ArtSlant - Recently added en-us 40 - Martin-Gropius-Bau - October 21st - January 15th, 2017 <div class="accordiontext_module"> <div class="intro"> <p>Based on selected distinguished national and international projects, the exhibition represents the state of the art in sustainable and modern timber architecture. The presentation spans from spectacular projects by Toyo Ito, Shigeru Ban and Frei Otto to direction setting urban timber houses such as those by Kaden &amp; Klingbeil in Berlin/Prenzlauer Berg, and upwards to the newest trends in high-rise buildings realized in timber. Plans, excerpts and photographs accompany the large-sized models.</p> </div> <div class="cont"> <p>A building material which has been falling into obscurity from the beginning of the modern era begins its return to contemporary architecture and the public consciousness. Whilst steel, glass, brick and concrete have long been symbols for modern building, now a construction material which is probably the oldest in history enriches the architecture of today. The renaissance of modern timber building began in the early nineties and seems set to develop continuously. A familiar material presents itself in a new diversity. Ongoing research is yielding huge development and improvement in structural engineering and in the use of timber. Computer aided methods in calculation and production offer completely new forms of design. One of mankind&rsquo;s oldest building materials therefore now provides innovative and interesting contributions to modern architecture.</p> <p>The exhibition presents sensational timber architecture which is being developed all over the world and which was unimaginable until a short time ago. It provides clear responses to the pressing questions of climate change. Visually it will be demonstrated how timber buildings retain the climate relevant gas carbon dioxide and how conventional, energy intensive building materials can be replaced by the use of a truly renewable resource. This aspect is backed up by eco balance reports on existing buildings. It is clear that wood has become the symbol of sustainability and of resource-saving building. Such hope for the solutions to the environmental problems of the construction industry can be found in no other building material.</p> <p>The narrative of the exhibition begins in the woods. Its importance for our environment and society will be explained and the reasons as to why it is sensible to use this fascinating material will be explored. The circle is completed by the portrayal of the increasing significance of alternative varieties of wood, such as hardwoods which will become more relevant in the industry&rsquo;s future.</p> <p>The fascination for a material which grows - so to speak - next door and which is uniquely useful in so many ways will be shown in the exhibition. A material which has demonstrated for centuries its suitability for use in huge structures as well as for furniture and which is still associated with feelings of comfort by many people.</p> <p>The exhibition is curated by Professor Hermann Kaufmann in cooperation with Professor Winfried Nerdinger both of Technical University of Munich. It is organized in cooperation with the DAZ &ndash; Deutsches Architektur Zentrum (Center of German Architecture) in Berlin and sponsored by the DBU &ndash; Deutsche Bundesstiftung Umwelt (German Federal Environmental Foundation), DHWR &ndash; Deutscher Holzwirtschaftsrat e.V. (Council of German Forestry Industry), GdW &ndash; Bundesverband deutscher Wohnungs- und Immobilienunternehmen e.V. (Federation of German Real Estate Companies), proholz Bayern, Verband des Bayerischen Zimmerer- und Holzbaugewerbes (Bavarian Association of Carpentry and Woodworking Industries) and Bayerische Staatsforsten A&ouml;R (Bavarian State Forest institution of public-law).</p> <p>More information:&nbsp;<a title="" href="" target="_blank" rel="nofollow"></a></p> </div> </div> <div class="event_details"> <div class="event_organizer"> <p>ORGANIZER&nbsp;Technische Universit&auml;t M&uuml;nchen. An exhibition of the Associate Professorship of Architectural Design and Timber Construction and the Architekturmuseum der Technischen Universit&auml;t M&uuml;nchen in cooperation with Deutsches Architektur Zentrum DAZ, supported by the German Federal Environmental Foundation (DBU), the German Wood Council (DHWR), the German Association of Housing Enterprises and Housing Cooperatives (GdW) and proHolz Bavaria.