Just in case you haven’t heard about the papergirl yet. Check out the website of papergirl berlin. Their location is less then a mile away from our vacation rental on Mariannenplatz right across the street from the Bethanien (Yes, Berlin’s most famous squat Germanys most famous band Ton Steine Scherben sings about in the “Rauch-Haus-Song”).

Sounds pretty Buddhist to me: “The art of giving art” – Possibilities and boundaries of Urban Art in Discussion

Neurotitan gallery

Rosenthaler Straße 39, 10178 Berlin

Start: 6pm

The event will be hosted by Mark Butler and is held in English language. Admission is free.

Foto: Anne Wizorek

How can we make art accessible to everyone, and is this even a desirable goal? Isn’t there a risk for artworks of becoming random and falling in value? Or should one always overcome conventions in order to break new ground?

The contradictions regarding art are easily perceptible and especially art in public is often confronted with not only admirers but also with harsh criticism. Therefore our event “The art of giving art” wants to discuss possibilities and boundaries of art in public as a part of the Papergirl festival.

We will start with the Papergirl project itself by letting international Papergirl initiators introduce us to their very own project which they started in their home cities. Our guests are from England (Manchester), Romania (Bucharest), South Africa (Cape Town), and the USA (Albany, NY), and will provide insight into what drove them to start Papergirl, and which problems they had to overcome. This will be the basis for a further debate on an international scale.

For this purpose we also invited guests working in different cultural fields and therefore having various connections and experiences with art and its occurrence in public spaces: Juliane Breternitz is a cultural worker, Stéphane Bauer is a curator and head of the art space Bethanien in Kreuzberg, Lukas Feireiss is a curator as well and provides his expertise in public art for the Gestalten publishing company, Katharina Becker is a professional designer who also represents the Papergirl Berlin team in the discussion, and Marc Scherer owns the ATM gallery in Berlin and is furthermore an artist himself.

Is art in public spaces still a modern way of expression considering the digital age that we’re living in? Can this kind of art be provoking any longer now that it has been adopted so heavily by advertising? Or have we already reached an oversaturation?

In collaboration with the Papergirl visitors we will discuss the current status of artistic methods in public spaces, and moreover we will sketch visions of future developments. You are cordially invited to be our guests at this great event and we are looking forward to seeing you there!

Bauhaus-Archiv, Berlin, today, 10 am - 17pm Uhr

"Sammlung Bauhaus - The original of the classical modernity" is the most comprehensive exhibition of its kind.

Ninety years ago, Walter Gropius founded the Bauhaus in Weimar. It existed for only 14 years, but it became the most important school of modernity. With Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Johannes Itten, Wassily Kandinsky, Paul Klee, Gerhard Marcks, Adolf Meyer, Georg Muche, László Moholy-Nagy, Hinnerk Scheper, Oskar Schlemmer, Joost Schmidt, Lothar Schreyer and Gunta Stölzl, a faculty with an international reputation worked under the direction of Walter Gropius (1919-1928), Hannes Meyer (1928-1930) and Ludwig Mies van der Rohe (1930-1933) at the Bauhaus.

The Bauhaus is Germany’s most successful contribution to international art and culture of modernity in the early 20th century. More than 75 years after it was closed in Berlin, the reputation of this inter-disciplinary school for architecture, design, visual and performing arts that moved to Dessau in 1925 continues to be as internationally significant as ever. The vibrancy and impact of the Bauhaus during its existence and after its dissolution in 1933 demonstrate that although the Bauhaus, as a laboratory and workshop of modernity, was destroyed by a deliberate political act, it was exactly that circumstance that enabled it to unfurl its global influence – history’s irony.

On the occasion of the 90th anniversary of the foundation of the Bauhaus and 20 years after the fall of the Berlin wall, the leading Bauhaus research institutions and museums in Germany – the Bauhaus Archive Berlin, the Stiftung Bauhaus Dessau and the Klassik Stiftung Weimar – for the first time jointly present an exhibition: Bauhaus. A Conceptual Model. With well over 900 objects it will be the largest Bauhaus exhibition ever.

The exhibition recounts the story of the Bauhaus in a comprehensive presentation of the works of its masters and students as well as the most important school issues. Inter-disciplinary, experimental teaching, the concept of practice-oriented workshops, the pursuit of answers to social questions, the propagation of timeless aesthetics as well as experimentation with new techniques and materials in architecture and design were the school’s most important concerns. The exhibition Bauhaus. A Conceptual Model centres on the comprehensive significance of the Bauhaus for the development and internationalisation of modernity and goes beyond, examining its world-wide, lasting impact on architecture and design up until the present day.

While previous exhibitions on the Bauhaus were grouped according to its workshops, Bauhaus. A Conceptual Model chooses the perspective of the history of its development, embedding the objects into their respective contexts. The curators of the three participating Bauhaus institutions also pursue the issues of the further development, reception and current significance of the Bauhaus.

The presentation of the historical Bauhaus is located in the 18 ground floor galleries of the Martin-Gropius-Bau, while in the centre hall of the building the relevance of the Bauhaus will be discussed and re-positioned.

