We don’t know whether the prestigious Swedish trombonist, Nils Landgren, sensed something special was going to happen when he woke up the day he first met Bengt-Annr Walling and Eje Thelin. It is often tempting to believe that on those days when our life changed course completely there were signs proceeding the fateful moment, signals in the air that we somehow felt but didn’t know how to interpret. But perhaps we just imagine these omens in hindsight as a way of ensuring ourselves that the decision was fated and inevitable.

Either way what we do know from jazz history is that on the day Landgren encountered these two legendary jazz pioneers he promptly chose to abandon his path in the world of classical music, a world he had trained for at the Conservatory of Karlstad and Arvika, and surrender himself to the uncertain journey of jazz improvisation. He found in this form a musical landscape that for the first time he felt he could embrace as his own.

On top of his long career as a soloist and much sought-after session musician, Landgren is the artistic director of the magnificent Berlin Jazz Festival, one of the largest in Europe. This, however, is his last year as director, giving a special and poignant flavour to the event. The programme http://www.berlinerfestspiele.de/en/aktuell/festivals/07_jazzfest/jazz_start.php includes over two hundred musicians, thirty-two formations and twenty-four different concerts.

For over forty years the German capital has been welcoming jazz musicians to come and ‘jazz up’ the melancholic month of November. This year these musicians will have the added inspiration of marking the farewell festival in honour of this indefatigable musician who has helped bring so many glorious evenings to the festival.

Landgren is not the only figure to receive tribute in this edition of the festival, however. The programme also pays homage to Nino Rota, the Italian soundtrack composer, whose centenary is this year.

And to add even more melancholia to the event, Polish jazz, with its surprisingly rich and colourful musical palette, is to play a large part in this year’s event, not only through the work of musicians like Tomasz Stanko, Leszek Mozdzer, Adam Pierończyk, and the Oleś Brothers but, also in the exhibition, Side by Side: Poland-Germany. 1000 Years of Art and History, being held at the Martin-Gropius-Bau.

Charles Lloyd, Ida Sand, Lizz Wright, Gregory Porter, Carla Bey’s Swallow Quintet and Collin Tomis’s Blue Touch Paper are just some of the names that make up the rest of the line up, which will be spread across such emblematic stages as the Haus der Berliner Festspiele, A-Trane, Quasimodo, Georg-Neumann-Saal or the Savoy Hotel.

Paul Oilzum

A wide-ranging and varied programme that illustrates the undeniable richness of jazz music. Come and rent apartments in Berlin and let yourself be seduced by this great festival and by the beauty of autumn in the German capital.

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Translated by: Ben Palmer
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If we checked out European geography and history in search for the ideal city to celebrate an electronic music festival, it would be hard to find a single city which could compete head to head with Berlin. From the beginning of the 20th century and in direct connection not only with plastic arts and literature but also, and specifically, with the development of the then new technologies, and especially with film, which joined to perfection the worlds of creation and science, the German capital has given proof of a disturbing and continuous romance with a vision of the future where sounds and noises which came from the spheres of industry and electronica, together with the imaginary futurists associated with them, carried out an essential role.

We can already find sufficient signs of this phenomenon in film from the 1920s such as ‘Metropolis’ or ‘Woman in the moon’ by Fritz Lang, shot in the same UFA studios which would be used fifty years later by David Bowie in the two first albums of his Berlin trilogy to put electronic music on the map of pop culture. Of course he wasn’t inventing anything, but he was following in a way the glittering trail of German bands such as Kraftwerk or Neu!, true innovators and decisive pioneers in the composing of songs written to be entirely interpreted by electronic instruments.

It’s therefore not strange that Berlin is the home of BerMuDa, acronym of Berlin Music Days, one of the most important electronic music festivals in the world, which will celebrate its third edition in the German capital between the 2nd and the 5th of November (http://bermuda-berlin.de/home-news-en.html).

It’s an extraordinary and unique event which is hoping to bring thousands of people which include fans, musicians, record company people, artists and journalists from all over the world. Actually, last year’s edition managed to gather approximately 50,000 people, and the organizers are hoping to top that number this year.

The festival’s offer, of a clear independent vibe, is simply astounding, and it comprises both DJ performances and activities which will be spread in dozens of places around the city, like in workshops, discussion tables, conferences, exhibitions and various cultural expressions, with special focus on fashion, always related to electronic music of course.

