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Freie Berliner Kunstausstellung

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Sculpture of the long-time chairman of the FBK Ernst Leonhardt

The Freie Berliner Kunstausstellung (FBK), the “Free Berlin Art Exhibition” in Berlin (Germany), was “unique in its structure”.[1] For 24 years, from 1971 to 1995, it was the only non-juried art exhibition of its size in Europe. It opened after the Große Berliner Kunstausstellung, the “Grand Berlin Art Exhibition”, a juried art exhibition, had closed its doors. Supported by the Senate of Berlin, an association, called the Freie Berliner Kunstausstellung was registered in 1970 with the goal to organize annual exhibitions.[2] Hans-Joachim Zeidler became chairperson of this association for the first four years, followed by Ernst Leonhardt (Artist). During the association's last four years, Karin Rech[3] took over the leadership.

History

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Exhibition halls at the Funkturm Berlin

The first FBK took place in the exhibition halls at the Funkturm Berlin in 1971. At that time, the so-called Counterculture of the 1960s movement was already in full swing. The unrest of this period had inspired many social groups, and artists as well were “woken up”, as Zeidler reported in his review in 1983.[4] Already at its beginning, the FBK was able to “look back on a Berlin tradition that was dating back to the Weimar Republic.”[5] However, early evidence of non-juried art exhibitions points to the 19th century. A poster collection at the Germanisches Nationalmuseum contains a poster by Ludwig von Hofmann. The draft of this poster – which he had originally designed in 1893 for the first Große Berliner Kunstausstellung – was rejected. The portrayal of a “sparsely clad young man was apparently seen as an offense and was removed by the Berlin police, according to contemporary reports.”[6] As some artists had been rejected by the jury of the Große Berliner Kunstausstellung, a second exhibition, which had called itself FBK, was organized, running concurrently with the Große Berliner Kunstausstellung. Its location was close by, across the road at the Moltke Bridge. It accepted Ludwig von Hofmann's poster. Käthe Kollwitz, who was still an unknown artist at that time, exhibited in 1895 in the FBK[7] which had always been seen as an alternative to the juried art exhibitions.

In addition to these early historical roots, the Non-Juried Art Exhibition featured a direct predecessor in 1965, as mentioned in the archives of the Association of Female Artists of Berlin.[8] After the FBK had presented its first exhibition in 1971, it took 12 years for an acting mayor of Berlin to officially comment on the exhibition.[9] Such comments had been anticipated for years. In 1983 Richard von Weizsäcker was the first mayor who was willing to write words of acknowledgement.[10] Since then greetings from the acting mayor of Berlin became a tradition.

The Freie Berliner Kunstausstellung has established itself in the cultural life of Berlin and beyond. It has long embodied a piece of Zeitgeist, changeable, full of surprises, appreciated or criticized, always alive. The 13th Freie Berliner Kunstausstellung will also spark discussions, raise questions and leave them unanswered, letting what is transitory and what is permanent come into contact. Berlin can not and should not do without an exhibition of this kind. I hope that it will generate the same lively interest which a receptive audience full of dedication and contradiction also devoted to its predecessors.

For the first time in 1990, after what was called Die Wende – after the fall of the Berlin Wall but before German reunificationWalter Momper, mayor of Berlin at that time, congratulated the FBK, hoping for “satisfied artists and many interested visitors from East and West”.[12] In 1991 the time had come to announce: “The 21st FBK is finally a free exhibition for all artists of Berlin.”[13]

