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Ein noch jüngerer Nachrichter, Johann Gregorii, auf dem Weg für die Ehrlichsprechung und Freiheit der Berufsbürde zu kämpfen. Jahre später sollte er Erfolgreich sein und Kommandant der Stadtwacht Dohmen werden wo er einst als Henkersknecht in die Lehre ging.
German postcard by Ross Verlag, no. 7724/1, 1932-33. Photo: Atelier Marion.
Jakob Tiedtke was born Jakob Karl Heinrich Wilhelm Tiedtke on 23 June 1875 in Rixdorf near Berlin (today the district of Berlin-Neukölln). His father was a humorous writer and contributor to the richly illustrated German weekly Fliegende Blätter, Kladderadatsch, and the like. After attending the Köllnisches Gymnasium in his native city, Tiedtke graduated from the Seebach-Schule, which was affiliated with the Berlin Königliches Schauspielhaus. After completing his studies, the young actor made his debut there in 1899 as Cato in the Shakespeare tragedy "Julius Caesar, and shortly afterwards went to the Preußisches Hoftheater, where he was a member of the ensemble until 1905. Then he followed a call from Max Reinhardt to the Deutsches Theater for eight years, where he distinguished himself as a hard-working character actor. At Max Reinhardt's Deutsches Theater Tiedtke became known as the "corpse bird": when he was not playing himself, he sat in the stalls so that he could step in immediately if an actor dropped out. He had all the possible roles in his head. Thus he became Reinhardt's busiest character actor, portraying mostly old men in over 100 productions, such as the medical councillor Dr. von Brausepulver in the world premiere of Frank Wedekind's children's tragedy Frühlings Erwachen (1906). The transition to comedian came with increasing corpulence. Tiedtke recounts how he was once asked to stand in for an actor who had fallen ill and play old Moor, who is locked in the hunger tower by his own son.
In 1913 Tiedtke moved to the private Deutsche Künstlertheater Societät and a year later to the Lessingtheater under the direction of Victor Barnowsky. This was followed in 1915 by a three-year engagement at the famous Vienna "Burgtheater. Until 1925 Tiedtke made guest appearances at various Berlin theatres and belonged to the ensemble of the Berlin Volksbühne from 1933 to 1945. During the National Socialist era, he was a presidential advisor to the NS leader corps Kameradschaft der deutschen Künstler. After the end of World War II, Tiedtke founded the Künstlergemeinschaft Bad Ischl together with Theo Lingen, Paul Kemp, Siegfried Breuer and other fellow actors, which toured Austria for two years. Afterwards, the actor was able to perform successfully again in Munich and Berlin, and he also shone in Hamburg, among other places, at the Thalia Theater at the beginning of November 1949, where, on the occasion of his 50th stage anniversary, the comedy Der gute Onkel Jan by Georges Feydeau with Tiedtke in the title role was performed in German for the first time, In addition to important theatre characters such as Iago in Shakespeare's "Othello, Mephisto in Goethe's Faust, or Franz Moor in Schiller's Die Räuber, his brilliant roles on stage included above all interpretations in classical comedy plays and farces, Among others, Tiedtke shone as the village judge Adam in Kleist's Der zerbrochne Krug, as Theobald Maske in Sternheim's Die Hose, or as Falstaff in the Shakespeare comedy The Merry Wives of Windsor. As a performer of Molière's characters, he impressed the audience as Der eingebildete Kranke (Le malade imaginaire), as Tartuffe, and as Der Geizige (L'avare), and he was equally captivating as the smear theatre director Emanuel Striese in the farce Der Raub der Sabinerinnen by Franz and Paul von Schönthan or as Baron Weps in the operetta Der Vogelhändler by Carl Zeller). His Berlin humour and Berlin imperturbability shaped Tiedtke's character, which he also lent to his characters on stage. He was more of a quiet comedian who cared more about the heart than the punch line. Born in Berlin, Tiedtke always wanted to play as realistically as possible, never elevating himself above his characters or presenting satirical commentary. "I don't want people to see that he is an actor! That is my creed". He avoided exaggeration, strove for moderation and naturalness, and in his private life was proud of the fact that people said to him: "If I didn't know that you were Tiedtke, I would never take you for Tiedtke!" "Ick bin normal"; he was proud of that.
Tiedtke had already come into contact with the new medium of cinematography at an early age and showed his art in various silent flicks; since the end of World War 1, the actor had firmly committed himself to the EFA-Filmgesellschaft. His first screen appearances are said to date back to 1906, when he starred in one-act plays by the director and film pioneer Oskar Messter, although there is no evidence of this today. The first film with Tiedtke, however, was made in 1913 under the title Schuldig after the stage drama of the same name by Richard Voss, starring Eduard von Winterstein and produced by Messter. Two years later Tiedtke appeared alongside Paul Wegener in the latter's classic Der Golem (1915). With Wegener in the lead he would also act in Der Rattenfänger (1918) and Der Galeerensträfling (1919). He preferred to work with director Ernst Lubitsch who gave him the nickname "Filmvater Tiedtke" (film daddy Tiedtke) and cast him in his silent productions Die Puppe (1919), Kohlhiesels Töchter (1920), Romeo und Julia im Schnee (1920), Sumurun (1920) and Die Flamme (1922). The imposing figure of the mime was used by the directors again and again for quirky and droll types, which Tiedtke always knew how to breathe life into. Other major productions in which Tiedtke was involved in the 1920s include the six-part adventure film Der Mann ohne Namen(1921) with Harry Liedtke, the Henny Porten films Die Fahrt ins Blaue (1918), Sie und die Drei (1922), Der Kaufmann von Venedig (1923), Das alte Gesetz (1923) and Kammermusik (1925), the lost Murnau film Die Austreibung (1923), the Lya Mara comedy Auf Befehl der Pompadour (1924), Ludwig Berger's Ein Walzertraum (1925), the adventure film Pietro der Korsar (1925), Die Mühle von Sanssouci (1926) starring Otto Gebühr, Gehetzte Frauen (1927) with Asta Nielsen, Die Apachen von Paris/ Paname n'est pas Paris (1927) , Dr. Bessels Verwandlung (1927), Das Spreewaldmädel (1928) with Claire Rommer, the Ellen Richter film Moral (1928), and the Käthe von Nagy comedy Mascottchen (1929). In Hans Kyser's prominent historical film Luther - Ein Film der deutschen Reformation (1927), Tiedtke, alongside Eugen Klöpfer in the title role of the reformer Martin Luther, was convincing as the indulgence preacher Johann Tetzel.
Tiedtke became a well-known and popular actor on the screen, especially as an interpreter of comic roles and in the role of the older bon vivant. He remained a busy actor in the 1930s and in the talkies, and knew how to play himself into the hearts of the audience with striking supporting roles and quirky characters in popular comedy plays of the time, but also in productions of other genres. For example, he was seen as landowner and bachelor Philipp Klapproth in the farce Pension Schöller (1930), as the protagonist master tailor Titus Hasenklein in Hasenklein kann nichts dafür (1932) or as Uncle Emil in the operetta adaptation Der Vetter aus Dingsda (1934). His extensive filmography, which lists around 200 titles in the Internet Movie Database, includes successful films such as Das Flötenkonzert von Sans-souci (1930), Yorck (1931), Das Blaue vom Himmel (1932), Saison in Kairo (1933), Kleiner Mann - was nun? (1933), Schwarzer Jäger Johanna (1934), Der Doppelgänger (1934), Petersburger Nächte (1935), Die göttliche Jette (1937) and the Heinz Rühmann films So ein Flegel (1934) and Nanu, Sie kennen Korff noch nicht? (1938). In the adventure Verwehte Spuren (1938) Jakob Tiedtke acted for the first time under the direction of Veit Harlan, with whom he realised several other films in the next years such as Das unsterbliche Herz (1939). However, these also included the unspeakable hate flick Jud Süss (1940) as well as the propaganda films Der große König (1942) and Kolberg (1945).
As in August 1944 propaganda minister Josef Goebbels had put Tiedtke on his so-called Gottbegnadeten-Liste, he was exempt of serving in the war.
The collaboration between Harlan and Tiedtke continued after World War II, Harlan entrusted him with smaller tasks in his films Unsterbliche Gelibte (Immortal Lovers, 1951), Hanna Amon (1952) and Die blaue Stunde (The Blue Hour, 1953), which he made with his wife Kristina Söderbaum. Tiedtke's other post-war films include Das seltsame Leben des Herrn Bruggs (1951), Königin einer Nacht (1951), Keine Angst vor großen Tieren (1953), Damenwahl (1953), Der Raub der Sabinerinnen (1954), Emil und die Detektive (1954) and finally Urlaub auf Ehrenwort (1955). After that, Tiedtke slowly withdrew from acting and into private life. Until the 1950s he also worked in radio, especially for the Berlin radio station RIAS (Rundfunk im amerikanischen Sektor) and the Nordwestdeutscher Rundfunk (NWDR). After the end of the war he was seen on stage in 1947 in the Lustspielhaus des Westens in Berlin-Friedenau together with Heli Finkenzeller and her husband Will Dohm in the comedy Götterkinder by F. D. Andam and Werner P. Zibaso. He celebrated one of his last successes at the Berlin Schillertheater with the role of the aged Theodotus in a performance of the comedy Caesar and Cleopatra by George Bernard Shaw with Walter Franck and Luitgard Im in the title roles. After the performance, he was awarded the Federal Cross of Merit for his life's work, and the Association for the History of Berlin appointed him an honorary member.
