Between 1936 and 1945, Arno Breker, who was regarded as the great hope of German sculpture, worked almost exclusively for the architect Albert Speer and his plans for the transformation of Berlin into the “world capital of Germania”. When does a talent become dependent on power and ideology? And where is the fine invisible line between power opportunism and the autonomy of art today? When did the figures begin to lose their sense of proportion and become monstrous? Lutz Dammbeck talks about this with Ernst Jünger, among others, who was also used as a heroic figure by the Nazis.
Documentary, Independent
1h 32min
16+
DE
At the beginning of the last century, Arno Breker was one of the great hopes of young German sculpture, esteemed by the painter Max Liebermann.
Between 1936 and 1945, Arno Breker, who was regarded as the great hope of German sculpture, worked almost exclusively for the architect Albert Speer and his plans for the transformation of Berlin into the “world capital of Germania”.
When does a talent become dependent on power and ideology? And where is the fine invisible line between power opportunism and the autonomy of art today? When did the figures begin to lose their sense of proportion and become monstrous?
Lutz Dammbeck talks about this with Ernst Jünger, among others, who was also used as a heroic figure by the Nazis.