JOURNAL DER KÜNSTE
NOV 2018
SPECIAL ISSUE: THE ARCHIVES
08
EDITORIAL
For many an archive is an uncharted, mysterious place, as frequently applied metaphors such as, for instance, “treasure trove”, “vault of knowledge”, “cultural memory” and “place of remembrance” would suggest. But what does a vault of knowledge protect; what does a treasure trove actually look like from the inside; and how does cultural memory work? This special issue of the Journal der Künste presents the Akademie der Künste’s archives from all perspectives and shares insights into new and hidden facets. Akademie members, researchers and staff share the back stories of documents and collection objects and talk about what makes art archives so special, how to work in and with archives, and what cultural mediation actually involves. One of the guiding questions is: What remains? The answer to this question, concerning what should be preserved for posterity, is at the core of all archival work. The aim is always to seek out what is worth preserving from what has survived, to preserve artefacts that will be of lasting value in the future. But how does one determine what is of lasting value in art, and which elements of an artist’s work and biography can and should be archived? The answers depend on the chosen field, as exemplified by spoken works, dance and theatre pieces. The fleeting nature of a live theatre performance, performed slightly differently each time, prevents it from being captured for posterity; nonetheless, it can be documented and reconstructed. For many Was bleibt (What Remains) is also an instinctive reminder of Christa Wolf’s eponymous novella and the literary dispute that ensued after its publication in 1990. Sabine Wolf delves into the history of its reception and explores what remains of a work after others have claimed the authority to interpret it. For writer Ursula Krechel the process of working in an archive is an important source of inspiration. Her essay demonstrates her creative approach to her manuscripts and correspondence. What creative individuals leave behind is so much more than written matter; there are also entire libraries, memorabilia, awards, tools of the trade and costumes to consider. These aren’t just auratic mementoes but come with unique narratives that shed a different light on an artist’s persona. Anneka Metzger explores the question of how “contemporary experiential memories” that have been stored in the archives “can be translated into a cultural memory for posterity”. The archival turn in arts, culture and media studies, which started at the end of the 20th century, has contributed significantly to the dynamisation of the word “archive”. What post-structural
philosophy refers to as “the power of the archives” (Jacques Derrida) differs substantially from the “archive as a place of remembrance” (Aleida Assmann) in cultural sciences and archival practices. Marcel Lepper’s essay delves into the many interpretations of this fluid term. The order of things is central to every archive. It provides access to the material and, at best, can unearth what has been buried. “There is no order that can truly do justice to creative work, yet no alternative exists,” Erdmut Wizisla notes in his essay on archival classification systems. Like other academic jargon, archival terminology is also fraught with its fair share of incomprehensibility, and not just for artists. Linear (running) metres that can’t run is just one example. Mis understandings are inevitable. We asked members of the Literature Section to provide their own definitions and commentaries on selected archival terms originally found in an online dictionary of archival terminology. The result is a rather unusual “archival glossary” that takes a playful approach to the different levels of meaning and variations in interpretation. How did a Phoenician double shekel from the 4th century BC ultimately end up in a modern arts archive? The answer is simple: the shekel is from Arnold Zweig’s coin collection and is proof of his passion for collecting. We have Hans Hansen, a Hamburg photographer, to thank for a series of images that for once do not use classical archival imagery to illustrate the Journal’s current theme. He has managed to capture all kinds of gems and showpieces from all the archival departments, to which the abovementioned shekel also belongs. His images hint at how abundant, diverse and at times bizarre artistic bequests can be. But also how delightful it is to imagine the history of their provenance and use, and how complicated it is to preserve them for posterity. I would like to cordially thank everyone who participated: the Akademie, the archives and visitors, and in particular the Gesellschaft der Freunde der Akademie, whose generous donation made this journal a reality. I very much hope you’ll enjoy reading this issue of Journal der Künste! Sincerely Werner Heegewaldt Director of the Archives at the Akademie der Künste
right: Clapperboard for Peeping Tom (Augen der Angst), starring Karlheinz Böhm, Great Britain, 1960, wood
5
Jeanine Meerapfel – Ἀρχεῖον – Archeíon
63
WHAT REMAINS IN A BOOK?