It should be mentioned that Tiedtke was a friend and patron of the theatre critic and publicist Siegfried Jacobsohn. He also had a special artistic friendship with the playwright and author Gerhart Hauptmann. Hauptmann later (1921) wrote a play especially for Tiedtke: Peter Brauer, the tragicomedy of an incompetent painter. It was a weak play, but Tiedtke carried it on his broad back over a hundred dangers towards a great success. The premiere took place on 1 November 1921 in the Berlin Lustspielhaus, directed by Heinz Saltenburg.
The actor, character comedian and original Berliner Karl Jakob Tiedtke died a few days after his 85th birthday on 30 June 1960 in his cottage in Berlin-Kladow. He had suddenly lapsed into a deep unconsciousness from which he never awoke. He was laid to rest at the Berlin cemetery Heerstraße. He left behind his wife Hanna ("Hanny") (1902-1984), who was later buried at her husband's side. As Der Zeit wrote, in his house, "Upstairs, in the "Salong" with a view of the Havel, Mrs. Hanna held "coffee chatter", his charming, much younger wife with her at once distinguished and sedate Baltic accent, who served her husband, as he said, as "Souffleuse and Schofföse", because he memorised his roles with her and because she drove him to the theatre in Berlin". Tiedtke's written estate is at the Staatsbibliothek zu Berlin. He called his memoirs written in 1951, which were never published, "Aufrichtigkeiten eines ermüdeten Lügners" (Sincerities of a Tired Liar).
Sources: mainly www.steffi-line.de/archiv_text/nost_buehne/20t_tiedke.htm, additionally German Wikipedia, IMDb, Filmportal.
German postcard by Ross Verlag, Berlin, no. A 3280/2, 1941-1944. Photo: Baumann / Ufa.
German stage and film actress Heli Finkenzeller (1914-1991) had her greatest successes in popular Ufa comedies of the 1930s and 1940s. After the war, she often played mother roles.
Helene Finkenzeller was born in München (Munich), Germany in 1914 (according to some sources in 1911). She grew up in Munich where her parents ran a family business that sold office furniture. As a kid, she was already interested in everything connected to the theatre and she wanted to become an opera singer. After finishing school she attended a conservatory, but she soon realised that her voice was too weak for the opera stage. Instead, she took acting classes from Otto Falkenberg at his newly established drama school in Munich. In 1934 she joined the Münchner Kammerspielen (Munich Chamber Plays) and for the next two years, she performed there with such actors as Ferdinand Marian, Elizabeth Flickenschild, and her later husband Will Dohm. In 1935 she made her first film appearance in a supporting part in the Ufa comedy Ehestreik/Matrimonial Strike (Georg Jacoby, 1935) with Paul Richter. She played her first lead for the Ufa in the comedy Weiberregiment/Petticoat Government (Karl Ritter, 1936). Finkenzeller appeared with star comedian Heinz Rühmann in Der Mustergatte/Model Husband (Wolfgang Liebeneiner, 1937). The box office hits Opernball/Opera Ball (Wolfgang Liebeneiner, 1939) with Paul Hörbiger, Kohlhiesels Töchter/Kohlhiesels daughters (Kurt Hoffmann, 1943) in which she played the double roles of Veronika and Annamirl Kohlhöfer, and especially Das Bad auf der Tenne/The bathroom in the barn (Volker von Collande, 1943) with her husband Will Dohm made her known to a large audience and she became one of Germany’s most popular film stars.
After the Second World War, Heli Finkenzeller continued her film career, often in mother roles. Thus she played the wife of Heinz Rühmann in Briefträger Müller/Postman Müller (John Reinhardt, 1953) and Emil’s mother in Emil und die Detektive/Emil and the Detectives (Robert A. Stemmle, 1954) based on the classic children’s book by Erich Kästner. In the German-Dutch coproduction Ciske - Ein Kind braucht Liebe/Ciske – A Child Needs Love (Wolfgang Staudte, 1955) with Kees Brusse, she was the aunt of the title figure. She was also seen in another Dutch-German coproduction Jenny (Alfred Bittins, Willy van Hemert, 1959) featuring Ellen van Hemert. On stage, she appeared in the musical Gigi at the Theater des Westens (Theatre of the West) in Berlin, and in many plays. She also can be heard on records with songs and texts. From the early 1960s on, the former Ufa star played mainly on stage and in many TV films and series, such as Unser Pauker/Our Crammer (Otto Meyer, 1965) with Georg Thomalla, the comedy Meine Schwiegersöhne und ich/My sons-in-law and I (Rudolf Jugert, 1969) opposite Hans Söhnker, the Krimi Der Kommissar/The Commissioner (1974) starring Erik Ode, Das Traumschiff/The Dream Boat (Fritz Umgelter, 1981), Der Gerichtsvollzieher/The Bailiff (Peter Weck, 1981) and finally, three years before her death in Lorentz & Söhne/Lorentz and Sons (Claus Peter Witt, 1988). In between, she played in one final film, the black comedy Satansbraten/Satan’s Brew (Rainer Werner Fassbinder, 1976). Heli Finkenzeller and Will Dohm had a daughter, actress Gaby Dohm (1943) who is well known in the German language countries. After Will Dohm’s death in 1948, Heli remarried in 1950 to film producer Alfred Bittin. They stayed together until his death in 1971. Heli Finkenzeller died from cancer in 1991 in her hometown Munich. She was 76. The German weekly Der Spiegel wrote in an obituary: “Her type was much in demand at the UFA: charm with distance, elegance without any wickedness. She even had big world allure, but on a small Pan-German scale. It made Heli Finkenzeller in the middle of the thirties a star in light entertainment films.”
Sources: Stephanie D’Heil (Steffi-Line) (German), Thomas Staedeli (Cyranos), Der Spiegel (German), Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
Das neue "Premium-Produkt" im Fernverkehr: der ICE 4! :)
Und: Die Baureihe mit den vielen Namen...
Was gab es in den letzten Wochen nicht für eine Aufregung um den neuen ICE 4. Diese Aufregung galt allerdings weniger dem Fahrzeug an sich als eher der Idee, den einzelnen Triebzügen Namen von historischen Persönlichkeiten zu verleihen, was auch gleichzeitig mit der Anbringung eines Konterfeis der jeweiligen Person an den Enden des Zuges einhergehen soll. Dabei handelt es sich also nicht um bereits öfter hier erwähnte Spitznamen für die spezielle Baureihe, sondern um Namenspatenschaften für einzelne Triebzüge.
Ende Oktober 2017 steig dann weißer Rauch auf: Man hatte also eine Liste mit 100 Namen fertiggestellt und darauf dann 25 Vorschläge ausgewählt, die dann in 2018 und 2019 im Rahmen feierlicher Zugtaufen den Triebzügen übertragen werden sollen. In Folge der Verbindung mit dem Namen der historischen deutschen Persönlichkeit soll dann jeder Triebzug bei der Ein- und Ausfahrt in den Bahnhof seinen individuellen Auftritt erhalten, heißt es seitens der Deutschen Bahn. Der ein oder andere von der Jury ausgewählte Name sorgte dabei für mehr oder weniger hitzige Diskussionen...
Die 25 ausgewählten Namen sind:
- Konrad Adenauer
- Geschwister Scholl
- Marlene Dietrich
- Hildegard Knef
- Fritz Walter
- Ludwig Erhard
- Elisabeth von Thüringen
- Erich Kästner
- Anne Frank
- Adolph Kolping
- Dietrich Bonhoeffer
- Marie Juchacz
- Käthe Kollwitz
- Hannah Arendt
- Margarete Steiff
- Willy Brandt
- Heinrich Heine
- Thomas Mann
- Bertha Benz
- Karl Marx
- Hedwig Dohm
- Vicco von Bülow
- Ludwig van Beethoven
- Albert Einstein
- Alexander von Humboldt
Hinweis in eigener Sache: Ich habe die Liste mehrmals durchgesehen, meinen Namen allerdings - wider Erwarten ;) - leider nicht entdeckt... ;)
Der neue ICE 4 (Baureihe 412) befindet sich ja bereits seit nunmehr einiger Zeit im Probebetrieb. Mit den Zugpaaren ICE 581 / ICE 582 und ICE 786 / ICE 787, die jeweils auf der Relation Hamburg – München verkehren, gibt es bereits die Möglichkeit, mit einem der beiden noch (fast) nagelneuen Fahrzeugen des Typs ICE 4 einmal quer durch Deutschland zu touren.
So auch bei dieser Fahrt des ICE 4-Triebzuges 9005 (alias 412 005), der am Tag dieser Aufnahme aus unbekanntem Grund auf diesem Wege unterwegs in die bayerische Landeshauptstadt war. Zeitlich könnte die Fahrlage zum oben genannten ICE 581 passen, allerdings verkehrt dieser planmäßig über Nürnberg, Donauwörth und Augsburg - und kommt somit an dieser Stelle zwischen Ingolstadt und München eigentlich nicht vorbei.
Aber: Der ICE 581 verkehrte an diesem Tag wohl ohne Halt zwischen Würzburg und München, so dass es denkbar ist, dass der Zug im Zuge dessen über Ingolstadt umgeleitet wurde. Ob es sich dabei wirklich um den ICE 581 handelt oder ob es eine Probefahrt ohne Fahrgäste war, kann nicht mit abschließender Sicherheit gesagt werden. Eine tolle Figur machte das Fahrzeug in der Fotokurve dennoch... :)
Im Dezember soll der ICE 4 auf den Strecken Hamburg –
München sowie Hamburg – Stuttgart dann den Regelbetrieb aufnehmen. Von anfangs fünf Triebzügen wird das künftige Rückgrat des Fernverkehrs der Deutschen Bahn bis zum Jahre 2023 auf eine Flotte mit über 100 Triebzügen anwachsen.
