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

Ceramics in the Bauhaus tradition are thriving at the Maria Laach Abbey in western Germany.  (Deutsche Welle, 12/20/19)

“Making Marvels” at the Metropolitan Museum of Art is an early modern “parade of science and splendor,” including the exquisite Dresden Green.  (The New York Times, 12/19/19)

String theory is the “relatively new big idea around which all the old big ideas can coalesce” at Anselm Kiefer’s new exhibition, “Superstrings, Runes, the Norns, Gordian Knot,” at White Cube in London.  (The Telegraph, 11/19/19;  The Guardian, 11/25/19

The jewel heist from Dresden’s historic Green Vault was one of the largest ever, and a blow to Saxon and German cultural pride.  (artnet, 11/26/19; The Art Newspaper, 11/26/19;  The Economist, 11/28/19)

Locally printed “emergency money” from World War I and the economic crisis thereafter combated cash shortages with artistic flair.  (The Observer, 9/28/19)

A colorful, GDR-era mural by Josep Renau celebrating “man’s relation to nature and technology” has been restored “in all its pixelated glory” in Erfurt.  (The Guardian, 11/3/19; The Art Newspaper, 12/2/19)

In memoriam: Ingo Maurer (1932–2019), “Promethean in his delivery of illumination—fashioning lamps out of shattered crockery, scribbled memos, holograms, tea strainers and incandescent bulbs with feathered wings.”  (The New York Times, 10/24/19; Azure, 10/29/19)

“Beyond Bauhaus: Modernism in Britain 1933–66” is now showing at the RIBA in London. “The show casts a necessarily broad net,” writes Oliver Wainwright, “given our introverted island wasn’t particularly receptive to the radical cocktail of machine-made functionalism, abstraction and socialism.”  (The Guardian, 10/1/19)

There’s still time to see “Point of No Return,” a survey of Wende-era work by GDR artists at the Museum der bildenden Künste in Leipzig. Then head to the Düsseldorf Kunstpalast for “Utopia and Demise,” among the few major surveys of GDR art mounted since the Wende.   (The New York Times, 7/24/19; The Independent, 9/19/19)

The Bauhaus may have never had a proper music department, but “musical thinking permeated the lives of its students and faculty.”  (The New York Times, 8/22/19)

The “stylishly straightforward” Bauhaus Museum Dessau opened on September 9. “Our maxim was ‘more with less,'” says architect Roberto Gonzalez.  The Wall Street Journal, 8/9/19; artnet, 9/9/19; The Economist, 9/18/19)

Berlin’s “rebuilt Stadtschloss has become a national monument, but an accidental one—not a legacy defining grand projet, but the product of a series of actions with unintended consequences. It is a German monument developed in a very un-German way.”  (Financial Times, 9/13/19)

“Thousands of artworks from the Nazi period lie hidden away in storage depots,” both in Germany and the U.S. Is it time for the public to see them?  (Spiegel Online – International, 8/14/19)

“Mounting an exhibition containing swastikas, propaganda posters, photographs of Nazi rallies and clips of Leni Riefenstahl…was bound to generate controversy.” By that measure, the Design Museum Den Bosch’s exhibition on “Design of the Third Reich” does not disappoint.  (artnet, 9/17/19; The New York Times, 9/17/19)

“They complain that they do not have enough money to do research on these objects to take proper care of them…but they had enough money to build a castle in the middle of Berlin.” The debate over the Humboldt Forum and the repatriation of African artifacts continues.  (The New York Times, 9/4/19)

German ambassadors in Buenos Aires almost got to live in a “house in the trees” designed by Walter Gropius and his colleagues at The Architects Collaborative. Alas, the late-1960s project never came to fruition.  (Deutsche Welle, 7/2/19)

Here’s a friendly reminder from the Bauhaus Archive that the art and design school was not all about clean lines, white houses and tubular chairs. Exhibit A: the eccentric Landhaus Ilse, constructed in 1924.  (The Economist, 8/3/19)

“With luck, the swimmers will get their way, and the gleaming acropolis will live up to its intention of being a truly welcoming civic space.” The James Simon Gallery on Berlin’s Museum Island is now open to visitors.  (The Guardian, 7/8/19; The Economist, 7/12/19)

An exhibition at the Bundeskunsthalle in Bonn aims to show us how Johann Wolfgang von Goethe transformed the world. (The Art Newspaper, 5/29/19; Art Critique, 6/12/19)

“Though her painting style harks back to the 19th century, Laserstein’s portraits look astonishingly modern.” See Lotte Laserstein’s work for yourself at the Berlinische Galerie, now through August 12.  (Art & Object, 6/10/19; Apollo, 6/20/19)

Practical and philosophical problems continue to plague the Humboldt Forum in Berlin’s city center. Its opening has been now been delayed until 2020.  (The New York Times, 6/13/19; The Guardian, 6/16/19)

Pioneering photojournalist Gerda Taro was killed in 1937, just days before her 27th birthday, while documenting the carnage of the Spanish Civil War.  (Open Culture, 6/11/19)

A new exhibition at the Kunsthalle Rostock recalls the Palast der Republik as “a kind of microcosm of the GDR as one would have wished it to be.”  (The Art Newspaper, 5/31/19; The New York Times, 6/7/19)

Berlin has become a go-to destination for Chinese artists, writers, performers, and filmmakers who are “up to no good by the standards of Beijing’s morality police.”  (The Atlantic, 5/25/19)