One could argue that no one defined the face of “Berlin – Capital of the German Democratic Republic” more than visual artist Walter Womacka (1925 – 2010). A favourite of GDR leader Walter Ulbricht during the mid- to late-1960s during which East Berlin received much of its socialist makeover, Womacka was a key protagonist in the GDR’s “Kunst am Bau” (literally “art on building”) movement. This sought to ideologically mark East German cityscapes through large-scale, agit-prop artworks and Womacka’s creations graced a number of prominent buildings in the East German capital.
Eastern side of Walter Womacka’s 1964 mosaic “Our Life” on Berlin’s House of Teachers building (photo: M. Bomke).
Interestingly, more 28 years after the fall of the Wall, many of Womacka’s works remain intact and have even found a place in the iconography of present day Berlin. Given the ideologically charged debates around the legacy of much GDR-commissioned public art in the years following German unification in 1990, this was by no means a certainty. I think the reason for this lies in the way Womacka combined the aesthetic language of socialist realism with elements of folk art, an approach which allows many viewers to overlook the overtly propagandistic of much of his public art. Read More
First-day issue postcard from Deutsche Post in honour of Reformation-era revolutionary “Thomas Müntzer” with an excerpt from Werner Tübke’s masterpiece, Early Bourgeois Revolution in Germany, as found in the Panorama Museum, Bad Frankenhausen.
From the outside, it looks like nothing so much an 80s-era sports arena that has been placed quixotically atop a small mountain in the Thuringian countryside. However, the Panorama Museum in Bad Frankenhausen is in fact one of the few manifestations of GDR cultural policy to have survived the transition to a unified Germany essentially intact. The museum houses one item, a massive panorama-style painting by East German painter Werner Tübke which bears the name Early Bourgeois Revolution in Germany (Frühbürgerliche Revolution in Deutschland). Measuring 123 m in length by 14 m high, this monumental work includes scenes from the German Peasants’ War, a series of uprisings that took place across German-speaking Central Europe between 1524 and 1526 and which leaders of the Socialist Unity Party (SED) were eager to present as an historical antecedent to their “Workers and Peasants’ State”. Indeed the clear ideological intent with which the Panorama Museum was created makes its continued existence all the more remarkable.
Panorama Museum above Bad Frankenhausen (Goertz Verlag, 1985).
An East German postcard from 1971 of the reconstructed Ermeler House (pale yellow building at right) (Bild und Heimat)
Despite the destruction caused during World War II, post-war Berlin was dotted with notable structures that had miraculously survived the fighting. In East Berlin this architectural legacy posed a challenge that the rulers of the “first socialist state on German soil” would have been happy to have done without, keen as they were to put a “socialist” stamp on their new capital (e.g. see the Stalinallee project). In a few high profile cases, the decision was made to remove “ideologically unsuitable” buildings. The best known example of this approach was the destruction of the Hohenzollern City Palace in 1950 (the Palace of the Republic would later stand on this spot). In other instances, authorities took a more pragmatic approach, deciding to make use of facilities “tainted” by their previous associations. A good example here would be the House of Ministries, a massive complex in central Berlin that had been built for Hermann Göring’s Aviation Ministry. East German leaders turned into a major administrative centre and in fact it was in one of its ballrooms that the GDR was formally brought into existence during a ceremony on October 7, 1949.
Another interesting, albeit lower profile, illustration of how GDR authorities dealt with the architectural legacy they had been bequeathed is found in the case of Ermeler House, the subject of this post. Read More
In 2008 I had the pleasure of working with Dr. Marcus Funck, my friend and colleague from the Canadian Centre for German and European Studies to lead a study tour of Canadian graduate students to the former-East. The central theme of our trip was transformation and one of our aims was to expose the group to what this process had been like not only in the major cities such as Berlin, Leipzig and Dresden, but in smaller centres as well. Given the way in which Eisenhüttenstadt had been connected to the old regime, we were confident that including it in the itinerary would be useful and I’m pleased to say that we were not disappointed.
Children are our future: Stained glass from 1950s by Walter Womacka in former daycare centre (photo: author).
Until a few years ago, I could tell my stories about Eisenhüttenstadt and 99% of people wouldn’t know what the hell I was talking about. Then Tom Hanks went and ruined it. After the actor’s 2011 visit, and subsequent storytelling of it on the Letterman Show, “Iron Hut City” now occupies a tiny space in the popular consciousness and even the local tourism board has gotten into the action creating an unintentionally amusing video that uses Hanks’ visit as a jumping off point to lure visitors to eastern Brandenburg, an endeavour likely to bear little fruit.
Which is not to denigrate Eisenhüttenstadt. While it may have little to attract the average tourist, those with a passion for architecture, city planning and East German history will find much to explore. Over the years, I have the opportunity to visit “Hütte” four times and In this week’s post I’ll give a bit of background on the city history and share my experiences exploring the German Democratic Republic’s first “socialist city”.
1987 photo of Eisenhüttenstadt’s main street, Leninallee, which leads to the city’s steel mill (photo: Peukert).