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Events in Art and Archaeology

Georg Baselitz: <EM>Blocked Painter</EM>, 1966Oil on canvas162 x 130 cmMKM Museum Küppersmühle für Moderne Kunst, Duisburg, Sammlung Ströher© Georg Baselitz 2016Photo: Archiv Sammlung Ströhe
Georg Baselitz: Blocked Painter, 1966
Oil on canvas
162 x 130 cm
MKM Museum Küppersmühle für Moderne Kunst, Duisburg, Sammlung Ströher
© Georg Baselitz 2016
Photo: Archiv Sammlung Ströhe
Georg Baselitz: The Heroes
FRANKFURT  •  Städel Museum  •  30 June - 23 October 2016

In a monographic exhibition, curated by Städel director Max Hollein, some seventy paintings and works on paper by German artist Georg Baselitz (born 1938) are on view.

In 1965, Georg Baselitz perceived the order of post-war Germany in its state of multifaceted destruction – ideologies and political systems, but also artistic styles were up for discussion. This lack of order was very much in keeping with the artist’s own nature: appropriation through artistic categorization was something that remained foreign to him all his life. From the perspective of his fundamentally sceptical attitude he therefore emphasized the equivocal aspects of his time. His monumental Heroes in their tattered battle dress, figures marked as much by failure as they are by resignation, possess an accordingly contradictory character. The fact that the artist – who was a mere twenty-seven years of age at the time – devoted himself to the subject of “Heroes” or “Types” at all was provocative per se. (Male) heroism and its onetime exponents had been called into question by the war and the post-war period. The fragile and paradoxical character of the “Heroes” with regard to content finds its equivalent in their form. The consistently frontal depiction and central placement of the clearly outlined figure contrast with the wildness of the palette and the vehemence of the painting style. Baselitz thus illustrated a reality unwelcome in the German Federal Republican success story of the economic miracle – and what is more, to do so he availed himself of figuration, a supposedly obsolete form. Yet Baselitz was concerned here with far more than general social issues – he was also reflecting on his own position in relation to society. The result is a forceful assertion of the self and definition of identity that runs contrary to all of the currents of the period in question.

The travelling exhibition’s subsequent venues will be the Moderna Museet in Stockholm, the Palazzo delle Esposizioni in Rome and the Museo Guggenheim Bilbao.

Städel Museum Website

Contact: Städel Museum
Schaumainkai 63
60596 Frankfurt am Main
Tel: (49) 69 60 50 980

Juergen Teller: <EM>Kanye, Juergen &amp; Kim</EM>,DPS No.25, Chateau d’Ambleville 2015© Juergen Teller
Juergen Teller: Kanye, Juergen & Kim,
DPS No.25, Chateau d’Ambleville 2015
© Juergen Teller
Juergen Teller: Enjoy Your Life
BONN  •  Kunst- und Ausstellungshalle der Bundesrepublik Deutschland  •  10 June - 23 September 2016

In 1986, German artist Juergen Teller (born 1964) moved to London and began to work for trendy music, zeitgeist and fashion magazines. He came to fame in 1991 when he photographed the band Nirvana, and his pictures of Kurt Cobain were published. Since then his pictures have straddled the interface of art and commercial photography. His stylistic device of choice is the portrait. Working in the areas of music, fashion and celebrities as well as everyday scenes and landscape, he draws on his intuitive feel for people, situations, milieus and clichés to create images of great immediacy and deceptive simplicity. His compositions often convey a sense of the incidental or even slapdash, but on closer inspection it becomes clear that they are very carefully composed and conceptualised. Implicit in many of his works is the deliberate breach of viewer expectations – Teller does not idealise, romanticise or prettify. Instead, his pictures aim for the very core of the subject and foreground the idea of imperfect beauty.

"Everything in a wide sense is a kind of self-portrait. It‘s just the way you see things and you‘re curious about certain things and just excited about them."

