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DTSTART;VALUE=DATE:20250126
DTEND;VALUE=DATE:20250526
DTSTAMP:20260502T001511
CREATED:20241122T200714Z
LAST-MODIFIED:20251121T160133Z
UID:8596-1737849600-1748217599@fritzaschersociety.org
SUMMARY:SURVIVAL AND INTIMATIONS OF IMMORTALITY:The Arts of Alice Lok Cahana\, Rabbi Ronnie Cahana and Kitra CahanaOregon Jewish Museum and Center for Holocaust Education\, Portland\, Oregon
DESCRIPTION:Survival and Intimations of Immortality: The Art of Alice Lok Cahana\, Rabbi Ronnie Cahana\, and Kitra Cahana is a unique and powerful exhibition that explores the role of art and creativity\, bringing the past into the present by focusing on three generations of artists from the same family. Alice Lok Cahana (1929-2017) was a Holocaust survivor who pledged she would become an artist if she survived the war. Rabbi Ronnie Cahana\, Alice’s oldest son\, is a poet and survivor of a major stroke. Kitra Cahana\, Ronnie’s daughter\, is a filmmaker and photographer. This exhibition reveals how the tragedy of the Holocaust impacted multiple generations of a family and how each member transformed the destructive trauma of the Shoah into acts of intense creative accomplishment\, taking their own path to provide a through-line to preserving the memories\, culture\, and identity of their shared family and the Jewish people. \nSurvival and Intimations of Immortality is curated by Ori Z Soltes and co-organized by Rachel Stern in collaboration with the museum. \nPress voices \nArts Beat\, Oregon Public BroadcastingThe Franklin PressKATU TVOREGON JEWISH MUSEUM AND CENTER FOR HOLOCAUST EDUCATIONAlice Lok Cahana\, 1940-44 Triptych: right panel\, 1984\, Collection Ronnie and Michael Cahana\, Inv. 052 \nKitra Cahana\, Caravana Migrante: The Question of the Future (Portrait of Maryuri Celeste\,18\, from Santa Rosa\, Honduras) Tijuana\, Mexico\, 2018 \nVIEW OUR BOOK AND RECORDINGS OF RELATED EVENTSThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.YOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/cahana-ojmche/
LOCATION:Oregon Jewish Museum and Center for Holocaust Education\, 724 NW Davis St\, Portland\, OR\, 97209\, United States
CATEGORIES:Exhibitions,Past Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241108T100000
DTEND;TZID=America/New_York:20250302T170000
DTSTAMP:20260502T001511
CREATED:20240812T101646Z
LAST-MODIFIED:20250303T170854Z
UID:8337-1731060000-1740934800@fritzaschersociety.org
SUMMARY:LOVE AND BETRAYAL – The Expressionist Fritz Ascher from New York Private CollectionsNovember 8\, 2024 – March 2\, 2025Haus der Graphischen Sammlung\, Freiburg\, Germany
DESCRIPTION:The late Expressionist artist Fritz Ascher (1893-1970) survived two world wars and persecution by the National Socialist regime. A close observer of the horrors of World War I and revolutionary unrest\, he turned to Christian spiritual themes\, which he radically reinterpreted. In intimate drawings\, he dealt with the theme of love and betrayal from 1916 onward\, both in his exploration of the crucifixion theme and with the figure of Bajazzo in the tragicomic opera “I Pagliacci.” \nAscher’s strong and unique artistic voice is evident not only in his artwork\, but also in his poems. These were written when he was no longer allowed to work under National Socialism because of his Jewish roots and as a representative of modernism\, and had to go into hiding for years to avoid deportation. \nThe exhibition is curated by Jutta Götzmann\, Managing Director of the Freiburg Municipal Museums\, and Rachel Stern\, Director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \nBUY TICKETSWatch Martha Martin-Humpert in Baden TV Süd (German language)Listen to David Dambitsch in German radio DeutschlandfunkThe exhibition catalogue\, published by Michael Imhof Verlag\, can be ordered in the online shop: \nORDER EXHIBITION CATALOGUE\nAn extensive programme accompanies the exhibition\, and up-to-date information on all events is available at freiburg.de/museen-kalender. \n\n\nAn exhibition by Augustinermuseum and Museum für Neue Kunst\, Freiburg im Breisgau (Germany). In cooperation with Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/fritz-ascher-freiburg/
LOCATION:Haus der Graphischen Sammlung\, Salzstraße 34\, Freiburg im Breisgau\, 79098\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
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ORGANIZER;CN="Augustinermuseum":MAILTO:augustinermuseum@stadt.freiburg.de
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230625
DTEND;VALUE=DATE:20240115
DTSTAMP:20260502T001511
CREATED:20230329T133341Z
LAST-MODIFIED:20240116T012229Z
UID:7314-1687651200-1705276799@fritzaschersociety.org
SUMMARY:Emmy Rubensohn! Netzwerkerin und Musikförderin – von Leipzig bis New YorkJune 25 - January 14\, 2024Museen im GRASSI\, Leipzig\, Germany
DESCRIPTION:Emmy Rubensohn! Networker and Music Patron – from Leipzig to New York \nEmmy Rubensohn (1884-1961) was a networker\, music patron\, concert manager and author of letters. Born in Leipzig in 1884 as the daughter of the Jewish entrepreneurial family Frank\, she attended Gewandhaus concerts at an early age and collected autographs from prominent artists of her time. \nAfter marrying Ernst Rubensohn in 1907\, she moved to Kassel\, where the couple turned their house into a cultural meeting place\, where composers and performers such as Wilhelm Furtwängler\, Walter Braunfels or Ernst Krenek\, or visual artists such as the painter Oskar Kokoschka or the sculptor Benno Elkan guested. Thanks to a “residency grant”\, Krenek was able to complete his opera “Jonny spielt auf” here\, which premiered in Leipzig in 1927 and became the greatest opera success of the 1920s. \nFrom 1933 Emmy and her husband Ernst were exposed to increasing threats from the Nazi regime. Emmy organized concerts for the Jewish Cultural Association to enable Jewish musicians to earn an income\, for example with the conductor Joseph Rosenstock or the pianist Grete Sultan. \nIn 1940 the couple fled to Shanghai via Berlin. There\, too\, Emmy surrounded herself with music and culture and organized concerts. In 1947 the couple managed to emigrate to New York. \nAt all stages of life\, Emmy Rubensohn maintained a global network of artistic friends\, which can be reconstructed from the guest book that has been preserved. \nIn New York\, this circle of friends included the violinist Roman Totenberg\, the conductor Dimitri Mitropoulos and Alma Mahler-Werfel. \nExhibition view \nPatron of the exhibition is Ken Toko\, US Consul General of Saxony\, Saxony-Anhalt and Thuringia. \nThe exhibition was organized by the GRASSI Museum für Völkerkunde\, the GRASSI Museum für Musikinstrumente\, and the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. \nIt was curated by Matthias Henke\, Stefan Hindtsche\, Léontine Meijer-van Mensch and Rachel Stern. \nGenerously supported by the US Consulate General of Saxony\, Saxony-Anhalt and Thuringia and by Reinwald GmbH Böhlen. \nThe exhibition is on view June 25 – January 14\, 2024 at Museen im GRASSI\, Johannisplatz 5-11\, 04103\, Leipzig\, Second Floor\, Foyer and Special Exhibition Space of the Musikinstrumentenmuseum der Universität Leipzig\, T +49 351 49 14 2000. \nOPENING HOURS: Tuesday – Sunday 10:00 am – 6:00 pm. \nA free ticket to visit the exhibition can be obtained from the GRASSI ticket office on the first floor. \nMatthias Henke’s richly illustrated\, bi-lingual book\, “Emmy Rubensohn. Musikmäzenin/Music Patron (1884–1961)” allows a deeper exploration of the curiosity and creativity\, passion\, resilience and connectedness of Emmy Rubensohn\, who revealed in a letter dated September 17\, 1946\, to Oskar Kokoschka: “Music has faithfully accompanied and always comforted me\, through the great pain we have all suffered at the hands of fate\, and the grief [we feel] for our dead and the victims.” \nORDER HEREListen to David Dambitsch’s German language exhibition review at Deutschlandfunk\, which aired September 29: \nDEUTSCHLANDFUNK EXHIBITION REVIEW (AUDIO\, GERMAN)DEUTSCH \nEmmy Rubensohn (1884–1961) war Netzwerkerin\, Musikförderin\, Konzertmanagerin\, und Briefautorin. Geboren 1884 in Leipzig als Tochter der jüdischen Unternehmerfamilie Frank\, besuchte sie schon früh Gewandhauskonzerte und sammelte Autogramme prominenter Künstlerinnen und Künstler ihrer Zeit. \nNach der Heirat mit Ernst Rubensohn 1907 zog sie nach Kassel\, wo das Ehepaar ihr Haus zu einem kulturellen Treffpunkt machten\, wo Komponisten und Interpreten wie Wilhelm Furtwängler\, Walter Braunfels oder Ernst Krenek\, oder bildende Künstler wie der Maler Oskar Kokoschka oder der Bildhauer Benno Elkan gastierten. Dank eines „Residenzstipendiums“ konnte Krenek hier seine Oper „Jonny spielt auf“ vollenden\, die 1927 ihre Uraufführung in Leipzig feierte\, und zum grössten Opernerfolg der 1920er Jahre wurde. \nAb 1933 waren Emmy und ihr Mann Ernst zunehmenden Bedrohungen durch das Naziregime ausgesetzt. Emmy organisierte Konzerte für den Jüdischen Kulturbund\, um jüdischen Musikern ein Einkommen zu ermöglichen\, etwa mit dem Dirigenten Joseph Rosenstock oder der Pianistin Grete Sultan. \n1940 flüchtete das Ehepaar über Berlin nach Shanghai. Auch dort umgab sich Emmy mit Musik und Kultur und organisierte Konzerte. 1947 gelang es dem Ehepaar\, nach New York zu emigrieren. \nAn allen Lebensstationen pflegte Emmy Rubensohn ein weltumspannendes Netzwerk künstlerischer Freunde\, das sich anhand des erhaltenen Gästebuchs rekonstruieren lässt. \nZu diesem Freundeskreis gehörten in New York der Geiger Roman Totenberg\, der Dirigenten Dimitri Mitropoulos und Alma Mahler-Werfel. \nSchirmherr der Ausstellung ist Ken Toko\, US Generalkonsul von Mitteldeutschland. \nDie Ausstellung wurde organisiert vom GRASSI Museum für Völkerkunde\, dem GRASSI Museum für Musikinstrumente\, und der Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. \nSie wurde curatiert von Matthias Henke\, Stefan Hindtsche\, Léontine Meijer-van Mensch und Rachel Stern. \nMit freundlicher Unterstützung des US-Generalkonsulates für Sachsen\, Sachsen-Anhalt und Thüringen und der Reinwald GmbH Böhlen. \nDie Ausstellung ist zu sehen vom 25. Juni bis zum 14. Januar 2024 in den Museen im GRASSI\, Johannisplatz 5-11\, 04103\, Leipzig\, 1. OG\, Foyer und Sonderausstellungsbereich des Musikinstrumentenmuseums der Universität Leipzig \nÖffnungszeiten: Dienstag – Sonntag 10:00 – 18:00 Uhr \nFür den Ausstellungsbesuch ist eine Freikarte erforderlich\, die an der Kasse im EG des GRASSI erhältlich ist. \nGRASSI Museum für VölkerkundeMusikinstrumentenmuseum der Universität LeipzigThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/emmy-rubensohn-grassi/