The frenetic activity during the day is topped at night with the programme of the long-awaited BerMuNights, which are responsible for the organization of huge and spectacular parties and musical sessions with the most prestigious DJs and labels in charge of them, which will take place in some of the most modern and avant-gardist clubs in Berlin until the early hours of the morning.

But the cherry on the tasty cake is the celebration on the 5th of November of Fly BerMuDa, a megaparty in the old airport of Tempelhof, which last year gathered 10,000 rave and electronica loving people.

Paul Oilzum

If you rent apartments in Berlin on those dates and you fancy dancing until you lose your mind, don’t miss out on this extraodinary event which will make the metropolis shake with an energy which is capable of sending it, maybe as a tribute to the Fritz Lang film, all the way to the moon.

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Translated by: aleixgwilliam
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Probably the German capital is, to date, one of the most cosmopolitan, open and interesting cities in the planet. The major refurbishment carried out by the German government after reunification, has created colossal dimensions dedicated spaces, of course, to the administration and to trading, but also to culture and leisure. Among all these new sites, stands, because of its size, quality, variety and majesty, the so-called Museum Island (Museumsinsel), surrounded by the river Spree. This space is not new, having existed since the Prussian time and, unfortunately, was badly damaged during the bombings during the World War II and divided, then, with the physical and psychological injury called the Berlin Wall. Through a complex and comprehensive restoration and construction plan (which is expected to fully completed in the year 2015), the island is becoming a gloss perhaps unprecedented in human history.

The Museum Island is like a city within a city. Its dimensions are so spectacular that, of course, will require at least several days to get an idea what it is housed and weeks time to enjoy the best works are kept within the walls of their centers of art. It is best to buy special bonuses that can be daily (about 7 €) or weekly (less than 30 €). This includes transportation, entrance and access to discounts.

So what can be seen at the Museum Island? Well, the offer is unlimited. Regardless of the temporary exhibitions, you cannot miss the Pergamon Museum (Pergamon Museum), with its archaeological collections such as the Ishtar Gate of Babylon or the Altar of Zeus from Roman times. A must see is also the magnificent collection of Byzantine art of the Bode Museum (Bode-Museum) and the nineteenth-century paintings donated by banker HG Wagener to the Old National Gallery (Alte Nationalgalerie). Without a doubt, one of the shining stars of Berlin’s heaven is the bust of Nefertiti, which can be admired at the New Museum (Neue Museum), wrapped up by an impressive archaeological collection from the ancient Egypt. We still have the Old Museum (Altes Museum), a nineteenth-century art gallery designed in the style of early European art centers such as the Louvre or the Prado, from royal collections and donations noble (more or less imposed). If the numbers do not fail, we have already five different museums with great collections. Well, if this were not enough, there is currently running the James Simon Gallery, which is intended to work as an exhibition space, as well as the visitor center. The traveler who wishes to complete the information does can find more information on the official site: http://www.smb.museum/smb/home/index.php.

Candela Vizcaíno

Remember, because of the lively cultural, economic and political life of the German capital, it is essential to book apartments in Berlin in advance.

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Translated by: Hans
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Within this huge space dedicated to art, located in the north of Berlin in the so-called Museum Island, one of the exhibition sites unfairly less known, is the Old National Gallery, which is also translated as the Alte Nationalgalerie. Located in a beautiful nineteenth century building adorned by a double staircase and classically inspired aristocratic columns, the origin of this delicate collection is found in a donation made by a banker Joachim HW Wagener, who presented to the Prussian state over two hundred and fifty works of his property to the delight of the public. As most of Berlin, the building was badly damaged during the Second World War and its collections nearly forgotten during the first decades of the postwar period.In 1947 the rubble clearance began for the renovations in 1948. In 1949 it was the first building on the Museum Island accessible to the public again. In 1955 the exhibition rooms were reconstructed and in 1966 the renovation was completed. From 1998 to 2001 the gallery was temporarily closed for some remodelling.

Although the gallery also houses sculptures and fine carvings and even works by the impressionists or pre-Impressionist French artist:  Manet, Monet, Degas, Renoir and Cezanne -they alone are sufficient excuse for a visit-, without a doubt, the most notable set is the one that corresponds to the German romantic painting. These artists were known as the Nazarener (Nazarene or Romans) because, following the custom of the time, virtually, all of them embarked on a long and fruitful journey around Italy, in the Grand Tour. Remember that the journey was half way between the initiation and further education had as its main objective Rome and first-hand knowledge of what remained of the old empire. The theme of the ruins, so beloved by the Romantic artists, offered a charm as an excuse for the production of works of various kinds. Thus, the landscape served as a pretext for philosophizing about the inevitable transience of life and death.