Bauhaus. A Conceptual Model is presented in collaboration with the Museum of Modern Art in New York, which will celebrate its 80th birthday with the exhibition Bauhaus 1919 – 1933: Workshops for Modernity directly following the Berlin presentation.

The blog of the bike store called Rad Spannerei is talking about a boom in Bike tourism in Berlin. Apparently there are over 20 different companies who offer organized bike tours for tourist through Berlin. Christian Taenzler the spokes person of the “Berlin Tourismus Marketing GmbH: says that “in principle one can see all of Berlin’s attractions by bike” The reason he give why bike tourism is blooming in Berlin is because Berliners are more considerate towards bicyclists then people in other cities like Barcelona or Landon. Being in Berlin right now I can confirm that it is much more pleasant to bike here then even in the most quiet parts of Brooklyn. Also since last summer places where you can rent bikes seems to have tripled at least in here in Kreuzberg were our holiday rental is.

Kreuzberg is on of Berlin's great outdoor movie theater it is loated right behind Kuenstlerhaus Bethanien, up the block from so many great cafes on Oranienstrasse, and just across the water from Bar25. Be warned: this is one of the more popular Freiluftkinos so get in line early. From berlin19 you can walk to this Freiluftkino at the Adalbertstrasse 73 in 10 minutes or less. You can find their program here http://www.freiluftkino-kreuzberg.de as well as subscribe to their online calendar.

After several years of construction the Omar-Ibn-Al-Khattar Mosque right at the Görlitzer Bahnhof will open on Friday May 21st here in Berlin-Kreuzberg. The new Mosque allows about 1000 people to pray. The Mosque is part of the new Maschari Center which also houses offices and seminar spaces. The Mosque looks very modern and one could fight about its beauty. For the longest time it looked like the Mosque would never be finished but now it is and it can be considered part of Kreuzbergs colorful fabric of society. I use to pass by this unfinished building on my bike on my way from our holiday rental "berlin19" when ever I need to go to our local food coop called LPG.

One of Berlins Must-Do's is definitely the Jewish Museum. In fact it is so popular that the original Architect is introduced plans for an extension yesterday (5/4/2010). A new building across the street of the original building so the plan will be the home of an academy, an archive and an library. The museum is in one of Berlin's most popular districts called Kreuzberg and can easily reached from our vacation rental which happens to be in the same district. For more information take a look at the web site of the Jewish Museum.

This Tuesday the Kreuzberger open air swimming pool in the Prinzenstraße opened its doors. As of now it will be open from 7am till 7pm. The Kreuzberger open air swimming pool is well visit amongst young people during their summer break and was the film location for several successful movies like a documentary called «Prinzessinenbad». The Prinzenbad can be reached from our vacation rental in the Eisenbahnstrasse within 10 minutes by bike or via U-Bahn from Görlitzter Bahnhof.

Kreuzberg is know for its colorful and very popular neighborhood fest. Every year there are thousands of visitors coming from other neighborhoods or out of town to be part of this party. The party is happening around the Kottbusser Tor (which is also the name of the closest Underground Station), Oranienstraße and the Heinrichplatz. There will be lots of stages with a variety of  musical and cultural events. Food wise Kreuzberg is know for its very international food. As usually there will be a very fun program for kids with break dance soccer, climbing walls etc. No wander May is berlin19's busiest month. You can check out its availability here (http://www.berlin19.com/page3/index.html).

SO36 is Kreuzberg's most famous Club. 100.000 Euro were needed to soundproof it. In September the "Toten Hosen" Germany's most famous punk band gave Benefits concert. More donations are needed but it looks like SO36 will survive. SO36 is less then 15 minutes walking distance away from our not as famous vacation rental berlin19 :). See for yourself on Google Maps.

You now can subscribe to our blog using this URL in Apples email program or with a newsreader like Netnewswire: http://www.berlin19.com/page4/files/berlin19blogRSS.php. You now can also find us on Twitter. Look for rnetter or on Facebook using that very same id rnetter. That way you can find out whats new in Berlin or with berlin19 and get our newest specials renting out berlin19.

The Deutsche  Bundesbahn (The German Train Campany) is testing a two bike rental system. There is already a pretty good one in place but currently they two new Systems the so called flex-System the  so called fix-System where the bikes are parked at a fixed location. The flex-System the bikes have to be parked in a signed area in designated rental area. To use either system you need a customer card.

Practically this means that Berlin will probably soon offer more choices to rent a bike. But then berlin19 has 3 bikes our guest can rent.

Hier das Youtube Video Icke & Er - Keen Hawaii. I hope you'll like it.

Die Berliner Zeitung veröffentlichte gestern neue Zahlen zum Radfahreranteil in unterschiedlichen Bezirken. Danach liegt der Anteil der Radfahrer am gesamten Verkehr in Kreuzberg-Friedrichshain bei 21 Prozent. Der Anteil des Fahrrads bei der Verkehrsmittelwahl beträgt in Pankow 17 Prozent und in Mitte 14 Prozent. In manchen Außenbezirken spielt das Rad nach wie vor eine untergeordnete Rolle. So sind in Marzahn-Hellersdorf und in Lichtenberg nur sechs beziehungsweise sieben Prozent mt dem Fahrrad unterwegs. Der Gesamtberliner Durchschnittswert für den Fahrradverkehr liegt bei 13 Prozent.

