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<\/a><\/a>Reaching out into the surrounding space in the center of Hansaplatz, the abstract metal sculpture by Hans Uhlmann provides an understated artistic center to the vast square largely undefined by architecture. The untitled metal sculpture, partly polished, partly chrome-plated, is reminiscent of atoms and alludes to a topical socio-political theme at that time. In its permeability and openness, the sculpture also reflects characteristics of the new Hansaviertel. Uhlmann was commissioned following an international sculpture competition that was announced in spring 1957 and judged in September of the same year (1)<\/a><\/span>, while another international competition for Interbau<\/em> decided upon Fritz Winter from Diessen am Ammersee. (2)<\/a><\/span> His glass mosaic on the connecting wall between Hansaplatz subway station and the Hansa Library depicts non-figural patches of color and linear configurations evocative of a landscape, thereby fitting in with the open architecture of the library by Werner D\u00fcttmann and its park-like surroundings. In this artwork, Winter\u2019s apprenticeship at the Bauhaus in Dessau is apparent, as is the influence of his teachers Paul Klee, Wassily Kandinsky and Oskar Schlemmer. In the inner courtyard of the library, Bernhard Heiliger\u2019s \u2018Vegetative 1\u2019, with its biomorphic shapes, mediates between the right-angular architecture of Werner D\u00fcttmann and the abundant floral shapes of the garden design.<\/p>\n Alongside these abstract works, major figurative sculptures also appear in the Hansaviertel. In front of the slab high-rise by the Brazilian architect Oskar Niemeyer sits the bronze \u2018Reclining Figure\u2019 (1958) by fellow Brazilian Alfredo Ceschiatti, a sculptor who worked in close cooperation with Niemeyer. With this work, Ceschiatti incorporated classical compositions: the female figure lying on her side, supported by her lower arm and covered only by a cloth over her lower legs, rests contemplatively on a concrete base and turns towards the Niemeyer-Haus. Another \u2018Reclining Figure\u2019 (1956) was placed in the entrance area of the Academie der K\u00fcnste. In this bronze by the British artist Henry Moore, a woman is lying on her side supported by her lower arm, just like the previous sculpture, but her body is much more abstract than Ceschiatti\u2019s design. The artist worked with deformations and openings, which essentially continue the shape and give the female figure a certain vulnerability.<\/p>\n The choice of artists and artworks for the Hansaviertel reflects the wide range of styles of western modernism in the 1950s. Abstract artworks like those by Uhlmann, Winter and Heiliger stand alongside the more figurative depictions by Moore and Ceschiatti. They also reflect a contemporaneous debate, in which the expressiveness of modern art was called into question, above all by Hans Sedlmayr, who worried that modern art wasn\u2019t capable of depicting, or didn\u2019t even want to depict, \u201can undeformed human image\u201d. (3)<\/a><\/span>\u00a0As a counterbalance and in defence of non-representational art, several groups of artists were formed, one such being ZEN 49. Initially called the Group of the Non-Objectivists and founded in 1949\u201350 by Fritz Winter and six other artists, the group promoted their art in several exhibitions. The wide range of artists represented in the Hansaviertel can also be understood as a reaction to the state decreed \u201csocialist realism\u201d of the GDR, which called for a strict verisimilitude, mostly in celebration of workers and peasants, and which excluded abstract and purely aesthetic art.