Jewish Museum Berlin
Jewish Museum and Libeskind building on the right, 2017
|place||Lindenstrasse 9-14, 10969 Berlin|
Natural History Museum
The Jewish Museum Berlin is the largest Jewish museum in Europe. The permanent exhibition gives the visitor an overview of 1700 years of German-Jewish history, including highs and lows in relations between Jews and non-Jews in Germany. The permanent exhibition has been modernized since December 11, 2017 and is not accessible to visitors. The new permanent exhibition Jewish history and the present in Germany opens on August 23, 2020. The opening of a new museum for children, ANOHA - The Children's World of the Jewish Museum Berlin , is also planned for 2020.
The museum also includes an archive, library and academy. These institutions serve to convey Jewish culture and Jewish-German history.
Location and situation
The museum at Lindenstraße 9-14 in the Berlin district of Kreuzberg consists of the old building of the baroque Kollegienhaus (formerly: Kammergericht ) and the zigzag-shaped new building designed by the American architect Daniel Libeskind . On the opposite side of Lindenstrasse, the Academy of the Jewish Museum has been built in the former wholesale flower market since 2011 , also based on a design by Libeskind. The academy houses the archive, library, museum education, diaspora garden and an event hall. Most of the renovation costs of almost twelve million euros were borne by the federal government.
The museum is a foundation under public law under the responsibility of the federal government . Director was Peter Schäfer from September 1, 2014 until his resignation on June 15, 2019 , after W. Michael Blumenthal had previously led the institution for 17 years. From February 2017 to January 2019, Léontine Meijer-van Mensch was program director of the Jewish Museum Berlin and deputy director. The management of the museum also includes Bülent Durmus and Martin Michaelis . After a unanimous decision by the Board of Trustees, the chief curator of the Jewish Cultural Center in Amsterdam, Hetty Berg , became the new director of the museum on April 1, 2020 .
From the opening in 2001 to the end of 2016, the museum had more than 10.8 million visitors and is one of the most visited museums in Germany.
Creation of the museum
On January 24, 1933, six days before the Nazi regime “seized power ” , Berlin's first Jewish Museum was opened. Under the direction of Karl Schwarz , the New Synagogue in Oranienburger Straße was the first to be the world's first Jewish Museum, which in addition to works of art and historical evidence of the Jewish past also collected and exhibited modern Jewish art . The art collection was seen as a contribution to German art history. One of the last exhibitions was a retrospective on Alexander and Ernst Oppler .
On November 10, 1938 (during the November pogroms ) the museum was closed by the Secret State Police and the museum's inventory was confiscated. Today parts of this art collection are in the Skirball Cultural Center in Los Angeles and in the Israel Museum in Jerusalem . To mark the 300th anniversary of the Jewish Community in Berlin in 1971, the idea of reestablishing the museum arose on the occasion of the exhibition Achievement and Fate of the Berlin Museum in the building of the old chamber court. The new Jewish Museum was created from the Jewish section of the former Berlin Museum for Berlin History .
In 1989, Daniel Libeskind won first prize in an architectural competition for the extension of the Berlin Museum with his design . In 1992 the foundation stone for the new building was laid. During the construction phase there were heated discussions about the use of the new building and the position of the Jewish department . On June 1, 1994, Amnon Barzel was appointed director of the Jewish Museum , which was initially only part of the Berlin Museum. He campaigned for its legal independence. In December 1997 he was followed by W. Michael Blumenthal , who also insisted on founding an independent Jewish museum in the old building and in the new building of the Berlin Museum. On January 1, 1999, the Jewish Museum was founded as an institution of the State of Berlin. The new building, which was still empty, was already open to visitors at this point; he was honored with the German Architecture Prize 1999 . Under the direction of New Zealand project director Ken Gorbey, the Jewish Museum's permanent exhibition was developed in eighteen months. After the gala opening on September 9, 2001, the museum was open to the public on September 13, 2001. Because of the terrorist attacks on September 11, 2001 , the originally planned opening date was postponed by two days. In 2001, the 14th German Bundestag passed the law to establish a Jewish Museum Berlin foundation . As a federal foundation, the museum is an independent legal entity under public law and part of the indirect state administration of the federal government.