Juergen Teller

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland Website

Contact: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland
Friedrich-Ebert-Allee 4
Bonn D-53113
Tel: (49 ) (0) 228 91 71

Thomas Struth: Tokamak Asdex Upgrade Interior 2. Max Planck IPP, Garching 2009© Thomas Struth
Thomas Struth: Tokamak Asdex Upgrade Interior 2. Max Planck IPP, Garching 2009
© Thomas Struth
Thomas Struth: Nature & Politics
BERLIN  •  Berliner Martin-Gropius-Bau  •  11 June - 18 September 2016

The exhibition features approximately 37 large-format photographs from the years 2005 through 2016.

Industrial production plants, research laboratories and operating rooms, but also everyday architecture or theme parks: Thomas Struth’s pictures of the last few years explore how human ambition and imagination become spatial, objective reality.

Berlin Festival 2016 Website

Contact: Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7 | Corner Stresemannstr. 110
10963 Berlin
Tel: (49) 30 254 86-0

Goshka Macuga: <EM>Now this, is this the end … the end of the beginning or the beginning of the end?</EM>
Goshka Macuga: Now this, is this the end … the end of the beginning or the beginning of the end?
Goshka Macuga: Now this, is this the end … the end of the beginning or the beginning of the end?
BERLIN  •  Schinkel Pavillon e.V.  •  9 July - 18 September 2016

Inside the octagon of Schinkel Pavillon sits a talking android of male appearance. It is a hybrid between machine and doll, resembling a human being in physiognomy and behaviour. Through what it directs towards the entering audience in its speech, it links social realities and fictions. It is a speech about the beginning and end of human existence, a plea to be humane and at the same time to overcome being human. In its statements it revolves around the human being in its extremes between creation, love, peace, unity – faith – fear, aggression, and total destruction through terror and war, as well as global collapse.

In the second part of her double-exhibition at Schinkel Pavillon, ‘Now this, is this the end…the end of the beginning or the beginning of the end? (Part 2)’, Goshka Macuga focuses on the relationship between human beings and technology. The android with the title “To the Son of Man Who Ate the Scroll“ (2016) works as an interface between a narrative of artificiality and the human perspective. The artist prioritises in her work the generation of knowledge through language, rhetoric and intellectual exchange as a tool of human cognition. In both exhibitions, the overcoming of the human body through work on artificial memory and artificial intelligence is a topic that the artist negotiates and puts up for discussion. The first part of the exhibition implied – among reflections on beginning and end – also the course of time as a factor as well as materiality within the production of knowledge and within knowledge engineering. While in the first part Macuga focused on the organisation, operability and loss of knowledge, now the production of cognition is emphasised.

Goshka Macuga was born 1967 in Warsaw and lives and works in London.

Schinkel Pavillon e.V. Website

Contact: Schinkel Pavillon e.V.
Oberwallstraße 1
10117 Berlin
Tel: (49) 30 2088 64 44

Thomas Hirschhorn: Double Garage
MUNICH  •  Museum Brandhorst  •  30 June 2016 - 30 June 2017
Thomas Hirschhorn’s Double Garage is a workshop-cum-hobby room and the unexpected site where fundamental categories of human feeling and action are thrashed out: violence and counter-violence, revenge and reconciliation. The work was triggered by and is a response to the events of September 11

Pinakothek der Moderne Website

Contact: Pinakothek der Moderne
Barer Straße 40
80333 München
Tel: (49) 89.23805-36

With Different Eyes – The Portrait in Contemporary Photography
COLOGNE  •  Die Photographische Sammlung/SK Stiftung Kultur, Cologne  •  26 February - 1 August 2016
The exhibitions present numerous artistic concepts that shed light on the genre from many different angles. The shows discuss aspects of individuality and identity, social and cultural contexts and social relations. Single photographs, photo sequences, room-filling installations and cinematic works show people in different living environments, examine their presence in the photographic picture and discuss the meaning of the portrait in regard to individualization, characterization, culture and abstraction.?Traditional forms of the picture and innovative approaches together illustrate the diversity of the topic and make visible the change that photography has been subject to over the last centuries, whether in respect of analogue and digital technologies or a broader artistic acceptance. It is with great freedom that the artists presented in the show make use of the means of media available to them and thus create their own cosmos. Being on display next to each other, the individual pictures and the serial portrait, which can be reproduced and distorted so easily, are able to unfold their full potential.