LOCATION:Museen im GRASSI\, Johannisplatz 5-1\, Leipzig\, 04103\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2023/03/Foto-1-copy.jpeg
ORGANIZER;CN="Museen im GRASSI":MAILTO:besucherservice@skd.museum
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211110
DTEND;VALUE=DATE:20211220
DTSTAMP:20260502T001511
CREATED:20211118T002348Z
LAST-MODIFIED:20211222T115804Z
UID:6068-1636502400-1639958399@fritzaschersociety.org
SUMMARY:"Vorhang auf für Emmy Rubensohn! Musikmäzenin aus Leipzig"Gewandhaus zu Leipzig\, Mendelssohn Foyer\, Leipzig\, Germany
DESCRIPTION:“Curtain Up for Emmy Rubensohn! Music Patron from Leipzig” \nMusic patron\, concert manager\, salonière and letter writer – this is roughly how you could describe Emmy Rubensohn’s profile. An exhibition that can be seen between November 10 and December 19\, 2021 in the Mendelssohn Foyer of the Gewandhaus Leipzig – at a location that Emmy Rubensohn is connected with in a special way. On the one hand\, she was born in Leipzig in 1884 as the daughter of the Jewish entrepreneurial family Frank\, who owned a textile factory there. On the other hand\, even as a young girl she was a passionate concert-goer who was particularly attracted to the Gewandhaus concerts. In any case\, she was busy collecting autographs from admired artists\, whether their names were Carl Reinecke\, Arthur Nikisch\, Felix Weingartner\, Nellie Melba or Lilli Lehmann. \nIn 1907 she married Ernst Rubensohn\, the wealthy director of a jute mill\, and moved to Kassel with him. In the north Hessian royal seat\, the couple understood through their cosmopolitan and hospitable manner how to turn their house into a cultural meeting place. This was where Wilhelm Furtwängler came\, as did the composer Walter Braunfels and the painters Oskar Kokoschka and Erich Heckel. A stroke of luck for everyone involved: In 1925 the Rubensohns invited the Austrian composer Ernst Krenek\, who had accepted a job at the Kassel Theater\, to live with them free of charge. He thanked them with a special gift\, the opera Jonny Strikes Up [Jonny Spielt Auf]\, which he completed while living under the umbrella of his hosts. The opera brought Emmy Rubensohn back to Leipzig. Because the work of her protégé was premiered here in 1927 (with the Gewandhausorchester under Gustav Brecher) – a worldwide success\, as it turned out overnight\, which is not least due to the Rubensohns’ patronage. \nThe year of horror came: 1933. As a result\, the Rubensohns were exposed to the worst harassment. When a de facto professional ban was imposed on Jewish artists\, Emmy stepped into the breach and founded the Jüdischer Kulturbund Kassel\, for which she organized dozens of concerts with important musicians\, for example with the conductor Joseph Rosenstock and the pianist Grete Sultan\, whom she later should meet again in New York. But it was only after the pogroms of 1938 that the couple decided to emigrate. They moved to Berlin\, and around 1940\, almost at the last moment\, were able to flee to Shanghai. Emmy and Ernst Rubensohn faced seven years there\, a time full of privation\, which\, however\, did not obscure their view of Chinese culture\, as can be seen from their numerous letters. It was not until 1947 that the two reached their dream destination\, the USA and New York. After Ernst’s death (1951)\, Emmy succeeded in building a new circle of friends here\, to which the violinist Roman Totenberg belonged as well as the conductor Dimitri Mitropoulos and Alma Mahler-Werfel\, with whom she maintained an intimate friendship. \nThe central theme of the exhibition is Emmy Rubensohn’s memory and guest book\, which accompanied her through all the ups and downs and all stages of life. The supplementary events include a conference dedicated to the topic of “Ernst Krenek and Leipzig” (November 10 and 11\, 2021\, Gewandhaus\, Mendelssohn Hall). \nThe project is an important part of the festival year “1700 Years of Jewish Life in Germany” and is led by Prof. Dr. Matthias Henke (University of Siegen)  – funded by # 2021JLID – Jüdisches Leben in Deutschland eV with funds from the Federal Ministry of the Interior\, for Building and Home Affairs (BMI)\, by the Ernst Krenek Institute Krems\, Reinwald GmbH Leipzig and the University of Siegen . \nThe exhibition is accompanied by a richly illustrated\, bi-lingual book. \nThe exhibition is on view November 10 – December 19\, 2021 at Mendelssohn Foyer of the Gewandhaus Leipzig\, Augustusplatz 8\, 04109 Leipzig\, T +49 341 1270280\, Monday – Friday 10:00 am – 6:00 pm\, Saturday 10:00am-2:00pm (on days with concerts open until 8:00pm).\nDUE TO COVID-19: 2G and NEW HOURS: Monday to Friday 10:00am-2:00pm (as of 2/12/21) \nDEUTSCH \n“Vorhang auf für Emmy Rubensohn! Musikmäzenin aus Leipzig” \nMusikmäzenin\, Konzertmanagerin\, Salonière und Briefautorin – so in etwa könnte man das Profil Emmy Rubensohns beschreiben. Von ihrem Leben\, das sie nach Berlin\, Shanghai und New York führte\, erzählt eine Ausstellung\, die zwischen dem 10. November und dem 16. Dezember 2021 im Mendelssohn-Foyer des Gewandhaus  zu sehen ist – an einem Ort\, der sich Emmy Rubensohn in besonderer Weise verbindet. Einerseits kam sie 1884 in Leipzig zur Welt\, als Tochter der jüdischen Unternehmerfamilie Frank\, die ebendort eine Textilfabrik besaß. Andererseits war sie schon als junges Mädchen eine passionierte Konzertgängerin\, die sich besonders von den Gewandhauskonzerten angezogen fühlte. Jedenfalls sammelte sie hier eifrig Autogramme von bewunderten Künstlern und Künstlerinnen\, ob sie Carl Reinecke\, Arthur Nikisch\, Felix Weingartner\, Nellie Melba oder Lilli Lehmann hießen. \n1907 heiratete sie Ernst Rubensohn\, den wohlhabenden Direktor einer Jutespinnerei\, und zog zu ihm nach Kassel. In der nordhessischen Residenzstadt verstand das Paar durch seine weltoffene und gastfreundschaftliche Art\, aus ihrem Haus eine kulturelle Begegnungsstätte zu machen. Hier stellte sich Wilhelm Furtwängler ebenso ein wie der Komponist Walter Braunfels oder die Maler Oskar Kokoschka und Erich Heckel. Ein Glücksfall für alle Beteiligten: 1925 luden die Rubensohns den österreichischen Komponisten Ernst Krenek ein\, der eine Stelle am Kasseler Theater angenommen hatte\, bei sich unentgeltlich zu wohnen. Der bedankte sich mit einem besonderen Geschenk\, der Oper Jonny spielt auf\, die er noch unter dem Dach seiner Gastgeber vollendete. Sie brachte Emmy Rubensohn wieder nach Leipzig zurück. Denn das Werk ihres Schützlings gelangte hier 1927 zur Uraufführung (mit dem Gewandhausorchester unter Gustav Brecher) – ein Welterfolg\, wie sich über Nacht herausstellte\, der sich nicht zuletzt dem Mäzenatentum der Rubensohns verdankt. \nDas Jahr des Schreckens kam: 1933. In der Folge waren auch die Rubensohns übelsten Schikanen ausgesetzt. Als über jüdische Künstler und Künstlerinnen de facto ein Berufsverbot verhängt wurde\, sprang Emmy in die Bresche und gründete den Jüdischen Kulturbund Kassel\, für den sie Dutzende Konzerte mit bedeutenden Musikern organisierte\, etwa mit dem Dirigenten Joseph Rosenstock und der Pianistin Grete Sultan\, denen sie später in New York wiederbegegnen sollte. Doch erst nach den Pogromen des Jahres 1938 entschloss sich das Paar auszuwandern. Es übersiedelte nach Berlin\, um 1940\, quasi im letzten Moment\, die Flucht nach Shanghai zu wagen. Sieben Jahre standen Emmy und Ernst Rubensohn dort bevor\, eine entbehrungsreiche Zeit\, die ihnen aber nicht den Blick für die chinesische Kultur verstellte\, wie ihren zahlreichen Briefen zu entnehmen ist. Erst 1947 erreichten die beiden ihr Wunschziel\, die USA und New York. Nach dem Tod von Ernst (1951) gelang es Emmy hier\, sich einen neuen Freundeskreis aufzubauen\, dem der Geiger Roman Totenberg ebenso angehörte wie der Dirigent Dimitri Mitropoulos oder Alma Mahler-Werfel\, mit der sie eine innige Freundschaft pflegte. \nDen roten Faden der Ausstellung bildet das Erinnerungs- und Gästebuch von Emmy Rubensohn\, das sie durch alle Hochs wie Tiefs und sämtliche Lebensstationen begleitete. Zu den ergänzenden Veranstaltungen zählt u.a. eine Tagung\, die sich dem Thema „Ernst Krenek und Leipzig“ widmet (10. und 11. November 2021\, Gewandhaus\, Mendelssohn-Saal). \nDas Projekt ist wichtiger Teil des Festjahres „1700 Jahre jüdisches Leben in Deutschland“ und wird von Prof. Dr. Matthias Henke (Universität Siegen) geleitet – gefördert durch #2021JLID – Jüdisches Leben in Deutschland e.V. aus Mitteln des Bundesministeriums des Innern\, für Bau und Heimat (BMI)\, durch das Ernst Krenek Institut Krems\, die Reinwald GmbH Leipzig und die Universität Siegen. \nDie Ausstellung ist zu sehen vom 10. November bis 19. Dezember 2021 im Mendelssohn-Foyer des Gewandhauses Leipzig\, Augustusplatz 8\, 04109 Leipzig\, T +49 341 1270280\nMontag – Freitag 10:00 – 18:00 Uhr\, Samstag 10:00 – 14:00 Uhr (an Konzerttagen bis 20:00 Uhr).\nCOVID-19: 2G und NEUE OEFFNUNGSZEITEN: Montag bis Freitag 10:00-14:00 Uhr (Stand: 2. 12. 2021)
