It was October 3rd. And because it was a public holiday and the Berlin Pergamon Museum had finally reopened after a long break, quite a few visitors strolled through the halls. And now one of them took out a bottle of oil, a spray, whatever, and sprinkled it on works of art. Not one or two, but dozens. And the same – or different – perpetrators did this on the same day in the neighboring houses on Museum Island, in the New Museum, in the Old National Gallery. And neither the visitors nor the security guards notice anything.
Surinder Kaur, 42, is the owner of “AVI Hair and Beauty Salon”, an expert in hair removal of all kinds and currently also a gallery owner, albeit involuntarily. The street artist Banksy immortalized himself on the wall of her shop on Rothesay Avenue, Nottingham with his latest work: a girl in black and white dancing the hula hoop with a stolen bicycle tire.
SZ: Graffiti on house walls: is that art or can it be removed?
Surinder Kaur: To be honest: When I saw the work, I was initially slightly shocked. But that changed when I found out it was a real Banksy. I am proud now. So yes: graffiti is art.
A Banksy piece on the wall of your own shop, that’s good publicity, isn’t it?
Hundreds, maybe even thousands, of people come every day to see the graffiti. It’s almost overcrowded. But it makes me happy to see that they like the picture, especially now that Corona is bothering us so much.
So if it were up to you, Banksy could easily paint house walls in Nottingham.
Oh yeah! Hopefully the work will stay with us for a long time. In any case, the city has already put a transparent plastic disc over it to protect it from vandalism.
Banksy is not the first sprayer to have immortalized himself on this house wall.
No, but he’s the first artist.
Have you already adapted the offer of your beauty salon to the hype? I’m thinking of nails, for example, manicured in the Banksy look …
I specialize in waxing and threading, so unfortunately not a nail expert. But actually a good idea!
Do you have to work at all when you have a real Banksy on the wall?
Well, unfortunately I only rented the business premises in this house.
The subject of the biopic is Michelangelo at 40, in his relationship with sin, family, power, hell, all that. The artist is hairy and epileptic, angular and lousy, bony and dusty (the sculpture and the paths that lead to Rome, it digs and it makes a lot of dust), tortured everywhere except the cock (his homosexuality is only ‘hardly suggested). He has a pointed brown beard, as in the portrait of Jacopino Del Conte, but is it because the director, Andrei Konchalovsky, is Russian, because he was once on the set ofAndrei Rublev, because he filmed in his youth characters from Turgenev and Chekhov, or simply because he frames with a knife, in light diving, the chiseled and deceptively toothless mouth of the Italian actor Alberto Testone, clear eyes rolling their marbles and jawbones under pressure? He looks like a Russian pilgrim or a mad Tsar, like Ivan the Terrible. Michka the Florentine, then. Or, if you prefer, Alberto Test (ostér) one.
The action takes place roughly between 1512 and 1520: between the reluctant presentation to Pope Julius II of the ceiling of the Sistine Chapel and the moment when, like Buridan’s donkey, the character and opportunist genius, forced by political circumstances , comes and goes between two blocks of marble: that of the successor of Julius II, a Medici, who pays him to create the facade of the Basilica of San Lorenzo in Florence, and that of the parents of the late Julius II, the Della Rovere, enemies of the Medici, who pay him to complete the tomb of the dead.
Michelangelo, as we know, will do neither. His embarrassed letters to each other show how much he had to praise (1). In the film, he ends by saying, gesturing like an albatross on the bridge: “Money always rubs shoulders with infamy.” And art too. To try to get out of it, after having come to a stop in front of a girl’s head, a boy’s foot, an imaginary tentacle, he asks for advice from the ghost of old Dante, who appears in a red costume, as in a painting. by Gustave Moreau, before melting into the night of a cave and the smoke bombs.
In a poem, Michelangelo summed up the atmosphere, at once violent, corrupt and conducive to art, in which he worked: “In so much serfdom, and so much disgust / full of false thoughts, at great peril / of my soul, here sculpting divine things.” The threatening rivalry between the Italian duchies, the ingratitude of his own family which lives on its hooks, the desire above all to do a work that goes beyond all this misery and the possible, all this leads our man to Carrara, where is the best stone; and here is, finally, the real hero of the film: an enormous block of marble, such as the tailors have never transported, and which everyone calls the monster. Konchalovsky makes several fixed and slick shots, all in vanishing lines, of the men stopped around this thing that it is a question of moving, of rolling down the slope, of transporting, and suddenly, we understand: this a block so white, so enormous, so disturbing, so inaccessible, this block which will ultimately lead to nothing is Moby Dick, the marble sperm whale.
