DOCSLIB.ORG

Modernism, Liberation and a New Way of Seeing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modernism, Liberation and a New Way of Seeing Diploma Lecture Series 2013 Revolution to Romanticism: European Art and Culture 1750-1850 Caspar David Friedrich and the art of the sublime Dr Jacqueline Strecker 17/18 July 2013 Lecture summary: Caspar David Friedrich is recognised as one of the great landscape painters of the romantic era and revolutionised traditional concepts of landscape painting through his visionary imagination and radically new and inventive techniques. I’d like to approach the sublime in Friedrich’s art as having the effect of overwhelming the viewer, of creating a sense of awe as we confront the wonder- inducing monumentality or incredible simplicity of the subject. With Friedrich, as we will discover, there are other factors at play such as spiritual transcendence but ultimately his works are exceptionally crafted. It’s important to consider both the materiality of his paintings and the ways in which his landscapes are brilliant illusions that create powerful emotional responses in the viewer that resonate strongly in the work of contemporary artists such as Gerhard Richter. Slide list: All works are by Caspar David Friedrich unless otherwise noted *Monk by the sea, 1809, oil on canvas, Nationalgalerie, Berlin Georg Friedrich Kersting, Caspar David Friedrich in his studio, 1812, oil on canvas, Nationalgalerie, Berlin Scudding clouds, c.1820, oil on canvas, Hamburger Kunsthalle, Hamburg Dolmen in the snow, 1807, oil on canvas, Galerie Neue Meister, Staatliche Kunstsammlungen Dresden *The cross in the mountains (Tetschen Altar), 1808, oil on canvas, Galerie Neue Meister, Staatliche Kunstsammlungen Dresden Winter landscape, 1811, oil on canvas, National Gallery London *The wanderer above the mists, c.1817-18, oil on canvas, Hamburger Kunsthalle, Hamburg Carl Gustav Carus, Wanderer on the mountaintop, 1818, oil on canvas, Saint Louis Art Museum, Missouri Chalk cliffs at Rügen, 1818, oil on canvas, Stiftung Oskar Reinhart, Winterthur, Switzerland Proudly sponsored by Slide list continued Woman at a window, 1822, oil on canvas, Nationalgalerie, Berlin *Sea of ice, 1823-24, oil on canvas, Hamburger Kunsthalle, Hamburg Moonrise on the seashore, 1822, oil on canvas, Nationalgalerie, Berlin *Two men observing the moon, 1830, oil on canvas, private collection, Hamburg Easter morning, 1833, oil on canvas, Museo Thyssen-Bornemisza, Madrid Mountains in the rising fog, c.1835, oil on canvas, Städel Museum, Frankfurt am Main References: David Blayney Brown, Romanticism, Phaidon, London, 2001 Keith Hartley, ed., The romantic spirit in German art 1790-1990, exh cat, Scottish National Gallery of Modern Art, Edinburgh, 28 July – 7 September 1994 Werner Hofmann, Caspar David Friedrich, Thames and Hudson, London, 2000 Hugh Honour, Romanticism, Pelican, London, 1979 Joseph Leo Koerner, Caspar David Friedrich and the subject of landscape, Reaktion, London, 1990 Wieland Schmied, Caspar David Friedrich, Harry N. Abrams, Inc., New York, 1995 William Vaughan, German romantic painting, Yale University Press, New Haven and London, 1980 Caspar David Friedrich, Monk by the sea, 1809, oil on canvas, Nationalgalerie, Berlin Caspar David Friedrich The cross in the mountains (Tetschen Altar) 1808 Galerie Neue Meister, Staatliche Kunstsammlungen, Dresden Caspar David Friedrich The wanderer above the mists c.1817-18 Hamburger Kunsthalle, Hamburg Caspar David Friedrich Sea of ice c1823-24 Hamburger Kunsthalle, Hamburg Caspar David Friedrich Two men observing the moon 1830 Private collection, Hamburg .
Load more

Recommended publications
  • Dresden Paintings in the Permanent Collection Galleries
    DRESDEN PAINTINGS IN THE PERMANENT COLLECTION GALLERIES To complement the display of works by two of the best-known artists who worked in Dresden, Caspar David Friedrich (1774-1840) and Gerhard Richter (born 1932), thirteen works from the Galerie Neue Meister are interspersed throughout the paintings galleries of the J. Paul Getty Museum in juxtapositions with works from the Getty’s permanent collection. Rather than following a strict chronology, the pairings touch on key themes in German painting from 1800 to the present and highlight the artists’ diverse approaches to similar subjects. They also illustrate the relationship between German art and that produced elsewhere in Europe, the connection between hsitory and art in Germany, and the role of Dresden in the development of German art. Galerie Neue Meister, Dresden The J. Paul Getty Museum West Pavilion, Plaza Level Carl Blechen (German, 1798-1840) Christen Schjellerup Købke (Danish, Ruins of a Gothic Church, 1826 1810-1848) Oil on canvas The Forum, Pompeii, with Vesuvius in the Distance, 1841 Oil on paper, mounted on canvas West Pavilion, Upper Level Christian Friedrich Gille (German, 1805-1899) Jean-Baptiste-Camille Corot (French, At the Weisseritz River in Plauen, 1833 1796-1875) Oil on paper, mounted on cardboard House near Orléans, France, about 1830 Oil on paper, mounted on millboard Jean Joseph-Xavier Bidault (French, 1758-1846) View of the Bridge and Part of the Town of Cava, Kingdom of Naples, 1785-90 Oil on paper, mounted on canvas Simon Joseph-Alexandre-Clément Denis (Flemish, 1755-1812) Study of Clouds with a Sunset near Rome, 1786-1801 Oil on paper -more- Page 2 Théodore Caruelle d’Aligny (French, 1798-1871) View of a Mountain Valley with Buildings, about 1829-33 Oil on paper, mounted on canvas Lent by a private collector ..................................................................................................................................................
    [Show full text]
  • Paul Gauguin 8 February to 28 June 2015
    Media Release Paul Gauguin 8 February to 28 June 2015 With Paul Gauguin (1848-1903), the Fondation Beyeler presents one of the most important and fascinating artists in history. As one of the great European cultural highlights in the year 2015, the exhibition at the Fondation Beyeler brings together over fifty masterpieces by Gauguin from leading international museums and private collections. This is the most dazzling exhibition of masterpieces by this exceptional, groundbreaking French artist that has been held in Switzerland for sixty years; the last major retrospective in neighbouring countries dates back around ten years. Over six years in the making, the show is the most elaborate exhibition project in the Fondation Beyeler’s history. The museum is consequently expecting a record number of visitors. The exhibition features Gauguin’s multifaceted self-portraits as well as the visionary, spiritual paintings from his time in Brittany, but it mainly focuses on the world-famous paintings he created in Tahiti. In them, the artist celebrates his ideal of an unspoilt exotic world, harmoniously combining nature and culture, mysticism and eroticism, dream and reality. In addition to paintings, the exhibition includes a selection of Gauguin’s enigmatic sculptures that evoke the art of the South Seas that had by then already largely vanished. There is no art museum in the world exclusively devoted to Gauguin’s work, so the precious loans come from 13 countries: Switzerland, Germany, France, Spain, Belgium, Great Britain (England and Scotland),
    [Show full text]
  • DIE ORIGINALE Entdecken Die Hamburger Kunsthalle Zählt Zu Den Bedeuten­Dsten Und Größten Kunstmuseen in Deutschland
    DIE ORIGINALE ENTDECKEN Die Hamburger Kunsthalle zählt zu den bedeuten dsten und größten Kunstmuseen in Deutschland. Ihre international einzig artige Sammlung aus 700 Jahren Kunst und zahlreiche, renommierte Sonderausstellungen ziehen jährlich hundert­­- tausende Besucher_innen aus aller Welt an. Erleben Sie einen faszinierenden Rundgang durch die euro päische Kunstgeschichte mit Meisterwer ken vom Mittelalter bis in die Gegenwart. WILLKOMMEN IN DER HAMBURGER KUNSTHALLE DIE KUNSTHALLE IN ZAHLEN ca. 5.000 Führungen und Veranstaltungen 20.000 pro Jahr Werke online 350 Installationen 3.500 Gemälde 2 Cafés/ Restaurants ca.8 Ausstellungen pro Jahr 1.000 dauerhaft ausgestellte Werke 700 Jahre Kunst 130.000 Zeichnungen und Graphiken 12.000 m² Ausstellungsfläche ca. 390.000 Besucher_innen pro Jahr ca.8 Ausstellungen pro Jahr 700 JAHRE KUNST UNSERE SAMMLUNG Alte Meister Höhepunkte der Alten Meister sind die nord deutsche mittelalterliche Malerei mit den Altären von Bertram von Minden und Meister Francke, die Werke der euro- päischen Renaissance von Lucas Cranach d.Ä., Hans Holbein oder Paris Bordone und das Goldene niederländische Zeit- alter des 17. Jahrhunderts mit Werken von Rembrandt van Rijn, Pieter de Hooch oder Anton van Dyck. Bertram VON MINDEN Retabel des ehemaligen Hochaltars der Petrikirche in Hamburg (Grabower Altar), Ausschnitt, 1379/83 KUPFerstiCH- kabinett Das Kupferstichkabinett der Kunsthalle gehört mit seinen mehr als 130.000 Zeichnungen und druckgraphischen Blättern zu den bedeutenden Sammlungen in Europa. albreCht DÜrer Liebespaar, 1493 19. Jahrhundert Die Sammlung des 19. Jahrhunderts zählt mit ihren umfangreichen Werkgruppen von Caspar David Friedrich, Philipp Otto Runge, Max Liebermann sowie zentralen Werken der französischen Realisten und Impressionisten zu den wichtigsten ihrer Art.
    [Show full text]
  • Rodney Graham CV
    Rodney Graham Lives and works in Vancouver, Canada 1979–80 Simon Fraser University, Burnaby, Canada 1968–71 University of British Columbia, Vancouver, Canada 1949 Born in Vancouver, Canada Selected Solo Exhibitions 2020 ‘Artists and Models', Serlachius Museum Gösta, Mänttä, Finland ‘Painting Problems’, Lisson Gallery 2019 303 Gallery, New York, NY, USA 2018 ‘Central Questions of Philosophy’, Lisson Gallery, London, UK 2017 ‘Lightboxes’, Museum Frieder Burda, Baden-Baden, Germany 303 Gallery, New York, NY, USA ‘That’s Not Me’, BALTIC Centre for Contemporary Art, Gateshead, UK; Museum Voorlinden, Wassenaar, Netherlands; Irish Museum of Modern Art, Dublin, Ireland ‘Canadian Impressionist’, Canada House, London, UK ‘Media Studies’, Hauser & Wirth, Zurich, Switzerland 2016 ‘You should be an Artist’, Le Consortium, Dijon, France ‘Waterloo Billboard Commissions’, Hayward Gallery, London, UK ‘Jack of All Trades’, Prefix Institute of Contemporary Art, Toronto, Canada ‘Più Arte dello Scovolino!’, Lisson Gallery, Milan, Italy Alt Art Space, Istanbul Turkey 2015 Sammlung Goetz, Munich, Germany ‘Kitchen Magic Drawings’, Galerie Rüdinger Schöttle, Munich, Germany 2014 ‘Rodney Graham: Props and Other Paintings’, Charles H. Scott Gallery, Emily Carr University of Art + Design, Vancouver, Canada ‘Collected Works’, Rennie Collection, Vancouver, Canada ‘Torqued Chandelier Release and Other Works’, Belkin Gallery, University of British Columbia, Vancouver, Canada 2013 Lisson Gallery, London, UK 303 Gallery, New York, NY, USA ‘The Four Seasons’, Hauser & Wirth, Zurich, Switzerland 2012 ‘Canadian Humourist’, Vancouver Art Gallery, Vancouver, Canada Johnen Galerie, Berlin, Germany 2011 Donald Young Gallery, Chicago, IL, USA ‘Vignettes of Life’, Hauser & Wirth, Zurich, Switzerland ‘Rollenbilder – Rollenspiele’, Museum der Moderne, Salzburg, Austria ‘The Voyage or Three Years at Sea: Part 1.
    [Show full text]
  • Art Is Public from Kunstverein to Kunsthalle
    ART IS PUBLIC FROM KUNSTVEREIN TO KUNSTHALLE Founded 200 years ago as a civic initiative, the non-prof- tration on local artists is deliberately not intended. The it institution Kunstverein (art association) in Hamburg Dresden-based Norwegian landscape painter Johan holds a firm place in the cultural life of the city ever since. Christian Dahl figures in the exhibition with six paint- It acts as an important intermediary between contempo- ings, his artist friend Caspar David Friedrich, likewise a rary art, artists and the public. As a free city, early 19th resident of Dresden, is represented with three paintings. century Hamburg is devoid of any courtly collecting or Remarkably, in 1826, Hamburg is able to present one of art academy. Therefore, the bourgeois Kunstverein plays Friedrich’s most important works, ›The Polar Sea‹ – a central role in the promotion and dissemination of art. (which you will find displayed in the centre of this room). This commitment culminates in the opening of the Kunst- However, it is only in 1905, almost eighty years later, halle with its public collection in 1869. Time and again, that the Kunsthalle acquires this painting. the Kunstverein and the museum remain in close con- tact, linked both by organisational structures and their programmatic emphases. It is only since the final spatial R oom 2 separation in 1963 that the two institutions have been operating completely independently. 1842 — FIRST EXHIBITION In nine theme rooms, this exhibition highlights OF OLD MASTERS selected events from the history of the Kunstverein. They are closely related to the history and the collection of the Ever since the Kunstverein’s first gathering in 1817, the Hamburger Kunsthalle, thus connecting both institu- Old Masters are one of its main interests.
    [Show full text]
  • 2008 T R O Ep R 2008 N A
    of the 18th century, Rüstkammer of the 18thcentury, 1st half Tatar, or Ottoman Saddle, comes comes of the orient The fascination Cammer“ “Türckische the 2009–OpeningofDecember to to the Residenzschloss STaaTliChe Kunstsammlungen Dresden · annual repOrT 2008 2008 ANNUAL REPORT 2008 Albertinum Zwinger with Semperbau Wasserpalais, Schloss Pillnitz Page 4 International Special ExhibiTions Foreword PARTNERshiPs Page 27 Page 17 Special exhibitions in Dresden China iN Dresden Message of greeting from the and Saxony in 2008 iN ChiNA Federal Minister for Foreign Affairs Page 34 Page 18 Special exhibitions abroad in 2008 Page 9 The Staatliche Kunstsammlungen Cultural exchange past and future – Dresden in international dialogue a year of encounters between Dresden WiTh kind support and Beijing Page 24 Trip to Russia Launch event with Helmut Schmidt Page 37 and Kurt Biedenkopf Page 25 In your mid-20s? Off to the museum! Visit to Warsaw Page 10 Page 38 Seven exhibitions and a Societies of friends wide-ranging programme of events Page 38 Page 13 Sponsors and donors in 2008 A chance to work abroad Page 40 Page 14 Partners from the business world China in Dresden Page 15 Dresden in China Residenzschloss Jägerhof Lipsiusbau on the Brühlsche Terrasse From ThE collections Visitors Museum bUildiNgs Page 43 Page 63 Page 75 Selected purchases and donations A host must be prepared – improving Two topping-out ceremonies and our Visitor Service will remain a surprising find mark the progress Page 47 an important task in the future of building work at the museums
    [Show full text]
  • East German Art and Cultural Politics: an Introduction by April A
    East German Art and Cultural Politics: An Introduction By April A. Eisman 1 y On October 7, 1949, the Soviet Zone of Occupation in post-war Germany became the German Democratic r a r b i Republic (GDR, or East Germany). From the beginning, art played an important role in East Germany, where it L m l was viewed as a vital element in the development of the ‘all-around socialist personality.’ Artists were i F A F expected to create art that addressed the people, while the people were expected to be interested in art and E D e to explore their creative side. The form that this art was to take, however, was a source of frequent debate h t y b over the forty-year history of the GDR, and especially in the first two decades of the country’s existence. e s a Although many communist artists had embraced modernism during the Weimar Republic and were persecuted e l e R by the Nazis for both their political and aesthetic beliefs, the East German leadership often had difficulty D V D accepting modernist styles in these early years, in part because of the Soviet Union’s emphasis on a conser - A • vative style of socialist realism. Seeing similarities between the Soviets’ artistic style—one marked by opti - s t r o mism, monumentalism and a straightforward realism—and that of the Nazis, many East German artists, on h S x i the other hand, challenged its suitability for the GDR. The result was a cultural policy marked by freezes and S K R thaws depending on whose views—politicians’ or artists’—had the upper hand.
    [Show full text]
  • Georges Braque. Dance of Shapes 10 October 2020 to 30 April 2021
    GEORGES BRAQUE. DANCE OF SHAPES 10 OCTOBER 2020 TO 30 APRIL 2021 The Bucerius Kunst Forum is devoting a retrospective to Georges Braque starting in autumn 2020, the first comprehensive survey of his paintings in Germany in over thirty years. Braque is regarded as the initiator of Cubism and one of the premier artists of the twentieth century. Presenting 80 works, the chronologically arranged exhibition traces his astonishing creative diversity: from his early Fauvist works, through the development of Cubism, to his last, almost abstract series in the post-war period. The exhibition is a collaborative project with the Centre Pompidou, Musée national d’art moderne, Paris, whose collection will be the source of the majority of the works on loan. “Monsieur Braque is a very young and brave man. [...] [He] reduces everything – landscapes, figures, houses – to geometric patterns, to cubes,” remarked art critic Louis Vauxcelles upon viewing Braque’s first solo exhibition in 1908, which is considered to be the public debut of Cubism. From 10 October 2020 to 30 April 2021, the Bucerius Kunst Forum will host a large-scale retrospective devoted to Georges Braque (1882–1963), the pioneer of Cubism. His work was exhibited extensively in Germany particularly in the 1930s to 1960s, with the last big show taking place in 1988. However, while the Grand Palais in Paris (2013) and the Guggenheim Bilbao (2014) recently honoured Braque with major exhibitions, not much has been seen on the German exhibition circuit by this important French painter since the late 1980s. Now, after a hiatus of over 30 years, a comprehensive selection of his paintings will finally be on view again in Germany in an exhibition featuring 80 important works on loan, most of them from the Centre Pompidou in Paris.
    [Show full text]
  • Dani Marti Sculpture Pavilion Mural: Melvin Galapon
    Exhibition Information March 2021 Breaking Into Colour Reclaiming the Body Degenerate Art Artist Space: Dani Marti Sculpture Pavilion Mural: Melvin Galapon EN GALLERY ZERO ROOM ONE: Breaking Into Colour The 20th Century saw a revolution in abstract art and the use of colour and form, rather than figurative imagery, to express ideas and emotions. With the Impressionists of the late 19th Century, paintings of landscapes and figures also used expressive brush strokes and started to break up the rigid representation into more abstract loose imagery. This exhibition looks at the ways in which artists use the vivacity of colour as a means to challenge, develop or break away from traditional forms of representation and explore new creative freedoms. Curated by Lee Cavaliere Artworks, Left to Right: Mouffe, Michel (b.1957) Grand Détachement, 2014 Mixed media on canvas, 366 x 183cm Michel Mouffe explores the foundations of painting by challenging its limits. As he uses space to establish a dialogue, Mouffe’s paintings are not just flat. An iron frame underneath the canvas shapes the surface, giving the work a sculptural character. The colour, too, is mysterious - The surface is at once opaque and transparent, several layers of diluted paint are applied while the canvas is horizontal. © 2020 the Artist and Axel Vervoordt Mitchell, Joan (1925 –1992) Untitled, 1951 Oil on canvas, 151 x 162cm Joan Mitchell was counted among the American Abstract Expressionists, though she spent much of her career in Europe. While her work began in a figurative style, depicting figures and landscapes, she broke out into abstraction in the early 1950s.
    [Show full text]
  • Kurse in Der Hamburger Kunsthalle Frühjahr/Sommer 2009
    Kursheft 1-2008_3.12.08.qxd 05.12.2008 17:04 Uhr Seite 1 HAMBURGER KUNSTHALLE Kurse in der Hamburger Kunsthalle Frühjahr/Sommer 2009 1 Kursheft 1-2008_3.12.08.qxd 05.12.2008 17:04 Uhr Seite 2 »Wir wollen nicht ein Museum, das dasteht und wartet« it solchen Worten begann Alfred Lichtwark vor rund 125 Jahren seine Arbeit als erster Kunsthallendirek- Mtor. Die wunderbaren Schätze, von Hamburger Bür- gern gesammelt, sollten nicht nur Experten, sondern auch ein breites Publikum begeistern. Und aus diesem Grund wurde vor vierzig Jahren die Malschule in der Kunsthalle gegründet. Kunst soll Spaß machen und die Besucher bei ihren alltägli- chen oder auch kunstbegeisterten Erfahrungen abholen – die Kinder im Vorschulalter, die Generation der Eltern genau so wie die immer noch jung und neugierig gebliebenen Senioren. Unser Kursprogramm ist mit rund 150 Blüten wieder ein kunstvoll gebundener Frühlingsstrauß geworden. Denn so viele, oft verschlungene Pfade sollen die Augen öffnen und zur Kunst führen, sei es durch kunst- und kulturgeschichtliche Gedankengänge oder durch die Erfahrung mit Herz und Hand, indem man künstlerische Entstehungsprozesse nachvollzieht und dabei die eigenen schöpferischen Kräfte entdeckt. Bitte melden Sie sich, wenn Sie den passenden Kurs ge- funden haben, möglichst bald an, damit wir besser planen können. Dies gilt vor allem für die Studienreisen nach München zur Kandinsky-Ausstellung (im Februar) und die Wanderung auf den Spuren von C. D. Friedrich durch das Riesengebirge im Juni. Und bedenken Sie, dass Ihr Platz im Kurs erst reserviert ist, wenn die Kursgebühr eingegangen ist. Wir wünschen unseren über 3.000 Freunden der Museums- kurse fröhliche Entdeckungen und Inspirationen bei der Lektüre des Heftes und der Teilnahme an unseren vielfälti- gen Angeboten.
    [Show full text]
  • Exhibition: Expressionism in Germany and France: from Van Gogh to Kandinsky on View: June 8–September 14, 2014 Location: LACMA, Resnick Pavilion
    Exhibition: Expressionism in Germany and France: From Van Gogh to Kandinsky On View: June 8–September 14, 2014 Location: LACMA, Resnick Pavilion (Image Captions on Page 4) The Los Angeles County Museum of Art (LACMA) presents Expressionism in Germany and France: From Van Gogh to Kandinsky (June 8–September 14, 2014), an exhibition that sheds new light on the extraordinary response of artists in Germany and France to key developments in modern art in the early 20th century. For the first time in a major museum exhibition, Expressionism is presented not as a distinctly German style but as an international movement in which artists in Germany and France responded with various aesthetic approaches to modern masters such as Vincent van Gogh, Paul Cézanne, Henri Matisse, and Paul Gauguin, among others. Over 40 artists—including Wassily Kandinsky, Emil Nolde, Gabrielle Münter, Franz Marc, Robert Delaunay, and Pierre Bonnard—are represented in over 90 paintings and 45 works on paper, in addition to approximately 30 ephemera objects. “Expressionism in Germany and France offers a unique opportunity to observe the ways that a generation of artists was influenced by some of the greatest names in modern art history,” says exhibition curator Timothy O. Benson. “Our visitors will gain insight into the culturally rich cosmopolitan milieu established by the many exhibitions, collectors, gallerists, critics, and not least the artists of the time (many of whom traveled between Paris and Germany) and how this cultural atmosphere transcended national borders.” “This exhibition is a fascinating look at artistic influence in Europe that shatters barriers of nationality,” says Michael Govan, LACMA CEO and Wallis Annenberg Director.
    [Show full text]
  • Museen Und Ausstellungen Museums and Exhibitions
    Museen und Ausstellungen Museums and Exhibitions M&A_2020_RZ_fürs_Internet.indd 1 07.08.20 11:45 M&A_2020_RZ_fürs_Internet.indd 2 07.08.20 11:45 Dr. Carsten Brosda, Senator für Kultur und Medien © Foto: Bertold Fabricius Bertold Foto: © Medien und Kultur für Senator Brosda, Carsten Dr. LIEBE MUSEUMS- UND AUSSTELLUNGSGÄSTE, DEAR MUSEUM AND EXHIBITION VISITORS, die Kulturstadt Hamburg bietet zahlreiche Orte, die uns Türen zu beeindruckenden Erlebnissen öffnen und zur Auseinandersetzung einladen. Kunst und Kultur dienen auch als Orientierungshilfe in gesellschaftlichen Fragen. Um hier den gemeinsamen Diskurs zu fördern, verstehen sich unsere Häuser als offene Orte für alle. In Zeiten der Digitalisierung und Globali- sierung, die unsere alltägliche Lebenswelt mehr und mehr durchdringen, brauchen wir solche Plätze des Austauschs und der Begegnung. Und die verändern sich. Wie das Bucerius Kunst Forum, das vergangenen Sommer in seine neuen Räume gezogen ist. Wir freuen uns über diesen neuen Ort! In direkter Nachbarschaft zum Rathaus werden dort, hinter historischer Fassade, vielfältige Blickwinkel auf die Kunst gezeigt und Möglichkeiten zum Dialog geboten. Diverse Blickwinkel bieten auch Hamburgs andere Museen und Ausstellungs- häuser. Nutzen Sie deren Vielfalt und lassen Sie sich inspirieren – dabei wünsche ich Ihnen viel Freude. As a city of culture, Hamburg offers numerous locations that open doors to impressive experiences and invite us to engage in critical examination. Art and culture also serve as an aid to orientation in social issues. In order to promote a shared discourse in this field, our venues see themselves as places open to everyone. In times when digitization and globalization are increasingly making inroads into our daily lives, we need such places of exchange and encounter.
    [Show full text]