Christo’s Wrapped Reichstag: Symbol for the New Germany – NY times PAUL GOLDBERGER Published: June 23, 1995

Christo’s Wrapped Reichstag: Symbol for the New Germany

NY times PAUL GOLDBERGER Published: June 23, 1995


Wrapped Reichstag,” by Christo and his wife, Jean-Claude, is at once a work of art, a cultural event, a political happening and an ambitious piece of business.

Each of these has been an attempt to create art at monumental scale by temporarily transforming a natural or man-made landmark. They have all been spectacular visually..

Christo and Jean-Claude say that their art is as much about process as product; it is no accident that the monitors wear T-shirts with the legend “Wrapped Reichstag 1971-95,” since the official view here is that the work of art began its existence when Christo said yes to Mr. Cullen’s suggestion, and that every early sketch, every letter about the project to the German Government, every debate in the German press and every street-corner argument about the merits of wrapping the Reichstag is itself a part of the artwork. The artists think of the actual wrapping as only the final chapter in a 24-year work: which is perhaps why the notion of leaving it up for only two weeks does not disturb them. The entire work, in their view, is as much a study in the way attitudes are transformed over time as a pure object in itself.

process가 중요하다는 건 실은 그닥 나랑 관계없음.

…epitomizes German excesses of the late 19th century, is rendered light, almost delicate. It takes on an ethereal beauty, and looks as if it could float away into the silvery, cloudy Berlin sky.

Indeed, this huge structure covered in silver-gray fabric remains every bit as monumental as it was beforeperhaps more so, because the wrapping forces the eye to confront the Reichstag anew. The building is shimmering where it once was solid, refined where it once was gross and heavy. But it has lost none of its power.

still monumental이다. 다른 monumentality이다. 이게 중요. 다들 해당되는 거 같음. 


The real transformation this work offers is not in any concept of the Reichstag, but in the idea of monumentality itself. The wrapped Reichstag makes lightness and softness, two qualities associated with intimate if not trivial objects, into characteristics of the greatest monumental power. It is a transformation that is particularly poignant right now in a country struggling over questions of identity with as much anguish, surely, as any nation in the world. If the architecture of the Reichstag represents a kind of Prussian hardness — Germany as it was the wrapped version can almost be seen as an ideal symbol of the new Germany struggling to emerge from unification.

political context of the present Germany.


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