PRESS KIT Behind the Mask: Artists in the GDR Press Conference On

PRESS KIT

Behind the Mask: Artists in the GDR

Press conference on October 26, 2017, at 11 am

On the panel: Ortrud Westheider, Director, Museum Barberini Michael Philipp, curator, Museum Barberini Valerie Hortolani, guest curator, Museum Barberini Johanna Köhler, Head of Marketing and PR, Museum Barberini followed by a tour of the exhibition

CONTENTS

1. Press release Behind the Mask: Artists in the GDR (pages 2) 2. Facts & figures on the exhibition Behind the Mask: Artists in the GDR (pages 4) 3. Facts & figures on the Museum Barberini collection (page 7) 4. Interview Johanna Pfund (Süddeutsche Zeitung) with Prof. Hasso Plattner on the Museum Barberini collection (pages 8) 5. Press release on the Palace Gallery (pages 10) 6. Publications (page 12) 7. Room notes Behind the Mask: Artists in the GDR (pages 13) 8. Summary of Palace Gallery documentation (pages 15) 9. Digital Visitors’ Book (page 18) 10. Press photos and credits for Behind the Mask: Artists in the GDR (pages 19) 11. Press photos and credits for Palace Gallery documentation (page 22) 12. Sources of loans to Behind the Mask: Artists in the GDR (pages 23) 13. What else is on at the Museum Barberini? (page 25) 14. Events (pages 26) 15. Advance notice: Max Beckmann: World Theater and other exhibitions in 2018 (pages 33)

Addition: Complete list of works in Behind the Mask: Artists in the GDR Complete list of works in Palace Gallery documentation

Wifi network: Presse; password: Presse285 Visuals available for download in optimized print quality via the link: www.museum-barberini.com/presse

Johanna Köhler Museum Barberini gGmbH T +49 331 236014-305 Leiterin Marketing und PR/ Friedrich-Ebert-Str. 115 [email protected] Head of Marketing and Public Relations 14467 Potsdam, Germany www.museum-barberini.com

Ursula Rüter & Stefan Hirtz ARTEFAKT Kulturkonzepte T +49 30 440 10 686 Projektbezogene Kommunikation Marienburger Str. 16 mail@artefakt-berlin.de 10405 Berlin, Germany www.artefakt-berlin.de

Press release Potsdam, September 26, 2017

The Artist’s Perspective – GDR art on show at the Museum Barberini Over 100 works by some 80 artists from the early years until 1989

Behind the Mask: Artists in the GDR October 29, 2017 to February 4, 2018

The exhibition at the Museum Barberini turns the spotlight on the way artists depict themselves. On display are about 120 works by more than 80 artists, with loans from almost 50 sources. State art policy expected artists to express the socialist manifesto in pictures. But artists had their own ideas and their own understanding of art, and their output extended well beyond these bounds. From 1949 till 1990, throughout the entire period of the GDR, painters, sculptors and photographers created many independent works exploring how they saw their own role. This artists’ art is the theme of the show.

Aritists were caught up in the tensions between providing a social role model and withdrawing into a private world, between prescribed collectivism and creative individuality. The exhibition explores self-styling by artists as individual personalities – in self- and group portaits, in role projections and in studio paintings, in abstract formal experiments and in references to art history. Over four generations, artistic self-affirmation and a critical take on the life of the artist were major themes.

Artists depict how they see themselves in self- and group portraits and in projections of role models. These genres have been handed down through Western art since the Renaissance, and East German artists likewise picked up on this tradition, as well as on the genre of studio painting. Alongside these time-honored motifs and themes, the exhibition traces an interest in the abstract as an artistic rebuttal of social relevance, and in the use of the artist’s own body in performative works during the late 1980s.

There have been many exhibitions about GDR art since 1989. Most have shone the limelight on political aspects – from the thorny issue of state-commissioned art (Berlin, 1995) via a comparison of dictatorships (Weimar, 1999) to the potential for dissent (Berlin, 2016). After these political and sociological perspectives, Behind the Mask: Artists in the GDR asks how artists turned their critical gaze upon themselves, reflecting on their own way of seeing things and on their response to the tasks required of them, and identifying space for artistic creativity despite the official mission. This thematic approach shifts the focus away from sociological and ideological aspects toward the works themselves.

Through this exhibition, the Museum Barberini has begun to investigate its collection of East German art, which still plays a marginal role in German art history. Building on in-house holdings, from which ten exhibits have been selected, the show brings together more than 100 works by about 80 artists, including paintings, photographs, prints, drawings, collage and sculpture.

The loans have been provided by a number of museums, galleries and private collections, among them the Nationalgalerie in Berlin; Brandenburg’s Landesmuseum für moderne

Kunst in Cottbus & Frankfurt (Oder); the Staatliche Kunstsammlungen in Dresden; the Kunstmuseum Moritzburg in Halle; the Museum der bildenden Künste in Leipzig; the Tübke Foundation in Leipzig, and Galerie Eigen + Art Leipzig/Berlin.

The selection includes works by Karl-Heinz Adler (*1927), Gerhard Altenbourg (1926–1989), Strawalde (Jürgen Böttcher) (*1931), Hartwig Ebersbach (*1940), Hermann Glöckner (1889– 1987), Hans-Hendrik Grimmling (*1947), Ulrich Hachulla (*1943), Bernhard Heisig (1925– 2011), Wolfgang Mattheuer (1927–2004), Harald Metzkes (*1929), Michael Morgner (*1942), A. R. Penck (1939–2017), Stefan Plenkers (*1945), Evelyn Richter (*1930), Arno Rink (*1940), Theodor Rosenhauer (1901–1996), Willi Sitte (1921–2013), Werner Tübke (1929– 2004), Elisabeth Voigt (1893–1977), Dieter Weidenbach (*1945), Trak Wendisch (*1958) and the group Clara Mosch.

The curators are Valerie Hortolani and Michael Philipp.

The exhibition is accompanied by a 280-page catalog with approx. 180 illustrations, published by Prestel Verlag. The catalog can be purchased for € 29.95 in the museum shop and for € 39.95 from the book trade. It contains contribuions from, among others, Valerie Hortolani, Petra Lange-Berndt, Michael Philipp, Carolin Quermann, Martin Schieder.

Parallel to the exhibition Behind the Mask: Artists in the GDR, the Museum Barberini is showing a documentation of the “Gallery in the Palace of the Republic” until May 21, 2018. The 16 large-format paintings testify to state attempts at grandstanding by means of art. Against this backdrop, it is all the easier to appreciate the rich landscape of East German art that unfolded beyond this domain, and which can be viewed at the show Behind the Mask.

Marking the Palace Gallery presentation, the first issue of the Barberini Studies will be brought out with texts by Michael Philipp. It has 112 pages. The soft-cover version will be on sale at the museum shop for € 14.95, and the hard-cover edition can be purchased from the book trade for €24.95.

SERVICE INFORMATION AND ADMISSION Behind the Mask: Artists in the GDR October 29, 2017 to February 4, 2018 Museum Barberini, Alter Markt, Humboldtstrasse 5–6, 14467 Potsdam, Germany Mon & Wed–Sun: 10 a.m.–7 p.m., first Thu of every month: 10 a.m.–9 p.m., closed Tue Mon–Fri (except Tue) for kindergartens and schools with reservations: 9–11 a.m. Admission: € 14 / reduced: € 10 / children and teens under 18: free Timed tickets available online at www.museum-barberini.com

Facts & figures on the exhibition Behind the Mask: Artists in the GDR

Behind the Mask: Artists in the GDR October 29, 2017 to February 4, 2018

Number of works on show: About 120 works by 84 artists and 2 groups

Themed rooms 1. Portraits of Painters: Artists and their Roles 2. Reflections: Unobstructed Access to the Self 3. Experiments with Form: Abstraction and Autonomy 4. Images of Communities: Groups and Collectives 5. Claims on Inheritance: Role Models and References 6. Creative Sites: The Studio as Stage and Sanctuary 7. Masquerades: Costumes and Disguises 8. Questions of Faith: References to Christianity 9. Disruptive Images: Awakenings and Eruptions and a room devoted to Sculpture in the GDR

Curators: Valerie Hortolani, Michael Philipp Surface area: 1,200 m² Exhibition design: Gunther Maria Kolck and BrücknerAping Büro für Gestaltung

Exhibition catalog Behind the Mask: Artists in the GDR, edited by Michael Philipp and Ortrud Westheider. With contributions by Valerie Hortolani, Museum Barberini, Potsdam; Petra Lange-Berndt, University of Hamburg; Michael Philipp, Museum Barberini, Potsdam; Carolin Quermann, Städtische Galerie Dresden; Martin Schieder, University of Leipzig, and others. 24 x 30 cm, 280 pages, approx. 180 illustrations From the museum shop: € 29.95 Book trade price: € 39.95 Munich: Prestel Verlag

Exhibited artists Karl-Heinz Adler (*1927) Gerhard Altenbourg (1926–1989) Heinrich Apel (*1935) Walter Arnold (1909–1979) Theo Balden (1904–1995) Harry Blume (1924–1992) Micha Brendel (*1959) Gudrun Brüne (*1941) Kurt Buchwald (*1953) Kurt Bunge (1911–1998) Clara Mosch (1977–1982, Carlfriedrich Claus, Michael Morgner, Thomas Ranft, Dagmar Ranft-Schinke, Gregor-Torsten Schade)

Fritz Cremer (1906–1993) Lutz Dammbeck (*1948) Jutta Damme (1929–2002) Hartwig Ebersbach (*1940) Günter Firit (1947-2010) Wieland Förster (*1930) Else Gabriel (*1962) Sighard Gille (*1941) Hermann Glöckner (1889–1987) Peter Graf (*1937) Hans-Hendrik Grimmling (*1947) Hans Grundig (1901–1958) Sabina Grzimek (*1942) Ulrich Hachulla (*1943) Klaus Hähner-Springmühl (1950–2006) Angela Hampel (*1956) Rolf Händler (*1938) Frieder Heinze (*1950) Helmut Heinze (*1932) Bernhard Heisig (1925–2011) Bert Heller (1912-1970) Peter Herrmann (*1937) Sabine Herrmann (*1961) Günther Hornig (1937– 2016) Joachim Jansong (*1941) Irene Kiele (*1942) Erich Kissing (*1943) Siegfried Klotz (1939–2004) Otto Knöpfer (1911–1993) Gerda Lepke (*1939) Walter Libuda (*1950) Eberhard Löbel (*1938) Lücke-TPT (1971-1976, Harald Gallasch, Wolfgang Opitz, A. R. Penck, Hartmut Terk) Frank Maasdorf (*1950) Peter Makolies (*1936) Otto Manigk (1902–1972) Wolfgang Mattheuer (1927–2004) Harald Metzkes (*1929) Paul Michaelis (1914–2005) Gertraud Möhwald (1929–2002) Otto Möhwald (1933-2016) Michael Morgner (*1942) Jenny Mucchi-Wiegmann (1895–1969) Rudolf Nehmer (1912–1983) A.R. Penck (1939–2017) Wolfgang Peuker (1945–2001) Stefan Plenkers (*1945) Karl Raetsch (1930–2004)

Robert Rehfeldt (1931–1993) Evelyn Richter (*1930) Arno Rink (1940-2017) Theodor Rosenhauer (1901–1996) Jürgen Schieferdecker (*1937) Cornelia Schleime (*1953) Baldur Schönfelder (*1934) Eva Schulze-Knabe (1907–1976) Willi Sitte (1921-2013) Volker Stelzmann (*1940) Werner Stötzer (1931–2010) Strawalde (Jürgen Böttcher, *1931) Erika Stürmer-Alex (*1938) Werner Tübke (1929-2004) Elisabeth Voigt (1893–1977) Andreas Wachter (*1951) Norbert Wagenbrett (*1954) Dieter Weidenbach (*1945) Trak Wendisch (*1958) Karlheinz Wenzel (*1932) Christoph Wetzel (*1947) Karin Wieckhorst (*1942) Karla Woisnitza (*1952) Willy Wolff (1905-1985) Ruth Wolf-Rehfeldt (*1932) Heinz Zander (*1939) Thomas Ziegler (1947–2014)

Facts & figures on the Museum Barberini collection

Hasso Plattner’s art collection ranges from the Old Masters to contemporary art. With an outstanding grasp of painting, he has assembled, nearly unnoticed, one of the most comprehensive collections of French Impressionist landscape paintings. His private collection includes a large number of major works by such artists as Claude Monet (1840– 1926), Pierre-Auguste Renoir (1841–1919), and Alfred Sisley (1839–1899). Growing up on the border between East and West Germany, Hasso Plattner has always had an interest in German art of the 20th century, especially works from the former GDR and later. Faithful to his motto “Experience the original, share the enthusiasm,” the founder and patron Prof. h. c. mult. Hasso Plattner entrusted his collection to the Museum Barberini so that it would be accessible to the public. Today, over 70 works by artists such as Gerhard Richter (*1932), Bernhard Heisig (1925–2011), Werner Tübke (1929–2004), and Martin Kippenberger (1953– 1997) form the heart of the Hasso Plattner Stiftung, which is now housed at the Museum Barberini.

