I like to travel routes unknown, not for snobbery or thirst for distinguish myself, but simply because i like to follow my thought and my instict in the wake of curiosity.

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MASTER OF SET DESIGN: KEN ADAM “BERLINER” CINEMA SUPERSTAR! Ken and his strange relationship with Stanley Kubrick! Berlinare 2015 is coming , Don’t Miss This Great Opportunity to discover an unbelievable artist.

MASTER OF SET DESIGN: KEN ADAM “BERLINER” CINEMA SUPERSTAR! Ken and his strange relationship with Stanley Kubrick

Berlinare 2015 is coming , Don’t Miss This Great Opportunity to discover an unbelievable artist.


11 December 2014 – 17 May 2015:
Bigger Than Life. Ken Adam’s Film Design

Deutsche Kinemathek – Museum für Film und Fernsehen
Potsdamer Straße 2
10785 Berlin

ken adam

Thunderball (1965), James Bond

Set design is one of the most complicated elements in film. Basically, it’s meant to serve the story and not call attention to itself, while still adding to the mood of the film.
Berlinale is coming and Don’t Miss This Great Opportunity to discover a Berliner Cinema Superstar: Sir Kenneth Adam the most influential film production designer of the last half of the twentieth century.

6Born to a wealthy Jewish family in Berlin in 1921 ( his birth name was Klaus Adam), Adam had a privileged childhood but fled to London 1934 when the Nazis cracked down on Jewish businesses, including his father’s firm. After studying architecture, he served as a fighter pilot for the British during World War II, then wangled a job as a junior draftsman on the otherwise forgettable 1947 film, “This Was A Woman.” Adam worked his way up the ranks to become a production designer, a role that didn’t exist until 1938 when William Cameron Menzies was given the title on “Gone with the Wind.” It was still so peripheral that Adam’s name was misspelled in the credits of “Around the World in Eighty Days” (1956), the first film where he felt he made a creative impact.

He most famous for ‘Dr Strangelove’ and the James Bond films of the 60’s & 70’s. He is also one of only two German nationals who flew for the RAF in World War II.


Thunderball Set (1965)

In London, Adam flew for the RAF – the first German fighter pilot to do so – and he claims that this experience, fraught with action and danger, played a huge role in his design work, particularly the Bond films. Although he still lives in London, Adam has never forgotten his Berlin roots.

There is no doubt that Adam was influenced by the Bauhaus and German Expressionism and the architects who he admired most are Mies Van Der Rohe, Mendelsohn, Gropius and Le Corbusier, and also, in some way, Frank Lloyd Wright .

You only Live Twice (GB, US 1967, Lewis Gilbert)

You only Live Twice (GB, US 1967, Lewis Gilbert) Villains get the best apartments: Blofeld’s Volcano Lair for “You Only Live Twice”. © Ken Adam Archive/Deutsche Kinemathek)

The mastermind behind seven of the first eleven Bond films, including Dr. No, Adam has been lauded as one of the world’s greatest production designers. First recognized during the filming of Around the World in Eighty Days, he has managed to cultivate a rapt following in one of the cinema’s most underappreciated professions, and with it a reputation for grandly expressionistic sets, such as the war room in Dr. Strangelove and Blofeld’s volcanic headquarters in You Only Live Twice.

By the early 70s, Ken’s imagination had made him Hollywood’s most celebrated production designer, and in 1975 he got another call from Mr Kubrick who was preparing to come out of hiding after the fallout from Clockwork Orange. He wanted re-tell Barry Lyndon, Thackeray’s candle lit ode to the regency period. Ken reluctantly agreed. He had happily passed on the opportunity to work on 2001: A Space Odyssey.

barry lindon

Barry Lindon set – Stanley Kubrick

Adam said: “Stanley had got very nasty menacing letters from people threatening his life, so when we were preparing for Barry he wouldn’t move out of his house for 5 or 6 months. I said ‘how can you make a film on location when you don’t go out?’ So he employed an army of young photographers to take pictures of stately homes. But you couldn’t say anything about his paranoia to anyone otherwise he would be on the phone the next day. He controlled everything you said in the press and on set.”

Physically exhausted, Ken had a nervous breakdown, and Kubrick fired everyone on set for six weeks to re-think the film’s strategy.


Dr. Strangelove, Stanley Kubrick

“It wasn’t normal pressure, I can cope with normal pressure,” he says, with a gutsy laugh. “I had to go into a clinic. Stanley was more worried than I was, but I was beyond worrying really. He rang everyday but wasn’t able to talk to me because my psychiatrist wanted to cut this umbilical chord between us. Which he never managed to do actually. When I finally came back to this house, he rang up and asked me if I wanted to direct a scene over in Germany. The moment I heard that I was back in the clinic. Crazy.”

ken adam

The Spy Who Loved Me (GB, US 1977, Lewis Gilbert)

“Kubrick had seen Dr. No and loved it,” Ken says, tugging back a lungful of cigar smoke. “He asked if I would be interested in doing a picture for him. I went to see him and he had a lot of charm and curiosity, but I felt he was also very naïve. Little did I know that there was this gigantic computer like brain functioning all the time!”

