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DW
06-06-2025
- Entertainment
- DW
Berlin pays tribute to Christo's iconic 'Wrapped Reichstag' – DW – 06/06/2025
Thirty years ago, Germany's parliament building "disappeared" under silver fabric for two weeks. The work of art by Christo and Jeanne-Claude is now celebrated with a light installation. Anyone who was in Berlin in the summer of 1995 will probably remember it for the rest of their lives: how the Reichstag — the seat of the German parliament — disappeared. Not blown up, not demolished, but completely wrapped in silver fabric and tied up with thick ropes, almost like a gift. A crazy idea? Perhaps. But also one that made history. Behind this spectacular action was a pair of artists who have repeatedly surprised the world with their ephemeral mega works of art: Christo and Jeanne-Claude. Their vision of a wrapped Reichstag was big, bold — and took 23 years to plan. 2025: A special anniversary year 2025 is a real anniversary year for fans of Christo and Jeanne-Claude. Not only is Berlin marking the 30th anniversary of the "Wrapped Reichstag" with a light installation projected onto the west façade of the Reichstag building from June 9 to 22, but other cities around the world are also paying tribute to the couple's works: Paris commemorates the wrapping of its Pont Neuf that happened 40 years ago, while New York marked the 20th anniversary of "The Gates," an installation in Central Park featuring thousands of gates on which fabric panels fluttered. And above all, both artists would have turned 90 this year: They were born on the same day, on June 13, 1935. Christo was born in Bulgaria and later fled from the communist East to Western Europe, first to Prague, then to Vienna, Geneva and finally Paris. There he met Jeanne-Claude in 1958 — she was French with roots in Morocco. The two became an unbeatable team. Christo was the artist, Jeanne-Claude the organizer — whereby both saw themselves as equal partners and later officially signed all projects together. After 23 years of planning, Christo and Jeanne-Claude's dream became a reality Image: 1995 Christo and Jeanne-Claude Foundation, Photo: Wolfgang Volz Their specialty was huge, spectacular art installations in public spaces. They wrapped bridges, buildings or entire coastal strips, stretched gigantic curtains through valleys or erected kilometer-long fabric installations. None of it permanent, all self-financed, without advertisers or sponsors; the money for the projects was only generated through the sale of drawings, collages and designs. 'Wrapped Reichstag': A long wait for approval The idea of wrapping the Reichstag in Berlin was born back in 1971 — in the middle of the Cold War. At the time, the Reichstag stood right next to the Berlin Wall. It was a symbolic building, but was not actually used. The seat of government of the then Federal Republic of Germany was still in Bonn, and the Bundestag (the German parliament) only moved into the Reichstag building with its characteristic glass dome, remodeled by architect Norman Foster, in 1999. In 1978, Christo presented the model of the wrapped Reichstag at an exhibition in Zurich Image: Niklaus Stauss/akg/picture-alliance Christo and Jeanne-Claude were nevertheless fascinated by the building's symbolism and historical role. Time and again, this place has been the scene of significant moments in Germany's history, during the German Empire, the Weimar Republic, the Nazis' "Third Reich" and the Second World War, the division of Germany after the war and its eventual reunification. Christo and Jeanne-Claude wanted to make this building visible again by concealing it for a brief period. But a work of art like this required permission — and that took a long time coming. It was not until 1994, after more than 20 years of discussion, that the Bundestag finally gave its approval, following vigorous debate. And this paved the way to one of the most impressive art projects of the century. The then President of the Bundestag, Rita Süssmuth, supported the project Image: Jockel Finck/AP Photo/picture alliance Summer 1995: A silver dream in the middle of Berlin Finally, in June 1995, the Reichstag was completely wrapped in over 100,000 square meters of silver fabric and 16 kilometers of rope. The wrapping lasted several days and was followed around the world. The wrapped Reichstag appeared soft, shimmering, mysterious, like a work of art amid clouds. From June 24 to July 7, 1995, over 5 million people came to Berlin to witness this spectacle with their own eyes. It was like a huge public festival: People were lying on the grass, having picnics, taking photos and