Hebertshausen, 15.07.2017
German postcard by Ross Verlag, Berlin, no. 9620/1, 1935-1936. Photo: Ufa.
German stage and film actress Heli Finkenzeller (1914-1991) had her greatest successes in popular Ufa comedies of the 1930s and 1940s. After the war, she often played mother roles.
Helene Finkenzeller was born in München (Munich), Germany in 1914 (according to some sources in 1911). She grew up in Munich where her parents ran a family business that sold office furniture. As a kid, she was already interested in everything connected to the theatre and she wanted to become an opera singer. After finishing school she attended a conservatory, but she soon realised that her voice was too weak for the opera stage. Instead, she took acting classes from Otto Falkenberg at his newly established drama school in Munich. In 1934 she joined the Münchner Kammerspielen (Munich Chamber Plays) and for the next two years, she performed there with such actors as Ferdinand Marian, Elizabeth Flickenschild, and her later husband Will Dohm. In 1935 she made her first film appearance in a supporting part in the Ufa comedy Ehestreik/Matrimonial Strike (Georg Jacoby, 1935) with Paul Richter. She played her first lead for the Ufa in the comedy Weiberregiment/Petticoat Government (Karl Ritter, 1936). Finkenzeller appeared with star comedian Heinz Rühmann in Der Mustergatte/Model Husband (Wolfgang Liebeneiner, 1937). The box office hits Opernball/Opera Ball (Wolfgang Liebeneiner, 1939) with Paul Hörbiger, Kohlhiesels Töchter/Kohlhiesels daughters (Kurt Hoffmann, 1943) in which she played the double roles of Veronika and Annamirl Kohlhöfer, and especially Das Bad auf der Tenne/The bathroom in the barn (Volker von Collande, 1943) with her husband Will Dohm made her known to a large audience and she became one of Germany’s most popular film stars.
After the Second World War, Heli Finkenzeller continued her film career, often in mother roles. Thus she played the wife of Heinz Rühmann in Briefträger Müller/Postman Müller (John Reinhardt, 1953) and Emil’s mother in Emil und die Detektive/Emil and the Detectives (Robert A. Stemmle, 1954) based on the classic children’s book by Erich Kästner. In the German-Dutch coproduction Ciske - Ein Kind braucht Liebe/Ciske – A Child Needs Love (Wolfgang Staudte, 1955) with Kees Brusse, she was the aunt of the title figure. She was also seen in another Dutch-German coproduction Jenny (Alfred Bittins, Willy van Hemert, 1959) featuring Ellen van Hemert. On stage, she appeared in the musical Gigi at the Theater des Westens (Theatre of the West) in Berlin, and in many plays. She also can be heard on records with songs and texts. From the early 1960s on, the former Ufa star played mainly on stage and in many TV films and series, such as Unser Pauker/Our Crammer (Otto Meyer, 1965) with Georg Thomalla, the comedy Meine Schwiegersöhne und ich/My sons-in-law and I (Rudolf Jugert, 1969) opposite Hans Söhnker, the Krimi Der Kommissar/The Commissioner (1974) starring Erik Ode, Das Traumschiff/The Dream Boat (Fritz Umgelter, 1981), Der Gerichtsvollzieher/The Bailiff (Peter Weck, 1981) and finally, three years before her death in Lorentz & Söhne/Lorentz and Sons (Claus Peter Witt, 1988). In between, she played in one final film, the black comedy Satansbraten/Satan’s Brew (Rainer Werner Fassbinder, 1976). Heli Finkenzeller and Will Dohm had a daughter, actress Gaby Dohm (1943) who is well known in the German language countries. After Will Dohm’s death in 1948, Heli remarried in 1950 to film producer Alfred Bittin. They stayed together until his death in 1971. Heli Finkenzeller died from cancer in 1991 in her hometown Munich. She was 76. The German weekly Der Spiegel wrote in an obituary: “Her type was much in demand at the UFA: charm with distance, elegance without any wickedness. She even had big world allure, but on a small Pan-German scale. It made Heli Finkenzeller in the middle of the thirties a star in light entertainment films.”
Sources: Stephanie D’Heil (Steffi-Line) (German), Thomas Staedeli (Cyranos), Der Spiegel (German), Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
Niki de St Phalle
"Ich bin Künstlerin geworden, weil ich keine Wahl hatte......es war mein Schicksal..."
German postcard by Ross Verlag, Berlin, no. A 2746/1, 1939-1940. Photo: Haenchen / Tobis.
German stage and film actress Heli Finkenzeller (1914-1991) had her greatest successes in popular Ufa comedies of the 1930s and 1940s. After the war, she often played mother roles.
Helene Finkenzeller was born in München (Munich), Germany in 1914 (according to some sources in 1911). She grew up in Munich where her parents ran a family business that sold office furniture. As a kid, she was already interested in everything connected to the theatre and she wanted to become an opera singer. After finishing school she attended a conservatory, but she soon realised that her voice was too weak for the opera stage. Instead, she took acting classes from Otto Falkenberg at his newly established drama school in Munich. In 1934 she joined the Münchner Kammerspielen (Munich Chamber Plays) and for the next two years, she performed there with such actors as Ferdinand Marian, Elizabeth Flickenschild, and her later husband Will Dohm. In 1935 she made her first film appearance in a supporting part in the Ufa comedy Ehestreik/Matrimonial Strike (Georg Jacoby, 1935) with Paul Richter. She played her first lead for the Ufa in the comedy Weiberregiment/Petticoat Government (Karl Ritter, 1936). Finkenzeller appeared with star comedian Heinz Rühmann in Der Mustergatte/Model Husband (Wolfgang Liebeneiner, 1937). The box office hits Opernball/Opera Ball (Wolfgang Liebeneiner, 1939) with Paul Hörbiger, Kohlhiesels Töchter/Kohlhiesels daughters (Kurt Hoffmann, 1943) in which she played the double roles of Veronika and Annamirl Kohlhöfer, and especially Das Bad auf der Tenne/The bathroom in the barn (Volker von Collande, 1943) with her husband Will Dohm made her known to a large audience and she became one of Germany’s most popular film stars.
After the Second World War, Heli Finkenzeller continued her film career, often in mother roles. Thus she played the wife of Heinz Rühmann in Briefträger Müller/Postman Müller (John Reinhardt, 1953) and Emil’s mother in Emil und die Detektive/Emil and the Detectives (Robert A. Stemmle, 1954) based on the classic children’s book by Erich Kästner. In the German-Dutch coproduction Ciske - Ein Kind braucht Liebe/Ciske – A Child Needs Love (Wolfgang Staudte, 1955) with Kees Brusse, she was the aunt of the title figure. She was also seen in another Dutch-German coproduction Jenny (Alfred Bittins, Willy van Hemert, 1959) featuring Ellen van Hemert. On stage, she appeared in the musical Gigi at the Theater des Westens (Theatre of the West) in Berlin, and in many plays. She also can be heard on records with songs and texts. From the early 1960s on, the former Ufa star played mainly on stage and in many TV films and series, such as Unser Pauker/Our Crammer (Otto Meyer, 1965) with Georg Thomalla, the comedy Meine Schwiegersöhne und ich/My sons-in-law and I (Rudolf Jugert, 1969) opposite Hans Söhnker, the Krimi Der Kommissar/The Commissioner (1974) starring Erik Ode, Das Traumschiff/The Dream Boat (Fritz Umgelter, 1981), Der Gerichtsvollzieher/The Bailiff (Peter Weck, 1981) and finally, three years before her death in Lorentz & Söhne/Lorentz and Sons (Claus Peter Witt, 1988). In between, she played in one final film, the black comedy Satansbraten/Satan’s Brew (Rainer Werner Fassbinder, 1976). Heli Finkenzeller and Will Dohm had a daughter, actress Gaby Dohm (1943) who is well known in the German language countries. After Will Dohm’s death in 1948, Heli remarried in 1950 to film producer Alfred Bittin. They stayed together until his death in 1971. Heli Finkenzeller died from cancer in 1991 in her hometown Munich. She was 76. The German weekly Der Spiegel wrote in an obituary: “Her type was much in demand at the UFA: charm with distance, elegance without any wickedness. She even had big world allure, but on a small Pan-German scale. It made Heli Finkenzeller in the middle of the thirties a star in light entertainment films.”
Sources: Stephanie D’Heil (Steffi-Line) (German), Thomas Staedeli (Cyranos), Der Spiegel (German), Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
museumPASSmusees 2025 - Art et marges musee museum - Aussi loin qu'ici 2
The space of the Art et marges museum has never held such a vast exhibition. The artists from AUSSI LOIN QU'ICI are bringing together a show that conjures up journeys that are immobile, daily lives reinvented, windows filled with fantasies, perpetuated memories, recorded itineraries, movements set in lines, journeys set in waves, and landscapes placed inside boxes! Take the path overlooking the maps, tuck yourself away in a secluded space; you have never been so far as by simply staying here, where a movement is mapped out that makes the margin irresistibly central.