He sketched out an idea for the film’s centrepiece – a split-level war room. Kubrick liked it at first but scrapped it after wondering what he would do with the second level. Ken then drew an imposing triangular design, with the director standing behind him commenting on every stroke.

ken adam

The Madness of King George (GB, US 1994, Nicholas Hytner)

“We were too close. It was like a marriage. He was unbelievably possessive and very difficult to work with because he knew every other part of filmmaking, but not design. He was suspicious and I had to intellectually justify every line I drew. That can be so destroying to deal with day after day.”

In 1966, he returned to the city to work on the film Funeral in Berlin and 2001 for collaborating on Taking Sides by Istvan Szabo ; and in 2012, he donated his entire life’s work of over 5000 objects (including nearly 4000 sketches of his film sets) to the Deutsche Kinemathek. This donation forms the basis of the new exhibition.

He also worked on film as Addams family and The Madness of King George.

Don’t Miss This Great Opportunity to discover a great artist.

Confidential source Kubrick-Adam : “TIM NOAKES 2008 “


ken adam

Ken Adam, photo: Andreas-Michael Velten, 2014

Design study for the Liparus Super-Tanker in “The Spy Who Loved Me”. (GB/F 1977, directed by Lewis Gilbert; image © Ken Adam Archive/Deutsche Kinemathek)

ken adam

Chitty Chitty Bang Bang (GB, US 1968, Ken Hughes) image © Ken Adam Archive/Deutsche Kinemathek)


Funeral in Berlin (1966), Still from the movie Funeral in Berlin Martin-Gropius-Bau and the old Prussian Landtag (Abgeordnetenhaus today).The wall run between them.


Funeral in Berlin (1966)

ken adam

Around the world in 80 days set (1956)

ken adam

The Willard Whyte House for “Diamonds Are Forever”. (GB/USA 1971; image © Ken Adam Archive/Deutsche Kinemathek)

ken adam

Funeral in Berlin (1966), aus vaterland-Here in the British movie ‘Funeral in Berlin’ (1966) the Haus Vaterland (on the right) is on East-Berlin territory. In 1971 it came to the West in exchange.

Picture 21

Addams Family (1973)

ken adam

The Zero Gravity Space for “Moonraker” a. (GB/F 1979; image © Ken Adam Archive/Deutsche Kinemathek)

Goldfinger (GB, US 1964, Guy Hamilton)

Goldfinger sketch (GB, US 1964, Guy Hamilton)

ken adam

Ken Adam


Taking Sides, István Szabó, (2001), Berlin set


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“The sites have memory. They remember everything. The memory is etched in stone. It is deeper than the deepest waters. It is like the sand of the dunes, which is constantly changing. “ WIM WENDERS

This time I have the pleasure to welcome an interesting article and discussion by Zuleika Munizza, responsible of BERLINO EXPLORER, about INDUSTRIAL ARCHEOLOGY.

It’s an argument that touches me personally because from the photographic and architectural standpoint is often a source of inspiration for my work. Just because these places transmit texture and surface memories of people who have lived.

Zuleika said: “What is industrial archeology and because in Germany there is great attention and interest in dell’Industriekultur, literally Corporate Culture?

The industrial archeology was born as a branch of classical archeology at the time of termination of the phase of the industrialization process in Europe, explores and examines all the evidence related to this process since its origins, which are identified at the end of ‘700 , before the industrial revolution.

As discipline of study, I.A. born in the first half of the fifties in England, for deepening the knowledge of the history of past and present production, taking into analyzing the archaeological traces generated in the places, where these processes beginning from the second half of the eighteenth century, phase just before the Industrial Revolution, to the present day.
Certainly a different way of reading the city and its changes, It’s performing paths of industrial archeology, to get to explore interesting areas which survive in old factories; then last time the city is reclaiming these places, to promote activities permanent or temporary, cultural and not.2012-12-30 14.32.28

The Industrial Archeology, as well as architecture, are a perfect way to read the hidden traces of history.

Berlin is full of wonderful architectural industrial volumes , but despite their productive function often become reason for specialized architects to represent, through the majesty of the design and the attention to detail, the importance of the historical moment.

hese fascinating structures, are now like giants who wake up in the middle of a city and are changing dramatically the urbanistic situation, especially in Berlin, as well as in all cities with a significant past production, then you can see contemporary skyline near these volumes of the past.

