Jüterbog has been on my list of German towns with a connection to Saint Mauritius to visit. It’s approximately spring, which means time for weekend bike trips with David, and as we haven’t gone south, and the Berlin-Leipzig bicycle Autobahn goes through Jüterbog, it seemed like a good combination of for a Saturday.
So, the bike path. It’s an Autobahn. For the most part. Sometimes it’s like Paris-Roubaix, but mostly it’s gloriously hoonable, with twists and hairpins as it weaves between farmers’ fields and forests, those pretty but somehow disturbing towns by lakes where Baroque and Gründerzeit mansions and estates gradually return to earth, drivers that are embarrassingly polite when they need to overtake you on the occasional stretches of road, utterly, utterly flat except for one long, low hill we passed by that might have been a mirage or a crop of taller than usual trees, a couple of downhill stretches into Jüterbog that make me yearn for a UCI Tour von Deutschlands Osten — it’d be like Ronden van Vlaanderen.
We ended up in Jüterbog’s town square looking for coffee after not that many hours pedalling. Jüterbog is one of those walled villages on the borders of the Holy Roman Empire a thousand years ago, then called Jutriboc. It fell under the rule of the Archbishopric of Magdeburg, and as Magdeburg is where the earliest extant representations of Saint Mauritius as a black knight are found, he turns up regularly in churches and towns of the diocese. I knew he was in Jüterbog, I just wasn’t expecting to see him — and his impressive codpiece — on the north-west corner of the mediæval Gothic brick Rathaus, watching over us in the café.
Translated from the plaque:
The statue of Saint Maurice points to the town’s incorporation within the Magdeburg diocese (1157-1635). In 1507, the lord and Archbishop of Magdeburg Ernst von Sachsen, donated the sandstone figure in the form of a contemporary knight. After damage, the canopy was restored in 1935, and the statue itself in 1958-1960, courtesy Karl-Heinz Sachamal. The original is in Mönchenkloster.
As usual, he’s missing his lance, but the stonework of his gauntlets and shield are some of the best I’ve seen. We didn’t hang around long, so I saw neither the 12th century Liebfrauenkirche nor Mönchenkirche, which is now a museum, though did make it to the top of Stadtkirche St. Nikolai, via a claustrophobic and murderously easy to defend stairwell, whose massively thick walls reminded me of Torri Asinelli in Bologna. Along with a dozen other towns nearby, I have idle plans to return for the unseen museums and churches.
I’m doing this as a memory. I went to LADA, spent the afternoon in their Study Room, trawled hundreds of books and pulled out a few, spent minutes or tens of looking and reading. Also a memory. I am reminded of my own history in biographies or documents of people and groups I think of only infrequently, which at one time were all I thought of. Or others I know about and have never read, or have circulated around me, or are entirely new. The books are arranged chronologically, in the order they were purchased in. Of all the possible arrangements, this is my favourite. It tells you something about the book that it doesn’t and can’t tell you itself.
These are the books I looked at and read a little of. In chronological order — mine going from first to last, and LADA’s going backwards in time from most recently acquired to about halfway through their collection. Some I like; others I don’t. I am still wondering what they tell me about me.
Pina Bausch — The Biography, Marion Meyer (trans: Penny Black)
my body, the buddhist, Deborah Hay
Precarious Lives — Waiting and Hope in Iran, Shahram Khosravi
A Field Guide for Female Interrogators, Coco Fusco
Integration Impossible? The Politics of Migration in the Artwork of Tanja Ostojić, Pamela Allara and Manuela Bojadzijev
Guerilla Aspies — A Neurotypical Society Infiltration Manual, Paul Wady
Leigh Bowery — The Life And Times Of An Icon, Sue Tilley
Black Artists In British Art, A History Since The 1950s, Eddie Chambers
Test Dept: Total State Machine, eds. Alexei Monroe and Peter Webb
Tania Bruguera: On the Political Imaginary, Carrie Lambert-Beatty, Gerardo Mosquera, Helaine Posner
Thee Psychick Bible : Thee Apocryphal Scriptures ov Genesis Breyer P-Orrige and Thee Third Mind ov Thee Temple ov Psychick Youth, Genesis Breyer P-Orridge
Jan Fabre: Stigmata. Actions & Performances 1976-2013, Germano Celant
Feminist and Queer Information Studies Reader, eds. Patrick Keilty and Rebecca Dean
Femininity, Time and Feminist Art, Clare Johnson
The Reckoning: Women Artists of the New Millennium, Eleanor Heartney, Helaine Posner, Nancy Princenthal, Sue Scott
The Shit of God: Diamanda Galás, Diamanda Galás and Clive Barker
Jan Fabre: I Am A Mistake. seven works for the theatre, ed. Frank Hentschker
Female Masculinity, Jack Halberstam
Trans(per)forming Nina Arsenault: An Unreasonable Body of Work, ed. Judith Rudakoff
I went to LADA today, Live Art Development Agency over in Hackney Wick beside a canal, all factories going down and gentrification going up. I had lunch with Meghan, @churlishmeg that is. We talked art and performance and London and stuff, she showed me around LADA, and it was brilliant. I spent the afternoon in the Study Room, making it about halfway through their glorious collection of live art. I didn’t even get to the performance documentation stuff. Totally worth being in London for this.