discussing it. Many people who experienced the work later said that they had never viewed the Reichstag as intensely as during these two weeks. A tourist magnet in the summer of 1995 Image: 1995 Christo and Jeanne-Claude Foundation, Photo: Wolfgang Volz Why wrap it at all? Christo and Jeanne-Claude didn't set out to hide a building — quite the opposite. They wanted to give it a new experience. The wrapping removed everything superficial. You could no longer see the details, only the shape, the silhouette, the volume. And most importantly, this work of art was also ephemeral. After two weeks, the magic was over, the fabric was dismantled, and no trace remained. Only memories. For the artist couple, this ephemerality was a central part of their work. "The beauty lies in transience," they often said. You should enjoy the moment because you know it will soon be over. Although the Reichstag is a political symbol, the artwork itself was not intended to be political. Christo and Jeanne-Claude did not want to dictate an opinion. They wanted their art to be an open space for thoughts, feelings and interpretations. Nevertheless, many people saw the wrapping as a strong political symbol: for change, for reconciliation, for a new beginning. This had a special effect, especially in reunified Germany. From June 9 to 20, 2025 the artwork will be projected onto the west façade of the Reichstag in the evening Image: Jens Kalaene/dpa/picture alliance Jeanne-Claude died in 2009,Christo in 2020, but their art lives on — in photos, memories, exhibitions and now also in a special anniversary year. The wrapping of the Reichstag was not only a masterpiece of logistics and aesthetics, it was also a moment of collective fascination. It showed what art can achieve in public spaces. It can surprise, connect, challenge. And it can simply amaze people. Or, as Christo once said: "Our works belong to no one — and at the same time to everyone." This article was originally written in German.
Forbes
21-03-2025
- Entertainment
- Forbes
20th Anniversary Of ‘The Gates' Art Installation Celebrated In NYC
The 20th anniversary celebration in New York of the legendary public art installation in Central Park, The Gates, by Christo and Jeanne-Claude, will end this Sunday, March 23. A person takes part in the Augmented Reality experience and art exhibition during a media preview for the 20th anniversary of Christo and Jeanne-Claude's "The Gates" in Central Park, New York, February 10, 2025. (Photo by Leonardo Munoz / AFP) / RESTRICTED TO EDITORIAL USE - MANDATORY MENTION OF THE ARTIST UPON PUBLICATION - TO ILLUSTRATE THE EVENT AS SPECIFIED IN THE CAPTION (Photo by LEONARDO MUNOZ/AFP via Getty Images) AFP via Getty Images The celebration includes an exhibition at The Shed in Hudson Yards and an augmented reality experience in Central Park powered by Bloomberg Connects. The artists' foundation said, 'Credited with revolutionizing New York City's relationship with participatory and community-based art and igniting dialogue about the importance of public art globally, The Gates captured the imagination of millions and helped revive a city that had been transformed by the tragedy of 9/11 four years earlier. Twenty-six years in the making, The Gates was on display for sixteen days in 2005. The work of art attracted over four million visitors to the Park and generated an estimated $254 million in economic activity across New York City.' 'Even after 20 years, the unforgettable visual memory of Christo and Jeanne-Claude's The Gates is still in the minds of the many people who experienced it in person or viewed it from afar,' said Vladimir Yavachev, Christo and Jeanne-Claude's director of projects. 'The Gates was responsible for sparking an important conversation about public art and its role in urban settings and society.' The original installation featured 7,503 saffron-colored gates adorned with free-flowing fabric that spanned 23 miles of pathways, The individual gates were 16 feet tall and varied in width from 5 feet 6 inches to 18 feet, depending on the different widths of the park's walkways. The vertical poles were secured by narrow steel base footings, 613 to 837 pounds each, positioned on top of the paved surfaces. Free hanging saffron-colored fabric panels, suspended from the horizontal top part of the gates, came down to approximately 7 feet above the ground. The gates were spaced at 12-foot intervals. Michael R. Bloomberg, 108th mayor of New York City and founder of Bloomberg L.P. and Bloomberg Philanthropies, said, 'Christo and Jeanne-Claude first proposed The Gates for Central Park in the 1970s, but the powers that be blocked it. After being