From the very beginning, the “fiercely controversial but hotly loved”[14] FBK faced criticism, sometimes there was even harsh rejection. The critics turned against the concept of a non-juried exhibition, as well as the inclusion of anyone who wanted to exhibit. This allowed “young, unknown, perhaps also ‘not so good’ artists, such as hobby artists, to participate.” Many rejected this concept. Leonhardt pointed out the “charm of the FBK” and stressed that for some it was “a spring-board to a great career”.[14] For Nicole Bröhan, the “always controversial mixture of professional and amateur artists […] created its special appeal”.[5] In 1994 she wrote in the Berliner Zeitung[5] that she saw the FBK as “talent forging”. Despite all the positive reports, the FBK's continued existence was always at risk. “What a triumph! The FBK, which is dead at least once every year, will turn 25. Who would have thought?”[14] With these words, Ernst Leonhardt, meanwhile honorary chairman of the association, began his review at the FBK's 25th anniversary. He could not know at that time that, due to the financial situation, it would be the last opening of the FBK. For that exhibition to take place at all, there was an “art auction during which 1,000 works donated by Berlin artists were auctioned off” – “in order to support the exhibition”.[15]

Organization

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Free Berlin Art Exhibition
Freie Berliner Kunstausstellung e. V.
AbbreviationFBK
Formation1970
Dissolved1995
TypeNGO
Location
  • Berlin
Coordinates
Staff
Hans-Joachim Zeidler (1971–1974)
Ernst Leonhardt (1981–1990)
Karin Rech (1991–1995)

Unlike the usual concepts of exhibitions, the goal of the FBK was for the artists themselves, not professional gallery owners or curators, to take over management and organization of the exhibition, as well as the hanging of the art works. A jury did not exist. Organizer of the exhibitions was the registered association of the FBK. The management of the exhibitions was led by the respective chairperson of the association, while the organizational aspects were handled by a group of seven members. The preparation and execution of the exhibitions was coordinated by the "Colleagues of the Management".[14] As a rule, the FBK took place in the second quarter of each year. Around Christmas the year before, registration forms were sent to the artists.

Two divisions were set up, a Free Division and a division for groups. The former consisted of professional artists only, the latter of non-professional artists who joined as groups. Among the many exhibiting artist groups were diverse artist associations, as well as students from the Berlin University of the Arts, which regularly exhibited as a large group of their own.

The usually not conflict-free process of hanging the art work was organized based on its own concept. A “Hanging Commission” was set up for the Free Division. It was the commission's responsibility to find a suitable place for about 1,200 works of art within three days.[14] The groups were each assigned a location appropriate to their size in which they arranged the hanging themselves.

Two-thirds of the exhibitors were professional artists, one third ‘hobby artists’.[16] At the 20th anniversary of the exhibition, the chairman expressed satisfaction that the Free Division and the groups were now “finally equal” in the allocation of space.[17] Among the celebrities of the exhibitors were Louise Rösler, Walter Stöhrer, Fred Thieler and Jürgen Draeger. The latter presented on his website several cover pages of the catalogs.[18] While for almost 20 years male artists were overrepresented, the gender distribution was balanced for the first time in 1990 – “without any quotation”, as Walter Momper acknowledged in his greeting.[12]

Exhibition

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For four weeks each year, between April and June, the FBK organizers opened the doors of the exhibition halls at the Funkturm Berlin and invited the public. “Drawings, pictures, spatial as well as sound and video installations, sculptures, collages, photography” were presented.[15] In addition to depressive performances,[19] there were also humorous inventions, such as a potency automat (1986)[20] or an art licensing machine(1989).[21] Over the years, not only the exhibition itself, but also the accompanying program developed. Prints and small sculptures were sold in a bazaar. On Saturdays there were guided tours. A traditional breakfast with jazz music and discussions enjoyed increasing popularity. A Kinderatelier (children's art room) was open daily where children, guided by artists, could paint. While the program changed at times, there were special readings by women, or “music played on historical instruments”.[22] The exhibition management was also interested in the outer appearance of the exhibition halls. A proposal for a flag project was repeatedly turned down by the Senate. Eventually the artists financed the project at their own expense. In 1989 “the visitors of the 19th FBK were greeted at the entrance to the exhibition halls by 70 colourful flags [...], which had never been shown before”.[23] In 1991, as in previous years, a “graphic competition for students of the Berlin University of the Arts” was organized.[13] In 1992, the project began with picture panels, 30 large-format paintings on the outside of the exhibition halls, designed to “catch the eye”.[15] For the first time in 1993, art discussions were held in which artists and visitors alike participated. They took place every day, with the aim to encourage “thinking with one's eyes”.[24] A five-minute-long video, published on YouTube on October 5, 2010, highlights events of the 19th FBK. It provides an impression of the atmosphere typical of the exhibitions.[21]