Two and an half years ago, I asked a historian friend for recommendations on northern European mediæval history, preferably written by a women. He replied that last qualifier was going to thin the herd considerably. Shortly after he emailed me a list, the last name on that list being Caroline Walker Bynum and her Wonderful Blood: Theology and Practice in Late Medieval Northern Germany and Beyond. He said, “Definite thematic focus, but it is an interesting focus, and one that is helpful in explaining much of late medieval (and modern Western) society; also more limited chronological range. That notwithstanding, the best book on this list, plus: written by a woman.”
Caroline Walker Bynum is always a tough read, dense, like tapestry, ideas and themes threaded together over hundreds of pages; footnotes often consume a third of the book and often impart critical additional elaboration. Hers are slow works to read, contemplative and demanding. I suppose it’s an uncommon approach to introduce myself to northern European mediæval history by going for the least forgiving of the lot, but there’s something glorious in drowning in such writing.
I started Christian Materiality: An Essay on Religion in Late Medieval Europe a few weeks ago, it’s been in my reading pile since late-July, and I’ve been reading it around a rapidly circulating mob of new arrivals. Of all her works, this is the most accessible, also the broadest in subject. And like all her works, almost a third is devoted to extensive notes. It’s beautifully bound, plenty of margin space, many illustrations of works she discusses, one of those books that’s a pleasure to be holding. I love it. I love her writing.
I’m reading Michael Dante DiMartino’s Rebel Genius entirely because he was — along with Bryan Konietzko — the creator of The Legend of Korra, which two years after it finished still ranks as my favourite animated series. So I’ll check out that comes from either of them (eagerly waiting for Bryan Konietzko’s Threadworlds next year).
Rebel Genius is a children’s / Young Adult novel. I’m pretty shoddy at telling the difference between those two categories and ‘Adult’ novels in general, I guess the audience is probably for 10–14 year olds, given the main character is 12. But seeing the audience of DiMartino and Konietzko grew up with Avatar: The Last Airbender from 2005–2008 and Korra from 2012–2014, that would put their devoted fans — of which there are many — in their late-teens to early-twenties.
The story is of a young orphan, Giacomo who may or may not be an archetypal Chosen One. I’m about half-way through and so far the story is sitting in this narrative. Anyone who reads my blog knows I largely read women authors and fiction stories (by which I mean sci-fi and fantasy) with women and girls at the centre. This is obviously neither of those, and it’s entirely because of Korra that I’m reading it. And to be honest, it’s making me miss Korra. A brown, bisexual woman growing up through four seasons of traumatic events, ending with her finding love with her best friend Asami, remains a profound work of art in film and television. Rebel Genius feels a little pedestrian and unimaginative coming after that.
Sure, it’s an unfair criticism from me to expect Michael to forever make stories of Korra and the Avatar world. That’s not what I’m saying here — as much as I’d love a whole series of The Adventures of Korrasami. What I feel is missing in Rebel Genius is the self-evident propositions around identity, desire, representation that were made in Korra and are so far absent here. Having a young, headstrong, cisgender, hetero (presuming these last two because unless a character is explicitly marked, the default is implied) boy walk into his ‘natural talent’, where the majority of supporting characters are also male, and the two significant female characters serve largely to support him and his journey … I’ve had enough of these stories for a lifetime. I look for stories that directly or indirectly propose ways of thinking about the world that might lead us to a much more egalitarian future, like Ann Leckie’s Imperial Radch trilogy, or Ysabeau S. Wilce’ Flora Segunda series, or Korra. And being explicit here, I think science-fiction and fantasy have the potential for sophisticated understandings of the world up there with philosophy.