In Germany the Gründerzeit, the stage of economic development of the nineteenth century (the second industrial revolution) corresponds to that historical period in Central Europe, during which the bourgeoisie acquires the role of cultural guide, assigning new tasks to aesthetics, especially in the field of architecture and all manual arts, which leads to the development of an eclectic art forms already existing.

In Berlin, in the heart of the city, the production leaves in the urban structure the signs of the passage of a flourishing economy that, for historical reasons well known to us (for example World Wars) stopped abruptly.

The activities take up again after the official division of the country and the process reconverts; in different cities of the German Democratic Republic, as in Leipzig for example, after the reconstruction of the early post-war years, we can see the rebirth and revival its productive capacity.

2012-12-28 13.06.24Process in East Berlin will be slower than in other parts of East Germany; the reconstruction of the city, burned to the ground for almost 85% of its totality, is the obvious priority; rebuild homes and fabric of the city, are the starting points for the revival.
The pride of the industrial productivity during the Democratic Republic is Leipzig, with the fall of the Berlin Wall and the collapse of utopia community, then collapses beneath the weight of almost total ddisposal of its factories, now mostly abandoned.

Here in Leipzig, as in all industrial cities, the working-class community is very active in the trade unions in defending the rights of workers, and even more so during the communist regime.

From these movements born Friedlichen Revolution, the peaceful revolution of autumn ’89, (the famous “protests fo Monday”), decisive events that herald the final failure of the DDR (founded by another, ironically, officially Oct. 7 ’49) .”

Then BERLINO EXPLORER has began the discovery of Leipzig area. I am very happy to deal  this topic on my blog and I hope very soon to come back to talk about. Stay Tuned!

Info and Contact:

Zuleika Munizza

Frankfurter Allee 5
10247 Berlin

telefono: | email:

2012-12-29 13.36.33

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The World c. 1914. Colour Photography Before the Great War at the MARTIN-GROPIUS BAU

1897700_841313702566188_4004090231990996226_nLovers of photography get down to Martin – Gropius Bau Berlin to see an extraordinary collection of pre-1914 coloured photographs from around the world.
Photography for my creative work is the first source of inspiration and especially a lover of travel liek me, I’m happy to recommend this exhibition.

In commemoration of the outbreak of the First World War, the Martin-Gropius-Bau is presenting an exhibition entitled The World ca. 1914 – Colour Photography Before the Great War, which features nearly forgotten colour photographs and films commissioned by the French banker Albert Kahn (1860-1940) before the First World War.
As the nations of Europe were already arming themselves for battle, Kahn, who was excited by the Lumière Brothers’ colour photography process, dispatched photographers out into the world to develop a unique photo archive. Over 70,000 colour photos have survived in this collection.
They represent an immense ethnographic treasure and were also intended to perform a mission of peace: Bringing the outside world closer to home. Kahn’s activities were intended to help secure the fragile peace. The exhibition brings this treasure trove of images from a long forgotten world to light.
For Albert Kahn, knowledge of peoples, buildings, landscapes and lifestyles was directly related to his desire for global peace: People who know and respect one another, and who encounter one another face to face, do not need to wage war.mongolei__ulaanbaatar._der_finanzminister_des_unabhaengigen_staats_mongolei_auf_dem_marktplatz__stephane_passet__22._juli_1913
In 1908/09, excited by the new autochrome process of the brothers August and Louis Lumière, Kahn commissioned his photographers to document the world with the goal of assembling an archive of colour photographs from Europe, Asia and Africa. They photographed local scenes and people in typical clothing as well as monuments of cultural history.
From this global treasure trove, more than 160 images have been selected for this exhibition. The autochromes from the Kahn archive form the centrepiece. The exhibition also displays images and projections by Adolf Miethe (1862 – 1927) and Sergei M. Prokudin-Gorskii (1863 – 1944).
mgb14_welt_1914_01_buddhistischer_lama_media_gallery_resAdolf Miethe, the inventor of a panchromatic film-coating process and thus the creator of three-colour printing, played a significant role in the development of colour photography. His presentation before the Kaiser led to a commission to create a colour documentation of German landscapes for the St. Louis World’s Fair. His work also enjoyed great popularity as collectible pictures sold with chocolate bars. This resulted in the “Stollwerck Album” – Germany’s first coloured photographic album.

Moreover, the Miethe Process inspired the Russian photographer Sergei Mikhailovich Prokudin-Gorskii. His work is present in the form of approximately twenty-five colour prints and fifty projected photos. A special item is on loan from the German Museum in Munich: The original projector with which Sergei Prokudin-Gorskii exhibited his work to Nicholas II, the last tsar. In 1909, as a result of this presentation, Prokudin-Gorskii received a commission to record the Russian Empire in 10,000 photos. Between 1909 and 1915, Gorskii made several thousand photographs of great brilliance. He documented the cultural diversity of the tsarist empire from the Crimean Peninsula to Siberia.


