Berlin is a city with a fearful past. But it doesn’t keep its skeletons in the cupboard; it bares its soul and share its shame. Countless museums and memorials bear witness to its willingness to confront a catalogue of 20th Century crimes. And it’s not just the Nazis who committed them. Life in the capital of the GDR held plenty of horrors as well, now brilliantly documented in the permanent exhibition at the Stasi Museum, ‘State Security in the SED-Dictatorship’. The museum is located in the main building (‘Haus 1’) of the former Stasi Headquarters, which also contains the recently-renovated offices of the notorious Erich Mielke, Minister for State Security from 1957 until 1989.
Walking into the Stasi HQ
The Stasi was the GDR’s infamous secret police force. Calling itself the ‘Shield and Sword of the Party’ (referring to the ruling Socialist Unity Party of Germany – in German: Sozialistische Einheitspartei Deutschlands, SED), it was from its massive headquarters on Magdalenenstrasse in Lichtenberg that the Stasi conducted a covert war against all perceived enemies of the state – including thousands of its own citizens. The Nazi hunter Simon Wiesenthal declared the Stasi to be “worse than the Gestapo”. It’s estimated that one in every ten East Germans worked as an ‘unofficial informer’ for the Stasi and the museum reveals many of the extraordinary ways in which the regime spied on its population.
“The Party is the State”
There is nothing quite like a museum which is housed in its authentic surroundings. When I lived in West Berlin in the 1980s, I knew all about the Stasi, but I couldn’t really conceive of its horrifying, all-encompassing power until I first visited its headquarters in the 1990s. This vast complex of grey concrete blocks started life in 1930 as the finance offices of the borough of Lichtenberg and was then enlarged by the Ministry for State Security in the 1970s. The buildings are grouped menacingly close together and included a cinema, canteen and exclusive supermarket. The Stasi headquarters formed a city within a city, totally closed off from the ‘normal’ world. Even now, the buildings exude a grim, inhospitable air.
Aerial view of the vast Stasi HQ
When the Berlin Wall fell, the Stasi buildings were taken over by an East Berlin citizens’ organisation, called ASTAK (Antistalinistische Aktion), which stills runs the museum in Haus 1, jointly with the Federal Commission for Stasi Records (BStU). Haus 7 contains the Stasi archives and Haus 22 contains an information centre and is used for functions. The remainder of the buildings have been bought by a real estate company but it is proving difficult to redevelop the site as it is under a historic preservation order. At present, one building is being used to house refugees, but in the long run it is difficult to imagine Berliners choosing to live in surroundings with such an eerie past.
Refugees happy to have a temporary home
The Stasi Museum is open every day, from 10am until 6pm on weekends and from 11am until 6pm at weekends and entrance costs 6 euros, with reductions for school pupils, students and pensioners. There are excellent free guided tours in English at 3pm on Saturdays, Sundays and Mondays, but you can also spend a gripping few hours at this museum on your own, as all the information is given in English. This is a museum for genuine history buffs, with fascinating exhibits and excellent display boards giving every possible detail of the Stasi’s activities. No Disneyfication here.
Detailed information in English
When you walk into Haus 1 of the Stasi Headquarters, it is as if you are re-entering the GDR. The interior décor is original, so the colours are murky; a depressing palette of brown, yellow, orange and cream. The large foyer has a model of the whole complex and under the 1970s-style staircase, complete with tacky gold-coloured railings, stands a ‘delivery van’, used by the Stasi to pick up ‘suspects’ for interrogation. On the ground floor, it is also worth visiting the café where time has stood still for almost 30 years – as have the prices.
The first and third floors of the museum contain the permanent exhibition. This includes an excellent general history of the Stasi and their propaganda methods. For example, they tried to brainwash all GDR children not only at school, but by making them join the ‘Junge Pioniere’, a state-run communist organisation which fed them political propaganda as well as organising activities and camps. There is also an interesting section devoted to the Stasi’s technique of ‘Zersetzung’ (‘undermining’) which involved disrupting the lives of problematic political dissidents, by ruining their marriages or constantly deflating the tyres of their bicycles.