Berliner Zeitung: Fast wie in Holland

Hier der Artikel zur Prinz Umfrage in der Kreuzberg 20 Prozentpunkte vor dem zweitbeleibtesten Stadtteil Friedrichshain liegt.

bbbike sucht (Fahrrad-)Routen in Berlin. Es sind ca. 7500 von 10000 Berliner Straßen sowie ca. 300 Potsdamer Straßen erfasst (alle Hauptstraßen und wichtige Nebenstraßen). Bei nicht erfassten Straßen wird automatisch die nächste bekannte verwendet. Straßen bitte ohne Hausnummern oder Postleitzahlen eingeben.

http://bbbike.radzeit.de/cgi-bin/bbbike.en.cgi

Berlin is the most cultured city in Europe. You could make the argument, certainly, after walking silent and alone through the majesty of the Gemäldegalerie, pausing for a while before Tiepolo’s “Martyrdom of St. Agatha” to consider the agonies of faith.
Berlin Travel Guide

Oliver Hartung for The New York Times
Entrecôte at Paris Bar. More Photos »
You could make it alongside the tourists marveling at the Grecian splendor of the Pergamon Altar in the museum that bears its name, or beneath the roar of applause at the end of “Tannhäuser” at the Staatsoper, or while reading Brecht in the Tiergarten, the city’s verdant central park.
Facts: You could go to art galleries in Berlin for a solid week and find yourself not halfway through a master list. You could spend two weeks wandering Museum Island and still miss a few Romantics; you could spend a career within the Bode Museum.
Less ambitiously, you could take a canal boat along the winding Spree and marvel at the street art from some of the celebrated graffitimen — Banksy, CBS, Kripoe — who have come to leave their marks. It’s a beautiful trip. You could argue the merits of the city’s Holocaust Memorial, designed by Peter Eisenman, a grid of nearly five acres of tall concrete slabs that appears to roll east out of the Tiergarten in the manner of a cemetery, a Greek hill town, or a failure.
But then you should make your way into the glamorous heart of a city that has borne witness to horror and majesty alike, to eat.
Because, really, where there is culture there ought to be food. It needn’t be caparisoned with foam or gold leaf, nor lauded by Michelin. It should be simply good, and it should be served well, and it should allow for the free and wide-ranging discussion of art for as long as you like.
It was that desire that occasioned a trip to Berlin this spring: a desire to wander through the city’s arty demimonde and to eat beside its residents, to talk smack about video installations and works of string, critics, government grants, gallery dreams, gallery crimes — and then to eat heartily.
It was that desire that led directly to the Johann König gallery, a few blocks off the Potsdamer Platz, where two art critics were discussing shadow and perspective. This was a lucky business.
The critics, one American, the other German, had arrived unannounced, and were now talking with the Norwegian artist Matias Faldbakken. Mr. Faldbakken was putting long pieces of black tape onto a Belgian linen canvas on one of the gallery’s walls, layering them one atop another to create abstract shapes that might have been letters. The work was part of a group show at the gallery that was to open the following day. The conversation was, apparently, one that had been going on for some time.
“What does it say?” asked one of the critics, Michael Kimmelman of The New York Times, gesturing at the canvas. The question was the sort that raises art critics above the status of the average human being, who might simply have looked at the shapes and smiled tightly.
The other critic, Andreas Schlaegel, has a sideline as an Elvis impersonator in addition to his written work; he also plays drums in a band called Art Critics Orchestra. He chuckled. Americans have far fewer long words than Germans. But straightforwardness is one of them.
Mr. Faldbakken, tall and blond and skateboarderish, cocked his head to the side and offered a small smile.
“I’m not going to tell you this time,” he said, placid as Oslo. “It remains an enigma.”
They all laughed. Mr. Faldbakken put on his backpack and headed out the door into the afternoon sun.
It was almost time to eat.
THE Berlin Biennale, the city’s vast contemporary art fair, would open the following day, and the city was filling with the art-world mob: curators from New York, buyers from Kyoto, Italians in Prada and duty-free cologne. Some would repair to bistros in the city’s prosperous west, others to grittier precincts in Kreuzberg, or leafier ones in Prenzlauer Berg.
Mr. Kimmelman was bound for the Grill Royal, in Mitte, the city’s most central — literally, middle — neighborhood, formerly in East Berlin. And by early evening he was settling in there, a steak house right off Friedrichstrasse, tucking into oysters and gin.
The room provides a view of the kind of restaurant scene only a city that has both money and space can provide: a large, airy dining room set under low ceilings, with wide tables and gentle lighting, packed close with artists, curators, dealers, gallery guys, smart-eyeglassed business tyros in three-piece suits, fat burghers eating Irish steak, French entrecôte, Argentine beef.
There isn’t much in the way of celebrity culture in Berlin, but Grill Royal serves those who make the grade on its wide boulevards and cobbled side streets: American film stars; Scandinavian novelists; Germany’s political elite. Waiters swing past them on the double-quick, polyglot and efficient, bearing plates of enormous salads, briny oysters, steaks and steaks and yet more steaks, the occasional grilled dorade.
Glass-backed, fluorescent-lighted refrigerators flank the open kitchen, offering diners a view of real-life Damien Hirst: large fish piled high beside giant crab legs; fillets of beef hanging in the cold, still air, beside the tools used to break them down. A wax-encrusted Vespa scooter sits in one corner acting as a kind of massive, hipster-European candelabrum; a stuffed peacock makes its strutting point in the room’s center; neon-tubed sculptures on the wall by the bathroom may wink broadly toward the flowers of Georgia O’Keeffe. “Those are vaginas,” Mr. Kimmelman said.
The food is excellent. Start with Fine de Claire oysters from the murky, green pools of Marennes-Oléron in western France, along the Bay of Biscay — medium-size, sweet, a little nutty, cold. Try a bibb salad the size of an upside-down hat, bathed in soft and creamy vinaigrette. Behold those plates of grassy, tender meat, crust-grilled and served beside a piquant steak sauce, with toothsome roasted baby potatoes with rosemary on the side, a dish of plain steamed spinach, another of sweetly turned coins of carrot.