URL:https://fritzaschersociety.org/exhibition-event/emmy-rubensohn/
LOCATION:OR
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/11/IMG_1820-scaled.jpg
ORGANIZER;CN="Gewandhaus Leipzig":MAILTO:ticket@gewandhaus.de
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200906
DTEND;VALUE=DATE:20201130
DTSTAMP:20260502T001511
CREATED:20200424T111012Z
LAST-MODIFIED:20201214T193507Z
UID:3970-1599350400-1606694399@fritzaschersociety.org
SUMMARY:“Der Vereinsamte. Clowns in der Kunst Fritz Aschers"Forum Jacob Pins\, Höxter\, Germany
DESCRIPTION:“The Loner. Clowns in the Art of Fritz Ascher (1893-1970)” \nWatch the German language video of the opening lecture by Julia Diekmann\, Curator at Forum Jacob Pins HERE.\nWatch a short German language video about the installation of the exhibition HERE.\nYou can order the bilingual (German/English) exhibition catalogue HERE. \nOn the occasion of the 50th anniversary of the artist’s death\, Forum Jacob Pins shows around 40 paintings and works on paper by the Expressionist Fritz Ascher (1893-1970). Persecuted by the National Socialists as a “degenerate” artist and as a born Jew\, Ascher lived through two world wars\, existential social and political unrest\, the persecution by the National Socialists and the development of a divided Germany. The exhibition for the first time shows Ascher’s entire group of works on the subject of the clown\, which occupied the artist throughout his life\, and contrasts these works with the soul landscapes that dominated his work after 1945. \nWhether in dramatic context or as individual figure\, the harlequin always plays the role of the outsider\, of the one opposite the many. He is laughed at and ridiculed\, is the fool\, despised\, and humiliated\, always operating from the margin. \nFrom about 1916 Fritz Ascher has dealt intensively with the figure of the clown\, the Bajazzo\, in paintings\, drawings\, lithographs and poems\, at about the same time with artists such as Max Beckmann\, Marc Chagall\, or Pablo Picasso. Based on the opera I Pagliacci by Ruggero Leoncavallo (1857-1919)\, which was popular in the 1920s\, he created both scenic representations of the tragic love burlesque and studies of the bajazzo\, the Pagliaccio or the clown as a single figure. The intensity in the artistic expression of the figure refers to analogies to himself\, the increasing parallelism between role and own artistic self. \nFritz Ascher was born into a Jewish family in Berlin on October 17\, 1893 and baptized in 1901 at the age of eight. At the age of 16\, he attended the Königsberg Art Academy on the recommendation of the renowned painter Max Liebermann\, followed by studies with Lovis Corinth\, Adolf Meyer and Curt Agthe in Berlin. He soon joined the city’s avant-garde art circles. Influenced by Expressionist painters such as Edvard Munch\, Emil Nolde and Wassily Kandinsky\, he found his own artistic language alongside his contemporaries Max Beckmann\, Georges Rouault and Ludwig Meidner\, in which he combined elements of Expressionism and Symbolism and chose expressive brushstrokes and intense colors with descriptive outlines and combined a flat application of paint. In numerous drawings he recorded Berlin society and the increasing political and social polarization. At the same time\, the artist was interested in mystical and spiritual topics. With paintings like “Bajazzo and Artists” (1916/1945) and “Bajazzo”\, (1924/1945) “Beethoven” (1924/1945)\, “Golgatha” (1915) and “Golem” (1916) he created important major works\, which often depict traditional themes in a radically new way. \nIn 1933\, this very fruitful creative period came to an abrupt halt. 12 long years of persecution by the National Socialists followed\, in which the Jewish-born Ascher\, who created “degenerate” art\, was in constant fear of death\, hiding for three years in the basement of a residential building. \nWhen Ascher started painting again in 1945\, he initially revised earlier works. But soon he turned to nature. The artist worked with new immediacy and urgency and simplified forms and media. Thick\, light pigments suggest both lively\, life-affirming joy and\, in the rough nature of its brush strokes\, a dark\, inner fear that turns into light. \nThe exhibition explores the importance of the Bajazzo theme in Ascher’s work and in a historical context\, but also in direct comparison with the clowns that Jacob Pins (1917-2005) created. The figure of the fool plays a special\, always reflexive role in Pins’ work\, to whom the forum is dedicated. While Pins\, a generation younger\, has varied the motif again and again since the 1950s\, with Ascher the otherness of the clown comes to the fore over time\, misunderstood and suffering\, in the struggle for life and in existential loneliness. \nThe exhibition is accompanied by a richly illustrated\, bi-lingual catalogue. \nIt is co-organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, Inc.\, New York and the Jacob Pins Gesellschaft Kunstverein Höxter e.V.\, and is co-curated by Rachel Stern and Julia Diekmann. The exhibition is sponsored by the Ministry for Culture and Science of North Rhine Westphalia. Support for the catalogue was provided by the Arbeitskreis Ausland für kulturelle Aufgaben e.V. and by Reinwald GmbH\, Leipzig. \nThe exhibition is on view September 6 – November 29\, 2020 at Forum Jacob Pins\, Westerbachstr. 35/37\, 37671 Höxter\, Tel .: 05271-694 74 41\, www.jacob-pins.de\, Tuesday – Sunday 10:00 .m. – 5:00 pm. \nDEUTSCH \nAnlässlich des 50. Todestages des Künstlers zeigt das Forum Jacob Pins rund 40 Gemälde und Grafiken des Berliner Spät-Expressionisten Fritz Ascher (1893-1970). Von den Nationalsozialisten als „entarteter“ Künstler und geborener Jude verfolgt\, überlebte Ascher zwei Weltkriege\, existentielle soziale und politische Unruhen\, die Verfolgung durch die Nationalsozialisten und den Aufbau eines geteilten Deutschlands. Die Ausstellung wurde in Zusammenarbeit mit der Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York organisiert und zeigt erstmalig Aschers gesamte Werkgruppe zum Thema des Clowns\, das den Künstler sein Leben lang beschäftigte\, und stellt diesen Arbeiten die nach 1945 dominierenden Seelenlandschaften gegenüber. \nOb in szenischem Zusammenhang oder als Einzelfigur\, der Clown nimmt immer die Rolle des Abseitigen ein\, die des Einzelnen gegenüber Vielen. Er wird belacht und verlacht\, ist Narr\, Verachteter und Erniedrigter\, handelt immer aus einer Randposition heraus. \nSeit etwa 1916 setzt sich Fritz Ascher in Gemälden\, Zeichnungen\, Lithografien und Gedichten intensiv mit der Figur des Clowns\, des Bajazzo auseinander\, etwa gleichzeitig mit Künstlern wie Max Beckmann\, Marc Chagall\, oder Pablo Picasso. Ausgehend von der in den 1920er Jahren beliebten Oper I Pagliacci von Ruggero Leoncavallo (1857 – 1919) kreiert er sowohl szenische Darstellungen der tragischen Liebesburleske als auch Studien des Bajazzo\, des Pagliaccio oder Clowns als Einzelfigur. Die Intensität im künstlerischen Ausdruck der Figur verweist auf Analogien zu ihm selbst\, die zunehmende Parallelität zwischen Rolle und eigenem künstlerischem Ich. \nFritz Ascher wird am 17. Oktober 1893 in eine jüdische Familie in Berlin geboren und 1901 im Alter von acht Jahren getauft. 16-jährig besucht er auf Empfehlung des renommierten Malers Max Liebermann die Kunstakademie Königsberg\, gefolgt von einem Studium bei Lovis Corinth\, Adolf Meyer und Curt Agthe in Berlin. Bald schliesst er sich den avantgardistischen Kunstkreisen der Stadt an. Beeinflusst von expressionistischen Malern wie Edvard Munch\, Emil Nolde und Wassily Kandinsky findet er neben seinen Zeitgenossen Max Beckmann\, Georges Rouault und Ludwig Meidner seine eigene künstlerische Sprache\, in der er Elemente des Expressionismus und des Symbolismus vereint und ausdrucksstarke Pinselstriche und intensive Farben mit beschreibenden Umrissen und einem flachen Farbauftrag kombiniert. In zahlreichen Zeichnungen hält er die Berliner Gesellschaft und die zunehmende politische und soziale Polarisierung fest. Gleichzeitig interessiert sich der Künstler für mystische und spirituelle Themen. Es entstehen wichtige Hauptwerke\, wie „Bajazzo und Artisten“ (1916/1945) und „Bajazzo“\, (1924/1945) „Beethoven“ (1924/1945)\, „Golgatha“ (1915) und „Golem“ (1916). \n1933 kommt diese sehr fruchtbare Schaffenszeit zu einem abrupten Halt. Es folgen 12 lange Jahre der Verfolgung durch die Nationalsozialisten\, in denen der jüdisch geborene Ascher in permanenter Todesangst lebt\, davon drei Jahre versteckt im Keller eines Wohnhauses. \nAls Ascher 1945 wieder anfängt zu malen\, überarbeitee er zunächst frühere Arbeiten. Aber schon bald wendet er sich der Natur zu. Der Künstler arbeitet mit neuer Unmittelbarkeit und Dringlichkeit und vereinfachte Formen und Medien. Seine dicken\, hellen Pigmente suggerieren sowohl lebendige\, lebensbejahende Freude als auch in der rauen Natur seiner Pinselstriche eine dunkle\, innere Angst\, die sich in Licht verwandelt. \nDie Ausstellung im Forum Jacob Pins erkundet die Bedeutung der Bajazzo Arbeiten im Werk Aschers und im historischen Kontext\, aber auch im direkten Vergleich mit den Clowns\, die Jacob Pins (1917-2005) nach 1945 schafft. Auch in Pins´ Werk spielt die Figur des Narren eine besondere\, stets reflexiv angelegte Rolle. Während der um eine Generation jüngere Pins das Motiv seit den 1950er Jahren immer wieder variiert\, tritt bei Ascher im Verlauf der Zeit dieAndersartigkeit des Clowns in den Vordergrund\, missverstanden und leidend\, im Kampf ums Leben und in existenzieller Einsamkeit. \nZur Ausstellung erscheint ein zweisprachiger\, reich illustrierter Katalog. \nDie Ausstellung wurde von der Fritz Ascher Gesellschaft für verfolgte\, geächtete und verbotene Kunst\, Inc.