Curators: Alix Hubermont and Tatiana Veress
The first part of the exhibition features works by Yassir Amazine, Aime Bahati, Nour Ben Slimane, Giovanni Bosco, Anne Campbell, Samuel Cariaux, Matilde Carli, Georges Cauchy, Adam Cicherski, Philippe Closset, Sylvain Cosijns, Franky Derycke, Georges Dohm, Paul Duhem, Sebastian Ferreira, Marion Galisson, Michael Golz, Juanma Gonzalez, Martha Grunenwaldt, Laurence Halleux, Come Lequin, Maxime Mormont, Raphael Michel, Mark Anthony Mulligan, Michael Mvukani Mpiolani, Antoine Mvumbi, Helmut Nimczewski, Remi Pierlot, Andre Robillard, Arnaud Rogard, Jean-Pierre Rostenne, Marie Steins, Pascal Tassini, Donatien Toma Ndani Djemelas, Louis Van Baelens, Willem Van Genk, Gerard Van Lankveld, Nick Verhaeghe, Joseph Yoakum.
( Le pass musees, comment ca marche ?
1 pass pour 255 musees
Tant de choses a vivre avec le pass musees
Le pass musees est l'abonnement le plus genereux aux musees belges. Cela signifie :
* Acces a tous les musees participants de notre pays, pendant une annee entiere. Quand vous le voulez et aussi souvent que vous le souhaitez.
* Visiter les expositions temporaires gratuitement ou avec une jolie reduction.
* Beneficier d'Avantages extra comme des billets de train a moitie prix, des reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux detenteurs de pass musees.
* Recevoir et sauvegarder les meilleurs conseils en matiere de musees : tous les quinze jours, recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. Vous pouvez sauvegarder vos expositions preferees dans l'app pass musees en prevision de votre prochaine visite.
Pret(e) pour une annee remplie de magnifiques experiences ? Optez alors pour le pass musees, il ne coute que 59 e.
German postcard by Netter's Starverlag, Berlin, no. F-326.
German actor, screenwriter and film director Volker von Collande (1913-1990) appeared in more than 40 films between 1934 and 1987. He usually played upstanding citizens or men in uniform. Von Collande also directed more than 20 films between 1942 and 1967. He was a member of the Nazi Party.
Volker Hubertus Valentin Maria von Mitschke-Collande was born in Dresden in 1913 in a Silesian noble family. He was the son of the painter Constantin von Mitschke-Collande and his first wife Hilde Wiecke, whose father Paul Wiecke was an actor and theatre director in Dresden. His younger sister Gisela von Collande became a well known actress. Collande started his career as a bricklayer apprentice and then completed an architecture degree at the State School Dresden. Only then did he take acting lessons and made his stage debut in 1933 at the Deutsches Theater Berlin as Valentin in Faust. In the same year he startedto work as an assistant director and radio announcer in Stuttgart. He became a member of the NSDAP, the Nazi party. From 1933 on, he performed in over 30 feature films. He played supporting parts in the Karl Valentin comedy Donner, Blitz und Sonnenschein/Thunder, Lightning and Sunshine (Erich Engels, 1936), and the drama Waldwinter/Winter in the Woods (Fritz Peter Buch, 1936) starring Viktor Staal and Hansi Knoteck. For the Ufa, he appeared in the romances Eine Frau wie Du/A Woman Like You (Viktor Tourjansky, 1939) starring Brigitte Horney, and Ihr erstes Erlebnis/Her First Experience (Josef von Báky, 1939) starring Ilse Werner. He directed his first film in 1942: the romantic comedy Zwei in einer großen Stadt/Two in a Big City (Volker von Collande, 1942) starring Claude Farell, Karl John and Marianne Simson. A German soldier on leave in Berlin goes looking for his pen pal who he has never met called Gisela. He meets instead a woman with the same name and falls in love with her. A hit was his next film, the comedy Das Bad auf der Tenne/The Bath in the Barn (Volker von Collande, 1943) starring Will Dohm and Heli Finkenzeller. In the meanwhile, he worked as a stage actor in Berlin, and as a director of radio plays.
From 1947 on, Victor von Collande worked for the theatre in Saarbrücken and during the 1950s he performed at the Deutsches Schauspielhaus in Hamburg. He continued to work in the cinema. He appeared in such comedies as Absender unbekannt/Unknown Sender (Ákos Ráthonyi, 1950) starring Henny Porten. Among the films he directed were such light entertainment films as Ich warte auf dich/I'm Waiting for You (Volker von Collande, 1952, with Hanna Rucker and Joachim Brennecke. Especially popular was the second part of the Immenhof series, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956), starring Heid Brühl and Angelika Meisner. J. Steed at IMDb: "Although in principal it did not matter much who sat in the director's chair, this part with its already weaker story (than that of part 1) is not helped much by Volker von Collande's uninterested direction. It is a good thing that Fritz Arno Wagner was behind the camera, although he could not prevent that when finally something resembling a plot is starting (with the arrival of Hans Nielsen as the financial saver), the story telling becomes untidy." Von Collande moved to the new medium television and specialised himself in making TV films. Later he also worked as a theatre manager at the Theater Freiburg, at the Theater Regensburg and the Theater Wolfsburg and worked as a cultural consultant for the Volkswagen AG. Von Collande was married four times. From 1936 till 1938 he was married to actress Ingeborg Hertel. In 1939, he married the dance teacher Gisela Hartwig gen. von Naso. They divorced in 1942. In 1944, he married the ballet master Isabella Vernici Modler, which marriage also ended in a divorce in 1950. Finally, he wed in a fourth marriage the voice therapist Irene Nathusius. Their daughter Nora von Collande became an actress and author. Volker von Collande passed away in Hannover in 1990. He was buried at the Ohlsdorf cemetery.
Sources: Wikipedia (English and German) and IMDb.
And, please check out our blog European Film Star Postcards.
Family: Cerambycidae
Size: 26.0 mm
Location: Togo, Prov. Kloto Bala, Plateaux Region
leg. local collector, 12.X.2014; det. P.Haller, 2016; Coll. A.Skale
Photo: U.Schmidt, 2017
Sie hat Dohmen besucht und sich ein schönes Bild machen lassen. Bitte komm uns bald wieder besuchen!
museumPASSmusees 2025 - Art et marges musee museum - Aussi loin qu'ici
The space of the Art et marges museum has never held such a vast exhibition. The artists from AUSSI LOIN QU'ICI are bringing together a show that conjures up journeys that are immobile, daily lives reinvented, windows filled with fantasies, perpetuated memories, recorded itineraries, movements set in lines, journeys set in waves, and landscapes placed inside boxes! Take the path overlooking the maps, tuck yourself away in a secluded space; you have never been so far as by simply staying here, where a movement is mapped out that makes the margin irresistibly central.
Curators: Alix Hubermont and Tatiana Veress
The first part of the exhibition features works by Yassir Amazine, Aime Bahati, Nour Ben Slimane, Giovanni Bosco, Anne Campbell, Samuel Cariaux, Matilde Carli, Georges Cauchy, Adam Cicherski, Philippe Closset, Sylvain Cosijns, Franky Derycke, Georges Dohm, Paul Duhem, Sebastian Ferreira, Marion Galisson, Michael Golz, Juanma Gonzalez, Martha Grunenwaldt, Laurence Halleux, Come Lequin, Maxime Mormont, Raphael Michel, Mark Anthony Mulligan, Michael Mvukani Mpiolani, Antoine Mvumbi, Helmut Nimczewski, Remi Pierlot, Andre Robillard, Arnaud Rogard, Jean-Pierre Rostenne, Marie Steins, Pascal Tassini, Donatien Toma Ndani Djemelas, Louis Van Baelens, Willem Van Genk, Gerard Van Lankveld, Nick Verhaeghe, Joseph Yoakum.
( Le pass musees, comment ca marche ?
1 pass pour 255 musees
Tant de choses a vivre avec le pass musees
Le pass musees est l'abonnement le plus genereux aux musees belges. Cela signifie :
* Acces a tous les musees participants de notre pays, pendant une annee entiere. Quand vous le voulez et aussi souvent que vous le souhaitez.
* Visiter les expositions temporaires gratuitement ou avec une jolie reduction.
* Beneficier d'Avantages extra comme des billets de train a moitie prix, des reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux detenteurs de pass musees.
* Recevoir et sauvegarder les meilleurs conseils en matiere de musees : tous les quinze jours, recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. Vous pouvez sauvegarder vos expositions preferees dans l'app pass musees en prevision de votre prochaine visite.
Pret(e) pour une annee remplie de magnifiques experiences ? Optez alors pour le pass musees, il ne coute que 59 e.
museumPASSmusees 2025 - Art et marges musee museum - Aussi loin qu'ici 2
The space of the Art et marges museum has never held such a vast exhibition. The artists from AUSSI LOIN QU'ICI are bringing together a show that conjures up journeys that are immobile, daily lives reinvented, windows filled with fantasies, perpetuated memories, recorded itineraries, movements set in lines, journeys set in waves, and landscapes placed inside boxes! Take the path overlooking the maps, tuck yourself away in a secluded space; you have never been so far as by simply staying here, where a movement is mapped out that makes the margin irresistibly central.
Curators: Alix Hubermont and Tatiana Veress
The first part of the exhibition features works by Yassir Amazine, Aime Bahati, Nour Ben Slimane, Giovanni Bosco, Anne Campbell, Samuel Cariaux, Matilde Carli, Georges Cauchy, Adam Cicherski, Philippe Closset, Sylvain Cosijns, Franky Derycke, Georges Dohm, Paul Duhem, Sebastian Ferreira, Marion Galisson, Michael Golz, Juanma Gonzalez, Martha Grunenwaldt, Laurence Halleux, Come Lequin, Maxime Mormont, Raphael Michel, Mark Anthony Mulligan, Michael Mvukani Mpiolani, Antoine Mvumbi, Helmut Nimczewski, Remi Pierlot, Andre Robillard, Arnaud Rogard, Jean-Pierre Rostenne, Marie Steins, Pascal Tassini, Donatien Toma Ndani Djemelas, Louis Van Baelens, Willem Van Genk, Gerard Van Lankveld, Nick Verhaeghe, Joseph Yoakum.