Board of Trustees
According to the Foundation Act, the Foundation Council of the Jewish Museum Berlin consists of seven to twelve members. These are currently:
- Monika Grütters - Member of the Bundestag, Minister of State to the Federal Chancellor and Federal Government Commissioner for Culture and the Media
- Christine Lambrecht - Member of the Bundestag, Parliamentary State Secretary at the Federal Minister of Finance
- Klaus Lederer - Senator for Culture and Europe of the State of Berlin
- Klaus Mangold - Chairman of the Supervisory Board of Rothschild GmbH
- Milena Rosenzweig-Winter - Managing Director of the Jewish Community in Berlin
- Daniela Schadt - journalist
- Peter Tauber - Member of the Bundestag, Parliamentary State Secretary to the Federal Minister of Defense
- Yfaat Weiss - Director of the Leibniz Institute for Jewish History and Culture - Simon Dubnow
- Annette Widmann-Mauz - Member of the Bundestag, Minister of State to the Chancellor, Federal Government Commissioner for Migration, Refugees and Integration
- Daniel Botmann - Managing Director of the Central Council of Jews in Germany
- Herlind Gundelach - Senator ret. D.
- Johannes Kahrs - Member of the Bundestag
- Martin Kelleners - Ministerialdirigent, Federal Ministry of Finance
- Michael Naumann - former Minister of State D. and director of the Barenboim-Said Akademie gGmbH
- Peter Raue - Lawyer and Partner, Raue LLP
- Christine Regus - Head of the Department for Archives, Libraries, Memorials, Museums and Fine Arts, Senate Department for Culture and Europe
- Stephan Steinlein - State Secretary, Head of the Office of the Federal President
- Günther Winands - Head of Department at the Federal Government Commissioner for Culture and the Media
Architecture and buildings
The Jewish Museum Berlin essentially consists of two buildings, the baroque old building of the Kollegienhaus and the new building in the style of deconstructivism by Daniel Libeskind . Both houses have no connection visible above ground; they are connected to each other through the basement. A further new building is connected above ground to the old building, which serves as a group entrance and group cloakroom and also provides access to the garden. Seen from Lindenstrasse, this building is covered by the large courtyard gate. Parts of the administration and other departments are housed in the W. Michael Blumenthal Academy opposite. In September 2007 the museum opened the new glass courtyard, which was created based on a design by Daniel Libeskind. The glass roof spans the inner courtyard of the baroque old building. Since the end of 2012, the ensemble has been supplemented by the Academy of the Jewish Museum Berlin opposite in the former wholesale flower market.
The Kollegienhaus was built in 1735 according to plans by Philipp Gerlach and formerly housed the Prussian Supreme Court . When this was moved to the new building on Kleistpark in 1913 , the Berlin consistory was housed here .
In the Second World War it was destroyed except for the outer walls. Initially, the complete resignation was planned for a motorway tangent (planned A 106 ). It was not rebuilt until 1963 to 1969. Before the Jewish Museum moved into the house, it was the seat of the Berlin Museum of City History .
Today the old building houses the entrance area with security check, cash desk, information, cloakroom, museum shop and restaurant as well as special exhibition rooms, an auditorium and offices. The covered inner courtyard (glass courtyard) serves as a lounge and event room.
The architecture of the zigzag-shaped new building, which was officially opened on January 23, 1999, is characterized by a titanium - zinc facade, unusually shaped windows, many acute angles in the walls, sloping floors and gray exposed concrete .
Through the entrance area in the old building, visitors can take a black slate staircase to the basement of the new building and from there to the main exhibition of the museum as well as smaller temporary exhibitions.