</p> </div> </div> Thu, 22 Sep 2016 14:23:53 +0000 - Martin-Gropius-Bau - October 8th - January 9th, 2017 <div class="accordiontext_module"> <div class="intro"> <p>Germany? But where is it?<br />I cannot find the country<br />Johann Wolfgang von Goethe, 1796</p> <p>On 9 November 1989, media all over the world reported on the fall of the Berlin Wall &ndash; an event that gave rise to a new, united Germany. Today, this Germany plays an important role in world affairs. For decades, citizens in East and West Germany lived under different political systems, but they had many deep-rooted memories in common.</p> </div> <div class="cont"> <p>This exhibition explores some of these memories on the basis of approximately 200 objects that originated during the last 600 years in Germany, and which are formative for culture, business and politics &ndash; past and present. They tell stories of great German achievements, of philosophers, poets and artists, and of historical events that have shaped the face of Germany today. A nation that has emerged in the shadow of the most terrible memory of all, the Holocaust.</p> <p>There are memories that are well known, and others that have yet to be discovered or newly rediscovered. The selected works often tell several stories and paint a nuanced picture of Germany&rsquo;s complex history. Using high-profile museum pieces and historical documents, the exhibition&rsquo;s five chapters outline, in thematic and chronological jumps, how Germany ultimately became what it is today:</p> <p>Germany - Memories of a Nation<br />Fluid borders<br />Empire and Nation<br />Made in Germany<br />Crisis and Remembrance</p> <p>The exhibition begins and ends with the year 1989 and Gerhard Richter&rsquo;s Betty from 1991, who is glancing back.</p> <p>Valuable works are on display, such as Albrecht D&uuml;rer&rsquo;s 1515 woodcut of a rhinoceros and the 1730 porcelain version of Johann Gottlieb Kirchner, which was based on a template from D&uuml;rer. They represent two of the most valuable technological and artistic achievements of the German world: modern printing and the invention of porcelain. Porcelain was re-invented in the early 18th century in Mei&szlig;en. It became an important European industry and proved competition to China&rsquo;s &ldquo;white gold&rdquo;. The grandiose Nuremberg Chronicle from 1493 reflects the introduction of the print, which was invented by Johannes Gutenberg in the 15th century. Through this invention, knowledge and art would easily be disseminated throughout Europe.</p> <p>The astrolabe of 1596 displays German precision and the highest standards in gold work. Skilful German metal craftsmen built some of the best scientific instruments of Early Modern times. Johann Anton Linden was one of them. His astronomical compendium is as big as an eBook reader &ndash; and is a world time clock and GPS in one. An aphorism is engraved: &ldquo;Time is running out. Death is like a threshold that you have to cross.&rdquo;</p> <p>One of the most impressive objects of the exhibition is Ernst Barlach&rsquo;s bronze sculpture, entitled The Floater (&ldquo;Schwebender&rdquo;). It's an angel in another form: the mouth and eyes are closed, the wings are folded, the gaze directed inward. Barlach (1870-1937) created it in 1926 on behalf of G&uuml;strower Church Council as a war memorial for the 700th&nbsp;anniversary of the cathedral. The face is reminiscent of the artist K&auml;the Kollwitz, who lost her son in the war in October&nbsp;1914. It represents the pain of all mothers.</p> <p>Barlach enthusiastically enlisted himself for military service in 1915. He came back a pacifist. In 1933, the Nazis removed his sculptures from public spaces. He was considered a &ldquo;degenerate&rdquo; artist; because his style had nothing to do with heroism. In August 1937, the angel was removed from the cathedral, brought to Schwerin and melted down in 1940 for the war effort. The plaster mould was saved, and a second recast was made and hidden in a village near L&uuml;neburg. In 1951, the angel was meant to be issued again. However, G&uuml;strow was in East Germany, 160&nbsp;km from Berlin. The Cold War was in full swing. It was also unclear how the GDR would deal with Barlach&rsquo;s art, so the cast was issued in Cologne&rsquo;s Antoniterkirche. It wasn&rsquo;t until 1953 that a faithful cast for the G&uuml;strow Cathedral was made. On 13 December 1981, Helmut Schmidt, former Chancellor of Germany, and Erich Honecker, then General Secretary of the East German Socialist Unity Party of Germany, visited Barlach&rsquo;s angel in the cathedral in an official state visit. For both heads of state, the angel represented a common memory.