Annual Report 2010 - Staatliche Kunstsammlungen Dresden

in order to draw attention to the Türckische
Cammer, over 2 million doner kebab wrappers
were distributed throughout Germany
…
… and the posters for the exhibition
were truly eye-catching
The words “Kültürerbe” (cultural heritage), “Kültürdialog”
(cultural dialogue) and “Weltkültürerbe” (world cultural
heritage) were the first eyecatching slogans to appear on
the large blue­and­gold posters featuring magnificent
Arabian stallions, ornate daggers and Ottoman textiles,
drawing attention to the Türckische Cammer from Cologne
to Dresden, from Hamburg to Stuttgart.
What many passers­by did not know at first was that
“Kültür” really is the Turkish word for “culture”. From the
start, all the press and marketing activities were based on
close and benevolent co­operation with Turkish partners,
multipliers and media in both Germany and Turkey. The
Turkish colleagues and partners found this play on words
exactly the right approach, since it immediately showed
that this exhibition is concerned with encounters between
two cultures, with differences and similarities, and with
the fascination evoked by Ottoman art. The idea of printing
2 million doner kebab wrappers with an advertisement
for the Türckische Cammer and distributing these
throughout Germany also attracted a great deal of attention
and a special kind of buzz marketing. With a great
deal of enthusiasm, doner kebab makers and suppliers
distributed wrappers, posters and leaflets, awakening
curiosity about the Dresden exhibition not only among
their customers. First of all, it was owners of restaurants
and shops in the centre of Dresden who reported that
there had been an increase in the number of Turkish
guests since the opening of the exhibition. Although
many conversations and guided tours were to be heard in
the Turkish language, the recording of postcodes showed
that the Turkish­speaking guests were mostly from within
One of the posters advertising the reopening
of the albertinum
Germany – from Berlin, Dresden and Stuttgart. Hence, a
clearly defined new target group can be seen to have
taken up the invitation: namely first, second or even third
generation Turkish immigrants who come to Dresden to
learn something about their own culture. This type of
cultural encounter was surely one of the most pleasing
achievements of the newly opened exhibition.
The opening that most clearly pointed towards the future
was that of the “new Albertinum” featuring “Art from the
Romantic period to the present day”. This renowned museum
with its changeful history assumed a new character,
not only as a result of its structural alteration and restoration.
On the basis of a completely revised exhibiton concept,
the Galerie Neue Meister and the Skulpturensammlung
have adopted the profile of a modern museum
which attracts art lovers from all over the world.
Posters and advertisements emphasised the broad diversity
of sculpture and painting from the Romantic period to the
present day. In early summer a short promotional film was
shown, mainly in open­air cinemas, and generated a good
deal of interest. Shortly before the reopening, attention was
drawn to the upcoming event through promotion at the art
fairs Art Basel and the Berlin Biennale. But in order to explain
the spectacular architecture, more words were
needed. In close collaboration with the state­owned enterprise
Sächsisches Immobilien­ und Baumanagement, a
magazine was published containing essays about the architectural
plans and the concepts behind the exhibitions.
The new Albertinum has now become a must­see item on
the itinerary of visitors to Dresden – as is also a visit to the
Türckische Cammer.
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