Media

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The media-echo was slow in coming. In 1983 – twelve years after the FBK's opening – Leonhardt still expressed hope “that the media would finally provide stronger support to this exhibition”.[9] In 1990 he was able to report that “the acceptance we have recently received from the media was positive and seems to continue to be so.”[17] The Berliner Morgenpost which had already devoted a full, richly illustrated page[25] regarding the FBK, was also reporting regularly.

A forest of images rushes from Hall 20 at Hammarskjöldplatz to Hall 23, waiting for the visitors to explore it. […] Why should four halls deter Berliners […] trained by an exhibition like the Berlin International Green Week? And then there is also the matter of taste, which – as is well known – can't be disputed! Thus, Ernst Leonhardt likes to quote the words of the Secretary of State at the Kultursenator, Lutz von Pufendorf: If the FBK did not exist, it would have to be invented.

— Renate von Eicken, Berliner Morgenpost on April 27th, 1986[25]

Finances

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Besides numerous sponsors and catalog advertisers, the FBK was financed by the Senate of Berlin. Over the course of about 20 years, from 1971 to 1993, its budget had grown steadily from 120,000 Deutsche Mark (DM) to over 760,000 DM. During that period, from 1981 to 1983, the budget of the FBK had been fixed and was slightly reduced in 1984. Well-known companies of the city helped fill the gaps. Senator Volker Hassemer secured the budget in 1985 which increased during the following eight years. The rent also increased considerably over the years and amounted to nearly 400,000 DM in 1995, leaving only 360,000 DM of the Senate's grants for the realization of the exhibition.[26] This exhibition would not have been possible without donations from the artists. A year later the Senate stopped the grants entirely. That decision sealed the end of the FBK. During the jubilee exhibition in 1995 the organizers assumed that – while budget cuts had to be made – the FBK could still take place every second year, in a “2-year rhythm”,[27] as the former cultural director Ulrich Roloff-Momin had stated. Nothing came out of it. There were appeals, some of them were drastic:

A city like Berlin, where famous artists are trained at renowned universities, such a city must also provide for their artists and provide them with a forum. Not only imported art is respectable and noteworthy. A city without free art is dead.

— Karin Rech, Katalog of the 24th FBK[28]

Figures

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The figures presented here are incomplete. A first overview was published in the catalog of the 20th FBK relating to the years 1971 to 1989,[29] and a second one in the catalog of the 24th FBK for the years 1991 to 1993.[30] Thus, there is no information about 1990 and the last two years.

In the documented period – between 1983 and 1989 – the number of exhibitors increased from 750 to 2,400, with certain fluctuations. The number of groups involved rose from 25 to 82 and peaked with 91 groups in 1992. The number of visitors varied between 12,400 and 34,000 with a high in 1978. The grants made available by the Senate of Berlin for the organization and the set-up of the exhibition increased more or less continuously from 150,000 DM to more than 750,000 DM in 1993. In addition, there were not only sponsors, but also artists who sold their art to cover expenses of the exhibition.[26] Nevertheless, money was always scarce, as Ernst Leonhardt's constantly admonishing words in the catalogs testify. The exhibition space had increased over the years to 9,000 square meters[16] but the rent increased as well. It multiplied sixfold from the beginning to the last exhibition.