6
Werner Heegewaldt – Everything for Posterity? How an Art Archives Functions Karl Scheffler – Tabula rasa Marcel Lepper – The Archive: An Ambiguous Term Erdmut Wizisla – In the Beginning There was Order
64 66
Dedications Susanne Thier – With the Portrait of the Author (Thomas Mann) Carsten Wurm – “To Whom, If Not to You!” (Arnold Zweig) Meike Herdes – “Every Man His Own Censor!” (John Heartfield)
10 11 14
67 68
17
ARTISTIC ARCHIVAL WORK
18 22 24 26
Ursula Krechel – Note by Note, Box by Box Lutz Dammbeck – The Real World Alexander Kluge – Trust Your Ears Above All Iliane Thiemann – Four Places for All Eternity (Bertolt Brecht)
29
30
44 49
WHAT’S MISSING?
50
Anke Matelowski – The Most Beautiful Guestbooks in the Berlin Metropolis Eva-Maria Barkhofen – An Architectural Debate, 1923 (Behne – Scharoun) Sabine Wolf – Professor Unrat, Tyrant of Youth Ursula Marx – Walter Benjamin’s Lost Library Nicky Rittmeyer – Replay: Restoring “Lost” Frames (Vicki Baum) Heribert Henrich – All that Remains is a Photocopy (B. A. Zimmermann) Anna Schultz – Searching for Clues. The Preußische Akademie’s Collection of Prints and Drawings
34 36 38 40 42
52 53 54 56 58 60
WHAT REMAINS BY CHANCE?
72
Christina Möller – Letters from the “Wastepaper Basket” (Heinrich Mann) Helga Neumann – Remembrance (Anna Seghers) Daniela Reinhold – Labyrinthine Processes (Paul Dessau)
74 76
WHAT REMAINS OF A WORK, OF AN ARTIST, IN THE ARCHIVES? Sabine Wolf – Christa Wolf’s What Remains and the German Literary Dispute of 1990 Rudolf Mast – On an Attempt to Preserve the Theatre Jens Roselt – The Assembly of Women in Bremen, 1969 Helene Herold – Reconstruction in Dance: The Triadic Ballet Konstanze Mach-Meyerhofer – Jenny Erpenbeck Documents La Traviata Andrea Clos – Attention! Volksbühne! Werner Grünzweig – What Remains of Performers? (Artur Schnabel) Anneka Metzger – Staying on an Author’s Trail
32
71
79
NEW RESPONSIBILITIES FOR THE ARCHIVES
80 81 82 84
Nadine Werner – Materiality, Archive, Digitisation Haiko Hübner – Why Use Data Standards? Carolin Faude-Nagel – Provenance Research (Julie Wolfthorn) Uta Simmons – Archiving Ephemeral Works of Art
11 15 21 33 59 73 77 85
ARCHIVE GLOSSARY File – Katja Lange-Müller Appraisal – Monika Rinck Description – Ingo Schulze Classification – Hanns Zischler Linear (Running) Metres – Kathrin Röggla Bequest Awareness – Kathrin Röggla Bequests and Estates – Kerstin Hensel Collections – Hanns Zischler
87
Corinna Hadeler – The “Young Friends” of the Supporting Association Visit the Archives
90
Contact Information for the Archives
Ἀρχεῖον
ARCHEÍON
My actual involvement with the Akademie der Künste’s archives We then spoke about Walter Benjamin and his relationship to began with Torsten Musial and his assistant’s arrival at my apart- Bertolt Brecht – a friendship I had known almost nothing about ment, carrying boxes upon boxes to pick up my “pre-mortem until then. On that very same day the idea slowly began to take bequest”. At the time, I’d willingly agreed to the whole venture – shape of making this extraordinary constellation more widely known. I was eager for all my documents, screenplays, photographs, film Three years later the exhibition Benjamin and Brecht. Thinking in posters, etc. to be stored in the Akademie Archives. I also wanted Extremes opened at the Akademie der Künste, which