Michka turns around, beard pointed, like Ahab with his harpoon. The beast crushes a man, then another, causes the murder of the blacksmith who had made the hooks at a discount, ends up stranded facing the sea, the artist not obtaining the right to embark it. The filmmaker is inspired by several letters from Michelangelo, for example that of September 13-14, 1518: “As for the marbles, the column I extracted is down the canal, fifty fathoms from the road, safe. Getting her down was a more difficult operation than I thought. A man was injured taking her down; another broke his neck and died on the spot; As for me, I almost died there. “
In Rome, we also meet a televised Raphael double, an elephant from India, an obese and diabetic pope ripe for the Covid, shady priests, shaggy people. In all things, the film follows Michelangelo’s life fairly closely, but it does so like a medieval television series or comic book. roots, one of those albums of images in which neither a pustule, nor a mucus, nor a rat, nor a jerk, nor a grin, nor a line, nor a severed head is missing. Our children have seen others.
(1) Michelangelo. Selected match, presentation, translation and notes by Adelin Charles Fiorato, ed. Klincksieck, 552 pp., € 25 (ebook: € 16.99).
Michelangelo d’Andreï Konchalovsky with Alberto Testone, Jakob Diehl, Francesco Gaudiello… 2 h 09.
The box comes with the truck. She is pounded at the feet of the newly married couple with the sentence: “Here is her house.” The rest is slapstick. The silent film (1920) with Buster Keaton in the lead role of a craftsman who is not fit for a craftsman tells of the failure of the do-it-yourself principle. First it rains through the roof, then the house cannot withstand the wind and becomes a carousel – finally the couple flees. Leaving behind a pile of boards that looks like it’s gotten into the chopper. Including a declaration of surrender: “for sale”.
If you want to transform Enzo Mari’s thinking and work into a picture, then it is this: The Italian designer, object artist, lecturer, theorist and almost communist, who died this Monday at the age of 88, has this surrender, unlike many of his Companions never accepted. Most importantly, he never sold himself.
What doesn’t last at least a hundred years is no good
His legendary project “Autoprogettazione” (freely translated: do it yourself) from 1974 is therefore also a direct response to Buster Keaton and the eternal failure of the world of things. Mari wanted to reinterpret this failure as an act of self-empowerment. But that’s why he soon came to the conclusion: “I work for the factory, not for the boutique.” For the factory, but above all for the people. His project: In return for the postage reimbursement, you could receive instructions from him for making simple furniture yourself.
This is furniture that can only be made from raw wooden boards with the help of a hammer and nails. In this way, the designer wanted to raise awareness of things. Once he said in a similar way: What does not last at least a hundred years is no good. And what you cannot do yourself in case of doubt is nothing. This way of thinking, thing-friendly, people-friendly, surreal, does not fit into a time when more and more goods are being manufactured faster and faster, which are becoming more and more fashionable, to be faster and faster – to be replaced more and more quickly. It’s like the Buster Keaton carousel: a trap.
When the concept of sustainability was still attributed to forest science, Enzo Mari was already lecturing on it. He was a sharp critic of a design that made a monkey. So he said, “Design is dead.” For him, good design was something like this: sustainable, durable, unpretentious, usable, affordable. And yes, not least beautiful. Because in the end, but that is now a sentence by Hans Kollhoff, the things we love are also the things we keep.
His furor was directed against a world of appearances that would be obliged to be
Born in Piedmont in 1932, Mari studied literature and art in Milan in the 1950s before turning to industrial design. Inspired by the Arts and Crafts movement, Mari founded his studio in Milan, still a world hotspot for design in addition to the Corona hotspot. Alongside Sottsass, Mendini, Castiglioni and De Lucchi, Enzo Mari is one of the most influential Italian designers.
The fury of the great grumbler was directed against a world of appearances that was nevertheless committed to being; and against a longing for beauty that exhausts itself in confusing the beautiful with the new. Which did not prevent him from inventing particularly beautiful things. What you can count on the stackable canvas chair “Delfina”. And the inclined litter bin “In Attesa”. That can be translated as “in expectation”. There is no wastepaper basket in which one would rather throw useless things with the casualness of Michael Jordan. The estate of Enzo Mari is not one of them. In 2016 he announced that he would bequeath his work to the city of Milan – on the condition that it would not be shown for 40 years. The design world is not yet mature enough for this. We are waiting. Enzo Mari is not only left with his work, but also with his idea of a better life.
Barcelona has since last week a new space dedicated to photography by the hand of the Mapfre Foundation, which opens its KBr Photography Center through thick and thin. An area that is located at the base of its mythical tower that crowns the skyline Barcelona since the 90s and wants to create a new axis that brings culture closer to the area of Olympic port, developing one more base for the photo in the city.