Perhaps the most fascinating part of the displays remains the exhibits which are examples of the ingenious ways in which the Stasi used to spy on its citizens. There are wrist watches with wire taps for running up the inside of sleeves, microphones hidden in hymn books and handbags, cameras in nesting boxes and tree trunks. The list is endless and some of the unlikely hiding places for cameras and microphones have to be seen to be believed. These days, we might view the Stasi’s surveillance methods as bizarre or even amusing, but for ordinary people living under their control they must have been totally unsettling.
If you have seen the award-winning 1986 film ‘The Lives of Others’, you will remember one of the methods that the Stasi used to track their suspects. First, they would bring in the person for interrogation and leave a cotton square under their seat cushion. This piece of material would then be placed in an airtight jar and later used by sniffer dogs.
The second floor of the Stasi Museum is devoted to Erich Mielke, as this was entirely his domain. Everything is wood-panelled and emanates a suffocating stuffiness. His luxury office features his desk complete with chair , telephone and shredding machine. There are a series of meeting rooms with original maps on the walls, long conference tables, bright blue chairs and a secretary’s desk complete with a 1970s telephone switchboard. Mielke also had a bedroom, bathroom and small kitchen on this floor, suggesting that he spent much of his time in the building, controlling his empire of 92,000 spies and 170,000 ‘unofficial informers’, rather than returning home to his wife and children.
Mielke’s office and meeting room
On November 9th 1989, when the GDR effectively collapsed, the Stasi started destroying all their files as East Berliners stormed the buildings in their headquarters. Mielke left his post three weeks later and in 1993, aged 85, he was sentenced to six years in prison for the murder of two policemen back in 1931. Mielke was released after four years for medical reasons and died in 2000, living in a small apartment in Hohenschönhausen, East Berlin, not far from the notorious Stasi prison. For further reading about the Stasi and its methods, I have listed a couple of interesting links below. The Stasi Museum is only a five-minute walk from Magdalenenstrasse Underground Station.
Mielke facing trial
Potsdam is the capital and crown jewel of the Federal State of Brandenburg. Renowned for its exquisite baroque architecture, beautiful Prussian royal palaces and gardens, in 1990 it was awarded UNESCO World Heritage City status. Wartime destruction and the lack of funds during the bleak GDR years left terrible scars on the city centre, but since reunification it has undergone a massive programme of reconstruction and now positively gleams in its new grandeur and glory.Only a 22-minute train journey from Berlin main railway station, Potsdam is not only a great lure for visitors, but has become one of the most sought-after residential addresses in Germany.
Panoramic view of Potsdam in 1871
In January, Potsdam gained yet another fabulous attraction – the Museum Barberini, a museum inside a palace. The ‘Palais Barberini’ was originally built by the Prussian King, Frederick the Great in 1771/1772 next to the Stadtschloss (Potsdam City Palace) and modelled on the Palazzo Barberini in Rome. Destroyed in a bombing raid in 1945, it has now been reconstructed as a museum by the Hasso Plattner Foundation. At the official opening, its creator, media magnate Hasso Plattner, a co-founder of the multinational software company SAP, described the Museum Barberini as his gift to the city and “one of the most important things” he had done in his life. Plattner is a member of ‘The Giving Pledge’, a group of billionaire philanthropists who promise to give half their wealth to charity during their lifetime or in a will.
Queues of visitors outside the Museum Barberini
Plattner’s assets are estimated at $9.8 billion and his substantial private art collection will form the core of exhibitions. The museum’s first exhibition, for example, showcases Edvard Munch’s ‘Girls on the Bridge’ which Plattner is said to have bought at Sotheby’s last November for $54.5 million.
