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Venue: Gropius Bau
Was also part of: exp. 1
Käthe Kollwitz, Die Carmagnole [The Carmagnole], 1901, etching with aquatint, 83 × 67 cm, courtesy Akademie der Künste, Berlin, Art Collection, Inv.-Nr.: A 118
Käthe Kollwitz, Die Carmagnole (Probedruck 1. Zustand) [The Carmagnole (Test print, 1st copy)], 1901, etching, sandpaper, 88.5 × 68 cm, courtesy Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz
Käthe Kollwitz, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1867 in Königsberg (now Kaliningrad, RU) – died 1945 in Moritzburg, DE
An iconic German modernist artist who made drawings, prints, and sculptures, Käthe Kollwitz (1867–1945) distinguished herself in a male-dominated art world by articulating the particular experience of women in the class struggle and during wartime. Her best-known cycles, Ein Weberaufstand [A Weavers’ Revolt, 1893–97] and Bauernkrieg [Peasants’ War, 1902–08], depict popular uprisings that took place during the artist’s lifetime—an acknowledgement of the continued social injustice she observed all around her and a plea for its rectification. Female protagonists figure prominently in both cycles—for example, the Schwarze Hofmännin (Black Anna), a peasant woman credited in historical accounts for inciting revolt in her village of Heilbronn during the German Peasants’ War (1525). Likewise, Die Carmagnole [The Carmagnole, 1901], based on a passage from the Charles Dickens novel A Tale of Two Cities, depicts the revolutionary fervor of a mostly female crowd, while Die Mütter [The Mothers, 1922/23], from the Krieg [War 1918–22/23] series, shows a group of women huddled around their children, their bodies locked in solidarity, forming a sculptural mass, a protective shield.
Kollwitz’s inclusion in this edition of the Berlin Biennale derives from the curatorial team’s research into the Clube dos Artistas Modernos (CAM, Club of Modern Artists), the São Paulo exhibition space founded in 1933 by Flávio de Carvalho. Expressing solidarity with Kollwitz after she was expelled from the Akademie der Künste in 1933 for publicly resisting the Nazis’ rise to power, the CAM organized a retrospective that same year featuring eighty-four prints. In an essay accompanying the exhibition, the seminal Brazilian critic Mário Pedrosa celebrated Kollwitz’s work for engaging with social and political issues rather than merely aesthetic ones. Today, artistic responses such as Kollwitz’s to social injustice and the threat of fascism are as urgent as ever, given the current resurgence of right-wing nationalism across the globe.
Michèle Faguet
A Moment of True Decolonization / Episode #6: Sinthujan Varatharajah. Constructing the Tamil Eelam State
The Funambulist / Sinthujan Varatharajah
Podcast
I: Junto a las curadoras de la XI Berlin Biennale for Contemporary Art
Renata Cervetto, Lisette Lagnado
Conversation
Fragments of the Artist’s Diary, Berlin 11.2019–1.2020
Virginia de Medeiros
Diary
Invitation to the Species: Cecilia Vicuña
Tamaas / Cecilia Vicuña
Podcast
Being in Crisis together – Einander in Krisen begegnen
Feminist Health Care Research Group (Inga Zimprich/Julia Bonn)
Online workshop
O Bailado do Deus Morto
Flávio de Carvalho
Play
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: Gropius Bau
Was also part of: exp. 1
Käthe Kollwitz, Die Carmagnole [The Carmagnole], 1901, etching with aquatint, 83 × 67 cm, courtesy Akademie der Künste, Berlin, Art Collection, Inv.-Nr.: A 118
Käthe Kollwitz, Die Carmagnole (Probedruck 1. Zustand) [The Carmagnole (Test print, 1st copy)], 1901, etching, sandpaper, 88.5 × 68 cm, courtesy Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz
Käthe Kollwitz, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1867 in Königsberg (now Kaliningrad, RU) – died 1945 in Moritzburg, DE
An iconic German modernist artist who made drawings, prints, and sculptures, Käthe Kollwitz (1867–1945) distinguished herself in a male-dominated art world by articulating the particular experience of women in the class struggle and during wartime. Her best-known cycles, Ein Weberaufstand [A Weavers’ Revolt, 1893–97] and Bauernkrieg [Peasants’ War, 1902–08], depict popular uprisings that took place during the artist’s lifetime—an acknowledgement of the continued social injustice she observed all around her and a plea for its rectification. Female protagonists figure prominently in both cycles—for example, the Schwarze Hofmännin (Black Anna), a peasant woman credited in historical accounts for inciting revolt in her village of Heilbronn during the German Peasants’ War (1525). Likewise, Die Carmagnole [The Carmagnole, 1901], based on a passage from the Charles Dickens novel A Tale of Two Cities, depicts the revolutionary fervor of a mostly female crowd, while Die Mütter [The Mothers, 1922/23], from the Krieg [War 1918–22/23] series, shows a group of women huddled around their children, their bodies locked in solidarity, forming a sculptural mass, a protective shield.