But certainly, if there is a name that has transcended the universal art manuals, this is the one of the great Caspar David Friedrich (1774-1840) and especially his enigmatic and symbolic work Wanderer above a sea of fog (1817-1818). In the Old National Gallery there is an important exhibition of drawings and paintings by Friedrich, who shares the spotlight with other romantic authors, such as Adolf Menzel (1815-1895), known for his landscapes and indoor recreation. And the initial post-impressionism, romanticism, as the Alte Nationalgalerie, also features works by this current. We highlight Max Liebermann (1847-1935), with a theme closer to the popular and marginal paintings, so the taste of the realist and naturalist movements that triumphed then in the late nineteenth century.

Remember, the Old National Gallery will be open tomorrow from 10 am to 6 pm. I leave here the link with the practical information: http://www.smb.museum/smb/standorte/index.php.

Candela Vizcaíno

One last tip: before preparing your baggage, book some apartments in Berlin

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Translated by: Hans
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Until the 27th of November, the Martin Gropius Bau Museum in Berlin is exhibiting the photographic work of the American journalist W. Eugene Smith. The exhibition explores the aesthetic, political and social compromise of Smith’s work which made him into a cult photographer and into an emblematic representative of the avant-garde focus in photojournalism between the 40s and the late 70s.

W. Eugene Smith, Tanz der flammenden Kohle, 1955

© The Heirs of W. Eugene Smith, courtesy Black Star, Inc., New York

W. Eugene Smith was born in Wichita, Kansas, in 1918. He studied in Notre Dame College in Indiana but didn’t finish his major due to his father’s death, which meant he moved to New York where he began to study in the Photography Institute. His relationship with the camera and image had begun at the age of 15, when he experimented with one of his father’s cameras. Despite photography being just another job at the beginning, with time his relationship with the camera and reality brought him to experiment a new narrative focus through image, showing that a well-taken photograph was more striking than the report on the story.

In 1937 he began to work for Newsweek, where he carried out interesting works, although he felt that he couldn’t break the rigid journalist schemes which see the photograph as a small companion to the story. A year later he decided to work freelance for various photographic agencies in New York, carrying out work for the prestigious Life Magazine.

The Second World War was an incentive for his work and he moved to the South Pacific, participating as a correspondent in sighting flights. Near the end of the war he joined once again Life Magazine as a correspondent in the area and he carried out important stories from the battle front, which would give a personal stamp to them for the outlook on human suffering that war brings, trapping the readers with his images. At the end of the war he was seriously injured due to his daring way of capturing images.

His first story of disruption and political complaint against racism in the USA was ‘Nurse Midwife’ in 1951. In it he focuses the work of the African American midwife Maud Callen, who had to move around an area where white law determined the everyday life of its population and the Ku Klux Klan (KKK) terrorized those who defied it.

Smith was always a rebel and saw photography as a way to show the injustice and the pain of the human kind. One of his last works was dedciated to showing the serious consequences of modernization and the development style in the city of Minimata, in Japan, where the petrochemical industry Chisso, leaked Mercury in the water, causing grave illness to the population. In the development of this photographic investigation, Smith was beaten up by the company’s thugs causing him serious problems.

For more information: http://www.berlinerfestspiele.de/de/aktuell/festivals/11_gropiusbau/mgb_frz_ita_span/mgb_programm_spa/2011_mgb_programm_span/mgb11_smith_span.php

Nancy Guzman

A great project for this autumn is to spend a few days relaxing, drinking, visiting museums and shopping in apartments in Berlin So, if you want to come to the Martin Gropius Bau Museum to get to know the work of this journalist who, together with art and photography, he worked on complaint photography in an aesthetic way.

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Translated by: aleixgwilliam
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Investigating the German expressionist movement, a group of wonderful films from the beginning of the 20th century appeared in my head, films which are a fundamental part of this artistic movement known as expressionism, and they are absolute gems, not only of this historical movement, but in film in general. These correspond to some films made between 1919 and 1926, an era marked by the First World War and the Postwar.

