Vending Machine Art

Handmade, for our Art Vending Machine

A man in front of a vending machine

Jens Eisenberg (company Leitwerk) fills our art vending machine.
© Jewish Museum Berlin, photo: Gelia Eisert

Anyone who walks through the first floor of our permanent exhibition has inevitably stumbled across our ‘art vending machine.’ The machine almost seems to be whispering, in two languages, “Kauf mich, buy me.” Labels gleam colorfully from the compartments but you won’t notice more than that at first. If you get curious, though, and come closer, you will read the inscription, “Kunst / Art” in big typeface, and along the vending machine’s side, “60 x art by Jewish artists in Berlin.” Now you notice the coin slots, where you can put in your 4 euros.

With the right change in your pocket and a little audacity, you can start the experiment.  continue reading


Searching for the New Germans

A Visit to the Academy’s Reading Room

Why do we keep books like Muslime im säkularen Rechtsstaat (Muslims in Secular Rule of Law), Diaspora Identities, or z.B. 650 Jahre Rixdorf (E.g. 650 Years of Rixdorf) at the Jewish Museum? Answering this question is the task of the Academy Programs on Migration and Diversity. How to find these books, however, falls to the library.

A reading room visitor gets advice from the librarian at the information desk.

Reading room of the Jewish Museum Berlin’s library
© Jewish Museum Berlin, photo: Mirjam Bitter

Imagine that you want to learn about social structures, clubs, and immigrant biographies in Berlin, particularly in Kreuzberg, to which you yourself moved from Hesse two years ago. After visiting the museum one fine Sunday afternoon, you take a look at the new Academy, where, you heard, a friend of yours recently attended an event about the ‘new Germans.’ The Academy is closed on the weekend, but a museum host informs you that it has a library. You return on Monday and ask in the reading room about Turks in Kreuzberg. The librarian would love just to tell you, “second shelf on the left, all the way to the back – what you’re looking for is right there.” Unfortunately, it’s not quite that simple.  continue reading


Musical Discoveries and a Family of Artists between Jerusalem and Berlin

An Interview with Elena Bashkirova

From 7 to 11 May, we will host a chamber music festival in the museum’s Glass Courtyard. Katharina Schmidt-Narischkin and Sylvia Winkler of our press office spoke in advance with the festival’s director Elena Bashkirova.

Press office JMB: As festival director, what themes have you chosen to emphasize this year?

A laughing woman sitting at a piano

Elena Bashkirova, festival director and pianist
© Monika Rittershaus

Elena Bashkirova: Our themes have been determined this year by two anniversaries: on the one hand, the start of the First World War 100 years ago and its impact on music; on the other hand, the 150th birthday of Richard Strauss. Both anniversaries augur a varied program for “intonations”: 1914 saw an astonishing richness of musical styles, which our concerts will reflect. And Strauss composed chamber music nearly his entire life, so I have a wide range of pieces and genres to choose from.

Every year at “intonations,” chamber music classics can be heard together with unknown works. What composers should visitors expect to discover in this third season?

portrait David Coleman

David Robert Coleman, composer and conductor © private

Rudi Stephan was an extraordinary discovery for me. I heard Music for Orchestra and Violin a few years ago here in Berlin. I was impressed and deeply touched by it. As I was putting together the programs for “intonations,” I found his gorgeous chamber music and was delighted to have the chance to present it here with my colleagues. Rudi Stephan died in the war when he was 28. Given his talent, he would otherwise have certainly provided us with more outstanding music.

There will also be another world premiere: the fourth concert, on Saturday 10 May, will open with David Coleman’s “Three pieces for clarinet and piano.” Another significant composer this year will be Karol Szymanowski. He has his own tonal language, writing hauntingly beautiful music that unfortunately is played much too seldom.  continue reading