Schriftliche Anfrage
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tentative List Submission Format
TENTATIVE LIST SUBMISSION FORMAT STATE PARTY: GERMANY DATE OF SUBMISSION: 01.02.2013 Submission prepared by: Dr. Thomas Flierl ([email protected]) Im Auftrag des Bürgervereins Hansaviertel e.V., des Fördervereins Corbusierhaus Berlin e.V. und der Hermann-Henselmann-Stiftung, in Zusammenarbeit mit dem Präsidenten der Akademie der Künste Berlin, Prof. Klaus Staeck, und dem Intendanten des Hauses der Kulturen der Welt, Prof. Dr. Bernd M. Scherer, unter der Schirmherrschaft des Bezirksbürgermeisters von Mitte, Dr. Christian Hanke, und des Bezirksbürgermeisters von Friedrichshain-Kreuzberg von Berlin, Dr. Franz Schulz, sowie des Vorstandsvorsitzenden der Stiftung Zukunft Berlin, Dr. Volker Hassemer. Name of Property: Karl-Marx-Allee / Interbau 1957 State, Province or Region: Germany, Berlin Latitude and Longitude, or UTM coordinates: Description: Zwei deutsche Architekturen – Karl-Marx-Allee und Interbau 1957. Konfrontation, Konkurrenz und Koevolution im geteilten Berlin Nach dem Zweiten Weltkrieg war das geteilte Berlin der Hauptschauplatz des Kalten Krieges. An keinem anderen Ort der Welt hat die politische Konfrontation zwischen Ost und West so deutliche Spuren in Architektur und Städte- bau hinterlassen wie in Berlin. Die Konkurrenz der beiden konträren Gesellschaftssysteme führte in Berlin bereits vor dem Mauerbau 1961 zu einem einzigartigen Wettstreit in Städtebau und Architektur. Über einen Zeitraum von mehr als zwanzig Jahren ent- standen im ständigen Wechselspiel von Bau und Gegenbau nach Plänen renommierter Architekten -
Newsletter 01/2020
1. Ausgabe / Februar 2020 Inhalt dieser Ausgabe Heiner-Carow-Preis auf der Berlinale Heiner-Carow-Preis Zum achten Mal verleiht die DEFA-Stiftung im Rahmen der Internationalen Filmfestspie- auf der Berlinale le Berlin den Heiner-Carow-Preis. Die Veranstaltung findet am Donnerstag, den 27. Feb- DEFA-Filmabend im Arsenal ruar, um 17:00 Uhr im Kino International (Karl-Marx-Allee 33, 10178 Berlin) statt. Mit Gesucht: dem Preis erinnert die DEFA-Stiftung an den Filmregisseur Heiner Carow (1929–1997), Arbeitsaufnahmen von der bei der DEFA u. a. Filme wie DIE LEGENDE VON PAUL UND PAULA (1973), IKARUS EIN POLTERABEND (1975), BIS DASS DER TOD EUCH SCHEIDET (1978), DIE RUSSEN KOMMEN DEFA-Filme im rbb (1968/1987) und COMING OUT (1988/89) inszenierte. Die mit 5.000,- Euro dotierte Auswertung des DEFA-Filmstocks Auszeichnung wird in diesem Jahr erstmals innerhalb der Sektion Perspektive Deut- neu strukturiert sches Kino verliehen und geht an einen deutschen Spiel-, Dokumentar- oder Essayfilm. FOTO: DEFA FOTO: DEFA-Filmplakate DEFA FOTO: im Willy-Brandt-Haus - - STIFTUNG/EBERHARD DAßDORF STIFTUNG/EBERHARD Kino in der DDR – DAßDORF STIFTUNG/EBERHARD Forschungsprojekt zur Kinogeschichte Drehort Thu ringen Filmtage Merseburg Beethoven-Reihe im Filmmuseum Potsdam Henry Hu bchen bei „Kurtz auf der Couch“ Gerhard Kuhn als Kalle in SHERIFF TEDDY (1957) Heiner Carow während der Dreharbeiten (1957) Co-Produktionen mit Frankreich im U ber die Vergabe entscheidet eine dreiko pfige Jury, bestehend aus den Filmemachern Institut français Berlin Annekatrin Hendel und Jan Speckenbach sowie der DEFA-Stiftungsmitarbeiterin Anne Sommerfilminstitut der DEFA Film Library Mo ller. Nach der Preisverleihung wird die digitalisierte Fassung von Heiner Carows De- DEFA-Filme in bu tspielfilm SHERIFF TEDDY (1957) nach dem viel gelesenen Buch von Benno Pludra Slowenien und Taiwan pra sentiert. -
Berger ENG Einseitig Künstlerisch