To drink? A waiter brought a 2000 Château du Beau Vallon from St.-Émilion — a fat Bordeaux happy to be in Germany entertaining Americans. It did more than nicely.
There are plenty of other places to eat in Berlin while on the art-scene prowl. For breakfast, you might head west to Charlottenburg, to have coffee and pastry at the Café Wintergarten in the Literaturhaus on Fasanenstrasse (say that three times fast!), before ducking into the Springer & Winckler Galerie to see what’s up (some ghostly Sigmar Polkes).
You could head east to Unter den Linden, perhaps the city’s most splendid boulevard, to have a rich farmer’s omelet with sweet baby potatoes and thick bacon hunks at the warm and crowded Café Einstein there, then venture out on an institutional stroll. Unter den Linden hosts, among others, the pink, fascinating, vaguely scary and old Deutsches Historisches Museum, where construction finished in 1706, with its airy addition by I. M. Pei (who wrapped up work in 2003). There is also the Staatsoper and Berlin’s outpost of the Guggenheim, on the ground floor of the headquarters of Deutsche Bank, where there were some fine Olafur Eliasson glacier photographs on display.
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After an Einstein omelet, though, a walk through the Brandenburg Gate and up to the Reichstag would not be an error, if only to get the blood moving past your stomach. In addition, of course, there is the sheer magnificence of the building’s facade, still pockmarked with war-era bullet holes, rising off its wide base toward the new Norman Foster-designed glass dome on its top. Standing beneath that on a clear Berlin morning, well apart from the long lines waiting to get in, it is easy to imagine the strange beauty of the building wrapped in foil, a project the artist Christo completed in 1995.
But this is so mainstream and obvious, no? Next you’ll be asking for lunch at the Kempinski Hotel, eaten outside on the Kurfürstendamm with a soft fleece blanket wrapped around your knees, followed by some shopping (Chanel! Jil Sander!).
Better to put on some black and head east, fortified with coffee bought in an S-bahn station (a subway by New York lights, taken from “Stadtschnellbahn,” or fast city train), toward Checkpoint Charlie, the Kreuzberg gallery scene, and lunch.
The aristocrats of art walk through the former East Berlin as royalty might through a distant part of their dominion, stepping carefully over puddles in suede loafers and wicked heels, past empty lots filled with cold-war emptiness, ancient graffiti, the gloom of communism, toward the light-filled spaces of men on the make. Many are bound for Sale e Tabacchi, a perfect Italian restaurant in the Rudi-Dutschke-Haus, so named for the leader of Berlin’s left-wing student movement in the 1960s, who died in 1979, after being shot by an assassin more than a decade earlier.
You are bound there as well. But first, take in some art. First stop: Max Hetzler, a gallery hard by one of those lots on Zimmerstrasse; it’s a bit as if Larry Gagosian had an outpost in Newark, or on the southern end of the south side of Chicago. A stone’s throw from where the wall once divided the city, Mr. Hetzler had mounted “Always There,” a show of work devoted to the color gray — by Richard Phillips, Albert Oehlen and André Butzer — set in rooms as high-ceilinged and beautiful as a palace, or a church.
Mr. Hetzler, rumpled and friendly, with the handshake of a polar bear, chuckled at the idea of Sale e Tabacchi. He would be there soon, he said. Everyone would.
Galleries are thick on the ground in this neighborhood, which approximates Chelsea in both art density and market strength. In addition to Mr. Hetzler’s space — a Berlin home to Kara Walker, Thomas Struth and Bridget Riley, to name a few — there are the Swedish dealer Claes Nordenhake’s gallery, on Lindenstrasse, where a drawing and collage show by the Swedish artist Ann Bottcher was rising, and the Jablonka Galerie on nearby Kochstrasse, where Alex Katz’s “Marine” paintings were hanging wide and beautiful. Also on Kochstrasse, Julius Werner has a ground-floor space, where A. R. Penck’s graffiti-ish paintings and odd, figurative sculptures were showing, an evocation of both New York and the 1980s in one fell swoop. It was the sort of show that makes one want to smoke.
Instead, though: basta. Pasta! Sale e Tabacchi sits behind huge glass windows and an elegant bar, stretching out beneath immense ceilings toward a courtyard garden in back; it’s the Kreuzberg version of the famous Borchardt restaurant on the Gendarmenmarkt, where the city’s elite gather at lunch, and schnitzel is the very large coin of the realm. Here, though, waiters in long, flowing aprons speak comic-opera Italian and serve a bustling crowd of underemployed artistes who’ve locked their sleek Dutch bicycles out front; business fellows with BlackBerrys and iPhones; Mr. Hetzler and his wife, Samia Saouma, reading newspapers in the back.
You might decry this scene in favor of more street-friendly food, what Berliners call imbiss food, for the small shops that serve it: Turkish doner kebabs in the gyro tradition; pretzels; the odious hotdogs in ketchup, dusted liberally with spice that are known in Berlin as currywurst. There is even a marvelous Neapolitan pizza place on Oranienstrasse, also in Kreuzberg, called Pizza a Pezzi-Napulé, which for anyone interested in global pizza-slice ethnography is worth a detour.
But have a perfect veal tonnato at Sale e Tabacchi, a plate of ravioli in sage butter, some soft bread, a small taste of espresso to finish. Those Pencks were kind of droll, no? Do they sell at all now? Save for a reporter or two, there’s not a rube in sight.
BERLIN is a lively city, and a walk along the Kurfürstendamm or a visit to the food court at KaDeWe — Europe’s largest department store, on Taventzienstrasse, near the ruins of the Kaiser Wilhelm Church — shows it to be an occasionally crowded one as well. But the population has never recovered from the war and the division that plagued it for a half century, and with 3.5 million people in a metropolitan region that supported a million more in 1939, it rarely achieves anything approaching critical mass.
That statement is challenged nightly at Paris Bar, however. Set down the street from the Theater des Westens, and around the corner from the Savoy Hotel (where, if you’ve had enough of artists, there is a lovely little cigar bar to while away some time with a copy of the Financial Times and a Cuban panatela), Paris Bar was near the center of West Berlin’s gallery scene in late cold-war days; it was dealt a grievous blow by the fall of the Wall, when the art world fled east to Mitte and once bustling Charlottenburg became sleepy, a place for the old.
