Ferdinand Hodler and Modernist Berlin Until 17.1.22 - Berlinische Galerie
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Press Release
Berlin, 15.12.21
Ferdinand Hodler , Der Frühling, ca. 1910, © Privatsammlung
Ferdinand Hodler
and Modernist Berlin
Until 17.1.22
Ferdinand Hodler’s evocative figure paintings, moun-
tain landscapes and portraits are Modernist icons.
The Swiss artist (1853 –1918), an influential force in
symbolism, drew great international acclaim even
Berlinische Galerie, © Foto: Noshe
in his own lifetime. Contemporaries valued Hodler
above all as a master of human characterisation: as
the artist Paul Klee noted in 1911, he could “create the
soul by painting the body”. Few people realise today
that Hodler’s path to fame lay through Berlin. At the
dawn of the 20th century, the capital of the German
Reich had become a leading hub of European art
Exhibitions alongside Paris, Vienna and Munich. These cities
offered Hodler a chance to publicise his work outside
Switzerland. The exhibition “Ferdinand Hodler and
2022/23 Modernist Berlin” traces his success on the banks of
the Spree. From 1898 until the outbreak of the First
World War, the artist exhibited here almost annually:
first at the Great Berlin Art Exhibition, then at the
Berlin Secession and in a number of galleries.
The presentation at the Berlinische Galerie will bring
together about 50 paintings by Hodler from German
and Swiss collections, including 30 from the Kunst-
museum Bern, our partner in this collaboration.
It will also feature works by artists who exhibited with
Hodler in Berlin, including Lovis Corinth, Walter
Leistikow, Hans Thoma and Julie Wolfthorn.
The exhibition is a cooperation between the Berlinische Galerie
and the Kunstmuseum Bern. It is under the patronage of His
Excellency Dr. Paul R. Seger, Ambassador of Switzerland to the
Federal Republic of Germany. It takes place in the context
of Berlin Art Week and is funded by the Capital Cultural Fund
2021, the Kulturstiftung der Länder and the Ernst von Siemens
Kunststiftung.
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Courtesy of the artist; KÖNIG GALERIE, Berlin/ London/ Seoul/
© Gerda Schimpf Fotoarchiv, Repro: Anja Elisabeth Witte
Gerda Schimpf, Louise Stomps, 15.10.1948
Decentraland, Foto: © Roman März
Alicja Kwade, Principium, 2020
Louise Stomps Alicja Kwade
Natural Figures In Abwesenheit (in Absence)
Sculptures 1928 –1988
Until 4.4.22
Until 17.1.22 The work of Alicja Kwade (*1979) is inspired by scien-
tific, philosophical and social questions. By exploring
DAS VERBORGENE MUSEUM is a guest models and constructs that form our perception of
at the Berlinische Galerie time, space and matter, her large-scale installations
question the possibilities of objective and subjective
Human suffering, sensual fragility and defenceless
knowledge.
creatures are pivotal themes in the work of the
For this show at the Berlinische Galerie,
Berlin-born sculptor and printmaker Louise Stomps
the artist begins by focusing on herself. “In Abwesen-
(1900 –1988). After training at the Prussian Acad-
heit“ (In Absence) centres on recent works by Alicja
emy of Fine Arts in Berlin and attending a sculpture
Kwade that might in a broad sense be read as self-
class given by Milly Steger at the Berlin Association
portraits. Kwade seeks ways to describe a person
of Women Artists, she had her own studio from 1930.
and their physical presence in space: with a heart-
Hardly any of the work she produced in the 1930s has
beat, an individual DNA code or a combination of
survived, as her studio was bombed during the
chemical elements.