Organizer Berliner Festspiele. A cooperation project of LVR-LandesMuseums Bonn and Gropius-Bau, Berlin.
As part of the European Month of Photography Berlin
The Martin-Gropius-Bau is funded by the Federal Government Commissioner for Culture and the Media
Partners WALL, BTM-Visit Berlin, Bouvet Ladubay, xm:lab – Experimental Media Lab, Hochschule der Bildenden Künste Saar
Media partners inforadio, Tagesspiegel, zitty, Exberliner, Berline Poche, Cicero, fotoforum, G / Geschichte, Business & Diplomacy
Information: 1 August to 2 November 2014

Opening hours
WED to MON 10:00 to 19:00
TUE closed
Information about the book:

oesterreich__wien__judengasse__fotograf_unbekannt__23._april_1913 10454458_841313645899527_4381001926848386966_n 1901316_841313632566195_6654192495312873559_n irland__galway__marguerite_mespoulet__26._mai_1913 indien__uttar_pradesh__agra._mausoleum_taj_mahal_von_shah_jahan_fuer_mumtaz_mahal__stephane_passet__19.-21._januar_1914 indien__amritsar._marmorne_strasse_zum_goldenden_tempel__neben_den_rituellen_reinigungsbecken__dem_darbar_sahib_und_dem_hari_mandir__stephane_passet__15._januar_1914



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The LAST DAYS of TACHELES: la poetica dell’impercettibile in un momento sospeso tra memoria e storia. INVITO AL DIBATTITO: “TACHELES: simbolo di una Berlino che non esiste più”

Nel giro di lunghi periodi storici,

insieme coi modi complessivi di esistenza delle collettività umane,

si modificano anche i modi e i generi della loro percezione sensoriale…   

“rendere le cose, spazialmente e umanamente, piú vicine è per le masse attuali un’esigenza vivissima””, Walter Benjamin.


The Last Days of Tacheles - 2Parlare del Tacheles, raccontare la sua storia, cosa ha rappresentato, può sembrare tanto banale quanto scontato, dal momento che tutti, o quasi, ne hanno sentito parlare, ma così facile in realtà non è.

Allora per iniziare a parlarne mi tornano in mente gli illuminanti e profetici concetti di Walter Benjamin nel suo piccolo ma fondamentale scritto “ L’opera d’arte nell’epoca della sua riproducibilità tecnica” (1936), che ha influenzato tutto il novecento, l’analisi e la valutazione della cultura di massa. Un testo ineludibile per ogni fotografo, critico e appassionato di cultura, arte e filosofia, che viene considerato bibbia nelle università.

Benjamin era tra l’altro berlinese, nato a Charlottenburg e se in questi giorni fosse stato vivo avrebbe sicuramente inserito il Tacheles come esempio di studio, quando si interroga  e affronta nel suo saggio la tematica della tendenza alla fluidità sociale dei modelli di consumo culturale, delle opere d’arte, che sotto qualunque forma, si presentano come merci derivanti da un processo di produzione profondamente intriso della dimensione sociale propria della società che le produce.

Nella teoria di Benjamin la soggettività e unicità dell’artista perde il ruolo centrale nel processo di produzione di manufatti estetici. Parallelamente il tessuto culturale diventa più complesso e cresce l’importanza delle modalità tecniche tramite le quali il produttore entra in collegamento con il suo pubblico. I processi di produzione della cultura hanno dunque sempre meno la forma di una fabbrica di epoca industriale. La produzione culturale assomiglia molto di più ad un rumoroso mercato con la sua confusione e per certi aspetti l’esperienza del Tacheles insiste e rimanda a ciò, anche attraverso l’uso delle forme più innovative di arte (come le performance dal vivo) o di materiali innovativi.

Un luogo dove il nuovo contesto sociale, la fruizione dell’opera d’arte sono diventate tanto un’esigenza quanto un’opportunità collettiva. “..rendere le cose, spazialmente e umanamente, piú vicine è per le masse attuali un’esigenza vivissima”,  W.Benjamin

Il Tacheles è stato proprio questo: un’esigenza quanto un’opportunità collettiva.

Il simbolo di quella battaglia che l’arte cerca di portare avanti contro lo sfrenato potere del consumo e del denaro, l’ambiente meno contaminato dalla capitalizzazione, che investe persino il prodotto artistico.

Un luogo in cui nonostante la decadenza della struttura e l’eterogeneità delle opere che essa nel corso degli anni accolse, si è rivelato una parte di mondo dove si è lasciato potere all’ immaginazione, per questo conservando una traccia di bellezza, sempre più progressivamente ferita ed abusata eppure ancora capace di bisbigliare all’uomo la possibilità di opporsi ad una visione del mondo regimentata dall’interesse monetario.