That cycle is turning now, back toward the west, with Paris Bar an important beneficiary. The restaurant is a gathering place for artists and dealers alike, perhaps the city’s most important art-world canteen, serving both the chic and the beautiful, the jet-lagged and the underwashed who follow them — the people, Mr. Kimmelman said, “with interesting facial hair.” In Manhattan terms, it’s as if Elaine’s, the celebrity bar, bred with Raoul’s, the SoHo bistro, and hired Anne Isaak, a charismatic and unflappable owner of Elio’s, the east side trattoria, to run the place. A sign set into the floor of the entranceway reads, “Passant Sois Moderne,” a kind of plea: “Passersby, be modern.”
This refers to the art on the walls, really: crowded tight with portraits of Karl Lagerfeld, Tracy Emin, salon-hung thises and thats; if you can paint convincingly well, you could probably trade work for food here and want to. The menu is old and perfect.
And so there is French onion soup, deep with flavor, and more of those briny, perfect Fine de Claires, and a salad of baby spinach and bacon, with a soft poached egg in buttermilky dressing. There are glasses and glasses of rosé, and entrecôte with béarnaise and crunchy fries, duck à l’orange with turned carrots, a perfect soft omelet of tomatoes and bacon. Familiar? Yes, it’s bistro and bohemian and correct down to the sautéed rabbit livers set atop a bright salad cut sour with endive and bright with vinaigrette. One will probably suffice for the table: rabbits in Germany, it would appear, have enormous livers.
Germans, too. The wine flows freely into the night, as an Icelandic film director high-fives everyone in sight, as French waiters serve American museum staff members and tattooed fellows who might be Polish, Belgian, or both. Smoke curls north to the ceiling like mist. (Berlin banned smoking in restaurants in January; that message has yet to make it to Kantstrasse 152.) Conversations rattle along in German, French, English, Italian, in some multinational Esperanto of shared cultural literacy: some love the artist Pushwagner’s “Soft City” graphic novel art at the Kunst-Werke, part of the Biennale; many decry all the silly video installations; definitely everyone will have something more to drink.
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And so to bed. Walking out of the place on a cool Berlin night, shrugging into jackets after the heat and bustle within, two young men passed by the restaurant. One paused; something had caught his eye. He pointed to a poster hung in the window, advertising the show at Jablonka, across town.
“Ja, ja, Alex Katz,” he said, excitedly. Art city!
A CITY WITH ART IN THE AIR AND A LOT ON ITS PLATES
WHERE TO STAY
Savoy Hotel (Fasanenstrasse 9-10; 49-30-311-03-0; www.hotel-savoy.com) is an elegant dowager with 125 rooms, a block from the Kurfürstendamm in Charlottenburg, near the Berlin Zoo. It’s comfortable and quiet, with a lobby that smells faintly of the cigar bar next door and a sumptuous dining room that does not. Double rooms from 75 euros, about $120 at $1.61 to the euro.
Hotel de Rome (Behrenstrasse 37; 49-30-460-60-90; www.hotelderome.com) offers fancier accommodations in its 146 spacious rooms in the former Central Bank of East Berlin. The building’s edifice dates to 1889, when it was the head office of the Dresdner Bank, and has been lavishly remodeled — the underground vault, for example, is now a swimming pool. Double rooms from 395 euros.
Eastern Comfort (Mühlenstrasse 73-77; 49-30-667-63-806; www.eastern-comfort.com) is a houseboat in the Spree River, popular in the backpacker and hippie-cat sets, on the border between Kreuzberg and Friedrichshain, near the longest surviving stretch of the Berlin Wall. Double rooms from 54 euros.
WHERE TO EAT
Café Einstein (Unter den Linden 42; 49-30-2043-632;) is a clubby and welcoming coffee house near the Brandenburg Gate, with excellent eggs and bacon to match the strong coffee. Old-timers will tell you the original location on Kurfürstenstrasse is better. So be it: Breakfast runs around 36 euros for two.
Grill Royal (Friedrichstrasse 105B; 49-30-2887-9288; www.grillroyal.com) is a chic steak house in Mitte, set on the bank of the Spree, perfect for introducing oneself to the pleasures of Fine de Claire oysters. Follow with a grilled steak and excellent potatoes, a few glasses of wine, and you’re out the door for at least 65 euros.
Sale e Tabacchi (Kochstrasse 18; 49-30-2521-155, www.sale-e-tabacchi.de) serves as a kind of elegant cafeteria for Kreuzberg gallery owners and the art-world crowd that provides them their business. Excellent pastas and salads, accompanied by gallons of sparkling water, will cost around 20 euros a person at lunch.
Pizza a Pezzi-Napulè (Oranienstrasse 176; no phone) is a modest pizza parlor in Kreuzberg with pizza made in the Neapolitan style. You’ll be in and out for around 3 euros a person, particularly if you think of the meal as a snack, best taken before or after a meal at Sale e Tabacchi.
Paris Bar (Kantstrasse 152; 49-30-313-80-52; www.parisbar.net) is a bustling art canteen in Charlottenburg that serves bistro grub of the first order: excellent steak frites, glistening salads. The reservation policy is quirky. If you call from a hotel, the host may declare the restaurant fully booked. Show up at the door unannounced, however, and chances are you’ll be whisked to a table immediately. Dinner for two, with copious wine, will cost around 125 euros.
WHAT TO SEE
In addition to Museum Island, Unter den Linden and the Kulturforum museums, Berlin’s vibrant gallery scene provides days of possibility. Highlights include:
At the Max Hetzler Galerie (Zimmerstrasse 90-91; 49-30-229-24-37; www.maxhetzler.com), an elegant gallery near Checkpoint Charlie, there is an exhibition by the installation artist Mona Hatoum.
The Johann König, Berlin (Dessauer Strasse 6-7; 49-30-26-10-30-80; www.johannkoenig.de), a large, spare and light-soaked gallery near the Potsdamer Platz, is the summer home of a solo exhibition by Andreas Zybach.
The Springer & Winckler Galerie (Fasanenstrasse 13; 49-30-315-7220; www.springer-winckler.de) is an airy space nestled into a quiet block off the Kurfürstendamm; a show of Andy Goldsworthy’s drawings and objects is up through the end of June.
Finally, the Staatsoper (www.staatsoper-berlin.org) on Unter den Linden offers tours of the house and the stage all summer. The Martha Graham Dance Company begins a stand there the evening of July 4.

