Photo: Grosz-Museum
The small George Grosz Museum closed in November. As a temporary exhibition location, it had found its domicile in a former petrol station in the Schöneberg district of Schöneberg for more than two years. Over 30,000 people have visited the museum since its foundation in May 2022. After all, with his drawings that are still known today, he has caricatured the supports of German society as skillfully as no other – which is why he was repeatedly dragged against the courts of the Weimar Republic.
The question of how the appreciation of Grosz could be permanently created in Berlin, it went on Wednesday evening at an event to which the Willi-Münzenberg forum in the office building at Berliner Franz-Mehring-Platz 1 (FMP 1), also loaded the seat of the editorial team and the publisher of the »ND«. The curator Laura Hesse-Davies and the former Berlin cultural senator Klaus Lederer would like to continue the small Grosz Museum, which, in view of the drastic savings in the cultural budget, would probably have to be financed through private donations.
Before their talk and afterwards, Paul Herwig and Oliver Kraushaar read passages from the years of transatlantic correspondence between George Grosz and Bertolt Brecht. The well -rehearsed duo made the evening a knowledge -bringing and enjoyable enjoyment of art. Often you could hardly resist laughing when listening, for example when you heard, as Grosz described his pen lover, the “dear Berti”, a visit to the well -known Gerhard Eisler; He was a wide man, but talking far too much. The letter partners also made fun of the “proletarian thinking” of some former friends. In particular, they caricatured so -called loyalty to the lines, which have a good impact on any turns in communist party politics. But despite all the Spotts about the “red popes”, as the painter and the poet described some communist leadership figure in the correspondence, sympathized and solidarity with the movement. When a friend was shown from the Soviet Union to Germany in 1935, Grosz wrote that it was not time for ridicule that the man threatened by the Nazi had to be helped. You agreed there. However, when Brecht then asked the imprisonment to deliver drawings for his poems in 1947, Grosz had lost a lot of his former idealism. He now lives in capitalism and must also be rewarded for his work, he replied. The evening made you want to hear more of Grosz.
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