Every child knows Edvard Munch’s works – and not just because an emoji is based on his most famous work, “The Scream.” What few people know, however, is that Munch not only left his mark on his native Norway, he also had a decisive influence on the Berlin art scene at the turn of the century. In 1892, at the invitation of the “Verein Berliner Künstler,” the young artist came to the capital for the first time: but his solo exhibition led to a scandal. In Berlin, people were not ready for Munch’s colors and the immediacy of his scenes. The press and conservative painters were shocked, Munch’s works were called “smear works” and his exhibition had to close after a few days. The then 29-year-old was not dissuaded. On the contrary. The Berlinische Galerie now looks back on the history of Edvard Munch and Berlin with around 80 works.

In interplay with works by other artists who crossed Munch’s path in Berlin, an atmospheric picture of the late 19th century emerges. The show demonstrates how Munch became part of the city’s artistic scene: how he met writers, poets, and artists in the wine tavern “Zum schwarzen Ferkel” in Mitte and eventually worked as a member of the Berlin Secession. In contrast to works by Berlin colleagues such as Ludwig von Hofmann or Walter Leistikow, Munch’s views of nature still seem so progressive today, as if comparing different eras. Munch not only broke with the romanticized notion of picturesque fjords – his art pushed the boundaries of what was representable at the time. In this way, the Berlinische Galerie succeeds in conveying why the so-called “Munch Affair” did not go down in the history books as a debacle – but is celebrated to this day as part of the birth of modernism.

Text: Laura Storfner / Photos: Harry Schnitger / Credit: Edvard Munch & Berlinische Galerie

Berlinische Galerie, Alte Jakobstr.124–128, 10969 Berlin-Kreuzberg; map
Edvard Munch: Magic of the North until 22.01.2024. Mon, Wed, Fri, Sat, Sun 10–18h, Thu 10–20h (reduced entry from 17 Uhr)

@berlinischegalerie

Few cantata works – lyrical poems in various movements with instrumental accompaniment – are as well known as that of Johann Sebastian Bach. But how does one approach such authoritative material? Beginning this Saturday (14.10.2023), the Neuköllner Oper will present what is probably the best possible variant of a reinterpreted approach: “Der Teufel im Lift” is based on music by J.S. Bach, with text by John von Düffel and the lautten compagney. It pours onto the stage full of humor and suspense. And that’s what it’s all about: The “light-seer” Blanche (what else could her name be?), the brain specialist Prof. Dr. Sanchez, the young journalist Raquel and a helpless and restless porter meet at night in the lobby of the “Hotel Heaven.” When a mysterious stranger falls from the elevator, confronting the travelers with their deepest and most dramatic longings, fears and surreal fantasies. Is it a fallen angel? Is it Lucifer, the devil, as the mounted cantatas say? “Say, how do you feel about religion” – or about science? Suddenly the eternal Gretchen question is in the room, suddenly it’s all at stake: past and future, life and death, meaning and faith. Gripping, whirling, erratic and thrilling, the piece quite literally takes the audience with it – one or two chorales can be explicitly sung along to. Rarely has Bach felt so close.

Text: Hilka Dirks / Photos: Thomas Koy & Neuköllner Oper

Neuköllner Oper, Karl-Marx-Str.131–133, 12043 Berlin–Neukölln; map
Tue 15–19h.

Teufel im Lift, information and tickets available here.

@neukoellneroper