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CONRAD
Köpenicker Str. 8 - b
10997 Berlin
Tel.: 6 15 38 38
WWW : conrad-fahrrad.de/
Mail: info@conrad-fahrrad.de
 

Fahrrad-Kultour Kreuzberg
Waldemarstr. 81
10997 Berlin
Tel.: 61 70 96 52
WWW : fahrrad-kultour-kreuzberg.de/
 

Keirin || juter kaffe fuer radler, ridehardridesafe, no brakes !!!
Oberbaumstr 5
10997 Berlin
Funk: 0173/6 32 18 64
WWW : keirinberlin.de
Mail: info@keirinberlin.de
 
Pedalkraft
Skalitzerstr. 69
10997 Berlin
Tel.: 6 18 77 72
WWW : pedalkraftberlin.de/
Mail: info@pedalkraftberlin.de
 

RADLUST Fahrräder aus Holland
Skalitzer Str. 95
Ecke Lausitzer Platz
10997 Berlin
Tel.: 6 15 19 25
WWW : radlust.net
 

FroschRad || Gebrauchte Fahrräder • Hausmarke • Neuräder
Wiener Straße 15
10999 Berlin
Tel.: 6 11 43 68
Fax : 61 07 44 71
WWW : froschrad.de
Mail: info@froschrad.de
 