Second World War. In the autumn of 1945, Louise
With Kwade’s installation designed spe-
Stomps showed her works – among other places –
cifically for the first big exhibition hall, the Berlinische
at the first Sculpture Exhibition organised by Galerie
Galerie has added another work to its successful for-
Rosen in Berlin. In 1960 the artist moved into an old
mat of in-situ projects by contemporary artists work-
mill in Bavaria. She was inspired by the varieties of
ing in Berlin. Kwade studied at Berlin’s University of
wood growing in the area, including beech, pine and
the Arts from 1999 to 2005 and is now one of the most
local oak. Wood became a key protagonist in her late
sought-after artists in the international arena. She
œuvre, and natural materials are the most important
has recently exhibited in, among other places, Tours,
components in her work. Stomp’s view of nature as
Helsinki, Copenhagen, Zurich, Barcelona, Shanghai,
the primal source of all life encouraged her formal
Reykjavik, Venice, New York and London.
turn to organic abstraction. In the 1970s she created
sculptures three to four metres high, such as “Eos”,
“Pilgrim”, “Ascetic” and “Gilgamesh”. The exhibition Exhibition in the context of Berlin Art Week.
and catalogue will honour this extraordinary sculp-
tor for the first time, exploring her work in depth and
placing it in an international context.
The exhibition and catalogue have been generously supported
by the Capital Cultural Fund (HKF).
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Fossilisierter Kalkstein, Gummiballblase, Schalttafel, 33 x 31 x 21 cm,
F. C. Gundlach, Berliner Mode, fotografiert auf dem Dach des RCA
Building, New York, 1958, © Stiftung F. C. Gundlach, Hamburg
Courtesy the artist and Barbara Wien Gallery, Foto: Nick Ash
Nina Canell, Craver, 2020,
Images in Fashion – Nina Canell
Clothing in Art
29.4. – 22.8.22
Photography, Fine Arts, Press conference: Thu 28.4.22, 11 am
and Fashion since 1900 Opening: Thu 28.4.22, 7 pm
Nina Canell is fascinated by the often hidden and
18.2. – 30.5.22 easily overlooked things that quietly rule our everyday
Press conference: Thu 17.2.22, 11 am lives. Her artistic practice does not revolve around a
Opening: Thu 17.2.22, 7 pm finished piece. It is the provisional, surprising, unpre-
Even more than fine art, fashion is a mirror of social dictable processes that distinguish Canell’s work.
changes and individual needs. In the collection of the Canell draws on a broad spectrum of dif-
Berlinische Galerie, this theme is present in surpris- ferent materials to create her own sculptural system:
ing and diverse ways. In addition to a large number from shoelaces to wavelengths. She also uses com-
of fashion photographs spanning the twentieth cen- modities like rubber, water and electricity as well
tury, just as many paintings and drawings testify to as found objects such as ring pulls and cables. The
the role of fashion as a means of expression and rep- combination sets up a relational weave that dissolves
resentation of a particular era: from the reform dress hierarchies, distilling our world by assembling and
around 1900 and the Dada dandies of the 1920s to entangling.
avant-garde clothing designs in contemporary art. For the Berlinische Galerie, the artist will
What role has fashion played in the conceive of a site-specific installation and an artist’s
painting, drawing, and photography of the past cen- book together with Robin Watkins.
tury? With what rules were clothing and costumes
employed in fine art? How did artists dress and pres- Nina Canell was born in Växjö, Sweden, in 1979 and
ent themselves then and now? How is fashion used now lives and works in Berlin. She studied at Dún
as a medium in contemporary art? This exhibition Laoghaire Institute of Art, Design and Technology
offers a new look at works in the collection of the Ber- in Dublin, Ireland. Canell’s work has been shown in
linische Galerie and presents current positions in solo exhibitions at prestigious institutions, includ-
contemporary art. ing S.M.A.K, Ghent; Staatliche Kunsthalle, Baden-
Baden; Museo Tamayo, Mexico City; Moderna
Artists (Selection): Martin Assig, Sibylle Bergemann, Rolf von
Bergmann, Tabea Blumenschein, Marc Brandenburg, Lieselotte
Museet, Stockholm; Hamburger Bahnhof, Berlin and
Friedlaender, George Grosz, F. C. Gundlach, Gerd Hartung, Fridericianum, Kassel, and also at biennials in Venice,
Raoul Hausmann, Hannah Höch, K.H. Hödicke, Alexandra Sydney, Lyon, Gwangiu and Liverpool.
Hopf, Ute Mahler, Jeanne Mammen, Helmuth Newton, Ulrike The exhibition has been generously supported by the
Ottinger, Rafael Rheinsberg, Frieda Riess, Uta Sax, Wiebke Capital Cultural Fund (HKF ).
Siem, Franz Skarbina, Eugen Spiro, Herbert Tobias, Wols, Yva
The exhibition has been funded by the Förderverein Berlinische
Galerie e.V.
