Warning: Undefined variable $config in /html/neu/controllers/events_ical.inc.php on line 56
BEGIN:VCALENDAR VERSION:2.0 PRODID:-//ical@brueckemuseum.de//NONSGML kigkonsult.se iCalcreator 2.41.92// CALSCALE:GREGORIAN METHOD:PUBLISH UID:37376234-3136-4635-b533-303135626364 X-WR-CALNAME:Brücke Museum X-WR-CALDESC: X-WR-RELCALID:c186e831-6ed4-4b8a-bd5f-531422c82034 X-WR-TIMEZONE:Europe/Berlin BEGIN:VTIMEZONE TZID:Europe/Berlin TZUNTIL:20250330T010000Z BEGIN:STANDARD TZNAME:CET DTSTART:20221030T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 RDATE:20231029T030000 RDATE:20241027T030000 END:STANDARD BEGIN:DAYLIGHT TZNAME:CEST DTSTART:20230326T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 RDATE:20240331T020000 END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:event_2303@www.bruecke-museum.de DTSTAMP:20260413T214839Z CLASS:PUBLIC DESCRIPTION:The panel Nationale Expressionismen focuses on the intersection s between German Expressionism\, national reform efforts\, and National So cialist ideology. It examines the connections between expressionist form a nd 'völkisch' content through the discussion of works that were perceived to be 'genuinely German' at the time\, illustrating the instrumentalisatio n of art through nationalist interpretations. The panel also discusses the artists' decision to choose either stylistic change or stylistic continui ty in response to political developments and ruptures\, particularly after 1945.\n\nHost: Prof. Dr. Aya Soika (Bard College Berlin)\n\nProf. Dr. Aya Soika teaches art history at Bard College Berlin. Her research interests are in the field of 20th-century modernism\, in particular German Expressi onism. In 2019 she was co-curator of Emil Nolde - A German Legend. The Art ist during the Nazi Period (Neue Nationalgalerie at Hamburger Bahnhof) and 'Escape into Art?'\, a show on the Brücke artists during the Third Reich (Brücke-Museum Berlin). As the author of the catalogue raisonné of Max Pec hstein's oil paintings (2011) and a Handbook on the genre of the catalogue raisonné (2023)\, she is interested in the intersection between art histo ry and its practices.\n\n \n\nChristina Brinkmann M.A. (Martin-Luther-Univ ersität Halle-Wittenberg): Expressionistische Wandmalereien in einem völki schen Museum (DE)\n\nBy examining the expressionist wall paintings by Paul Thiersch (1879–1928)\, Lili Schultz\, Klara Kuthe\, and Johanna Wolff\, c reated in 1919 for the Provinzialmuseum für Vorgeschichte in Halle (Saale) \, this discussion will focus on the Germanic mythological image program\, the ideological and personal connections within the circle around Stefan George\, the museum's overall concept with völkisch elements\, and the rec eption of the artwork up to the present day.\n\nChristina Brinkmann works as a research associate at the Department of Art History at the University of Halle. She studied German Language and Literature and Art History in H alle\, Munich\, and Paris\, as well as Art Sciences in Halle and Vienna. C urrently\, she is working on a dissertation on the history of the Burg Gie bichenstein School of Arts and Crafts in Halle during the National Sociali st era. She has been involved in several exhibition projects\, including B ecause We Are Young (Raum für Kunst Halle 2021)\, which explores the indus trial\, cultural\, and migration history of a railway construction company .\n\n \n\nNora Jaeger (Ruhr-Universität Bochum): Eine expressionistische K ünstlergruppe im Nationalsozialismus: Der Norden (DE)\n\nThe presentation will focus on the artist group Der Norden\, which sought to establish a co nnection between expressionist modernism and National Socialism\, aligning themselves with the tradition of selected former Brücke artists such as E rich Heckel\, Emil Nolde\, or Karl Schmidt-Rottluff. This presentation wil l delve into the well-connected members of the artist group Der Norden and examine the contemporary reactions to their eponymous traveling exhibitio n. Exploring the activities of this artist group raises the question of ho w they can be contextualized within the art-political disputes and debates of the early years after 1933.