\, New York in Zusammenarbeit mit der Jacob Pins Gesellschaft organisiert und von Rachel Stern und Julia Diekmann kuratiert. Die Ausstellung wird vom Ministerium für Kultur und Wissenschaft Nordrhein-Westfalens gesponsert. Der Katalog wurde unterstützt vom Arbeitskreis Ausland für kulturelle Aufgaben e.V. und von der Reinwald GmbH\, Leipzig. \nDie Ausstellung ist zu sehen vom 6. September bis 29. November 2020 im Forum Jacob Pins\, Westerbachstr. 35/37\, 37671 Höxter\, Tel.: 05271-694 74 41\, www.jacob-pins.de\, Di. – So. 10:00 – 17:00 Uhr. Die Vernissage findet am 6. September um 11:30 Uhr statt. Aufgrund der Corona-Schutzbestimmungen ist die Teilnehmerzahl begrenzt und somit eine Anmeldung erforderlich.
URL:https://fritzaschersociety.org/exhibition-event/fritz-ascher-der-vereinsamte_forum_jacob_pins_hoxter/
LOCATION:Forum Jacob Pins\, Westerbachstr. 35-37\, Höxter\, 37671\, Germany
CATEGORIES:Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/04/jp_fassade_568x350px.jpg
ORGANIZER;CN="Gewandhaus zu Leipzig":MAILTO:forum@jacob-pins.de
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200116
DTEND;VALUE=DATE:20200525
DTSTAMP:20260502T001512
CREATED:20190807T174907Z
LAST-MODIFIED:20200527T085559Z
UID:3677-1579132800-1590364799@fritzaschersociety.org
SUMMARY:"Fritz Ascher\, Expressionist"Joel and Lila Harnett Museum of Art\, University of Richmond\, Richmond\, VA (USA)
DESCRIPTION:“Fritz Ascher: Expressionist” presents works by this German Jewish artist\, who lived through the Weimar Republic\, the Nazi regime\, and into the postwar years. With the support of prominent Berlin painter Max Liebermann\, Fritz Ascher (1893–1970) studied in Berlin before traveling to Oslo\, where he met Edvard Munch. During a prolonged stay in Munich\, he associated with the artists who contributed to Simplicissimus magazine\, and back in Berlin\, he fell in with the artists of Die Brücke. His early work is steeped in old myths\, spirituality\, and reflections on the human condition. From 1933 he was forbidden to produce\, exhibit\, or sell his art. Interned at the Sachsenhausen Concentration Camp in 1938\, he survived the Nazi era mostly in hiding\, writing poetry. After 1945 he returned to painting\, expressing his inner turmoil in colorful\, mystical landscapes devoid of human figures. The exhibition comprises 70 paintings and works on paper\, ranging from Ascher’s early academic studies to his final landscapes. “Fritz Ascher: Expressionist” is accompanied by an illustrated catalogue. \n“Fritz Ascher: Expressionist” is organized by the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, Inc. and curated by director Rachel Stern. The exhibition is co-sponsored by Allianz Partners. \nThe exhibition is open during the semester Sunday – Friday 1:00pm – 5:00pm.\nFor special opening hours please visit the museum website (link).
URL:https://fritzaschersociety.org/exhibition-event/fritz-ascher-expressionist-joel-and-lila-harnett-museum-of-art-university-of-richmond-virginia/
LOCATION:Joel and Lila Harnett Museum of Art\, University of Richmond\, Richmond\, Virginia\, 410 Westhampton Way\, Richmond\, VA\, 23173\, United States
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2019/08/Richmond_Harnett-Museum_RS.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190129
DTEND;VALUE=DATE:20190801
DTSTAMP:20260502T001512
CREATED:20190218T222354Z
LAST-MODIFIED:20200303T140547Z
UID:3515-1548720000-1564617599@fritzaschersociety.org
SUMMARY:Im Reich der Nummern. Wo die Männer keine Namen haben.Gedenkstätte und Museum Sachsenhausen
DESCRIPTION:“In the Country of Numbers. Where the Men have no Names” tells the story of the detention and exile of November pogrom prisoners in the Sachsenhausen concentration camp on the basis of twelve individual destinies. One of those individuals is Fritz Ascher. The interviews presented in the exhibition with children and grandchildren of the persecuted as well as family biographical photos and documents are new material first shown in Germany\, which was researched in the USA\, Great Britain and Israel. \nMore than 6\,300 Jewish men were brought to the Sachsenhausen concentration camp after the November pogroms in 1938. After a few weeks\, the vast majority was set free\, with the condition to emigrate immediately from Germany. Many have therefore survived. How was the life of these families influenced by forced emigration? What did the emigrants expect in their countries of refuge? Did they find a new home? These questions are addressed by the exhibition from the perspective of the children and grandchildren of those men. \n“Im Reich der Nummern. Wo die Männer keine Namen haben.” erzählt die Geschichte von Haft und Exil der Novemberpogrom-Gefangenen im KZ Sachsenhausen anhand von zwölf individuellen Schicksalen. Einer dieser Individuen ist Fritz Ascher. Bei den in der Ausstellung präsentierten Interviews mit Kindern und Enkeln der Verfolgten sowie familien-biografischen Fotos und Dokumenten handelt es sich um neues\, in Deutschland erstmals gezeigtes Material\, das in den USA\, Großbritannien und Israel recherchiert werden konnte. \nÜber 6\,300 jüdische Männer wurden nach den November-Pogromen 1938 in das KZ Sachsenhausen gebracht. Die grosse Mehrheit kam nach einigen Wochen unter der Auflage wieder frei\, sofort aus Deutschland zu emigrieren. Viele haben deshalb überlebt. Wie wurde das Leben dieser Familien durch die erzwungene Emigration beeinflusst? Was erwartete die Emigranten in ihren Zufluchtsländern? Fanden sie eine neue Heimat? Diesen Fragen geht die Ausstellung aus der Perspektive der Kinder und Enkel jener Männer nach.
URL:https://fritzaschersociety.org/exhibition-event/gedenkstaette-und-museum-sachsenhausen/
LOCATION:Gedenkstätte und Museum Sachsenhausen\, Straße der Nationen 22\, Oranienburg\, Brandenburg\, 16515\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2019/02/SachsenhausenEntrance_Photo_Harrier233_2006.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190109
DTEND;VALUE=DATE:20190407
DTSTAMP:20260502T001512
CREATED:20181203T202048Z
LAST-MODIFIED:20190616T141638Z
UID:2712-1546992000-1554595199@fritzaschersociety.org
SUMMARY:Fritz Ascher: Expressionist Grey Art Gallery\, New York University\, New York (USA)
DESCRIPTION:Fritz Ascher: Expressionist presents works by this German Jewish artist\, who lived through the Weimar Republic\, the Nazi regime\, and into the postwar years. With the support of prominent Berlin painter Max Liebermann\, Fritz Ascher (1893–1970) studied in Berlin before traveling to Oslo\, where he met Edvard Munch. During a prolonged stay in Munich\, he associated with the artists who contributed to Simplicissimus magazine\, and back in Berlin\, he fell in with the artists of Die Brücke. His early work is steeped in old myths\, spirituality\, and reflections on the human condition. From 1933 he was forbidden to produce\, exhibit\, or sell his art. Interned at the Sachsenhausen Concentration Camp in 1938\, he survived the Nazi era mostly in hiding\, writing poetry. After 1945 he returned to painting\, expressing his inner turmoil in colorful\, mystical landscapes devoid of human figures. The exhibition comprises 75 paintings and works on paper\, ranging from Ascher’s early academic studies to his final landscapes. Fritz Ascher: Expressionist is organized by the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, Inc.\, and accompanied by an illustrated catalogue. \nTom L. Freudenheim’s review in the Wall Street Journal from January 9\, 2019 can be read here\nAriella Budick’s review in the Financial Times from January 23\, 2019 can be read here \nRelated public programs can be found here \nFritz Ascher: Expressionist was organized by the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, Inc. and curated by director Rachel Stern. The exhibition is part of Wunderbar Together: The Year of German-American Friendship 2018/19\, an initiative of the Federal Foreign Office of Germany and the Goethe-Institut\, with the support of the Federation of German Industries (BDI). Support for the catalogue was provided by Reinwald GmbH\, Leipzig. The presentation at the Grey Art Gallery is made possible in part by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; Ruth Ivor Foundation; the Abby Weed Grey Trust; and the Grey’s Director’s Circle\, Inter/National Council\, and Friends.