( Le pass musees, comment ca marche ?
1 pass pour 255 musees
Tant de choses a vivre avec le pass musees
Le pass musees est l'abonnement le plus genereux aux musees belges. Cela signifie :
* Acces a tous les musees participants de notre pays, pendant une annee entiere. Quand vous le voulez et aussi souvent que vous le souhaitez.
* Visiter les expositions temporaires gratuitement ou avec une jolie reduction.
* Beneficier d'Avantages extra comme des billets de train a moitie prix, des reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux detenteurs de pass musees.
* Recevoir et sauvegarder les meilleurs conseils en matiere de musees : tous les quinze jours, recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. Vous pouvez sauvegarder vos expositions preferees dans l'app pass musees en prevision de votre prochaine visite.
Pret(e) pour une annee remplie de magnifiques experiences ? Optez alors pour le pass musees, il ne coute que 59 e.
West-German postcard by Rüdel-Verlag, Berlin. Photo: Real / Europa / Winterstein. Heli Finkenzeller in Heute gehn wir bummeln/Today we're going for a stroll (Erik Ode, 1961). Sent by mail in 1962.
German stage and film actress Heli Finkenzeller (1914-1991) had her greatest successes in popular Ufa comedies of the 1930s and 1940s. After the war, she often played mother roles.
Helene Finkenzeller was born in München (Munich), Germany in 1914 (according to some sources in 1911). She grew up in Munich where her parents ran a family business that sold office furniture. As a kid, she was already interested in everything connected to the theatre and she wanted to become an opera singer. After finishing school she attended a conservatory, but she soon realised that her voice was too weak for the opera stage. Instead, she took acting classes from Otto Falkenberg at his newly established drama school in Munich. In 1934 she joined the Münchner Kammerspielen (Munich Chamber Plays) and for the next two years, she performed there with such actors as Ferdinand Marian, Elizabeth Flickenschild, and her later husband Will Dohm. In 1935 she made her first film appearance in a supporting part in the Ufa comedy Ehestreik/Matrimonial Strike (Georg Jacoby, 1935) with Paul Richter. She played her first lead for the Ufa in the comedy Weiberregiment/Petticoat Government (Karl Ritter, 1936). Finkenzeller appeared with star comedian Heinz Rühmann in Der Mustergatte/Model Husband (Wolfgang Liebeneiner, 1937). The box office hits Opernball/Opera Ball (Wolfgang Liebeneiner, 1939) with Paul Hörbiger, Kohlhiesels Töchter/Kohlhiesels daughters (Kurt Hoffmann, 1943) in which she played the double roles of Veronika and Annamirl Kohlhöfer, and especially Das Bad auf der Tenne/The bathroom in the barn (Volker von Collande, 1943) with her husband Will Dohm made her known to a large audience and she became one of Germany’s most popular film stars.
After the Second World War, Heli Finkenzeller continued her film career, often in mother roles. Thus she played the wife of Heinz Rühmann in Briefträger Müller/Postman Müller (John Reinhardt, 1953) and Emil’s mother in Emil und die Detektive/Emil and the Detectives (Robert A. Stemmle, 1954) based on the classic children’s book by Erich Kästner. In the German-Dutch coproduction Ciske - Ein Kind braucht Liebe/Ciske – A Child Needs Love (Wolfgang Staudte, 1955) with Kees Brusse, she was the aunt of the title figure. She was also seen in another Dutch-German coproduction Jenny (Alfred Bittins, Willy van Hemert, 1959) featuring Ellen van Hemert. On stage, she appeared in the musical Gigi at the Theater des Westens (Theatre of the West) in Berlin, and in many plays. She also can be heard on records with songs and texts. From the early 1960s on, the former Ufa star played mainly on stage and in many TV films and series, such as Unser Pauker/Our Crammer (Otto Meyer, 1965) with Georg Thomalla, the comedy Meine Schwiegersöhne und ich/My sons-in-law and I (Rudolf Jugert, 1969) opposite Hans Söhnker, the Krimi Der Kommissar/The Commissioner (1974) starring Erik Ode, Das Traumschiff/The Dream Boat (Fritz Umgelter, 1981), Der Gerichtsvollzieher/The Bailiff (Peter Weck, 1981) and finally, three years before her death in Lorentz & Söhne/Lorentz and Sons (Claus Peter Witt, 1988). In between, she played in one final film, the black comedy Satansbraten/Satan’s Brew (Rainer Werner Fassbinder, 1976). Heli Finkenzeller and Will Dohm had a daughter, actress Gaby Dohm (1943) who is well known in the German language countries. After Will Dohm’s death in 1948, Heli remarried in 1950 to film producer Alfred Bittin. They stayed together until his death in 1971. Heli Finkenzeller died from cancer in 1991 in her hometown Munich. She was 76. The German weekly Der Spiegel wrote in an obituary: “Her type was much in demand at the UFA: charm with distance, elegance without any wickedness. She even had big world allure, but on a small Pan-German scale. It made Heli Finkenzeller in the middle of the thirties a star in light entertainment films.”
Sources: Stephanie D’Heil (Steffi-Line) (German), Thomas Staedeli (Cyranos), Der Spiegel (German), Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Kunst und Bild, Berlin, no. A 290. Photo: Gaza-Studio, Berlin.
German actor, screenwriter and film director Volker von Collande (1913-1990) appeared in more than 40 films between 1934 and 1987. He usually played upstanding citizens or men in uniform. Von Collande also directed more than 20 films between 1942 and 1967. He was a member of the Nazi Party.
Volker Hubertus Valentin Maria von Mitschke-Collande was born in Dresden in 1913 in a Silesian noble family. He was the son of the painter Constantin von Mitschke-Collande and his first wife Hilde Wiecke, whose father Paul Wiecke was an actor and theatre director in Dresden. His younger sister Gisela von Collande became a well known actress. Collande started his career as a bricklayer apprentice and then completed an architecture degree at the State School Dresden. Only then did he take acting lessons and made his stage debut in 1933 at the Deutsches Theater Berlin as Valentin in Faust. In the same year he startedto work as an assistant director and radio announcer in Stuttgart. He became a member of the NSDAP, the Nazi party. From 1933 on, he performed in over 30 feature films. He played supporting parts in the Karl Valentin comedy Donner, Blitz und Sonnenschein/Thunder, Lightning and Sunshine (Erich Engels, 1936), and the drama Waldwinter/Winter in the Woods (Fritz Peter Buch, 1936) starring Viktor Staal and Hansi Knoteck. For the Ufa, he appeared in the romances Eine Frau wie Du/A Woman Like You (Viktor Tourjansky, 1939) starring Brigitte Horney, and Ihr erstes Erlebnis/Her First Experience (Josef von Báky, 1939) starring Ilse Werner. He directed his first film in 1942: the romantic comedy Zwei in einer großen Stadt/Two in a Big City (Volker von Collande, 1942) starring Claude Farell, Karl John and Marianne Simson. A German soldier on leave in Berlin goes looking for his pen pal who he has never met called Gisela. He meets instead a woman with the same name and falls in love with her. A hit was his next film, the comedy Das Bad auf der Tenne/The Bath in the Barn (Volker von Collande, 1943) starring Will Dohm and Heli Finkenzeller. In the meanwhile, he worked as a stage actor in Berlin, and as a director of radio plays.
From 1947 on, Victor von Collande worked for the theatre in Saarbrücken and during the 1950s he performed at the Deutsches Schauspielhaus in Hamburg. He continued to work in the cinema. He appeared in such comedies as Absender unbekannt/Unknown Sender (Ákos Ráthonyi, 1950) starring Henny Porten. Among the films he directed were such light entertainment films as Ich warte auf dich/I'm Waiting for You (Volker von Collande, 1952, with Hanna Rucker and Joachim Brennecke. Especially popular was the second part of the Immenhof series, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956), starring Heid Brühl and Angelika Meisner. J. Steed at IMDb: "Although in principal it did not matter much who sat in the director's chair, this part with its already weaker story (than that of part 1) is not helped much by Volker von Collande's uninterested direction. It is a good thing that Fritz Arno Wagner was behind the camera, although he could not prevent that when finally something resembling a plot is starting (with the arrival of Hans Nielsen as the financial saver), the story telling becomes untidy." Von Collande moved to the new medium television and specialised himself in making TV films. Later he also worked as a theatre manager at the Theater Freiburg, at the Theater Regensburg and the Theater Wolfsburg and worked as a cultural consultant for the Volkswagen AG. Von Collande was married four times. From 1936 till 1938 he was married to actress Ingeborg Hertel. In 1939, he married the dance teacher Gisela Hartwig gen. von Naso. They divorced in 1942. In 1944, he married the ballet master Isabella Vernici Modler, which marriage also ended in a divorce in 1950. Finally, he wed in a fourth marriage the voice therapist Irene Nathusius. Their daughter Nora von Collande became an actress and author. Volker von Collande passed away in Hannover in 1990. He was buried at the Ohlsdorf cemetery.
Sources: Wikipedia (English and German) and IMDb.
And, please check out our blog European Film Star Postcards.
Cover of special issue of Film-Bühne, No. 107, for the German early colour film Das Bad auf der Tenne (Volker von Collande, Tobis Filmkunst 1943), starring Heli Finkenzeller and Will Dohm.
