one hundred years Ago, the Berlin city Council voted by a narrow majority, for the greater Berlin act of the Imperial capital, were captured by the circle-free cities, Charlottenburg, Wilmersdorf, Schöneberg, Spandau, Lichtenberg and Neukölln as well as the municipality of Köpenick and several dozen villages and real estate. So Berlin it was. for a short time, to the second largest (behind Los Angeles) and to the number of inhabitants the largest city in the world, third (behind London and New York), before him American, and Asian cities were the rank The anniversary, a pivotal date in the history of the city, was celebrated this spring, but hardly celebrated; of the enthusiasm of the state administration for historical reflection was low, and the pandemic did the Rest. Nevertheless, there are places where the Legislation that created the contemporary city, aesthetically
From Zille to Christ and Vostell
Andreas Kilb
feuilleton correspondent in Berlin nachzittert.
F. A. Z.
The exhibition of “100 × Berlin” in the Municipal gallery at the Fehrbelliner Platz is a Berlin-Look on the first glance, among many, with drawings, paintings, photographs of local and international artists. Only at second glance one recognizes that something Important is missing: a centre, and it was just a thought. The tour, which begins with Heinrich Zille, and with Christo and Wolf Vostell ends, actually shows exactly what he promises: a hundred times in Berlin and each Time something different.
images
You can see, no city, no world city, but a Memory game made up of individual images that are on the lookout for your twin. The girl with the shopping network, has photographed Helga Paris, looking for the melancholy movers of the painter Matthias Koeppel. Zilles circus “roses from the South” sells, over, peeping to the circus tent on Jérémie Aubouins recording from the eighties. The fire wall on the etching Michael Otto’s would like to be next to the mirror image of the Matthäi Kirche in the window of the national gallery on the photo by Efraim Habermann. The Theater hall door of Anna Lehmann-Brauns toying with the Museum portal of Friederike von Rauch.
But you don’t come to each other, for the collection, which is here shown, is much too diffuse. Is your inner truth is: it reflects the consciousness of a diffuse, unconnected to the city. Nothing grows here, everything remains for the people, the walls, even the trees in the winter the Teltow canal.