URL:https://fritzaschersociety.org/exhibition-event/fritz-ascher-expressionist-grey-art-gallery-new-york-university-new-york-usa/
LOCATION:Grey Art Gallery\, 100 Washington Square E\, New York\, NY\, 10003\, United States
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2018/12/1_20190115_Ascher_NewYork_GreyArtGallery_PhotoNicholasPapananias_003.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180930
DTEND;VALUE=DATE:20181125
DTSTAMP:20260502T001512
CREATED:20181012T151050Z
LAST-MODIFIED:20181203T210656Z
UID:1804-1538265600-1543103999@fritzaschersociety.org
SUMMARY:"Leben ist Glühn" Der Expressionist Fritz Ascher 
Kallmann-Museum\, Ismaning (Germany)
DESCRIPTION:Last German venue! (link) \nAt the Kallmann-Museum\, a representative group of powerful paintings and drawings spans Ascher’s whole oeuvre from first academic studies to monumental Expressionist figure compositions to late landscapes. Fritz Ascher’s poems\, written while hiding from Nazi persecution\, can be discovered as “unpainted paintings” in relation to his artwork. With this exhibition\, the Kallmann-Museum continues its examination of artists who became victims of the National Socialist art policy. \nPhotos by Gerald Förtsch\, Rasmus Kleine and Rachel Stern. \nA comprehensive German/English catalogue with essays by Jörn Barfod\, Eckhart Gillen\, Wiebke Hölzer\, Ingrid Mössinger\, Ori Z. Soltes and Rachel Stern accompanies the exhibition. (catalogue link) \nThe Fritz Ascher retrospective was on view at the Felix-Nussbaum-Haus in Osnabrück (September 25\, 2016 – January 15\, 2017)\, at Kunstsammlungen Chemnitz MUSEUM GUNZENHAUSER (MARCH 4 – JUNE 18\, 2017)\, at Museum Charlottenburg-Wilmersdorf at Villa Oppenheim in Berlin (December 8\, 2017 – March 11\, 2018)\, Potsdam Museum (December 10\, 2017 – March 11\, 2018) and Museum Schlösschen im Hofgarten in Wertheim/Main (May 13 – September 9\, 2018). From 2019\, it will be shown in the US\, starting with the Grey Art Gallery in New York (January 9 – April 6\, 2019).
URL:https://fritzaschersociety.org/exhibition-event/leben-ist-gluhn-der-expressionist-fritz-ascher-%e2%80%a8kallmann-museum-ismaning-germany/
LOCATION:Kallmann-Museum\, Schloßstraße 3B\, Ismaning\, 85737\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2018/10/0_FRONT-IMAGE_2018_Ismaning_KallmannMuseum_FotoRachelStern_IMG_6688.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180929
DTEND;VALUE=DATE:20190128
DTSTAMP:20260502T001512
CREATED:20181012T141634Z
LAST-MODIFIED:20190205T174350Z
UID:1803-1538179200-1548633599@fritzaschersociety.org
SUMMARY:"Umkämpfte Wege der Moderne. Wilhelm Schmid und die Novembergruppe" 

Potsdam Museum - Forum für Kunst und Geschichte\, Potsdam (Germany)
DESCRIPTION:The exhibition “Umkämpfte Wege der Moderne. Wilhelm Schmid und die Novembergruppe” is dedicated to the controversial epoch of 1918-1933 and the radical changes during the following period. (link) \nSome of the artistic pioneers took the 1918/1919 revolution as an opportunity to unite as the “November Group”\, probably the most prominent political artistic group of the Weimar Republic. These self-proclaimed “revolutionaries of the mind” set out on new paths of artistic expression with their motives\, colors and forms\, rejecting the old imperial conventions in form and content. \nThe members of the group not only caused a sensation with their revolutionary demand to participate in the new state in all art-related issues. For in the exhibitions – primarily at the Great Berlin Art Exhibition – their paintings\, watercolors\, graphics and sculptures were among the most discussed and controversial works. This radicalism of artistic expression\, which distinguished the group especially until 1923\, is sometimes tangible in the works of art shown. \nIncluded in this exhibition is a drawing by Fritz Ascher\, who witnessed the November Revolution in Berlin in 1918 and\, as an artistic chronicler\, has captured the chaos in the streets. \nOne of the main actors of the “November Group” was the cosmopolitan\, painter\, architect Wilhelm Schmid (1892-1971). Before the First World War he had moved from Switzerland to vibrant Berlin\, then in 1914 met his future wife Maria in Potsdam and settled there. After hostility by the National Socialists\, he left Potsdam together with his Jewish wife in 1937.
URL:https://fritzaschersociety.org/exhibition-event/umkampfte-wege-der-moderne-wilhelm-schmid-und-die-novembergruppe-%e2%80%a8potsdam-museum-forum-fur-kunst-und-geschichte-potsdam-germany/
LOCATION:Potsdam Museum\, Am Alten Markt 9\, Potsdam\, 14467\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2017/12/0_2017_Potsdam_PotsdamMuseum_outside.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180513
DTEND;VALUE=DATE:20180910
DTSTAMP:20260502T001512
CREATED:20180523T041528Z
LAST-MODIFIED:20181203T210656Z
UID:1802-1526169600-1536537599@fritzaschersociety.org
SUMMARY:"Leben ist Glühn" Der Expressionist Fritz Ascher  

Museum Schlösschen im Hofgarten\, Wertheim/Main (Germany)
DESCRIPTION:The worldwide first Fritz Ascher Retrospective is on view at Museum Schlösschen im Hofgarten in Wertheim/Main until September 9\, 2018. \nHere\, a representative group of powerful paintings and drawings spans Ascher’s whole oeuvre from first academic studies to monumental Expressionist figure compositions to late landscapes. Fritz Ascher’s poems\, written while hiding from Nazi persecution\, can be discovered as “unpainted paintings” in relation to his artwork.\nIn Wertheim\, Ascher’s work can be seen in the context of his supporter Max Liebermann and his teachers Lovis Corinth\, Ludwig Dettmann and Curt Agthe\, thanks to the Schlösschen’s exquisite collection of Berlin Secession art. (website link) \nSWR Aktuell reported. (website link) \nPhotos by Elmar Kellner and David Stern. \nA comprehensive German/English catalogue with essays by Jörn Barfod\, Eckhart Gillen\, Wiebke Hölzer\, Ingrid Mössinger\, Ori Z. Soltes and Rachel Stern accompanies the exhibition. (catalogue link)\nThe Fritz Ascher retrospective was on view at the Felix-Nussbaum-Haus in Osnabrück (September 25\, 2016 – January 15\, 2017)\, at Kunstsammlungen Chemnitz MUSEUM GUNZENHAUSER (MARCH 4 – JUNE 18\, 2017)\, at Museum Charlottenburg-Wilmersdorf at Villa Oppenheim in Berlin (December 8\, 2017 – March 11\, 2018) and Potsdam Museum (December 10\, 2017 – March 11\, 2018). In fall\, it will travel to Kallmann Museum in Ismaning (September 30 – November 24\, 2018). Afterwards it will be shown in the US\, starting with the Grey Art Gallery in New York (January 9 – April 6\, 2019).
