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Interreg I / Ii : Cross-Border Cooperation
INTERREG I / II : CROSS-BORDER COOPERATION Euregio Meuse-Rhine: implementation and management in practice Speech by Mr K.H. Lambertz - Chair of the Monitoring Committee for the Euregio Meuse-Rhine Interreg Programme - Director of Euregio Meuse-Rhine - Minister-President of the German-speaking community of Belgium 1. General background and geographical situation In 1974, the governors of the Dutch and Belgian provinces of Limburg, together with the Chief Executive of the Cologne county administration, acted on the proposal made to them by the future Queen of the Netherlands, Princess Beatrix, during an official visit to Maastricht, to draw up draft arrangements for an association under which even closer cross-border collaboration could develop, along the lines of the Dutch-German Euregio project that had been running since 1957. This initiative was part of the new Community direction in regional policy, which in 1975 was to be provided with an instrument to assist economic development called the European Regional Development Fund (ERDF). In 1976, the principle of cross-border institutions was passed in law. Initially formed as an ad hoc association, the Euregio Meuse-Rhine was designed to promote integration between inhabitants on each side of the national borders. The area covers: • in Holland: the southern part of the Dutch province of Limburg; • in Germany: the city of Aachen, and the districts of Aachen, Heinsberg, Düren and Euskirchen, which make up the Aachen Regio, and • in Belgium: the entire province of Limburg. The province of Liège joined the Euregio Meuse-Rhine in 1978. In 1992, the German-speaking community of Belgium became the fifth partner in the Euregio Meuse- Rhine. -
Exhibitions in 2019 January 19
Press contacts: Sonja Hempel (exhibitions) Tel. +49 221 221 23491 [email protected] Anne Niermann (general inquiries) Tel. +49 221 221 22428 [email protected] Exhibitions in 2019 January 19 – April 14, 2019 Hockney/Hamilton: Expanded Graphics New Acquisitions and Works from the Collection, with Two Films by James Scott Press conference: Friday, January 18, 2019, 11 a.m., press preview starting at 10 a.m. March 9 – June 2, 2019 Nil Yalter: Exile Is a Hard Job Opening: Friday, March 8, 2019, 7 p.m. Press conference: Thursday, March 7, 2019, 11 a.m., press preview starting at 10 a.m. April 10 – July 21, 2019 2019 Wolfgang Hahn Prize: Jac Leirner Award ceremony and opening: Tuesday, April 9, 2019, 6:30 p.m. Press conference: Tuesday, April 9, 2019, 11 a.m., press preview starting at 10 a.m. May 4 – August 11, 2019 Fiona Tan: GAAF Part of the Artist Meets Archive series Opening: Friday, May 3, 2019, 7 p.m. Press conference: Thursday, May 2, 2019, 11 a.m., press preview starting at 10 a.m. July 13 – September 29, 2019 Family Ties: The Schröder Donation Opening: Friday, July 12, 2019, 7 p.m. Press conference: Thursday, July 11, 2019, 11 a.m., press preview starting at 10 a.m. September 21, 2019 – January 19, 2020 HERE AND NOW at Museum Ludwig Transcorporealities Opening: Friday, September 20, 2019, 7 p.m. Press conference: Friday, September 20, 2019, 11 a.m., press preview starting at 10 a.m. November 16, 2019 – March 1, 2020 Wade Guyton Opening: Friday, November 15, 2019, 7 p.m. -
1938. BIRTHDAY PARTY with GUESTS CELEBRATES a PIVOTAL YEAR for PHOTOGRAPHY by Sophie Wright, March 15, 2018
1938. BIRTHDAY PARTY WITH GUESTS CELEBRATES A PIVOTAL YEAR FOR PHOTOGRAPHY By Sophie Wright, March 15, 2018 The Sprengel Museum in Hanover celebrates the year in which Boris Mikhailov, Josef Koudelka, Daido Moriyama, Helga Paris, Johan van der Keuken, and Heinrich Riebesehl were born with a thought-provoking group show open until 03 June In terms of history and photography, 1938 was a significant year. With Germany’s annexation of Austria, the Munich Agreement, the November Pogrom and the Évian Conference, which addressed the international response to the refugee crisis, it was a decisive point in time, with repercussions that would shape generations to come. It was also the year that six iconic photographers, who would document this shifting world, were born. This spring, the occasion will be honoured with a special celebration at the Sprengel Museum Hannover, titled 1938. Birthday Party with Guests. Initiated to commemorate the 