<\/p>\n Dr. Sandra Wagner-Conzelmann<\/p>\n <\/p>\n Altonaer Stra\u00dfe\/Bartningallee<\/em> GRIPS-Theater am Hansaplatz<\/em> Catholic Church of St. Ansgar, Altonaer Stra\u00dfe Outer wall of the U-Bahn station Hansaplatz, southern exit U-Bahn station Hansaplatz, southern exit door Hansab\u00fccherei, courtyard, Altonaer Stra\u00dfe 15 Platz der Morgenr\u00f6te (Square of the dawn), in front of the Schwedenhaus Klopstockstra\u00dfe 14\u201318, in the area of the entrances H\u00e4ndelallee, southern green area Kaiser-Friedrich Memorial Church, H\u00e4ndelallee Altonaer Stra\u00dfe 1<\/em><\/p>\n \u201c<\/strong>Plastic\u201d<\/strong>, 1978, 0.5 x 2.4 m, Kurt lngendahl \u201c<\/strong>Water staircase\u201d<\/strong>, 1.4 x 1.6 m, Holger Uhrig \u201c<\/strong>Violet\u201d<\/strong>, 1957, 0.9 x 1.7 m, Fritz Reuter Altonaer Stra\u00dfe 4\u201314 Hanseatenweg 10, in front of the Academy of the Arts Moabiter Br\u00fccke, between Bartningallee and Kirchstra\u00dfe Platform S-Bahn station Bellevue Kleiner See (Englischer Garten), shore Cuxhavener Stra\u00dfe 14 Altonaer Stra\u00dfe 26, in front of the Gymnasium Tiergarten The Hand was the \u201cbackdrop\u201d in a 1983 music video by the group Depeche Mode (Minute 3.15) Promenade, east of the Hansabr\u00fccke bridge Altonaer Stra\u00dfe 26, Grammar School Tiergarten On the banks of the Spree, entrance of the Hansa primary school Pillar of Hansabr\u00fccke, shore of the Bundesratufer Levetzow Stra\u00dfe 7\u20138 Siegmunds Hof, Wullenwebersteg The selection of artists and works of art reflects the wide range of styles of western modernism in the 1950s.<\/p>\n","protected":false},"author":2,"featured_media":7440,"parent":5434,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"class_list":{"0":"post-6188","1":"page","2":"type-page","3":"status-publish","4":"has-post-thumbnail","6":"entry"},"_links":{"self":[{"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/pages\/6188","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/comments?post=6188"}],"version-history":[{"count":21,"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/pages\/6188\/revisions"}],"predecessor-version":[{"id":9438,"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/pages\/6188\/revisions\/9438"}],"up":[{"embeddable":true,"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/pages\/5434"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/media\/7440"}],"wp:attachment":[{"href":"https:\/\/hansaviertel.berlin\/en\/wp-json\/wp\/v2\/media?parent=6188"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nThe works of art in the Hansaviertel<\/h3>\n
\n<\/a>01 \/ Untitled sculpture, 1958, chrome\/nickel\/steel, approx. 5.0 x 6.0 m, Hans Uhlmann<\/h6>\n
\nThe profiles, rods and spheres of this non-representational sculpture are bundled together on the one hand, but on the other hand radiate upwards. The harmonious Balance of the work corresponded entirely to the basic idea of the new Hansaviertel and was the hallmark of Interbau 1957. Uhlmann received first prize in the lnterbau sculpture competition.<\/p>\n
\n<\/a>02 \/ GRIPS wall picture, 1975, tiles, cold painting, 145 qm, Rainer Hachfeld<\/h6>\n
\nThe mural symbolizes the work of the theatre for young people. It was sponsored by the former Federal President, Gustav Heinemann, up to the stage worker in a solidarity fundraising campaign. Everyone could purchase at least one square metre. The restoration in 1996 was also made possible in the same way.<\/p>\n
\n<\/a>03 \/ Twelve reliefs on three doors, 1957, each 1.6 x 2.3 m, Ludwig Gabriel Schrieber<\/h6>\n
\n<\/em>The copper reliefs show individual scenes from the life of St. Ansgar.
\nWorks inside the church: Crucifixion, floor lamp, baptismal font, Ludwig Gabriel Schrieber; Way of the Cross, Tabernacle, Ludwig Peter Kowalski; Madonna, Wood, Johannes Dumanski; St. Anthony, Wood, Paul Baumgarten; St. Ansgar, Bronze, Simon Schrieber<\/p>\n
\n<\/a>04 \/ Mural (untitled), 1958, mostly glass mosaic, 9.8 x 2.6 m, Fritz Winter<\/h6>\n
\n<\/em>Fritz Winter, one of the most prominent artists of the post-war period, designed the mural in its original size on cardboard. The execution was done by August Wagner of the Vereinigte Werkst\u00e4tten, Berlin-Neuk\u00f6lln. The abstract mosaic with its strong colour areas and contrasting black lines signals the spirit of optimism of the time. In 1958 Fritz Winter was awarded the Berlin Art Prize.<\/p>\n
\n<\/a><\/a>05 \/ Window of remembrance, 2014, glass pane inscribed, 2.0 x 0.86 m
\nKatja van Dyck-Taras (Research of the names Tatjana Ruge)<\/h6>\n