Artists in the collection Gudrun Brüne (*1941) Hartwig Ebersbach (*1940) Albrecht Gehse (*1955) Ulrich Hachulla (*1943) Bernhard Heisig (1925–2011) Johannes Heisig (*1953) Rolf Händler (*1938) Walter Libuda *1950 Werner Liebmann (*1951) Peter Makolies (*1936) Wolfgang Mattheuer (1927–2004) Harald Metzkes (*1929) Roland Nicolaus (*1954) Stefan Plenkers (*1945) Arno Rink (1940–2017) Willi Sitte (1921–2013) Michael Triegel (*1968) Werner Tübke (1929–2004)

Henri-Edmond Cross (1856–1910) Sam Francis (1923–1994) Klaus Fussmann (*1938) Martin Kippenberger (1953–1997) Gerhard Richter (*1932) Andy Warhol (1928–1987)

Attention: period of limitation until October 28, 2017 Interview Johanna Pfund (Süddeutsche Zeitung) with Prof. Hasso Plattner on the Museum Barberini collection

SZ: You have an extensive collection of East German art – which is not nearly as popular as the Impressionists that you collect as well. What was the main reason behind your decision to start collecting art from the former East Germany?

Actually, there were two reasons. First of all, I took a great interest in works by painters such as Mattheuer and Tübke as well as many other artists from the former GDR. I don’t understand why they aren’t represented more in museums even after so many years. That’s why I wanted to give them a forum. Secondly, with my new Museum Barberini, I have consciously placed a focus on East German art because I think that the people there were disadvantaged during the GDR period, and they got a raw deal again after the wall came down.

SZ: East German art is frequently associated with monumental Socialist Realism works. However the spectrum is much larger. Which works fascinate you in particular?

When I think of monumental Socialist Realism paintings, I think more of the former Soviet Union than I do of the GDR. It would be a mistake to equate the two. In the GDR artists were definitely repressed but they were still able to create some space for themselves. I’m fascinated by paintings from the Leipzig School as well as by many works by Dresden and Berlin artists because they are very complex and multilayered due to their engagement with modernism and the Old Masters. I’m especially attracted to landscapes by Mattheuer because they pull the viewer into a mysterious world.

SZ: You once said in an interview that you like beautiful things. Each person has a different idea of what is beautiful. What is yours?

For me a work of art is beautiful if it engages all the senses. I need to feel the tension, smell the air, and feel the water, or feel the power of an abstract composition. You notice a good painting immediately and it can hold its own alongside other excellent works.

SZ: How do you come to a decision about which works to buy? Is there a long period of deliberation before you make such – usually rather expensive – decisions? Or not? In other words, what is the process?

I see a painting and immediately know if I like it. That’s why I almost always make a decision very quickly without mulling it over or spending a long time deliberating. It goes without saying that the provenance and quality need to add up. I also have the other paintings in my collection in the back of my mind. Plus, I need to be able hang it somewhere and it needs to fit.

SZ: For a long time you were primarily known as a software entrepreneur and promoter of the sciences. In contrast, most people didn’t realize that you had put together a large collection of art. When did you start your collection and how did it develop?

In the 1970s I primarily collected contemporary German artists. Later, I was able to afford more well-known, international artists.

SZ: Once one starts collecting, it’s hard to stop. How is it with you? Are there works from particular eras or artists that you would like to purchase?

For the Museum Barberini we will continue to expand our collection of East German art, and with the Impressionists I continue to discover paintings that I would like to have in my collection. I like later, abstract artists that further developed Impressionist ideas and I am expanding the collection in this direction. There is so much excellent art.

SZ: Art and science – do you think that these two disciplines have something in common? If so, what are they?

Collecting is passive; scientific work is active. One looks for clear structures and quality in particular in both.

SZ: You expressed strong criticism of the German law to protect cultural assets before it passed. What do you think of the current version? How does the law affect you as a collector? In your opinion what would be preferable?

In terms of painting, this law serves no one. Not even those who passed it. However, we need to wait and see how it will be implemented.

SZ: Returning to art in the GDR: Which works in the exhibition at the Museum Barberini are you especially looking forward to seeing?

I’m especially looking forward to seeing the paintings from the Museum Barberini in dialog with loans from museums such as the Nationalgalerie in Berlin and the Staatliche Kunstsammlungen Dresden – this way one has a direct comparison. And I think it’s good that in the museum we can finally show how diverse and varied East German art really was.

Press release Potsdam, September 26, 2017

Museum Barberini shows the Palace Gallery: On view for the first time in 20 years

Alongside the exhibition Behind the Mask: Artists in the GDR, the Gallery from the Palace of the Republic will be on show again at the Museum Barberini from October 29, 2017 through May 21, 2018.

In 1976 the GDR opened the Palace of the Republic as the seat of parliament and an emblematic arts venue. One feature of the Palace of the Republic were 16 large-format paintings hanging in the main foyer. This “Palace Gallery” was created in 1975 around the theme May communists dream? Artists like Bernhard Heisig, Wolfgang Mattheuer, Willi Sitte, Werner Tübke, Walter Womacka, and Hans Vent were exhibited here until the Palace closed in 1990.

Only a few weeks after the inauguration, several hundred thousand visitors had already seen the Palace of the Republic and the Gallery. The paintings were frequently illustrated in East German publications, and some circulated in the form of postage stamps.

The Palace Gallery was last seen in 1996. Since then, the paintings have been in storage, unless loaned individually for a few weeks to an exhibition.

The German Historical Museum, the Federal Office of Administration, and the Museum Barberini jointly undertook to restore the works. This meant cleaning the surface (over 200 square meters altogether), refitting the hanging devices, and repairing the frames.

Defining the theme and finding artists to take part was the responsibility of the sculptor Fritz Cremer. The only specific requirement – on architectural grounds – was the height of the paintings, which had to be 280 cm. The width could be anything up to six meters. The artists were free to choose their own motif, and these were all different. Apart from Walter Womacka’s work When Communists Dream..., references to the selected theme were fairly loose. Each artist adhered to his own style, but all the works were figurative, reflecting the tradition of realistic painting in the GDR.

With this documentation, the Museum Barberini is presenting a historical testimonial from the heyday of East German state art. Against this backdrop of art used as a showcase, it is easier to appreciate the rich landscape of East German art that unfolded beyond this domain. It can be witnessed at the exhibition Behind the Mask: Artists in the GDR at the Museum Barberini from October 29, 2017 until February 4, 2018.

In the first volume of the Barberini Studies, Michael Philipp, Chief Curator at the Museum Barberini, investigates the origins of the Palace Gallery, drawing on autobiographical accounts and records from the GDR’s Ministry of Culture. Asking how the subversive sounding title May communists dream? came about, and how the state sought to assert its ideological aims, he shows that the artists only partially complied with the expectation that they would produce propaganda. Despite the state’s monopoly on power, culture officials were unable to impose their objectives, and they soon distanced themselves from the works.

Even here, at the heart of a building intended as a showpiece for the GDR, the gap between wordy ideological pronouncements and reality was evident.

On the Palace Gallery in the Palace of the Republic The Palace of the Republic was built in 1973–1976 to designs by Heinz Graffunder on the site of the former royal palace in Berlin where the Humboldt Forum is currently taking shape. It served as the seat of parliament, as a symbol of prestige, and as an arts venue. Until its closure in 1990, it was used for cultural events, concerts and theatre, with various gastronomical options.

The overall design for this building included a substantial presence of art: the Palace Gallery in the main foyer. The sculptor Fritz Cremer, who was vice-president of the Academy of Arts, was appointed in 1973 to head the artistic planning team for the Palace of the Republic. It was his task to find the artists who would produce works on his selected theme May communists dream?

Artists and works Günter Brendel (*1930): Big Still Life, 1975/76 René Graetz (1908–1974) / Arno Mohr (1910–2001): War and Peace, 1975 Erhard Grossmann (*1936): Tajikistan, 1975 Bernhard Heisig (1925–2011): Icarus, 1975 Wolfgang Mattheuer (1927–2004): Good Day, 1975 Arno Mohr (1910–2001): Keep Researching Till You Know, 1975 Willi Neubert (1920–2011): Yesterday – Today, 1975 Ronald Paris (*1933): The World Is Ours – For A’ That, 1975/76 Kurt Robbel (1909–1986): The Creative Forces, 1975/76 Wolfram Schubert (*1926): Bread for All, 1975 Willi Sitte (1921–2013): The Red Flag – Struggle, Suffering and Victory, 1975/76 Werner Tübke (1929–2004): Humanity – Measure of All Things, 1975 Hans Vent (*1934): People on the Beach, 1975 Matthias Wegehaupt (*1938): Space for the New, 1975 Walter Womacka (1925–2010): When Communists Dream..., 1975 Lothar Zitzmann (1924–1977): Song of World Youth, 1975

Publications

Catalog Behind the Mask: Artists in the GDR A catalogue from Prestel Verlag will accompany the exhibition. It contains 280 pages and approx. 180 illustrations. The catalog is available for € 29.95 from the museum shop and for € 39.95 from the book trade. The essays were contributed by Valerie Hortolani, Petra Lange-Berndt, Michael Philipp, Carolin Quermann, and Martin Schieder.

First issue of Barberini Studies May Communists Dream? The Gallery in the Palace of the Republic: A documentary presentation The first volume of Barberini Studies, with texts by Michael Philipp, is devoted to the presentation of the Palace Gallery. The 112-page issue is available as a soft-cover version for €14,95 from the museum shop, in a hard cover from the book trade for € 24.95.

Room notes Behind the Mask: Artists in the GDR

Portraits of Painters: Artists and their Roles

A self-portrait is always an act of artistic positioning. Since the Renaissance, artists have used self-portraits as a tool for self-analysis. In a political system that sited the individual within the context of a society, an artist’s preoccupation with the self was understood as an insistence on subjectivity as the basis for creativity. From 1945 to 1989, this was a controversial point of view. Portraits of friends and colleagues also displayed this emphasis on the individual. Artists also grappled with the expectation for them to identify with the workers.

Reflections: Unobstructed Access to the Self

Answers to an artist’s interrogation of the self are not always to be found in accurate depictions of individuals or one’s surroundings. Since the dawn of modernism, artists have used alienation, dissolution, fragmentation, collage, and symbolism to capture moments of reality. Another artistic tool was the depiction of oneself in fictive spaces, which functioned as projections of one’s self-perception. The focus was on an open stylistic search for the self, rather than the individual’s place in social structures.

Images of Communities: Groups and Collectives

Group portraits are meant to convey a community’s identity. Socialist realist brigade pictures drew from the tradition of seventeenth-century Dutch guild portraits. Yet artists’ depictions of their friends deliberately rejected the obligation to convey a larger message. Instead, they cast themselves as existentialists and bohemians or as ironic nudes in the style of antiquity. The collective works demanded by the state in the late 1940s were later revived by artist groups, whose collaboratively created works eschewed any pretensions of grandeur or representation.

Experiments with Form: Abstraction and Autonomy

The dogma of socialist realism rejected abstract art. It was regarded as the language of the West, both incomprehensible and unrepresentative of the new image of humankind. Yet artists continued to insist on creating abstract, non-representational works, continuing the tradition of Bauhaus and Russian constructivism. The 1970s saw the introduction of material pictures and concrete art. Although abstract works were seldom seen in officially organized exhibitions, they had a powerful impact on architecture and art in architecture.

