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Events in Art and Archaeology

Revisiting Rome: Prints of the Eighteenth Century
DRESDEN  •  Residenzschloss (Royal Palace) Kupferstich-Kabinett  •  19 October 2016 - 15 January 2017

In the eighteenth century Rome was a popular travel destination. Its remains of antiquity, the Renaissance and Baroque monuments transformed the city into a laboratory of urbanistic and aesthetic innovation. As a location with a rich publishing tradition, Rome also had the necessary infrastructure at its disposal to effectively spread the fame of local landmarks through printed images: Illustrators, engravers and etchers met here with publishers, printers and distributors of different nationalities.

For artists Rome was also an inexhaustible source of inspiration for architectural fantasies, which, alongside the realistic panoramas, enjoyed a growing popularity. With these inventions, Veneto-born architect Giovanni Battista Piranesi caused something of a stir. At the time, his masterly etchings were significant in establishing Rome alongside Venice as a center of Italian printmaking.

During his lifetime, almost the entire etched œuvre of the artist made its way to the Dresden Kupferstich-Kabinett. The purchase of Piranesi’s works is only one example of the extensive and selective acquisitions of Roman printmaking that were made at the time. Piranesi’s lifespan covers roughly the same time frame as the exhibited works, which concentrate on panoramas of the ancient and modern Rome as well as unreal spaces. To this day, most of these sheets are bound in so-called collector’s albums – large format volumes that were preferred in the eighteenth and nineteenth centuries for the storage and presentation of print collections.

Additionally, with caricatures by Pier Leone Ghezzi the exhibition offers insights into who populated the streets of the Eternal City in the eighteenth century. Numerous Ghezzi drawings were etched by order of the Saxon Royal Court. Today these sheets are presented as a particularly charming witness of the intensive relationship between Rome and Dresden at that time.

A catalog published by Sandstein-Verlag Dresden accompanies the exhibition.

Contact: Residenzschloss (Royal Palace) Kupferstich-Kabinett
Taschenberg 2
01067 Dresden
Tel: (49) 351 - 49 14 20 00

Max Lieberman: <EM>Samson and Delilah</EM>, 1902Oil on canvas
Max Lieberman: Samson and Delilah, 1902
Oil on canvas
Battle of the Sexes: Franz von Stuck to Frida Kahlo
FRANKFURT  •  Städel Museum  •  24 November 2016 - 19 March 2017
This exhibition explores the emotionally charged relationship between man and woman and its representation in art from the mid-nineteenth century to the end of the Second World War. Featuring over 150 works, the exhibition reveals just how controversial both male and female modern artists were in their reaction towards the construction of gender identities and bears witness to the ways they used painting, sculpture, graphic art, photography and film to tackle stereotypes and role models. Some used their work to confront their audiences with exaggerated gender traits or else sought to undermine stereotypical role models. Others attacked common clichés and aimed to deconstruct them via strategies such as irony, exaggeration, masquerade and hybridization. Gender distinctions – based upon traditional associations of male and female with categories such as active/passive, rational/emotional, culture/nature, state/family – became increasingly defined over the course of the nineteenth century, not only influencing economic, social and political structures, but also art. The exhibition builds upon the Städel’s own collection of artworks with direct relevance to the show’s theme, including paintings by Max Liebermann, Edvard Munch, and Franz von Stuck, sculptures by Auguste Rodin, and photographs by Frank Eugene and Claude Cahun. Significant loans mean that famous names such as Hannah Höch, Édouard Manet, Gustav Klimt, Otto Dix and Frida Kahlo can be featured in meaningful juxtaposition with lesser-known artists, including works by Leonor Fini, John Collier, and Gustav Adolf Mossa. Works from the canon of modern art are thus complemented by similarly apposite, though somewhat neglected exhibits.

Städel Museum Website

Contact: Städel Museum
Schaumainkai 63
60596 Frankfurt am Main

Tel: (49) 69 60 50 98-232

Omer Fast: <EM>Spring </EM>201644 Minuten, Fünf-Kanal-Videoinstallation, im LoopCourtesy Galerie Arratia Beer / gb agency / Dvir Gallery / James Cohan Gallery / Filmgalerie 451© Omer Fast
Omer Fast: Spring 2016
44 Minuten, Fünf-Kanal-Videoinstallation, im Loop
Courtesy Galerie Arratia Beer / gb agency / Dvir Gallery / James Cohan Gallery / Filmgalerie 451
© Omer Fast
Omer Fast: Talking is not always the solution
BERLIN  •  Martin-Gropius-Bau  •  18 November 2016 - 12 March 2017
Omer Fast (born 1972) creates narrations in his films that question the borders between one's own and media narratives and between current and historic events. His works address the friction between documentary and fiction. The Martin-Gropius-Bau is showing seven of his projects at his first large solo exhibition in Berlin. Shown are: CNN Concatenated from 2002, Looking Pretty for God (after G.W.) from 2008, 5000 Feet is the Best from 2011, Continuity from 2012, Everything That Rises Must Converge from 2013, Spring from 2016, as well as a new work called August from 2016. Shot in 3D, August is based on the life and work of renowned Cologne photographer August Sander (1876-1964).

Martin-Gropius-Bau Website

Contact: Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7
10963 Berlin
Tel: (49) 30 254 86-0

Taryn Simon: A Soldier is Taught to Bayonet the Enemy and not Some Undefined Abstraction
DRESDEN  •  Albertinum  •  27 October 2016 - 15 January 2017
Whether American artist Taryn Simon seeks out unusual places within the US or explores the cataloguing system of the legendary picture collection of the Mid-Manhattan Library; whether she documents smuggled goods at the New York airport or combines local internet search engines to perform a global image search; whether she catalogues birds that can be seen flying through James Bond movies or reconstructs the floral centerpieces in photographs that show historical and current treaty signings—all of her work develops out of research that often takes years. What results are extensive photographic series in which the subject is spread out and classified as in an index of images. Simon makes use of the medium’s documentary power and its potential for reproduction as much as its ability to stage a subject.


Tzschirnerplatz 2
01067 Dresden


Tel: (49) 351 - 49 14 2000

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

Events in Pop Culture and Cinema

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

Fragments Past and Present: German Colonialism
BONN  •  Deutsches Historisches Museum  •  14 October 2016 - 14 May 2017
The Deutsches Historisches Museum is dealing for the first time with various aspects of German colonialism in an exhibition with more than 500 objects. Although the German Empire was one of the major European colonial powers, only in recent years has Germany‘s colonial past found its way into public consciousness to a significant degree. The exhibition of the Deutsches Historisches Museum examines the colonial ideology, which was founded in the belief of a European superiority. The multifarious interconnections of power ranged from local alliances and the routine exercise of violence on up to the colonial war in Namibia, which developed into genocide. No less varied were the colonial encounters. African, Oceanian and German players pursued their own aims and worked out their own scope of action. The exhibition sheds light on the motives of the missionaries, officials, military personnel, settlers and merchants on the German side as well as the interests of the colonialized peoples. At the same time it questions the degree to which the perspectives of the colonialized peoples were taken into account in the historical tradition and whether this stands in contradiction to the enormous extent of the collections and archives that were gathered during the colonial period and which tended to support the conditions of power.

Deutsches Historisches Museum Website

Contact: Deutsches Historisches Museum
Unter den Linden 2
10117 Berlin
Tel: (49) 30 20304-0

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