was a resoundthe estate of Wolf Donner, my former partner, to have a final rest- ing success thanks to the archives’ impressive groundwork. ing place. Back then I was a simply a member of the Akademie Even before that time, I had witnessed just how familiar the der Künste. director of the archives, Werner Heegewaldt, and his department Soon after I was elected the Akademie’s president, I asked are with their well-kept treasures and the level of expertise they to see the archives of Walter Benjamin and Bertolt Brecht. Only a demonstrate when highlighting individual aspects. At my request little while before then Alexander Kluge had voiced the desire – and that of programme officer Johannes Odenthal, they unearthed as he was donating his personal papers to the Akademie der the most incredible documents and objects, “artefacts” that tell Künste – that his materials should be kept in the “mattress crack of artists’ exile from Nazi Germany. They became an important part between Benjamin and Adorno”. of the exhibition Uncertain States. Artistic Strategies in States of I wondered what he meant and decided to go and see for myself Emergency (2015). Subsequently, in cooperation with the archives, what this “crack” was all about. Bettina Huber, who today is the our educational programme KUNSTWELTEN developed the small Akademie’s presidential secretary, but at that time was my and highly successful exhibition Children in Exile, which for the personal assistant, accompanied me. The guided tour of the build- first time describes the emigration of artists’ families between 1933 ings that Erdmut Wizisla, the director of the two archives, gave and 1945 from a child’s perspective. After having been exhibited us, showed his meticulousness and engaging enthusiasm for his in Ueckermünde, Ludwigshafen am Rhein, Germany, and Linz, profession. Austria, among other places, it was also exhibited at the AbgeordI was particularly eager to see Benjamin’s estate. The visit to netenhaus of Berlin (House of Representatives) in 2018. the Walter Benjamin Archive would turn out to be a key encounter KUNSTWELTEN has – and this is something we are especially that profoundly shaped my relationship with the Akademie and proud of – led to an increasing number of schoolchildren becoming my work here. acquainted with the Akademie Archives and their rare collections. Erdmut Wizisla opened a heavy iron door to a man-sized safe For me, contemplating the message, aims and programmes of the and removed a small fawn-coloured notebook with wafer-thin Akademie der Künste is intimately connected to the significance of pages that were crammed full on both sides with tiny handwriting. its archives, of the collaboration with the archives and their staff. He leafed through it with the greatest caution, using a special I’m very enthusiastic about this special issue of the Journal page-turner to avoid damaging the delicate paper. It was one of der Künste, which is dedicated to the Akademie Archives, and would Walter Benjamin’s original notebooks. be equally delighted if it helps more people to understand the treasI was allowed to hold it for a moment. As I was watching him ures housed within the archives. One day – and this is something take it out of the safe, I understood for the first time at an almost I dream of – I hope that