„One-sidedly Artistic“ Georg Kolbe in the Nazi Era By Ursel Berger 0 One of the most discussed topics concerning Georg Kolbe involves his work and his stance during the Nazi era. These questions have also been at the core of all my research on Kolbe and I have frequently dealt with them in a variety of publications 1 and lectures. Kolbe’s early work and his artistic output from the nineteen twenties are admired and respected. Today, however, a widely held position asserts that his later works lack their innovative power. This view, which I also ascribe to, was not held by most of Kolbe’s contemporaries. In order to comprehend the position of this sculptor as well as his overall historical legacy, it is necessary, indeed crucial, to examine his œuvre from the Nazi era. It is an issue that also extends over and beyond the scope of a single artistic existence and poses the overriding question concerning the role of the artist in a dictatorship. Georg Kolbe was born in 1877 and died in 1947. He lived through 70 years of German history, a time characterized by the gravest of political developments, catastrophes and turning points. He grew up in the German Empire, celebrating his first artistic successes around 1910. While still quite young, he was active (with an artistic mission) in World War I. He enjoyed his greatest successes in the Weimar Republic, especially in the latter half of the nineteen twenties—between hyperinflation and the Great Depression. He was 56 years old when the Nazis came to power in 1933 and 68 years old when World War II ended in 1945. -
Framed Memories of Berlin
Framed Memories of Berlin Kacmaz Erk, G., & Wilson, C. (2018). Framed Memories of Berlin: Film, Remembrance and Architecture. Architecture and Culture, 6(2), 243-263. https://doi.org/10.1080/20507828.2018.1478513 Published in: Architecture and Culture Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2018 Taylor and Francis. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:02. Oct. 2021 Framed Memories of Berlin: Film, Architecture and Remembrance Abstract Collective memory can be defined as a shared notion of how a social group constructs its past. Architecture and cinema play a major role in the creation of collective memory, buildings by structuring lived experiences and films by framing, re-presenting and fixing those experiences so that they can be collectively revisited. -
Jonathan C. Got Berlin Perspectives on Architecture 1 Olympiastadion
Jonathan C. Got Berlin Perspectives on Architecture Olympiastadion – Germania and Beyond My personal interest with the Olymiastadion began the first week I arrived in Berlin. Having only heard about Adolf Hitler’s plans for a European Capital from documentaries and seen pictures of Jesse Owen’s legendary victories in the ill-timed 1936 Summer Olympics, I decided to make a visit myself. As soon as I saw the heavy stone colonnade from the car park I knew it could only have been built for one purpose – propaganda for the Third Reich beyond Germania. Remodelled for the 1936 Summer Olympics in Berlin by Hitler’s favorite architects Werner March (whose father, Otto March, designed the original 1913 stadium) and Albert Speer, the Olympiastadion was a symbol of power for the National Socialist party and an opportunity to present propaganda in the form of architecture. Being the westernmost structure on Hitler’s ‘capital city of the world’, the stadium was designed to present the then National Socialist Germany to the rest of the world as a power to be reckoned with. Any visitor to the stadium doesn’t only see the gigantic stadium, but also experiences the whole Olympic complex. Visitors would arrive at a 10-platform S-Bahn station able to serve at high frequencies for large events and then walk several hundred meters with a clear view of the huge imposing stone stadium as soon as visitors reached the car park. Though some might argue that neither the U- nor S-Bahn stations named after the stadium provided convenient access to the sports grounds, one has to consider the scale of the event. -
