“The task of the work of art,” said Caspar David Friedrich, “is to recognise the spirit of nature and to imbue it with heart and feeling and to absorb it and represent it.”  (New Statesman, 7/22/20)

The message of “Unveiled: Berlin and Its Monuments” at the Spandau Citadel is clear: “A monument is not a descriptive account of history, but instead a historical artifact that tells a story about power. In a setting that invites scrutiny, visitors can study Berlin’s monuments to grasp more clearly who had power and how that power was used.”  (Atlas Obscura, 8/14/20)

It may have taken a pandemic, but now the rest of us can get into Berghain. The Berlin nightclub is temporarily reinventing itself as a gallery for local artists.  (The Art Newspaper, 8/12/20; The Guardian, 8/13/20)

“In 1986 a treasure trove of German film posters from the first four decades of film history were found, profoundly damaged by a fire, in the mine where they had remained for forty years.” Many of the restored posters are now on display at the Deutsche Kinemathek and in its online gallery.  (MUBI Notebook, 7/17/20)

“With its heavy armour plating, its second horn halfway up the back, its three-toed feet and its cruel face, the poor animal looked more like a tank than the real thing.” Albrecht Dürer’s oddly inaccurate rendering of a rhinoceros shaped Europeans’ imagery of the animal for centuries.  (History Today, 8/2020)

Adele Schopenhauer’s Scherenschnitte, unpublished in her lifetime, “vanished into an intimate constellation of private albums, self-conscious repositories of emotion.”  (Collage Research Network, 8/1/20)

Hello, Lenin? As a 35-year-old statue of the Soviet leader stands firm in Schwerin, Gelsenkirchen bucks worldwide trends to become the first western German city to display a statue in his honor.  (Digital Cosmonaut, 6/2020; Deutsche Welle, 6/20/20)

In memoriam: photographer Astrid Kirchherr (1938-2020). “In a dingy, disreputable Hamburg bar, amid the noise and squalor, she detected something beautiful.”  (The New York Times, 5/16/20; The Guardian, 5/19/20)

The bottom half of Kang Sunkoo’s Statue of Limitations, an 11-meter-high sculpture referencing Germany’s colonial past, has just been installed at the Humboldt Forum in Berlin. The upper half will be placed in the city’s Afrikanisches Viertel, so-called for its streets that were in named in the colonial era.  (London Review of Books, 10/4/19; The Art Newspaper, 5/18/20)

Germany’s museums are opening back up—with online ticketing, social distancing, plexiglass shields, and a lot of disinfectant.  (artnet, 4/22/20;  The Art Newspaper, 5/4/20)

The Old Masters Picture Gallery gets a major upgrade at the Semperbau in Dresden.  (The Art Newspaper, 2/27/20; artnet, 2/27/20)

“In her etchings, prints and sculptures, [Käthe] Kollwitz continues to remind us what it means to be an artist and the possibilities of art in the most troubling of times.”  (Lithub, 2/14/20; The Economist, 7/20/20)

In 1926, architect and activist Margarete Schütte-Lihotzky designed the first fitted kitchen, to simplify food preparation in close quarters for (especially) working-class women. Her “Frankfurt Kitchen” was just the start of a long and eventful career. (The Wire, 1/26/20; MoMA, 2/14/20)

Ai Weiwei has some choice words for Germany, and for Berlin taxi drivers in particular.  (The Guardian, 1/21/20)