With the exception of the first two years, the number of art works that were sold increased consistently and grew steadily to a 6-figure sum, just under half a million in 1992. Yet, Leonhardt regrets: “Not more than about 5 % of the visual artists can support themselves through their work.”[31] There were discussions about the often modest purchases of art works by the Senate of Berlin which were in the single-digit percentage range of the budget for art purchases.“Ridiculous, the disillusioned say, that of a 670,000 DM budget less than 5 % was purchased at the FBK, even though the Senator himself considers this exhibition to be the most important of the year in Berlin.”[31]

Figures 1971–1980[29] (DM Deutsche Mark)
FBK Exhibitors Groups Visitors Grant Rent Sales Purchases by Senate Purchases by State
1971 739 25 12.400 150.000 DM 65.000 DM 52.500 DM 18.000 DM
1972 940 29 18.000 185.000 DM 80.000 DM 75.000 DM 18.417 DM
1973 1.164 32 23.000 202.000 DM 90.000 DM 120.000 DM 22.069 DM
1974 1.553 40 28.000 250.000 DM 95.000 DM 147.000 DM 23.897 DM
1975 1.564 54 29.500 270.000 DM 55.000 DM 130.000 DM 25.856 DM 25.000 DM
1976 1.635 61 30.000 330.000 DM 50.000 DM 111.000 DM 23.572 DM
1977 1.673 65 34.000 345.000 DM 50.000 DM 153.000 DM 23.500 DM 16.500 DM
1978 1.806 74 36.000 409.000 DM 110.000 DM 205.000 DM 26.500 DM 5.400 DM
1979 1.832 76 32.000 450.000 DM 120.000 DM 282.000 DM 25.000 DM 135.000 DM
1980 1.975 76 26.000 523.600 DM 150.000 DM 256.000 DM 52.000 DM 64.000 DM
Figures 1981–1989[29]
FBK Exhibitors Groups Visitors Grant Rent Sales Purchases by Senate Purchases by State
1981 1.962 69 27.000 560.000 DM 150.000 DM 261.000 DM 26.000 DM 63.000 DM
1982 2.026 62 29.000 565.000 DM 180.000 DM 294.000 DM 40.000 DM 97.000 DM
1983 2.300 68 29.000 565.000 DM 195.000 DM 331.800 DM 37.000 DM 77.250 DM
1984 2.150 61 27.500 559.350 DM 210.000 DM 231.100 DM 33.000 DM 51.500 DM
1985 2.100 70 27.500 595.000 DM 225.000 DM 191.100 DM 33.000 DM 51.500 DM
1986 2.400 77 33.900 612.000 DM 240.000 DM 250.300 DM 10.800 DM 26.800 DM
1987 2.250 77 29.000 630.000 DM 260.000 DM 305.200 DM 59.560 DM 18.800 DM
1988 2.300 72 28.200 641.775 DM 280.000 DM 303.000 DM 38.300 DM 33.300 DM
1989 2.100 78 31.800 648.740 DM 300.400 DM 377.000 DM 39.300 DM 16.000 DM
Figures 1991–1993[30]
FBK Exhibitors Groups Visitors Grant Rent Sales Purchases by Senate
1991 2.300 84 29.000 727.085 DM 335.500 DM 430.767 DM 16.000 DM
1992 2.300 91 18.839 785.780 DM 355.750 DM 310.199 DM 33.350 DM
1993 2.400 82 21.500 761.000 DM 376.000 DM 324.614 DM 4.500 DM

