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Each week our Arts.21 reporters scour Germany's cultural scene and present you with a selection of their best finds.

RADAR: Bauhaus-Archiv

100 New Objects, Bauhaus-Archiv Berlin
The Bauhaus classics have room to breathe here in the new permanent exhibition of the Berlin Bauhaus Archives. Marcel Breuer's chairs, Wilhelm Wagenfeld's lamp, and some rarely displayed objects, like László Moholy-Nagy's "Light Prop for an Electric Stage" - a futuristic light projector. Since founding the Bauhaus school in 1919, its members aimed to shape the future. Bauhaus workshops united craftsmanship and art. The Bauhaus burgeoned with creativity, despite the resistance it faced. Today's design has its foundations in the Bauhaus. Form follows function. Practical, sober, geometric shapes. Prototypes for mass production. The exhibition shows how the Bauhaus artists shaped all the facets of modern life including art.

RADAR: "La Rondine"

"La Rondine", Deutsche Oper Berlin
Magda, a pleasure-seeking Parisian girl, is the kept woman of a banker. She is "la Rondine" -- the swallow -- in Puccini's opera of the same name. The world-famous tenor Rolando Villazon on stage in Berlin -- not as a singer, but as director -- his first time. Villazon's production is set in the 1920s, an era when women increasingly asserted themselves and sought independence. Puccini continued working on "La Rondine" until his death. It's a story of tragic love. Magda leaves her young lover, even though she truly loves him. She refuses to lead a bourgeois life. La Rondine chooses freedom; the swallow flies on.

RADAR: Oskar Roehler

"Tod den Hippies! Es lebe der Punk!", Director: Oskar Roehler
West-Berlin in the 1980s. Adventure, excesses, memories: that's what Robert is looking for in the walled-in city. What he finds are body fluids, alcohol, and punk icons. Oskar Roehler's Film "Tod den Hippies!! Es lebe der Punk" which means "Death to the hippies! Long live punk!" blends surrealistic exaggeration with real memories. The film is based on Roehler's novel "Mein Leben als Affenarsch" which plunges into Robert's psychic abysses. The film takes things more humorously. In the film, Oskar Roehler pokes fun at his younger self on a wild trip back in time to divided Berlin.

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