German postcard by Kunst und Bild, Berlin, no. A 399. Photo: Eva Satow.
German stage and film actress Heli Finkenzeller (1914-1991) had her greatest successes in popular Ufa comedies of the 1930s and 1940s. After the war she often played mother roles.
Helene Finkenzeller was born in München (Munich), Germany in 1914 (according to some sources in 1911). She grew up in Munich where her parents ran a family business which sold office furniture. As a kid she was already interested in everything connected to the theatre and she wanted to become an opera singer. After finishing school she attended a conservatory, but she soon realised that her voice was too weak for the opera stage. Instead she took acting classes from Otto Falkenberg at his newly established drama school in Munich. In 1934 she joined the Münchner Kammerspielen (Munich Chamber Plays) and for the next two years she performed there with such actors as Ferdinand Marian, Elizabeth Flickenschild, and her later husband Will Dohm. In 1935 she made her first film appearance in a supporting part in the Ufa comedy Ehestreik/Matrimonial Strike (Georg Jacoby, 1935) with Paul Richter. She played her first lead for the Ufa in the comedy Weiberregiment/Petticoat Government (Karl Ritter, 1936). Finkenzeller appeared with star comedian Heinz Rühmann in Der Mustergatte/Model Husband (Wolfgang Liebeneiner, 1937). The box office hits Opernball/Opera Ball (Wolfgang Liebeneiner, 1939) with Paul Hörbiger, Kohlhiesels Töchter/Kohlhiesels daughters (Kurt Hoffmann, 1943) in which she played the double roles of Veronika and Annamirl Kohlhöfer, and especially Das Bad auf der Tenne/The bathroom in the barn (Volker von Collande, 1943) with her husband Will Dohm made her known to a large audience and she became one of Germany’s most popular film stars.
After the Second World War, Heli Finkenzeller continued her film career, often in mother roles. Thus she played the wife of Heinz Rühmann in Briefträger Müller/Postman Müller (John Reinhardt, 1953) and Emil’s mother in Emil und die Detektive/Emil and the Detectives (Robert A. Stemmle, 1954) based on the classic children’s book by Erich Kästner. In the German-Dutch coproduction Ciske - Ein Kind braucht Liebe/Ciske – A Child Needs Love (Wolfgang Staudte, 1955) with Kees Brusse, she was the aunt of the title figure. She was also seen in another Dutch-German coproduction Jenny (Alfred Bittins, Willy van Hemert, 1959) featuring Ellen van Hemert. On stage, she appeared in the musical Gigi at the Theater des Westens (Theatre of the West) in Berlin, and in many plays. She also can be heard on records with songs and texts. From the early 1960s on, the former Ufa star played mainly on stage and in many TV films and series, such as Unser Pauker/Our Crammer (Otto Meyer, 1965) with Georg Thomalla, the comedy Meine Schwiegersöhne und ich/My sons-in-law and I (Rudolf Jugert, 1969) opposite Hans Söhnker, the Krimi Der Kommissar/The Commissioner (1974) starring Erik Ode, Das Traumschiff/The Dream Boat (Fritz Umgelter, 1981), Der Gerichtsvollzieher/The Bailiff (Peter Weck, 1981) and finally, three years before her death in Lorentz & Söhne/Lorentz and Sons (Claus Peter Witt, 1988). In between, she played in one final film, the black comedy Satansbraten/Satan’s Brew (Rainer Werner Fassbinder, 1976). Heli Finkenzeller and Will Dohm had a daughter, actress Gaby Dohm (1943) who is well known in the German language countries. After Will Dohm’s death in 1948, Heli remarried in 1950 to film producer Alfred Bittin. They stayed together till his death in 1971. Heli Finkenzeller died from cancer in 1991 in her hometown Munich. She was 76. The German weekly Der Spiegel wrote in an obituary: “Her type was much in demand at the UFA: charm with distance, elegance without any wickedness. She even had big world allure, but on a small Pan-German scale. It made Heli Finkenzeller in the middle of the thirties a star in light entertainment films.”
Sources: Stephanie D’Heil (Steffi-Line) (German), Thomas Staedeli (Cyranos), Der Spiegel (German), Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Ross Verlag, no. A 3250/1, 1941-1944. Photo: Baumann / Ufa.
German actor, screenwriter and film director Volker von Collande (1913-1990) appeared in more than 40 films between 1934 and 1987. He usually played upstanding citizens or men in uniform. Von Collande also directed more than 20 films between 1942 and 1967. He was a member of the Nazi Party.
Volker Hubertus Valentin Maria von Mitschke-Collande was born in Dresden in 1913 in a Silesian noble family. He was the son of the painter Constantin von Mitschke-Collande and his first wife Hilde Wiecke, whose father Paul Wiecke was an actor and theatre director in Dresden. His younger sister Gisela von Collande became a well known actress. Collande started his career as a bricklayer apprentice and then completed an architecture degree at the State School Dresden. Only then did he take acting lessons and made his stage debut in 1933 at the Deutsches Theater Berlin as Valentin in Faust. In the same year he startedto work as an assistant director and radio announcer in Stuttgart. He became a member of the NSDAP, the Nazi party. From 1933 on, he performed in over 30 feature films. He played supporting parts in the Karl Valentin comedy Donner, Blitz und Sonnenschein/Thunder, Lightning and Sunshine (Erich Engels, 1936), and the drama Waldwinter/Winter in the Woods (Fritz Peter Buch, 1936) starring Viktor Staal and Hansi Knoteck. For the Ufa, he appeared in the romances Eine Frau wie Du/A Woman Like You (Viktor Tourjansky, 1939) starring Brigitte Horney, and Ihr erstes Erlebnis/Her First Experience (Josef von Báky, 1939) starring Ilse Werner. He directed his first film in 1942: the romantic comedy Zwei in einer großen Stadt/Two in a Big City (Volker von Collande, 1942) starring Claude Farell, Karl John and Marianne Simson. A German soldier on leave in Berlin goes looking for his pen pal who he has never met called Gisela. He meets instead a woman with the same name and falls in love with her. A hit was his next film, the comedy Das Bad auf der Tenne/The Bath in the Barn (Volker von Collande, 1943) starring Will Dohm and Heli Finkenzeller. In the meanwhile, he worked as a stage actor in Berlin, and as a director of radio plays.
From 1947 on, Victor von Collande worked for the theatre in Saarbrücken and during the 1950s he performed at the Deutsches Schauspielhaus in Hamburg. He continued to work in the cinema. He appeared in such comedies as Absender unbekannt/Unknown Sender (Ákos Ráthonyi, 1950) starring Henny Porten. Among the films he directed were such light entertainment films as Ich warte auf dich/I'm Waiting for You (Volker von Collande, 1952, with Hanna Rucker and Joachim Brennecke. Especially popular was the second part of the Immenhof series, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956), starring Heid Brühl and Angelika Meisner. J. Steed at IMDb: "Although in principal it did not matter much who sat in the director's chair, this part with its already weaker story (than that of part 1) is not helped much by Volker von Collande's uninterested direction. It is a good thing that Fritz Arno Wagner was behind the camera, although he could not prevent that when finally something resembling a plot is starting (with the arrival of Hans Nielsen as the financial saver), the story telling becomes untidy." Von Collande moved to the new medium television and specialised himself in making TV films. Later he also worked as a theatre manager at the Theater Freiburg, at the Theater Regensburg and the Theater Wolfsburg and worked as a cultural consultant for the Volkswagen AG. Von Collande was married four times. From 1936 till 1938 he was married to actress Ingeborg Hertel. In 1939, he married the dance teacher Gisela Hartwig gen. von Naso. They divorced in 1942. In 1944, he married the ballet master Isabella Vernici Modler, which marriage also ended in a divorce in 1950. Finally, he wed in a fourth marriage the voice therapist Irene Nathusius. Their daughter Nora von Collande became an actress and author. Volker von Collande passed away in Hannover in 1990. He was buried at the Ohlsdorf cemetery.
Sources: Wikipedia (English and German) and IMDb.
German postcard by Ross Verlag, Berlin, no. A 3320/1, 1941-1944. Photo: Baumann / Ufa.
German stage and film actress Heli Finkenzeller (1914-1991) had her greatest successes in popular Ufa comedies of the 1930s and 1940s. After the war, she often played mother roles.
Helene Finkenzeller was born in München (Munich), Germany in 1914 (according to some sources in 1911). She grew up in Munich where her parents ran a family business that sold office furniture. As a kid, she was already interested in everything connected to the theatre and she wanted to become an opera singer. After finishing school she attended a conservatory, but she soon realised that her voice was too weak for the opera stage. Instead, she took acting classes from Otto Falkenberg at his newly established drama school in Munich. In 1934 she joined the Münchner Kammerspielen (Munich Chamber Plays) and for the next two years, she performed there with such actors as Ferdinand Marian, Elizabeth Flickenschild, and her later husband Will Dohm. In 1935 she made her first film appearance in a supporting part in the Ufa comedy Ehestreik/Matrimonial Strike (Georg Jacoby, 1935) with Paul Richter. She played her first lead for the Ufa in the comedy Weiberregiment/Petticoat Government (Karl Ritter, 1936). Finkenzeller appeared with star comedian Heinz Rühmann in Der Mustergatte/Model Husband (Wolfgang Liebeneiner, 1937). The box office hits Opernball/Opera Ball (Wolfgang Liebeneiner, 1939) with Paul Hörbiger, Kohlhiesels Töchter/Kohlhiesels daughters (Kurt Hoffmann, 1943) in which she played the double roles of Veronika and Annamirl Kohlhöfer, and especially Das Bad auf der Tenne/The bathroom in the barn (Volker von Collande, 1943) with her husband Will Dohm made her known to a large audience and she became one of Germany’s most popular film stars.