80th anniversary of German photographer Heinrich Riebesehl, whose archive is housed at the museum, the exhibition evolved into a wider historical survey that sketches an international perspective on the second half of the 20th century. Joining Riebesehl are Johan van der Keuken, Josef Koudelka, Boris Mikhailov, Daido Moriyama and Helga Paris. For curator Inka Schube, this wave of artists born in 1938 represents a very particular generation: those who experienced the Second World War as children, too young to remember much more than playing in its rubble but growing up in the world it created. Organised in chronological order, 1938. Birthday Party with Guests proposes a walk through history that is in direct dialogue with the present, courtesy of some younger guests. -
Glaser NYT Article 2020-03-27
nytimes.com Swiss Museum Settles Claim Over Art Trove Acquired in Nazi Era Catherine Hickley 6-7 minutes The Kunstmuseum in Basel agreed to pay the heirs of a Berlin collector for 200 works he sold as he fled German persecution of Jews. Credit...Julian Salinas Twelve years after the city of Basel, Switzerland, rejected a claim for restitution of 200 prints and drawings in its Kunstmuseum, officials there have reversed their position and reached a settlement with the heirs of a renowned Jewish museum director and critic who sold his collection before fleeing Nazi Germany. In 2008, the museum argued that the original owner, Curt Glaser, a leading figure in the Berlin art world and close friend of Edvard Munch, sold the art at market prices. The museum’s purchase of the works at a 1933 auction in Berlin was made in good faith, it said, so there was no basis for restitution. But after the Swiss news media unearthed documents that shed doubt on that version of events, the museum reviewed its earlier decision and today announced it would pay an undisclosed sum to Glaser’s heirs. In return, it will keep works on paper estimated to be worth more than $2 million by artists including Henri Matisse, Max Beckmann, Auguste Rodin, Marc Chagall, Oskar Kokoschka, Ernst Ludwig Kirchner and Erich Heckel. Among the most valuable pieces are two Munch lithographs, “Self Portrait” and “Madonna.” The turnaround is a major victory for the heirs but also a sign, experts said, of a new willingness on the part of Swiss museums to engage seriously with restitution claims and apply international standards on handling Nazi-looted art in public collections. -
The Districts of North Rhine-Westphalia
THE DISTRICTS OF NORTH RHINE-WESTPHALIA S D E E N R ’ E S G N IO E N IZ AL IT - G C CO TIN MPETENT - MEE Fair_AZ_210x297_4c_engl_RZ 13.07.2007 17:26 Uhr Seite 1 Sparkassen-Finanzgruppe 50 Million Customers in Germany Can’t Be Wrong. Modern financial services for everyone – everywhere. Reliable, long-term business relations with three quarters of all German businesses, not just fast profits. 200 years together with the people and the economy. Sparkasse Fair. Caring. Close at Hand. Sparkassen. Good for People. Good for Europe. S 3 CONTENTS THE DIstRIct – THE UNKnoWN QUAntITY 4 WHAT DO THE DIstRIcts DO WITH THE MoneY? 6 YoUTH WELFARE, socIAL WELFARE, HEALTH 7 SecURITY AND ORDER 10 BUILDING AND TRAnsPORT 12 ConsUMER PRotectION 14 BUSIness AND EDUCATIon 16 NATURE conseRVAncY AND enVIRonMentAL PRotectIon 18 FULL OF LIFE AND CULTURE 20 THE DRIVING FORce OF THE REGIon 22 THE AssocIATIon OF DIstRIcts 24 DISTRIct POLICY AND CIVIC PARTICIPATIon 26 THE DIRect LIne to YOUR DIstRIct AUTHORITY 28 Imprint: Editor: Dr. Martin Klein Editorial Management: Boris Zaffarana Editorial Staff: Renate Fremerey, Ulrich Hollwitz, Harald Vieten, Kirsten Weßling Translation: Michael Trendall, Intermundos Übersetzungsdienst, Bochum Layout: Martin Gülpen, Minkenberg Medien, Heinsberg Print: Knipping Druckerei und Verlag, Düsseldorf Photographs: Kreis Aachen, Kreis Borken, Kreis Coesfeld, Ennepe-Ruhr-Kreis, Kreis Gütersloh, Kreis Heinsberg, Hochsauerlandkreis, Kreis Höxter, Kreis Kleve, Kreis Lippe, Kreis Minden-Lübbecke, Rhein-Kreis Neuss, Kreis Olpe, Rhein-Erft-Kreis, Rhein-Sieg-Kreis, Kreis Siegen-Wittgenstein, Kreis Steinfurt, Kreis Warendorf, Kreis Wesel, project photos. © 2007, Landkreistag Nordrhein-Westfalen (The Association of Districts of North Rhine-Westphalia), Düsseldorf 4 THE DIstRIct – THE UNKnoWN QUAntITY District identification has very little meaning for many people in North Rhine-Westphalia. -
