Haus am Waldsee

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What`s on in Berlin with pictures or without pictures

Since 1946, Haus am Waldsee is considered to be one of the foremost exhibition spaces for international contemporary art in Germany. Given the changes in the historical situation since 1989, the connections with the wider international art scene are getting closer and closer. Since the middle of the 90s the German capital has become one of the most exciting art centres as well as a magnet for creative people worldwide. Artis ts from all countries and continents as well as from other parts of Germany are moving to Berlin . Amongst these are not only visual artists, painters, sculptors, media specialists but also fashion and furniture designers, musicians and writers who live and work in Berlin . To them Haus am Waldsee grabs their attention.

Built as a private mansion in 1922/23, it became the outpost of 'Allgemeine Film-Treuhand' of UFA in 1942. Immediately after the war, Zehlendorf local council moved into the building, which had remained undamaged. Only a few months later an exhibition of works by Kaethe Kollwitz was presented here to the art loving public.

Exhibitions of 'degenerate' artists followed in quick succession. Amongst these were Oskar Moll, for many years a member of the artistic circle around Henri Matisse, and Hermann Blumenthal, whose career as a sculptor had ended abruptly in 1937 after he was prohibited to exhibit and who later lost his life in Russia in 1942. Also shown were Renee Sintenis and Hannah Hoch, receiving their first exposure at the Haus am Waldsee in the context of the "Zehlendorfer Frauengruppe". As a venue for the international art scene Haus am Waldsee contributed significantly to the rekindling of a cultural life in Westgermany.

Under the directorship of Karl Ludwig Skutsch, the house developed its unique profile. While the focus was initially on the rehabilitation of German artists the programme was soon seeking to establish its position within the international context. Here, like no other museum, Haus am Waldsee established standards: as early as 1947, right after Karl Schmidt-Rottluff, the works of Pablo Picasso were presented. This was followed the year after with exhibitions by Oskar Schlemmer and Georges Rouault, and in 1951 a first show of works by Henry Moore and Max Ernst. Also, there were early exhibitions of Ernst Kirchner (1953), Joan Miró (1954), Georges Braque (1955), Willi Baumeister (1956), Henri Laurens (1956), Hans Hartung (1957), Wilhelm Lembruck (1957) or Alexej von Jawlensky (1958) as well as later of Robert Motherwell, Karel Appel , Emil Schumacher or Duan Hanson. The exhibition list reads not unlike a 'who is who' of the respective art worlds of London, Paris and Berlin .

During the 50s the exhibitions expanded to include East Asia; from then on, the programme featured Chinese and Japanese art as much as presenting surveys over whole stylistic genre. During Thomas Kempas' directorship from the 60s to the 80s there were shows of 'New Realism', 'Kinetic Art', 'Informel', 'Text Painting' or 'Expressionism'. During the 90s Barbara Straka expanded the vision again to include Eastern European countries, Russia, Canada and Australia. From the very beginning, music, literature and theatre were also actively supported at Haus am Waldsee. It was here that the The Berlin Philharmonic Orchestra gave its first concert after 1945. During the same year, 'A midsummer nights dream' was performed in the openair theatre in the park. This was followed by legendary performances of, amongst others, "Jederman" (1946) and "Wilhelm Tell" (1950). And while the large Berlin theatres were awaiting restoration, the international music institute took residence in the Haus am Waldsee. "Serenade concerts" became tradition here, and there were regular readings by authors as well as lectures by some of the most well-known post war art historians.

Dr. Katja Blomberg
Director Haus am Waldsee