Managers and Organizers

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Managers and Organizers 1971–1975[3]
FBK 1971 1972 1973 1974 1975
1st Chairperson Hans-Joachim Zeidler Hans-Joachim Zeidler Hans-Joachim Zeidler Hans-Joachim Zeidler Arwed D. Gorella
2nd Chairperson Dietmar Lemcke Dietmar Lemcke Dietmar Lemcke Dietmar Lemcke Dietmar Lemcke
Treasurer
Secretary Arwed D. Gorella Arwed D. Gorella Arwed D. Gorella Arwed D. Gorella Matthias Koeppel
General Manager Otto Maßnick Otto Maßnick Otto Maßnick Otto Maßnick Otto Maßnick
Leadership Friedrich Ahlers-Hestermann]
Fritz Blau
Eugen Clermont
Bert Düerkop
Matthias Koeppel
Dietmar Lemcke
Hans-Joachim Zeidler
Friedrich Ahlers-Hestermann
Fritz Blau
Eugen Clermont
Bert Düerkop
Matthias Koeppel
Dietmar Lemcke
Hans-Joachim Zeidler
Manfred Beelke
Eugen Clermont
Bert Düerkop
H. Oskar Gonschorr
Matthias Koeppel
Günter Ohlwein
Dieter Ruckhaberle
Gert Vangermain
Manfred Beelke
Eugen Clermont
Bert Düerkop
H. Oskar Gonschorr
Günter Anlau
Dieter Ruckhaberle
Gert Vangermain
Manfred Beelke
Wolfgang Bier
Bert Düerkop
Ernst Leonhardt
Dieter Masuhr
Karlheinz Ziegler (Painter)
Technical Leader Uwe Witt
Managers and Organizers 1976–1980[3]
FBK 1976 1977 1978 1979 1980
1st Chairperson Arwed D. Gorella Jürgen Waller Jürgen Waller Günter Anlauf Günter Anlauf
2nd Chairperson Dietmar Lemcke Matthias Koeppel Matthias Koeppel Ernst Leonhardt (Artist) Ernst Leonhardt
Treasurer
Secretary Matthias Koeppel Günter Anlauf Günter Anlauf Gisela Lehmann Gisela Lehmann
General Manager Otto Maßnick Otto Maßnick Otto Maßnick Otto Maßnick Otto Maßnick
Leadership Günter Anlauf
Manfred Beelke
Wolfgang Bier
Bert Düerkop
Ernst Leonhardt
Dieter Masuhr
Karlheinz Ziegler (Painter)
Manfred Beelke
Gisela Lehmann
Ernst Leonhardt
Joachim Liestmann
Dieter Masuhr
Peter Müller
Karlheinz Ziegler
Manfred Beelke
Gisela Lehmann
Ernst Leonhardt
Joachim Liestmann
Dieter Masuhr
Peter Müller
Karlheinz Ziegler
Manfred Beelke
Martin Fricke
Joachim Liestmann
Dieter Masuhr
Peter Müller
Karin Rech
Karlheinz Ziegler
Manfred Beelke
Martin Fricke
Joachim Liestmann
Dieter Masuhr
Peter Müller
Karin Rech
Karlheinz Ziegler
Technical Leader Uwe Witt Uwe Witt Uwe Witt Uwe Witt Uwe Witt
Managers and Organizers 1981–1985[3]
FBK 1981 1982 1983 1984 1985
1st Chairperson Ernst Leonhardt (Artist) Ernst Leonhardt Ernst Leonhardt Ernst Leonhardt Ernst Leonhardt
2nd Chairperson Günter Anlauf Günter Anlauf Günter Anlauf Günter Anlauf Peter Müller
Treasurer Peter Müller Günter Anlauf
Secretary Karin Rech Karin Rech Karin Rech Karin Rech Dieter Ruckhaberle
General Manager Otto Maßnick Otto Maßnick Otto Maßnick
Leadership Manfred Beelke
Martin Fricke
H. Oskar Gonschorr
Rudolf Hübler
Joachim Liestmann
Peter Müller
Lo Zahn
Manfred Beelke
Martin Fricke
H. Oskar Gonschorr