‘The Girls on the Bridge’
His social circle is sufficiently elevated that both Angela Merkel and Bill Gates attended the museum opening. Frau Merkel reportedly declared the museum to be “breathtaking”. Plattner has now been made an honorary citizen of Potsdam, a title he shares with Berlin luminaries such as landscape gardener Peter Joseph Lenné, naturalist Alexander von Humboldt and President Paul von Hindenburg.
Hasso Plattner with Angela Merkel
The opening of the Museum Barberini marks the end of years of strife. There were disputes over everything – from what Plattner was allowed to exhibit to where the museum should be built, and the project nearly foundered on several occasions. But Potsdam’s Barberini has finally been reincarnated on its original site and completes the historic rebuilding of the fabulous Alter Markt square, which also includes the Parliament building for the State of Brandenburg. The cost of reconstructing the historic façade of the Palais Barberini and creating its modern, airy interior is estimated to have been more than €60 million. For further details, follow this link to a recent article in The Economist.
The reconstructed Alter Markt Square
(photo by Konstantindegeer, March 2016)
I paid my first visit to the Museum Barberini a couple of weeks ago and adored it. The beautiful exterior architecture speaks for itself and the three state-of-the-art exhibition floors are light and crisp, with 7-metre high ceilings and fabulous views from large windows. In the summer the building’s regal position on the waterfront of the River Havel will undoubtedly be a great attraction in itself.
The debut exhibitions at the Barberini Museum are ‘Modern Art Classics: Liebermann, Munch, Nolde, Kandinsky’, and ‘Impressionism: The Art of Landscape’, featuring works by Monet, Manet, Renoir, Sisley, Pissarro and Caillebotte, among others. Both of them are perfectly curated and carefully themed. Most of the works are labelled ‘private collection’, although there are some on loan from major art galleries around the world. It is not clear how many of the paintings actually belong to Plattner himself.
‘Liebermann versus Nolde’
Impressionist seascape and snowscape
Apart from the two major exhibitions, other attractions include a display of Rodin sculptures loaned by the Musée Rodin in Paris and on the top floor the museum features an auditorium with a ‘smart wall’ where visitors can forensically examine most of the collection’s paintings, which have been reproduced in high resolution images. Just as interesting are the contents of the gallery next to auditorium, telling the fascinating history of the Potsdam Barberini Palace. After its illustrious beginnings under Frederick the Great, by the time of its destruction in 1945, it was being used as a youth hostel, public library and registry office.
Rodins in the Lelbach Gallerty
English speakers are well catered for in the Barberini Museum. All the information, including the large panels and the useful descriptions of individual works, is given in both English and German. Headphones are available at €2 or the Barberini App can be downloaded free. The Museum is open from Wednesday to Monday from 11am to 7pm, as well as on the first Tuesday of each month until 9pm. Admission is €14. Forthcoming exhibitions include ‘From Hopper to Rothko: America’s road to Modern Art’ (3 June until 3 October) and ‘Behind the Mask: Artists in the GDR’ (28 October until 11 February 2018). I would recommend booking online in advance as this museum is proving hugely popular. The excellent café on the ground floor is doing a roaring trade too.
In a city where so many buildings were devastated in war or destroyed in its aftermath, it is incredible to find in its very heart an edifice that has not only survived intact, but which has become the perfect fusion of history and modern art. This massive, ugly, 18-metre tall concrete construction is the ‘Boros Bunker’, once a huge air-raid shelter, now transformed into a unique art gallery. It stands like an indomitable fortress on the corner of Reinhardtsrasse and Albrechtstrasse, very close to Friedrichstrasse Station and was originally built in 1942 to protect thousands of railway workers and travellers to Berlin from the allied bombing. The city authorities have never attempted to demolish it, for fear of damaging the nearby Deutsches Theater.
The Boros Bunker
When the war ended, the Soviets used the bunker briefly as a prison and then in GDR times it became a cold store for imported fruit and vegetables, earning it the nickname, ‘Banana Bunker’. After the fall of the Berlin Wall, the labyrinth of rooms hosted techno dance parties and fetish raves. There are still visible traces of these former uses of the bunker; the bullet-studded façade has small rampart-like windows, faded neon graffiti decorate some of the interior walls and the two-way stone staircase, pipes and vents have been preserved. At the entrance, the original heavy steel door is held open with an ancient leather strap.
