Richard Serra, Berlin Junction, 1987 / Otto Herbert Hajek, Stadtzeichen/Gruppe von drei ” Raumzeichen”, 1972–1974 / Ulrich Brüschke, 0° Breite, 2012 | Photo: Mathias Rümmler
Hidden and eye-catching, obsolete and modern, unremarkable and prominent, the sight of public art in Berlin is ubiquitous, and its reception divisive. From larger then life sculptures to subtle textual interventions in unusual urban contexts, “Marmor für Alle” sets the encounter with some of the most important and public art across the city. After 1945, a boom began in the East and West Berlin, punctuating numerous places of assembly with some of the most iconic and cult fixtures: “Hand with Watch” by German artist Joachim Schmettau that featured in Depeche Mode music video, “Denkzeichen Rosa Luxemburg” by the infamous conceptual artist Hans Haacke, or the towering “Molecule Man” by Jonathan Borowsky rising from the Spree. Zooming in on different districts, each section of the book reveals and vivifies elements of the city’s biography through works of public art – evidencing the historical events and political ideas that shaped them.