Digital

The Brücke Museum would also like to share our events with you digitally/hybrid. Some events that take place on site at the Brücke Museum will be recorded and put on Youtube for you. You can follow some of the formats live here or watch them as a video afterwards. Some events take place live via the Zoom platform. You will find registration options or direct links to these in the respective calendar.

Digital

Talk
Millis Awakening with Natasha A. Kelly

Milli’s Awakening: Film screening and lecture with Natasha A. Kelly in the exhibition Whose Expression? at the Brücke-Museum, moderated by Daniela Bystron.

Nadu (born 1955), a mask maker, Naomi (born 1965), an actress, and Maciré (born 1995), a student, are three of eight protagonists who have in common that they are Black women* living in Germany and working in the art context. Their biographical narratives show to what extent the occupation with art, in all its forms, can serve as a “remedy” to alleviate emotional isolation and social oppression. For Black women* have always been eroticised and exoticised by the white male gaze. In the works of many Expressionists, which are considered “classics”, they were depicted merely as “objects of desire”. The painter Ernst Ludwig Kirchner, for example, did not so much seek to explore the anatomy of women*s bodies during the heyday of German colonialism. Rather, he was concerned with feeling his own masculine power through the supposed “nature-boundness” of his motifs. In 1911, he painted the sleeping Milli lying naked on a couch. He only allowed his own potency to be a source of inspiration. While numerous art historians focus their analyses on Kirchner’s sexual fantasies as well as his aesthetics, the film delves into the world of thoughts and feelings of his “muse” and allows Milli to awaken symbolically. In interviews with filmmaker Natasha A. Kelly, Black artists of different generations have their say, who in and through their artistic work have overcome the common colonial stereotypes and formed their own self-determined identity as Black women* within the white German majority society. They report on their challenges in and with German art institutions, on visual representation and political and social exclusion. Where can their experiences be built upon? Which strategies can be brought together? Which ones need to be rethought? Art thus not only forms the architecture of the film, but is also presented as the cornerstone for the social and political actionism of those involved in the project. In the bilingual publication of the same name, the interviews conducted are printed in their full length. The aim is to show the significance of artistic creation from a Black feminist perspective.

 

External content
I agree that contents of the Brücke-Museum may be displayed to me via the external provider www.youtube.com. This means that personal data will be transferred to third party platforms. Brücke-Museum has no influence on this. You can read more about this in our privacy policy.

Digital

Talk
What is Unseen Cannot Be Broken von Saba Innab

Talk March 5 2022 by Saba Innab about the display of the Transition Exhibition at Kunsthaus Dahlem. The artist will be activating her display with a lecture on the abstraction of the decolonial discourse.

The multidisciplinary practice of the Palestinian-Jordanian architect, artist, and urban researcher Saba Innab (1980) spans historical research, drawing, mapping, model-making, and spatial interventions. Innab explores suspended states between temporality and permanence, and is concerned with variable notions of dwelling and building and their political, spatial and poetic implications in language and architecture. Recent exhibitions include: 57th edition of Carnegie International, Carnegie Museum, Pittsburgh, 2018; Biennale d’Architecture d’Orléans, Frac Centre-Val de Loire, Orléans, 2017; Marrakech Biennial, Marrakech, 2016, and her recent solo exhibitions include: Station Point, ifa-Galerie, Berlin, 2019; Al Rahhalah, Marfa’, Beirut, 2016. Innab was a DAAD Artists-in-Berlin fellow for 2020-2021.

 

External content
I agree that contents of the Brücke-Museum may be displayed to me via the external provider www.youtube.com. This means that personal data will be transferred to third party platforms. Brücke-Museum has no influence on this. You can read more about this in our privacy policy.

Digital

Talk
About the Center of Unfinished Business

Über das Center of Unfinished Business: A Talk with Julia Grosse und Yvette Mutumba (C&)

Julia Grosse and Yvette Mutumba have accompanied the Brücke Museum as experts during its engagement with the topic of colonialism. The museum invited them to contribute the exhibition Whose Expression? The Brücke Artists in a Colonial Context with their Center for Unfinished Business to add a critical and contemporary voice. In addition, in their capacity as teachers at the Institute for Art in Context at the UdK Berlin, the two led the seminar Colonialism and the Brücke artists’ group, in which they addressed the topic theoretically. Artistic interventions by the students were created as part of the accompanying program of Whose Expression?

Julia Grosse and Yvette Mutumba will introduce the Center for Unfinished Business in their talk. Moderation: Daniela Bystron, Curator for Outreach, Brücke Museum

External content
I agree that contents of the Brücke-Museum may be displayed to me via the external provider www.youtube.com. This means that personal data will be transferred to third party platforms. Brücke-Museum has no influence on this. You can read more about this in our privacy policy.

Digital

Talk
Moments of Unrest. On the Re-activation of Colonial Collections

Moments of Unrest: Talk in the Transition Exhibition at Kunsthaus Dahlem [DE].

In the debate about contaminated colonial heritage, it has become increasingly clear that collections from colonial contexts can be found not only in ethnological museums, but also in artists’ estates. Karl Schmidt-Rottluff also amassed a collection of approximately 100 ritual and everyday “subject/objects” (Felwine Sarr). He collected them according to personal standards, because of their formal beauty and supposed originality, and partly integrated them into his paintings. After Karl Schmidt-Rottluff’s death, they were categorized according to scientific standards and set aside in the depot. The collection bears witness not only to the expansion of Eurocentric horizons, but also to the history of colonial appropriation and the arbitrary overwriting of former meanings. How can a new way of dealing with these things be found in dialogue with the so-called societies of origin? To what extent can participatory digital formats subvert colonial linguistic conventions and hierarchizations? How can the “subject/objects” but also the institutions themselves be put into “disquiet”? How can the transformative moment of disquiet be made productive: for public critique, but also for new forms of cooperation, dialogical research and exhibition formats, and finally for restitutions?

A conversation with with Agustina Andreoletti (Digitales Outreach, Rautenstrauch-Joest Museum, Cologne), Julia Binter (Postcolonial Provenance Research, Zentralarchiv Staatliche Museen zu Berlin), Anna Brus (Digitisation project Brücke-Museum & Research associate, Universität zu Köln), Michi Knecht (Ethnologist, Contradiction Studies, Universität Bremen), Ohiniko Mawussé Toffa (Mission and colonial historian, Staatliche Kunstsammlungen Dresden) and Nanette Snoep (Director Rautenstrauch-Joest Museum Cologne)

External content
I agree that contents of the Brücke-Museum may be displayed to me via the external provider www.youtube.com. This means that personal data will be transferred to third party platforms. Brücke-Museum has no influence on this. You can read more about this in our privacy policy.

Digital

Talk
Rabaul, Rakaia, Na Ta (The Mangrove, The Volcanoes, The Deep Ocean)

Rabaul, Rakaia, Na Ta (The Mangrove, The Volcanoes, The Deep Ocean)

Artist talk with Lisa Hilli in the exhibition Transition Exhibition at Kunsthaus Dahlem, moderated by Paz Guevara.

External content
I agree that contents of the Brücke-Museum may be displayed to me via the external provider www.youtube.com. This means that personal data will be transferred to third party platforms. Brücke-Museum has no influence on this. You can read more about this in our privacy policy.