these marvellous interdisciplinary archives visceral level what is meant when we speak of an object’s “aura”. of modernity will finally have their own building, instead of being And surely, it was also the first time that I deeply sensed scattered among so many different domiciles. what it truly means to oversee such an ἀρχεῖον, “archeíon” – to preserve, to explore and to continue its legacy. Looking back, I would say that that was the moment of my personal “initiation”, and I’m certain that equally moving experiences are possible within Jeanine Meerapfel every one of our archival departments. President of the Akademie der Künste
JOURNAL DER KÜNSTE 08
5
CONTACT INFORMATION FOR THE ARCHIVES
Archives Administration, Director’s Office Robert-Koch-Platz 10, 10115 Berlin
ARCHIVAL DEPARTMENTS AND LOCATIONS
Werner Heegewaldt Director of the Archives +49 (0)30 200 57-31 01/16 03 archivdirektion@adk.de
Pariser Platz 4, 10117 Berlin
Sabine Wolf Vice Director of the Archives T +49 (0)30-200 57-32 72 swolf@adk.de Dr. Anneka Metzger Assistant to the Director of the Archives T +49 (0)30-200 57-16 01 metzger@adk.de
Architecture Archives Dr. Eva-Maria Barkhofen +49 (0)30 200 57-16 25 baukunstarchiv@adk.de Library Susanne Thier +49 (0)30 200 57-16 09 bibliothek@adk.de
Luisenstraße 60, 10117 Berlin Walter Benjamin Archive Prof. Dr. Erdmut Wizisla +49 (0)30 200 57-40 60 walterbenjaminarchiv@adk.de By appointment only Art Collection Dr. Rosa von der Schulenburg +49 (0)30 200 57-40 30 kunstsammlung@adk.de By appointment only Chausseestraße 125, 10115 Berlin
Robert-Koch-Platz 10, 10115 Berlin Visual Arts Archives Michael Krejsa +49 (0)30 200 57-40 51 archivbildendekunst@adk.de
Bertolt Brecht Archive Prof. Dr. Erdmut Wizisla +49 (0)30 200 57-18 32 bertoltbrechtarchiv@adk.de Tue–Thur, 9–4, Fri, 9–3
Performing Arts Archives Stephan Dörschel +49 (0)30 200 57-32 54 archivdarstellendekunst@adk.de
MUSEUMS
SERVICE Main Reading Rooms and Information benutzung@adk.de Pariser Platz 4, 10117 Berlin +49 (0)30 200 57-15 60 Robert-Koch-Platz 10, 10115 Berlin +49 (0)30 200 57-32 47 Opening Hours Mon–Fri, 9–5, Thur, 9–7 Please contact Visitor Services
Film and Media Arts Archives Dr. Torsten Musial +49 (0)30 200 57-32 58 archivfilmundmedienkunst@adk.de Historical Archives Dr. Ulrike Möhlenbeck +49 (0)30 200 57-22 32 historischesarchiv@adk.de
Registrar’s Office / Loans Catherine Amé +49 (0)30 200 57-40 37 ame@adk.de Stefan Kaltenbach +49 (0)30 200 57-40 63 kaltenbach@adk.de
Brecht-Weigel Museum Chausseestraße 125, 10115 Berlin Elke Pfeil +49 (0)30 200 57-18 44 brechtweigelmuseum@adk.de Closed on Mondays and public holidays. No advance reservations required Anna Seghers Museum
Literature Archives Prof. Dr. Marcel Lepper +49 (0)30 200 57-32 00 literaturarchiv@adk.de
Anna-Seghers-Straße 81, 12489 Berlin T +49 (0)30 677 47 25 annaseghersmuseum@adk.de Tue and Thur, 10–4
Media Archives Uta Simmons +49 (0)30 200 57-32 13 simmons@adk.de
Restoration Workshop Volker Busch, Cornelia Hanke, Marieluise Nordahl +49 (0)30 200 57-40 19 /-40 20 / -16 89 /-16 87 bestandserhaltung@adk.de
Music Archives Dr. Werner Grünzweig +49 (0)30 200 57-32 61 musikarchiv@adk.de
ONLINE RESEARCH OPAC ELECTRONIC LIBRARY CATALOGUE: https://opac.adk.de ARCHIVES DATABASE: www.adk.de/de/archiv/archivdatenbank
90