Kollwitz’s inclusion in this edition of the Berlin Biennale derives from the curatorial team’s research into the Clube dos Artistas Modernos (CAM, Club of Modern Artists), the São Paulo exhibition space founded in 1933 by Flávio de Carvalho. Expressing solidarity with Kollwitz after she was expelled from the Akademie der Künste in 1933 for publicly resisting the Nazis’ rise to power, the CAM organized a retrospective that same year featuring eighty-four prints. In an essay accompanying the exhibition, the seminal Brazilian critic Mário Pedrosa celebrated Kollwitz’s work for engaging with social and political issues rather than merely aesthetic ones. Today, artistic responses such as Kollwitz’s to social injustice and the threat of fascism are as urgent as ever, given the current resurgence of right-wing nationalism across the globe.
Michèle Faguet
Hatred Among Us
Lisette Lagnado
Essay
Género y colonialidad en busca de claves de lectura y de un vocabulario estratégico descolonial
Rita Segato
Essay
A World Without Bones
Agustín Pérez Rubio
I: Junto a las curadoras de la XI Berlin Biennale for Contemporary Art
Renata Cervetto, Lisette Lagnado
Conversation
Weaving Solidarity
Renata Cervetto and Duygu Örs
Q&A
Feminist Health Care Research Group
Web archive
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: Gropius Bau
Was also part of: exp. 1
Käthe Kollwitz, Die Carmagnole [The Carmagnole], 1901, etching with aquatint, 83 × 67 cm, courtesy Akademie der Künste, Berlin, Art Collection, Inv.-Nr.: A 118
Käthe Kollwitz, Die Carmagnole (Probedruck 1. Zustand) [The Carmagnole (Test print, 1st copy)], 1901, etching, sandpaper, 88.5 × 68 cm, courtesy Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz
Käthe Kollwitz, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1867 in Königsberg (now Kaliningrad, RU) – died 1945 in Moritzburg, DE
An iconic German modernist artist who made drawings, prints, and sculptures, Käthe Kollwitz (1867–1945) distinguished herself in a male-dominated art world by articulating the particular experience of women in the class struggle and during wartime. Her best-known cycles, Ein Weberaufstand [A Weavers’ Revolt, 1893–97] and Bauernkrieg [Peasants’ War, 1902–08], depict popular uprisings that took place during the artist’s lifetime—an acknowledgement of the continued social injustice she observed all around her and a plea for its rectification. Female protagonists figure prominently in both cycles—for example, the Schwarze Hofmännin (Black Anna), a peasant woman credited in historical accounts for inciting revolt in her village of Heilbronn during the German Peasants’ War (1525). Likewise, Die Carmagnole [The Carmagnole, 1901], based on a passage from the Charles Dickens novel A Tale of Two Cities, depicts the revolutionary fervor of a mostly female crowd, while Die Mütter [The Mothers, 1922/23], from the Krieg [War 1918–22/23] series, shows a group of women huddled around their children, their bodies locked in solidarity, forming a sculptural mass, a protective shield.
Kollwitz’s inclusion in this edition of the Berlin Biennale derives from the curatorial team’s research into the Clube dos Artistas Modernos (CAM, Club of Modern Artists), the São Paulo exhibition space founded in 1933 by Flávio de Carvalho. Expressing solidarity with Kollwitz after she was expelled from the Akademie der Künste in 1933 for publicly resisting the Nazis’ rise to power, the CAM organized a retrospective that same year featuring eighty-four prints. In an essay accompanying the exhibition, the seminal Brazilian critic Mário Pedrosa celebrated Kollwitz’s work for engaging with social and political issues rather than merely aesthetic ones. Today, artistic responses such as Kollwitz’s to social injustice and the threat of fascism are as urgent as ever, given the current resurgence of right-wing nationalism across the globe.