After the Second World War, Heli Finkenzeller continued her film career, often in mother roles. Thus she played the wife of Heinz Rühmann in Briefträger Müller/Postman Müller (John Reinhardt, 1953) and Emil’s mother in Emil und die Detektive/Emil and the Detectives (Robert A. Stemmle, 1954) based on the classic children’s book by Erich Kästner. In the German-Dutch coproduction Ciske - Ein Kind braucht Liebe/Ciske – A Child Needs Love (Wolfgang Staudte, 1955) with Kees Brusse, she was the aunt of the title figure. She was also seen in another Dutch-German coproduction Jenny (Alfred Bittins, Willy van Hemert, 1959) featuring Ellen van Hemert. On stage, she appeared in the musical Gigi at the Theater des Westens (Theatre of the West) in Berlin, and in many plays. She also can be heard on records with songs and texts. From the early 1960s on, the former Ufa star played mainly on stage and in many TV films and series, such as Unser Pauker/Our Crammer (Otto Meyer, 1965) with Georg Thomalla, the comedy Meine Schwiegersöhne und ich/My sons-in-law and I (Rudolf Jugert, 1969) opposite Hans Söhnker, the Krimi Der Kommissar/The Commissioner (1974) starring Erik Ode, Das Traumschiff/The Dream Boat (Fritz Umgelter, 1981), Der Gerichtsvollzieher/The Bailiff (Peter Weck, 1981) and finally, three years before her death in Lorentz & Söhne/Lorentz and Sons (Claus Peter Witt, 1988). In between, she played in one final film, the black comedy Satansbraten/Satan’s Brew (Rainer Werner Fassbinder, 1976). Heli Finkenzeller and Will Dohm had a daughter, actress Gaby Dohm (1943) who is well known in the German language countries. After Will Dohm’s death in 1948, Heli remarried in 1950 to film producer Alfred Bittin. They stayed together until his death in 1971. Heli Finkenzeller died from cancer in 1991 in her hometown Munich. She was 76. The German weekly Der Spiegel wrote in an obituary: “Her type was much in demand at the UFA: charm with distance, elegance without any wickedness. She even had big world allure, but on a small Pan-German scale. It made Heli Finkenzeller in the middle of the thirties a star in light entertainment films.”
Sources: Stephanie D’Heil (Steffi-Line) (German), Thomas Staedeli (Cyranos), Der Spiegel (German), Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
museumPASSmusees 2025 - Art et marges musee museum - Aussi loin qu'ici 2
The space of the Art et marges museum has never held such a vast exhibition. The artists from AUSSI LOIN QU'ICI are bringing together a show that conjures up journeys that are immobile, daily lives reinvented, windows filled with fantasies, perpetuated memories, recorded itineraries, movements set in lines, journeys set in waves, and landscapes placed inside boxes! Take the path overlooking the maps, tuck yourself away in a secluded space; you have never been so far as by simply staying here, where a movement is mapped out that makes the margin irresistibly central.
Curators: Alix Hubermont and Tatiana Veress
The first part of the exhibition features works by Yassir Amazine, Aime Bahati, Nour Ben Slimane, Giovanni Bosco, Anne Campbell, Samuel Cariaux, Matilde Carli, Georges Cauchy, Adam Cicherski, Philippe Closset, Sylvain Cosijns, Franky Derycke, Georges Dohm, Paul Duhem, Sebastian Ferreira, Marion Galisson, Michael Golz, Juanma Gonzalez, Martha Grunenwaldt, Laurence Halleux, Come Lequin, Maxime Mormont, Raphael Michel, Mark Anthony Mulligan, Michael Mvukani Mpiolani, Antoine Mvumbi, Helmut Nimczewski, Remi Pierlot, Andre Robillard, Arnaud Rogard, Jean-Pierre Rostenne, Marie Steins, Pascal Tassini, Donatien Toma Ndani Djemelas, Louis Van Baelens, Willem Van Genk, Gerard Van Lankveld, Nick Verhaeghe, Joseph Yoakum.
( Le pass musees, comment ca marche ?
1 pass pour 255 musees
Tant de choses a vivre avec le pass musees
Le pass musees est l'abonnement le plus genereux aux musees belges. Cela signifie :
* Acces a tous les musees participants de notre pays, pendant une annee entiere. Quand vous le voulez et aussi souvent que vous le souhaitez.
* Visiter les expositions temporaires gratuitement ou avec une jolie reduction.
* Beneficier d'Avantages extra comme des billets de train a moitie prix, des reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux detenteurs de pass musees.
* Recevoir et sauvegarder les meilleurs conseils en matiere de musees : tous les quinze jours, recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. Vous pouvez sauvegarder vos expositions preferees dans l'app pass musees en prevision de votre prochaine visite.
Pret(e) pour une annee remplie de magnifiques experiences ? Optez alors pour le pass musees, il ne coute que 59 e.
German postcard by Ross Verlag, no. A 3114/1, 1941-1944. Photo: Sandau, Berlin.
German film actor Will Dohm (1897–1948) appeared in more than fifty films between 1926 and 1946.
museumPASSmusees 2025 - Art et marges musee museum - Aussi loin qu'ici 2
The space of the Art et marges museum has never held such a vast exhibition. The artists from AUSSI LOIN QU'ICI are bringing together a show that conjures up journeys that are immobile, daily lives reinvented, windows filled with fantasies, perpetuated memories, recorded itineraries, movements set in lines, journeys set in waves, and landscapes placed inside boxes! Take the path overlooking the maps, tuck yourself away in a secluded space; you have never been so far as by simply staying here, where a movement is mapped out that makes the margin irresistibly central.
Curators: Alix Hubermont and Tatiana Veress
The first part of the exhibition features works by Yassir Amazine, Aime Bahati, Nour Ben Slimane, Giovanni Bosco, Anne Campbell, Samuel Cariaux, Matilde Carli, Georges Cauchy, Adam Cicherski, Philippe Closset, Sylvain Cosijns, Franky Derycke, Georges Dohm, Paul Duhem, Sebastian Ferreira, Marion Galisson, Michael Golz, Juanma Gonzalez, Martha Grunenwaldt, Laurence Halleux, Come Lequin, Maxime Mormont, Raphael Michel, Mark Anthony Mulligan, Michael Mvukani Mpiolani, Antoine Mvumbi, Helmut Nimczewski, Remi Pierlot, Andre Robillard, Arnaud Rogard, Jean-Pierre Rostenne, Marie Steins, Pascal Tassini, Donatien Toma Ndani Djemelas, Louis Van Baelens, Willem Van Genk, Gerard Van Lankveld, Nick Verhaeghe, Joseph Yoakum.
( Le pass musees, comment ca marche ?
1 pass pour 255 musees
Tant de choses a vivre avec le pass musees
Le pass musees est l'abonnement le plus genereux aux musees belges. Cela signifie :
* Acces a tous les musees participants de notre pays, pendant une annee entiere. Quand vous le voulez et aussi souvent que vous le souhaitez.
* Visiter les expositions temporaires gratuitement ou avec une jolie reduction.
* Beneficier d'Avantages extra comme des billets de train a moitie prix, des reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux detenteurs de pass musees.
* Recevoir et sauvegarder les meilleurs conseils en matiere de musees : tous les quinze jours, recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. Vous pouvez sauvegarder vos expositions preferees dans l'app pass musees en prevision de votre prochaine visite.
Pret(e) pour une annee remplie de magnifiques experiences ? Optez alors pour le pass musees, il ne coute que 59 e.
German postcard by Netter's Starverlag, Berlin, no. F-325.
German actor, screenwriter and film director Volker von Collande (1913-1990) appeared in more than 40 films between 1934 and 1987. He usually played upstanding citizens or men in uniform. Von Collande also directed more than 20 films between 1942 and 1967. He was a member of the Nazi Party.
Volker Hubertus Valentin Maria von Mitschke-Collande was born in Dresden in 1913 in a Silesian noble family. He was the son of the painter Constantin von Mitschke-Collande and his first wife Hilde Wiecke, whose father Paul Wiecke was an actor and theatre director in Dresden. His younger sister Gisela von Collande became a well known actress. Collande started his career as a bricklayer apprentice and then completed an architecture degree at the State School Dresden. Only then did he take acting lessons and made his stage debut in 1933 at the Deutsches Theater Berlin as Valentin in Faust. In the same year he startedto work as an assistant director and radio announcer in Stuttgart. He became a member of the NSDAP, the Nazi party. From 1933 on, he performed in over 30 feature films. He played supporting parts in the Karl Valentin comedy Donner, Blitz und Sonnenschein/Thunder, Lightning and Sunshine (Erich Engels, 1936), and the drama Waldwinter/Winter in the Woods (Fritz Peter Buch, 1936) starring Viktor Staal and Hansi Knoteck. For the Ufa, he appeared in the romances Eine Frau wie Du/A Woman Like You (Viktor Tourjansky, 1939) starring Brigitte Horney, and Ihr erstes Erlebnis/Her First Experience (Josef von Báky, 1939) starring Ilse Werner. He directed his first film in 1942: the romantic comedy Zwei in einer großen Stadt/Two in a Big City (Volker von Collande, 1942) starring Claude Farell, Karl John and Marianne Simson. A German soldier on leave in Berlin goes looking for his pen pal who he has never met called Gisela. He meets instead a woman with the same name and falls in love with her. A hit was his next film, the comedy Das Bad auf der Tenne/The Bath in the Barn (Volker von Collande, 1943) starring Will Dohm and Heli Finkenzeller. In the meanwhile, he worked as a stage actor in Berlin, and as a director of radio plays.