Claims on Inheritance: Role Models and References

Artists have been referencing their predecessors since the beginning of the modern era. They measure themselves against masterpieces, copying, citing and transfiguring the originals in order to surpass or pass judgment on them. In doing so, they stake a claim to their own place within the artistic canon. Official art policy understood inherited traditions differently. State legitimation was more important than artistic self-assertion. By taking on

stylized artist personae from preceding centuries, artists evaluated themselves according to standards outside the purview of state authorities.

Creative Sites: The Studio as Stage and Sanctuary

The studio is a self-determined space created not merely as a place for production, but also as a personal expression of an artist’s individuality. The studio is where artists keep their work, the result of their artistic process. A picture of a studio is a picture of an artist. It reveals the site of creative production and captures stages in the working process: the emptiness of the unpainted canvas, the profusion of ideas, or the productive chaos. The studio suspends reality at the moment when thoughts take on a chimeric form of their own.

Questions of Faith: References to Christianity

In an atheist society, religious themes indicate an outsider. And yet the long-standing tradition of Christian imagery is also a wellspring for such basic human emotions as grief, pain, hope, and temptation. Drawing on this tradition allowed artists to depict their individual existential experiences in a universal way, independent of a desire to impart a religious message. Artists might identify with a sacred figure as a means of self-elevation or self- ironization, and a depiction of the Passion of Christ can convey an artist’s creative struggle.

Disruptive Images: Awakenings and Eruptions

Art historians coined the term “problem pictures” to describe the complex content and compositions of 1960s artworks. By then, intellectually demanding work was tolerated, for agreement with the socialist state was presupposed. From the 1970s, artists ceased to acquiesce to this political instrumentalization. The prevailing conditions so disturbed them that their work no longer related to real socialism. Disruptive images and drastic techniques using new methods became more prevalent in the 1980s.

Masquerades: Costumes and Disguises

The mask is the leitmotif of artistic self-assertion. It allows an artist’s true personality to be concealed and thus protected. Masks express uncertainty about one’s place in society and the experience of being an outsider, and they can be used to counter assigned roles. As a clear means of camouflage, the mask conveys a deliberate distancing from one’s surroundings and assumes a subversive potential. Before 1989, artists employed masks playfully, ironically, and symbolically, yet their powerful role went unnoticed in official art criticism.

Summary of Palace Gallery documentation

Documentation: The Gallery of the Palast der Republik

The Palast der Republik

In April 1976, the Palast der Republik (Palace of the Republic) opened in Berlin as the seat of the German Democratic Republic’s parliament and as a prestigious cultural center—a palace for the people. Filled with more than three hundred works of art by more than a hundred contemporary artists, it included paintings, reliefs, tapestries, and works of glass and porcelain. The most prominent of these were in the gallery: a group of sixteen large- format paintings by various artists on two floors of the main foyer. Not only was the state’s flagship building erected on the site of the former Hohenzollern palace—its ruins were dynamited in 1950—but it also marked the very place where Karl Liebknecht had proclaimed the German Free Socialist Republic in November 1918. The 1970s witnessed a number of foreign policy achievements for the GDR. It had garnered international recognition with the December 1972 ratification of the Basic Treaty (Grundlagenvertrag) between East and West Germany, the country’s inclusion in the United Nations in September 1973, and the signing of the Helsinki Accords in August 1975. Yet the decade was also an era of heightened confrontation between East and West. Policy issues like rearmament, deterrence, and the threat of war presented the world powers with major policy concerns. Built between 1973 and 1976, the Palast der Republik housed the GDR’s legislature (Volkskammer), a large event hall that could hold circa five thousand visitors, numerous restaurants, and even a bowling alley and a disco. The foyer was its centerpiece.

The Palast der Republik Gallery and its Artists

The Ministry for Culture was responsible for the building’s artistic program. In 1973 it entrusted the concept to Fritz Cremer, a sculptor known for his memorial at Buchenwald concentration camp. Cremer sought as his starting point “to animate and humanize the ensemble as a whole.” He rejected the introduction of large-scale, propaganda-oriented designs to the façade, though this was long-standing practice in East German architecture. Throughout the 1960s, certain artists from the GDR (starting with those in Leipzig) had begun experimenting with greater creative freedom, departing from easy-to-understand, optimistic, and idealized depictions of work and leisure in favor of fundamental themes and historical subjects. Artists were developing a new, complex and expressive formal language. It was to these kinds of painters that Cremer turned. Cremer proposed nine of the sixteen painters ultimately exhibited in gallery of the Palast der Republik: René Graetz, Bernhard Heisig, Wolfgang Mattheuer, Arno Mohr, Ronald Paris, Willi Sitte, Werner Tübke, Hans Vent, and Matthias Wegehaupt. The other seven were invited on behalf of the Ministry for Culture: Günther Brendel, Erhard Großmann, Willi Neubert, Kurt Robbel, Wolfram Schubert, Walter Womacka, and Lothar Zitzmann. As artists, these men represented a broad spectrum in terms of age, place of study and career profile. The oldest—Graetz, Robbel, and Mohr—were born between 1908 and 1910 and belonged, like Cremer, to the GDR’s first generation of artists. Most of the participants, like Neubert, Sitte, Womacka, and Heisig, belonged to the second generation, a group that

included those born up to 1930. The youngest artists commissioned were Großmann and Wegehaupt, who were 38 and 36 years old when they were selected. The painters had studied in different places—in Berlin-Weißensee, Dresden, Halle, Leipzig, and Weimar—but as professors they were connected exclusively to the art schools in Berlin-Weißensee, Halle, and Leipzig.

The Themes

For the theme of the Palast gallery, Fritz Cremer posed a question: “Are Communists Allowed to Dream?” The artists generally interpreted the title’s open wording as a carte blanche from a design perspective. Giving visual representation to dreams suspended the natural laws of logic, time, and space. It also enabled another kind of composition that had emerged in the 1960s in the GDR: “simultaneous,” or “complex painting.” Paintings in the gallery by Heisig, Neubert, Paris, Sitte, and Wegehaupt can each be interpreted as a sort of visual representation of a dream, and Womacka’s painting—the only one to actually show a person dreaming—made the program more explicit. Cremer took the concept from Vladimir Lenin’s 1902 political text What Is To Be Done? in which Lenin argued that the dreams of revolutionaries serve as a stimulus for sweeping social change. Direct representations of the working class and of class antagonism appear in only a few instances in the Palast gallery, however: Mohr addressed socialist education, Schubert looked to the typology of the proud peasant, and Großmann portrayed workers and peasants in Soviet Tajikistan. Of the paintings, half of them have dichotomies as their determining premise. The themes war and peace, past and future, reaction and progress, evil and good, imperialism and socialism feature prominently—be it in sixteenth-century garb (as in Tübke’s work), as timeless symbolism (in Graetz’s case), or concealed in ornamental decor (as in Zitzmann’s Song of World Youth). Heisig’s Icarus is unique among the works in the Palast gallery for sounding a skeptical note in its disturbing depiction of the open-ended course of history. Christian motifs and themes are also prevalent—which was no means a given, considering their placement within the flagship building of a state that considered itself atheist. As for history painting, Sitte’s composition depicted the historical struggle of the workers’ movement in the first third of the twentieth century, while Neubert provided an “anti- imperialist” interpretation of the bombing of Dresden in World War II. Within the gallery, only Mattheuer’s painting Good Day shows an everyday scene from contemporary life in the 1970s.

Reception

The stylistic diversity, multifarious approaches, and variety of pictorial concepts evident in the Palast der Republik gallery paintings show the effects of the short-term liberalization of GDR cultural policy in the first years after Erich Honecker’s rise to power in 1971—and what the cultural functionaries understood by it. Indeed, the works stretched the concept of socialist realism almost to the point of arbitrariness. Reviews of the gallery made liberal use of the first-person plural; the words “we” and “us” appear again and again. In this way authors conscripted readers and viewers into a constructed community of consensus marked by shared sentiments and perspectives. The gallery was initially embraced as an official showcase of art from the GDR, and the paintings were presented to state guests from abroad.

Leaders soon grew dissatisfied with the Palast’s gallery, however. Cultural policy sought to suppress the public’s awareness of the works, even limiting the number of reproductions that were printed. If contemporaries saw the gallery of the Palast der Republik as a prestigious showcase for GDR painting, it also marked the high point of the state’s official art policy. Just half a year after the Palast was opened, the erosion of the state began to accelerate, spurred by the expulsion of the singer-songwriter Wolf Biermann in November 1976 and the protests and repressive state countermeasures that ensued.

Digital Visitors’ Book

Barberini Letterbox

Barberini Digital supports the encounter with the original. A vibrant, digital approach to explaining art accompanies the art experience – for example, with the app before the visit, the smart wall in the museum, and afterwards.

At the exhibition Behind the Mask: Artists in the GDR, there is also the Barberini Letterbox. In the form of the Barberini Letterbox, the museum has established a smart Visitors’ Book and invites visitors to express their feedback about the exhibition, their opinions or personal requests. These handwritten contributions are captured digitally and shared with the public in the exhibition space via an animated projection. The Barberini Letterbox is also directly linked to the museum’s other digital channels, such as the app and the website. In this way, the visitors’ contributions reach a broader audience outside the museum.

Press photos and credits for Behind the Mask: Artists in the GDR

Wolfgang Mattheuer: The Gray Window, 1969, Museum Barberini, © VG BILD-KUNST, Bonn 2017

Erika Stürmer-Alex: Self- Portrait, 1981, Besitz der Künstlerin, Photo: Joachim Richau, Berlin, © VG BILD- KUNST, Bonn 2017

Trak Wendisch: Seiltänzer, 1984, Staatliche Museen zu Berlin, Nationalgalerie, Photo: bpk / Nationalgalerie, SMB / Jörg P. Anders, © VG BILD-KUNST, Bonn 2017

A. R. Penck: Me, 1970, Privatsammlung über Neues Museum. Staatliches Museum für Kunst und Design, Nürnberg, Photo: Stiftung Neues Museum Weserburg Bremen, © VG BILD-KUNST, Bonn 2017

Willi Sitte: Woman Leaning, 1957, Museum Barberini, © VG BILD-KUNST, Bonn 2017

Günter Firit: Self-Destruction, 1987, Nachlass Günter Firit, Photo: Frank Strassmann

Harald Metzkes: Janus Face, 1977, Kunstsammlung der Berliner Volksbank, Photo: Stefan Maria Rother, Berlin, © VG BILD-KUNST, Bonn 2017

Erich Kissing: People from Leipzig at the Sea, 1976– 1979, Museum der bildenden Künste Leipzig, Photo: bpk / Museum der bildenden Künste, Leipzig / Bertram Kober (Punctum Leipzig), © VG BILD-KUNST, Bonn 2017

Norbert Wagenbrett: Self- Portrait with Worker, 1983, Brandenburgisches Landesmuseum für moderne Kunst, Photo: Bernd Kuhnert, © VG BILD-KUNST, Bonn 2017

Press photos and credits for Palace Gallery documentation

Lothar Zitzmann: Weltjugendlied, 1975, Leihgabe der Bundesrepublik Deutschland, © VG Bild- Kunst, Bonn 2017

Walter Womacka: Wenn Kommunisten träumen..., 1975, Leihgabe der Bundesrepublik Deutschland, © VG Bild-Kunst, Bonn 2017

Bernhard Heisig: Ikarus, 1975, Leihgabe der Bundesrepublik Deutschland, © VG Bild-Kunst, Bonn 2017

Sources of loans to Behind the Mask: Artists in the GDR

Lindenau-Museum, Altenburg Kunstarchiv Beeskow – archived collection of GDR art ACT Art Collection, Berlin ChertLüdde, Berlin Galerie Barthel + Tetzner, Berlin Galerie EIGEN + ART, Leipzig/Berlin Galerie Michael Schultz, Berlin Johannes Zielke, LÄKEMÄKER, Berlin Berliner Volksbank Art Collection Willy-Brandt-Haus Collection, Berlin Staatliche Museen zu Berlin, Nationalgalerie Stiftung Stadtmuseum Berlin Kunstsammlungen Chemnitz Brandenburgisches Landesmuseum für moderne Kunst, Cottbus & Frankfurt (Oder) Albertinum/New Masters Gallery, Staatliche Kunstsammlungen Dresden Albertinum/Sculpture Collection, Staatliche Kunstsammlungen Dresden Kunstfonds, Staatliche Kunstsammlungen Dresden Prof. Harald Marx, Dresden Angermuseum Erfurt Bilderhaus Krämerbrücke, Erfurt Kulturstiftung Sachsen-Anhalt. Kunstmuseum Moritzburg Halle (Saale) Sammlung Liebelt, Hamburg Museumslandschaft Hessen Kassel, Neue Galerie, Sammlung der Moderne, Kassel Evelyn Richter Archive held by the Ostdeutsche Sparkassenstiftung at the Museum der bildenden Künste, Leipzig Sparkasse Leipzig Art Collection Museum der bildenden Künste, Leipzig Tübke Stiftung, Leipzig Jutta and Manfred Heinrich Art Collection, Maulbronn Neues Museum – Staatliches Museum für Kunst und Design, Nuremberg Potsdam Museum – Forum for Art and History Siegfried Seiz Collection, Reutlingen Städtische Museen, Kunsthalle Rostock Staatliches Museum Schwerin/Ludwigslust/ Güstrow mumok | Museum moderner Kunst Stiftung Ludwig, Vienna artists and their estates: Fritz Cremer Fonds Günter Firit Fonds Angela Hampel Gerda Lepke Harald Metzkes Robert Rehfeldt Fonds Strawalde (Jürgen Böttcher) Erika Stürmer-Alex Andreas Wachter

Karin Wieckhorst Karla Woisnitza and private collections wishing to remain anonymous

What else is on at the Museum Barberini?