Detail of the scarred exterior
Advertising guru and contemporary art collector Christian Boros bought the monstrous bunker in 2003 and over a period of five years, a team of architects converted it into a 3,000-square metre exhibition space and added a stunning open-plan penthouse flat, complete with roof gardens and a pool, which has become the Boros family’s Berlin home.
Christian and Karen Boros and their penthouse home
Inside the bunker, floors and walls were cored out to create more height and airy galleries, enabling visitors to view the works of art from various vantage points. But the original oppressive and labyrinthine design by the Nazi architect, Karl Bonatz, has been retained. There is still a palpable sense of total exclusion from the outside world and of a refuge not only sought by the beleaguered citizens of Hitler’s Berlin, but also by hard-core partygoers in the reunified German capital.
The original ‘double’ stone staircase
Since opening the Sammlung Boros (‘Boros Collection’) in 2008, Christian Boros and his wife Karen have hosted two long-term exhibitions, comprising of selections from the family’s collection of 700 artworks. Boros #2 opened in 2012, featuring a total 130 exhibits. This second collection shows works from the early 1990s alongside more recent acquisitions. The installation of the artworks is as unusual as their surroundings and artists are invited to install their works themselves, in order ‘to create connections between the work, the artist and the space’. Artworks include sculptures, paintings, multimedia exhibits, drawings, photographs and sound pieces, each installed in varying rooms around the bunker. The Boros collection contains works by contemporary artists such as Damian Hirst, Olafur Eliasson, Elizabeth Peyton, Wolfgang Tillmans, Anselm Reyle, Manfred Pernice, Tobias Rehberger, John Bock, Wilhelm Sasnal, Michel Majerus and Ai Wei Wei. No photography is permitted, but the pictures below (taken from the internet) are examples of thought-provoking installations featured in the current exhibition.
There are no information labels or brochures available in the Boros Bunker; the only printed material is a first-class catalogue of works on sale, which is a veritable collectors’ item. To visit this gallery, you have to book a guided tour in either German or English and learn about the history of the building and its contents from a knowledgeable guide. I have experienced both the first and the second Boros collections and was very impressed on each occasion by the young art historian who led our group. In just 90 minutes they managed to pack in a wealth of fascinating background details on the bunker itself and its owner, and shed welcome light on the significance of the artworks on display and the intentions of its creator.
Explaining the context
If you are in Berlin over the next couple of weekends of January 2017, you still have a chance to see the second Boris Collection before it is dismantled, although there are no guided tours available. Then the building will close until April, while the third Boros Collection is being assembled and installed. Booking opens online in March. Check out the Boris Collection website for full details and make sure you reserve your visit well in advance
Das Museum der Dinge is a fascinating treasure-trove. Its name translates into English as ‘The Museum of Things’ and its nearest equivalent in London is the Design Museum. The collection was started in 1970 by the ‘Werkbundarchiv’, (the archives of the German association of craftsmen) and has grown into a significant exhibition of objects that have documented German daily life since the late-19th century.
The first exhibit (pictured above) is a ‘Historicist Bench’ which was part of the luxurious interior of the villa of a director of the Borsig factory. Unique hand-crafted pieces had reached a high quality towards the end of the 19th century and reflected the new economic power of the industrial elite. Although the crafts industry drew on stylistic elements of earlier eras, it began increasingly to put cheaper merchandise of poorer quality on the market.
Early 20th century ‘kitsch’
Affordable, mass-produced glassware
There are scores of display cases packed with items that have historic or design significance; many of them now horrendously kitsch. After all, the word was invented in Germany in the 1920s to describe a low-brow style of mass-produced design using popular or cultural icons. A great feature of this museum is the clear and concise way that the information boards (in English as well as German) explain each period of modern design, covering the development of functional utensils, brand names, souvenirs and technical products to the evaluation and choice of products in our own era.
