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Donnerstag, 23.10.2008
Eröffnung der Ausstellung „schmerzhaft genial – Künstler und ihre Krankheitsbilder“ in der WGZ Bank in Düsseldorf.
Die Ausstellung zeigt Werke von Künstlern, die aus zwei Gründen die Auseinandersetzung mit dem Thema Krankheit suchen: Teilweise in den Werken sichtbar und auch in eigenen Kommentaren reflektiert, sind diese Künstler in ihrer eigenen Biografie vom Einfluss der Krankheit auf ihre Identität betroffen oder sie kommentieren mit ihren Werken Beobachtungen zum grundsätzlichen Phänomen von Krankheit. Die künstlerischen Reflexionen zu einem Thema, das uns alle betrifft und betroffen macht, führen unausweichlich zu Fragen nach dem eigenen Zustand, zum Umgang mit selbst erfahrener Krankheit, zum gesund werden und den Systemen, die unsere Gesundheit sichern sollen. Damit kann diese Ausstellung auf einer zweiten Ebene ein wirkender Beitrag zur gerade hoch virulenten Diskussion um das Gesundheitswesen sein. Mit Künstlern wie Albrecht Dürer, Francisco de Goya, Ernst Ludwig Kirchner, Lovis Corinth, Horst Janssen und Anton Räderscheidt bildet sie Bewusstsein in einem undurchsichtigen Feld.
- Damm und Lindlar Press / Downloads
Fuelling Memory: the Art Museum Baden Solingen exhibits persecuted art
www.else-lasker-schueler-gesellschaft.de
www.exil-archiv.de
Berlin, 26 March 2008.
To quote Hajo Jahn, president of the Else Lasker-Schüler Foundation, »This is a lighthouse project in the culture of remembrance«. This aim in mind, the curators Jürgen Kaumkötter and Ulrike Damm have arrived at a presentation that visualises the lines of continuity between dissident and persecuted art throughout the unsettled history of the 20th century while retaining every respect for the autonomy of the artworks and the freedom of their viewers. »We want to fuel memory«, curator Kaumkötter declares. The exhibition-makers have the advantage here, inasmuch as they face the dilemma of historical exhibitions as experienced curators, museum pedagogues and designers: thus they are able to set in motion a striking interaction between the exhibited artworks and documents from Jürgen Serke’s collection, the portrait photos by famous photographers, and recent works by contemporary artists. It takes place in the context of the art collection of the »Civic Trust for Ostracised Art, with the Gerhard Schneider Collection«.
Exhibits especially accentuated as initialising objects visualise the contemporary historical, political and social contexts. This evaluating concept facilitates access to the exhibition for the visitor. He develops his own picture of the artists’ aesthetic decision to make their experiences into a subject of their work, culminating in artistic expression under the pressure of personal persecution.
Thus the exhibitions come together into a »Museum of Persecuted Art«. The shocking, surprising and astounding gives form to memory, merging to shape a personal recollection that the visitors take home with them from the museum.
Ulrike Damm, as overall project director, and curator Jürgen Kaumkötter have realised the following in close cooperation with the Art Museum Baden in Solingen:
- A new presentation concept for the »Civic Trust for Ostracised Art, with the Gerhard Schneider Collection« (»Bürgerstiftung für verfemte Künste mit der Sammlung Gerhard Schneider«);
- First staging of Jürgen Serke’s collection, including first editions, original manuscripts, original photos and estates (on permanent loan from the Else Lasker-Schüler Foundation);
- A special exhibition with over 100 pictures by the painter and poet Peter Kien, who died in Auschwitz in 1944;
- Special exhibition of photographs by Robert Lebeck, Stefan Moses, Christian C. Irrgang and Wilfried Bauer, who died in 2005, taken on Jürgen Serke’s visits to the leading literary figures of the age;
- Special exhibition of contemporary art by Sigalit Landau, Jonathan Meese and Sarah Schönfeld on 20th century breaches in civilisation.