La chiusura del Tacheles, che possa dispiacere o meno, è il sintomo di qualcosa di più ampio e complesso che a Berlino sta avvenendo già da qualche anno e che ha già visto la chiusura di locali e luoghi di ritrovo che nella capitale tedesca hanno fatto cultura, è in ogni modo un momento triste per chi crede che l’arte possa offrire visioni differenti del mondo.

2213143116_2d6e8b53e5_oLa Kunsthaus Tacheles (Casa dell’arte Tacheles) è stata una galleria d’arte moderna berlinese situata in Oranienburger Straße, nel quartiere centrale Mitte. Ricavata dalla demolizione del centro commerciale Friedrichstraßepassage, conosciuto come “la cattedrale del consumo”, fu costruito tra il 1907 e il 1909 e dal 1990, l’edificio è stato fino al 2012 sede di collettivi gestita da artisti.

Nel 1928 la compagnia di strumenti elettronici AEG entrò in possesso dell’edificio e lo utilizzò come “Casa della Tecnologia” per esposizioni e presentazioni commerciali, ma anche cinematografiche. Nel 1936 vi furono trasmessi televisivamente i giochi olimpici, per la prima volta al mondo. Dopo il 1933 i vari spazi dell’edificio cominciarono ad essere utilizzati da varie organizzazioni connesse al nazismo. Con la fondazione della GDR nel 1949 l’edificio fu trasferito in proprietà della trade union FDGB, facente parte della Germania dell’Est. In seguito alla Separazione della Germania e di Berlino, la costruzione rimase vuota salvo che per usi a breve termine, come per l’armata NVA o per la Scuola circense, e comincio ad andare in rovina.

Dopo la caduta del muro nel 1989 a Berlino Est sorse un movimento artistico spontaneo. In particolare nei quartieri centrali Mitte, PrenzlauerBerg e Friedrichshain tale subcultura occupò il vuoto creato dalla scomparsa della GDR. La demolizione finale dell’edificio, prevista per aprile1990, fu evitata grazie all’occupazione promossa dal Gruppo di artisti Tacheles. Grazie al sostegno delle pubbliche istituzioni la sopravvivenza dell’edificio fu poi ulteriormente garantita, e, dopo un’ulteriore ispezione, l’edificio fu considerato parte del Patrimonio monumentale nazionale. Nel 1998 la compagnia di investimenti FUNDUS ha comprato l’edificio sotto la condizione che il Tacheles potesse continuare ad esistere quale luogo storico e culturale. Fu stabilito di conseguenza un affitto simbolico di un marco tedesco al mese. Nel 2000-02 la costruzione fu restaurata, seguendo una procedura architettonica che ha posto in contrasto lo stile decadente delle rovine con elementi contemporanei e tecnologici.

Il Tacheles riceveva in media ogni anno 500.000 visitatori da ogni parte del pianeta. Molti di questi venivano appositamente perché questo insolito nome era citato tra i punti di interesse delle loro guide turistiche, così come si trova il MOMA tra quelli delle guide di New York o il Louvre per Parigi.

1491754_622010054554054_7450445799529749968_nÉ indubbio che ci sono poi stati esperti, registi, giornalisti e persone che vivono a Berlino, o che ci hanno vissuto abbastanza per farsi un parere, che hanno ribadito varie volte che il Tacheles era oramai cambiato negli ultimi anni, diventando molto diverso dal mito che in molti ricordano, una mera attrazione turistica e quindi meritevole di essere disperso. La data ufficiale della chiusura e sgombero è così avvenuta il il 4 settembre del 2012.

Tra questi registi ce ne è anche uno italiano, Stefano Casertano, che vive da tempo a Berlino e che ha proprio voluto approfondire questa vicenda, vivendo a fianco degli artisti prima della chiusura per quasi un anno. Ha prodotto e realizzato così un docu-drama, The last days of Tacheles, come lo definisce lui, in quanto non è un documentario su cosa è stato il Tacheles, o un’inchiesta, ma un racconto cinematografico sugli ultimi giorni di questa galleria, ma soprattutto sulle emozioni che gli artisti hanno vissuto.

Nonostante Casertano abbia un background giornalistico-accademico, che lo avrebbe potuto portare ad avere un occhio critico-analitico sulla vicenda, e raccontarla dal punto di vista sociologico, storico e politico si discosta notevolmente in questo suo lavoro nell’ affrontare la tematica.

Da una più attenta analisi del racconto, invece, ci si accorge chiaramente che l’interesse del regista marcia in un’altra direzione. L’attenzione è volta a scoprire e a comprendere l’atteggiamento interiore, le motivazioni profonde, lo spirito di questa gente, i valori che sottostanno al loro comportamento e alla loro vita., concentrandosi sulla poesia dei gesti e dei volti degli artisti, le loro inquietudini, paure e il contesto dove la loro anima viene prosciugata.

