Exberliner Issue 171 May 2018

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WHAT’S ON — Art Editor’s Choice Between the storms Three Berlin exhibitions chronicle the peril and prosperity that befell the city during the interwar era. By Anna Larkin George Grosz Schönheit, Dich Will Ich Preisen ART NEWS Growing the Gropius Stephanie Rosenthal, the Gropius Bau’s new director, has announced her plans for a series of “architectural interventions” at the museum, including an expanded atrium, new bookshop and restaurant alongside “innovative exhibition formats”. Free Hamburger Since April 5 entry to Berlin’s Hamburger Bahnhof is free of charge on the first Thursday of every month for a whole four hours (16-20). Sponsored by Volkswagen, the VOLKSWAGEN ART 4 ALL scheme will run until April 2019. New Humboldt head? Scheduled to open in 2019, the Humboldt Forum may have a new Director. Nominated by Culture Minister Monika Grütters, Berliner Hartmut Dorgerloh has been Director of the Prussian Palaces and Gardens Foundation Berlin- Brandenburg since 2002. After World War I, the Weimar Republic publicly advocated cultural liberalism in Germany, but by 1933 artists and movements such as abstract expressionism were denounced by the ruling Nazi regime. Berlin’s interwar period, 1918–1938, was at once a cosmopolitan, creative melee of artistic freedom and a time of censorship and repression: abject poverty for some and glamorous excess for others. This month, three exhibitions approach the city’s artistic output over these 20 short years from very different angles. The Bröhan Museum’s ground floor is filled with Art Deco and Art Nouveau room sets, upstairs, however, is the exhibition Berlin Realismus. Spanning from 1890 to the 1930s, it contains paintings, drawings, prints, photographs, collages and films all on the theme of social critique. Staying true to the Realist ideals, the works depict people of all classes and address the hardships brought about by the Industrial Revolution: from Käthe Kollwitz’s tragic 1922 Hunger poster of a barechested woman in rags, hands clasped to her upturned face with mouth open in anguish at the skeletal and lifeless child in her lap (see more of her work at the Käthe Kollwitz Museum), to Bruno Voigt’s Arbeitsbeginn, 1932, depicting the backs of hunched men as they defeatedly trudge into a factory, and Bruno Bötger’s six pen drawings of an industrial dispute turned bloody street battle in Schöneberg’s Rote Insel district in 1924. Representing the excess and debauchery of the period are George Grosz’s disapproving Map “Ecco Homo” series from 1916-22. In stylised caricature, welldressed gentlemen and prostitutes gamble, fornicate and preen in front of crowded dressing tables. Drawn from the Berlinische Gallerie’s permanent collection is the exhibition Art in Berlin 1880- 1980, including over one hundred works from the interwar period. Illustrating the cosmopolitan nature of the city’s artistic community at that time are mid-1920s works such as Hungarian constructivist Lajos Ebneth’s paintings and Russian avant-gardist El Lissitzky’s prints and Proun Room installation. The exhibition also highlights women artists of the period, delving deep into the stories of the likes of German Dadaist Hannah Höch, whose 1932 Bauhaus exhibition was cancelled and who was denounced as a “cultural Bolshevist” in Wolfgang Wilrich’s infamous 1937 Purging the Temple of Art. German Jewish artist Anne Ratkowski, a founding member of the New Naturalists group, was banished from public art activities in 1933. At HKW is Neolithic Childhood. Art in a False Present, c.1930, an exhibition of works by avant-garde artists in Berlin, Paris and Prague at the time. The title is inspired by a phrase used by German Jewish art critic Carl Einstein (1885-1940), who wrote about and exhibited many of the artists included, such as Jean (Hans) Arp. The curators assure me that Einstein was merely their “trans-historical interlocutor” and the exhibition reaches beyond his immediate circle with the inclusion of artists such as British surrealist Catherine Yarrow. Einstein wrote extensively on a harking back to human pre-history, an artistic response to the ideological instability, technological and scientific advances and fundamentally changing structure of societies at the time – a phenomenon comprehensively charted by more than 800 books, pamphlets, magazines, paintings, drawings, sculptures and films in the exhibition. n Berlin Realismus Through June 11 Bröhan Museum, Charlottenberg | Neolithic Childhood. Art in a False Present, c.1930 Through July 9 Haus der Kulturen der Welt, Tiergarten | Art in Berlin 1880-1980 Ongoing Berlinische Gallerie, Kreuzberg | Käthe Kollwitz Museum Daily 11-6 Prenzlauer Berg 38 EXBERLINER 171