PHOTOGRAPHIC AND TEXT CREDITS p. 3 Karlheinz Böhm Archive 394, © Böhm-Erben, photo: Hans Hansen | p. 7 © Uwe Kolbe | p. 9 Reinhard Döhl Archive 3870, © Barbara Döhl, Archive G. C. Kirchberger, Schloss-FilseckStiftung and Hansjörg Mayer, photo: Roman März | p. 10 Karl Scheffler Archive 687, © photo: Alice Matzdorff | p. 13 Museum Collection 478, © photo: Hans Hansen | p. 14 top: Peter Voigt Archive 326, © Jutta Voigt; bottom, photo: Maximilian Merz | pp. 16–17 Museum Collection 399, © photo: Hans Hansen | pp. 18, 20 © photo: Roman März | p. 22 © VG Bild-Kunst, Bonn, 2018, photos: Bertram Kober | p. 24 © archiv stefan moses, photo: Stefan Moses | p. 25 Audiovisual Media Collection, AVM-30 1502, © photo: Hans Hansen | p. 26 © photo: Roman März | p. 27 Helene Weigel Archive 750, photo: anonymous | pp. 28–29 Museum Collection Manthey K 84, © Alexander Lintl, photo: Hans Hansen | p. 30 Christa Wolf Archive 97 © photo:Helga Paris | p. 31 Christa Wolf Archive 816, © Gerhard Wolf | p. 34 Rolf Becker Archive 9, © photo: Günther Vierow | p. 35 Rolf Becker Archive 10, © photo: Günther Vierow | p. 36 Gerhard Bohner Archive 346, © Erbengemein schaft Gerhard Bohner | p. 37 Historical Archives, AdK-W 1749, © Erbengemein schaft Gerhard Bohner, drawing: Ulrike Dietrich | p. 38 performance docu mentation 919 © photo: Maria Steinfeldt | p. 39 top: Maria-Steinfeldt-Archiv 41, © photo: Maria Steinfeldt; bottom: performance documentation 919, © Jenny Erpenbeck | p. 40 © Volksbühne, photo: Roman März | p. 41 © photos: Roman März | p. 42 Artur Schnabel Archive 1335, © photo: Roman März | p. 43 top: Artur Schnabel Archive 1182, bottom: Artur Schnabel Archive 686, photos: anonymous | p. 44 © photo: Roman März | p. 46 Carl Einstein Archive 244 | p. 47 © photo: Maximilian Merz | pp. 48–49 © The Metropolitan Museum of Art, New York (Gift of Harry G. Friedman, 1960), Inv.No. 60.708.157 | p. 50 top left: Die Insel 1, top right: Die Insel 2, bottom: Die Insel 1, © photos: Roman März | p. 51 top: Die Insel 3, bottom left: Die Insel 5, © Foto-Jeidels, Berlin; bottom right: Die Insel 3 | p. 52 Hans Scharoun Archive, portfolio 4.3.17 © photos: Roman März | p. 53 Autograph Catalogue 606, J. A. Stargardt auction on 2–3 Dec. 1975, Marburg, pp. 82, 83 | pp. 54–55 Walter Benjamin Archive 397, © Hamburger Stiftung zur Förderung von Wissenschaft und Kultur | p. 56 Deutsche Kinemathek 435881-D, © Deutsche Kinemathek – Museum für Film und Fernsehen, photo: Daniel Meiller | p. 57 Deutsche Kinemathek 435881-D | p. 58 Bernd Alois Zimmermann Archive 1101, © Bettina Zimmermann | p. 59 Bernd Alois Zimmermann Archive 859, © photo: Sabine Zimmermann | p. 60 Art Collection DR 7570 | p. 61 top left: Historical Archives, PrAdk 185, Bl. (folio) 45, right: Historical Archives, PrAdk 185, Bl. (folio) 69, © photo: Roman März | pp. 62–63 Gret Palucca Archive 3758, © photo: Hans Hansen | pp. 64–65 Estate Libraries (EL): EL G. Wolf 183, © Helge Leiberg; EL Papenfuß 155, © Edition Lükk Nösens, Florian Günther; EL Tucholsky 52, © VG Bild-Kunst, Bonn, 2018; EL Heissenbüttel 678, © Hubertus Gojowczyk; EL Dessau 2.74.984, © Maxim Dessau; EL Jacobi 87; EL Leitner 901, © Centre