The first of this group of gems is, probably, the most important one: ‘The Cabinet of Dr. Caligari’, a film by the director Robert Wiene in 1919. I image that in today’s day and age, few people that are not interested in this type of film have seen it but, despite that, I’ll give you a quick review: the film is about a mad doctor who travels around different towns and cities in Germany putting on a show, part of a travelling fair, where a sleepwalker called Cesare appears, interpreted by the great Conrad Veid. The sleepwalker, who predicts the day of death of the visitors to the fair, turns out to be a murderer handled by Caligari. Roughly that would be the outline of the film, but the fascinating thing about it, apart from its strange and disturbing outline, is the artistic work that Walter Roehrig and Walter Reimann did, who were previously part of ‘Der Sturm’ group. They gave the scenography a dark and fantastic atmosphere, where shapes defied natural laws with architectures which highlighted what the film wanted to transmit, the drama and psychological tension, which has handled masterfully by Wiene and co.

The second great film of German expressionism is ‘Nosferatu’, by Friedrich Wilhelm Murnau, a film which is part of the so called Kammerspielfilm, where expressionism changes the painted and closed sceneries for an exterior and natural approach. Murnau recreates the history of Dracula together with the great actor Max Schreck, with such skill that it’s considered as the first great film of the vampire and a gem of German expressionism.

The third film is ‘Metropolis’, by the Austrian Fritz Lang, a cult director like Murnau and Wiene, who made his first film in 1919. ‘Metropolis’ is from 1926 and it represents his highest achievement film, although years before he’d already made his already well known ‘Die Nibelungen’ and ‘Der Müde Tod’. The film tells the story of the domination of the working class by the dominant class, a storyline with a social critical background in the year 2000, the future for Lang, of a slaved and dehumanized metropolis, which despite seeming a tad simple sociologically speaking, it’s not such a distant vision by the director, who marks the beginning of what we know as ‘fiction film’, father of such famous films as ’2001: A Space Odyssey’ by Kubrick or ‘Blade Runner’. The aesthetics of the film are what finally surpass the storyline, an impeccable artistic direction, an even better photography and sceneries of an impressive futuristic city, with classic scenes like the change of shift of the workers of the subterranean city. A real gem which completes the trio of the most important films of German expressionism.

Luz Obscura

The autumn breeze is beginning to appear in Germany, an ideal time for a trip. Prepare a break and rent apartments in Berlin the city of museums and avant-garde artistic movements.

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Translated by: aleixgwilliam
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Despite there is no lack of stories, because of its undisputed status of goddess of the underworld, she is presented as the daughter of Styx, the nymph of the underworld, in the later tradition Homer establishes that Persephone was the fruit of the union between Zeus and Demeter, incestuous daughter of Cronus and Gaia, responsible both for the emasculation of Uranus, father of Cronus and symmetrical couple of Gaia, an act that causes the deployment of space and the succession of generations that open the world.

In the open world, Demeter came to represent the cultivated land, unlike her mother, whose values are essentially cosmogonic.

The first evidence we have of her extraordinary story is the Homeric Hymn to Demeter. According to it one day when her daughter Persephone had left to the field to gather some flowers, accompanied by the nymph Liana and maybe even some other nymph’s daughters of the Ocean (exactly where will always be a matter of dispute. Some accounts suggest Thrace favor Ionia or the sacred grove said beside Megara, but there are also stories that say that an incident occurred specifically in Eleusis who was chosen, without hesitation by the Magna Greece), Hades, Demeter’s brother and lord of realm of the dead, so he decided to kidnap her and take her with him to his dark domain. He loved her for a while but she had always ignored his proposals of marriage. To fulfill his plan he made sprout from the earth the most beautiful of the daffodils. His beauty was so hypnotic that Persephone could not help but admiring him, Hades took time to make the earth open and grab her from underneath without her noticing. Demeter dismally unsuccessful and the search for a very long time. At the end of his desperation leaving the fields if life or blessing, or breath, barren all species. This is when Zeus, according to some versions, in complicity with Hades committed the crime, fearing for the purpose of mankind, decided to take matters into and ordered all the gods of Olympus to persuade Demeter to make return fertility to the land. It is in vain. When he refused outright uses Hermes to persuade Hades to release Persephone. This agrees, but soon makes Persephone eat a pomegranate grain, making it so ineluctable links to the mansions underground forever. From that moment, as is destiny, you must live one or two thirds of the year with Hades in the underworld and the rest of the time among the living. In the myth resonate, among others, the stories related to Cybele and Attis (Phrygia), Astarte and Tammuz (Semites), Isis and Osiris (Egyptian) with the difference that the relationship loved-loved has been replaced by a mother to daughter.

