Christine Madden

journalist | editor | dramaturg | literary translator

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A sweet deal for pensioners

An innovative Munich start-up employs pensioners to bake old-fashioned, traditional cakes. It offers them the opportunity to earn money, feel useful and meet people – and their customers, to enjoy cakes baked with love

Oma Rosemarie (Rottmann), with Opa Günter (Haun), at work at Kuchentratsch. Photograph: Christine Madden

The sweet, warm fragrance envelopes you as soon as you walk through the door. Hidden in a courtyard from the busy street, the Kuchentratsch cake shop entices you in. Just beyond the counter, the doorway to the expansive kitchen stands open, affording a view to the bakers hard at work. Despite the size and industrial fittings of the bakery, you could imagine you’ve called in at your granny’s. The bakers here are all over 65.

Brought into being as a start-up by Katharina Mayer – who, in her 20s, is far from pension age – Kuchentratsch (translation: cake chat/gossip) is not simply a bakery. It’s also a social enterprise and thriving experiment. As an answer to the question “What kind of society would I like to live in when I’m old?”, the company was established to give pensioners the opportunity for suitable employment that also puts much-needed extra funds in their coffers.

“I started by asking myself, ‘Where can you get a really good piece of cake?’ But I always got the best cake at my own granny’s,” says Mayer.

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Published by The Local Germany, 9 March 2018


There’s no place like home

Unique, well-loved Munich café Kaffee Espresso & Barista is shutting down – another casualty of gentrification

Counter culture: baristas Heike Kahms and Boris Sliskovic at Kaffee Espresso & Barista. Photograph: Christine Madden

My “office” is changing hands, and I’m as gutted as the premises will be when they close it down. Strictly speaking, it’s not actually a workplace, but a local and much-loved café. I discovered this place almost seven years ago when I moved into the neighbourhood. It’s not showy or flashy, it doesn’t scream at you with shop-window marketing or streamlined, chichi interiors. Yet it emanates charm, intimacy and welcome. It has style without being stylish, beauty as opposed to fashion.

Munich is a property hotspot. Crushing difficulty in finding accommodation has become the norm. This situation has existed for decades, getting more difficult by the hour. But while German law protects private individuals regarding their rental contracts, no such protection is on the books for small businesses. This is what happened to the owner and proprietor of Kaffee Espresso & Barista, Thomas Leeb. Without any warning, he was unable to renew his lease, and he’ll have to move out of his establishment. After 15 years as a fixture of the local community of Neuhausen (centre-west Munich), the café will cease to exist.

Interior of Kaffee Espresso & Barista. Photograph: Christine Madden

“I’ve lived here for 10 years, this is my local café,” says patron Christine Knesebeck, who visits almost daily with her dog Tonio. “It has a special atmosphere. There’s nothing like it. It should actually have protected status.”

Kaffee Espresso & Barista – which has the name Café Hausbrandt over its door – could be seen as a work of art; “people experience it that way,” says Leeb. “It’s a meeting place with many faces. We grant ourselves leave to express our individuality.” The café – which is, he says, a shop that serves coffee – is unique in several respects. The concept behind it combines a display and sales point for espresso machines, their accessories and the quality coffee to prepare in them. The same coffee is also prepared for customers who want to step into a mini, café-sized wormhole to a relaxed, 360-degree, full-sensory experience of another, more romantic time and space. Vintage posters from early 1900 onwards cover most of the wall space. Plush leather couches and rattan chairs surround polished stone and mosaic tables in intimate clusters. Lit shelves scattered throughout the café groan with different kinds of coffee, cups, coffee pots and espresso machines and a wide array of their accompanying paraphernalia. Leeb even lavishes attention on the choice of music, which ranges from French chansons and Latin rhythms to quirky Italian songs. Boxing this place up won’t just be a gargantuan task – it’s the vivisection of a social ecosystem.

Street view of Kaffee Espresso & Barista. Photograph: Christine Madden

The district council is able to intervene to protect the atmosphere of its locality, but only concerning the sale of a building. In a case such as this, unfortunately, its hands are tied. Local government can do nothing to prevent the demise of Kaffee Espresso & Barista. “An appeal could be started,” says Anna Hanusch, the chair of Munich’s ninth district, where the café is located, “but ultimately the lessor has this right.” Although German law bestows certain protections on private tenants, small businesses and their owners have no such security. It would be necessary, acknowledges Hanusch, to change the law on a national level. As she also lives in the area, she says, “the café is a real institution, it’s a great shame” that it will close.

“Businesses have no protection whatsoever,” Leeb states. “That goes for rent increases and lease cancellation. Rents can be doubled. It’s called the free market.”

Corner wall, Kaffee Espresso & Barista. Photograph: Christine Madden

The lessor of the premises apparently has another patron lined up for the space – who will be putting a café in it, quelle surprise. But whether someone can also put an equivalent atmosphere in the space is doubtful. This is a neighbourhood café, and the locals who frequent it feel a strong sense of ownership – and great regret to see it vanish. Many people come here in the mornings for their coffee, sandwiches and pastries – takeaway or not – meeting and greeting one another as you would at your local pub. Patrons come and go throughout the day, in groups or alone, to work or hold meetings or to have a chat or just a moment’s respite with a coffee and a bun in an atmosphere described by barista Heike Kahms as “an Italian living room”. Shutting this down is gentrification without gentility.

Interior of Kaffee Espresso & Barista. Photograph: Christine Madden

Leeb is actively searching for a new premises in the immediate area – which he acknowledges will be no easy task. In the meantime, Kaffee Espresso & Barista will close its doors to many desolate customers while he and his team box up the interior, which in its comfort and style emanates a certain, diva-like dignity.

“Building owners could decide to leave a café and not throw people out on the street,” laments Knesebeck. “I will miss this café very much.”

