The castle backdrop on the Palace of the Republic: A question of aesthetics and democratic modernism

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Die Schlosskulisse, die vor ziemlich genau 30 Jahren vor dem noch stehenden Palast der Republik entstand, stellte zweifellos die Macht der Fachleute in Architektur- und Städtebaudebatten in Frage: Wer entscheidet über die Ästhetik unserer Umwelt? Aber durchgesetzt und durchgeführt wurde das Projekt sicher nicht von einer „Kamarilla neo- bis rechtskonservativer Preußen-Nostalgiker“, wie kürzlich eine Autorin im Stadtmagazin „Tip“ gänzlich ahistorisch wütete. Ich kann das als einer der damaligen Mit-Kuratoren durchaus selbstbewusst behaupten. Sicher wirkte die seit den 1970er-Jahren in der DDR und der alten Bundesrepublik betriebene Idealisierung der hohenzollernschen Militärmonarchie zum angeblich vornehmlich liberalen Kunst- und Kultur-Staat. Auch der fatale …
The castle backdrop, which was created almost exactly 30 years ago in front of the Palace of the Republic that was still standing, undoubtedly questioned the power of the experts in architecture and urban buildings: Who decides on the aesthetics of our environment? But the project was certainly not enforced and carried out by a "Kamarilla neo- to right-wing conservative Prussian nostalgic", as an author in the city magazine "Tip" raged completely ahistorically. As one of the then co-curators at the time, I can safely claim this. The idealization of the Hohenzollern military tonarchy, which has been operated in the GDR and the old Federal Republic since the 1970s, was certain of the allegedly primarily liberal art and cultural state. Also the fatal ... (Symbolbild/MB)

The castle backdrop, which was created almost exactly 30 years ago in front of the Palace of the Republic that was still standing, undoubtedly questioned the power of experts in architecture and urban development debates: Who decides on the aesthetics of our environment?

But implemented and carried out, the project was certainly not by a "Kamarilla neo to right-conservative Prussian Nostalgic", as an author recently raged in the city magazine "Tip". As one of the then co-curators at the time, I can safely claim this.

The idealization of the Hohenzollern military tonarchy, which has been operated in the GDR and the old Federal Republic since the 1970s, was certain of the allegedly primarily liberal art and cultural state. Fatal German idealism also played a major role that gives art a depoliticized special role in life. But Prussia reactionaries? Not that I remembered.

left and conservatives are committed

That is why it was also possible for the left -liberal Kristin Feiss washed in the wool to show an exhibition of ten "modern" counter -plans to the replica project in the castle backdrop. Even then, her architectural gallery Aedes was a center of searching for the forms of a democratic modernity, so the open debate on unpleasant topics such as facade replicas is also part of it. To call them a "Prussian Nostalgician" is simply defamation.

The architects Frank Augustin and Goerd Peschken or the Academy of the Arts The Bau were really not Prussia-reluctantly as they suggested such a backdrop to democratize the debate. And the Parisian artist Catherine Feff, who created this backdrop with more than 50, should be a reactionary? There were leftists, liberals, conservatives who campaigned for the project.

Wilhelm von Boddien-no matter how you stand by his reconstruction project, this honesty must be-it did not propagate as part of a political Prussian Renaissance, but as a purely aesthetic project of the city reconstruction. That is why the curators had full freedom of design - up to photos on which it is demonstrated for the continued existence of the Palace of the Republic.

All of these contradictory perspectives can still be found in the catalog band "The Castle?" read. And of course some reactionary were also looking forward to the setting. But they played no role for their construction and design of the exhibitions. Otherwise this project would not have been created.

Nikolaus Bernau was there: The castle backdrop was not a project of a reactionary Kamarilla.