Un linguaggio dove l’uomo è al centro del racconto e tale narrare, mostra così i più piccoli particolari delle espressioni, carica di significati i gesti più consueti e indifferenti, conferisce un valore agli oggetti più comuni e più umili, ricordandoci il rispetto profondo per l’uomo e la sua dignità, soprattutto nella parte finale quando ci mostra lo sgombero e lo strazio di alcuni artisti nei confronti di esso, verso la totale distruzione di un mondo che non esiste più, in cui loro hanno creduto e dedicato speranze e sogni per anni.

Una poetica dell’ impercettibile che si annida nello sguardo sulle cose, in un momento sospeso tra memoria e storia.

Non ritengo che il Tacheles sarà menzionato nei libri di storia dell’arte, in quanto non ha prodotto nessuna opera d’arte significativa o grande artista e sappiamo senza ipocrisie che i luoghi dove l’arte fa business sono ben altrove, rimarrà però sempre nell’immaginario come esperimento di potere dell’immaginazione comune ed evocativo dell’arte.

Certo è però assurdo pensare che in quel luogo dove circa un secolo fa in Oranienburger Straße nacque un “centro del consumo” potrebbe rinascerne un altro , in quanto pare sia stato messo in vendita per una base d’asta di 200 milioni di euro, per essere realizzati in futuro appartamenti di lusso, uffici e negozi.

In fondo aveva ragione W. Benjamin; sosteneva che ““nel giro di lunghi periodi storici, insieme coi modi complessivi di esistenza delle collettività umane, si modificano anche i modi e i generi della loro percezione sensoriale…”, e quello che è successo al Tacheles e sta accadendo alla città sono il simbolo di un processo storico in cui si è modificata la percezione della politica culturale berlinese agli occhi della collettività: la monetizzazione sta forse vincendo a discapito della cultura?

Non esiste più una collettività umana oggi che crede in quella frase che pronunciò il sindaco e senatore della cultura Klaus Wowereit nel 2004, definendo Berlino “povera ma sexy” e ci siamo forse stancati di questa città così alternativa ?

Se la risposta è SI in fondo è facile capirne anche il perchè.

Monica Manganelli

Invito_EventoASCTACHELES: simbolo di una Berlino che non esiste più” promosso dall’ A.S.C. Cinecittà (associazione nazionale scenografi e costumisti) e dal MIBAC (Ministero dei Beni e delle Attività Culturali e del Turismo ).

Proiezione del docu-drama: THE LAST DAYS OF TACHELES del regista e produttore Stefano Casertano, interverranno il regista e Zuleika Munizza, responsabile del progetto di ricerca Berlino Explorer, che racconta Bla città attraverso la sua storia e le sue trasformazioni dal punto di vista architettonico, artistico e sociale.
3 luglio, ore 18 presso la CASA DEL CINEMA, Sala Deluxe

Largo Marcello Mastroianni, 1, 00197 Roma, Italia

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Japanese pop collage artist Yoh Nagao’s first European solo exhibition in Berlin.



Wonderful words impressed me when I read them, but mostly I can assure you that the intent of YOH “to donate positive energy with his art “ is fully achieved.

Today in Berlin was a gloomy day, but what a wonderful surprise to discover accidentally a talent and his wonderful work. They have given me interesting creative inspiration.I found his exhibition flyer walking in Prenzlauer Berg where in live , and I was so curious to see his operas.

His art pieces are an explosion of colours, energy, collage works which oscillate between the strength of bright colors and harmony of the compositions to create modern  wonderland that evoke me Marc Chagall in some way.

yoh_nagao8It’s not only pop art, too simple, it is much more! … Then if you will have the opportunity to see his pieces up close you can see incredible details.

I hope for this talent to break through and hear about him soon with a great success!

I work in the fashion show sometimes and I think Yho’s work has all credentials to become an artist well known into the communication of fashion system. (not surprising to see some of his boards on  vogue or for diesel! ). I hope for him one day!

Absolutely DON’T MISS this great opportunity to see Nagao’s art.

Yoh Nagao is a pop collage artist from Aichi Prefecture, Japan, who has been based in Berlin since April 2012.

In Nagao’s first European solo exhibition “Detour Through Wonderland”, he is showing previous works as well as recent pieces that incorporate themes he is most interested in expressing: our future as humans. In the wake of rapidly advancing modernization and an ever-shifting digitalized society, have our lives actually become any richer? Can we really experience more happiness and well-being? How do we move forward from here?
Nagao draws inspiration from minority tribes who remain isolated from civilized society.

At first glance, it appears that modern fashion magazines are unrelated to such tribes. But by drawing clues and inspiration from tribal lifestyles and costumes, Nagao’s juxtaposed fashion images create a ‘new primitive’ style: these images express an exciting ‘pop’ future for modern humans who have progressed from their tribal pasts to the digitalized, progressive lives they lead today.