The Museum Baden commissioned Damm und Lindlar for this project because the agency has already realised equally important projects in the past. These include the exhibitions »Kunst in Auschwitz«, »Liebes- und Musengeschichten. Das fragile Glück im Unglück von Verfolgung und Exil. Die Sammlung Serke« and an exhibition by Otto Pankok on the fate of the persecuted and murdered Sinti and Roma, which opens in the Deutsches Historisches Museum in autumn 2008.
Experienced curators, designers, editors and project managers work hand in hand in Damm und Lindlar’s exhibition team. The agency has founded its own publishing company for the catalogue production.
Press contact:
Hans Hütt Public Affairs
huett [at] hans-huett [dot] de
- Damm und Lindlar founds its own publishing company in March 2008 and brings the first books onto the market
»Himmel und Hölle zwischen 1918 und 1989«: in time for the opening of the exhibitions realised by Damm und Lindlar in the Museum Baden, Solingen, the newly-founded Damm und Lindlar Verlag will be bringing its first three books onto the market.
The first volume covers Jürgen Serke’s collection »Die verbrannten Dichter«, presented in the permanent exhibition, and includes many illustrations of first editions, original manuscripts and original photos by persecuted writers.
Himmel und Hölle
zwischen 1918 und 1989
Die verbrannten Dichter
Jürgen Serke Collection
on loan from the Else Lasker-Schüler Foundation
ISBN 978-3-9812268-2-9
36 €
- Two other volumes are appearing in association with the two changing exhibitions:
»Peter Kien. Bilder und Gedichte. 1933–1944« shows numerous works - exhibited for the first time in Solingen - by the poet and painter Peter Kien, who was murdered in Auschwitz at the age of 24.
Peter Kien
Bilder und Gedichte 1933 bis 1944
ISBN 978-3-9812268-0-5
24 €
The third volume »Die sich die Freiheit nahmen. Dichterportraits von Wilfried Bauer, Christian Irrgang, Robert Lebeck, Stefan Moses« contains portrait photos of important exiled writers like Joseph Brodskij, Ilse Aichinger and Milan Kundera, which were taken on Jürgen Serke’s voyages of literary discovery.
Die sich die Freiheit nahmen
Ti kteří zvolili svobodu
Photographs by Wilfried Bauer, Robert Lebeck,
Stefan Moses and Christian G. Irrgang
ISBN 978-3-9812268-1-2
29 €
The catalogues are available from bookshops; please state the relevant ISBN number.
We are also happy to take your orders at the following address:
info [at] dammundlindlar [dot] com
- Damm und Lindlar create a new visual identity for the Mikhailovsky Theatre
After its reopening and the start of the new season, the Mikhailovsky Theatre - one of Russia's oldest stages - is to receive a new visual identity from the branding agency Damm und Lindlar, which has offices in St. Petersburg and Berlin.
The theatre's visual identity is based on a new vision that was developed in German-Russian coproduction. After complete rebranding, the theatre will be further assisted by the agency Damm und Lindlar and its experience in the cultural field.
Damm und Lindlar has not only gained a new, well-known customer in the Mikhailovsky Theatre, but also its own domicile in St. Petersburg. For the agency will soon be moving into new rooms in the theatre; where creative forces meet, innovative ideas emerge.
http://www.mikhailovsky.ru/
- »A Comparison of Visual Identities –
St. Petersburg / Hamburg«
The agency Damm und Lindlar is presenting a visual comparison of the partner cities St. Petersburg and Hamburg in the foyer of the newly opened Mikhailovsky Theatre from 7th to 24th October 2007. More than 1600 photographs on 18 boards direct the visitor’s attention to the sky, the architecture and advertising, bollards and bus stops, parks and water, faces and souls of the two cities. »We are showing a special cultural comparison to mark the 50th anniversary of the city partnership - visual differences that can be seen only at a second glance,« says the curator Ulrike Damm.
- Damm und Lindlar moderate first telebridge between the Museum of Culture and History in Krasnojarsk and the Berlinische Galerie
On 20th September 2007, spanning a considerable distance in space and time, the cultural branding expert Jochen Boberg from the branding agency Damm und Lindlar moderated the first "telebridge" – a video conference - between the directors of the museums in Krasnojarsk and Berlin, as well as artist Serge Theill and the director of the Neuer Berliner Kunstverein, Kathrin Becker. Both had visited the museum in Krasnojarsk this spring and were delighted to be able to meet their acquaintances there once again in this way.