WHAT’S ON — Art Marc Chagall: Clown mit blauer Gitarre Highlight Searching for the Exiting perfect gift shop This month, an exhibition flat? pits Chagall postcards and tea towels against some of the modernist Fast, titan’s easy… originals and in English! Rooms and flats, all districts, price ranges, and styles Friendly, reliable service In the unassuming Berggruen Museum, one of Berlin’s smaller state museums located opposite Schloss Charlottenburg, is this one room display of some unsurprising works by Russian-French modernist Marc Chagall. Much like the museum, the paintings on display are fairly small and modest, complemented by a large decorated folding screen titled Wandschirm, 1963. The exhibition text describes the artist as a ground-breaking innovator and, without a shadow of irony, says this is because of his use of “the decorative image”. This is perhaps exactly why Chagall has become the tea towel, fridge magnet, key ring artist that he is today, and fair enough. Next door, German photographer Ulrike Kolb examines the many ways in which Chagall reproductions are displayed in private homes, the office of the Federal President at Bellevue Palace and even on the hilariously shonky Chagallesque ceiling fresco in Berlin’s very own Café Chagall in Prenzlauer Berg. Kolb’s photographs reveal how Chagall’s art is consumed and displayed today, in reproduction and at the absolute height of a purely decorative intention by their owners. A refreshing take on how to look at works you’ve seen on a thousand screen savers. — AL The Modernity of Decorativeness ★★★★✩ From May 20 2018 Museum Berggruen, Charlottenburg Ulrike Kolb © Stuart Nicholson © Peter Purgar flatrentals Register at www.exberlinerflatrentals.com to receive suggestions for apartments and rooms, tailored especially to you. © Marco Borggreve Mouth (for L’Oréal), New York, 1986 © The Irving Penn Foundation 18 - 20 May Radialsystem V Booking www.radialsystem.de T. 030 - 288 788 588 Antje Weithaas Bugge Wesseltoft Thorsten Johanns Festival Audun Kleive Max Landgrebe Ah Ruem Ahn Erlend Apneseth Per Arne Glorvigen IRVING PENN CENTENNIAL DJ Strangefruit DER JAHRHUNDERTFOTOGRAF Konstknekt 24.03.——01.07.2018 C/O Berlin Foundation . Amerika Haus Hardenbergstr. 22–24 . 10623 Berlin Täglich / Daily 11:00–20:00 . www.co-berlin.org Das Norwegische Kammerorchester www.lillenorge.de
Page 1 and 2: 1968-2018 Berliners look back POLIT
Page 3 and 4: CONTENTS EXBERLINER 171 - MAY 2018
Page 5 and 6: COLUMN— Political Notebook Why ar
Page 7 and 8: BEST OF BERLIN— May 2018 VOLKSBÜ
Page 9 and 10: DON’T WORK, MAKE MONEY point I go
Page 11 and 12: DON’T WORK, MAKE MONEY with our d
Page 13 and 14: DON’T WORK, MAKE MONEY “Remaini
Page 15 and 16: DON’T WORK, MAKE MONEY Tacheles i
Page 17 and 18: DON’T WORK, MAKE MONEY took over:
Page 19 and 20: DON’T WORK, MAKE MONEY QR code. I
Page 21 and 22: CONFESSION The sugar babes Being a
Page 23 and 24: DON’T WORK, MAKE MONEY Worldwide,
Page 25 and 26: @waltercrasshole ”best franco-ger
Page 27 and 28: WHAT’S ON — Exhibitions were co
Page 29 and 30: WHAT’S ON — Film Starts May 3 7
Page 31 and 32: Festival previews WHAT’S ON — F
Page 33 and 34: WHAT’S ON — Music Quote Tobias
Page 35 and 36: WHAT’S ON — Music Tips Classica
Page 37 and 38: WHAT’S ON — Stage THEATER- TREF
Page 39: WHAT’S ON — Stage PALMYRA by be
Page 43 and 44: WHAT’S ON— Art Georgina Steytle
Page 45 and 46: WHAT’S ON — Calendar FRI 18 Kar
Page 47 and 48: ADVERTORIAL — The Berlin Guide G
Page 49 and 50: ADVERTISING — The Language School
Page 51 and 52: BERLIN BITES BREAD Le Brot Real bag
Page 53 and 54: COLUMN— The Gay Berliner Xpose yo
Page 55 and 56: 7,50 € © »the editor« pierrotl

Exberliner Issue 171 May 2018

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