Rudolf Hübler
Joachim Liestmann
Peter Müller
Lo Zahn
Manfred Beelke
H. Oskar Gonschorr
Rudolf Hübler
Joachim Liestmann
Peter Müller
Norbert Stratmann
Lo Zahn
Manfred Beelke
H. Oskar Gonschorr
Rudolf Hübler
Joachim Liestmann
Norbert Stratmann
Lo Zahn
Manfred Beelke
H. Oskar Gonschorr
Joachim Liestmann
Norbert Stratmann
Mara Hahlbrock
Ernst v. Hopffgarten
Dieter Tyspe
Technical Leader Otto Maßnick
Dieter Zahn
Otto Maßnick
Dieter Zahn
Dieter Zahn Dieter Zahn Dieter Zahn
Acting Manager Ernst Leonhardt Ernst Leonhardt
Managers and Organizers 1986–1990[3]
FBK 1986 1987 1988 1989 1990
1st Chairperson Ernst Leonhardt (Artist) Ernst Leonhardt Ernst Leonhardt Ernst Leonhardt Ernst Leonhardt
2nd Chairperson Günter Anlauf Günter Anlauf Günter Anlauf Peter Müller Peter Müller
Treasurer Peter Müller Peter Müller Peter Müller Karin Rech Karin Rech
Secretary Dieter Ruckhaberle Dieter Ruckhaberle Dieter Ruckhaberle Norbert Wirth Norbert Wirth
General Manager Bärbel Stegmess Bärbel Stegmess Bärbel Stegmess Bärbel Stegmess Bärbel Stegmess
Leadership Manfred Beelke
H. Oskar Gonschorr
Joachim Liestmann
Norbert Stratmann
Mara Hahlbrock
Ernst v. Hopffgarten
Dieter Tyspe
Manfred Beelke
Gisela von Bruchhausen
H. Oskar Gonschorr
Joachim Liestmann
Norbert Stratmann
Ernst v. Hopffgarten
Dieter Tyspe
Bernd Beck
Gisela v. Bruchhausen
H. Oskar Gonschorr
Peter Kurz
Gisela Lehmann
Dieter Masuhr
Karin Rech
Bernd Beck
Gisela v. Bruchhausen
H. Oskar Gonschorr
Peter Kurz
Gisela Lehmann
Dieter Masuhr
Christian Buchloh
H. Oskar Gonschorr
Norbert Fritsch
Joachim Liestmann
Martin Noll
Oda Schöller
Jan-Michael Sobottka
Technical Leader Werner Ahrens Werner Ahrens Werner Ahrens Werner Ahrens Werner Ahrens
Managers and Organizers 1991–1994[3]
FBK 1991 1992 1993 1994
1st Chairperson Karin Rech Karin Rech Karin Rech Karin Rech
2nd Chairperson Peter Müller Peter Müller Peter Müller Peter Müller
Treasurer Eleonore Fuchs Eleonore Fuchs–Heidelberg Eleonore Fuchs–Heidelberg Eleonore Fuchs–Heidelberg
Secretarary Norbert Wirth Norbert Wirth Norbert Fritsch Norbert Fritsch
General Manager Bärbel Stegmess Bärbel Stegmess Bärbel Stegmess Bärbel Stegmess
Leadership Christian Buchloh
Norbert Fritsch
H. Oskar Gonschorr
Joachim Liestmann
Martin Noll
Oda Schoeller
Jan-Michael Scobottka
Christian Buchloh
Norbert Fritsch
Manfred Fuchs
H. Oskar Gonschorr
Joachim Liestmann
Martin Noll
Oda Schoeller
Christian Buchloh
Manfred Fuchs
H. Oskar Gonschorr
Joachim Liestmann
Martin Noll
Carola Peitz
Oda Schoeller
Christian Buchloh
Manfred Fuchs
Joachim Liestmann
Martin Noll
Oda Schoeller
Oliver Scholten
Anna Werkmeister
Technical Leader Werner Ahrens Detlef Mallwitz Detlef Mallwitz Detlef Mallwitz
Honorary Chairperson Ernst Leonhardt (Artist) Ernst Leonhardt Ernst Leonhardt Ernst Leonhardt