URL:https://fritzaschersociety.org/exhibition-event/leben-ist-gluhn-der-expressionist-fritz-ascher-%e2%80%a8museum-schlosschen-im-hofgarten-wertheim-main-germany/
LOCATION:Museum Schlösschen im Hofgarten\, Würzburger Str. 30\, Wertheim\, 97877\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171213
DTEND;VALUE=DATE:20180430
DTSTAMP:20260502T001512
CREATED:20171223T003746Z
LAST-MODIFIED:20181214T000514Z
UID:1801-1513123200-1525046399@fritzaschersociety.org
SUMMARY:"Sechs Wochen sind fast wie lebenslänglich..." Das Potsdamer Polizeigefängnis Priesterstrasse / Bauhofstrasse 
Stiftung Gedenkstätte Lindenstrasse\, Potsdam (Germany)
DESCRIPTION:Stiftung Gedenkstätte Lindenstrasse in Potsdam examines for the first time the history of the Potsdam police prison\, the prison where Fritz Ascher spent almost 5 months in 1939. When the prison building in what is today Henning-von-Tresckow-Strasse was torn down in 2002\, Potsdam historian Hannes Wittenberg was able to save two original artefacts\, both today in the collection of the Potsdam Museum: an original prison door and a model of the prison building built by prisoners in the 1980s for fire protection exercises. Both objects are on display in the exhibition\, together with original photographs and documents of the prison building. Fritz Ascher is one of the former prisoners\, whose biography is being told. (website link) \nQuestions being asked in the exhibition are: When and why was the prison being built? Who was detained there? The exhibition also turns the spotlight on the Gestapo regional office in Potsdam and members of the Potsdam Gestapo. The prison’s later use as a remand centre for the Ministry of State Security (Stasi) is also highlighted. \nThe exhibition is organized in cooperation with the first ever retrospective of the Expressionist Fritz Ascher (Berlin 1893-1970) that is on view at the places where Fritz Ascher lived and worked\, with parallel exhibitions at Potsdam Museum (December 10\, 2017 – March 11\, 2018) and at Museum Charlottenburg-Wilmersdorf in der Villa Oppenheim (December 8\, 2017 – March 11\, 2018). \nPhotos ©Dr. Bauers\, Potsdam (nos. 1\, 2)
URL:https://fritzaschersociety.org/exhibition-event/sechs-wochen-sind-fast-wie-lebenslanglich-das-potsdamer-polizeigefangnis-priesterstrasse-bauhofstrasse-stiftung-gedenkstatte-lindenstrasse-potsdam-germany/
LOCATION:Stiftung Gedenkstätte Lindenstrasse\, Lindenstraße 54\, Potsdam\, 14467\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2017/12/0_FRONTIMAGE_Potsdam_MuseumStiftungGedenkstaetteLindenstrasse_PhotoDanStern.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171210
DTEND;VALUE=DATE:20180312
DTSTAMP:20260502T001512
CREATED:20171210T155826Z
LAST-MODIFIED:20181203T210656Z
UID:1800-1512864000-1520812799@fritzaschersociety.org
SUMMARY:"Leben ist Glühn" Der Expressionist Fritz Ascher 

Potsdam Museum - Forum für Kunst und Geschichte\, Potsdam (Germany)
DESCRIPTION:Coming home: With more than 80 paintings and works on paper\, the worldwide first Fritz Ascher Retrospective is on view at the places where Fritz Ascher lived and worked\, with parallel exhibitions in Berlin and Potsdam. \nEach venue shows a representative group of powerful paintings and drawings\, which span Ascher’s whole oeuvre from first academic studies to monumental Expressionist figure compositions to late landscapes. Both venues present Fritz Ascher’s poems\, written while hiding from Nazi persecution\, as “unpainted paintings” in relation to his artwork. \nThe Potsdam Museum shows Ascher’s artistic development in four galleries\, starting with early masterworks like the monumental “Golgotha” and “The Tortured”. The second gallery shows Ascher’s love for music and stage and for the Clown theme with “Bajazzo”. Ascher’s landscapes after 1945 are featured in the third gallery\, with the exploding “Sun”\, wide landscapes with sunsets\, flowers and trees. Thanks to Historian Hannes Wittenberg from the Potsdam Museum new research about Ascher’s time in Potsdam 1934-39 can be found in the fourth gallery\, with the locations where he hid\, and documents tracing the story of his persecution by the Nazis. A short film introduces into Fritz Ascher’s life and work. (website link) \nThe exhibitions are on view at Potsdam Museum and at Museum Charlottenburg-Wilmersdorf in der Villa Oppenheim until March 11\, 2018. \nStiftung Gedenkstätte Lindenstrasse in Potsdam researches the prison where Fritz Ascher spent almost 5 months in 1939 in “Sechs Wochen sind fast wie lebenslänglich …’ Das Potsdamer Polizeigefängnis Priesterstraße/Bauhofstraße” (13 December 2017 – 29 April 2018). \nThe retrospective is under patronage of the German Minister of Culture and Media Prof. Monika Grütters. \nA comprehensive German/English catalogue with essays by Jörn Barfod\, Eckhart Gillen\, Wiebke Hölzer\, Ingrid Mössinger\, Ori Z. Soltes and Rachel Stern accompanies the exhibition. (catalogue link) \nThe Fritz Ascher retrospective was on view at the Felix-Nussbaum-Haus in Osnabrück (September 25\, 2016 – January 15\, 2017) and at Kunstsammlungen Chemnitz MUSEUM GUNZENHAUSER (MARCH 4 – JUNE 18\, 2017)\, and will travel from Museum Charlottenburg-Wilmersdorf at Villa Oppenheim in Berlin (December 8\, 2017 – March 11\, 2018) and Potsdam Museum (December 10\, 2017 – March 11\, 2018) to Kallmann Museum in Ismaning (September 30 – November 24\, 2018). Afterwards it will be shown in the US\, starting with the Grey Art Gallery in New York (January 9 – April 6\,2019). \nWatch a short video of the exhibition \nPhotos ©Michael Lüder\, Potsdam (nos. 2\, 3\, 4\, 9\, 12\, 16\, 18\, 19\, 20)\, Dr. Bauers\, Potsdam (nos. 6\, 17) and Rachel Stern\, New York (nos. 1\, 5\, 7\, 8\, 10\, 11\, 13\, 14\, 15)
URL:https://fritzaschersociety.org/exhibition-event/leben-ist-gluhn-der-expressionist-fritz-ascher-%e2%80%a8potsdam-museum-forum-fur-kunst-und-geschichte-potsdam-germany/
LOCATION:Potsdam Museum\, Am Alten Markt 9\, Potsdam\, 14467\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2017/12/0_FRONTIMAGE_2017_Potsdam_PotsdamMuseum_FritzAscher_PhotoRachelStern.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171208
DTEND;VALUE=DATE:20180312
DTSTAMP:20260502T001512
CREATED:20171208T134128Z
LAST-MODIFIED:20181203T210656Z
UID:1799-1512691200-1520812799@fritzaschersociety.org
SUMMARY:"Leben ist Glühn" Der Expressionist Fritz Ascher 

Museum Charlottenburg-Wilmersdorf in der Villa Oppenheim\, Berlin (Germany)
DESCRIPTION:Coming home: With more than 80 paintings and works on paper\, the worldwide first Fritz Ascher Retrospective is on view at the places where Fritz Ascher lived and worked\, with parallel exhibitions in Berlin and Potsdam.\nEach venue shows a representative group of powerful paintings and drawings\, which span Ascher’s whole oeuvre from first academic studies to monumental Expressionist figure compositions to late landscapes. Both venues present Fritz Ascher’s poems\, written while hiding from Nazi persecution\, as “unpainted paintings” in relation to his artwork. \nIn Berlin\, Museum Charlottenburg-Wilmersdorf in der Villa Oppenheim shows an overview of the artist’s creative development\, with a focus on works that relate to Berlin. We see his sketch of the artist Max Liebermann as well as his love for music and performance in Weimar Republic paintings like “Beethoven” and “Bajazzo and Artists”. After surviving the Nazi terror regime in hiding in the Berlin Grunewald neighborhood\, he painted these works over in 1945\, with points and short brushstrokes in vibrant colors that distance the viewer. But soon he completely changes form and content of his artwork. Ascher turned to landscapes created in response to long walks in the Grunewald city forest\, which bordered the neighborhood where he survived in hiding\, and then lived until he died in 1970. We see the few works in which we can recognize the locale\, like “Hunting Castle Grunewald” or “Uncle Tom’s Huette”. His work becomes more immediate and urgent. \nThe upstairs cabinet room re-imagines Ascher’s living room and invites the visitor to sit down and pick up books from Ascher’s library or poems he wrote in hiding. Important documents are shown next to a map with his Berlin addresses\, and the Nazi organizations surrounding them. An 18 minute documentary film invites to learn more about Fritz Ascher’s story. (website link) \nThe exhibitions are on view at Potsdam Museum and at Museum Charlottenburg-Wilmersdorf in der Villa Oppenheim until March 11\, 2018.\nStiftung Gedenkstätte Lindenstrasse in Potsdam researches the prison where Fritz Ascher spent almost 5 months in 1939 in “Sechs Wochen sind fast wie lebenslänglich …’ Das Potsdamer Polizeigefängnis Priesterstraße/Bauhofstraße” (13 December 2017 – 29 April 2018). \nThe exhibition is under patronage of the German Minister of Culture and Media Prof. Monika Grütters.\nA comprehensive German/English catalogue with essays by Jörn Barfod\, Eckhart Gillen\, Wiebke Hölzer\, Ingrid Mössinger\, Ori Z. Soltes and Rachel Stern accompanies the exhibition. (catalogue link) \nThe Fritz Ascher retrospective was on view at the Felix-Nussbaum-Haus in Osnabrück (September 25\, 2016 – January 15\, 2017) and at Kunstsammlungen Chemnitz MUSEUM GUNZENHAUSER (MARCH 4 – JUNE 18\, 2017)\, and will travel from Museum Charlottenburg-Wilmersdorf at Villa Oppenheim in Berlin (December 8\, 2017 – March 11\, 2018) and Potsdam Museum (December 10\, 2017 – March 11\, 2018) to Kallmann Museum in Ismaning (September 30 – November 24\, 2018). Afterwards it will be shown in the US\, starting with the Grey Art Gallery in New York (January 9 – April 6\,2019). \nPhotos: ©Piotr Bialoglowicz (nos. 2-6\, 8\, 9\, 12-15)\, Berlin and Rachel Stern\, New York (nos. 1\, 7\, 10\, 11)