elected mayor of New York just weeks after the 9/11 attacks, we worked closely with them to bring their vision to life. Millions of New Yorkers and visitors shared in the incredible experience of walking through a transformed landscape, just as the artists had imagined. Now Bloomberg Philanthropies is glad to help bring the spirit of their unforgettable work back to life – and celebrate the boldness and creativity that lifted our city's spirits and economy as we recovered from our darkest day.' The Gates exhibition at The Shed includes original artworks by Christo, such as drawings, scale models, and components from the 2005 Central Park installation; photographs and videos; an interactive, tabletop map of Central Park that facilitates an augmented reality exploration of The Gates and a selection of Christo and Jeanne-Claude's visionary proposals for New York City that were never realized. For the first time in the United States, these works are presented through Christo's drawings, scale models and projections, and offer a glimpse into the artists' creative processes for large-scale public art projects. Visitors to the Shed and those who cannot experience the exhibition in person can learn more about it on the Bloomberg Connects app, which features bespoke audio, video, and text content about both the exhibition and other works at The Shed. The celebration's AR experience, available between the east and west sides of Central Park near 72nd Street, virtually creates several hundred gates. In coordination with the New York City Department of Parks & Recreation and the Central Park Conservancy, this experience is available during daylight park hours, with signage along the AR route. It is wheelchair-accessible along the paved pathways. 'The Gates was a memorable work of public art amplified by Central Park's iconic landscapes,' said Betsy Smith, President & CEO of the Central Park Conservancy. 'Thanks to our partners at Bloomberg Philanthropies and the Christo and Jeanne-Claude Foundation, the public can once again experience this groundbreaking act of public art inside Central Park.' 'Public art has the power to transform not just spaces, but communities. Christo and Jeanne-Claude's The Gates was a groundbreaking work for NYC Parks that reimagined the renowned Central Park and captured the hearts and imaginations of many,' said Sue Donoghue, Commissioner of the NYC Department of Parks & Recreation. 'It brought 4 million visitors to the park, and two decades later, it continues to remind us of the vital role public art plays in bringing people together, sparking conversations, and enriching our public spaces. As we celebrate the 20th anniversary of The Gates with this new interactive exhibit, we are reminded of the incredible potential of art to connect us to nature, to each other, and to the urban environment around us.'
The Guardian
06-03-2025
- Entertainment
- The Guardian
Jennifer Johnston obituary
In an interview published in 1999, Jennifer Johnston, who has died aged 95, defined the way she went about creating her luminous works of fiction. 'I'm not an innovative sort of writer,' she said. 'I'm always working with fairly strict, rather old-fashioned terms of what the novel means to me. And I'm working on a very, very small canvas.' This is perhaps an over-modest appraisal of her modus operandi. In fact, she never balked at tackling large subjects, or at bringing a new and invigorating sensibility to bear on old themes. Dubbed an Irish 'big house' novelist when she first appeared on the literary scene, Johnston soon made it clear that whatever she may have owed to her predecessors such as Maria Edgeworth or Elizabeth Bowen, she possessed a sure and delicate touch that was all her own. She started out with The Captains and the Kings, published in 1972 when she was 42, and it won the Authors' Club first novel award. This was followed by The Gates (1973) and How Many Miles to Babylon? (1974). Shadows on Our Skin (1977), a coming-of-age story set in Derry during the Troubles, was included on the Booker prize shortlist, while The Old Jest (1979), about the Irish war of independence, secured its author the Whitbread prize (and was filmed as The Dawning in 1988). In 1976 Johnston had married her second husband, David Gilliland, a Northern Irish solicitor and dendrologist. His home, the lovely 18th-century Brook Hall on the outskirts of Derry, became her home for the next 40-odd years, and the setting from which her distinctive, needle-sharp and elliptical novels continued to appear. Living where she did, in the bitter and dangerous 1970s, inspired Johnston to take on the knotty subjects of republican