After entering the new building, one first encounters three intersecting crooked “axes”: the axis of continuity, which ends at a high staircase leading to the permanent exhibition, the axis of exile and the axis of the Holocaust .
Garden of Exile
The axis of exile leads out of the building into the garden of exile, a lower-lying square area whose bounding concrete walls prevent the view of the surroundings. In the Garden of Exile there are 49 six-meter-high concrete steles on a sloping ground, on which olive willows have been planted, as olive trees , which symbolize peace and hope in the Jewish tradition, would not tolerate the climate. The number 49 refers to the founding year of the State of Israel , 1948, while the 49th stele in the middle stands for Berlin. 48 steles are filled with earth from Berlin, the 49th stele in the middle contains earth from Jerusalem. Furthermore, the number seven in Judaism (7 × 7 = 49) is a sacred number.
One should experience the experience of exile up close in the garden. At first the visitor feels a stranger, then the walk through the garden is characterized by uncertainty, because the sloping ground makes it easy to stumble and the concrete pillars restrict the view immensely. In early summer, when the olive willows are in bloom, the garden looks even more strange due to the strong, unknown scent.
The similarity of the Garden of Exile with the field of stelae of the Memorial to the Murdered Jews of Europe was the reason for plagiarism allegations by Libeskind against its architect Peter Eisenman in 1999 ; the dispute was settled.
The axis of the Holocaust ends at the Holocaust Tower. This is a dark, cold, tall memorial room with only daylight entering through a crack in the ceiling. For most people this room seems oppressive and incomprehensible. However, the space has only symbolic meaning and is not a replica of a gas chamber , as many visitors think. At a height of about two and a half meters there is a ladder for maintenance work in the tower that leads to the ceiling. In the opinion of some visitors, this serves as an escape route or as a symbol for the inaccessible.
In the new museum building there are several so-called "Voids" which are arranged in a straight line and run through the zigzag building. The voids are completely empty rooms that extend from the basement to the top floor. With the exception of the “Memory Voids”, they are not accessible from the permanent exhibition, but can be viewed from some places. They are intended to remember the gaps left by the Holocaust, but also the expulsions and pogroms to which Jews fell victim in Germany in the centuries before.
After a group entrance built in 2005, the glass courtyard has been the second structural extension of the museum since September 2007, based on the Sukkah design ( Hebrew for ' tabernacle ') by Daniel Libeskind . A glass roof spans the 670 m² inner courtyard of the U-shaped baroque old building, the former college building, and is supported by four free-standing bundles of steel supports. With this design Daniel Libeskind is referring to the Jewish Feast of Tabernacles, Sukkot , an early harvest festival that has been celebrated since the time of exile in memory of the fact that the Israelites lived in huts during the desert migration. With the glass courtyard, the museum has an event room for around 500 people. It adapts to the old building in that the glass roof is only structurally connected to the old building at a few points and the connection is made through a separate, lower glass joint. Nine types of panes, each mirrored twice, built into the fronts, create a lively relief on the large surface.
The garden behind the old building was laid out from 1986 to 1988 based on a design by Hans Kollhoff and Arthur A. Ovaska . As a garden monument, it was included in the list of monuments of the Berlin State Monuments Office . The design of the open spaces around the Libeskind building comes from the Berlin garden and landscape architects Cornelia Müller and Jan Wehberg. To do this, they took up elements of the Libeskind building - such as the Voids - and created different areas of importance, such as a rose grove , which stands for historic Jerusalem . A floor relief made of different colored natural stones surrounds parts of the building; in particular the Paul Celan courtyard, which is delimited on three sides by the zigzag shape , is aesthetically shaped by the relief. A graphic by Gisèle Celan-Lestrange served as a template.