\n<\/em>The window of remembrance lists 1030 names of Jews who were once fellow citizens of the old Hansaviertel and who were expelled, deported and murdered between 1942 and 1944. The names are written in upper and lower case without spaces to symbolize the unworthy de-individualization of the Jewish population by the henchmen of the National Socialists. They are deliberately located on a glass pane in the door area of the exit, which has become functionless and which many people pass by every day and become aware of. A piece of memory culture without a raised index finger.<\/p>\n
\n<\/a>06 \/ Vegetative, 1957, bronze, 2,5 x 1,5 m, Bernhard Heiliger<\/h6>\n
\n<\/em>The forms of the sculpture swinging towards the light respond to the neighboring plants and at the same time emphasize the meditative character of the atrium of the library, which invites one to linger.<\/p>\n
\n<\/a>07 \/ Morning twilight No. 1, 1957, lacquered steel, 3,8 m, Berto Lardera<\/h6>\n
\n<\/em>The sheet steel sculpture appears light due to its low material thickness. The brown and black painted forms, some with cut-outs, are inserted into each other and shifted against each other. They offer an attractive view of the surrounding nature and architecture from all sides. Berto Lardera was one of Europe’s most important artists at the time.<\/p>\n
\n<\/a><\/a>08 \/ Two murals, in relief, 1957 (?); mixed media, 2,7 x 4,0 m and 2,8 x 6,0 m, artist unknown<\/h6>\n
\n<\/em>The two dynamic murals stand in a dialogical contrast with Pierre Vago\u2019s clear, light architecture. One, slightly smaller, mural shows an aspiring sculpture in front of a vibrant colour surface. The slightly larger one on the other side of the building is abstract with surreal echoes, integrating snail and stone elements.<\/p>\n
\n<\/a>09 \/ Graefe monument, 1970, stainless steel, 3 m, Edzard Hobbing<\/h6>\n
\n<\/em>The monument to the founder of modern ophthalmology, Albrecht von Graefe (1828\u20131870), stands approximately on the site of his former summer house. The slightly curved cuboid with the relief of an eye was donated and erected on the 100th anniversary of the death of Albrecht von Graefe by the association \u201cDeutsche Augen\u00e4rzte\u201d (German Ophthalmologists).<\/p>\n
\n<\/a>10 \/ Relief on the middle door, 1957, 1,5 x 2,1 m, Gerhard Marcks<\/h6>\n
\n<\/em>The aluminium relief shows St. Georg fighting with the dragon.
\nWorks inside the church: Window, Georg Meistermann; altar wall mosaics, Ludwig Lemmer and Hans Wagner; pulpit back wall, Hans Stocker; side wall and gallery, Charles Crodel; baptismal font, Walter R\u00f6sler; apse window, Heinz Tr\u00f6kes; three round windows, Ludwig Peter Kowalski; crucifixion group in the adjoining room, Willy Fries.<\/p>\n
\n<\/a><\/a><\/a>11 \/ Three sculptures, eternit, Eternit house<\/h6>\n
\n<\/strong>Park side of the Eternit-Haus<\/em><\/p>\n
\n<\/strong>on the left in front of the house;<\/em><\/p>\n
\n<\/strong>to the right of the house
\n<\/em>The three works are made of the then new building material \u201cEternit\u201d. They show the three artists\u2019 joy in experimenting with the material, which was still untested at the time, but which has not proven itself in the long run.<\/p>\n
\n<\/a>12 \/ Reclining figure, 1958, bronze on a concrete pedestal, 0,5 x 1,4 x 0,4 m, Alfredo Ceschiatti<\/h6>\n
\n<\/em>Female nude on a pedestal that reproduces a bed of rest. The sculpture and its vegetable environment refer to the close connection between the built and the grown of the Hansaviertel.<\/p>\n
\n<\/a>13 \/ Reclining figure, 1956, bronze, 1,0 x 2,2 x 0,9 m, Henry Moore<\/h6>\n
\n<\/em>The figure of a lying woman made of polished bronze on a concrete pebble pedestal like the academy facade is fitted into the staircase. It is formally related to the elongated entrance area of the building. Henry Moore was one of the great European sculptors of his time. In the garden and courtyard of the academy there are further sculptures by Bernhard Heiliger, Erich Hauser and Fritz K\u00f6nig.<\/p>\n
\n<\/a>14 \/ Four bears, 1981, cast iron, ca. 2 x 2 m, G\u00fcnter Anlauf<\/h6>\n
