For a long time we have argued here that museums are the cathedrals of modernity. Maurizio Cattelan has taken this claim literally. In a bit of a cheeky way, he turned the “Neue Nationalgalerie” into a cathedral of German modernity. Who are the Gods then? Our cultural heritage comprises beyond our German language classics, the novel “Die Blechtrommel” by praised and then disgraced Günter Grass. The figure serves as the “campanile” sitting above the entry. Well, the small scale “Brandenburger Tor” serves as the entry portal into a wide open space, with past pieces of adoration in a transfigured sense. This modern cathedral holds pieces of art similar to small chapels in a cathedral dealing or inviting to remember historic events or eminent persons. The modern aspect consists in its temporality. The show must not go on forever. Like surrounding every cathedral, lots of immortalised pigeons accompany our visit, just sitting around. There is no longer just one “holy spirit” or “peace dove” but so many. Welcome to the temporary modern cathedral in Berlin.
























It is the merit of Marie-Luise Conen and Zdravko Kucinar to let Milian Schömann live on in our time through the reprinting of some of his work, which is embedded in a well-written historical account of the political and family setting at that time. The professional psychological training of Marie-Luise Conen helps to reproduce the anxious atmosphere Milian Schömann has lived through, albeit he remained a productive writer despite the economic hardship and living in exile.