In this context it may be interpreted holding the grenade in his hand the beautiful and disturbing archaic Greek marble sculpture of almost two meters high (about 580-560 BC) which you can admire in the impressive Pergamon Museum (http://www.smb.museum/smb/standorte/index.php?lang=en&objID=27&p=2).

Paul Oilzum

Probably used as a funerary sculpture, seems to be the representation of a woman adorned with rich clothes who wears a very elaborate hairstyle. Overwhelms her enigmatic smile, which returns from the surface to the deep mysteries of the growing cycles. Do not forget to visit her when you rent apartments in Berlin

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Translated by: Hans
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Until the 15^th of January, 2012 the Museum Gegenwart, at Station Bahnhof in Berlin, presents the film Land Art, which was the first televised exhibition Gerry Schum performed for German television in 1969, about the artistic movement Land Art and the process on conceptual art movement that took elements of nature for his works.

Schum started a utopian project during the late sixties, which is rescued through this movie, and sought to join the landscape or nature with art.

Gerry Schum studied filmmaking in Berlin and quickly realized the potential that new technologies had on visual art, in line with the proposals of dematerialization of the art object that advocated many art movements. Schum raised the versatility, accessibility and the ability to reach many people in the media.

With this in mind and together with Ursula Wevers, they began the Television Gallery or Fernsehgalerie in 1968. This platform was quickly transformed into an archive of filmed presentations that are made to pass them on television. This virtual gallery will be composed of recordings without narration, in which only the work matters and the relationship that the viewer has with it, and not the commercial.

Thanks to Fernsehgalerie, a space to show the art massively opened. Lan Art, was broadcast in 1969 by Channel One on German Public Television. The following year they sent Identifications and added two programs created by Keith Arnatt.

Land Art transmission occurred only a few days, as both Gerry Schum and Ursula Wever refused to put comments and German Public Television refused to pass it again. In this video Schum gathered eight artists, among whom were Americans and Europeans, who worked on Land art: Jan Dibbets, Dennis Oppeheim, Barry Flanagan, Marius Boezem, Robert Smlthson, Mike Heizer and Walter de Maria.

The film Land Art lasts 35 minutes without a break and included the eight artists and their works. Schum expressed the value of this type of work as a record of ephemeral works such as Lan Art.

The Land Art uses the materiality of nature, as its name indicates, and comes to performing works with earth, wood and stone. Because the works are located outdoors, need a continuous auditory by the very nature that alters the materials, eroded and breaks down. In this current are also interventions such as those undertaken by Christo, involving large buildings or natural places.

One of the most famous works of Land Art is sculpture Spiral Jetty by Robert Smlthson which was built in 1975 in the Great Salt Lake in Utah in the United States.

For more information

http://www.smb.museum/smb/kalender/details.php?objID=32290&datum=26.03.2011+00:00

Nancy Guzman

A good and entertaining way of enjoying autumn, is coming to apartments in Berlin and visit the exquisite views of the city where culture and entertainment are all within reach of everyone.

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Translated by: Hans
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It’s hard to think of a more appropriate city than Berlin to see a Little Dragon concert, who will present their latest album, the great Ritual Union, probably their best album to date, at the new Postbahnhof on November 2nd (http://www.songkick.com/concerts/9717743-little-dragon-at-postbahnhof). They’re a band which formed in 1996, whose members developed absolute devotion for Kraftwerk since their teen years in Göteborg, and also the cosmic dimensions which were open by their dense wall of synthesized sounds.

It would be correct to say that one of the two basic rules of the band is the veto to any type of guitar in their songs, and the other one – even more strict than the first one – is the absolute rejection to all type of looping, one of the many reasons which makes their concerts so exciting.