Designer TV – with explanation
Of course, the exhibits are specifically from German everyday life, but visitors with no background knowledge of German brands can still have a great time and appreciate how household goods have adapted and changed with the times. There is something for everyone in this place – including the first fitted kitchen, the ‘Frankurter Küche’ (1926), a display case full of household items produced during the Third Reich and one with more recent ‘green’ products. You can definitely find ‘your thing’.
A place for everything in the fitted kitchen
Spot the Hitler cushion…
The museum is located on the top floor of an old tenement building off Oranienstrasse in the heart of Kreuzberg. With its gritty buzz, this neighbourhood is the perfect location for an exhibition of such unpretentious, utilitarian ‘stuff’. It is open from Thursdays to Mondays (closed Tuesdays and Wednesdays), from 12 noon until 7pm and entrance costs 6 Euros. Follow this link for a full explanation of the museum’s contents and its aims.
- Bunkers and Berlin are synonymous. Designed to protect people or valued materials from falling bombs, during World War II there were bunkers of every kind all over the city. When the air-raid sirens started to wail, making it in time to the nearest bunker was often a matter of life or death. Now bunkers have become tourist attractions and it’s just as well that Hitler’s infamous Führerbunker has been rendered inaccessible.
The Boros Bunker
Berlin Unwrapped has details of the underground bunker tours organised by the ‘Berliner Unterwelten’ and the contemporary art collection in ‘Boros Bunker’, which is so popular that tickets must be booked weeks in advance on the internet. Now, a new bunker exhibition is attracting attention – the ‘Feuerle Collection’, brainchild of art collector Desiré Feuerle, who owned a gallery in Cologne in the 1990s and specialises in exhibiting antiques alongside contemporary art.
The Feuerle Collection’s home is a raw, cast-concrete building that served as a telecommunications bunker during World War II. As it was owned by the Reichsbahn and therefore the property of the GDR, it was left abandoned and fenced-off during Berlin’s years of division. From the outside, the bunker has the bleak appearance of a brutalist-style fortress, but the interior space has been miraculously transformed by British architect John Pawson into something approaching the vast imperial feel of the Domus Aurea, Nero’s ancient Golden Palace in Rome.
A stunning underground setting
We booked our tickets for the Feuerle Collection on the internet a couple of weeks in advance, for a Saturday afternoon (the museum is currently only open at weekends) and took the U2 to Möckernbrücke. It was only a ten-minute walk along Hallesches Ufer, but already the overhead railway, the dark waters of the canal and the massive buildings on either side of the road combined to create a sense of severity. We arrived at the huge metal door of the bunker with a sense of some trepidation.
Entrance to the bunker
Visitors are ushered in semi-darkness to the lobby to place their bags in the lockers, then assembled as a group for basic instructions on how the tour will proceed. Photography is prohibited, so all the pictures in this post have been taken from official photographs provided by the Feuerle Collection on the internet. Our guide offered very little information about what we would find inside the exhibition itself; it was made clear that we would be making an individual discovery, although we could ask questions at any time. We were then ushered downstairs, where a pitch-black room awaited. When the door closed, a minimalist sound piece by John Cage was meant to be playing – a ‘gift’ from the collector, intended as a sort of musical prelude to the stark journey that each visitor was about to embark on. In fact, what we experienced was several minutes of total silence and were rendered both blind and deaf.
We were then told to ‘walk towards the light’ and found ourselves in a huge sub-terranean cavern, which felt like a hallowed tomb for art. Each ancient exhibit stood on its own pedestal or in a glass case with a few other similar creations and the clever lighting made everything seem precious beyond compare. Beautiful Khmer sculptures from the 7th to 13th Centuries made of stone, bronze and wood, cast imposing shadows across the bare floor. We wandered around in awe among the pillars that intersected the large space and made a framework for the exhibition. Mirrors had been strategically placed to enhance the experience and through glass we could see into an adjacent, empty section of the bunker with its tall regal columns gently illuminated.