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Sibylle Bergemann, Birgit, Berlin, 1984, © Estate Sibylle Bergemann/
OSTKREUZ . Courtesy Loock Galerie, Berlin
© Monika Penkute
Sibylle Bergemann Emilija Škarnulytė
Town and Country and Dogs GASAG Art Prize 2022
Photographs 1966 –2010 Opening during the Berlin Art Week 2022
24.6. – 10.10.22 Emilija Škarnulytė (*1987 in Vilnius, Lithuania) has
Press conference: Wed 22.6.22, 11 am been awarded the GASAG Art Prize 2022. As a visual
Opening: Thu 23.6.22, 7 pm artist and filmmaker, she tackles such themes as
the history of civilisation, ecology, geology, ocean
Sibylle Bergemann (1941–2010) was one of the best- research and climate science. Footage for her sug-
known East German photographers of the late 20th gestive, complex video installations has been shot
century. People, especially women, are the central in dystopian settings, including a former submarine
theme of her expressive, sensitive pictures. Based in base in the Arctic Circle in Norway, decommissioned
Berlin, photography was her great passion for more Soviet nuclear reactors and radar stations. She has
than forty years. And a love of travel inspired her to also filmed at research establishments like the Large
pursue her creativity all over the world: Berlin, Dakar, Hadron Collider at CERN, the European nuclear
Moscow, New York, Paris. Fashion and portrait pho- research centre near Geneva.
tography combine distinctively in her work with liter- Recently the artist based the work on
ary reportage and artistic serial documentaries. mapping technologies, such as sonar, remote sens-
Bergemann worked as a freelancer in ing and seafloor scanning, and set out to explore
the GDR with a constant flow of commissions for structures in the depths of the sea. These include
periodicals devoted to art and culture, such as “Das Baia, an ancient Roman city now under water due to
Magazin”, “Der Sonntag” and the fashion magazine seismic activity in the Mediterranean and the Gulf of
“Sibylle”. She retained her photographic independ- Mexico, where laboratory-bred corals are used to
ence after unification: in 1990 she was a founding restore the ecosystems damaged in consecutive oil
member of the Berlin photo agency OSTKREUZ . From spills, among other sites.
the 1990s onwards, her clients included “GEO”, “Die
Zeit”, “Stern” and the “New York Times Magazine”. Jury: Marc Bauer, winner of the GASAG Art Prize 2020;
The exhibition at the Berlinische Galerie Andreas Fiedler, independent curator; Dr Thomas Köhler
is the first posthumous museum retrospective in the and Dr Stefanie Heckmann, Berlinische Galerie; Dr Christina
world to feature the career of Sibylle Bergemann. It Landbrecht, Schering-Stiftung; Birgit Rieger, Tagesspiegel;
Dr. Julia Wallner, Georg Kolbe Museum
approaches her unique visual universe on several
narrative levels. Over 200 photographs have been Nominated for the GASAG Art Prize 2022 were:
chosen from the museum’s own collection and from Katja Aufleger, Lucy Beech, Anne Duk Hee Jordan, Emilija
the photographer’s estate. Selected motifs from her Škarnulytė, Claudia Wieser
early work will be on show for the first time.
The exhibition has been organised in partnership with the
Sibylle Bergemann Estate and funded by the Förderverein
Berlinische Galerie e. V.
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Christian Niccoli, Du bei mir - Teil III , 2020 -21, Still,
Lajos Tihanyi, Großes Interieur mit Selbstbildnis –
Mann am Fenster, 1922,
© Christian Niccoli
Hungarian Modernists 12x12
in Berlin 1910 –1933 At the IBB Video Space
4.11.22 – 6.2.23 The IBB Video Space screens artists who work with
Press conference: Wed 2.11.22, 11 am time-based media. The programme, which changes
Opening: Thu 3.11.22, 7 pm every month, features not only established names in
contemporary video art but also up-and-coming art-
This exhibition breaks new ground by devoting exten- ists rarely seen in museums to date. For these, the
sive attention to the Hungarian contribution to mod- Berlinische Galerie seeks to facilitate an institutional
ern art in the German capital. Berlin plays a special début.
role in the history of Hungarian art and culture. Even Each month brings a new encounter
before the First World War, Hungarian artists used with work that raises questions about the medium
the growing metropolis as an exhibition stage to and about social or political issues. Importance is
reach an international audience. When reactionary attached to including marginalised perspectives and
forces put an end to Hungary’s political transforma- to shedding light on the impact of power structures.
tion in 1919, progressive artists in exile found refuge
in the cosmopolitan Berlin of the Weimar Repub- More video works online:
lic. They found the space for creative freedom on the bg.berlin/virtual-video-space
banks of the Spree, where they established a signifi- This project has been facilitated by Investitionsbank Berlin
cant visibility in various avant-garde contexts. (IBB).