Michèle Faguet
Weaving Solidarity
Renata Cervetto and Duygu Örs
Q&A
A World Without Bones
Agustín Pérez Rubio
O Bailado do Deus Morto
Flávio de Carvalho
Play
Invitation to the Species: Cecilia Vicuña
Tamaas / Cecilia Vicuña
Podcast
Género y colonialidad en busca de claves de lectura y de un vocabulario estratégico descolonial
Rita Segato
Essay
#fight4rojava
Graffiti
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: Gropius Bau
Was also part of: exp. 1
Käthe Kollwitz, Die Carmagnole [The Carmagnole], 1901, etching with aquatint, 83 × 67 cm, courtesy Akademie der Künste, Berlin, Art Collection, Inv.-Nr.: A 118
Käthe Kollwitz, Die Carmagnole (Probedruck 1. Zustand) [The Carmagnole (Test print, 1st copy)], 1901, etching, sandpaper, 88.5 × 68 cm, courtesy Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz
Käthe Kollwitz, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1867 in Königsberg (now Kaliningrad, RU) – died 1945 in Moritzburg, DE
An iconic German modernist artist who made drawings, prints, and sculptures, Käthe Kollwitz (1867–1945) distinguished herself in a male-dominated art world by articulating the particular experience of women in the class struggle and during wartime. Her best-known cycles, Ein Weberaufstand [A Weavers’ Revolt, 1893–97] and Bauernkrieg [Peasants’ War, 1902–08], depict popular uprisings that took place during the artist’s lifetime—an acknowledgement of the continued social injustice she observed all around her and a plea for its rectification. Female protagonists figure prominently in both cycles—for example, the Schwarze Hofmännin (Black Anna), a peasant woman credited in historical accounts for inciting revolt in her village of Heilbronn during the German Peasants’ War (1525). Likewise, Die Carmagnole [The Carmagnole, 1901], based on a passage from the Charles Dickens novel A Tale of Two Cities, depicts the revolutionary fervor of a mostly female crowd, while Die Mütter [The Mothers, 1922/23], from the Krieg [War 1918–22/23] series, shows a group of women huddled around their children, their bodies locked in solidarity, forming a sculptural mass, a protective shield.
Kollwitz’s inclusion in this edition of the Berlin Biennale derives from the curatorial team’s research into the Clube dos Artistas Modernos (CAM, Club of Modern Artists), the São Paulo exhibition space founded in 1933 by Flávio de Carvalho. Expressing solidarity with Kollwitz after she was expelled from the Akademie der Künste in 1933 for publicly resisting the Nazis’ rise to power, the CAM organized a retrospective that same year featuring eighty-four prints. In an essay accompanying the exhibition, the seminal Brazilian critic Mário Pedrosa celebrated Kollwitz’s work for engaging with social and political issues rather than merely aesthetic ones. Today, artistic responses such as Kollwitz’s to social injustice and the threat of fascism are as urgent as ever, given the current resurgence of right-wing nationalism across the globe.
Michèle Faguet
THE MOBILIZATION
Nicolás Cuello
Text
St Sara Kali George
Delaine Le Bas
Soundscape
IV: How Fear Can Dismantle a Body. Vis-a-Vis with two of four curators of the 11th Berlin Biennale
María Berríos, Lisette Lagnado
Conversation
Flávio de Carvalho wearing the New Look and walking on the streets of São Paulo, Experiência no. 3, 1956, courtesy the heirs of Flávio de Carvalho; Fundo Flávio de Carvalho/CEDAE-UNICAMP, Campinas
New Look
Flávio de Carvalho
Performance
El primer nueva corónica y buen gobierno
Felipe Guamán Poma de Ayala
Chronicle
Fragments of the Artist’s Diary, Berlin 11.2019–1.2020
Virginia de Medeiros
Diary
By using this website you agree to the use of cookies in accordance with our data privacy policy.
By using this website you agree to the use of cookies in accordance with our data privacy policy.