So, I think kids who are currently getting a kick out of Avatar would probably also enjoy Rebel Genius — there’s a lot of similarities between Giacomo and Aang. The other lot, who find themselves in Korra, not so much.
That’s what one of the pair of old, white-haired German women said across the gallery to the other while standing before the pink and blue scribbling of Zwei Badende. Shortly after, she snorted at Max Liebermann in seinem Atelier, offered the faintest of praise for Sängerin am Piano, and as we tacked our separate ways through the exhibition continued her derision, as if she was a good jury member for Entartete Kunst. I’d like to think she was unaware of the irony, but this is Germany at the end of 2016 and even in the heart of Berlin there are Nazis who tell themselves and each other they’re not Nazis.
So, me at Neuen Galerie im Hamburger Bahnhof seeing Ernst Ludwig Kirchner: Hieroglyphen, and also my first museum visit where I arranged to bring my camera. Most of the special exhibitions in the Staatliche Museen zu Berlin are No Cameras Allowed. Without photographing plus subsequent blogging there isn’t much point to my museum trips, thanks then to the Kommunikation department for making it easy (even though it turned out cameras were anyway allowed).
Ernst Ludwig Kirchner: Hieroglyphen presents the 17 works in Berlin’s currently closed for renovations Neue Nationalgalerie collection, plus works from Kirchner Museum Davos, Brücke Museum, and private collections. Besides the core paintings, there are sketches and works on paper, wood sculptures, photographs from Kirchner’s various ateliers, books, and some dancing. It’s not a huge exhibition, if you were slamming Hamburger Bahnhof you could whip through in 15 minutes. I spent an hour there and could have easily used up another. These works and the accompanying text deserve contemplation.
Kirchner used the word Hieroglyph himself in articles published under the pseudonym Louis de Marsalle, to describe how he worked with a symbolic language in his work as part of “the radical abbreviation and reduction of his imagery.” The exhibition starts with this text, and an essay in a book, accompanied by the sketch Tanzduo. Which I thought looks exactly like Dasniya, down to the face and bloomers under tutu.
In this first section are works I’m most familiar with of his, Haus unter Bäumen, Badende am Strand, both from Fehmarn, up on the Ostsee north-east of Hamburg. It then returns to dance. He, like many artists then, frequently painted dancers, possibly the influence of Ballets Russes who blew away the ballet world in 1909.
Opposite the dance section is Davos, where he moved after having a breakdown and while dealing with drug addition and alcoholism. There was a beautiful, huge tapestry hanging on the wall, unfortunately under perspex and unphotographable — the only work to suffer this, all the other artworks were under that magical unreflective glass — and probably the pick of the exhibition. His style changes here too, the late-’20s, early-’30s of Wiesenblumen und Katze or Sängerin am Piano flatter and with Cubist elements, almost alien to his earlier frenzy.
Berlin forms its own section, with some of my favourite pieces I would love to steal. The incredible Potsdamer Platz is here, as is Rheinbrücke in Köln and Der Belle-Alliance-Platz in Berlin. These form yet another distinct style, at first glance not different from the Fehmarn works, but they’re far lighter, faster, almost like watercolour on paper. Erna Schilling also arrives, his life partner from then on. These aren’t easy works. Kirchner populates the cityscape with what he called ‘Kokotte’, coquettes, sex workers, and the men, always diminished figures on the sides carry an anonymous menace.
Around the next corner, and one of the contextually most interesting for me. But first, Sitzender Akt mit erhobenen Armen, which I cannot help look at and see a nice plate of two fried eggs, sunny side up beside the naked woman. I know they’re supposed to be flowers in vases, but it’s all eggs to me. What’s more pertinent here is his use of colour on the shadows outlining her body. They’re a turquoise that contrasts the apricots and light salmon colours of her skin. When I look at this and compare it to Zwei weibliche Akte in Landschaft, with the hallucinogenic greens, yellows, pinks, blues of their bodies, it becomes clear how the latter in no way denotes a non-natural skin colour, nor do the greens and yellows of the Potsdamer Platz women or other portraits.