Berlin was a formative influence for many
Hungarian artists who, in turn, were a defining force 1.12.21 – 3.1.22
in the art market. Restoring memories of this recip- Christian Niccoli
rocal cultural inspiration is the principal aim of this
exhibition. It brings together paintings, prints, pho- 5.11.22 – 31.1.22
tographs and architectural drawings, deeply enrich- Mario Rizzi
ing our perception of artistic achievements from East
Central Europe.
Artists (Selection): Róbert Berény, Aurél Bernáth, Eva
Besnyö, Mihály Biró, Marcel Breuer, Robert Capa geb. Endre
Friedmann, Béla Czóbel, Lajos d’Ébneth, Noémi Ferenczy, Etel
Fodor, Judit Kárász, Lajos Kassák, György Kepes, Kálmán
Lengyel, László Moholy-Nagy, Martin Munkácsi, Gyula Pap,
László Péri, János Reismann, Hugó Scheiber, Lajos Tihanyi
The exhibition is a partnership between the Berlinische Galerie
and the Museum of Fine Arts in Budapest and has been
funded by the LOTTO-Stiftung Berlin, the Ernst von Siemens
Kunststiftung and the Förderverein Berlinische Galerie e. V.
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FRANEK , Unverstandene Vorkommnisse VIII, 2002,
Richard Ziegler, Knabe im Sandkasten, 1926,
© VG Bild-Kunst, Bonn 2021
© VG Bild-Kunst, Bonn 2021
Permanent Exhibition FRANEK. In Search of the Signs
(11.8.21 – 10.1.22)
Art in Berlin 1880-1980
The Berlinische Galerie presents twelve selected
Berlin is always changing. The city’s art scene con- works from its collection by FRANEK (Sabine Franek-
stantly reinvents itself, too. Narrating this eventful Koch). FRANEK’s early drawings celebrate an idyl-
history from the dawn of Modernism around 1900 into lic world of physical and erotic love. Her arcadian
the 1980s is the theme of our permanent exhibition scenes are not free of danger and threat. Black ink
“Art in Berlin 1880 –1980”. The Berlinische Galerie is applied to the paper with vigour. The gaps and
has devoted over 1000 square metres to presenting pale grey zones are inhabited by groups of slender
its collection. Waiting to be discovered among the female figures and lovemaking couples, accompa-
roughly 250 works on show are paintings, prints, pho- nied by wild animals, angels and fauns. The themes
tographs, architecture and archive materials rarely or may be reminiscent of works by Paul Cézanne and
never displayed before. Pablo Picasso, but the style here is rooted in abstract
Walking around this exhibition is like time expressionism.
travel and takes visitors through Berlin in 17 chapters: FRANEK’s work includes paintings, draw-
the Kaiser’s era, the Weimar Republic, the Nazi dic- ings, prints, book illustration, sculpture, photography
tatorship, the new beginnings after 1945, Cold War in and film. In the 1970s and 1980s, the artist became
the divided city, and the counter-cultures and uncon- deeply immersed in researching visual symbols used
ventional lifestyles that evolved in East and West by the indigenous cultures of North and South Amer-
under the shadow of the Wall. In East Berlin, an alter- ica. She worked in Mexico, Guatemala and Hondu-
native art community developed from the late 1970s. ras and helped mathematician Maria Reiche to map
In West Berlin from the late 1970s, aggressive art by spirals (Nazca Lines) on the Nazca Plains in Peru.
the “Neue Wilden” placed the divided city back in the Furthermore FRANEK recorded rituals for the Über-
international limelight. see-Museum in Bremen among the Lakota (Sioux) at
the Rosebud Indian Reservation in the United States.