\n<\/em>A stylized bear, partly in mirror image on the four corner pillars of the bridge, replaces the four bears that were created around 1894 by the artists Begas, Boese, G\u00f6tz and Piper, who were well-known at the time, but melted down in the Second World War.<\/p>\n
\n<\/a>15 \/ Belle Vue, 1997, silkscreen on glass, size of the station windows, Veronika Kellndorfer<\/h6>\n
\n<\/em>Seven window openings of the S-Bahn station are filled with several printed glass panels. They show photos of a curtain in the house of the \u201cDeutscher Metallarbeiter Verband\u201d, erected in 1929\/30 by Erich Mendelsohn. The view through these windows is also intended to recall the important architectural monument in Kreuzberg.<\/p>\n
\n<\/a>16 \/ Silverfish, 1960, marble, 1.3 m long, Alfred Trenkel<\/h6>\n
\n<\/em>The stylized fish in its simple, appealing form rests directly on the shore of the \u201cKleiner See\u201d (small lake) in the English Garden. In summer it is partly covered by vegetation.<\/p>\n
\n<\/a>17 \/ Rod + washer 2, 1989, 10 m high, stainless steel, Ralf Lieberknecht<\/h6>\n
\n<\/em>The elegant, kinetic sculpture changes its shape and view even with a slight movement of the air. It makes it clear that nothing in the world is static.<\/p>\n
\n<\/a>18 \/ Hand with clock, 1975, nickel silver, height 5,50 m, Joachim Schmettau<\/h6>\n
\n<\/em>A monumental hand with a modern, digital wristwatch comprises a cube in slight rotation on an offset pedestal. This visually translates the word \u201ccomprehend\u201d. In the second half of the last century, Joachim Schmettau created several major works in the city, including the fountain in front of the Europacenter.<\/p>\n
\nWatch video on Youtube<\/a><\/p>\n
\n<\/a>19 \/ Boatman fountain (Schifferbrunnen), 1914, sandstone, 2,5 x 1,5 m, Hermann Hosaeus<\/h6>\n
\n<\/em>The former fountain is reminiscent of the shipping trade on the Spree. A singing skipper with accordion sits on a high pedestal with four frogs that seem to give an ironic commentary on the boy\u2019s singing skills. They used to irrigate the fountain.<\/p>\n
\n<\/a>20 \/ Athletes, 1982, plastic plate figures, painted, life-size, Ulrike Hogrebe<\/h6>\n
\n<\/em>On the four outer walls of the school gym, athletes can be seen in action like a group of runners, a long jumper, a javelin thrower and a high jumper.<\/p>\n
\n<\/a>21 \/ The first flight, 1957, glazed clinker clay, 1.8 x 3.1 m, Otto Douglas Hill<\/h6>\n
\n<\/em>The sculpture made of multicoloured glazed clinker material represents the flight attempt of a young sea eagle. It symbolizes the children’s first steps into the public space of the school.<\/p>\n
\n<\/a>22 \/ Hansekogge (Hanse cog), ca. 1910, stone relief, 3,5 x 2,5 m, Waller Schmarje<\/h6>\n
\n<\/em>The relief of the Hansekogge is a relic of the old Hanseatic quarter and was originally located at the bridge house at the eastern bridge entrance, the office and apartment of the bridge keeper, which was destroyed in the Second World War.<\/p>\n
\n<\/a>23 \/ Memorial, 1988, corten steel, marble, multi-part, J\u00fcrgen Wenzel, Theseus Bappert; Commemorative Plaque 1960, corten steel, Peter Herbich<\/h6>\n
\n<\/em>The Huge Memorial, a stylized freight wagon in original size, loaded with marble blocks indicating \u201chuman freight\u201d, and an oversized plaque with data recalls the deportations of Berlin Jews. This was once one of Berlin\u2019s largest synagogues with 2000 seats. From 1941 onwards, the National Socialists used the synagogue building as a collection point for the transport of Jews.<\/p>\n
\n<\/a>24 \/ Memory, 1986, corten steel, approx. 2.6 x 1.8 m, Georg Seibert<\/h6>\n
\n<\/em>A memorial in memory of the synagogue community \u201cAdass Yisroel\u201d. Steel elements in a row with recesses reminiscent of a Hanukkah chandelier. Inscriptions in Hebrew, German and English on the associated inscription plate, also made of steel, approx. 2.2 x 1.6 m. The artist deliberately chose the heavy, durable material to show that Judaism has not been forgotten and lives in defiance of all persecutions.<\/p>\n
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