Visual Arts in the Urban Environment in the German Democratic Republic: Formal, Theoretical and Functional Change, 1949–1980
Visual arts in the urban environment in the German Democratic Republic: formal, theoretical and functional change, 1949–1980 Jessica Jenkins Submitted: January 2014 This text represents the submission for the degree of Doctor of Philosophy (in partial fulfilment of its requirements) at the Royal College of Art Copyright Statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from this thesis may be published without proper acknowledgment. Author’s Declaration 1. During the period of registered study in which this thesis was prepared the author has not been registered for any other academic award or qualification. 2. The material included in this thesis has not been submitted wholly or in part for any academic award or qualification other than that for which it is now submitted. Acknowledgements I would like to thank the very many people and institutions who have supported me in this research. Firstly, thanks are due to my supervisors, Professor David Crowley and Professor Jeremy Aynsley at the Royal College of Art, for their expert guidance, moral support, and inspiration as incredibly knowledgeable and imaginative design historians. Without a generous AHRC doctoral award and an RCA bursary I would not have been been able to contemplate a project of this scope. Similarly, awards from the German History Society, the Design History Society, the German Historical Institute in Washington and the German Academic Exchange Service in London, as well as additional small bursaries from the AHRC have enabled me to extend my research both in time and geography. -
Annual Report 2010 Contents
ANNUAL REPORT 2010 CONTENTS EDITORIAL 2 BUILDING BRIDGES: 20 YEARS OF THE ROSA LUXEMBURG FOUNDATION 4 Award-winning east-west projects 5 Posters from 20 years of the Rosa Luxemburg Foundation 6 KEY ISSUE: AUTOMOBILES, ENERGY AND POLITICS 8 «Power to the People» conference of the Academy of Political Education 9 «Auto.Mobil.Krise.» Conference of the Institute for Social Analysis 10 THE ACADEMY OF POLITICAL EDUCATION 12 PUBLICATIONS OF THE ROSA LUXEMBURG FOUNDATION 16 EDUCATIONAL WORK IN THE FEDERAL STATES 20 CENTRE FOR INTERNATIONAL DIALOGUE AND COOPERATION 32 Interview with the new director of the Centre, Wilfried Telkämper 33 New presences: The Foundations in Belgrade and Quito 34 Africa Conference «Resistance and awakening» 35 Visit by El Salvador’s foreign minister 36 Israel and Palestine: Gender dimensions. Conference in Brussels 36 RELAUNCH OF THE FOUNDATION WEBSITE 40 PROJECT SPONSORSHIP 42 FINANCIAL AND CONCEPTUAL SUPPORT: THE SCHOLARSHIP DEPARTMENT 52 Academic tutors 54 Conferences of the scholarship department 56 RosAlumni – an association for former scholarship recipients 57 Scholarship recipient and rabbi: Alina Treiger 57 ARCHIVE AND LIBRARY 58 Finding aid 58 What is a finding aid? 59 About the Foundation’s library: Interview with Uwe Michel 60 THE CULTURAL FORUM OF THE ROSA LUXEMBURG FOUNDATION 61 PERSONNEL DEVELOPMENT 64 THE FOUNDATION’S BODIES 66 General Assembly 66 Executive Board 68 Scientific Advisory Council 69 Discussion Groups 70 ORGANIGRAM 72 THE FOUNDATION’S BUDGET 74 PUBLISHING DETAILS/PHOTOS 80 1 Editorial Dear readers, new political developments, the movements for democratic change in many Arab countries, or the natural and nuclear disaster in Japan all point to one thing: we must be careful about assumed certainties. -