The conversation focused on becoming acquainted, an exchange of information about current projects, and the theme "museums and the artist". The occasion for this first telebridge was a celebration to conclude the Biennial in Krasnojarsk, which the Berlin group tuned into live from the main hall of the Berlinische Galerie. It was thus possible for the numerous visitors to the Biennial in distant Siberia to gain a visual impression of the current exhibition by the Berlinische Galerie. At the same time, Dr. Ursula Prinz, the deputy director of the Berlinische Galerie, explained to the audience her concept for the exhibition "New Home - International Art in the New Berlin." On the Russian side, the directors of the Museum in Krasnojarsk - Mikhail Schubskij and Valentina Bondereva - presented exemplary exhibits from the Biennial in Krasnojarsk to the Berlin participants.
An initial visual and communicative impression emerged in this way, making the participants on both sides "curious for more". All those involved in the first telebridge agreed that in their next meeting they would look further into the topics touched on, and would also use this opportunity to consider possible projects.
Damm und Lindlar will continue to make an active, committed effort to enable this type of encounter.
- Damm und Lindlar
Visuelle Identität für
Unternehmen und Marken
Nominated for the Design Award of the Federal Republic of Germany 2008:
Jerini AG Geschäftsbericht
The Design Award of the Federal Republic of Germany is the only official German design award. The prize is endowed by the Federal Minister for Business and Technology and realised by the Council for Design. The Design Award of the Federal Republic of Germany is the central measure of the FRG's design politics.
It is not possible to apply for the design award; the candidates are nominated either by the national ministers and state senators of the economy or by the Federal Ministry for Business and Technology. The Design Award is therefore the prize among prizes!
- From the Berliner Morgenpost
27th May 2007
By Mathias Stengel
New Slogan for Berlin
The Senate is looking for a catchy advertising slogan for the city. Five advertising agencies have developed proposals
Damm und Lindlar
"Berlin - There are no Limits"
The slogan "Berlin - There are no Limits" stands for Berlin as a city in a process of change, where past, present and future merge into one. A Berlin that is far more than the hip culture to be found in Mitte. In this metropolis of nationalities and cultures, workers' milieus, top management and creative business exist in conjunction. Everyone finds his place in Berlin - and no way of life dominates over the others.
The agency Damm und Lindlar (dammundlindlar.com) has been operating since 1998. Its ten colleagues specialises in brand development and cultural branding. Customers include O2, e.on and Jägermeister.
- Russian Chocolate
Newski Confectioners commission Damm und Lindlar St. Petersburg
Newski Confectioners - one of the biggest Russian toffee and biscuit producers with 10,000 employees and 2500 tons monthly production - has commissioned Damm und Lindlar St. Petersburg to develop the branding for a new series of pralines. The German-Russian branding agency only opened its new office by the Neva in October 2006. In Germany, Damm und Lindlar made its name developing new brand images for e.on and O². Today, the agency assists brands like Jägermeister and Wacker Chemicals.
"The challenge here is the tremendous competition, which sets the tone of design," Ulrike Damm says of the agency's most recent commission. "In Russia, chocolate is more than a sweet. It is a celebration. And you have to see it that way if you don't want to get lost amidst the glamour and bright colours." And indeed, there are no colours that are not represented on the bright, shiny praline wrappers and gift packaging – including silver and gold. The more shimmering and splendid, the more certain it is that pralines and chocolates will touch the Russian consumer's heart. Whether the products are made by Akkond, Sladko or Babaevskij from Moscow, or Roschen or Konti from the Ukraine – they are full of pictures, richly decorated and striking; e.g. as Love- or Romantic-collections in heart-shaped or octagonal boxes. When it comes to matters of taste, the female clientele in particular enjoy pralines with alcohol.