Robert Indiana
ROBERT INDIANA Born in New Castle, Indiana in 1928 and died in 2018 Robert Indiana adopted the name of his home state after serving in the US military. The artist received his BFA from the School of the Art Institute of Chicago in 1954 and following the advice of his friend Ellsworth Kelly, he relocated to New York, setting up a studio in the Coenties Slip neighborhood of Lower Manhattan and joined the pop art movement. The work of the American Pop artist Robert Indiana is rooted in the visual idiom of twentieth-century American life with the same degree of importance and influence as Andy Warhol and Roy Lichtenstein. As a self-proclaimed “American painter of signs” Indiana gained international renown in the early 1960’s, he drew inspiration from the American road and shop signs, billboards, and commercial logos and combined it with a sophisticated formal and conceptual approach that turned a familiar vocabulary into something entirely new, his artworks often consists of bold, simple, iconic images, especially numbers and short words like “EAT”, “HOPE”, and “LOVE” what Indiana called “sculptural poems”. The iconic work “LOVE”, served as a print image for the Museum of Modern Art ‘s Christmas card in 1964 and sooner later the design became popular as US postage stamp. “LOVE” has also appeared in prints, paintings, sculptures, banners, rings, tapestries. Full of erotic, religious, autobiographical, and political undertones — it was co-opted as an emblem of 1960s idealism (the hippie free love movement). Its original rendering in sculpture was made in 1970 and is displayed in Indiana at the Indianapolis Museum of Art. -
Northern Gothic: Werner Haftmann's German
documenta studies #11 December 2020 NANNE BUURMAN Northern Gothic: Werner Haftmann’s German Lessons, or A Ghost (Hi)Story of Abstraction This essay by the documenta and exhibition scholar Nanne Buurman I See documenta: Curating the History of the Present, ed. by Nanne Buurman and Dorothee Richter, special traces the discursive tropes of nationalist art history in narratives on issue, OnCurating, no. 13 (June 2017). German pre- and postwar modernism. In Buurman’s “Ghost (Hi)Story of Abstraction” we encounter specters from the past who swept their connections to Nazism under the rug after 1945, but could not get rid of them. She shows how they haunt art history, theory, the German feuilleton, and even the critical German postwar literature. The editor of documenta studies, which we founded together with Carina Herring and Ina Wudtke in 2018, follows these ghosts from the history of German art and probes historical continuities across the decades flanking World War II, which she brings to the fore even where they still remain implicit. Buurman, who also coedited the volume documenta: Curating the History of the Present (2017),I thus uses her own contribution to documenta studies to call attention to the ongoing relevance of these historical issues for our contemporary practices. Let’s consider the Nazi exhibition of so-called Degenerate Art, presented in various German cities between 1937 and 1941, which is often regarded as documenta’s negative foil. To briefly recall the facts: The exhibition brought together more than 650 works by important artists of its time, with the sole aim of stigmatizing them and placing them in the context of the Nazis’ antisemitic racial ideology. -
I Online Supplementary Data – Lötters, S. Et Al.: the Amphibian Pathogen Batrachochytrium Salamandrivorans in the Hotspot Of
Online Supplementary data – Lötters, S. et al.: The amphibian pathogen Batrachochytrium salamandrivorans in the hotspot of its European invasive range: past – present – future. – Salamandra, 56: 173–188 Supplementary document 1. Published site records (populations) of caudate species from Germany in which Bsal was detected until 2018. Data mostly summarized from Spitzen-van der Sluijs et al. (2016), Dalbeck et al. (2018), Lötters et al. (2018), Schulz et al. (2018) and Wagner et al. (2019a). In addition, new findings from the ongoing laboratory testing (especially quality assurance) of samples collected in same time frame were also included, so that some entries differ from those in the mentioned articles. Specimens tested positive for Bd/Bsal and negative for only Bd are indicated under remarks. Legend: † = dead specimen(s); + = ‘low’ infection load (1–10 GE); ++ = ‘medium’ infection load (> 10–100 GE); +++ = ‘high’ infection load (> 100 GE); CI = credible interval per year. Site District Coordinates Species Year N samples N samples Infection Prevalence 95% Remarks (latitude, tested Bsal- loads per year Bayesian longitude) positive CI Northern Eifel North Rhine-Westphalia, StädteRegion 50.578169, Fire salamander, Salamandra salamandra 2015 22 (of which 21 (of which 96% 79–99% mass mortality, 8 of 16 specimens Belgenbach Aachen 6.278448 16 †) 16 †) had Bd/Bsal co-infections Fire salamander, Salamandra salamandra 2017 12 larvae 0 0 0% 0–26% North Rhine-Westphalia, StädteRegion 50.746724, Northern crested newt, Triturus cristatus 2015 2 -
Rodney Graham CV
Rodney Graham Lives and works in Vancouver, Canada 1979–80 Simon Fraser University, Burnaby, Canada 1968–71 University of British Columbia, Vancouver, Canada 1949 Born in Vancouver, Canada Selected Solo Exhibitions 2020 ‘Artists and Models', Serlachius Museum Gösta, Mänttä, Finland ‘Painting Problems’, Lisson Gallery 2019 303 Gallery, New York, NY, USA 2018 ‘Central Questions of Philosophy’, Lisson Gallery, London, UK 2017 ‘Lightboxes’, Museum Frieder Burda, Baden-Baden, Germany 303 Gallery, New York, NY, USA ‘That’s Not Me’, BALTIC Centre for Contemporary Art, Gateshead, UK; Museum Voorlinden, Wassenaar, Netherlands; Irish Museum of Modern Art, Dublin, Ireland ‘Canadian Impressionist’, Canada House, London, UK ‘Media Studies’, Hauser & Wirth, Zurich, Switzerland 2016 ‘You should be an Artist’, Le Consortium, Dijon, France ‘Waterloo Billboard Commissions’, Hayward Gallery, London, UK ‘Jack of All Trades’, Prefix Institute of Contemporary Art, Toronto, Canada ‘Più Arte dello Scovolino!’, Lisson Gallery, Milan, Italy Alt Art Space, Istanbul Turkey 2015 Sammlung Goetz, Munich, Germany ‘Kitchen Magic Drawings’, Galerie Rüdinger Schöttle, Munich, Germany 2014 ‘Rodney Graham: Props and Other Paintings’, Charles H. Scott Gallery, Emily Carr University of Art + Design, Vancouver, Canada ‘Collected Works’, Rennie Collection, Vancouver, Canada ‘Torqued Chandelier Release and Other Works’, Belkin Gallery, University of British Columbia, Vancouver, Canada 2013 Lisson Gallery, London, UK 303 Gallery, New York, NY, USA ‘The Four Seasons’, Hauser & Wirth, Zurich, Switzerland 2012 ‘Canadian Humourist’, Vancouver Art Gallery, Vancouver, Canada Johnen Galerie, Berlin, Germany 2011 Donald Young Gallery, Chicago, IL, USA ‘Vignettes of Life’, Hauser & Wirth, Zurich, Switzerland ‘Rollenbilder – Rollenspiele’, Museum der Moderne, Salzburg, Austria ‘The Voyage or Three Years at Sea: Part 1. -
Ansprechpartnerinnen Und Ansprechpartner
Ansprechpartnerinnen und Ansprechpartner 1 Amtshaftung ............................................................................................................... 4 1.1 Sachbearbeitung Amtshaftung ............................................................................. 4 1.2 Teildezernatsleitung ............................................................................................. 4 2 Dienstunfall ................................................................................................................. 4 2.1 Sachbearbeitung Dienstunfall ............................................................................... 4 2.2 Teildezernatsleitung ............................................................................................. 5 3 Einstellung/ Versetzung .............................................................................................. 5 3.1 Berufskolleg / Seiteneinstieg ................................................................................ 5 3.2 Förderschule ........................................................................................................ 6 3.3 Gesamtschule ...................................................................................................... 6 3.4 Grundschule ......................................................................................................... 6 3.5 Hauptschule/Sekundarschule/ Gemeinschaftsschule/PRIMUS-Schule ................ 7 3.6 Gymnasium/Weiterbildungskolleg ....................................................................... -
A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property. -
Gerhard Richter
GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs,