0180 Ludwig Grote und die Moderne 1933-1959

Paradigma einer Internationalisierung

  • Susanne Neubauer (Author)
    Freie Universität Berlin

    Susanne Neubauer is a Swiss art historian and curator. Since 2014 she has been project leader of the DFG research project Formation and Heritage of the Brazilian Constructivism and Neoconretismo in the Transcultural Contexts of West German Conceptions of Modernity in the 1950s and 1960s at Free University Berlin. Her research interests cover the life and work of Paul Thek (Paul Thek in Process, JRP Ringier 2012; “Paul Thek: Between Art Criticism, ‘Silent’ Revolt and the Question of Failure, Konsthistorisk tijdskrift, 2017 among others), Brazilian art of the 20th century (“Im Spannungsfeld des Globalen. Neue Museen in Lateinamerika”, in Kunstforum International, 2017), Postwar modernism and contemporary curating (“Against the Grain of Neutralization. Exhibiting the Ephemeral as a Curatorial Production of Historical Knowledge”, Routledge 2018; “Li Yuan-Chia’s Cupboard of Slides, Third Text, 2018). She has been awarded research and publication grants from the DFG, the DAAD, the SAGW, the SFN, the Müller Meylan Foundation Basel for Art Historical Studies and has recently been granted the studio fellowship of art criticism 2017/18 by the Landis & Gyr Foundation, Switzerland.

Identifiers (Article)

Identifiers (Files)


The activities of German art historian Ludwig Grote (1893-1974) illuminate how cultural policy was influenced by the interaction of scholarly studies, people’s simple need to make ends meet during WWII, and the predominant promotion of certain artistic positions immediately after the war. Grote’s work should be considered in the context of recent counter-currents in the area of epistemology which try to rethink the way history has been written in the past and to reappraise German and international avant-garde art of the 1950s. By looking at Grote’s efforts for internationalization, which can be traced back through his active involvement with art in and from Brazil, this article sheds light on the problematic relationship between established narratives of Modernism and the diverse archival layers of information accessible today. Thus this discussion aims at contributing to the debate on the different perspectives necessary when writing art history today while doing justice to the transcultural aspect.


Kulturpolitik, Moderne, Biennale São Paulo, Paul Klee, Lasar Segall, Wiedergutmachung Internationalisierung Nationalsozialismus