  • Do you frequent this café and will miss it? Or do you mourn the loss of a beloved local fixture in your neighbourhood? We’d love to hear from you!

Bar area of Kaffee Espresso & Barista. Photograph: Christine Madden

A peek into the back office at Kaffee Espresso & Barista

Interior of Kaffee Espresso & Barista. Photograph: Christine Madden


A woman of much importance

An extensive exhibition of 20th-century artist Gabriele Münter’s work shines a spotlight on a masterful painter deserving greater recognition

Gabriele Münter’s self-portrait (1908-1909) in the exhibition catalogue, along with postcards of (from top left) Kandinsky and Erma Bossi at the table (1912), Portrait of Marianne von Werefkin (1909) and The Birds’ Breakfast (1934). Photograph: Christine Madden

Her self-portrait in 1909 reveals much. Cover her face, and you see the beginnings of expressionism, already veering into abstraction. Then remove the covering, and the painting morphs into impressionism, dominated by the delicately painted detail of her face. The eyes timid and anxious, the lips pressed together nervously. The enormous hat, garlanded with daisies, looming over her head like a protective helmet. This woman is intensely aware of herself and feels a wistful longing, anxiety and insecurity in her picturesque surroundings. Even while she’s depicting herself with astonishing talent and an exceptional feel for colour.

Born in Berlin in 1877, Gabriele Münter was a prolific painter and graphic artist of the 20th century who, remembered chiefly as a member of the Expressionist Blaue Reiter movement in southern Germany and lover of Russian Expressionist Vasily Kandinsky, tragically faded into relative obscurity. A vibrant retrospective of her work in Munich’s Lenbachhaus – a modern art museum that has her to thank for its international renown – describes her development as an artist and displays her masterful, brilliantly colourful work.

Münter’s beginnings as an artist can be traced back to a trip she took with her sister after the death of her parents to visit relatives living in the US. Receiving the gift of a camera, she began to experiment with photography, taking atmospheric, painterly, often comical photographs of places in Missouri, Arkansas and Texas. They’re not so much snapshots as visual narratives. Her street scenes, landscapes and portraits – sometimes featuring the long, slim shadow of the photographer – reveal themes she would often repeat in her paintings.

She moved to Munich in 1901 and began to study painting in earnest. As a woman, she was unable to attend a state art academy, so she enrolled first at the art school of the Munich Women’s Art Society, then at the progressive Phalanx school – where Kandinsky was an instructor. They fell in love and had a secret affair, leading to their engagement, although Kandinsky was married. When the school shut down, they travelled throughout Europe and to Tunisia. Taken with the alpine landscape in southern Bavaria, Münter purchased a house in Murnau in 1909, which became the centre of the Blaue Reiter movement, spearheaded by Kandinsky, Franz Marc, Alexej von Jawlensky, Marianne von Werefkin, August Macke and herself.

Gabriele Münter’s portrait of Marianne von Werefkin (1909) in the poster for her Lenbachhaus exhibition “Malen ohne Umschweife”. Photograph: Christine Madden

After the beginning of the First World War, Kandinsky returned to Russia; and Münter spent 1915-1920 in Scandinavia. Kandinsky visited her one last time in Stockholm in 1916, but then never answered her letters. He had divorced his wife in Russia in 1911, but then married another, younger woman in Moscow. He didn’t let Münter know; she had to find out about it from others. After an angry exchange of correspondence, she refused to hand over the many paintings that were still in “their” house in Murnau. When the Nazis gained ascendance in Germany and vilified “degenerate” art – weirdly dedicating an exhibition in Munich to the modern art they found decadent and depraved – Münter and her new partner, art historian Johannes Eichner, wrapped the paintings in newspaper and hid them in the cellar behind jam jars. Years later, for her 80th birthday, she made a present of them – more than 80 of Kandinsky’s paintings as well as hers and those of other exponents of the Blaue Reiter – to the civic gallery in the Lenbachhaus, turning it instantly from a small provincial collection into an internationally famous museum.

Despite her possession and preservation of these paintings, Münter spent the remaining years of her life still painting but in relative poverty. She tried to swap her paintings for bread, milk and meat, not with frequent success. (There must be dozens of residents of Murnau kicking themselves for not taking her up on the exchange.) She was shy and overshadowed by Kandinsky and the other male artists in her circle – and exhorted by her later partner Eichner to paint nice pictures people might like to hang in their living rooms – so she kept to herself. She died in 1962, leaving her estate to the Gabriele Münter and Johannes Eichner Foundation. Her relative obscurity in comparison with her Blaue Reiter colleagues is puzzling, especially as there had been extensive exhibitions of her work, for example in Copenhagen and Stockholm.

Throughout her life, Münter absorbed the spirit of the avant-garde artistic movements of the early 20th century, and her oeuvre shows a mastery of Impressionism, Expressionism, New Objectivity, and includes graphic arts techniques such as wood and linoleum printing. Her work features paintings of masks reminiscent of James Ensor’s, African influences like those of Picasso’s circle in Paris, and local folk and religious art. She – as well as some of the other artists in her circle – also studied the Central European traditional art form of reverse-glass painting (Hinterglasmalerei), which exerted a strong influence on their style.

Münter is celebrated for her exceptional and expressive use of brilliant, vivid colour in her landscapes, portraits and abstract work. And apart from that one telling self-portrait, she crops up frequently in other paintings – usually from behind, looking into the scene herself. She wants the viewer to look not at her, but with her at what she sees. And her vision of the world is astonishing.

Gabriele Münter: Malen ohne Umschweife continues at the Lenbachhaus until 8 April 2018

Display of Gabriele Münter’s portrait of Marianne von Werefkin (1909) in front of north wing of the Lenbachhaus. Photograph: Christine Madden

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