Die Photographische Sammlung / SK Stiftung Kultur Website

Contact: Die Photographische Sammlung / SK Stiftung Kultur
Im Mediapark 7
50670 Cologne
Tel: (49) 221 888 95-300

Events in Pop Culture and Cinema

<EM>Relics of the Cold War: Photographs by Martin Roemers</EM>
Relics of the Cold War: Photographs by Martin Roemers
Relics of the Cold War: Photographs by Martin Roemers
BERLIN  •  Deutsches Historisches Museum  •  4 March - 14 August 2016

What is left of the Cold War? World Press Photo Award-winning Dutch photographer Martin Roemers documents the structural and topographic relics of the conflict between East and West in Europe. The solo exhibition  comprises photographs taken between 1998 and 2009 in ten European countries: Russia, Poland, the Czech Republic, Ukraine, Latvia and Lithuania from the former Eastern bloc; Great Britain, the Netherlands and Belgium from the West, and finally both parts of once-divided Germany. Martin Roemers' photographs take us to abandoned army bases and bunker complexes, military training areas, technical installations, monitoring facilities and military cemeteries.

The exhibition sets the Relics of the Cold War series in its historical context. Themed sections examine the arms race in the nuclear age, the defensive measures and preparations for the eventuality of a third world war, the role of technology, the rise of the intelligence services and the instrumentalisation of history in public commemoration. They reveal that the Cold War was both a confrontation between two systems and a system in itself: one that has left similar, once functional remains on both sides of the Iron Curtain.

Deutsches Historisches Museum Website

Contact: Zeughaus and Exhibition Hall
Unter den Linden 2
10117 Berlin
Tel: (49) 30 20304-0

Welcome to the Anthropocene
MUNICH  •  Deutsches Museum  •  5 December 2014 - 30 September 2016

Today, the human imprint is so deep and pervasive that scientists, policymakers, and society are considering whether human-caused changes are affecting the geological record over the long term – whether we are, in fact, living in a new geological era.

This exhibition, covering 1,400 square metres, is the first major exhibition in the world to look at an issue that will be decisive for the future: the Anthropocene. Through selected topics such as urbanisation, mobility, nature, evolution, food, and human-machine interaction, the exhibition explores the past, present, and future of humanity. Historical artefacts trace the technology that put us on the path to the Anthropocene, while current research presents the challenges we are facing today, as well as possible solutions. Artistic interpretations provide visions for the future and ask us to look at the world in new ways.

The exhibition catalogue is available in German and English.

This special exhibition is a joint project of the Deutsches Museum and the Rachel Carson Center.

Deutsches Museum Website

Contact: Deutsches Museum
Masterpieces of Science and Technology
Museumsinsel 1
80538 Munich
Tel: (49) 89 21 79 333

Focus Königgrätz
BERLIN  •  Deutsches Historisches Museum  •  30 June - 31 December 2016

150 years ago, on 3 July 1866, Germany’s future was decided in the Battle of Königgrätz. The victory of the Prussian army over Austria established Prussian hegemony in the German states. The Deutsches Historisches Museum is devoting a temporary presentation within the Permanent Exhibition to this important event in German history with a number of objects from the museum’s own collections that can be seen for the first time.

The painting The Battle of Königgrätz on 3 July 1866 by Georg Bleibtreu from around 1869 forms the centrepiece of the exhibition. In addition, two laurel wreaths as well as such contemporary objects as a uniform worn at the Battle of Königgrätz, a diary, a field post letter and examples of the new Prussian weapons technology are shown. A media station that demonstrates the course of events on 3 July 1866 and a time beam on the floor help to reconstruct the political developments before and after the battle.

Deutsches Historisches Museum Website

Contact: Deutsches Historisches Museum
Unter den Linden 2
10117 Berlin
Tel: (49) 30 203 04 751

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