Räume: den städtischen Außenraum, Schlossplatz, Schlossfreiheit und Schlossterrassen mit Lustgarten, die öffentlichen Höfe, die Agora und die internen Atrien. Transparenz Die Verknüpfung dieser Räume eröffnet Blickbeziehungen zwischen den städtischen Räumen und aus dem Gebäude in typologisch differenzierte Freiräume. Städtebau Mit der Kubatur des ehemaligen Schlosses und des Apothekerflügels werden stadträumliche Kanten und das historische Platzgefüge wieder hergestellt. Das Alte Museum und der Dom erhalten mit dem „Neubau“ das historische Gegenüber und der Lustgarten seine historische Einfassung. Kolonnaden Die räumliche Fassung wird durch das Motiv der Kolonnaden verstärkt, die vom Alten Museum übernommen und über den Säulengang des Berliner Doms über die Karl-Liebknecht-Strasse hinweg zum Humboldtforum überleiten und direkt ins Neue Gebäude führen. Höfe Der Erhalt der beiden Höfe in ihrer ursprünglichen Größe und Offenheit war höchste Priorität, um das Humboldt-Forum, so wie ehemals das Berliner Schloss, ganzheitlich in das Gewebe der städtischen Struktur einzubinden. Im Inneren des Gebäudes erinnert der zentrale Luftraum in der Agora an den historischen Eishof. Durchwegung Das Humboldt-Forum nimmt die historischen Erschließungs- und Blickachsen auf und führt den Besucher über alle fünf historischen Portale in die offenen und miteinander verbundenen Höfe. Beide Höfe sind durch Kolonnaden räumlich gegliedert. -
Musekamp on Stangl, 'Risen from Ruins: the Cultural Politics of Rebuilding East Berlin'
H-Urban Musekamp on Stangl, 'Risen from Ruins: The Cultural Politics of Rebuilding East Berlin' Review published on Friday, September 11, 2020 Paul Stangl. Risen from Ruins: The Cultural Politics of Rebuilding East Berlin. Stanford: Stanford University Press, 2018. 352 pp. $65.00 (cloth), ISBN 978-1-5036-0320-2. Reviewed by Jan Musekamp (University of Pittsburgh) Published on H-Urban (September, 2020) Commissioned by Alexander Vari (Marywood University) Printable Version: http://www.h-net.org/reviews/showpdf.php?id=54596 Beyond Socialist Remodeling: Rebuilding East Berlin, 1945-61 Given its tumultuous history, it is not surprising that numerous scholars focus on postwar Berlin’s changing urban landscape. This is an interdisciplinary endeavor, with architects, urban planners, historians, and art historians looking at the city from markedly different perspectives.[1] Paul Stangl is a geographer by training and adds to this growing body of scholarship on the divided city. His focus is on the twenty-five years between the end of the Second World War and the construction of the infamous Berlin Wall—a time when Germany and the entire European continent “rose from ruins,” as the GDR national anthem put it. However, the Berlin case is unique for a number of reasons. First, the former German capital quickly developed into the front city of the Cold War. Second, as a result of this geopolitical background, both East and West Berlin served as showcases of the ideologies clashing here. Third, Berlin soon became a truly divided city in both spatial and ideological ways. Here, architects and urban planners often had to make decisions that followed not only general trends in urban planning but also ideological guidelines or directives. -
Travel with the Metropolitan Museum of Art
BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB Travel with Met Classics The Met BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB May 9–15, 2022 Berlin with Christopher Noey Lecturer BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB Berlin Dear Members and Friends of The Metropolitan Museum of Art, Berlin pulses with creativity and imagination, standing at the forefront of Europe’s art world. Since the fall of the Wall, the German capital’s evolution has been remarkable. Industrial spaces now host an abundance of striking private art galleries, and the city’s landscapes have been redefined by cutting-edge architecture and thought-provoking monuments. I invite you to join me in May 2022 for a five-day, behind-the-scenes immersion into the best Berlin has to offer, from its historic museum collections and lavish Prussian palaces to its elegant opera houses and electrifying contemporary art scene. We will begin with an exploration of the city’s Cold War past, and lunch atop the famous Reichstag. On Museum Island, we -
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. -
Tätigkeitsbericht Für Das Jahr 2019 Inhalt
