Pulsating creativity and commemorative stillness, vibrant Berlin subculture and living history – these are the seem- ingly contradictory attributes that define a historically aware space for diversity and discovery: Haus Schwarzen- berg in Berlin-Mitte. Behind it all is the non-profit association Schwarzenberg e.V., which, in collaboration with its tenants, preserves and upholds this lively place of history, culture, and art.
One association, one house. One vision, many actions.
For over 20 years, Schwarzenberg e.V. has been dedicat- ed to the promotion of the art and culture of committed individuals from all over the world. Since its founding in 1995, the non-profit association has inscribed this ethos on an entire building complex: Haus Schwarzenberg at Rosenthaler Straße 39. Here, together with its tenants, local businesses and other institutions, Schwarzenberg e.V. preserves a unique environment where commem- orative stillness, avant-garde art and subculture coexist without contradiction.
Schwarzenberg e.V. manages the rear and largest part of the building. In stark contrast to the thoroughly redevel- oped and gentrified surrounding neighbourhood, the social significance of the complex as an independent house of culture, which is distinctive in its multipurpose use, becomes apparent: Schwarzenberg e.V. and the neu- rotitan gallery, resident artists, numerous studios, trades- people and cultural institutions, as well as the memorial sites, characterise the creative work of the entire complex. It is simultaneously a living historical document, and a space for independent art and subculture to flourish – a constitutive element of Berlin culture.
In 1995, members of the artists’ group Dead Chickens and other dedicated individuals took on the vacant build- ing complex at Rosenthaler Str. 39. The association, Schwarzenberg e.V., which emerged from the tireless efforts of the members of this visionary group, devoted itself to the restoration of the building. On its own initi- ative, the association completely self-financed and carried out urgent renovations, repairing serious damage to the building. In the process, the initial concept for the use of the complex developed and the foundation for today’s Haus Schwarzenberg was laid.
Here, the doors to a last refuge for independent art and living history at Hackescher Markt were opened – open space being key to the vision from the outset. In the 1990s, after the fall of the Wall, numerous projects transformed the neighbourhood into a centre of vibrant creativity. Within a very short period of time, however, many were forced to make way for commercial devel- opment as the area was gentrified. The Schwarzenberg- ers persisted in their creative efforts, and invested a great deal of time and energy in realising their belief, that in a cultural metropolis, which defines itself through its di- verse art scene, affordable work and sufficient space for projects must be readily accessible in order to make ar- tistic self-realisation and sustainable cultural creation possible. In 1995, in cooperation with Wohnungsbau- gesellschaft Berlin Mitte mbH ( WBM), the association moved into the Haus Schwarzenberg building and since then continues to maintain a unique interface between historical consciousness and alternative culture in dia- logue with the public. The fact that the vision has be- come reality and continues to manifest itself in action has affirmed the association’s work in Haus Schwarzen- berg, where history, culture and art are interconnected.
Many actions – that means to keep moving in the midst of ongoing socio-economic structural transition and to be an active part of this change. In this way, the past, present and future of Haus Schwarzenberg set an example of independent art and culture outside of the main- stream. Many actions – that means the multifaceted con- cept of use and the vibrant array of art and culture makers, artisans and institutions, which offer a hetero- geneous and international audience ever new discoveries; these are evolved structures that have woven Haus Schwarzenberg into an international creative network, forming a hub where subculture, the avant-garde, art, and history intertwine. Finally, it is the association’s values of freedom and creativity, openness and diversity that guide its actions throughout its numerous collaborations and are constantly renewed in the work of the residents of the house. Values that could not be more necessary and relevant, especially in the fight against marginalisation and likewise, the gentrification of the city.
History. Culture. Art
Based on the three foundations of history, culture, and art, the shared community of the house and complex have established an institution that must be preserved. These foundations form the cornerstone of mutual tol- erance and support, ensuring that the house continues to be a dynamic space where diversity is expressed through history, culture, art, and the creative work of its residents. These pillars unite the market-independent cultural pro- duction supported by the association, the rich history of the house, and the tireless efforts of the resident artists.
Diese Grundpfeiler vereinen in sich die vom Verein abgedeckte, marktunabhängige Kulturproduktion, den historischen Hintergrund des Hauses, der hier erfahrbar wird, und das schöpferische Wirken der ansässigen Künstler:innen.
Naming
The name of the association and the house originates from the 1984 novel “Schwarzenberg” by Stefan Heym. The characters in the story are fictional, but the author ties them into the factual, unique situation of the Saxon district of Schwarzenberg at the end of the Second World War. In the spring of 1945, through some coincidence, neither the advancing Americans, who had stopped at the western border, nor the Soviet troops located at the eastern border, occupied the area in the Ore Mountains. There are numerous theories and speculations concerning the reasons for this, but the extraordinary existence of the district is clear: for six weeks the area remained an unoccupied zone, in which the citizens governed themselves by means of an anti-fascist action committee – in the “Republic of Schwarzenberg”, as Heym calls it.
The connections to the Schwarzenberg in Berlin lie, on the one hand, in parallel with external power constellations, evident in threats, from left and right, made by private investors regarding the coveted house. On the other hand, an ideal of a free and self-governed space is also reflected here, an ideal which must be realised and preserved –“On the left an investor, on the right an in- vestor,” according to a founding member of Schwarzenberg e.V., “I don’t want to accept those on the left, nor those on the right. I am for the free republic.”
Even if the time of the “Republic of Schwarzenberg” in the Ore Mountains was temporary, for a moment in time it did exist, and a vision of open space was realised. It is precisely this vision which must be upheld: Schwarzenberg e.V. is committed to fulfilling the association’s purpose in ever-evolving circumstances, to make the unique place of Haus Schwarzenberg lively and sustainable not only for the residents but also for the wider public. It is aware of history, in the here and now, and for the future, so that this irreplaceable space remains for the free, open and unlimited engagement with history, culture and art.
Text Vera Fischer