Rad Lust
Waldemarstr. 42
10999 Berlin
Tel.: 6 15 19 25
 

RADSPANNEREI
Admiralstr. 15+23
10999 Berlin
Tel.: 6 15 29 39
Fax : 61 50 72 17
WWW : rad-spannerei.de
 

ZENTRALRAD
Oranienstr. 20
10999 Berlin
Tel.: 6 15 23 88
WWW : zentralrad.de/

Weltweit ist Craigslist die unangefochtene Nummer eins bei den Kleinanzeigenportalen: Nach Angaben der Betreiber hat die Seite jeden Monat mehr als 30 Millionen Besucher in 50 Ländern, sieben Millionen neue Anzeigen werden jeden Monat geschaltet. Die meisten Anzeigen sind kostenlos, nur wenige sind kostenpflichtig, zum Beispiel Job- oder Wohnungsangebote. Darüber finanziert sich die Firma, die nur 25 Angestellte hat und trotzdem mit neun Milliarden Seitenaufrufen monatlich zu den meistbesuchten Websites weltweit gehört.
Craigslist ist etwas Besonderes: Man schätzt den weltweiten Umsatz auf nur 15 bis 25 Millionen Dollar jährlich. Bei Craigslist gibt es keine Werbung - obwohl sich damit die Einnahmen explosionsartig vermehren ließen. Die Website ist (wenn das überhaupt möglich ist) noch minimalistischer gestaltet, als Google.
In den USA gilt Craigslist als absoluter Zeitungskiller, weil denen durch die zu Craigslist abgewanderten Zeitungsanzeigen Milliarden-Umsätze wegbrechen.
Nun kommt Craigslist also auch nach Deutschland und hat einen (kleinen) Teil der Website ins Deutsche übersetzt. Die deutsche Startseite ist an Tristheit nicht zu überbieten.