Arcade in the park of the Jewish Museum
Sycamore grove in the park of the Jewish Museum
Floor relief in the Paul Celan courtyard
W. Michael Blumenthal Academy
Daniel Libeskind also designed the extension to the former wholesale flower market by Bruno Grimmek on the west side of Lindenstrasse. The ceremonial opening and naming in Eric F. Ross Bau after the patron took place on November 17, 2012. The academy houses an event hall, the archive, the library and rooms for various educational offers and academic staff. The buildings are grouped around the Diaspora garden in the building's atrium. The plants from different climate zones are housed on steel pedestals without direct contact with the earth and with little natural light.
The square in front of the academy has been called Fromet-und-Moses-Mendelssohn-Platz since April 2013 . The naming was preceded by a lengthy discussion at the district level, in which the Jewish Museum participated.
With the academy, the Jewish Museum Berlin wants to create a place for research and discussion. The aim is not to focus solely on Jewish history and the present, but to expand the spectrum to include the topics of migration and diversity and "offer a platform for dealing with Germany as a country of immigration and the associated pluralization of society".
In 2012 the museum opened the W. Michael Blumenthal Academy, thereby expanding its main focus. There was also the Jewish-Islamic Forum on the one hand, and migration and diversity on the other, with a focus on culture (s) of remembrance in the migration society . The perspectives of other religious and ethnic minorities are also shown here. The focus is not only on the relationship between the majority population and individual minorities, but above all the exchange and networking of minorities with one another is promoted.
The academy programs include readings, conferences, workshops and panel discussions.
With the Lars Day Prize - Future of Remembrance , the Academy Programs, together with the Lars Day Foundation, have been honoring projects and initiatives since 2016, “which convey the commemoration of Nazi crimes in a creative and forward-looking way and take responsibility for a present and future without hatred and exclusion take over".
The permanent exhibition on the first and second floors of the Libeskind building has been modernized since December 11, 2017 and is not accessible to visitors. The new permanent exhibition entitled Jewish History and the Present in Germany is due to open in 2020. It tells the story of the Jews in Germany from the beginning to the present from a Jewish perspective.
The tour with five historical chapters spans an arc from the Middle Ages to the present. National Socialism and the period from 1945 to the present day take up a large part of this. Eight thematic islands invite visitors to immerse themselves in Jewish culture and religion with all their senses. What is sacred in Judaism? How do you celebrate Shabbat ? What is the sound of Judaism? In addition to original objects, the exhibition presents a wide variety of audio-visual media, virtual reality, art and interactive games.
The previous permanent exhibition, Two Millennia of German-Jewish History, provided a view of Germany from the perspective of its Jewish minority. It began with the medieval ShUM cities on the Rhine, Speyer , Worms and Mainz .
The Baroque experienced visitors through Glückel of Hameln (1646-1724, also known as Happy Thanksgivin of Hamelin ) and their diary, which illustrated her life as a Jewish clerk in Hamburg. The 18th century saw the intellectual and personal legacy of the philosopher Moses Mendelssohn (1729–1786). These perspectives were supplemented by a description of Jewish life at court and in the country. The image of emancipation in the 19th century was shaped by optimism, social and political achievements and increasing prosperity. But the setbacks and disappointments for the Jewish communities of that time were also discussed. The experiences of German-Jewish soldiers during the First World War were at the beginning of the presentation of the 20th century. In the section on National Socialism, visitors saw how German Jews reacted to their increasing discrimination and how this led, for example, to the establishment of new Jewish schools and social services. However, the exclusion and extermination of the Jews soon put an end to these initiatives. After the Shoah, 250,000 survivors found themselves in camps for displaced persons , where they waited for an opportunity to emigrate. At the same time, new small Jewish communities emerged in East and West. At the end of the exhibition, two major Nazi trials of the post-war period were discussed: the Frankfurt Auschwitz trial (1963–1965) and the Majdanek trial in Düsseldorf (1975–1981). The tour ended with an audio installation in which Jews who grew up in Germany talk about their childhood and youth after 1945. With them began a new chapter in Jewish life in Germany.