</p> <p>In 1937, the Buchenwald concentration camp was built at the gates of Weimar &ndash; the city of Goethe and Schiller, of Bauhaus, and the cradle of the democratic constitution of the Weimar Republic. According to estimates, approximately 56,000&nbsp;people died there by 1945. The camp gate of Buchenwald was built in 1938. It bears the inscription &ldquo;To each his own&rdquo;. It was designed by Franz Ehrlich, former Bauhaus student who was detained in the Buchenwald concentration camp. The signature is attached and legible from the inside. The prisoners would have had the inscription constantly before their eyes. The inscription hearkens back to the two-thousand-year old Roman legal principle: &ldquo;To live honourably, to hurt no one, to give each his own [suum cuique]&rdquo;.</p> <p>Twelve years of Nazi terror counts as one of Germany&rsquo;s central, inescapable memories. The years led to the systematic murder of six million Jews and brought death and destruction throughout Europe.</p> <p>Many artists, including Georg Baselitz, process this time again and again in their work. In his 1977 etching &ldquo;Eagle&rdquo;, the German eagle and the flag of democratic Germany are worn and frayed and upside down; a reflection perhaps on the fragility of these ideals.</p> <p>The exhibition traces German identity from a British perspective. The result is a dialogue between Germany and its history.</p> <p>A British Museum exhibition. Curator: Barrie Cook, historian at the British Museum. Initiated by Neil MacGregor, former Director at the British Museum, London, and created on the basis of his Beck-Verlag book.</p> <p>The Martin-Gropius-Bau is grateful to the Federal Government Commissioner for Culture and Media, whose funding made this exhibition possible, as well as the German Historical Museum and the Berlin State Museums for the generous loaning of items; to the Friede Springer Foundation for the generous support of the education programme.</p> </div> </div> <div class="event_details"> <div class="event_organizer"> <p>ORGANIZER&nbsp;Berliner Festspiele / Martin-Gropius-Bau. An exhibition of the British Museum accompanied by a book of Neil MacGregor.</p> </div> </div> Thu, 22 Sep 2016 14:25:55 +0000 - Martin-Gropius-Bau - September 30th - January 8th, 2017 <div class="accordiontext_module"> <div class="intro"> <p>Gestaltung&nbsp;(design) is research, and research is&nbsp;Gestaltung. Using models, tools and images, the exhibition reveals the fundamental importance of creative processes for science and research for the first time. From the hand ax to the 3D-printed organ, from biomimetic materials to feeling prostheses,&nbsp;+ultra. knowledge &amp; gestaltung&nbsp;presents the value of the insights and knowledge gained through the human transformations of nature, as well as their consequences. In a world, in which nature itself appears already shaped by human hand, the boundaries between nature and culture, organic and inorganic, matter and mind are increasingly eroding. Visitors can experience this tension as they explore expansive installations and witness images operations in which reality and simulation merge.<br /><br /><a title="" href="" rel="nofollow" target="_blank"></a></p> </div> </div> <div class="event_details"> <div class="event_organizer"> <p>ORGANIZER&nbsp;Cluster of Excellence &ldquo;Image Knowledge Gestaltung. An Interdisciplinary Laboratory&ldquo;, Humboldt-Universit&auml;t zu Berlin<br /><br />Supported by the Deutsche Forschungsgemeinschaft (DFG), the foundation Stiftung Deutsche Klassenlotterie Berlin (DKLB), Einstein-Foundation Berlin, Schering Stiftung, Sparkasse Berlin, Humboldt-Universit&auml;ts-Gesellschaft<br />CURATOR&nbsp;Nikola Doll in collaboration with Katharina Lee Chichester<br />MEDIA PARTNERS&nbsp;Berliner Zeitung, ZITTY, tip berlin Himbeer-Magazin Berlin</p> </div> </div> Thu, 22 Sep 2016 14:14:32 +0000