Francis, Kippenberger, Warhol, Richter: From the Collection of the Museum Barberini

For his series of works entitled Dear Painter, Paint for Me, the painter and performance artist Martin Kippenberger hired a commercial movie-poster artist from Berlin to produce large- format paintings based on his photographs. In doing so, Kippenberger parodied the role of the painter as someone who provides firsthand testimony. In this “commissioned self- portrait,” Kippenberger presents himself as a contemporary witness to the division of Germany, posing in front of a souvenir stand between posters that commemorate the thirtieth anniversary of the founding of the GDR.

Abstraction in Mexico and the United States: From 1960 to the Present Day

Indigenous motifs inspired the brightly colored abstract works of Rufino Tamayo (1899– 1991), Harold J. Waldrum (1934–2003), and Dan Namingha (b. 1950). With Harold Joe Waldrum (1934–2003), Dan Namingha (*1950) and Rufino Tamayo (1899– 1991), the Museum Barberini is presenting three idiosyncratic modern art positions in the USA and Mexico. Paintings by Dan Namingha unite the abstract formal language of American modernism with the motifs and symbols of the Native American Hopi tribe. Namingha transposes motifs from ornamental ceramics and the ceremonial dances of the Hopi into the realm of panel painting. Harold Joe Waldrum brings an abstract quality to his motifs of New Mexican architecture through simplification, close-ups, and fragmentation. The Mexican artist Rufino Tamayo is a pioneer of modern art in Mexico. His work recalls early wall paintings and the pre-Columbian art of his homeland while also reflecting his engagement with surrealism and cubism.

Events

Public Tours every day, except Tuesday, at 11 a.m., 12 a.m., and 3 p.m., and Thursday evenings at 5 p.m. Please reserve tickets for children’s art activities in advance on our website or at the ticket desk in the museum.€ 3 p. p. plus admission

Children's Art Activities Every Saturday from 11 a.m. to 1 p.m., children ages 5 and above can discover art in the museum. They will encounter original works of art on exhibit and afterward explore their own creativity in the museum’s studio. € 3 p. child

Barberini After Five With Barberini After Five, the Museum Barberini is bringing a program for visitors under 35 to Germany. We offer tours, eye-to-eye discussions, and a place to enjoy art in a relaxing atmosphere. Get ready for an exciting program filled with music and art.We were inspired by a visit to The Phillips Collection in Washington, D.C., which launched a sophisticated program of events with Phillips After 5. The Museum Barberini is also working with the collection on its show From Hopper to Rothko: America’s Road to Modern Art, which will be on display in the summer of 2017. € 10 / reduced € 8

Conferences

Conference for the exhibition Gerhard Richter: Abstraction (June 30 – Oct. 21, 2018) Inspired by a new acquisition, the Museum Barberini will present the exhibition Gerhard Richter: Abstraction next summer. It will follow the painter’s work from the 1960s to the present day. The exhibition explores the relationship and significance of abstraction and subject matter, photography and painting in color, overpainting and priming. These topics will be addressed by Hubertus Butin, Dietmar Elger, Matthias Krüger, Ortrud Westheider, and Armin Zweite. € 10 / € 8 reduced rate / students admitted free of charge Auditorium

Conference for the exhibition Henri-Edmond Cross (Nov. 17, 2018 – Feb. 17, 2019) In the 1880s a style of painting emerged from Impressionism. Known as Pointillism, it placed small brilliant dabs of paint next to each other, fragmenting reality into single bits of color. One of its most important representatives was Henri-Edmond Cross (1856–1910), who was a follower of anarchist principles promoting a Utopian society. In cooperation with the Musée des Impressionnismes Giverny, the Museum Barberini will be showing the first retrospective of this Neo-Impressionist’s work in Germany in the fall of 2018. Talks by Marina Ferretti, Annette Haudequet, Monique Nonne, and others will present this French artist in the context of European modernism. € 10 / € 8 reduced rate / students admitted free of charge Auditorium

Events on Behind the Mask. Artists in the GDR

Reading Wednesday, Nov. 15, 2017, 7 p.m.

Die Lüge (The Lie) Uwe Kolbe Uwe Kolbe’s novel deals with betrayal: Within the scope of his activities for the state, a father makes use of various sources in the cultural scene – including his own son. This is the story of an excessive and terrifying entanglement. Father and son begin to revolve around each other. The reader slowly begins to have a sense of the battle they are locked in and that it will last a life time. In cooperation with the Stadt- und Landesbibliothek Potsdam € 10 / reduced € 8 Auditorium

Reading Wednesday, Nov. 22, 2017, 7 p.m. Stierblutjahre (Bull’s Blood Years: Bohemians of the East) Die Boheme des Ostens, Jutta Voigt Jutta Voigt discusses the desire for a different life in East Germany. In the foreword of her book she writes, “The history of Bohemians in East Germany is one of new beginnings and disappointment, of avant-garde and indifference. But also one of the love of the game and the power of presumption. Bohemians in the East chain smoked and drank red wine, their favorite being the best there was, Egri Bikavér, or Bull’s Blood from Hungary.” Jutta Voigt studied philosophy in the 1960s at the Humboldt University in Berlin and was a part of the Bohemian scene in Prenzlauer Berg. In cooperation with Stadt- und Landesbibliothek Potsdam Free Sponsored by Bundesstiftung zur Aufarbeitung der SED-Diktatur Reservations are recommended: T + 49 331 289 6600, www.bibliothek.potsdam.de Location: Stadt- und Landesbibliothek Potsdam, Am Kanal 47, 14467 Potsdam

Talk Thursday, Nov. 16, 2017, 4–7 p.m. Harald Metzkes at the Museum Barberini and the Potsdam Museum Guided tour of the exhibition Behind the Mask: Artists in the GDR at the Museum Barberini followed by a talk by Dr. Jutta Götzmann: Harald Metzkes – I Create Myself Harald Metzkes studied at the Academy of Fine Arts in Dresden, was a student in the master class of Otto Nagel at the Deutsche Akademie der Künste zu Berlin and is among the pioneering artists of the Berlin School. He received the Brandenburg Minister President Award in 2012 for his life’s work which consists of thousands of oil paintings, watercolors, drawings, and prints. Four of his works can be seen in the exhibition Behind the Mask: Artists in the GDR. A tour of the exhibition at the Museum Barberini from 4:30 to 5:30 p.m. will be followed by a talk by Dr. Jutta Götzmann, Director of the Potsdam Museum, titled Harald Metzkes – I Create Myself. It will examine the artist’s view of himself and the world. The focus will be on two paintings that Harald Metzkes is delivering to the Potsdam Museum’s art collection. They will be presented for the first time in the lecture hall. In cooperation with the Potsdam Museum – Forum for Art and Culture € 10 / reduced € 8 Tour: Museum Barberini foyer Talk: Potsdam Museum, Am Alten Markt 9, 14467 Potsdam

Concert and Discussion Soundscapes Overtones: Painting and Music in East Germany Wednesday, Dec. 6, 2017, 7 p.m. Musicians from the Kammerakademie Potsdam Clemens Goldberg, host and critic of Kulturradio rbb, talks about composition in painting and music on the basis of paintings in the exhibition and compositions created during the East German period. He discusses these topics with musicians from the Kammerakademie Potsdam and Dr. Ortrud Westheider, director of the Museum Barberini. Host: Clemens Goldberg, Berlin Following the concert and discussion, audience members have a special opportunity to visit the exhibition and compare notes at the Café Barberini. In cooperation with the Kammerakademie Potsdam € 20 / reduced € 15 Auditorium

Lecture Series: Art in the GDR The exhibition Behind the Mask: Artists in the GDR explores the self-expression of artists as individuals. The widespread stereotype of state-sponsored artists gets in the way of seeing individual artists and the different living and working conditions of artists in the former East Germany. Almost 30 years after the end of the GDR, we have the opportunity to talk to contemporary witnesses about their experiences, perceptions and evaluations. € 10 / reduced € 8 Auditorium

Monday, Nov. 27, 2017, 7 p.m. Curriculum Vitae: Artists and Their Work A discussion with Hartwig Ebersbach, Prof. Else Gabriel, and Prof. Hans-Hendrik Grimmling The evening will focus on artistic and biographical issues – the development of individuals and the selection of creative subject matter as well the conditions under which art was studied in East Germany. Hartwig Ebersbach conspicuously presents himself in the center of his artistic work. Between 1979 and 1983 he taught the only class for experimental art at the Academy of Fine Arts in Leipzig. As a member of the Autoperforation performance group, Else Gabriel caused irritation and made waves in Dresden and Berlin. Today she works at the Weißensee Academy of Art in Berlin. The painter Hans-Hendrik Grimmling was a co-initiator of the 1st Leipzig Herbstsalon in 1984, one of the important events in artistic self-assertion in East Germany. Until recently he taught at the BTK University of Applied Sciences in Berlin.

Monday, Dec. 4, 2017, 7 p.m. Instances of Art Education A discussion with Matthias Flügge, Gerd Harry Lybke, and Jutta Penndorf In spite of regulation and repression, it was possible to find ways to present art in museums, journals, or private spaces in East Germany that did not conform to the official agenda if those involved wanted to. Matthias Flügge is a curator and art historian who was the editor of the journal Bildende Kunst from 1977 to 1984. Today he is rector of the Academy of Fine Arts in Dresden. In 1983, Gerd Harry Lybke opened his Galerie Eigen + Art in Leipzig. He is one of the leading art dealers for contemporary art in Germany. Until 2012, Jutta Penndorf was the director of the Lindenau Museum in Altenburg and is a member of the Sächsische Akademie der Künste.

Film Series With its series of cinematic works by Jürgen Böttcher (Strawalde), Lutz Dammbeck, A. R. Penck, Cornelia Schleime, Gabriele Stötzer, and others, the Film Museum is showing how artists in East Germany also used film as a means of implementing or questioning their aesthetic strategies by examining their own profession. A motion picture by director Konrad Wolf and television reports add additional perspectives to the theme of artists in the GDR. Visitors to the Museum Barberini or these showings will receive a discount on admission to the other museum upon presentation of their ticket. Ticket reservations: T +49 331 27181-12, [email protected] € 6 / reduced € 5 Filmmuseum Potsdam, Breite Str. 1a/Marstall, 14467 Potsdam

Friday, Nov. 3, 2017, 7 p.m. Short Films and Artist Interviews with Jürgen Böttcher (Strawalde) The painter and film-maker Jürgen Böttcher (Strawalde) discusses his cinematic work in East Germany. The 86 year-old presents a selection of his artist portraits and experimental films which bring the works of the Old Masters to life. Host: Knut Elstermann Drei von vielen D: Jürgen Böttcher (Strawalde), GDR 1961, in German, 35 min. Kurzer Besuch bei Hermann Glöckner D: Jürgen Böttcher (Strawalde), GDR 1984, in German, 31 min. Venus nach Giorgione D: Jürgen Böttcher (Strawalde), GDR 1981, in German, 21 min.

Thursday, Dec. 14, 2017, 7 p.m. Der nackte Mann auf dem Sportplatz D: Konrad Wolf, with Kurt Böwe, Ursula Karusseit, GDR 1974, in German, 101 min. Introduction: Dr. Thomas Beutelschmidt (media historian) Konrad Wolf’s succinctly narrative satire addresses the contradictory situation of the artist in a socialist society. Contemporary television reports supplement the film.

Friday, Jan. 12, 2018, 7 p.m. Subversionen in East Germany

An independent film scene emerged in East Germany at the end of the 1970s in which artists countered GDR reality with their own virtual reality. Introduction: Dr. Claus Löser (film historian) Terror in Dresden D: A. R. Penck, GDR 1978, in German, 20 min. Animated Film 3 – Esclapantes oder Sommer in Uhlenhorst D: Andreas Dress, GDR 1983, in German, 16 min. Lokalbestimmung D: Gabriele Stötzer, GDR 1984, in German, 15 min. Mirabilia D: E. Wolfgang Hartzsch, GDR 1988, in German, 20 min. Zwischen Gold und Gelb kann nur noch Licht fallen D: Cornelia Schleime, GDR 1989, in German, 18 min.

Wednesday, Jan. 17, 2018, 7 p.m. Films and Artist Interview with Lutz Dammbeck Leipzig-born artist Lutz Dammbeck was one of the initiators of the 1st Leipzig Herbstsalon in 1984, a semi-legal exhibition of six artist friends. In 1995, he created a film about the generation of his teachers which included Werner Tübke and Bernhard Heisig. Host: Ralf Schenk, DEFA-Stiftung (t.b.c.) 1. Leipziger Herbstsalon D: Lutz Dammbeck, GDR 1984/2017, in German, 22 min. Dürers Erben D: Lutz Dammbeck, D 1995, in German, 58 min.

Barberini After Five Recharge, Relax, Rethink Barberini After Five is a series of events for visitors under 35 offering tours, eye-to-eye discussions, and a place to enjoy art in a relaxing atmosphere. Every first Thursday of the month from 5 to 9 p.m. you can enjoy an exciting program of music and art. Every evening begins with a tour of the exhibition and a hands-on group activity that references topics and motifs found in the exhibition. Cocktails mixed by Bar Fritz’N. Young Friends free / Students € 5 / Friends € 3 Regular € 17 / reduced € 13

Thursday, Nov. 2, 2017 Barberini After Five: Let loose with DJ Cpt. Twist Along with the visual arts, pop culture in East Germany was highly controversial. Cultural historian Bodo Mrozek from the Center for Contemporary Historical Research in Potsdam and author of the book Jugend – Pop – Kultur. Eine transnationale Geschichte (2018) presents a richly illustrated overview with many sound bites on the absurdity of East Germany’s pop culture history. Alongside criminalized fashion such as jeans and plaid shirts, there was also the Leipzig Lipsi, a dance created by the state to counter rock-and-roll gyrations in the West. Unlike the later broadcaster DT 64, it was poorly receive by East German youth. They chanted: “We don’t want Lipsi or Alo Koll, we want Elvis Presley and we love rock ’n’ roll.” 5:30 p.m.: Tour of the exhibition, meet in the foyer

6–6:30 p.m.: Introduction: Marching to a Different Beat: Rock and Pop Music in East Germany, Bodo Mrozek: Auditorium 6:30–9 p.m.: DJ Cpt. Twist mixes historic vinyl tracks (Soul jazz and R&B): Foyer

Thursday, Dec. 7, 2017 Barberini After Five: Barberini Quiz Why are bananas bent? No idea, but can you heal wounds or make good paint with them? These and many other strange questions will be asked and answered by Seitenquiz in entertaining and sometimes chaotic quiz rounds. The activists from Seitenquiz turn the theme of the exhibition on its head. The winner will be the unofficial Barberini quiz champion, and even if you don't know anything about art, you still have an excellent chance to win during this evening of entertainment. 5:30 p.m.: Tour of the exhibition, meet in the foyer 6–8 p.m.: Barberini quiz with Seitenquiz: Auditorium 6–9 p.m.: Music and drinks in the foyer

Thursday, Jan. 4, 2018 Barberini After Five: Take It Easy 5:30, 6:30, 7:30 p.m.: Tour of the exhibition, meet in the foyer 6–9 p.m.: Enough looking back on the past. We’ll take a look at the future. Get in the mood for the New Year with music and drinks: Auditorium

Thursday, Feb. 1, 2018 Barberini After Five: Best of Poetry Slam Five well-traveled and much-celebrated poets take the stage with poems that describe, jinx, conjure up, or counter the echo chamber that deals with the exhibition Behind the Mask: Artists in the GDR. But since the invited artists are too good to send home right away, they will compete against each other in a second, freestyle round to settle once and for all who the audience favorite is. Afterwards, DJ Ernesto Linares will add his own acoustic beats to the rhythms of speech. 5:30 p.m.: Tour of the exhibition, meet in the foyer 6–8 p.m.: Best of Poetry Slam: Auditorium DJ Ernesto Linares (Spree vom Weizen): Auditorium

Children Guide Children Art at Eye Level Kids show their favorite pictures. Our Kid Guides take children between 6 and 13 on a tour of the exhibition Behind the Mask: Artists in the GDR. They reveal why artists painted themselves so often, why they sometimes wore masks and costumes, why there are group portraits – and so much more! First Sunday of every month, 3 p.m. (30 min.) € 3 per child Meeting place: Foyer

Birthday Party with Art, Tour and Workshop Available Fridays, Saturdays, and Sundays after 3 p.m. (120 min.) € 110 for a maximum of 15 children

Saturday, Jan. 20, 2018 Unterwegs im Licht On January 20, 2018, Potsdam is presenting Unterwegs im Licht. At nightfall, artistic light displays create a magnificent play of color on the facades of buildings in the center of Potsdam. To celebrate, the Museum Barberini is offering a variety of creative events for children from 11 a.m. until 5 p.m. Admission for children is free. Discount admission for adults € 10 Children’s Art Activities, 11 a.m. – 1 p.m. For kids from 5 to 10 € 3 per child Please register in advance. Meeting place: Foyer

Children Guide Children Through the Exhibition Behind the Mask: Artists in the GDR, 4–4:30 p.m. For kids from 5 to 12, max. 20 children Open Studio, 3–5 p.m. Extended opening hours: 10 a.m. – 8 p.m.

Advance notice: Max Beckmann: World Theater and other exhibitions in 2018

October 29, 2017 to February 4, 2018 Behind the Mask. Artists in the GDR

February 24 to June 10, 2018 Max Beckmann: The World as a Stage

June 30 to Oktober 21, 2018 Gerhard Richter. Abstraction

November 17, 2018 to Feburary 17, 2019 Henri-Edmond Cross

Exhibition Max Beckmann: The World as a Stage 24 February to 10 June, 2018

Max Beckmann (1884–1950) was fascinated by the world of the theater, circus, and music halls as metaphorical showcases for human relationships and world affairs. Many of his paintings, prints, drawings, and sculptures allude directly to these subjects, conveying his idea of the world as a stage.

Museum Barberini, which opened in January 2017 with the exhibitions Impressionism: The Art of Landscape and Modern Art Classics: Liebermann, Nolde, Munch, Kandinsky, is now launching with Max Beckmann: The World as a Stage a series of monographic exhibitions on the artists of classical modernism. The exhibition was conceived in cooperation with the Kunsthalle Bremen, where it is on view from 30 September 2017 to 4 February 2018. The images presented demonstrate that, like no other artist, Max Beckmann turned theatrical display into a fundamental principle of painting. Starting in the years after World War I, he used three methods to create a mood of ostentation in his works: First, he staged the body; secondly, he used objects as attributes; and thirdly, he worked with the gesture of pointing.

A focus on dramatic grandstanding—whether by music hall or carnival artistes, acrobats, clowns, or actors—dominated Beckmann’s work from the early 1920s until his death in 1950. Stephan Lackner, a writer and Beckmann confidant, raised the artist’s enduring interest in this subject matter to a philosophical level in 1938 with the concept of the theater of the world. He connected Beckmann’s depictions with the Baroque idea of the affairs of the world as mere play-acting providing clues to the underlying reality. The concept of the theater of the world has often been associated with Beckmann. And yet Max Beckmann: The World as a Stage is the first exhibition devoted to an extensive exploration of this topic. Here, Beckmann’s theatre of the world becomes fully tangible in both its visual and ideological dimensions as we watch the painter and author of two little-known dramas cast himself in the roles of “theater director, film director, and stagehand.”

On view are some 150 of Beckmann’s works—including as special highlight two large-format triptychs that have rarely been shown in Europe. The starting point for the exhibition is the collection of the Kunsthalle Bremen, which has one of the most important groups of works by Beckmann anywhere in Germany, including major paintings as well as nearly all of the artist’s prints. In the show, the works enter into dialogue with important loans from major museums and private collections, including the Museum of Modern Art (New York), the National Gallery of Art (Washington, D.C.), Museum Ludwig (Cologne), and the Von der Heydt-Museum (Wuppertal). The exhibition was curated by Eva Fischer-Hausdorf (Kunsthalle Bremen) and Ortrud Westheider (Museum Barberini).

In preparation for the exhibition, a symposium was held at Museum Barberini on 29 March 2017. The speakers were Dr. Eva Fischer-Hausdorf, Kunsthalle Bremen; Dr. Ortrud Westheider, Museum Barberini; Dr. Christiane Zeiller, Max Beckmann Archive, Munich; Dr. Lynette Roth, Busch-Reisinger Museum, Harvard Art Museums, Cambridge (USA); Prof. Dr. Irene Pieper, University of Hildesheim; and Dr. Sebastian Karnatz, Bavarian Department of State-owned Palaces, Gardens and Lakes, Munich. The talks are printed as essays in the extensive exhibition catalogue, which also illustrates each exhibited work in color.

Works were loaned for the exhibition by the following: Gemeente Stadsarchief Amsterdam Akademie der Künste, Berlin Fotonachlass Heinrich George, Berlin Institut für Theaterwissenschaft der Freien Universität Berlin, Theaterhistorische Sammlungen Nationalgalerie, Staatliche Museen zu Berlin Zirkusarchiv Winkler, Berlin Kunstmuseum Bonn Harvard Art Museums/Fogg Museum, Cambridge, MA Columbus Museum of Art, Columbus, OH Stiftung Kunstsammlung Nordrhein-Westfalen, Düsseldorf Stiftung Museum Kunstpalast, Düsseldorf Museum Folkwang, Essen Städel Museum, Frankfurt am Main Sammlung Peter Rawert, Hamburg Museum Ludwig, Köln Museum der bildenden Künste Leipzig Marie-Louise von Motesiczky Charitable Trust, London Tate, London Wilhelm-Hack-Museum, Ludwigshafen am Rhein Max Beckmann Archiv, Max Beckmann Nachlässe, Bayerische Staatsgemäldesammlungen, München Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen, München Richard L. Feigen Collection, New York The Museum of Modern Art, New York Mildred Lane Kemper Art Museum, Washington University in St. Louis, St. Louis, MO Saint Louis Art Museum, St. Louis, MO

Staatsgalerie Stuttgart National Gallery of Art, Washington, D.C. Von der Heydt-Museum Wuppertal Mr. and Mrs. Michael B. Grogan as well as private lenders who do not wish to be named.