TÄTIGKEITSBERICHT FÜR DAS JAHR 2019 INHALT 1. STIFTUNGSZWECK 3 2. KULTURELLE VERANSTALTUNGEN 2019 5 HUMBOLDT FORUM HIGHLIGHTS 6 „250 JAHRE JUNG! ZUM GEBURTSTAG VON ALEXANDER VON HUMBOLDT“ 7 „TO WHOM DOES CULTURE BELONG?“ 8 WEITERE VERANSTALTUNGEN 8 3. VORBEREITUNG DES KULTURELLEN BETRIEBS 9 FUNDRAISING 10 AKTEURSÜBERGREIFENDE PLANUNGEN UND ORGANISATIONSENTWICKLUNG 11 AUSSTELLUNGEN 12 VERANSTALTUNGEN 13 GESCHICHTE DES ORTES 14 BILDUNG UND VERMITTLUNG / WISSENSCHAFT UND FORSCHUNG 15 INTERNATIONALE ZUSAMMENARBEIT 16 PUBLIKATIONEN 17 PRESSE UND ÖFFENTLICHKEITSARBEIT 18 KULTURELLE SERVICES 19 4. ERHALTUNG UND WIEDERHERSTELLUNG VON BAU- UND BODENDENKMÄLERN 20 5. NACHHALTIGKEIT 21 ÖKOLOGISCHE ASPEKTE DES NACHHALTIGEN BAUENS 22 ÖKOLOGISCHE ASPEKTE DER NACHHALTIGKEIT IM BETRIEB 23 NACHHALTIGES WIRTSCHAFTEN 24 GESUNDHEIT UND BEHAGLICHKEIT 24 BARRIEREFREIHEIT, INKLUSION UND SICHERHEIT 25 PROZESSE NACHHALTIG ORGANISIEREN 25 6. JAHRESABSCHLUSS FÜR DAS GESCHÄFTSJAHR VOM 1.1. BIS 31.12.2019 26 BILANZ 27 GEWINN- UND VERLUSTRECHNUNG 29 2 © SHF / David von Becker 1. STIFTUNGSZWECK 3 Die Stiftung verfolgt ausschließlich und Die Zwecke Wissenschaft und For- unmittelbar gemeinnützige Zwecke schung wird die Stiftung insbesondere der Förderung von Kunst und Kultur, der durch Forschungsprojekte, Lehrver- Bildung, von Wissenschaft und For- anstaltungen, Konferenzen sowie schung, von internationaler Gesinnung Publikationen verwirklichen. Zeitlich und Toleranz auf allen Gebieten der Kul- unbegrenzt wird die Stiftung ständige tur, des Völkerverständigungsgedankens -
Outlooks, Berlin Panorama
Visiting the Bundestag Information about how you can attend a 23 33 24 26 27 32 plenary sitting or a lecture in the visitors’ 30 37 gallery of the plenary chamber, or take part 31 in a guided tour, can be found on the Bundes 25 44 tag’s website at www.bundestag.de (in the 35 40 “Visit the Bundestag” section). The ‘Visitors’ 34 43 Service will also be pleased to provide de 36 Outlooks tails by telephone on + 49 30 22732152. The 45 roof terrace and the dome are open from 8 a.m. 28 41 Berlin panorama: to midnight daily (last admission at 9.45 p.m.). Berlin Wall Memorial 29 Advance registration is required. You can reg 39 View from the dome ister online at visite.bundestag.de/?lang=en, The MarieElisabeth Lüders Building also by fax (+49 30 22736436 or 30027) or by post houses the publicly accessible Wall Memorial, (Deutscher Bundestag, Besucherdienst, parts of the hinterland wall having been Platz der Republik 1, 11011 Berlin). rebuilt there as a reminder of the division of Germany. Audioguide 42 Bundestag exhibition An audioguide is available for your tour of on German parliamentary history the dome, providing 20 minutes of informa tion about the Reichstag Building and its sur The exhibition on parliamentary history is 38 roundings, the Bundestag, the work of Parl open every day except Mondays from iament and the sights you can see from the 10.00 a.m. to 6.00 p.m., with a later closing dome. The audioguide can be obtained on the time of 7 p.m. -
Schlüteriana III
Schlüteriana III Kevin E. Kandt Schlüteriana III Studies in the Art, Life, and Milieu of Andreas Schlüter (c. 1659 – 1714) Lukas Verlag Cover: Andreas Schlüter and Johann Jacobi. Sarcophagus for King Friedrich I of Prussia – Detail of the Emblematic Figural Group (1713). Berlin Cathedral. I would like to thank my father, Glenn J. Kandt, for his most generous financial assistance during the preparation of this book. Without his steadfast support, it might have never come to fruition. © by Lukas Verlag Erstausgabe, 1. Auflage 2015 Redaktionsschluss: 31. März 2014 Alle Rechte vorbehalten Lukas Verlag für Kunst- und Geistesgeschichte Kollwitzstraße 57 D–10405 Berlin www.lukasverlag.com Umschlag: Verlag Reprographie und Satz: Susanne Werner, Frank Böttcher Druck: Elbe Druckerei Wittenberg Printed in Germany ISBN 978-3-86732-183-9 Table of Contents Forward 7 Quis Evadet? Nemo 15 A Study of the Funerary Monuments by Andreas Schlüter in Poland and Germany Part Two: Germany (1694–1713) I The Berlin Years: A New Beginning in Brandenburg-Prussia 17 II Schlüter, Döbel, or Weyhenmeyer? The Derfflinger Epitaph 31 III A Questionable Schlüter Attribution: The Barfus Epitaph 73 IV Vera Philosophia Mortis est Meditatio: The Männlich Tomb Portal 79 V Excursus: A Commemorative Print for M. D. Marschall von Bieberstein 99 VI Schlüter’s Palace and its Influence 104 VII A Fitting Memorial to a Departed Husband: The Marwitz Epitaph (Groß Rietz) 109 VIII Cunctus Mors Una Manet: The Sarcophagus for Queen Sophie Charlotte 129 IX A Second Tribute to a Deceased Spouse: -
Losing the Palast: the Demolition of Berlin's Most Promising Kunsthalle
