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That was long expected: The New National Gallery is finally out again in Berlin. Your parent company, the Mies van der Rohe at the Cultural Forum, has closed its doors months ago now eleven. High time for a reunion – Nachem last in the great “In / Ex” exhibition in the Alte Nationalgalerie, the highlights of Expressionism were seen
Five years without a home -. To that period is the renovation of the building recognized at the Cultural Forum for the time being – which constitutes a danger for an important institution like the New National Gallery. A museum unit in the abundance of offers easy to lose sight. Recently therefore circulated a proposal from the Governing Mayor and Senator for Culture Michael Müller, at least parts of the collection to show at Tempelhof Airport. To date, it fails on the money, the Hangar 1 have to be prepared consuming. And currently there are refugees housed
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After all, has the Prussian Cultural Heritage Foundation, a temporary quarters found in their own premises: in the west wing of the Hamburger Bahnhof, the already one of the branches of the National Gallery. Only here contemporary art is usually shown. The place is well chosen, because in the Museum of Contemporary flows an international, predominantly young audience. In the “New Gallery”, as the temporary division is, it now gets during the renovation of the parent company offered an extra dose of modernity, history of art at its finest. The first charge is a showpiece of museological research, intriguing manner, beautifully staged. The museum team the bar hangs itself up for the next exhibitions are to follow every six months.
The exhibition offers more than a “best of”
Only at first glance disappointed that not just the masterpieces of the collection are presented to satisfy the pent-up need of the lovers of classical modernity and to attract tourists. Instead, an art forum Lab is on offer, a trial run for the future Museum of Modern Art, which will be built next to the Neue Nationalgalerie. Should it succeed there as well as now in the Hamburger Bahnhof, one can look forward a little bit more on the new house at the Potsdamer Straße, just for the running of the architectural competition
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“The dark years. Stories collections 1933-1945 “curator Dieter Scholz has overwritten the exhibition. It starts a bit complicated with a prologue, which is about a picture exchange in December 1932, Fascist Italy. The National Gallery then received 15 works by Italian artists such as Giorgio de Chirico, Carlo Carrà and Mario Sironi. In his opening speech Goering enthusiastic for this cultural transfer. A matter of the heart, as he confessed: Finally, both nations were united in the struggle against Bolshevism. At this time was not yet clear what direction would take the art of politics, Expressionism and Futurism were still accepted.
In the entree of the current exhibition, however, depend only 14 of these paintings, because in the course of “degenerate art “a Modigliani was confiscated and sold at auction in 1939 in Lucerne. Today the factory is located in an anonymous private collection, which does not want to lend. Finally now suspects the visitor that he gets served not easy to digest, but to follow the tortuous paths of the images, the complicated collection covers the National Gallery
60 works -. Each has its own story
the eye candy there anyway. With each of the 60 plants connects another story. Since the emergence of the Gurlitt Collection in Munich and the general public aware of the complexity of the origins, know that painters, dealers, collectors and museum staff in the “Third Reich” arranged and there is no black or white. The exhibition walls are therefore kept in gray, the darker colors with each section, to anthracite in the section “Tracking”.
The prelude Karl Hofer’s “Drummer”, a sinistres image with five almost unclothed figures the black as if on stage screens appear to move. In the midst of the drummer makes his appearance. If it is an allegory of Hitler, who saw himself as a drummer for the cause of fascism? After Hofer studio was destroyed in 1943 by an aerial bomb, he painted the picture for the second time, of the first version of 1924, he still had a photograph. What was only a clue in their twenties, the announcement of a bad piece, has become dramatic reality under the Nazis. Hofer was among the first who lost their posts as a university teacher. However, he also tried to set up under the new conditions – and he divorced his Jewish wife Mathilde, who was then murdered in Auschwitz in 1942
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Other artists remained only the emigration, as Ernesto Fiori, who went to Brazil. From him comes a bust of Marlene Dietrich, who emigrated to the United States again – a work, two destinies. The powerful self-portrait by Max Beckmann plaster reminiscent of another exiles. One day after the opening of the “Degenerate Art” -Look 1937 in Munich traveled Beckmann to Holland and returned to the end of the war no longer return to Germany.
The 1937 represents a turning point in the art policy of the “Third Reich “is that art and artists are now targeting pursued. Among the happy verlaufenen heard stories of Erich Heckel’s rescue painting “Spring”, which escaped the confiscation, because a courageous volunteer could hide there before had traveled Nazi Commission barely. An exception. With a total of 400 works of modernity, the National Gallery is one of the museums with the largest loss by the Nazis. After all escaped Wilhelm Lehmbruck “kneeling” also the art critics, as for the Munich Feme Exhibition 1937 another version was already provided. For the Berlin casting suffered in World War II by the bombs worst damage at the Hamburger Bahnhof is now just to see what was left of it.
Rudolf Belling was the Nazis at the same time as degenerate and agreeable
How inconsistent the official judgment of art turned out then, shows the case of the sculptor Rudolf Belling. His abstract “triad” got into the exhibition “Degenerate Art”, his bronze of Max Schmeling as genehmes work has been shown in parallel Haus der Deutschen Kunst. Both are now in the collection, as Georg Kolbe’s “down-border” from 1940, whose muscularity was in line with the fascist aesthetics. Nazi art or not? Even in retrospect, the differences are not always discernible.
more poignant that with bits and pieces of Picasso’s “Guernica” gambling paintings by Karl Kunz, who painted on plywood panels made from his father’s wood working and there too could not hide his works. As a gift of the Son, there came this year in the New National Gallery, where it can now be seen for the first time. After the black years it finally comes to light.
Hamburger Bahnhof, Invalidenstr. 50/51 until 31 July 2016; Tue, Wed, Fri 10-18 clock, Thu to 20 clock, Sat / Sun 11-18 clock. Catalog (publishing firm) € 29.80
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