This painting was in the section called “Signs of Other Worlds” and discusses the influence of non-European art and culture on his and other Brücke artists’ work and life. Both African and Oceania form influences, and both were sites of German Colonialism until the end of World War I. It’s difficult for me to know where Kirchner sits in this. On one side he was horrified by the treatment of Jewish Germans even in the early-’30s, and was expelled by the Nazis from the Prussian Academy of Arts when they came to power in 1933, yet he also saw what he and the Brücke artists were doing as encouraging “truly German art, made in Germany”. So there’s this tension between radical aspirations and uncritical nationalism and colonialism.
Carl Einstein’s (a German Jewish writer, art historian, anarchist and critic) book Negerplastik is described as an important influence, and two copies are presented alongside Kirchner’s work. This influence is immediately apparent in his sculpture, even without prompting, but I like that this connection was explicitly made.
There’s also one photo that achieved the glorious down-the-rabbit-hole I love about museums. All the photos are postcard-sized, and being a hundred years old, not sharp or clean at all. This one, from Kirchner Museum Davos was captioned “Die Artisten Milly und Sam in Kirchners Atelier, Berliner Straße 80, Dresden” from circa 1910/11. It’s set in a chaotic room, artworks, hangings, and sculpture propped up against walls, littering the floor. There are two naked figures, Milly, in the bottom-left corner, and Sam, standing, one arm on his hip, the other stretched along the top of a painting. Both of them are black. They have names, are called ‘artists’ (Artisten), so what were they doing in Berlin in 1910?
For a start, this isn’t the only work they appear in. Milly is the subject of Kirchner’s Schlafende Milly in Kunsthalle Bremen, both were the subjects of numerous sketches by Kirchner, and Milly probably appears in more than one work without being named. Both of them are said to have also modelled for Erich Heckel. An alternate title for the photo is “Sam und Millie vom ‘Zirkus Schumann’”, and they are variously described as ‘circus’, ‘jazz dancer’, and ‘Black American’ artistes in sources cited in Face to Face? An Ethical Encounter with Germany’s Dark Strangers in August Sander’s People of the Twentieth Century. So there’s this whole history of early-20th century Afro-Germans, colonialism, immigration in this one small, easily missed photo, which is a lot to put on a naked man and woman, about whom not much is known. It’s these traces though that history is all about. A single photo, a name, and a world opens up.
A little note on the nudity: Kirchner and friends were all down with getting naked and running around. Freikörperkultur (Free Body Culture) was and is a deeply German thing. There were several photos of “naked but for a cigarette” in the exhibition. It might be this one was only one of a series, though how comfortable they were with nudity, whether they felt objectified, how Kirchner and the other artists regarded them, I can’t speculate.
A final note: Shortly after Nazi Germany annexed Austria in the Anschluss, Kirchner, living in Switzerland and fearing a similar invasion, killed himself.
Thursday before last, I took the day off and biked over to the Gemäldegalerie for El Siglo de Oro: Die Ära Velázquez, their new special exhibition of ‘the golden age’ of Spanish art and sculpture in the 17th century. As with previous large temporary exhibitions, the Gemäldegalerie’s massive central atrium was converted into a meandering series of rooms and aisles, and for this one also spilling over into some of the chambers of the permanent collection.
And as usual, photos weren’t permitted, which is a wry experience seeing how many of the works come from the gallery’s own collection and I’ve photographed before. Nonetheless, I timed one of the attendants walking between rooms and snuck off a few of Gregorio Fernández’ Camino del Calvario, or Gang zum Kalvarienberg as it’s known here, a splendid Baroque piece that reminded me of a similar work I saw in the Muzeum Narowode we Wrocławiu (still one of my favourite museums in Europe).
I also bought the catalogue because I suspect I won’t try and persuade the Gemäldegalerie to let me photograph the exhibition as I usually do (high probability of a sour “No.”), so I’ll probably just blab on about the catalogue in my usual parochial manner shortly.
If you’re in Berlin, it’s totally worth seeing, really nicely put together (could do with a few more earlier works of the seriously fucking marvellous El Greco Immaculata Oballe type); consistently high quality lighting; audio guide up there with the best — and if you take the audio guide allow for at least three hours to get through; it’s definitely one of Staatliche Museen zu Berlin’s finest exhibitions, though predictably on the slim side when it comes to exactly what Imperial Spain was up to (and that was under the Austro-Germanic House of Habsburg) with all their colonising and empiring. Context. Art is not outside it.