activism, degrees of commitment and unexalted life in the Bogside. As critical of her own work as she sometimes was about the work of others, Johnston later dismissed Shadows on Our Skin as an utterly 'unimportant' book. The Railway Station Man (1984), however, was another matter, in her view and the view of most critics, with its stringent and compassionate response to acts of terrorism. For all its subtlety and understatement, a thread of violence runs through the whole of Johnston's work. It acts as a kind of counterpart to a recurring narrative motif, the unexpected friendship between people from different generations, different social classes or different political affiliations; and it takes in the slaughter of the first world war's killing fields, along with political violence in Northern Ireland, and the violence inflicted by men on women and children, not excluding rape and incest. Johnston's highly individual and inspiriting approach, in this and in other areas, was acknowledged in the continuing awards and honours she garnered, including a lifetime achievement award at the Irish Book awards in 2012. And the admiration of her peers never diminished. For Roddy Doyle, for example, she was simply 'the best Irish novelist'. 'She writes perfect novels,' he said. She was born in Dublin into a Protestant upper-middle-class family with slightly bohemian tendencies – for Johnston, avoiding the big house altogether as a literary trope was not an option, given the circumstances of her upbringing and early life. Her father was the playwright and war correspondent Denis Johnston, and her mother was the actor and Abbey theatre director Shelah Richards. Jennifer was their first child and only daughter (a son, Michael, was born five years later). Like many of her class, she grew up professing more affection for nannies and housekeepers than for either of her parents. In later years she described her mother as 'very, very strong, dominating and powerful', and though the implication is that these were positive qualities in her eyes, they can hardly have made for a peaceful childhood. But the young Jennifer had many resources, including a close bond with her paternal grandparents (who lived in a version of the traditional big house) and – above all – she had the joy of growing up in a house filled with books. Though she suffered from weak eyesight even as a child, she learned to read at the age of four, and never stopped for the rest of her life. Her parents' marriage was fraught with difficulties, and ended in divorce when their daughter was just seven. Denis then started a new family with his second wife, Betty Chancellor, also an actor, and as a consequence, Johnston said, she scarcely knew him. Many years later, when she wrote a novel called Truth or Fiction (2009), about an elderly, disgruntled and long-neglected playwright hoping that someone is about to 'rediscover' him, many readers took it to be a direct portrayal of the author's father – an assumption she neither confirmed or denied. In fact, in this novel she is, as ever, exploring the endless complexities, the lies and secrets and the saving grace inherent in all kinds of family relations. After an education at Park Hill school in Dublin that allowed her to idle her time away (according to her own testimony), Johnston went on to Trinity College Dublin to study English and French. But she never finished her degree, leaving instead in 1951 to marry a fellow student, Ian Smyth (the marriage later ended in divorce). He had qualified as a solicitor, and the couple lived first in Paris, and then in London, where their four children were born. The 1960s came, and even in the midst of family life, Johnston was assiduously planning a literary future for herself. Her son Patrick remembers his mother seated at her desk and writing away, in an effort to escape 'the trap of domesticity and the isolation'. It proved an entirely fruitful effort. She continued to publish novels, and several plays, over more than four decades. Her later novels include Two Moons (1998), The Gingerbread Woman (2000), Grace and Truth (2005), Foolish Mortals (2007), A Sixpenny Song (2013) and Naming the Stars (2015). She was elected a fellow of the Royal Society of Literature in 2009. Following David's death in 2019, Johnston went to live in a nursing home in Dun Laoghaire, near Dublin. She had already begun to suffer from dementia, but her forthright demeanour and her sense of fun remained unaffected, as did her ability to charm and enthrall those around her. As for her own view of the world and its ways, she said: 'It's one bloody awful muddle from the moment you're born until the moment you die. You might as well just try and muddle through.' She is survived by her children, Patrick, Sarah, Lucy and Malachi, two grandchildren, her brother, Micheal, and a half-brother, Rory. Jennifer Johnston, novelist, born 12 January 1930; died 25 February 2025