Detour Through Wonderland
Japanese artist Yoh Nagao will hold his first European solo exhibition
17th – 24th May 2014at ULA B        erlin Anklamer Strasse 8, 10115 Berlin
Open Tue – Sun 15:00 – 20:00
Closed on Mon

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“WE LOVE MAKING MOVIE” is the slogan by Babelsberg Studios.

The passion for the movie, at the same time for Berlin unites me and my friend Francesco.

He organizes an interesting Tour called “CINEMA IN BERLIN” in collaboration with Berlino Explorer: An itinerary to discover some of the thousand places, the protagonists of the films that have made the history of Berlin in the movie production: the anecdotes and history of the German capital are combined with plots of the film, weaving reality with fiction, espionage with the ‘actuality. With the help of pictures and videos you can relive some of the most famous scenes set in the city, lowering himself for a moment in the role of Lola (“Run Lola Run”) or the angel Damiel (“Wings of Desire”) . Because the history of Berlin is also made of celluloid.


Wings of Desire by Wim Wenders by Potsdamer Platz

Francesco’s ITINERARY TOUR :

– Warschauer StraßeOberbaum Brücke, from “RUN LOLA RUN” (1998 by Tom Tykwer) and the action scenes of “BOURNE SUPREMACY (2004)”. Sprinting through the reunited city in the late 1990s, Franka Potente’s Lola swiftly became an international symbol of Germany’s new dynamism. Director Tom Tykwer hurled her pell-mell around Berlin, picking locations from east and west in a thriller that plays out three times, with three different outcomes. The film is very much a what-might-have-been story, with a happy ending, which is perhaps what we want to feel about Berlin itself.

– Alexanderplatz– From the television series “BERLIN Alexanderplatz” by Fassbinder to “GOODBYE LENIN” (2003), the most popular locations in the German capital. A dedicated young German boy pulls off an elaborate scheme to keep his mother in good health in this comedy drama from director Wolfgang Becker. Suffering a heart attack and falling into a coma after seeing her son arrested during a protest, Alex’s (Daniel Brühl) socialistmother, Christiane (Katrin Sass), remains comatose through the fall of the Berlin wall and the German Democratic Republic.

-Hauptbahnhof and the Bundestag – From science fiction movie AEON FLUX (2005) and EQUILIBRIUM (2002) wonderful unexpected set location.. Most of the filming used locations in Berlin, due to its unique mixture of fascist and modern architecture. In a Fascist future where all forms of feeling are illegal, a man (Christian Bale) in charge of enforcing the law rises to overthrow the system.

Berlin-equilibrium set

The Hall of Enforcement in Equilibrium, represented by the Bundestag (Berlin U-Bahn) subway station under the Reichstag building.

– Potsdamer Platz – The square of the angels of “WINGS OF ANGELS” by Wim Wenders. (1987), when he turned the square was still a wasteland. Arguably the finest film about the divided city was made by Wim Wenders in 1987 – a fable about angels floating over a traumatised Berlin, listening to its inhabitants’ thoughts, and attempting, in different ways, to heal their pain. Two years after the fall of the Berlin Wall, Potsdamer Platz will become the largest building area of Europe; the result of reconstruction is the current, modern place you can see today.

ChristianeF    – Zoologischer Garten from the movie CHRISTIANE F, by Uli Edel (1981). Christiane F. – We Children from Bahnhof Zoo” in English) is a 1981 German film based on the autobiographical recordings of a young heroin addict and prostitute in West Berlin. It was one of the most successful German films of that year, going on to become a worldwide cult hit, but one that stirred up a lot of (I think justifiable) controversy. In the late 70s and early 80s, West Berlin’s reputation for radicalism and experimentation made it a mecca for youth at the time: but there was a dark side, encapsulated in this notorious film about a drug-addicted prostitute.Bahnhof Zoo was West Berlin’s biggest rail station at the time, and the film-makers also shot extensively in Christiane’s home district of Gropiusstadt, the southern suburb designed by the Bauhaus founder.


For contact:

Francesco Somigli address:


Berlin was once Germany’s Hollywood, the capital of German cinema, home to the nation’s biggest movie company, the UFA, and stars such as Marlene Dietrich. The golden age of German and Berlin cinema was the interwar period, although following 1933 the Nazis gained a stranglehold over the industry and converted it in steps to a propaganda instrument. The Second World War pretty much killed off Berlin’s film industry. The UFA fled to western Germany, and its interests in the GDR were taken over by the state-owned DEFA, which continued to operate out of the Babelsberg Studios – albeit with little international success.

Following Berlin’s reunification, the multiplexes came to town: purpose-built, multiscreen movie theaters sprung up in all the major centers. They filled a huge gap in the market, especially on the eastern side of the city, bringing mainstream cinema to more Berliners than ever before, especially those along the Ku’damm were unable to compete and the turn of the century saw the great “Kinosterben” (film theatre die-off). Now the market is mainly divided up between the big multiplexes and smaller local / art-house cinemas. Nevertheless there’s a huge choice of venues, and something for every taste.