\n\nNora Jaeger studied art history and arc haeology in Münster and Bochum. Since 2015\, she has worked in various mus eums and exhibition venues\, including the Bundeskunsthalle\, Deichtorhall en\, and Gropius Bau. She served as a curatorial assistant at the Wilhelm- Hack-Museum and as a research associate at the Provenance Research\, Art\, and Cultural Heritage Protection research center. Since 2019\, she has be en pursuing her doctoral degree on Otto Andreas Schreiber\, supported by a doctoral scholarship from the Gerda Henkel Stiftung\, and her research fo cuses on art policy during the National Socialist era.\n\n \n\nWolfgang Br auneis (Kunstverein Nürnberg – Albrecht Dürer Gesellschaft): Welches Schwe inderl hätten's denn gern? Die Skulpturen Willy Mellers zwischen NS-Monume ntalismus und Nachkriegsexpressionismus (DE)\n\nThe lecture delves into th e broader context of artists’ adaptability and explores the rehabilitative functions that a style related to expressionism can potentially assume. S pecifically focusing on the sculptor Willy Meller (1887–1974)\, who was in cluded in Hitler and Goebbels’ „Gottbegnadeten-Liste“ in 1944\, it raises intriguing questions: How do we retrospectively evaluate a sculptor whose works exhibited moderate expressionist qualities in the 1920s\, later evok ing associations with Ernst Barlach rather than Josef Thorak in the 1960s\ , and who\, in the interim\, designed monumental pieces for Nazi Ordensbur gs? Moreover\, what significance does it hold when someone produces art fo r both the German perpetrators before and the German victims after 1945? I n this context\, the role of expressionism is also examined.\n\nWolfgang B rauneis lives and works as an art historian and curator in Cologne and Nur emberg. In 2021\, he curated the exhibition “Divinely Gifted”. National So cialism’s Favoured Artists in the Federal Republic at the Deutsches Histor isches Museum in Berlin\, and last year\, he curated the exhibition Return the Gift! The Controversy Surrounding Die Frau Musica on Hermann Kaspar a t the Meistersingerhalle Nuremberg. He is the director of the Kunstverein Nürnberg – Albrecht Dürer Gesellschaft and is examining its history during the Nazi era and post-war decades as part of a research and exhibition pr oject.\n\n \n\nDr. Ilka Voermann (Berlinische Galerie): Karl Hofer als Rep räsentant der West-Berliner Kunstszene vor und nach 1945 (DE)\n\nThe artis t Karl Hofer (1878–1955)\, based in Berlin\, had close ties to the Brücke artists\, yet he differs in various ways\, particularly in terms of his re ception during and after the National Socialist era. To this day\, some of the works he created during the Nazi regime are described as “visionary” and “foreseeing the impending doom.” But is this truly accurate? What is t he origin of this particular reception? How do Hofer’s beliefs and his bod y of work relate to each other\, and what comparisons can be drawn\, for e xample\, to Karl Schmidt-Rottluff and Max Pechstein?\n\nDr. Ilka Voermann studied art history\, classical archaeology\, and modern and contemporary history in Münster and Mainz. From 2011 to 2012\, she worked as a research assistant and associate researcher at the Kunstmuseum Stuttgart\, where s he was responsible for the exhibition Willi Baumeister International. Betw een 2014 and 2017\, she served as a curatorial fellow at the Harvard Art M useums in Cambridge\, actively involved in the planning of the exhibition Inventur–Art in Germany\, 1943–55. As a curator at the Schirn Kunsthalle F rankfurt from 2017 to 2022\, she realized exhibitions such as Art for No O ne. 1933–1945 and Chagall. World in Turmoil. Since August 2022\, Ilka Voer mann has been the director of the Print Collection at the Berlinische Gale rie. DTSTART;TZID=Europe/Berlin:20230602T163000 DTEND;TZID=Europe/Berlin:20230602T183000 SEQUENCE:1 SUMMARY:Brücke Museum: Expressionism Revisited TRANSP:OPAQUE END:VEVENT END:VCALENDAR