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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

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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).

Children are our future: Stained glass from 1950s by Walter Womacka in former daycare centre (photo: author).

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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).

1987 photo of Eisenhüttenstadt’s main street, Leninallee, which leads to the city’s steel mill (photo: Peukert).

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During the first decades of the Cold War, space was one of the primary battle fields of the Cold War. When the Soviets managed to launch Sputnik 1, an artificial Earth satellite, on October 4, 1957, it caught the world, especially the United States (see CBS News Report below), by surprise and marked the opening salvo of the Space Race. In the years that followed, the two super powers worked feverishly to eclipse one another, but when the Soviets were able to successfully to send the first man into space three and a half years later (Juri Gagarin on April 12, 1961), one would have been excused for thinking that the race had been run with the Reds taking the gold.

During these years, the race to space captivated populaces of both super powers and their allies and the GDR was no exception. As was the case elsewhere in the Eastern Bloc, the Soviet space program was used to underscore the validity of Communism’s science-based ideology and paeans to the ingenuity and resourcefulness of Soviet cosmonauts and space engineers were ubiquitous in the GDR press and arts.

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