JW-13 GERMANY Jill Winder is a Donors’ Fellow of the Institute studying post-reunification Germany through the ICWA work and attitudes of its artists. LETTERS Losing the Palast: The Demolition of Berlin’s Since 1925 the Institute of Current World Affairs (the Crane- Most Promising Kunsthalle Rogers Foundation) has provided long-term fellowships to enable By Jill Winder outstanding young professionals JANUARY 2006 to live outside the United States BERLIN–People from both sides of the Atlantic often ask me to compare the art and write about international scenes in New York City and Berlin. My answer has not changed in the last five areas and issues. An exempt years. I tell them that New York has an amazing contemporary art infrastructure, operating foundation endowed by with dozens of important galleries, world-class museums, and a bevy of art col- the late Charles R. Crane, the lectors who drive the market. The downside is that a lot of mediocre art (at least of Institute is also supported by the contemporary variety) circulates within this sophisticated system. Berlin has contributions from like-minded the opposite problem: Although there are arguably more talented, internation- individuals and foundations. ally-recognized artists here than in any other location in the world, the art infra- structure is underdeveloped, with uninteresting museums for contemporary art and good galleries struggling because of the lack of art market. Put simply, New York has TRUSTEES a lot of great spaces and a limited number of exceptional artists, while Berlin has a multi- Bryn Barnard tude of first-rate artists who have virtually no place to show their work. -
Photographer Frank Theil on Today's Berlin
Thaddeus-Johns, Josie. “Photographer Frank Theil On Today’s Berlin: ‘No Boundaries Between People’.” Culture Trip. September 25, 2019. Photographer Frank Thiel continues to document the transformation of Berlin following the fall of the Wall | (c) Antony Sojka-Metcalfe / Culture Trip Photographer Frank Thiel has made a career out of keeping his lens fixed on the constant transformation of Berlin, a city still dealing with the trauma of being cleaved in two. Much has changed, much has been lost, and much has been created, but the German capital still marches to its own beat, led by some of the world’s most forward-thinking creatives. A castle is being reconstructed right in the centre of Berlin. The Humboldt Forum at Schloßplatz will combine two of the city’s biggest museum collections and will open in phases over the next two years. The first version of the Berlin Palace (Stadtschloss) came down in 1950, demolished by the German Democratic Republic to make room for its parliament building, the Palast der Republik, which then suffered a similar fate in 2008. Boxhagener Straße is lined with a number of shops and restaurants © Tony Sojka / Culture Trip The current architectural development is of particular interest to artist Frank Thiel, who photographed the Palast der Republik just before demolition began, in 2003, as part of a series of untitled works about the changing architecture of Berlin after the Wall fell. These images often single out the endless interlocking triangles of a building’s rafters, or the vast floors of a desolate building, producing a moment of tense stillness. -
60 Incoherent Renovation in Berlin: Is There a Way
New Design Ideas Vol.3, No.1, 2019, pp.60-78 INCOHERENT RENOVATION IN BERLIN: IS THERE A WAY FORWARD? Malcolm Millais Independent researcher, Porto, Portugal Abstract. This paper briefly describes the fates of four of Berlin‟s most iconic cultural buildings. These are the Berlin Palace, the Neues Museum, the Berlin Dom (Cathedral) and the Kaiser Wilhelm Memorial Church. Using a variety of historical styles, all these buildings were built, or finished, in the nineteenth century, and all suffered serious damage due to aerial bombing in the Second World War. As all were repairable, the obvious choice might seem to reinstate them to their original condition: but this did not happen to any of them. This paper examines the incoherence of the various renovations, and briefly addresses the problem of formulating a coherent approach to renovation, particularly with reference to the 1964 Venice Charter. Keywords: Berlin, renovation, Venice Charter, iconic buildings, war damage, monstrous carbuncle, wartime bombing, cultural destruction. Corresponding Author: Malcolm Millais, Porto, Portugal, e-mail: [email protected] Received: 4 December 2018; Accepted: 24 January 2019; Published: 28 June 2019. 1. Introduction What can be said about all four of the buildings examined here is that: All, except in some aspects the Neues Museum, were extremely solidly built, so, given routine maintenance, could have be expected to have lasted for probably hundreds of years. All were severely damaged by aerial bombing during the Second World War. All were repairable. All suffered further destruction due to various political ideologies such as Communism, Modernism and Nationalism. All have been reinstated in a variety of ways, none of which are universally accepted.