Designed by the visionary architect Ludwig Mies van der Rohe, the Neue Nationalgalerie has stood as a symbol for Classical Modernism since its opening in 1968. With clean lines, a pillar-free main hall, and an impressive glass facade, it's a place where the past and future of artistic expression converge.
Yet, not only the building itself, but also its genesis is noteworthy. Mies van der Rohe realized a fusion of his artistic visions in the Neue Nationalgalerie. Supported by his friend Frei Otto and his grandson Dirk Lohan, an architectural icon was born, anchoring the spirit of modernism in the German capital.
Despite the modernity of the building, Mies' respect and admiration for classical architecture cannot be denied. He transformed the concept of the ancient podium temple into a contemporary interpretation, seamlessly integrating it into Berlin's architectural tradition shaped by Karl Friedrich Schinkel and his school.
The gallery's interiors are as impressive as its external architecture. Visitors are welcomed by the light-filled main hall, characterized by furniture from the Barcelona chair collection and the light strips of Jenny Holzer's light installation. The lower-level rooms, housing the permanent exhibition, open to a picturesque sculpture garden, connecting both art and nature.
The Neue Nationalgalerie not only serves as an exhibition space for impressive artworks but also as an inspiration for contemporary artists. Many have felt challenged by the uniqueness of the space, exploring and interpreting Mies's universal space through installations and interventions.
Anchored in its historical dimension, the Neue Nationalgalerie continues the art tradition that once began in the Crown Prince's Palace and was tragically interrupted by the act of "Degenerate Art". Yet, despite historical upheavals, the gallery has continually reinvented itself, today standing as a guardian of 20th-century art.
With the upcoming addition of the Museum of the 20th Century in 2026, the Culture Forum will be further strengthened, with the Neue Nationalgalerie continuing to shine as a prime example of the fusion of art and architecture in the modern world.
In this sense, the Neue Nationalgalerie proves itself not just as a museum but also as a vibrant homage to the unyielding power of art and its ability to endure through times and trends.
"BETWEEN SHOWING AND NOT SHOWING": THE GERHARD RICHTER RETROSPECTIVE AT THE NEUE NATIONALGALERIE BERLIN
From April 1, 2023 to 2026, the Neue Nationalgalerie presents a collection that captivates the world of art and simultaneously encourages profound reflection. The exhibition "Gerhard Richter. 100 Works for Berlin" brings the artist's oeuvre to life and highlights his impressive career spanning more than six decades.
At the heart of the exhibition in the Graphic Cabinet stands the four-part, large-format cycle "Birkenau" (2014). It is a work that emerges from Richter's intense and profound engagement with the Holocaust and its representability. A piece that oscillates between the poles of showing and not showing, it creates a reflective surface for the incomprehensible.
Examining the impressive collection of over 90 other works, the artist's journey through various creative phases since the 1980s becomes evident. From “Besetztes Haus” ("Occupied House", 1989) to “4900 Farben” ("4900 Colors", 2007) to "Strip" (2013/2016) – each piece carries Richter's unmistakable style and reflects his continuous contemplation of art and its boundaries.
WHERE PHOTOGRAPHY BLURS INTO ART
The „Übermalte Fotografien“ portfolio ("Overpainted Photographs"), created since 1986, uniquely showcases the interaction between photography and painting, reality and interpretation. They are works that focus on the everyday, only to then alienate and redesign it.
Richter, born in 1932 in Dresden, repeatedly questioned how art is possible after the atrocities of the Holocaust and the Nazi terror regime. In doing so, he consistently referred to German history and his own family history. Works like “Tante Marianne” ("Aunt Marianne"), “Onkel Rudi” ("Uncle Rudi"), and “Herr Hyde” ("Mr. Heyde", 1965) are silent witnesses of this inner struggle.
Since the 1960s, Richter's work is characterized by the tension between abstraction and figuration, between photography and painting. In works like “Schwarz-Rot-Gold” ("Black-Red-Gold", 1999) or “Schädel” ("Skull", 1983), he creates monuments of reflection, testimonies of the past that also represent a vision for the future.
Yet, the most impressive work remains the "Birkenau" cycle. The photographs from the Auschwitz-Birkenau concentration camp, secretly taken by Jewish prisoners, served as templates. The translation of these motifs, abstraction and overpainting, creates art that approaches the unfathomable without concretely depicting it.
Under the direction of curators Maike Steinkamp and Joachim Jäger, this magnificent retrospective was created, captivating visitors across nearly 500 square meters. The exhibition is not only a tribute to Richter's work but also a reflection on the role of art in our society.