USA Today
24-02-2025
- Entertainment
- USA Today
How 'Beyond the Gates,' network TV's first largely Black soap, is 'rooted in reality'
How 'Beyond the Gates,' network TV's first largely Black soap, is 'rooted in reality' Show Caption Hide Caption 'The Talk' canceled on CBS after 15 Seasons CBS canceled daytime chatfest 'The Talk' after 15 seasons and will replace it with a new daytime soap opera called "The Gates." unbranded - Entertainment CBS is opening the gates. The network Monday introduces viewers to Black soap opera "Beyond the Gates," which follows the powerful Dupree family in the fictional, affluent Maryland community of Fairmont Crest. The show, created by Black soap opera veteran Michele Val Jean, is the dream of producer and lifelong soap fan Sheila Ducksworth. "I've been a lover of soap operas since I was 10 years old, and I've always felt that there was a huge void in soap operas, which is just beyond apparent," Ducksworth says. Ducksworth is president of the multi-year production partnership between CBS and the nation's oldest civil rights organization, the NAACP, announced in summer 2020 as the country wrestled with race in America. The soap is also produced by Procter & Gamble (P&G), the consumer goods company that helped invent (and name) the soap opera. CBS plans 'Beyond the Gates,' first new daytime soap in decades, about a wealthy Black family It's been two generations since "Generations," a short-lived NBC soap, premiered in 1989 and made history as the first to begin with a Black family, although the show also featured a largely white cast. But "Beyond the Gates," replacing "The Talk" on CBS' lineup (2 EST/1 PST), will make history of its own. Along with its Black History Month premiere date, the series is the first new daytime soap since NBC's "Passions" premiered in 1999. 'Beyond the Gates' features predominantly Black cast, crew to remain 'authentic' "Beyond the Gates" is opening new doors for Black-forward TV shows in Hollywood. The show stars "Madam Secretary" star Clifton Davis as former senator Vernon Dupree, the patriarch of the central family. Davis thinks it's "the right time" for a Black-led soap, "because we haven't seen stories of this nature before" on network TV. Tamara Tunie, who played lawyer Jessica Griffin on CBS soap "As The World Turns," is matriarch Anita Dupree, a former singer. Val Jean describes the characters as "if Diana Ross married John Lewis," referring to the legendary Supremes singer and Atlanta congressman. The show features multi-generational families that live within and outside the gated community. Although the cast is predominantly Black, it features a diverse depiction of sexualities and racial identities including white, Asian and Latino characters, Ducksworth promises. "We're serving up another perspective of Black stories for Black people as well," Davis says, adding that the show is "not just for Black folks" and "this is a very, very diverse audience we're seeking and we're a diverse show, but the lead family is African American and affluent, and I'm so proud to be a part of it." 'The Talk' comes to an end after 15 years, so 'The Gates' can open Davis says the pace of working on a daytime soap challenged him with "a different kind of schedule that requires an adjustment. You got to get your rest, and you've got to do your homework." Ducksworth created a friends and family reunion in the show's makeup, wardrobe and hair departments as well as Black composer Kurt Farquhar — a rarity in television. "I've brought a lot of friends and family into the mix, but they happen to be the best at what they do," Ducksworth says of the show, which is taped in Atlanta. 'Beyond the Gates' is 'rooted in reality' of affluent Black communities Despite its soapy appeal, Ducksworth says "Gates" is "rooted in reality. If you were to go anywhere (in) suburban Maryland, you would see these gated communities of predominantly Black people living in 10,000-square-foot mansions on acres with golf courses and country clubs. And the world has never seen that, and it was really important to me in telling this story." "I wanted to do a soap opera that focused on a Black, affluent family in the Washington, D.C., area," she says, noting the "rich and historical contributions" of Black people in the metropolitan area. After the concept was cleared by CBS CEO George Cheeks, Ducksworth recruited Val Jean, the only Black