SERVICE DATA & TICKETS Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam Mon & Wed-Sun 10 a.m.–7 p.m., first Thu of the month 10 a.m.–9 p.m., closed Tue Mon-Fri (except Tue) for kindergartens and schools by appointment 9–11 a.m. Admission: € 14/ € 10 with discount / children under 18 free of charge Annual pass: individual € 30 / couples € 50 / Young Friend (under 35) € 20 Online tickets for a specific time slot: www.museum-barberini.com

Complete list of works in Behind the Mask: Artists in the GDR

Karl-Heinz Adler (*1927): Schichtung mit Viertelkreisen/Layering with Quarter Circles, 1959/60, Collage, Ingrespapier und Graphit auf Karton/ Collage, ingres paper, and graphite on cardboard, 76 x 76 cm Courtesy Galerie EIGEN + ART Leipzig/Berlin, Copyright: Courtesy Galerie EIGEN + ART Leipzig/Berlin

Karl-Heinz Adler (*1927): Aus der Serie: Serielle Lineaturen (Zwei Zentren)/ From the series: Serial Lines (Two Centers), 1986, Graphit auf Karton /Graphite on cardboard, 71 x 71 cm Courtesy Galerie EIGEN + ART Leipzig/Berlin, Copyright: Courtesy Galerie EIGEN + ART Leipzig/Berlin Copyright Photo: Uwe Walter, Berlin

Gerhard Altenbourg (1926–1989): Selbst/Self, 1947, Kreide und Aquarell auf Karton /Chalk and watercolor on cardboard, 69,1 x 51,2 cm Privatsammlung Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Falko Behr, Erfurt

Gerhard Altenbourg (1926–1989): Versunken im Ich-Gestein/Immersed in an Ego Rock, 1966, Chinesische Tusche, Aquarell, Rötel, Bister und Pastell auf Karton/Chinese ink, watercolor, red chalk, bistre and pastel on cardboard, 60,2 x 42,7 cm Privatsammlung, Copyright: © VG Bild-Kunst, Bonn 2017

Ohne Heinrich Apel (*1935): Katalogabbildung/not in the Orpheus/Orpheus, 1977, catalogue Holz, genagelt und bemalt/Nailed and painted wood, 143 x 55 x 23,5 cm Albertinum / Skulpturensammlung, Staatliche Kunstsammlungen Dresden,

Ohne Walter Arnold (1909–1979): Katalogabbildung/not in the Selbstbildnis (Maske)/Self-Portrait (Mask), 1972, catalogue Terrakotta, gefärbt/ Colored terracotta, 27 x 19 x 19,4 cm Albertinum/Skulpturensammlung, Staatliche

Kunstsammlungen Dresden, Copyright: © VG Bild-Kunst, Bonn 2017

Theo Balden (1904–1995): Kopf mit Maske/Head with Mask, 1964, Terrakotta/Terracotta, Höhe 35 cm Privatbesitz Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Lutz Bertram

Theo Balden (1904–1995): Fritz Cremer/Fritz Cremer, 1965/66, Bronze/Bronze, 26 x 22,5 x 25 cm Staatliches Museum Schwerin/Ludwigslust/Güstrow, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk | Staatliches Museum Schwerin | Gabriele Bröcker

Harry Blume (1924–1992): Gruppenbild Leipziger Künstler/Group Portrait of Leipzig Artists, 1961, Öl auf Hartfaser/Oil on hardboard, 90 x 125,5 cm Museum der bildenden Künste Leipzig, Copyright Photo: bpk / Museum der bildenden Künste, Leipzig / Michael Ehritt

Micha Brendel (*1959): Lustschutz/Lust Protection, 1982–1988, Schwarz-Weiß-Photographie/Black-and-white photograph, 4 von 6 Teilen, je 79,5 x 54,5 cm Kunstfonds, Staatliche Kunstsammlungen Dresden,

Förderankauf des Freistaats Sachsen, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Staatliche Kunstsammlungen Dresden / Michael Brendel

Gudrun Brüne (*1941): Selbst mit Vorbildern/The Artist with Role Models, 1982, Öl auf Hartfaser/Oil on hardboard, 100 x 130 cm Albertinum/Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Staatliche Kunstsammlungen Dresden, Albertinum / Elke Estel / Hans-Peter Klut

Kurt Buchwald (*1953): Stehplätze – Störplätze/Standing Places – Disturbing Places, 1984, Tafel mit 15 Photographien und Text/Panel with 15 photographs and text, gesamt 43,5 x 58,4 cm

Brandenburgisches Landesmuseum für moderne Kunst, Cottbus & Frankfurt (Oder) Copyright: © VG Bild-Kunst, Bonn 2017

Kurt Bunge (1911–1998): Großes Atelierbild/Large Studio Picture, 1949, Öl auf Hartfaser/Oil on hardboard, 120 x 93 cm Privatsammlung, Copyright: Nachlass des Künstlers / Michael Bunge, Kassel Copyright Photo: Georg Oleschinski, Euskirchen

Fritz Cremer (1906–1993): Portrait Otto Manigk/Portrait of Otto Manigk, 1965, Bronze/Bronze, 40 x 30 x 30 cm Nachlass Fritz Cremer, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Karl Schwind, Galerie Schwind, Leipzig

Lutz Dammbeck (*1948): Poster zur Eröffnung der Galerie Clara Mosch/Poster on the occasion of the inauguration of the Clara Mosch Gallery, 1977, Offsetlithographie/Offset lithograph, 80 x 56 cm Privatsammlung, Courtesy Galerie Barthel + Tetzner, Berlin, Copyright: © VG Bild-Kunst, Bonn 2017

Lutz Dammbeck (*1948): Poster zur Schließung der Galerie Clara Mosch/Poster on the occasion of the closure of the Clara Mosch Gallery, 1982, Serigraphie/Serigraph, 60 x 82 cm Privatsammlung, Courtesy Galerie Barthel + Tetzner, Berlin, Copyright: © VG Bild-Kunst, Bonn 2017

Jutta Damme (1929–2002): Im Atelier/In the Studio, 1978, Öl auf Leinwand/Oil on canvas, 68 x 79,5 cm Brandenburgisches Landesmuseum für moderne Kunst, Cottbus & Frankfurt (Oder) Copyright: © VG Bild-Kunst, Bonn 2017

Hartwig Ebersbach (*1940): Brennender Mann I /Burning Man I, 1966, Öl auf Sperrholz/Oil on plywood panel, 145 x 145 cm mumok Museum moderner Kunst Stiftung Ludwig Wien, Leihgabe der Österreichischen Ludwig-Stiftung seit 1991, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: mumok Museum moderner Kunst Stiftung

Ludwig Wien

Hartwig Ebersbach (*1940): Selbstbildnis unterm Strich/Self-Portrait under the Line, 1982, Öl auf Leinwand/Oil on canvas, 110 x 126 cm Museum Barberini, Potsdam, Copyright: © VG Bild-Kunst, Bonn 2017

Hartwig Ebersbach (*1940): Selbstbildnis mit Selbstbildnis/Self-Portrait with Self-Portrait, 1984, Öl auf Hartfaser/Oil on hardboard, Tafel 1 170 x 125 cm Tafel 2 , 79 x 125 cm Lindenau-Museum Altenburg, Copyright: © VG Bild-Kunst, Bonn 2017

Günter Firit (1947-2010): Selbstzerstörung/Self-Destruction, 1987, Öl auf Hartfaser/Oil on hardboard, 150 x 170 cm Nachlass Günter Firit, Copyright Photo: Frank Strassmann

Ohne Wieland Förster (*1930) Katalogabbildung/not in the Kleines Martyrium (Entwurf für ein Mahmal)/Minor Ordeal catalogue (Model for a Memorial), 1966, Bronze/Bronze, 93,5 x 28 x 29 cm Albertinum/Skulpturensammlung, Staatliche Kunstsammlungen Dresden, Copyright: © VG Bild-Kunst, Bonn 2017

Else Gabriel (*1962) Der Daumen der Strafe/The Thumb of Punishment, 1986 (Abzug/ print 1999), Schwarz-Weiß-Photographie/Black-and-white photograph, 30,4 x 24 cm Kunstfonds, Staatliche Kunstsammlungen Dresden, Förderankauf des Freistaats Sachsen,

Sighard Gille (*1941): Fete in Leipzig II/Party in Leipzig II, 1989, Öl auf Hartfaser/Oil on hardboard, 170 x 245 cm Privatsammlung, Frankfurt am Main, Copyright: © VG Bild-Kunst, Bonn 2017

Hermann Glöckner (1889–1987): Sächsische Volkszeitung/Sächsische Volkszeitung, 1946– 1953, Collage und Tempera/Collage and tempera, 27,8 x 42,5 cm Privatsammlung, Courtesy Galerie Barthel + Tetzner, Berlin, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Lutz Bertram

Hermann Glöckner (1889–1987): Gefalteter Streifen in Blau über waagerechten Streifen in Rot /Folded Stripe in Blue over horizontal Stripe in Red, 28. April 1956 Collage, Seidenpapier, Leim und Lack auf Pappe/Collage, silk paper, glue and lacquer paint on cardboard, 29 x 41,8 cm Privatsammlung, Courtesy Galerie Barthel + Tetzner, Berlin, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Lutz Bertram

Hermann Glöckner (1889–1987): Ohne Titel (Diagonale Bahn zwischen Altrosa und Gelbgrün)/Untitled (Diagonal Course Between Dusky Pink and Yellow Green), 1965, Monotypie auf Papier/Monotype on paper, 36,2 x 52 cm

Privatsammlung, Berlin, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Stefan Schiske, Berlin

Hermann Glöckner (1889–1987): Ohne Titel (Keil nach links in Schwarz und Grau)/Untitled (Leftward Wedge in Black and Gray), 1969, Tempera über Faltung auf Papier/Tempera on paper with fold lines, 50,4 x 35,3 cm Privatsammlung, Berlin, Copyright: © VG Bild-Kunst, Bonn 2017

Hermann Glöckner (1889–1987): Ohne Titel (Profil mit hellblauem Kopfschmuck)/Untitled (Profile with Pale Blue Headdress), 31. Dezember 1956, Collage und Zeichnung/Collage and drawing, 35 x 24,5 cm Sammlung Liebelt, Hamburg, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Egbert Haneke

Hermann Glöckner (1889–1987): Sägezahnschnitte und Vogelschwingen über vier Gewebeflecken,/Saw-Tooth Cuts and Bird's Wings on Four Fabric Stains, Mai 1956, Collage, Zeitungspapier, Pressspankarton, Leinwand, Tempera und Lack auf Pappe/Collage, newspaper, particle cardboard, canvas, tempera, and lacquer on cardboard, 49,8 x 35,2 cm Privatsammlung, Courtesy Galerie Barthel + Tetzner, Berlin, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Lutz Bertram

Peter Graf (*1937): Selbstbildnis mit Papagei/Self-Portrait with Parrot, 1971, Öl auf Hartfaser/Oil on hardboard, Durchmesser 51 cm Albertinum/Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Copyright: © VG Bild-Kunst, Bonn 2017

Hans-Hendrik Grimmling (*1947): Die Umerziehung der Vögel/Reeducation of the Birds, 1977, Öl auf Hartfaser/Oil on hardboard, 4-teilig, gesamt 203 x 411 cm Kunstsammlung Jutta und Manfred Heinrich, Maulbronn, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Eric Tschernow

Hans Grundig (1901–1958): Selbstbildnis/Self-Portrait, 1946, Öl auf Leinwand/Oil on canvas, 126 x 86,2 cm Staatliche Museen zu Berlin, Nationalgalerie, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Nationalgalerie, SMB / Klaus Göken

Sabina Grzimek (*1942): Selbstbildnis/Self-Portrait, 1973/74, Bronze/Bronze, 41,5 x 30 x 33 cm Staatliche Museen zu Berlin, Nationalgalerie, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Nationalgalerie, SMB

Ulrich Hachulla (*1943): Karneval (Diptychon)/Carnival (Diptych), 1984/85, Mischtechnik auf Holz/Mixed media on panel, zweiteilig gesamt 197 x 246 cm, rechts 197 x 123 cm, links 197 x 123 cm Museum Barberini, Potsdam, Copyright: © VG Bild-Kunst, Bonn 2017

Angela Hampel (*1956): Selbst mit Flügeln/The Artist with Wings, 1987/88, Mischtechnik auf Kapok/Mixed media on kapok, 126 x 84 cm Besitz der Künstlerin, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Torsten Leupold

Helmut Heinze (*1932): Bernhard Kretzschmar/Bernhard Kretzschmar, 1972/73, Bronze/Bronze, 49,6 x 14 x 14 cm Albertinum/Skulpturensammlung, Staatliche Kunstsammlungen Dresden, Copyright Photo: bpk / Staatliche Kunstsammlungen Dresden, Albertinum/Hans-Peter Klut

Frieder Heinze (*1950): Selbstverständnis/Self-Image, 1979, Öl auf Acryl auf Hartfaser/Oil on acrylic on hardboard, 156 x 170 cm Museum der bildenden Künste Leipzig, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Museum der bildenden Künste, Leipzig / Michael Ehritt

Bernhard Heisig (1925–2011): Das Atelier/The Studio, 1979, Öl auf Hartfaser/Oil on hardboard, 150,5 x 241 cm Museumslandschaft Hessen Kassel, Neue Galerie, Sammlung der Moderne, Kassel, Copyright Photo: Museumslandschaft Hessen Kassel, Neue Galerie Copyright: © VG Bild-Kunst, Bonn 2017

Bernhard Heisig (1925–2011): Selbst als Puppenspieler/The Artist as Puppet Master, 1982, Öl auf Leinwand/Oil on canvas, 100 x 81 cm Kunstsammlungen Chemnitz, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk | Kunstsammlungen Chemnitz | May Voigt

Bert Heller (1912–1970): Bildnis Prof. Otto Nagel/Portrait of Prof. Otto Nagel, 1959, Öl auf Hartfaser/Oil on hardboard, 130 x 80,5 cm Stiftung Stadtmuseum Berlin, Copyright Photo: Oliver Ziebe, Berlin

Peter Herrmann (*1937): Meine Freunde/My Friends, 1976, Öl auf Leinwand/Oil on canvas, 111 x 130 cm Brandenburgisches Landesmuseum für moderne Kunst, Cottbus & Frankfurt (Oder), Copyright Photo: Brandenburgisches Landesmuseum für moderne Kunst

Sabine Herrmann (*1961): Der Artist ist tot/The Artist is Dead, 1988, Öl auf Hartfaser/Oil on hardboard, 160 x 125 cm Sammlung Siegfried Seiz, Reutlingen, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo Sabine Herrmann

Günter Hornig (1937–2016): Ohne Titel/Untitled, 1986, Pappe, Dispersionsfarbe und Leim auf holzverstärktem Karton/Cardboard, dispersion paint, and lacquer on wood- reinforced cardboard, 75,2 x 75,5 x 6 cm Johannes Zielke, LÄKEMÄKER Berlin, Copyright: VG Bild-Kunst, Bonn 2017

Günter Hornig (1937–2016): Strukturierte Vertikale Rot-Gelb-Blau/ Structured Vertical Red-Yellow-Blue, 1988, Pappe, Dispersionsfarbe und Leim auf Spanplatte/Cardboard, dispersion paint, and glue on chipboard, 168 x 43,2 x 22,7 cm Johannes Zielke, LÄKEMÄKER Berlin,

Klaus Hähner-Springmühl (1950–2006): Ohne Titel/Untitled, 1982, 9 Photographien, auf Pappe geklebt/9 photographs, mounted on cardboard, insgesamt 73 x 55 cm Galerie Barthel + Tetzner, Berlin, Copyright Photo: Lutz Bertram

Klaus Hähner-Springmühl (1950–2006): Ohne Titel/Untitled, 1984, Photographie und Tusche auf Papier/Photograph and India ink on paper, 51 x 36,5 cm Galerie Barthel + Tetzner, Berlin,

Klaus Hähner-Springmühl (1950–2006): Ohne Titel/Untitled, 1987, 8 Photographien, auf Pappe geklebt/8 photographs, mounted on cardboard, 73 x 51 cm Privatsammlung, Courtesy Galerie Barthel + Tetzner, Berlin, Copyright Photo: Lutz Bertram

Joachim Jansong (*1941): Der goldene Schnitt/The Golden Section, 1982, Collage/Collage, 77,9 x 48,8 cm Museum der bildenden Künste Leipzig, Copyright Photo: bpk / Museum der bildenden Künste, Leipzig / Ursula Gerstenberger

Joachim Jansong (*1941): Selbst, noch in Leipzig/The Artist, Still in Leipzig, 1985, Farbsiebdruck und Radierung/Color silkscreen and etching, 43,2 x 30,6 cm Museum der bildenden Künste Leipzig, Copyright Photo: bpk / Museum der bildenden Künste, Leipzig / Bertram Kober (Punctum Leipzig)

Irene Kiele (*1942): Selbstbildnis in Leipziger Häusern/Self-Portrait in Leipzig Houses, 1977/78, Öl auf Hartfaser/Oil on hardboard, 75,8 x 55,7 cm Museum der bildenden Künste Leipzig, Copyright Photo: bpk / Museum der bildenden Künste, Leipzig / Michael Ehritt

Erich Kissing (*1943): Leipziger am Meer/Leipzigers at the Sea, 1976–1979, Mischtechnik auf Hartfaser/Mixed media on hardboard, 122,4 x 172,3 cm Museum der bildenden Künste Leipzig,

Siegfried Klotz (1939–2004): Selbstbildnis mit Puppen (Menschensucher)/ Self-Portrait with Puppets (People Seeker), 1980–1982, Öl auf Hartfaser/Oil on hardboard, 168 x 180 cm Brandenburgisches Landesmuseum für moderne Kunst, Cottbus & Frankfurt (Oder) Copyright Photo: Brandenburgisches Landesmuseum für moderne Kunst, Cottbus & Frankfurt (Oder)

Eberhard Löbel (*1938): Stillleben mit Selbstbildnis/Still Life with Self-Portrait, 1971, Öl auf Hartfaser/Oil on hardboard, 60 x 50 cm Brandenburgisches Landesmuseum für moderne Kunst, Cottbus & Frankfurt (Oder) Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Brandenburgisches Landesmuseum für

moderne Kunst, Cottbus & Frankfurt (Oder)

Lücke-TPT (Harald Gallasch, Wolfgang Opitz, A. R. Penck, Steffen Kuhnert (Terk), 1971–1976) Grau zu Blau/Gray to Blue, 1973, Acryl auf Baumwolle/Acrylic on cotton, 150,5 x 149,5 cm Sammlung Liebelt, Hamburg, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Egbert Haneke

Ohne Frank Maasdorf (*1950): Katalogabbildung/not in the Karyatide/ Caryatid, 1986/87, catalogue Sandstein/Sandstone, 56,5 x 14,5 x 15 cm Kulturstiftung Sachsen-Anhalt. Kunstmuseum Moritzburg Halle (Saale),

Ohne Peter Makolies (*1936): Katalogabbildung/not in the Wächter/ Guard, 1983, catalogue Keramik, engobiert/Engobed ceramic, 57 x 21,5 x 21,5 cm Kulturstiftung Sachsen-Anhalt. Kunstmuseum Moritzburg Halle (Saale)

Peter Makolies (*1936): Angst/Angst, 1985, Bronze/Bronze, Höhe 8,2 cm Museum Barberini, Potsdam

Otto Manigk (1902–1972): Selbstbildnis mit gelbem Pinsel/Self-Portrait with Yellow Paintbrush, 1962, Öl auf Pappe/Oil on cardboard, 70,5 x 50,5 cm Städtische Museen, Kunsthalle Rostock, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Torsten Krause

Wolfgang Mattheuer (1927–2004): Mann mit Maske (Gesichtzeigen)/Man with Mask (Show your Face), 1981, Bronze/Bronze, 220 x 82 x 77 cm Staatliche Museen zu Berlin, Nationalgalerie, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Nationalgalerie, SMB / Jens Ziehe

Harald Metzkes (*1929): Die Freunde/The Friends, 1957, Öl auf Leinwand/Oil on canvas, 120 x 243 cm Privatsammlung, Hamburg, Copyright: © VG Bild-Kunst, Bonn, 2017 Copyright Photo: Christoph Irrgang, Hamburg

Harald Metzkes (*1929): Januskopf/Janus Face, 1977, Öl auf Leinwand/Oil on canvas, 130 x 114 cm Kunstsammlung der Berliner Volksbank, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Stefan Maria Rother, Berlin

Paul Michaelis (1914–2005): Selbstbildnis/Self-Portrait, 1984, Öl auf Hartfaser/Oil on hardboard, 82 x 65 cm Albertinum/Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Copyright: © VG Bild-Kunst, Bonn 2017

Michael Morgner (*1942): M. überschreitet den See bei Gallenthin/M. crossing the Lake near Gallenthin, 1983, Siebdruck und Tuschlavage auf Pappe/Silkscreen and lavage in ink on cardboard, fünfteilig, je 88 x 68 cm Galerie Barthel + Tetzner, Berlin, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Lutz Bertram

Clara Mosch (Carlfriedrich Claus, Michael Morgner, Thomas Ranft, Dagmar Ranft-Schinke, Gregor-Torsten Schade(Kozik)) 1977–1982 Mosch-Mappe 4: Graphik in fünf Stufen – Metamorphosen der Fünftracht/Mosch Portfolio: Graphic in Five Steps – Metamorphoses 14of the Fivefold, 1982, Mappe mit 5 Radierungen, 1 Textblatt in Siebdruck/Portfolio with 5 etchings, 1 text sheet in silkscreen, 23 x 23 cm Privatsammlung, Courtesy Galerie Barthel + Tetzner, Berlin,

Ohne Jenny Mucchi-Wiegmann (1895–1969): Katalogabbildung/not in the Orkan/Hurricane, 1965, catalogue Bronze/Bronze, 39 x 15 x 8 cm Kulturstiftung Sachsen-Anhalt. Kunstmuseum Moritzburg Halle (Saale),

Otto Möhwald (1933–2016): Durchblick zum Atelier/View Toward the Studio, 1984, Öl auf Leinwand/Oil on canvas, 120 x 100 cm Kulturstiftung Sachsen-Anhalt. Kunstmuseum Moritzburg Halle (Saale), Copyright Photo: Klaus E. Göltz

Ohne Gertraud Möhwald (1929–2002): Katalogabbildung/not in the Torso mit geneigtem Kopf/Torso with Bowed Head, 1984, catalogue Schamotteton, Scherben, Glasuren, Oxyde, Engoben/Fireclay, shards, glazes, oxyde15, engobed, 65,5 x 29,5 x 21 cm Kulturstiftung Sachsen-Anhalt. Kunstmuseum Moritzburg Halle (Saale),

Rudolf Nehmer (1912–1983): Bildnis des Malers Fritz Tröger/Portrait 15ft he Painter Fritz Tröger, 1957, Öl auf Hartfaser/Oil on hardboard, 100,2 x 75 cm Lindenau-Museum Altenburg, Copyright Photo: PUNCTUM/Bertram Kober

A.R. Penck (1939–2017): Ich/ Me, 1970, Öl auf Leinwand/Oil on canvas, 94 x 197 cm Privatsammlung über Neues Museum. Staatliches Museum für Kunst und Design, Nürnberg, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Stiftung Neues Museum Weserburg Bremen

Wolfgang Peuker (1945–2001): Meine Tür/My Door, 1973, Öl auf Hartfaser/Oil on hardboard, 49 x 34 cm Kulturstiftung Sachsen-Anhalt. Kunstmuseum Moritzburg Halle (Saale), Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Punctum/Peter Franke

Robert Rehfeldt (1931–1993): Aus der Werkserie von Polaroids in verschiedenen Uniformen/ From the series of Polaroid photos in different uniforms, Polaroids, je 10,8 x 8,9 cm Nachlass Robert Rehfeldt, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Lutz Bertram

Robert Rehfeldt (1931–1993): Aus der Werkserie der Mail-Art-Postkarten(Deine Idee hilft meiner Idee, unsere Ideen helfen anderen Ideen) / From the series of mail art postcards (your idea helps my idea, our ideas help other ideas), 1970er–1980er Jahre

Evelyn Richter (*1930): Selbstinszenierung. TU Dresden/Self-Staging: TU Dresden, 1952, Schwarz-Weiß-Photographie/Black-and-white photograph, 60,8 x 49 cm Evelyn Richter Archiv der Ostdeutschen Sparkassenstiftung im Museum der bildenden Künste Leipzig,

Evelyn Richter (*1930): Bildkabarett mit den Academixern, Universität Leipzig/ Picture Cabaret with the Academixers: Leipzig University, 1976, 3 Schwarz-Weiß-Photographien/ 3 black-and-white photographs, 22,5 x 26,8 cm

Evelyn Richter Archiv der Ostdeutschen Sparkassenstiftung im Museum der bildenden Künste Leipzig, Copyright Photo: Reproduktionsfotos Evelyn Richter: Harald Richter, Hamburg

