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2008 - Staatliche Kunstsammlungen Dresden

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20<br />

In the Museo Nacional del Prado, Madrid: the exhibition “Unter Göttern und Menschen” (Among Gods and Men)<br />

All this was an impressive feat. Here, too, the focus was –<br />

and always is – on dialogue, on the reflection of art history<br />

or, as in the case of Kiev and St. Petersburg, on political<br />

history. The exhibitions in Kiev and St. Petersburg were<br />

also an expression of gratitude to the states of the former<br />

Soviet Union for the return of the art treasures to <strong>Dresden</strong><br />

50 years ago.<br />

In addition, the <strong>Staatliche</strong> <strong>Kunstsammlungen</strong> <strong>Dresden</strong><br />

also like to play host to foreign partners at home, conducting<br />

joint exhibitions and scientific projects or holding<br />

conferences in <strong>Dresden</strong>. In <strong>2008</strong> – in addition to the “China<br />

in <strong>Dresden</strong> in China” events – the <strong>Staatliche</strong> Kunstsammlung<br />

<strong>Dresden</strong> hosted guest exhibitions from Israel, Azerbaijan<br />

and Taiwan. This high degree of commitment challenges<br />

the staff to the limits and requires that they are outstandingly<br />

well qualified for the job. Only through immense efforts<br />

was it possible for four museums of the <strong>Staatliche</strong><br />

<strong>Kunstsammlungen</strong> <strong>Dresden</strong> to hold special exhibitions<br />

abroad at just the same time as the “China Year” in <strong>Dresden</strong><br />

reached its climax with the large-scale exhibition “Goldener<br />

Drache – Weißer Adler: Kunst im Dienste der Macht<br />

am Kaiserhof von China und am sächsisch-polnischen Hof<br />

(1644 – 1795)” (Golden Dragon – White Eagle: Art in the<br />

Service of Power at the Imperial Court of China and at the<br />

Saxon-Polish Court [1644 – 1795]).<br />

kiev – madrid – st. Petersburg – Los Angeles<br />

The autumn series of exhibitions abroad was launched by<br />

the Kupferstich-Kabinett, which presented around 80<br />

masterpieces of graphic art by 18th-century Venetian artists<br />

– works which constitute a core section of its holdings<br />

– from mid-September to mid-November in Kiev. It was<br />

the first exhibition by a German museum in the Ukraine<br />

since the revolutionary changes of 1989/90.<br />

Martin Roth attaches particular significance to collaboration<br />

with the Ukraine. The international partnerships of<br />

German museums are primarily focused on Moscow and<br />

St. Petersburg. However, interest should also be directed<br />

towards the other cities of Russia and the CIS states because<br />

of the enormous diversity and high quality of the<br />

collections even outside the major centres of Moscow and<br />

St. Petersburg. This was taken into account not only in the<br />

exhibition in Kiev conceived by the Kupferstich-Kabinett<br />

under the leadership of its Director, Prof. Dr. Wolfgang<br />

Holler, but also in the fact-finding trip by representatives<br />

of the <strong>Staatliche</strong> <strong>Kunstsammlungen</strong> <strong>Dresden</strong> and other<br />

institutions to important Russian provincial museums,<br />

such as those in Tula, Irkutsk and Nizhni Novgorod.<br />

Another aspect of collaboration with museums not only<br />

in Russia but also in the Ukraine are the issues of looted<br />

art and war losses, in which the primary concerns at

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