"The first step of our assignment is to design a praline wrapper and gift package, and to develop a name for a series of four types of alcohol pralines," Svetlana Landl, director of the St. Petersburg office explains. The agency, which realises all its assignments here with a German-Russian team on the spot, convinced the client with its market analysis, knowledge of the two different cultures, and perceptual qualities. "Aspects from both cultures will influence the positioning of the brand," according to Ulrike Damm.
»Visible Champions – Corporate Design in German companies«
An exhibition of the German-Russian branding agency Damm und Lindlar,
Visual identity for companies and brands
Within the framework of the German Kulturtage (culture days) in St. Petersburg
From 17th April to 29th April 2007
In the State Museum of City Sculpture St. Petersburg
Nevskij Prospekt 179/2, 193167 St. Petersburg
»Visible Champions«: German design in St. Petersburg
M.Behrent on the opening of the exhibition on German visual culture
»Lenin hails a cab«, is what the citizens of Petersburg call the monumental statue on a square of oversized dimensions that catches the visitor’s eye half way between the airport and the city centre. At foot-level of this Lenin statue (and of many other statues in other of the city’s squares), heavy traffic, consisting for the most part of western car makes, congest the wide avenues. One is plied with the impression that half of the annual production of the Porsche Cayenne is sold to Russia. Where does the prosperity of the drivers come from? Gazprom is planning a controversial tower block on the eastern banks of the Neva. After its completion, the Porsches will have their architectural equivalent, and irritated questions of this nature may possibly no longer crop up.
Peter the Great – Lenin – Gazprom – Porsche Cayenne: St. Petersburg is a city which, in an unusually unadulterated fashion, incorporates the endeavours of the powerful (or the rich) to imprint their »brand«, their mark on the world. Within this context, the small exhibition on Corporate Design, originally provokingly assembled for German trade visitors, unfolds an unforeseen multi-faceted significance. But what does a Russian see if the visions that long for the abundance of goods in the West melt in the exhibition into dreary uniformity? Can an exhibition of this nature be understood at all in St. Petersburg? Is it of any interest whatsoever? Is it relevant?
To begin with the last question: taking the number of speakers and visitors at the exhibition’s opening as a measure, there is general consent on its relevance. Beside the hosts and exhibition directors, the German Consul General in Petersburg, Bernd Braun, was after all amongst the speakers, and the director of the local branch of the Goethe Institut, Dr. Ralph Eppeneder and, as a private guest and an experienced visitor to Eastern countries, the former Federal Minister of Transport, Reinhard Klimmt. In addition to that, about a hundred visitors made an effort on 17th April to find their way to the modest rooms of the »State Museum of City Sculpture«.
So the Russian audience was curious, and very keen on finding out what the exhibitors were thinking. And perhaps the Russian visitors even thought that monotony does not only emerge under authoritarian or totalitarian regimes, but also when individuals do not avail themselves of the opportunities given to them by their freedom, and do not really venture to act as individuals. In any case, it is a good punch line to show the exhibition on German Corporate Design in the »State Museum of City Sculpture«. This museum is at the relatively unembellished out-of-town end of the famous Newski-Prospekt which begins at the Winter Palace with facades that are decorated with every consumer brand that has managed become reasonably well-known in the world of today. The museum is, as its director Vladimir Nikolaevich Timofeev facetiously mentioned at the opening, by far the greatest museum in the city of Petersburg, for it administers and showcases all of the monuments in St. Petersburg. It is thus the place predestined to relate the aspirations and the failure of »capitalist« Corporate Design to tsarist and communist representational mania. »Visible Champions« have always been an issue in St.Petersburg, and the hosting museum administers their historical requisites.
It is a logical and appropriate decision to present the exhibition in St. Petersburg. New and fascinating things are currently happening in St. Petersburg in the confrontation, in the encounter and in the dialogue taking place between all of these elements. The »new Russians« will not just buy western football clubs or cars. As they have done over the past centuries, they will subject western shapes and ideas to their own determination to get things accomplished and will in turn enhance western forms and notions. At all events, the German Consul General saw his participation in the opening ceremony as being a cultural and political assignment and at the same time as a promotion of trade and industry. Damm & Lindlar’s St. Petersburg office is delighted to have got its first orders from the city and is working on the next German-Russian projects. We are curious and optimistic!