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What impact did the National Socialist dictatorship, the Second World War and the division of Germany have on the history of ownership of cultural assets? The exhibition identifies Nazi-looted art. Other aspects are the search and reacquisition of artworks from the collection of the academy that were lost during the Second World War and the critical reappraisal of the efforts of the GDR state apparatus to take possession of valuable art objects.

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The letters between painter Hans Grundig (1901–1958) and graphic artist Lea Grundig (1906–1977) deal with a Jewish fate, art and love, but also with imprisonment and flight during the National Socialist era, and finally with the return to a destroyed Dresden. This volume of essays opens up the enormous dimension of the correspondence and forms the prelude to the planned edition of the private correspondence currently in progress.

Born in 1955 in a poor district of São Paulo, Ismael Ivo became one of the world’s most famous and successful dancers. Artistically, he forged close connections with Johann Kresnik, Marcia Haydée, Ushio Amagatsu, George Tabori, Koffi Kôkô and many others. I Believe in the Body brings together interviews from different periods of his creative career, the recollections of those who were with him in Brazil and Europe, visual essays by Anno Wilms and Dieter Blum, and a comprehensive catalogue raisonné. The book is the first publication to portray the life and work of this exceptional artist and person.

In 1977, solo dancer and choreographer Gerhard Bohner (1936–1992) reconstructed all the costumes of Oskar Schlemmerʼs legendary Triadic Ballet for the stage down to the last detail. The picture catalogue lines up the historical images with the new version to tell the triadic costume story.

In April 2022, artists from Kyiv and Berlin founded soлomiya in response to Russia’s war against Ukraine. With long photo spreads and reports from everyday wartime life, the magazine aims to promote the visibility of shared democratic values. Being a platform of self-expression for the young generation of creatives from Ukraine, soлomiya is both an itinerant group exhibition and an art object in itself.

“The sounds ­are not the sounds! They ­are there to distra­ct the intellect ­and soothe the senses.” Born in Austri­a in 1959, Peter Ablinger, who h­as lived in Berlin since 1982 ­and is a­ member of the Ak­ademie der Künste, is not only considered to be a­n innova­tive composer but ­also a­ brillia­nt essa­yist. His writings were published in Germa­n in 2016 a­nd a­re now a­va­il­able in English tr­ansla­tion.

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Pictures from Ukraine by Mila Teshaieva and Johanna-Maria Fritz open issue 18. The focus of the issue is the global ecological crisis: with contributions on the Japanese Edo period as a model for an art of sustainability, on the problematic role of copper, on dealing with climate protection issues through musical interventions, and more. It also includes a travel diary by Jeanine Meerapfel on the trail of Walter Benjamin, an interview with Berlin Biennale curator Kader Attia, drawings by Milein Cosman and a look at the newly opened Gerhard Leo Archive.

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In addition to an essay by Wilfried Wang on the question of land use, Stephan Suschke’s presentation of the new exhibition on Erich Wonder’s stage designs for Heiner Müller and poems by Meena Kandasamy, dialogues are at the centre of the 17th issue: Kathrin Röggla talks to writer Mohamed Mbougar Sarr about language and resistance, a roundtable discusses the legacy of Paul and Eslanda Robeson, Mark Gergis talks about cassette kiosks in Damascus and his collection of Syrian music in an interview. The focus is also on the opening of the Roger Willemsen Archive and a photo series by Ute Mahler and Werner Mahler. The Carte Blanche goes to JUNGE AKADEMIE fellow and visual artist Sasha Kurmaz.

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