Actually, there are few things which are not unusual about Little Dragon, starting maybe with the fact that being a Swedish band with a Japanese lead singer (actually, Yukimi Nagano was born in Göteborg from a Japanese father and an American-Swedish mother, but her fascinating oriental aesthetic is one of the band’s main attractives, whose name derives from the nickname that Nagano got labelled when rehearsing due to her huge tantrums). Her extraordinary and unforgettable voice and her way of singing is the definitive focal point of the sound of the band, capable of taking us with sounds which are different like those from Prince, John Coltrane or Jean Michel Jarre to new, wonderful and surprising landscapes, where they way in which the former ones mix with an enormously imaginative use of synthesizers and the percussion is used to create the convincing feeling in us that there isn’t another group which is remotely like them, at least on this planet.

Maybe thanks to these distinguishing features which give an aura of sophistication to their music of such difficult comparison in the contemporary musical scene, Little Dragon have run the risk of vanishing in the long list of collaborations with prestigious artists such as José González, Big Boi, Dave Sitek or Gorillaz (extraordinary their participation in the excellent ‘Plastic Beach’, as well with their shows in the Escape to Plastic Beach World Tour) which have marked their activity in recent years. Their exquisite contributions to the work of others, together with the maybe too cerebral character of their penultimate album ‘Machine Dreams’ (2009), which brilliantly explored the increasingly humanistic touches which lined up the situation between technology and the humans, it seemed to place them in a position of marginal cult, and exposed them to be perceived, in the way that a diamond whose cold beauty can only be admired from a certain distance and fear, as something too elegant and exquisite to raise sincere passions.

Hence that their latest and excellent album, the aforementioned ‘Ritual Union’ deepens itself into a different territory in what relates to the lyrics, which deal with a feeling of unusual honesty in the band, the world of the heart and feelings, to which they deliciously apply their very own personal and captivating approach to electronica.

Paul Oilzum

If you rent apartments in Berlin on these dates, don’t miss out on them. Rarely do concerts based on synthesized keyboards and percussion transmit so strongly the feelings which are usually associated to live music.

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Translated by: aleixgwilliam
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The work of one of the most important conceptual artists of the twentieth century, Joseph Beuys, is on display from the 8^th of October to the 1^st of January, 2012 at the National Gallery in Berlin. The book entitled 8 days in Japan and the Utopia of Eurasia, is a work of filming documentary material presented for the first time in Germany.

Beuys did this work in 1984, when he spent eight days in Japan performing a show held at the Seibu Museum (Tokyo), and Coyote III art action together with Nan June Paik. During this trip a film crew accompanied him making the record that today is transformed into this exhibition and work. 30 hours of recording that were taken during this trip, and then pulled out a vision of the situation in Japan and its society, at that time.

This interesting work that shows the particular perspective of Beuys was rediscovered by Japanese curator Mizuki Takahash, and exhibited in 2010 at the Art towed Mito.

Joseph Beuys is considered one of the most important artists of contemporary art history. Born in Krefeld, Germany, in 1921, is one of the founders of the Fluxus movement, a fundamental link in the history of twentieth-century political art.

Beuys lived in the same way that shaped his work, in a constant state of creation and rupture. For some time he tried to be a college professor, but was expelled. He then joined the School of Fine Arts in Dusserfold, from which they came several future members of Fluxus and great artists of the vanguard.

In 1962, the activities of the artists who were part of the current Fluxus started, Dada movement heir. Fluxus was an eclectic and open movement. From there, the artists addressed all the expressions of creative art, it actually extended its tentacles throughout Europe, USA and Latin America.

His fundamental conceptual line was to break with art as a commodity by socializing and showing that art can be done by everyone. Proposes a simple art, entertaining, unpretentious. So declared its founder George Maciunas.

Dusserfold group, transcended by its quest to impact the public. Of all the artists in this group, Beuys was the most famous art by his actions. In 1963 he made a series of actions and works in which he imposed the concept of Eurasia, which summarizes the ideal East / West in the context of Cold War that Germany and the world were living.

In the 70′s he went politically radical and even created his work in terms of his political objectives. In 1974 he performed the action I like America and America likes me in which he uses a real coyote, natural materials and he lives with an animal while piling American newspapers as a symbol of the dehumanization of capitalism. The coexistence lasts 3 days and ends with Beuys embrace the coyote.

For more information: http://www.smb.museum/smb/kalender/details.php?objID=29818

Nancy Guzman

If you plan to spend a few days in apartments in Berlin feel free to stop by the National Gallery and attend this wonderful exhibition of one of the greatest artists and thinkers of contemporary art.

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Translated by: Hans
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