URL:https://fritzaschersociety.org/exhibition-event/leben-ist-gluhn-der-expressionist-fritz-ascher-%e2%80%a8museum-charlottenburg-wilmersdorf-in-der-villa-oppenheim-berlin-germany/
LOCATION:Villa Oppenheim – Museum Charlottenburg-Wilmersdorf\, Schloßstraße 55\, Berlin\, 14059\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2017/12/0_FRONTIMAGE_2017_Berlin_MuseumCharlottenburgWilmersdorf_FritzAscher_PhotoRachelStern.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171023
DTEND;VALUE=DATE:20171204
DTSTAMP:20260502T001512
CREATED:20170630T052342Z
LAST-MODIFIED:20181203T210656Z
UID:1798-1508716800-1512345599@fritzaschersociety.org
SUMMARY:"Beauteous Strivings": Fritz Ascher\, Works on Paper
 
New York Studio School\, New York (USA)
DESCRIPTION:For the first time in the United States\, this exhibition presents works on paper by the German Expressionist Fritz Ascher (1893-1970). In these landscapes\, made after 1945\, the artist radically departed from the figural compositions he created during the Weimar years. At the same time\, he built on his Expressionist visual language of vigorous brushstrokes and expressive colors. \nBorn 1893 in Berlin\, Ascher showed talent early. At the age of 16\, he studied with Max Liebermann\, who recommended him to the Königsberg Art Academy. Soon after\, he studied with Lovis Corinth in Berlin. In contact with such artists as Emil Nolde and Edvard Munch\, Ascher developed an expressionist pictorial language and created powerful figural compositions. \nAfter 1933\, the Jewish-born Ascher was not allowed to produce\, exhibit or sell his art. He survived the Nazi regime mostly in hiding\, writing poetry. He continued to live in Berlin after 1945 and resumed painting\, mainly in solemn solitude. \nThis exhibition’s more than 30 works on paper give an intimate glimpse into Ascher’s temperament and artistic personality. Living close to the Grunewald\, the expansive city forest of Berlin\, he observed and painted nature in different light\, at different times\, and in different seasons. He created powerful images of trees and flowers\, sunrises and sunsets in which light and shadow are dominant visual forces. The trees\, with heavy\, strong trunks\, stand isolated or in groups. Dramatic moments are expressed by intense colors. The formally innovative and atmospherically dense landscapes reflect Ascher’s complex emotional life. With expressive hues\, bold brushstrokes and reckless surface treatment\, Ascher found a powerful and independent artistic voice. \nThis exhibition is curated by Karen Wilkin and is organized in collaboration with The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, Inc.\, whose mission it is to research\, exhibit and publish the work of artists that are unknown to the public\, because they were suppressed by the Nazi regime.( website link)
URL:https://fritzaschersociety.org/exhibition-event/beauteous-strivings-fritz-ascher-works-on-paper%e2%80%a8new-york-studio-school-new-york-usa/
LOCATION:New York Studio School\, 8 W 8th St\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibitions,Past Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170726
DTEND;VALUE=DATE:20180108
DTSTAMP:20260502T001512
CREATED:20170630T050635Z
LAST-MODIFIED:20181203T210657Z
UID:1797-1501027200-1515369599@fritzaschersociety.org
SUMMARY:“Hauptstadtfussball” 125 Jahre: Hertha BSC & Lokalrivalen 

Ephraim-Palais Museum – Stiftung Stadtmuseum Berlin\, Berlin (Germany)
DESCRIPTION:July 25th\, 2017 is the 125th birthday of the Berlin soccer club Hertha BSC. This birthday is celebrated with a special exhibition at the museum Ephraim-Palais\, which enables visitors to experience captivating chapters of Berlin sports- and city history. Today Herta is Number One among Berlin soccer clubs\, followed by East Berlin’s Union Berlin. But those who know the scene know that there are more than 400 soccer clubs in Berlin\, with more that 150\,000 members\, as well as numerous soccer fields and pubs for fans. \nFritz Ascher’s drawing “Soccer Players” from c. 1916 is part of this exhibition. The artist portraits a dramatic scene: surrounded by four players the forward attacks from the left. His leg is still up from the shot against the goal. But the goalie holds the ball – he seems to have jumped vertically into the air to catch the ball in front of his chest. On the right side\, the goal is indicated\, with a player from the opposing party. The soccer field is surrounded in the background by a high fence\, with a building on the left. This could be the Schebera field at Behmstrasse in the Berlin borrough Gesundbrunnen. Here\, Herta played since 1904\, and was the first team on the continent to win a professional English team\, Southend United England. With this victory\, the Schebera field became the soccer center of Northern Berlin. \nAm 25. Juli 2017 feiert Hertha BSC seinen 125. Geburtstag. Für das Stadtmuseum Berlin ist das runde Jubiläum willkommener Anlass\, sich mit einer Sonderausstellung im Museum Ephraim-Palais dem facettenreichen Thema »Hauptstadtfußball« zu widmen. Rund um die Geschichte der Hertha können Fußballbegeisterte aller Couleur packende Kapitel der Berliner Sport- und Stadtgeschichte mit all ihren Höhen und Tiefen nacherleben. Heute ist die in West-Berlin beheimatete Hertha die Nummer eins der Hauptstadt\, gefolgt vom Ost-Berliner Lokalrivalen Union Berlin. Doch Kenner der Szene wissen: Die Berliner Fußball-Landkarte setzt sich aus mehr als 400 Vereinen zusammen\, bevölkert von 150.000 Mitgliedern des Berliner Fußball-Verbands und gesprenkelt von zahllosen Bolz- und Kunstrasenplätzen sowie Fankneipen aller Bundesligaclubs. Diese bunte Mischung macht den Hauptstadtfußball so einmalig. \nFritz Aschers Zeichnung “Fussballspieler” von ca. 1916 ist Teil dieser Ausstellung. Der Künstler hält eine dramatische Szene fest: Umgeben von vier Spielern greift der Stürmer von links an. Sein Bein ist noch gehoben vom Torschuss. Aber der Torwart hält den Ball – er scheint senkrecht in die Luft gesprungen zu sein\, um den Ball vor seiner Brust halten zu können. Rechts hinter ihm ist das Tor angedeutet\, in dem sich ein gegnerischer Spieler befindet. Der Fussballplatz ist im Hintergrund umgeben von einem hohen Zaun\, an den links ein Gebäude grenzt. Dies könnte der Schebera-Platz an der Behmstraße im Berliner Ortsteil Gesundbrunnen sein. Hier spielte Herta BSC seit 1904\, wurde 1906 Berliner Meister und wurde 1910 die erste Mannschaft des Kontinents\, die mit Southend United England eine englische Profimannschaft besiegte. Mit diesem Sieg wurde der Schebera-Platz zum Fussballzentrum im Berliner Norden. \nPhotos ©2017 Rachel Stern
URL:https://fritzaschersociety.org/exhibition-event/hauptstadtfussball-125-jahre-hertha-bsc-lokalrivalen-%e2%80%a8ephraim-palais-museum-stiftung-stadtmuseum-berlin-berlin-germany/
LOCATION:Ephraim-Palais Museum\, Poststraße 16\, Berlin\, 10178\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2017/06/0_COVERIMAGE_Ephraim-Palais_Berlin_Photo-Jörg-Zägel-CC-BY-SA-3.0-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170305
DTEND;VALUE=DATE:20170619
DTSTAMP:20260502T001512
CREATED:20170112T194541Z
LAST-MODIFIED:20181203T212123Z
UID:1796-1488672000-1497830399@fritzaschersociety.org
SUMMARY:"Leben ist Glühn" Der Expressionist Fritz Ascher 

Kunstsammlungen Chemnitz MUSEUM GUNZENHAUSER\, Chemnitz (Germany)
DESCRIPTION:The worldwide first Fritz Ascher Retrospective is on view at the Kunstsammlungen Chemnitz – MUSEUM GUNZENHAUSER from March 5 to June 18\, 2017. (website link) \nThe main focus of the presentation at the Kunstsammlungen Chemnitz – MUSEUM GUNZENHAUSER is on the artist’s important early masterworks like “Golgatha” (1915)\, “Bajazzo and Artists” (ca. 1916) and “The Tortured” (ca. 1916). \nFor the first time ever\, Fritz Ascher’s “Golem” from the collection of the Jewish Museum Berlin will here be reunited with other works the artist created between 1913 and 1933. \nThe Kunstsammlungen Chemnitz is home to an important collection of German Expressionism\, dominated by artwork of the locally founded Expressionist group Brücke and especially Karl Schmidt-Rottluff\, who grew up in Chemnitz\, along with Ernst Ludwig Kirchner and Erich Heckel. The MUSEUM GUNZENHAUSER is home to the vast Expressionist art collection of Alfred Gunzenhauser\, with the worldwide largest collection of works by Otto Dix (1891-1969) and Alexej von Jawlensky (1865-1941).\nHere\, the presentation of Fritz Ascher’s work will be complemented by a parallel presentation of Expressionist art from the museum collection. This allows the viewer to experience Ascher’s work in the context of the artists who surrounded him. \nThe exhibition is under patronage of the German Minister of Culture and Media Prof. Monika Grütters. \nA comprehensive German/English catalogue with essays by Jörn Barfod\, Eckhart Gillen\, Wiebke Hölzer\, Ingrid Mössinger\, Ori Z. Soltes and Rachel Stern accompanies the exhibition. (catalogue link)\nHere is a first review. (link) \nThe Fritz Ascher retrospective opened at the Felix-Nussbaum-Haus in Osnabrück (September 25\, 2016 – January 15\, 2017) and will travel from Chemnitz to the Museum Charlottenburg-Wilmersdorf at Villa Oppenheim in Berlin (December 8\, 2017 – March 11\, 2018) and the Potsdam Museum (December 10\, 2017 – March 11\, 2018)\, and the Kallmann Museum in Ismaning (September 30 – November 24\, 2018). Afterwards it will be shown in the US. \nPhotos: ©2017 László Tóth at Kunstsammlungen Chemnitz and Rachel Stern
URL:https://fritzaschersociety.org/exhibition-event/leben-ist-gluhn-der-expressionist-fritz-ascher-%e2%80%a8kunstsammlungen-chemnitz-museum-gunzenhauser-chemnitz-germany/