Artists (selected): Johannes Baader, Hans Bandel, The artist lives and works in Berlin and in Radegast,
Otto Bartning, Georg Baselitz, Max Beckmann, Klaus Bergner, Lower Saxony.
Theo von Brockhusen, Lovis Corinth, Hermann Fehling,
Rainer Fetting, Naum Gabo, George Grosz, Raoul Hausmann,
John Heartfield, Jakoba van Heemskerk, Werner Heldt,
Hannah Höch, Oskar Kokoschka, Fritz Kühn, Walter Leistikow,
Jeanne Mammen, Ludwig Meidner, Arwed Messmer,
László Moholy-Nagy, Nicola Perscheid, Ivan Puni, Alexander
Rodtschenko, Sergius Ruegenberg, Erich Salomon,
Heinz Schudnagies, F. Albert Schwartz, Kurt Schwitters,
Maria Sewcz, Sasha Stone, Fred Thieler, Herbert Tobias, Hans
Uhlmann, Anton von Werner, Ulrich Wüst, Heinrich Zille
Exhibition Architecture and Colour Design: david saik studio
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© Nan Goldin, Courtesy Marian Goodman Gallery
Nan Goldin, Siobhan in my mirror, Berlin, 1992,
Berlinische Galerie, © Pascal Rohé
Online Project Out and About 207 m²
Queer Visibilities Space for action and
in the Collection collaboration
The online project “Out and About” initiated by A space for cultural education: An area of 207 m² for
trainees of the Berlinische Galerie, investigates the workshops, collaborative projects and working with
queer legibilities of photographs, paintings, works art. A spacious seating arrangement invites all our
on paper and pieces of video art. Giving voice to a visitors to talk about their impressions or relax while
diversity of perspectives, also outside authors were they try out the facilities. There are regular events
invited to respond to selected objects. For example, for children, families, schools and groups from the
works by Nan Goldin (* 1953), Hannah Höch (1889 – neighbourhood and, indeed, all over Berlin.
1978) and Herbert Tobias (1924 –1982) represent per- Project outcomes are displayed in exhibitions and
spectives of the LGBTQI* (lesbian, gay, bisexual, trans, video projections.
queer and inter*) communities that are too often over- The Berlinische Galerie works with
looked. schools, day nurseries, family centres, the integration
charity Lebenshilfe and refugee hostels close by
More information: the museum. “207 m²” lends greater visibility to pro-
berlinischegalerie.de/en/out-and-about jects such as those run jointly by the museum and its
neighbours. In addition, this space offers all our visi-
Artists: tors an opportunity to contribute comments and take
Rolf von Bergmann (1953 –1988) part in discussions. This input is fed back into the
Tabea Blumenschein (1952–2020) work we do at the museum.
Otto Dix (1891–1969) In this way, the museum is opening up
Rainer Fetting (*1949) more broadly to the city community and establishing
Nan Goldin (*1953) a permanent base for critical debate and artistic pro-
Werner Heldt (1904 –1954) cesses.
Hannah Höch (1889 –1978)
Gertrude Sandmann (1893 –1981) In partnership with Jugend im Museum e.V
Herbert Tobias (1942–1982)
Klaus Vogelgesang (*1945)
Ming Wong (*1971)
The project was critically accompanied by the network
„Museen Queeren Berlin“ and was kindly supported by
Schwules Museum.
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Press
Berlinische Galerie
Ulrike Andres
Head of Communication and Education
Tel +49 (0)30 78 902 829
andres@berlinischegalerie.de
Contact
Julia Lennemann
Communication
Tel +49 (0)30 78 902 831
lennemann@berlinischegalerie.de
Berlinische Galerie
Landesmuseum für Moderne Kunst,
Fotografie und Architektur
Alte Jakobstraße 124 –128
10969 Berlin
Tel +49 (0)30 78 902 600
berlinischegalerie.de
Admission 10 €, concessions 6 €
(prices may vary during
temporary exhibitions)
Opening hours
Wed – Mon 10 am – 6 pm
Closed on Tuesdays
Programme
berlinischegalerie.de/en/calendar
Press Images
berlinischegalerie.de/en/press
Online Tickets
bg.berlin/en/online-tickets
Social Media
#berlinischegalerie
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