In the last years in Berlin has become In recent years Berlin has become a central point for foreign productions. (THE PIANIST, VALKIRIE, CLOUD ATLAS, V for VENDETTA). Just in the 2013 for the first time in Studio Babelsberg’s history, the studio celebrates three international film premieres at the Berlin International Film Festival (Berlinale). Besides the premieres of Wes Anderson’s THE GRAND BUDAPEST HOTEL and George Clooney’s THE MONUMENTS MEN, today the Berlinale officially announced the screening of BEAUTY AND THE BEAST directed by Christophe Gans. Vincent Cassel and the French up and coming star Léa Seydoux are featured in the main roles in the high budget remake of the fairy tale classic, shot entirely at Babelsberg studios.



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TACHELES symbol of a city that no longer exists: BERLIN and Tacheles artists as Ermanno Olmi’s Characters in a docu-film.

“Berlin is becoming gentrified,” wrote Le Républicain Lorrain, “Berlin says farewell to bohemian artists,” said Le Point, and, according to Art Media Agency, it was “the end of an era” …

t_m  The closure of the famous Berlin art squat Tacheles, (september 4, 2012), by the authorities of a city increasingly dominated by property and finance, was a sad moment for anyone who believes art can offer alternative visions of the world.

In these days I’ve often spoken whit a dear friend about this topic and the new era and changes for the future in this city that i love so much. Zuleika, my friend, studied for a long time the architecture, the evolution of urbanism in Berlin and discovered unknown places of the city. (She also organizes tours very interesting that several times I have followed with Berlino Explorer).

Tacheles was one of many buildings in east Berlin that hovered between semi-collapse and unfinished building site.  After the Berlin wall had come down, it was taken over by artists, who called TACHELES, Yiddish for “straight talk”. The building contained studios and workshops, a nightclub, and a cinema. In its courtyard you saw surreal sculptures of missiles and tanks made from scrap metal created apocalyptic mayhem. Inside, bars had been carved out of cavernous space that seemed to go on forever. It was a meeting place for the city’s artists and subversives that had the atmosphere of some legendary, mythic avant garde of the past.

The new generation of young people will not be able to relish in Berlin this mood. Even though the Tacheles lost its free and non-commercial spirit some time ago, Berlin lost the trademark of alternative culture in its heart. Lets hope that Berlin will still keep some spaces of free art and not just regrets that they have none any more once they are all gone.


The city is indeed undergoing massive gentrification, but it’s not a new phenomenon. When the Euro was introduced in the early 2000′s, owners doubled the rent, forcing families into exile in the poorer suburbs. It left space for investors, bohemian artists and other creative types to move in.

Talking with Zuleika I asked her: “and then what happened?” She  invited me in marzhan and explains me what is the MAP. Tachels has a new structure, place (Alte Börse di Marzahn) and a new project for the future: The Mobile Atelier Project (MAP) that has the goal of focusing on gentrification and uses it to create an alternative way of thinking free space: making the concept of nomadisation  a letimotiv of creation.

For understanding better what  the Tacheles was really and the soul of its artists I advise you a docu-film: THE LAST DAYS OF TACHELES by the director Stefano Casertano, that touched me because you will see the true spirit of these artists. He had the opportunity to live and follow them for a whole year (not so easy to get), then through their emotions, disappointments a journey towards new hope (maybe!).

I recommended it because the thing that struck me was a poetic and imagery that reminded me to the characters of Ermanno Olmi movies. His characters and cinema always move to represent something is going to disappear (the end of a homeless man in “The Legend of the Holy Drinker”, and the end of civilization in Lombardia in “The Tree of Wooden Clogs”) through an humanist vision, where human being is at the center of his vision, but not to do social criticism but simply to dig into the intimacy of his characters. I’ve seen the same on the movie The last days of Tacheles: simply the soul of these artists closely with their fears, disappointments and ideals. This docu-film inhabit a strong humanist space.  Note: a wonderful piano soudtrack by Maya Stern enriches the film.

Not surprisingly Olmi started his career as a documentarist.

t2 I’m a creative worker (or also artist for somebody, but It’s a word that really I don’t love so much) and the last part of Casertano’s docu-film,  where you can see the great disillusion of the Tacheles artists the days before the closing, really moved me. I don’t  know if everyone can understand, but It’s s really a tear heart to see the dismantling of a place where you spent half of your life, your ideals and beliefs.

The movie premiere will be in Rome, 22 march at the RIFF FESTIVAL.

I don’t think Tacheles will even be mentioned in history books of art because it did not produce any “great artists” or “iconic works”. But It was an experiment in the power of imagination. May it be restless in memory.