writer on "Generations." The pair were introduced 25 years ago by actress and soap opera alum Vivica A. Fox. Vivica A. Fox shares career secrets in 'Hustling' book "I knew I wanted to create it, and Michele has not disappointed in the least," Ducksworth says. After the groundbreaking nature of "Generations," Val Jean believes the Black representation in soap operas "went away." There was "the occasional best friend or a family that would sort of shuffle through (and) disappear, until this show, where the core family is African American," Val Jean says. "I don't think there's been a lot of representation. We haven't been totally shut out, but we haven't been portrayed in this particular way." Despite its trailblazing focus, Val Jean says "Gates" is true to soap opera form: "It's still messy, they're still getting in trouble, it's still love and hate and betrayal and lies. It's still all of that, it just looks different." "Beyond the Gates" is about family — Black families, chosen families and the Duprees, of course. "This was a world that I carried around in my head for four years and here it is, and it lives, and it breathes and it walks, and it talks and it's so beautiful," Val Jean adds. "This world is populated by these beautiful people, and they live in these beautiful homes, and they wear these gorgeous clothes." Val Jean fell in love with soap operas as a young girl, watching them with her mother Orphey, who the show's diner is named for, and her grandmother. "I wish they were here to see this. They would just be bursting with pride. I know they're watching from somewhere."
Euronews
13-02-2025
- Entertainment
- Euronews
Christo and Jeanne-Claude's 'The Gates' revived in AR and Exhibition
In February 2005, Central Park was transformed into an orange-hued wonderland, as 7,503 gates with flowing fabric panels lined the park's walkways. The installation, which spanned 23 miles (37 kilometres), attracted an estimated four million visitors. Critics had mixed opinions on the work at the time, with some dismissing it as a "visual one-liner", while others saw it as a homage to the park's historical design. Despite this, 'The Gates' became an iconic moment in the city's art history. In Central Park, visitors can now step into an interactive augmented reality (AR) experience that lets them relive the feeling of walking beneath the orange fabric panels. Available through the Bloomberg Connects app, this immersive AR journey – developed by the Christo and Jeanne-Claude Foundation, Dirt Empire, and Superbright – allows users to see digital replicas of the gates in real-time, synced with their surroundings. Users can scan signage along marked paths to unlock content about 'The Gates' and the artists' journey. Igal Nassima, founder of Superbright Studios, explains the magic of the AR experience: "When it's sunny, the fabric will appear bright and glowing, matching the sunlight's direction based on where you are in the park. This makes the digital Gates feel more in tune with the real-world surroundings." The interactive component highlights the artists' original goal to ensure that their works were never "redone" or permanently reconstructed. 'Christo and Jeanne-Claude never wanted to have their projects redone,' says Vladimir Yavachev, director of operations for the foundation. 'You can see it again with your phones.' Beyond the park itself, at The Shed in Manhattan, the exhibition 'Christo and Jeanne-Claude: The Gates and Unrealized Projects for New York City' explores the artists' legacy through drawings, models, and a scale model of Central Park. The exhibition also highlights 13 other unrealised proposals for New York from the 1960s, shedding light on the duo's ambitious vision and deep connection to the city. Patricia E. Harris of Bloomberg Philanthropies reflects on the lasting impact of 'The Gates', noting: 'It was a labour of love for the artists, and now, 20 years later, we have an opportunity to use technology to connect audiences with the artwork and celebrate its collaborative spirit with a new generation.' Pascal Roulin, curator of the exhibition, highlights the goal of reaching new audiences: 'We are presenting the story to a new generation that was not in New York in 2005 and might have no idea that it had happened.' Christo and Jeanne-Claude are celebrated for their monumental temporary art installations that transformed iconic landmarks. Among their other famous works are 'Wrapped Reichstag' (1995), which enveloped Berlin's parliament in shimmering fabric; and their posthumous work ' L'Arc de Triomphe, Wrapped' (2021), which saw the historic monument draped in 25,000 square metres of material.