IMPRINT Dürrenmatt Neuchâtel/ Switzerland; EL Hildesheimer 730, © May WidmerPerrenoud | p. 66 EL hm HB 1254, © With the kind permission of the Thomas Mann Community of Heirs and S. Fischer Verlag GmbH, Frankfurt am Main | p. 67 top right: Arnold Zweig Archive 5, photo: anonymous; bottom: EL B. Zweig 1, © Aufbau Verlag GmbH & Co. KG, Berlin, photo: Roman März | p. 68 Art Collection JH 2653, © The Heartfield Community of Heirs / VG Bild-Kunst, Bonn, 2018 photo: Roman März | p. 69 © Alton H. Blackington Collection (PH 061). Special Collections and University Archives, University of Massachusetts Amherst Libraries | pp. 70–71 Historical Archives, AdK-O 9052, © photo: Hans Hansen | p. 72 Heinrich Mann Collection 8784, © All rights reserved to the S. Fischer Verlag GmbH, Frankfurt am Main, photo: Roman März | p. 74 Anna Seghers Archive S 94, © photo: Roman März | p. 75 top: Anna Seghers Archive 3440; bottom: Anna Seghers Archive 1186, photos: anonymous | p. 76 Paul Dessau Archive 1.74.1477, © Maxim Dessau | p. 77 Paul Dessau Archive 2168 | pp. 78–79 Museum Collection Beltz K7, © Christiane Meyer-Thoss, photo: Hans Hansen | p. 80 Walter Benjamin Archive, Ms 2189, © Hamburger Stiftung zur Förderung von Wissenschaft und Kultur | p. 81 http://d-nb.info/gnd/118514768 | pp. 82–83 Art Collection MA 256, © photos: Roman März | p. 84 top: © Hamish Fulton, photo: Anne Schönharting, OSTKREUZ; bottom: Wulf Herzogenrath Guestbook 27, p. 40 © Hamish Fulton / private collection of Wulf Herzogenrath | p. 86 Museum Collection Z/IV/193/I, © photo: Hans Hansen | pp. 87–88 © photos: Corinna Hadeler | p. 89 © VG Bild-Kunst, Bonn, 2018, photo: Hans Hansen The objects depicted here are from the Archives of the Akademie der Künste.
Journal der Künste. Special Issue: The Archives Issue no. 8, December 2018 English Edition Print run: 1,000 ISSN 2510-5221 © 2018, Akademie der Künste, Berlin and the authors © for works of art with the artists © VG Bild-Kunst, Bonn, 2018, for the works of Lutz Dammbeck, Klaus Staeck © Estate of George Grosz, Princeton, NJ / VG Bild-Kunst, Bonn, 2018, for the works by George Grosz © The Heartfield Community of Heirs / VG Bild-Kunst, Bonn, 2018, for the works by John Heartfield Concept and Editor-in-Chief Werner Heegewaldt Editorial Team Julia Bernhard, Werner Heegewaldt, Myriam Hilmes, Anneka Metzger, Sabine Wolf Editors (German Edition) Julia Bernhard, Carsten Wurm Photo Editing and Research Myriam Hilmes English Translations James Bell, Cressida Joyce Editor of the English Edition Wendy Wallis Design Heimann + Schwantes, Berlin www.heimannundschwantes.de Lithography Prints Professional, Berlin Printing Druckerei Conrad GmbH, Berlin Publication date: 21 December 2018
The lexical definitions for the Archive Glossary (here in translation) have been taken from the following source: Frankfurt University Library, Frankfurt am Main https://www.ub.uni-frankfurt. de/archive/glossar.html We would like to thank all copyright holders for their kind approval to publish the works depicted here. If, despite intensive research, a copyright holder has not been properly included, claims can be made within the scope of valid copyright laws.
We would like to thank the members of the Akademie, the archive staff, the authors and the Gesellschaft der Freunde, who made this issue of the Journal der Künste possible. With the kind support of the Gesellschaft der Freunde der Akademie der Künste
Akademie der Künste Pariser Platz 4 10117 Berlin T +49 30 200 57–1000 info@adk.de www.adk.de akademiederkuenste
Funded by