Arno Rink (1940–2017): Versuchung/Temptation, 1980, Öl auf Leinwand auf Holz/Oil on canvas, mounted on panel, 160 x 120,3 cm Albertinum / Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Copyright: © VG Bild-Kunst, Bonn 2017

Copyright Photo: bpk / Staatliche Kunstsammlungen Dresden, Albertinum/Galerie Neue Meister, Staatliche Kunstsammlungen Dresden / Elke Estel / Hans-Peter Klut

Theodor Rosenhauer (1901–1996): Maskiertes Selbstbildnis/Masked Self-Portrait, 1953, Öl auf Leinwand/Oil on canvas, 50 x 41 cm Privatsammlung, Courtesy Bilderhaus Krämerbrücke, Erfurt, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Bilderhaus Krämerbrücke, Erfurt

Jürgen Schieferdecker (*1937): Das Lächeln der Mona Lisa oder Kann Hoffnung scheitern?/ The Smile of Mona Lisa or Can Hope Fail?, 1976/77, Assemblage, Öl auf Hartfaser, Stoff, Rasiermesser,

Reproduktion, Acryl, Holz/Assemblage, oil on hardboard, fabric, razor, reproduction, acrylic, wood, 51 x 98,5 x 5 cm Brandenburgisches Landesmuseum für moderne Kunst, Cottbus & Frankfurt (Oder) Copyright: © VG Bild-Kunst, Bonn 2017

Cornelia Schleime (*1953): Ich halte doch nicht die Luft an, Selbstinszenierung in Hüpstedt/I Won't Hold My Breath After All, Performance in Hüpstedt, 1982, 3 Schwarz-Weiß-Photographien/3 black-and-white photographs, je 100 x 100 cm Courtesy Galerie Michael Schultz, Berlin,

Eva Schulze-Knabe (1907–1976): Selbstbildnis/Self-Portrait, 1957, Öl auf Leinwand/Oil on canvas, 65 x 55,5 cm Albertinum/Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Copyright Photo: bpk / Staatliche Kunstsammlungen Dresden, Albertinum

Ohne Baldur Schönfelder (*1934): Katalogabbildung/not in the Nike I/ Nike I, 1981, catalogue Zinnlegierung/Tin alloy, 41,5 x 55,5 x 28,5 cm Kulturstiftung Sachsen-Anhalt. Kunstmuseum Moritzburg Halle (Saale),

Willi Sitte (1921–2013): Selbst mit Tube und Schutzhelm/The Artist with Paint Tube and Safety Helmet, 1984, Öl und Farbtube auf Hartfaser/Oil and paint tube on hardboard, 125 x 67,5 cm Museum Barberini, Potsdam, Copyright: © VG Bild-Kunst, Bonn 2017

Volker Stelzmann (*1940): Werkstatt mit J.C., Da. P. und L.L./Studio with J.C., Da. P. and L.L., 1982, Mischtechnik auf Hartfaser/Mixed media on hardboard, 178,5 x 118,5 cm Kunstsammlung der Sparkasse Leipzig, Copyright: © VG Bild-Kunst, Bonn 2017

Strawalde (Jürgen Böttcher) (*1931): Nach Giorgione/After Giorgione, 1954, Öl auf Leinwand/Oil on canvas, 121 x 141 cm Besitz des Künstlers, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Lutz Bertram

Ohne Werner Stötzer (1931–2010): Katalogabbildung/not in the Sitzende/Seated Woman, 1973/74, catalogue Sandstein/Sandstone, 60 x 35 x 26,5 cm Albertinum / Skulpturensammlung, Staatliche Kunstsammlungen Dresden,

Erika Stürmer-Alex (*1938): Selbstportrait/Self-Portrait, 1981, Latexfarbe auf Stoff/Latex paint on fabric, 150 x 122 cm Besitz der Künstlerin, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Joachim Richau, Berlin

Werner Tübke (1929–2004): Selbstbildnis in Samarkand/Self-Portrait in Samarkand, 1962, Tempera und Öl auf Leinwand und Hartfaser/Gouache and oil on canvas and hardboard, 42 x 35,5 cm Staatliche Museen zu Berlin, Nationalgalerie, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Nationalgalerie, SMB / Klaus Göken

Werner Tübke (1929–2004): Selbstbildnis auf bulgarischer Ikone/Self-Portrait on Bulgarian Icon, 1977, Mischtechnik auf Holz/Mixed media on panel, 36,9 x 29,3 cm Tübke Stiftung Leipzig, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Foto: bpk / Museum der bildenden Künste, Leipzig,

Tübke Stiftung Leipzig / Martin Weicker

Werner Tübke (1929–2004): Familienbildnis in sizilianischen Marionettenrüstungen/Family Portrait in Sicilian Puppet Armor, 1977, Mischtechnik auf Leinwand auf Pressspanplatte/Mixed media on canvas on pressboard, 33,9 x 42 cm Tübke Stiftung Leipzig, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Museum der bildenden Künste, Leipzig, Tübke Stiftung Leipzig / Martin Weicker

Elisabeth Voigt (1893–1977): Verlorene Illusion/Lost Illusion, um 1945, Öl auf Leinwand/Oil on canvas, 92 x 76 cm Lindenau-Museum Altenburg, Copyright Photo: PUNCTUM/Bertram Kober

Andreas Wachter (*1951): Pietà/Pietà, 1987, Mischtechnik auf Hartfaser/Mixed media on hardboard, 115 x 105 cm Besitz des Künstlers, Copyright Photo: Lutz Bertram

Norbert Wagenbrett (*1954): Selbstportrait mit Arbeiter/Self-Portrait with Worker, 1983, Öl auf Leinwand/Oil on canvas, 140 x 100 cm Brandenburgisches Landesmuseum für moderne Kunst, Cottbus & Frankfurt (Oder) Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Bernd Kuhnert

Dieter Weidenbach (*1945): Unterwegs/En Route, 1976, Öl auf Hartfaser/Oil on hardboard, 119,5 x 99 cm Albertinum / Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Staatliche Kunstsammlungen

Dresden, Albertinum / Elke Estel

Trak Wendisch (*1958): Seiltänzer/Tightrope Walker, 1984, Öl auf Hartfaser/Oil on hardboard, 170 x 129 cm Staatliche Museen zu Berlin, Nationalgalerie, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Nationalgalerie, SMB / Jörg P. Anders

Karlheinz Wenzel (*1932): Mein Arbeitsplatz in der MTS Klebitz/ My Workplace at the Machine-Tractor Station, MTS Klebitz, 1959, Öl auf Hartfaser/Oil on hardboard, 115 x 85 cm Kulturstiftung Sachsen-Anhalt. Kunstmuseum Moritzburg Halle (Saale), Copyright: © VG Bild-Kunst, Bonn 2017

Christoph Wetzel (*1947): Die Wand mit den Dingen/Wall with Objects, 1989, Öl auf Leinwand/Oil on canvas, 66 x 46 cm Prof. Harald Marx, Dresden, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Bildarchiv Atelier Wetzel

Karin Wieckhorst (*1942): Aus der Serie: Begegnungen in Ateliers – Hartwig Ebersbach/ From the Series: Encounters in Studios – Hartwig Ebersbach, 1986/87, 3 Schwarz-Weiß-Photographien, davon eine Übermalung des Künstlers/3 black-and-white photographs, one overpainted by the artist, dreiteilig, insgesamt 137 x 91 cm

Besitz der Künstlerin, Copyright Photo: Lutz Bertram

Karin Wieckhorst (*1942): Aus der Serie: Begegnungen in Ateliers – Christine Schlegel/ From the Series: Encounters in Studios – Christine Schlegel, 1986/87, 3 Schwarz-Weiß-Photographien, davon eine Übermalung der Künstlerin/3 black-and-white photographs, one overpainted by the artist, dreiteilig, insgesamt 137 x 91 cm

Besitz der Künstlerin, Copyright Photo: Lutz Bertram

Karla Woisnitza (*1952): Face Painting Action, Dresden/Face Painting Action, Dresden, 1978/79, Photocollage/Photocollage, je 40 x 30 cm Besitz der Künstlerin, Copyright Photo: Anja Müller Copyright: © VG Bild-Kunst, Bonn 2017

Ruth Wolf-Rehfeldt (*1932): Aus der Werkserie der Typewritings: Signal/ From the series Typewritings: Sign, 1970er Jahre, Schreibmaschinenschrift auf Papier/Typewriting on paper, 15 x 10,5 cm Courtesy the artist & ChertLüdde, Berlin,

Ohne Willy Wolff (1905–1985): Katalogabbildung/not in the San Sebastian/San Sebastian, 1967, catalogue Relief aus Klaviertasten, freistehend/Freestanding relief with piano keys, 183 x 50,5 x 38 cm

Willy Wolff (1905–1985): Selbstbildnis/Self-Portrait, 1970, Öl auf Hartfaser/Oil on hardboard, 95,5 x 118 cm Albertinum / Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: bpk / Staatliche Kunstsammlungen Dresden, Albertinum / Hans-Peter Klut

Heinz Zander (*1939): Selbst als Manierist mit Schlafmütze/The Artist as Mannerist with Nightcap, 1989, Öl auf Hartfaser/Oil on hardboard, 60 x 50 cm Kunstsammlung der Sparkasse Leipzig, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Jürgen Kunstmann, Leipzig

Thomas Ziegler (1947–2014): Tagebuch/Diary, 1983, Öl auf Hartfaser/Oil on hardboard, 137 x 165 cm Kunstarchiv Beeskow - Archivierte Sammlung von Kunst aus der DDR, Copyright: © VG Bild-Kunst, Bonn 2017 Copyright Photo: Kunstarchiv Beeskow

Complete list of works in Palace Gallery documentation

Günter Brendel (*1930): Großes Stillleben, 1975/76, Dispersion auf Hartfaser, 280 x 368 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

René Graetz (1908–1974) / Arno Mohr (1910–2001): Krieg und Frieden, 1975, Tempera auf Hartfaser, 280 x 368 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

Erhard Großmann (*1936): Tadshikistan, 1975, Tempera auf Hartfaser, 280 x 600 cm, Leihgabe der Bundesrepublik Deutschland

Bernhard Heisig (1925– 2011): Ikarus, 1975, Öl auf Hartfaser, 280 x 450 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

Wolfgang Mattheuer (1927– 2004): Guten Tag, 1975, Öl auf Hartfaser, 280 x 281 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

Arno Mohr (1910–2001): Forscht, bis ihr wißt, 1975, Mischtechnik auf Hartfaser, 280 x 552 cm, Leihgabe der Bundesrepublik Deutschland

Willi Neubert (1920–2011): Gestern – Heute, 1975, Mischtechnik auf Hartfaser, 280 x 345 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

Ronald Paris (*1933): Unser die Welt – trotz alledem, 1975/76, Dispersion auf Hartfaser, 280 x 600 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

Kurt Robbel (1909–1986): Die schaffenden Kräfte, 1975/76, Mischtechnik auf Hartfaser, 280 x 160 / 272 / 160 cm, Leihgabe der Bundesrepublik Deutschland

Wolfram Schubert (*1926): Brot für alle, 1975, Tempera auf Hartfaser, 280 x 368 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

Willi Sitte (1921–2013): Die rote Fahne – Kampf, Leid und Sieg, 1975/76, Öl auf Hartfaser, 280 x 300 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

Werner Tübke (1929– 2004): Mensch – Maß aller Dinge, 1975, Mischtechnik auf Hartfaser in fünf Einzelteilen: Familie, 170 x170 cm; Liebespaar, 170 x170 cm; Kampf der Zentauren und Lapithen, 85 x 170 cm; Totenklage, 85 x 170 cm; Der Tanz um das goldene Kalb, 85 x 170 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

Hans Vent (*1934): Menschen am Strand, 1975, Dispersion auf Hartfaser, 280 x 552 cm, Leihgabe der Bundesrepublik Deutschland,  VG Bild- Kunst, Bonn 2017

Matthias Wegehaupt (*1938): Raum für Neues, 1975, Mischtechnik auf Hartfaser, 280 x 552 cm

Walter Womacka (1925– 2010): Wenn Kommunisten träumen..., 1975, Öl auf Hartfaser, 280 x 552 cm

Lothar Zitzmann (1924– 1977): Weltjugendlied, 1975, Öl auf Hartfaser, 280 x 552 cm