"What New York was in the ’80s, Berlin is now,” says Nadja Vancauwenberghe, the French editor in chief of Berlin’s English-language magazine, the Exberliner. "That’s the cliché.” She shakes her head and smiles. "The reality,” Maurice Frank, the Exberliner’s publisher, chimes in, "is that rents here are a third of what they are in Paris or London.”
The two of them are trying to explain why Berlin has emerged as the creative capital of Europe, if not the world. "It’s cool, its cheap, it’s international,” Vancauwenberghe says, ticking off the contributing factors. "But it’s kind of a feedback loop at this point,” says Frank. In other words, the people who are immigrating now are not drawn by Berlin per se but rather by the Berlin of the cliché — and they’re finding it in the city’s vast expat population.
Berlin, the biggest city in continental Europe by far, has actually been losing its German population for years, but for the last five — the five years that the Exberliner has been publishing — that loss has been more than made up for by an influx of expats. What’s more, they’re settling down: buying funky apartments, starting creative businesses, having precocious children. "We’re a little overrun,” Vancauwenberghe concludes, looking out her window. For a long time, the neighborhood outside, Prenzlauer Berg, boasted a thriving international squat scene. Today the main strip is choked with baby strollers and stylish boutiques.
The expats who are gentrifying Prenzlauer Berg are creative types, the kind of people who don’t necessarily want a standard career. This is perhaps a good thing, since the unemployment rate in Berlin is currently around 20 percent. There may not be many opportunities for regular employment, but there are plenty of good gigs. For musicians, Berlin is an ideal staging ground; its central location makes touring Europe easy and more profitable. For visual artists, it’s all about the city’s cultural wealth. Berlin’s divided legacy means that there are twice the number of museums and art-supporting institutions than usual. Plus there is a long tradition of social tolerance here. Where else would the mayor, who is openly gay, roll out an official welcome to a gathering of sadomasochist conventioneers, praising their party weekend as "pure joie de vivre”? As Mayor Klaus Wowereit likes to say about his city: "We are poor, but sexy.”
According to the last census count, in 2006, there were about 13,100 Americans living here, and, invariably, they cite Berlin’s bohemianism as the draw. "I interview Americans all the time, and they’ll tell you they moved here to get away from George Bush,” says a skeptical Vancauwenberghe. "But if you dig a little deeper, 8 times out of 10 they’ve come on behalf of a German boyfriend or girlfriend. Usually the relationship doesn’t last, but they stay anyway, because they’ve fallen in love with the city.”
That’s certainly the profile of Marc Siegel. who was studying film at U.C.L.A. when he fell in love with a German actress named Susanne Sachsse in 1999 — which was a surprise, since prior to that Siegel had mostly been dating men. After moving to Berlin to finish his dissertation, Siegel fell into the local theater scene, and with friends, including Daniel Hendrickson, his former boyfriend, founded a performance-art collective called Cheap. The troupe became known for its queer sensibility and eventually attracted the attention and funding of the German national children’s theater, which wanted Cheap to produce a piece for kids. It used the opportunity to lure Vaginal Davis, a drag performer from Los Angeles, whom they cast as the guest star of the children’s production, to Berlin. ("I had to get away from Miss Amerikkka,” says Davis. "Her cities are turning into malls!”) The troupe, jokes Siegel, "has slowly become a welfare project for Americans going through withdrawal.”
Toby Dammit and Jessie Evans are professional musicians from the United States who found each other in Berlin. The 41-year-old Dammit is a musician’s musician, who played for many years with Iggy Pop. He moved here from New York in 2006, wanting to step off the treadmill: "I was making money, but it doesn’t matter how hard you work in New York, you end up throwing it out the window,” says Dammit, who counts two of the most famous expats in Berlin, Rufus Wainwright and Peaches, as friends. Evans, a veteran of various "slutty all-girl punk bands,” moved from San Francisco in 2004 in order to reinvent herself as a chanteuse. The best thing about the place, according to the aspiring singer, is that "you don’t have to be famous to get respect as an artist.”
Jean Griffin Borho, who arrived here two years ago, is not an artist but rather a patron and collector who grew up in Manhattan and ended up marrying a German man who ran a hedge fund in the city. They divorced, and Borho decided to pick up the pieces in Germany. She came to build a new life as an art consultant catering to American collectors curious about the Berlin scene, but she was also glad to say auf wiedersehen to her hometown. "In New York, being divorced is a stigma,” Borho claims. "Here, no one cares.”
The artist Dean Sameshima, a native of Los Angeles, came for the opening of his first Berlin show at Peres Projects last March and never really left. "In L.A., my studio was my bedroom, but here I can afford studio space,” he says. "And a studio assistant.” According to Robert Goff of Goff + Rosenthal, one of the first New York galleries to open a Berlin branch, "the low rents have made Berlin the art-production capital of Europe. At least half of the young artists I meet in New York are seriously thinking about moving to Berlin to work.”
The common thread is that everyone feels they’re leading lives they could never have back home. "Cheap in the States?” Siegel wonders. "There, we never even would have thought that we were the kind of people who could pull this off.” Dammit’s voice cracks with awe when he talks about the production facilities he now has at his disposal, and Evans is just happy to have been able to quit her day job. "In San Francisco,” she says, "I was working at a junkyard.” Borho, too, feels freer: "One of the things I really love is techno music,” says the 37-year-old. "In New York, I’d always be one of the oldest people at a club. But here you see people in their 70s.”
Berlin is undoubtedly fun. The loose liquor laws don’t require bars to close until the last patron has quaffed his last drink, and some club parties can go for the entire weekend. If there is any problem with Berlin, it may be that it’s too free, too wild. "Rent is cheap, studio space is cheap, but for every artist, there’s also a spot on a guest list,” says Alex Konuk, the half-American, half-German owner of 8MM, a dive bar with an intellectual air. "So the test here is being able to live up to the creative standards you’ve set for yourself.”
Or not. The real charm of the city’s night life lies in its goofier manifestations. Dr. Pong is a bar bunkered in a concrete Prenzlauer Berg pile, the main room lit by a single fluorescent tube, as if Dan Flavin had placed it here himself. Its light shines on a lone Ping-Pong table in the center of the room. To the beat of dance music, with a paddle in one hand and a beer in the other, patrons run around the table while attempting to keep a rally going. It’s the drinking version of rundlauf, a traditional German schoolyard game. The bar’s owner, Oliver Miller, is an American expat. Miller came to Berlin after graduating from Princeton’s architecture school, looking to avoid the fate of his classmates, who were joining big firms in New York. "I’m not interested in climbing the career ladder, since you’ll never ever get to the top,” he explains. "I’m interested in taking that ladder and putting it on its side.” In practice, that means running Dr. Pong and its fraternal twin, Kim, two popular bars that Miller sees as nothing less than conceptual architecture: "I like the fact that the bars look like they’re still under construction. If the building is still in process, getting built, that implies that process can go on inside.”
The whole of Berlin’s bohemia — expat and German, arty and punk — resonates with the same kind of attitude. Things are invariably provisional, experimental, cerebral. But what could be a Teutonic bore is leavened with a comic exuberance that is irony-free. There is no better place to enjoy this than at Monster Ronson’s Ichiban Karaoke Bar in the still-raw neighborhood of Friedrichshain. Monster himself — a k a Ron Rineck, a 32-year-old American expat decked out in a Mohawk, suit and tie — greets you at the door and ushers your party to one of the many soundproof karaoke booths. Rineck has been in Berlin almost since the beginning. His story is one of the weirdest, but it’s also emblematic of how much Berlin has changed, and how much it has stayed the same.
Monster hails from Salt Lake City and, while visiting Berlin on the invitation of a German pen pal that he barely knew, decided to move here in 1999. He remembers those pioneer days fondly. "I lived on my savings, $7,000, for two years,” he says. "And I lived like a king.” Then, with his last remaining dollars, he bought a used karaoke machine and moved with it into his station wagon. "Within six months,” he recalls, "I was getting paying gigs in squat houses all over Europe.” The bar was a natural evolution. His biggest challenge these days is trying to live inside the law. Especially vexing is Berlin’s new indoor smoking ban that went into effect on the first of the year. "If the rules get any stricter, I’m going to have to leave this city,” he says, frowning. Suddenly he brightens: "I hear Kiev is nice.”