References and Remarks

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  1. ^ Ernst Leonhardt, "Vorwort", 21. Freie Berliner Kunstausstellung (in German), Berlin, p. 5
  2. ^ Hans Joachim Zeidler, "Eröffnungsrede", Katalog der 25. FBK (in German), pp. 26–27
  3. ^ a b c d e f "In 25 Jahren – Vorstände und Organisatoren", 25. Freie Berliner Kunstausstellung (in German), Berlin, pp. 28–31
  4. ^ Hans-Joachim Zeidler, "Kleiner Rückblick auf die FBK", 13. Freie Berliner Kunstausstellung (in German), Berlin, p. 6
  5. ^ a b c Nicole Bröhan, "Freie Berliner Kunstausstellung in den Hallen am Funkturm: Bunter Szene-Querschnitt", Berliner Zeitung (in German)
  6. ^ "Freie Berliner Kunstausstellung 1893" (PDF; 560 kB) (in German). Germanisches Nationalmuseum. pp. 32–33. Retrieved 2016-10-10.
  7. ^ N.N. "Als erste Frau Mitglied der Akademie der Künste. Käthe Kollwitz" (in German). Humanistischer Pressedienst. Retrieved 2016-10-10. Bereits 1895 nahm sie an der „Freien Kunstausstellung" in Berlin teil.
  8. ^ Verein der Berliner Künstlerinnen 1867 e. V. Archived 2015-11-23 at the Wayback Machine: see „1965“.
  9. ^ a b Ernst Leonhardt, "Vorwort", 13. Freie Berliner Kunstausstellung (in German), Berlin, p. 5
  10. ^ Richard von Weizsäcker, "Geleitwort", 13. Freie Berliner Kunstausstellung (in German), Berlin, p. 3
  11. ^ Richard von Weizsäcker in his Geleitwort zur 13. FBK
  12. ^ a b Walter Momper, "Grußwort", 20. Freie Berliner Kunstausstellung (in German), Berlin, p. 3
  13. ^ a b Karin Rech, "Vorwort", 21. Freie Berliner Kunstausstellung (in German), Berlin, p. 5
  14. ^ a b c d e Ernst Leonhardt, "Nach 25 Jahren", 25. Freie Berliner Kunstausstellung (in German), Berlin, p. 7
  15. ^ a b c o.V., "Am Funkturm begann gestern die 25. Freie Berliner Kunstausstellung: Kunterbuntes Kaleidoskop", Berliner Zeitung (in German)
  16. ^ a b Ulrich Roloff-Momin, "Grußwort", 24. Freie Berliner Kunstausstellung (in German), Berlin, p. 3
  17. ^ a b Ernst Leonhardt, "Vorwort", 20. Freie Berliner Kunstausstellung (in German), Berlin, p. 5
  18. ^ "Jürgen Draeger. Der Maler. 1959 – Große Berliner Kunstausstellung" (in German). Retrieved 2016-10-10.
  19. ^ Massenmordident on YouTube
  20. ^ Renate von Eicken, "Supermarkt der schönen Künste", Berliner Morgenpost (Berliner Illustrierte) (in German)
  21. ^ a b Freie Berliner Kunstausstellung 1989 on YouTube
  22. ^ FBK, "Aktivitäten in der 18. FBK", 18. Freie Berliner Kunstausstellung (in German), Berlin, p. 25
  23. ^ FBK, "Fahnen-Projekt", 19. Freie Berliner Kunstausstellung (in German), Berlin, p. 26
  24. ^ Karin Rech, "Vorwort", 23. Freie Berliner Kunstausstellung (in German), Berlin, p. 5
  25. ^ a b Renate von Eicken, Christian Irrgang (Fotos), "Supermarkt der schönen Künste", Berliner Morgenpost (Berliner Illustrierte) (in German), p. 3
  26. ^ a b Karin Rech, "Vorwort", 25. Freie Berliner Kunstausstellung (in German), Berlin, p. 5
  27. ^ Ulrich Roloff-Momin, "Grußwort", 25. Freie Berliner Kunstausstellung (in German), Berlin, p. 3
  28. ^ Karin Rech, "Vorwort", 24. Freie Berliner Kunstausstellung (in German), Berlin, p. 5
  29. ^ a b c FBK, "20 Jahre FBK", 20. Freie Berliner Kunstausstellung (in German), Berlin, p. 391
  30. ^ a b FBK, "Zahlen der FBK", 24. Freie Berliner Kunstausstellung (in German), Berlin, p. 361
  31. ^ a b Ernst Leonhardt, "Vorwort", 16. Freie Berliner Kunstausstellung (in German), Berlin, p. 5
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