The special exhibitions deal with topics from different epochs, presented in different genres.
|2018-2020||A for Jewish. Through the present in 22 letters|
|2018-2019||James Turell: Ganzfeld "Aural"|
|2017-2019||Welcome to Jerusalem|
|2017||Cherchez la femme. Wig, burqa, traditional costume|
|2014-2015||Go away! Attitudes towards ritual circumcision|
|2013-2014||Everything has it's time. Rituals against oblivion|
The whole truth ... everything you always wanted to know about Jews
(designed based on 32 selected questions from museum visitors)
|2012-2013||RB Kitaj (1932-2007). Obsessions|
|2011–2012||Local lore. 30 artists look to Germany|
|2009-2010||Kosher & Co. An exhibition about food and religion|
|2008-2009||Robbery and Restitution . Jewish property from 1933 to the present day|
|2008||typical! Clichés about Jews and others|
|2006-2007||Home and exile|
|2005-2006||Chrismukkah . Stories of Christmas and Hanukkah|
|2004||10 + 5 = God|
|2003||Counterpoint. Daniel Libeskind's architecture|
Special exhibition Welcome to Jerusalem
The exhibition Welcome to Jerusalem , curated by Cilly Kugelmann and Margret Kampmeyer , was criticized as one-sided by Israeli Prime Minister Benjamin Netanyahu and the Berlin Jewish Community . Netanyahu has not liked the house's BDS- tolerant attitude for a long time . The anti-Semitism commissioner of the Jewish community in Berlin, Sigmount Königsberg, thinks that in the (very extensive) exhibition “the image would be distorted by systematic omission”. Thus Israel would be portrayed unilaterally as the aggressor and the Palestinians as victims who defend themselves in a legitimate way (in the liberation struggle). The Green politician Volker Beck also joined the criticism : “It is claimed that Israel conquered East Jerusalem in 1967 without cause ”. However, the advance of the Egyptian army , the Jordanian shelling of West Jerusalem and Israel's warning to Jordan about entering the war would “more or less be ignored”. The expulsion of hundreds of thousands of Jews from Arab states after the founding of the state of Israel and the cooperation of the former Jerusalem Grand Mufti Mohammed Amin al-Husseini with German National Socialists would be kept secret.
Rafael Roth Learning Center
The Rafael Roth Learning Center was located in the basement of the Jewish Museum Berlin until March 2017. Here, Jewish history was presented in a multimedia and interactive way at 17 computer stations for individual visitors and groups. Under the key words “things”, “stories” and “faces”, visitors got to know particular highlights of the collection and were able to immerse themselves in larger-scale virtual exhibitions - for example on the life story of Albert Einstein or on Eastern European immigration between 1880 and 1924. Video interviews offered insights in current Jewish life in Germany. The computer game Sansanvis Park was specially developed for children . The facility was named after the Berlin real estate entrepreneur and patron Rafael Roth (1933–2013).
In the course of planning a new permanent exhibition, the Jewish Museum decided not to continue operating the Learning Center with its technical equipment after more than 15 successful years. New ways of multimedia communication are being sought for the future.
Installation Schalechet - Fallen leaves
The installation Schalechet - Fallen Leaves by Menashe Kadishman is located in the “Memory Void”, one of the “Voids”, the empty spaces or cavities that run through the building. It is located on the ground floor of the new building. In the room, over 10,000 faces made of sheet steel of different designs are distributed on the floor, which are not only intended to remind of the Jews murdered in the Holocaust, but are dedicated to all victims of war and violence. The visitor is free to go about it. If you choose to run over the faces, this creates metallic sounds. It is not possible to move quietly. However, this is the artist's intention: by going over it, you are giving people their voices back.
