How do we go about designing our future and being conscious of our past? How to lay the foundations for a sustainable world? And what does it mean to live in a present that is trans-cultural through and through? Read our voices editorial. More

31. May 2024 — Read / Article
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The poisonous mushroom and the Weinbergskirche: peace activism using a shooting target?

Starting in the 1970s, a type of artistic dialogue developed in East Germany that took place not in museums and galleries but, instead far from the world of public exhibitions, via the postal service. Soon after, the Dresden artist Birger Jesch launched what he called the “first Mail-Art Project of Dresden”, posting 300 cards featuring shooting targets to recipients around the world, for them to design and return.

30. April 2024 — Read / Article
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Palais garden #3 - Vermin and virtu: Possible conflicts with biodiversity in the museum context

The garden at the Japanisches Palais is a place where human beings, plants and animals can be said to coexist. It is a place where ecological cycles can be seen and natural processes observed. In a museum’s inner courtyard, however, we are caught between teaching people about the topics of the future and preserving valuable art by preventing pest damage. How can that balance be maintained?

25. April 2024 — Read / Article
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Discover the Japanisches Palais with all your senses Projects to overcome our barriers

By making it easier to access our cultural heritage, the Japanisches Palais (Japanese Palace) is helping to promote democracy. Barrier-free access fosters diversity by promoting a variety of perspectives and experiences and sensitising people to a wide range of topics. Katharina Parow presents some of our inclusion programmes.

28. March 2024
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Private art trade in Dresden after 1945 - Insights into the research project

When and where did private art dealerships exist in Dresden after 1945? How and why did the private art trade and art collecting function under socialism? Who were the customers, the consignors and what role did the Staatliche Kunstsammlungen Dresden play? Do Dresden museums still house pieces of art that were acquired from private art and antique dealers immediately after the end of the Second World War and during the GDR era?

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