{"version":1,"tree":{"n":"html","c":[{"n":"head","x":"\n ","l":"\n ","c":[{"n":"title","x":"Desconocido","l":"\n \n "},{"n":"link","l":"\n","a":[["rel","stylesheet"],["type","text/css"],["href","../../stylesheet.css"]]},{"n":"link","l":"\n","a":[["rel","stylesheet"],["type","text/css"],["href","../../page_styles.css"]]}]},{"n":"body","a":[["class","calibre"]],"c":[{"n":"div","x":"| ","a":[["class","calibre_navbar"]],"c":[{"n":"a","x":"Siguiente","l":" | ","a":[["href","javascript:void(0)"],["rel","articlenextlink"],["data-xQvX3JSyyUS4yAvbblzwf5","{\"name\": \"feed_5/article_2/index_u77.html\", \"frag\": \"\"}"]]},{"n":"a","x":"Menú de sección","l":" | ","a":[["href","javascript:void(0)"],["data-xQvX3JSyyUS4yAvbblzwf5","{\"name\": \"feed_5/index_u76.html\", \"frag\": \"article_1\"}"]]},{"n":"a","x":"Menú principal","l":" | ","a":[["href","javascript:void(0)"],["data-xQvX3JSyyUS4yAvbblzwf5","{\"name\": \"index_u63.html\", \"frag\": \"feed_5\"}"]]},{"n":"a","x":"Anterior","l":" | ","a":[["href","javascript:void(0)"],["rel","articleprevlink"],["data-xQvX3JSyyUS4yAvbblzwf5","{\"name\": \"feed_5/article_0/index_u10.html\", \"frag\": \"\"}"]]},{"n":"hr","l":"\n","a":[["class","calibre6"]]}]},{"n":"div","a":[["class","calibre-nuked-tag-article"]],"c":[{"n":"div","x":"Frugal times ahead","a":[["class","calibre8"]]},{"n":"h1","x":"Berlin’s culture bosses must become more commercial","a":[["class","calibre9"]]},{"n":"div","x":"However distasteful this might seem to them","a":[["class","calibre19"]]},{"n":"p","x":"may. 08, 2025 01:50 | BERLIN","a":[["class","calibre10"]]},{"n":"div","a":[["class","calibre-nuked-tag-article"]],"c":[{"n":"img","a":[["src","images/img1_u44.jpg"],["title","Michael Müller in the Neuen Museum with his artwork Der geschenkte Tag"],["class","calibre3"],["data-calibre-src","feed_5/article_1/images/img1_u44.jpg"]]}]},{"n":"div","x":"Not just a public good","a":[["class","calibre11"]]},{"n":"p","a":[["class","calibre12"]],"c":[{"n":"span","x":"“I","l":" ","a":[["data-caps","initial"],["class","calibre13"]]},{"n":"span","x":"DON’T REALLY","l":" know that much about art,” joked Philipp Demandt, director of the Städel Museum, the top fine-arts museum in Frankfurt. “In Frankfurt it’s all about money.” Mr Demandt was speaking on April 11th at the inauguration of “Dioscuri—the Given Day”, a special exhibition of a monumental painting, 65 metres long and consisting of 24 panels, one for each hour of the day. The work, based on the Greek myth of the unequal twins Castor and Pollux and created by Michael Müller, a German-British artist, is now being shown in the vast staircase of the Neues Museum in Berlin.","a":[["class","calibre14"]]}]},{"n":"p","x":"Mr Müller, who had exhibited “The Given Day” at the Städel in 2022, managed to get the funding for the entire cost of €250,000 ($283,000) for the seven-month exhibition of his magnum opus in Berlin from corporate and private sources. That is highly unusual in the capital, which is used to munificent state funding of its three opera houses, 175 museums, around 150 theatres and two major concert houses. Without a more commercial approach a lot of art may not happen in Berlin any more.","a":[["class","calibre12"]]},{"n":"p","x":"Berlin’s government is cutting its budget by €3bn, or 7.5%, this year. Nearly all departments need to tighten their belts, including culture, which is slashing around €130m, almost 12%, from its plan. Berlin’s cultural leaders are up in arms, warning that the city’s reputation as a hip and welcoming cultural capital is at stake. On May 2nd Joe Chialo, Berlin’s culture minister, resigned after drawing fire for handling the whole affair, especially the communications around it, badly. But his boss, the mayor of Berlin, has had little choice: the city is in debt to the tune of €67bn according to Destatis, the federal statistics agency, thanks to the covid-19 pandemic, poor financial management and the soaring costs of labour, energy and nearly everything else.","a":[["class","calibre12"]]},{"n":"p","x":"Many other German cities are cutting their culture budgets, though Hamburg and Frankfurt are not among them. Those two are both richer than Berlin, and more commercial in their approach to funding. Hamburg is increasing its culture budget by 11% this year, and is even getting a new opera house financed by Klaus-Michael Kühne, the second-richest German (who was born in Hamburg), to the tune of €330m. Berlin should take note.","a":[["class","calibre12"]],"c":[{"n":"span","x":"■"}]},{"n":"p","a":[["class","calibre12"]],"c":[{"n":"i","x":"To stay on top of the biggest European stories, sign up to ","a":[["class","calibre18"]],"c":[{"n":"a","x":"Café Europa","l":", our weekly subscriber-only newsletter.","a":[["href","https://www.economist.com/newsletters/cafe-europa"]]}]}]}]},{"n":"div","x":"\n","a":[["class","calibre_navbar"]],"c":[{"n":"hr","l":"\n","a":[["class","calibre6"]]},{"n":"p","x":"This article was downloaded by ","l":"\n","a":[["class","calibre16"]],"c":[{"n":"strong","x":"calibre","l":" from ","a":[["class","calibre13"]]},{"n":"a","x":"https://www.economist.com/europe/2025/05/08/berlins-culture-bosses-must-become-more-commercial","a":[["href","https://www.economist.com/europe/2025/05/08/berlins-culture-bosses-must-become-more-commercial"],["rel","calibre-downloaded-from"]]}]},{"n":"br","a":[["class","calibre-nuked-tag-article"]]},{"n":"br","l":" | ","a":[["class","calibre-nuked-tag-article"]]},{"n":"a","x":"Menú de sección","l":" | ","a":[["href","javascript:void(0)"],["data-xQvX3JSyyUS4yAvbblzwf5","{\"name\": \"feed_5/index_u76.html\", \"frag\": \"article_1\"}"]]},{"n":"a","x":"Menú principal","l":" | ","a":[["href","javascript:void(0)"],["data-xQvX3JSyyUS4yAvbblzwf5","{\"name\": \"index_u63.html\", \"frag\": \"feed_5\"}"]]}]}]}]},"ns_map":["http://www.w3.org/1999/xhtml"]}