Gallery of Vanished Things
The gallery of the missing things (, Gallery of the Missing ') is a project of the artist Via Lewandowsky . These are three sound installations in black mirrored, non-visible glass showcases at different points in the currently inaccessible permanent exhibition. Destroyed objects of Jewish culture are shown: the Encyclopaedia Judaica , the Jewish hospital in Frankfurt and the sculpture Großer Kopf by Otto Freundlich . Via infrared headphones, visitors can hear up to 40 sound recordings with descriptions, explanations and backgrounds, noises and music for each presented object when they move along the black glass walls.
Visitors at the Jewish Museum are (by "hosts" English , hosts') care, whose task is next to the protection of objects, above all, to stand the visitors as first point of contact to the side. In 2006 Günther B. Ginzel produced a report on the visitor service in the Jewish Museum with the title Die Vermittler, which was broadcast on Arte and in Erste , among others . The "hosts" can be recognized by their red scarves.
Leo Baeck Archive
Since September 2001 there has been a branch of the archive of the New York Leo Baeck Institute in Berlin . In Germany, it opens up almost the entire holdings of this world's most important archive on German-Jewish history. The Leo Baeck Institute in New York was founded in 1955 by the Council of Jews from Germany with branches in Jerusalem and London with the aim of conducting academic research on the history of Jews in German-speaking countries since the Enlightenment, and of collecting the necessary material to promote appropriate publications. The archive has the most comprehensive collection of materials on the history of Jews in Germany, Austria and other German-speaking areas in Central Europe over the past 300 years - including around a million documents such as community files, personal documents, correspondence, a photo archive and a wide variety of testimonies from religious, social, cultural, intellectual, political and economic life. The collection of more than 1200 memoirs by German-speaking Jews (also and especially from the post-Nazi era) is unique. In New York there is an important art collection with works by well-known German-Jewish painters, illustrators and architects, as well as a large number of drawings by inmates of the concentration camps .
on.tour - The JMB goes to school
With the project on.tour - The JMB goes to school , which started in 2007, the Jewish Museum Berlin wants to reach even more young people. In the meantime, on.tour has traveled to all 16 federal states, some several times, and in addition to 430 schools, also visited the Berlin-Plötzensee juvenile prison. In direct contact with the students, interest and enthusiasm for German-Jewish history should be aroused and the ability to think critically and free of prejudice should be strengthened. By going to the schools, the museum aims to encourage teachers to deal with German-Jewish history in their lessons - beyond dealing with National Socialism. Another goal of on.tour - the JMB goes to school, formulated W. Michael Blumenthal , founding director of the Jewish Museum Berlin: "Every pupil in Germany should have visited the Jewish Museum Berlin at least once before they finish school."
The mobile exhibition is set up in the school yard or in the school building. Five robust and flexible exhibition cubes with 16 showcases and easy-to-understand text panels give an insight into Jewish history and life. Using everyday objects and ceremonial objects, the topics “Jewish everyday life”, “Life and survival”, “Opportunities and discrimination” and “Celebrating festivals” are presented. For example, kosher gummy bears with the stamp of the rabbinate refer to the Jewish dietary laws. The tension in the 19th century between the desire for recognition and equal opportunities on the one hand, professional bans and discrimination on the other hand is illustrated by the life stories of the condom manufacturer Julius Fromm and the famous physicist and cosmopolitan Albert Einstein . The link between German-Jewish history and the world of the students should also make people want to visit the Jewish Museum Berlin.
At the beginning of 2019, Israeli Prime Minister Netanyahu wrote a letter to Chancellor Merkel calling for the special show Welcome to Jerusalem , which was on view at the Jewish Museum Berlin until the end of April 2019, to be closed because it offered a one-sided, “Palestinian-Muslim perspective “Present on the city. Museum director Peter Schäfer and the Minister of Culture Grütters rejected the allegations as political interference. Another criticism of the museum was that Schäfer had received the ambassador of the Cultural Council of the Islamic Republic of Iran , Seyed Ali Moujani, who wanted to hand over Iranian-owned Judaica in March . The meeting was documented with photos on the website of the Iranian embassy.