From 1947 on, Victor von Collande worked for the theatre in Saarbrücken and during the 1950s he performed at the Deutsches Schauspielhaus in Hamburg. He continued to work in the cinema. He appeared in such comedies as Absender unbekannt/Unknown Sender (Ákos Ráthonyi, 1950) starring Henny Porten. Among the films he directed were such light entertainment films as Ich warte auf dich/I'm Waiting for You (Volker von Collande, 1952, with Hanna Rucker and Joachim Brennecke. Especially popular was the second part of the Immenhof series, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956), starring Heid Brühl and Angelika Meisner. J. Steed at IMDb: "Although in principal it did not matter much who sat in the director's chair, this part with its already weaker story (than that of part 1) is not helped much by Volker von Collande's uninterested direction. It is a good thing that Fritz Arno Wagner was behind the camera, although he could not prevent that when finally something resembling a plot is starting (with the arrival of Hans Nielsen as the financial saver), the story telling becomes untidy." Von Collande moved to the new medium television and specialised himself in making TV films. Later he also worked as a theatre manager at the Theater Freiburg, at the Theater Regensburg and the Theater Wolfsburg and worked as a cultural consultant for the Volkswagen AG. Von Collande was married four times. From 1936 till 1938 he was married to actress Ingeborg Hertel. In 1939, he married the dance teacher Gisela Hartwig gen. von Naso. They divorced in 1942. In 1944, he married the ballet master Isabella Vernici Modler, which marriage also ended in a divorce in 1950. Finally, he wed in a fourth marriage the voice therapist Irene Nathusius. Their daughter Nora von Collande became an actress and author. Volker von Collande passed away in Hannover in 1990. He was buried at the Ohlsdorf cemetery.
Sources: Wikipedia (English and German) and IMDb.
And, please check out our blog European Film Star Postcards.
museumPASSmusees 2025 - Art et marges musee museum - Aussi loin qu'ici 2
The space of the Art et marges museum has never held such a vast exhibition. The artists from AUSSI LOIN QU'ICI are bringing together a show that conjures up journeys that are immobile, daily lives reinvented, windows filled with fantasies, perpetuated memories, recorded itineraries, movements set in lines, journeys set in waves, and landscapes placed inside boxes! Take the path overlooking the maps, tuck yourself away in a secluded space; you have never been so far as by simply staying here, where a movement is mapped out that makes the margin irresistibly central.
Curators: Alix Hubermont and Tatiana Veress
The first part of the exhibition features works by Yassir Amazine, Aime Bahati, Nour Ben Slimane, Giovanni Bosco, Anne Campbell, Samuel Cariaux, Matilde Carli, Georges Cauchy, Adam Cicherski, Philippe Closset, Sylvain Cosijns, Franky Derycke, Georges Dohm, Paul Duhem, Sebastian Ferreira, Marion Galisson, Michael Golz, Juanma Gonzalez, Martha Grunenwaldt, Laurence Halleux, Come Lequin, Maxime Mormont, Raphael Michel, Mark Anthony Mulligan, Michael Mvukani Mpiolani, Antoine Mvumbi, Helmut Nimczewski, Remi Pierlot, Andre Robillard, Arnaud Rogard, Jean-Pierre Rostenne, Marie Steins, Pascal Tassini, Donatien Toma Ndani Djemelas, Louis Van Baelens, Willem Van Genk, Gerard Van Lankveld, Nick Verhaeghe, Joseph Yoakum.
( Le pass musees, comment ca marche ?
1 pass pour 255 musees
Tant de choses a vivre avec le pass musees
Le pass musees est l'abonnement le plus genereux aux musees belges. Cela signifie :
* Acces a tous les musees participants de notre pays, pendant une annee entiere. Quand vous le voulez et aussi souvent que vous le souhaitez.
* Visiter les expositions temporaires gratuitement ou avec une jolie reduction.
* Beneficier d'Avantages extra comme des billets de train a moitie prix, des reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux detenteurs de pass musees.
* Recevoir et sauvegarder les meilleurs conseils en matiere de musees : tous les quinze jours, recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. Vous pouvez sauvegarder vos expositions preferees dans l'app pass musees en prevision de votre prochaine visite.
Pret(e) pour une annee remplie de magnifiques experiences ? Optez alors pour le pass musees, il ne coute que 59 e.
museumPASSmusees 2025 - Art et marges musee museum - Aussi loin qu'ici 2
The space of the Art et marges museum has never held such a vast exhibition. The artists from AUSSI LOIN QU'ICI are bringing together a show that conjures up journeys that are immobile, daily lives reinvented, windows filled with fantasies, perpetuated memories, recorded itineraries, movements set in lines, journeys set in waves, and landscapes placed inside boxes! Take the path overlooking the maps, tuck yourself away in a secluded space; you have never been so far as by simply staying here, where a movement is mapped out that makes the margin irresistibly central.
Curators: Alix Hubermont and Tatiana Veress
The first part of the exhibition features works by Yassir Amazine, Aime Bahati, Nour Ben Slimane, Giovanni Bosco, Anne Campbell, Samuel Cariaux, Matilde Carli, Georges Cauchy, Adam Cicherski, Philippe Closset, Sylvain Cosijns, Franky Derycke, Georges Dohm, Paul Duhem, Sebastian Ferreira, Marion Galisson, Michael Golz, Juanma Gonzalez, Martha Grunenwaldt, Laurence Halleux, Come Lequin, Maxime Mormont, Raphael Michel, Mark Anthony Mulligan, Michael Mvukani Mpiolani, Antoine Mvumbi, Helmut Nimczewski, Remi Pierlot, Andre Robillard, Arnaud Rogard, Jean-Pierre Rostenne, Marie Steins, Pascal Tassini, Donatien Toma Ndani Djemelas, Louis Van Baelens, Willem Van Genk, Gerard Van Lankveld, Nick Verhaeghe, Joseph Yoakum.
( Le pass musees, comment ca marche ?
1 pass pour 255 musees
Tant de choses a vivre avec le pass musees
Le pass musees est l'abonnement le plus genereux aux musees belges. Cela signifie :
* Acces a tous les musees participants de notre pays, pendant une annee entiere. Quand vous le voulez et aussi souvent que vous le souhaitez.
* Visiter les expositions temporaires gratuitement ou avec une jolie reduction.
* Beneficier d'Avantages extra comme des billets de train a moitie prix, des reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux detenteurs de pass musees.
* Recevoir et sauvegarder les meilleurs conseils en matiere de musees : tous les quinze jours, recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. Vous pouvez sauvegarder vos expositions preferees dans l'app pass musees en prevision de votre prochaine visite.
Pret(e) pour une annee remplie de magnifiques experiences ? Optez alors pour le pass musees, il ne coute que 59 e.
museumPASSmusees 2025 - Art et marges musee museum - Aussi loin qu'ici 2
The space of the Art et marges museum has never held such a vast exhibition. The artists from AUSSI LOIN QU'ICI are bringing together a show that conjures up journeys that are immobile, daily lives reinvented, windows filled with fantasies, perpetuated memories, recorded itineraries, movements set in lines, journeys set in waves, and landscapes placed inside boxes! Take the path overlooking the maps, tuck yourself away in a secluded space; you have never been so far as by simply staying here, where a movement is mapped out that makes the margin irresistibly central.
Curators: Alix Hubermont and Tatiana Veress
The first part of the exhibition features works by Yassir Amazine, Aime Bahati, Nour Ben Slimane, Giovanni Bosco, Anne Campbell, Samuel Cariaux, Matilde Carli, Georges Cauchy, Adam Cicherski, Philippe Closset, Sylvain Cosijns, Franky Derycke, Georges Dohm, Paul Duhem, Sebastian Ferreira, Marion Galisson, Michael Golz, Juanma Gonzalez, Martha Grunenwaldt, Laurence Halleux, Come Lequin, Maxime Mormont, Raphael Michel, Mark Anthony Mulligan, Michael Mvukani Mpiolani, Antoine Mvumbi, Helmut Nimczewski, Remi Pierlot, Andre Robillard, Arnaud Rogard, Jean-Pierre Rostenne, Marie Steins, Pascal Tassini, Donatien Toma Ndani Djemelas, Louis Van Baelens, Willem Van Genk, Gerard Van Lankveld, Nick Verhaeghe, Joseph Yoakum.
( Le pass musees, comment ca marche ?
1 pass pour 255 musees
Tant de choses a vivre avec le pass musees
Le pass musees est l'abonnement le plus genereux aux musees belges. Cela signifie :
* Acces a tous les musees participants de notre pays, pendant une annee entiere. Quand vous le voulez et aussi souvent que vous le souhaitez.
* Visiter les expositions temporaires gratuitement ou avec une jolie reduction.
* Beneficier d'Avantages extra comme des billets de train a moitie prix, des reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux detenteurs de pass musees.
* Recevoir et sauvegarder les meilleurs conseils en matiere de musees : tous les quinze jours, recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. Vous pouvez sauvegarder vos expositions preferees dans l'app pass musees en prevision de votre prochaine visite.
Pret(e) pour une annee remplie de magnifiques experiences ? Optez alors pour le pass musees, il ne coute que 59 e.