LOCATION:Museum Gunzenhauser\, Stollberger Str. 2\, Chemnitz\, 09119\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20161009
DTEND;VALUE=DATE:20170115
DTSTAMP:20260502T001512
CREATED:20150611T020535Z
LAST-MODIFIED:20181203T224725Z
UID:1793-1475971200-1484438399@fritzaschersociety.org
SUMMARY:Verfahren. “Wiedergutmachung” im geteilten Berlin
 
Aktives Museum\, Berlin (Germany)
DESCRIPTION:The Aktive Museum in cooperation with the Gedenkstätte deutscher Widerstand and the Gedenk- und Bildungsstätte Haus der Wannsee-Konferenz is examining the practice of restitution after 1945 in divided Berlin\, which is shown on the occasion of the 70th anniversary of the liberation from the National Socialist Regime. website \nEspecially in Berlin\, where during the Cold War two completely different concepts of restitution existed side-by-side\, their political framework and its consequences for the restitution procedures can be demonstrated like nowhere else. \n27 individual cases vividly present diverse groups of victims and restitution procedures in Berlin West and East. They illustrate the repercussions of the often lengthy procedures for the victims. At the same time\, the sociopolitical parameters can be determined that caused late restitution to specific groups of victims. In addition\, the players of these proceedings – organizations of victim groups as well as lawyers and government representatives – are portrayed. \n“»Making Amends« Compensation and Restitutions in a Divided Berlin” is on view from October 9\, 2015 until January 14\, 2016 at the Gedenkstätte deutscher Widerstand\, Berlin and from September 29 until November 18\, 2016 at Landgericht Berlin/Amtsgericht Mitte\, Berlin. \nA catalogue was published by Lukas Verlag\, Potsdam. catalogue
URL:https://fritzaschersociety.org/exhibition-event/verfahren-wiedergutmachung-im-geteilten-berlin%e2%80%a8-aktives-museum-berlin-germany/
LOCATION:Aktives Museum\, Stauffenbergstraße 13-14\, Berlin\, 10785\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2015/06/00_COVERIMAGE_Bendlerblock_Berlin_Gedenkstätte_Deutscher_Widerstand_August_2009_PhotoStefanKemmerling.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160925
DTEND;VALUE=DATE:20170116
DTSTAMP:20260502T001512
CREATED:20150611T021119Z
LAST-MODIFIED:20181203T222148Z
UID:1794-1474761600-1484524799@fritzaschersociety.org
SUMMARY:"Leben ist Glühn" Der Expressionist Fritz Ascher 
Felix-Nussbaum-Haus\, Osnabrück (Germany)
DESCRIPTION:The first ever Fritz Ascher Retrospective is on view at the Felix-Nussbaum-Haus in Osnabrück from September 25\, 2016 until January 15\, 2017.  website link  \nThis first comprehensive retrospective of Fritz Ascher’s art shows a representative group of ca. 80 works (30 paintings and 50 works on paper)\, which span his whole oeuvre from first academic studies to monumental Expressionist figure compositions to late landscapes. \nThe emotional immediacy\, intensity and authenticity of Fritz Ascher’s work insures its relevance for today’s viewers. At the same time\, it raises interesting questions about individuality and artistic integrity in response to conditions of extreme duress and to political tyranny.\nThe exhibition is under patronage of the German Minister of Culture and Media Prof. Monika Grütters. \nA comprehensive German/English catalogue with essays by Jörn Barfod\, Eckhart Gillen\, Wiebke Hölzer\, Ingrid Mössinger\, Ori Z. Soltes and Rachel Stern accompanies the exhibition. catalogue link \nThe Fritz Ascher retrospective will travel from Osnabrück to the Kunstsammlungen Chemnitz – MUSEUM GUNZENHAUSER (March 4 – June 11\, 2017)\, the Museum Charlottenburg-Wilmersdorf in der Villa Oppenheim (December 8\, 2017 – March 11\, 2018) and the Potsdam Museum (December 10\, 2017 – March 11\, 2018). Afterwards it will travel to the US. \nPhotos ©2016 Rachel Stern
URL:https://fritzaschersociety.org/exhibition-event/leben-ist-gluhn-der-expressionist-fritz-ascher-felix-nussbaum-haus-osnabruck-germany/
LOCATION:Felix Nussbaum House / Museum of Cultural History\, Lotter Str. 2\, Osnabrück\, 49078\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2015/06/00_COVERIMAGE_2016_Osnabrueck_Felix-Nussbaum-Haus_FritzAscher_PhotoRachelStern.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160923
DTEND;VALUE=DATE:20170130
DTSTAMP:20260502T001512
CREATED:20160204T195901Z
LAST-MODIFIED:20181203T223755Z
UID:1795-1474588800-1485734399@fritzaschersociety.org
SUMMARY:"Golem" 

Jüdisches Museum Berlin\, Berlin (Germany)
DESCRIPTION:Fritz Ascher’s monumental painting “Golem” from 1916 is part of the exhibition “Golem” at the Jewish Museum Berlin (September 23\, 2016  – January 29\, 2017).website \nThe myth of the human being that can create new life is the central theme of the large thematic exhibition “Golem” at the Jewish Museum Berlin. Until today the most prominent Jewish legendary figure inspires generations of artists and writers. The exhibition presents the Golem from its Jewish mystical source to popular narratives for film or in artistic and digital media. Formed in clay or dust\, a being is brought to life by mystical rituals including Hebrew letter combinations. Created by a human being\, the Golem becomes a helper\, a companion or the savior of a Jewish community in danger. In many Golem stories the creator looses control over his creation and is threatened by it. Based on the Golem the exhibition explores themes like creativity\, creation\, power and salvation. The exhibition shows the thematic richness of the story\, as it is told in medieval manuscripts and multi-layered narratives in artworks from the past 200 years. The Golem lives in painting\, sculpture\, object art\, video\, installation\, photography or illustration\, and with it the question what it means to be human. \nDer Mythos vom Menschen\, der künstliches Leben erschaffen kann\, steht im Mittelpunkt der großen Themenausstellung über den Golem im Jüdischen Museum Berlin. Bis heute inspiriert die prominenteste jüdische Legendenfigur Generationen von Künstlern und Autoren. Die Ausstellung präsentiert den Golem von seiner Erschaffung aus einem Ritual der jüdischen Mystik bis hin zum populären Erzählstoff im Film oder dessen Fortschreibung in künstlerischen und digitalen Welten. Ein Wesen\, geformt aus unbelebter Materie wie Staub oder Erde\, wird durch rituelle Beschwörung und hebräische Buchstabenkombinationen zum Leben erweckt. Geschaffen von einem menschlichen Schöpfer\, wird der Golem zum Helfer\, zum Gefährten oder zum Retter einer jüdischen Gemeinde in Gefahr. In vielen Golem-Erzählungen gerät das Geschöpf außer Kontrolle und der Golem selbst wird zur Bedrohung für den\, der ihn geschaffen hat. Anhand der Golem-Figur untersucht die Ausstellung Themen wie Kreativität\, Schöpfung\, Macht und Erlösung. Die Ausstellung zeigt die thematische Fülle des Stoffes\, wie er sich in mittelalterlichen Manuskripten\, in vielschichtigen Erzählungen und in Kunstwerken aus den letzten zweihundert Jahren darstellt. Ob in Malerei\, Skulptur\, Objektkunst\, Video\, Installation\, Fotografie oder Illustration: Der Golem lebt und mit ihm die Frage danach\, was es bedeutet ein Mensch zu sein.catalogue \nPhotos ©2016 Rachel Stern
URL:https://fritzaschersociety.org/exhibition-event/golem-%e2%80%a8judisches-museum-berlin-berlin-germany/
LOCATION:Jüdisches Museum Berlin\, Lindenstraße 9-14\, Berlin\, 10969\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2016/02/00_COVERIMAGE_2016_Berlin_JewishMuseum_Golem_PhotoRachelStern.jpg
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DTSTART;VALUE=DATE:20130131
DTEND;VALUE=DATE:20131111
DTSTAMP:20260502T001512
CREATED:20181203T210013Z
LAST-MODIFIED:20181212T012243Z
UID:2725-1359590400-1384127999@fritzaschersociety.org
SUMMARY:Zerstörte Vielfalt. Berlin 1933-1938-1945. Eine Stadt erinnert sich 
Kulturprojekte Berlin\, Berlin (Germany)
DESCRIPTION:“Diversity Destroyed. Berlin 1933-1938-1945. A City Remembers”\, is an outdoor exhibition organized by Kulturprojekte Berlin (Cultural Projects Berlin). It  commemorates the systematic suppression of Berlin’s burgeoning cultural landscape by the Nazis\, on the occasion of the  80th anniversary of Hitler’s ascension to power on January 30\, 1933 and the 75th anniversary of the so-called “Night of Broken Glass” on November 9/10.  \nForty information pillars are placed on important public squares in Berlin\, reminding pedestrians of people\, who were important to Berlin’s vibrant cultural life during the Weimar Republic\, encompassing musical performance\, dance\, theatre\, cinema and much more. Over 200 biographies feature people\, who the Nazis wanted to erase from public memory\, and who were persecuted\, ostracized and/or banned. Among them are well known personalities like Albert Einstein\, but most of them are not known. \nThe theme of the information pillars on Frankfurter Tor is diversity in the Underground. One of the pillars features painter and poet Fritz Ascher (1893-1970)\, an important proponent of German Expressionism. When Hitler came to power in 1933\, Ascher was denounced as politically suspect\, banned from practicing his profession\, and his art was branded degenerate’. In 1942\, Ascher went into hiding in a villa in Grunewald\, where he survived and continued to live after 1945. There\, he created atmospherically dense landscapes of the Berlin city forest Grunewald\, arguably his strongest artistic work.
URL:https://fritzaschersociety.org/exhibition-event/zerstorte-vielfalt-berlin-1933-1938-1945-eine-stadt-erinnert-sich-%e2%80%a8kulturprojekte-berlin-berlin-germany/
LOCATION:Kulturprojekte Berlin\, Klosterstraße 68\, Berlin\, 10179\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2018/12/00_COVERIMAGE_2013_Berlin.jpg
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