In June 2019, Museum Director Schäfer resigned from his position. The occasion was a tweet from the museum's press office recommending an article in which Jewish and Israeli scholars criticized the Bundestag's decision to classify the BDS movement as anti-Semitic. This tweet was formulated against the express will of Peter Schäfer, said Michael Wolffsohn in the Tagesspiegel . The Central Council of Jews in Germany then broke off contact with the museum. Central Council President Josef Schuster wrote: “Under these circumstances, one has to think about whether the term 'Jewish' is still appropriate.” Against this background, the former Israeli ambassador Shimon Stein and the Israeli historian Moshe Zimmermann warned against circumcision in a guest article in the Tagesspiegel Freedom of expression in Germany.
In a guest article for the FAZ , the American Judaist David N. Myers commented that Schäfer had become “a victim of the increasingly poisonous confrontations over Israel and the criticism of Israel in Germany, Europe and North America”. Micha Brumlik criticized in the Taz that the Central Council of Jews had achieved "a Pyrrhic victory" with Schäfer's resignation. Because this is also a “victory over pluralism within the Jewish community - nationally and worldwide”. Michael Wolffsohn also took Schäfer's protection. He criticized the foundation law for the Jewish Museum Berlin from 2001, according to which the purpose of the foundation is “Jewish life in Berlin and Germany, the influences from here on European and non-European countries as well as the interrelationships between Jewish and non-Jewish culture to explore and present and to create a meeting place ”. In this way, "German-Jewish history, including the murder of six million Jews, was expanded to include the Islamic dimension and the universalistic one". By adhering to the law, Schäfer had become a “victim of this thought deficit”.
On June 22, 2019, the Board of Trustees decided that the museum should be temporarily managed for a year until a successor for Schäfer was found.
- The former permanent exhibition offered guided tours with very different focuses and in different languages including sign language. Topics were, for example, the Middle Ages, music, Jewish traditions, emancipation , architectural considerations and the Jewish women's movement. Architecture tours are still offered for blind visitors ("Architecture for all the senses").
- Since 1999 it has been possible to do a memorial service at the Jewish Museum Berlin through Austria's Foreign Service.
- Since 2002, the Jewish Museum Berlin has awarded the Prize for Understanding and Tolerance to personalities who have made outstanding contributions in this sense.
- In 2013 the Jewish Museum Berlin was awarded the Roland Berger Prize for Human Dignity .
- Visitors have to be prepared for more extensive security checks than other museums.
- Museum check with Markus Brock : The Jewish Museum in Berlin. Synopsis ( memento from January 7, 2017 in the Internet Archive ) by 3sat . First broadcast: May 30, 2010
- Daniel Bussenius: From the capital city farce to a success story. The creation of the Jewish Museum Berlin 1971–2001 . Vandenhoeck & Ruprecht, Berlin 2014, ISBN 978-3-525-30071-8 .
- Jewish Museum Berlin Foundation (ed.): Collected, folded, counted. Highlights from the collections of the Jewish Museum Berlin. Nicolai-Verlag, Berlin 2009, ISBN 978-3-89479-568-9 .
To the exposition
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- What we wanted to forget. The Jewish Museum opens up German history. In: Die Zeit , 37/2001, p. 1.
To the building
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- Christina Haberlik: 50 classics. 20th century architecture . Gerstenberg Verlag, Hildesheim 2001, ISBN 3-8067-2514-4 .
- Bernhard Schneider: Daniel Libeskind. Jewish Museum Berlin. Between the lines . Prestel, Munich a. a. 1999, ISBN 3-7913-2073-4 .
- Chris van Uffelen : Museum architecture . Ullman, Potsdam 2010, pp. 214-217. ISBN 978-3-8331-6058-5 .
- Jewish Museum Berlin
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- Academy of the Jewish Museum Berlin in the Eric F. Ross building
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- Academy of the Jewish Museum Berlin
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