On some of the pillars and walls were black-and-white photographs set behind Chinese Qing Dynasty-era furniture. Contemporary artwork juxtaposed with antiques is a Feuerle trademark and, in this case, the ‘erotic’ nature of the photographs provided quite a talking point later. One of the central pieces on this floor of the collection was a ‘stone mat’ from the Han Dynasty (200 BC) and hung behind it, a contemporary picture of a mattress. This seemed a brilliantly-conceived contrast. There were no labels or descriptions on any of the items on display, so visitors must ask the guide, who stands discreetly to one side, if they want to learn the origin of a work. Since everyone walks around in studied silence, it seemed wrong to break the spell and we kept our questions to ourselves and gave way to a ‘collapse of time’.
Stone ‘mat’ and mattress
We were allowed just over 20 minutes for the first part of the collection, at which point our guide noiselessly approached each individual or group and invited us to gather in one corner of the room. Together, we made our way up to another huge space where more treasures were on display. A contemporary metal installation shaped as a hillside fountain was the first object of interest, but it was the lacquer Imperial Chinese furniture that stole this show. These pieces, exhibited on plinths, were truly magnificent. But as if to unsettle this feeling of pure beauty, once again Feuerle had used ‘erotic’ images, this time of submissive young Asian women, to create a juxtaposition between antique and contemporary art. It is a point of view we did not share.
Contemporary metal fountain by Cristina Iglesias
Fabulous antique day bed
After a further 20 minutes or so, we returned to the lobby along a labyrinth of dark stone corridors, interspersed with high wells and hanging chains. Before leaving, I asked the guide for further reading material about the Feuerle Collection and was told that nothing was available yet. Perhaps it never will be. And perhaps it’s not important to know all the details. This bunker attraction needs little explanation, it just needs to be experienced. We had made a unique individual journey through time and space, among different periods and cultures and in the company of many a ghost. I will be back in 2017 when the ‘Incense Ceremony’ is added to this exhibition.
Entry to the Feuerle Collection costs €18. To book online follow this link.
I hope that last week’s blog about Spandau has encouraged you to visit this special part of Berlin. From now until the end of 2019, the wonderful Spandau Zitadelle has a stunning new exhibition. One of its huge neoclassical barrack buildings has been beautifully renovated to house a unique collection of Berlin monuments, ‘Unveiled – Berlin and its monuments.’ Statues that are symbols of the country’s turbulent past and yet have been removed from public view for years, have been rescued from neglect and despair and cleverly assembled to reveal a highly-charged political story from the 18th Century to the end of the 20th Century.
This exhibition has a real ‘wow factor’ from the moment you walk into the first vast room. Here you are greeted by the Prussian monarchy in the form of King Friedrich Wilhelm III, reunited with his Queen Louise who died so tragically young. The monuments erected in Berlin before the founding of the German Empire in 1871 were an expression of the military and political rise of the Prussian monarchy.
A royal couple reunited
King Friedrich II, ‘Frederick the Great’, was the first monarch in Europe to erect monuments to generals who did not come from the royal house, but who had distinguished themselves in war. There are scores of scarred heroes to admire in the next hall, many of them with limbs broken off or punctured with bullet-holes. Massed together in their spacious new surroundings, they make a commanding sight.
A particular highlight of the exhibition is the set of marble statues commissioned by Kaiser Wilhelm II to adorn the magnificent Siegesallee (‘Victory Avenue’) in Berlin’s central park, the Tiergarten. A whole summer’s day in the year 1907 is imitated acoustically by a sound installation, supported by a lighting choreography throwing shadows on to the park bench in the middle of the room. I stood there for a while, listening to the sound of people, carriages and birdsong and was transported back in time and place.
The Tiergarten in 1907
Germany’s defeat in World War I, which had cost the lives of over two million German soldiers, defined the erection of memorials during the post-war years of the Weimar Republic. The ‘Monument to the fallen Railwaymen,’ is especially touching. It depicts a strong man kneeling and bowing his head in mourning. There were many more such monuments erected all over the newly-created Greater Berlin, but the elected government of the day never realised a central ‘Reich Memorial’ in Berlin, something which would have certainly happened during the period of the Prussian monarchy.
The Railwaymen’s monument
During the period of National Socialism, it was architecture rather than monuments that played the major role as a means of demonstrating power and supporting the government’s claim to world domination. Adolf Hitler and his architect, Albert Speer, drew up plans to turn Berlin into the Reich Capital Germania. Statues were erected that conformed to classical Greek and Roman art, considered by Hitler to be art whose exterior form embodied an inner racial ideal and was both heroic and romantic. The one in the exhibition is a statue by Arno Breker, Hitler’s favorite sculptor. Also on display in this room is an eight-ton stone, whose purpose was to portray Germanic engineering prowess.
A rediscovered Breker bronze
In the National Socialism section of the exhibition there is a second sound installation, located in a small, empty, darkened room with a high ceiling. It symbolically depicts the Berlin Ruhmeshalle (‘Hall of Fame’) one of Hitler’s and Speer’s projects that was never realised. This cult hall was intended to hold 180,000 visitors and its purpose was to spread Nazi ideology. The inhumanity and incomprehensibility of this project is conveyed by an abstract sound installation and floor vibrations, which combine to induce feelings of anxiety and terror. It is a disorientating experience.
The grandiose design for Germania’s ‘Ruhmeshalle’
After World War II, the victorious powers divided Berlin into four sectors and East Berlin subsequently became the capital of the German Democratic Republic. In West Berlin, monuments were used to promote freedom and reunification in the ‘front-line city’ of the Cold War. They commemorated political events such as the blockade of 1948/1949, the people’s uprising in the GDR in 1953, and the building of the Berlin Wall in 1961. But it is mainly East Berlin monuments that are ‘unveiled’ in this exhibition, because so many were removed after reunification. On display is the memorial to the victims of ‘Fascism and Militarism’ from the Neue Wache on Unter den Linden, which I can recall from the 1980s. In the 1990s it was replaced by the more moving and less political Käthe Kollwitz sculpture of mourning mother.
The GDR’s memorial to the unknown soldier
There are many more monuments and statues in this last section of the exhibition, reflecting socialist ideology and German-Soviet friendship, as well as the struggle of the working classes against capitalism and fascism. But the show’s main attraction is undoubtedly one of its most colossal pieces – a granite head of Lenin, made famous by the 2003 film, ‘Goodbye Lenin!’ In a haunting scene, a piece of the torso of the gigantic statue of the Soviet leader is helicoptered along Stalinallee (now Karl-Marx-Allee), with hand outstretched.
The ‘Goodbye Lenin’ moment
The 1.7-metre-high Lenin head in the exhibition was part of a statue carved from Ukrainian pink granite that towered 19 metres above East Berlin. But after the fall of the Wall, amid considerable controversy, the first mayor of reunited Berlin ordered its removal to rid the city of an ‘unwanted icon’. The statue took months to disassemble, as Lenin was split into 120 parts, then transported to a secluded forest and buried in sandy earth.
According to the Director of the Spandau Zitadelle Museum, there were “endless debates” surrounding the decision to integrate the Lenin statue into this collection. There is also a widespread feeling that instead of dismantling and hiding the monuments, it would have been more appropriate to keep them up and publicly discuss their role and symbolism. But it is too late for regrets and this collection of rescued and scarred statues makes for a truly memorable exhibition in a unique setting. All the information is given clearly in English as well as German and you can reach out and touch the exhibits. Entrance costs €4.50 to include the Zitadelle Museum and the Juliusturm. The Zitadelle is open daily from 10.00 am until 5.00 pm.