KBr wants to create a community and provide the appropriate setting for the existing one to concentrate part of its activity, as indicated by the start-up of ties with photography schools, festivals and image managers. A necessary commitment in the Barcelona and Catalan environment, which is expanded with 1,400 m2 dedicated to exhibitions, auditorium and pedagogical room.
The bright environment that welcomes the center is mostly occupied by a specialized bookstore, an initiative of the gallery owner Juan Naranjo. In it you can find both classics of the image and emerging authors, publishers of all kinds or even self-publishing. A very personal selection but, at the same time, that gives a good account of the fertility of the format. At his side, a consultation space in which to be able to enjoy the copies that are made available to the public helps to understand the paused time invited to visit KBr.
The large exhibition halls unfold on the first floor. Without neglecting the general horizon of the center, focused on the great classics, in the second room there will be exhibitions linked to current affairs or re-readings of his own collection, as well as to show the conclusions of the experiences of joining forces with photography schools.
To start its journey, two indisputable figures in the history of technology have been chosen, such as Bill Brandt y Paul Strand. An extensive retrospective for the first and a curator rereading the Mapfre collection for the second are the first steps in this new center.
Ramón Esparza would curate the appointment of the cosmopolitan man of the world that Bill Brandt represents. Vienna, Paris, Madrid, Barcelona and London are some of its environments, and its close contact with the great artistic personalities of the moment makes your production turn to the creative. His documentalism, based on daily visions from the staging of reality, emanates from his works. The panorama that the exhibition outlines reflects a vital journey towards the strange, the peculiar, with a clear mysterious component. Especially remarkable is the wall composition of his series on the eyes of artists, a dismembered and complex staging of the gaze of the great creators of his time. Equally interesting is the part dedicated to the nudes and nature. Compositions and approaches contrary to logic, with their parallels in the forms that lead him to photograph the human body and the different textures of the stones in the same way.
The retrospective thus gives us a Bill Brandt creator of images but comfortable in all areas of the process, combining the construction of the scene, the acting direction or the post-production of the photo.
He Montezuma plume that López Obrador has brought back to the present day is preserved in the Anthropological Museum of Vienna and has been claimed by Mexico since 1991. The fan of quetzal and gold feathers, in the state of great fragility, symbolizes the maximum power of Ancient Mexico which ended with the Spanish conquest in 1521 and also the alleged looting of their wealth.
It has been for years the jewel that the authorities have longed to repatriate for 2021, when the celebrations of the 700 years since the founding of Tenochtitlán, 500 years of the conquest and 200 years of independent life.
It’s about a ceremonial fan with 68 pieces of 24 karat gold, 400 quetzal feathers and a war shield that represents power and wisdom in the Nahuatl cosmogony. History points out that the plume belonged toMoctezuma Xocoyotzin (1466-1520), the emperor who received Hernán Cortés in 1519.
According to versions Let them be consulted, Moctezuma gave the plume to Cortés, who gave it to King Carlos I of Spain and V of Germany, or Cortés stole it along with the baton, the coat of arms and the ruler’s pennant.
The Elgin Marbles have been pitting the Greek government against the British for years. The controversy reached a new high point with Brexit, as it was rumored that they would be within the agreements between the United Kingdom and Europe. Nothing is further from reality. The director of the British Museum, where they have been found since the last century, was in charge of denying it with controversial statements in which he affirmed that taking the valuable pieces of the Parthenon had been a “creative act.”
The coveted 2,500-year-old pieces were part of the interior frieze that ran through the temple of the Acropolis. An Italian sculptor and his assistants, paid by Lord Elgin in 1802, separated the parts that seemed most beautiful to them during the Ottoman rule of Greece. The sculptures show the procession of the Panateneas: 378 human figures accompanied by 245 animals.
In the new Acropolis Museum, located a few meters from the Parthenon, you can admire the frieze, that is to say a small original part and the rest plaster copies of what is exhibited in London.
Bust of Nefertiti
On December 6, 1912, the 3,300-year-old bust of Queen Nefertiti was found by German Egyptologist Ludwig Borchardt while excavating the ruins of the ancient city of Amarna. There the pharaoh Akhenaten and his famous wife settled and also his new cult of the god Aten, in which many see the origin of monotheistic religions.
Borchardt’s expedition was financed by the patron, collector James Simon, who would take care of give the bust of limestone and plaster of twenty kilos and 47 centimeters high to the Egyptian Museum in Berlin, which in turn would exhibit until 1943, when he was transferred to a safe place because of the Second World War, in which Museum was destroyed (1945). During the Nazi regime, he considered returning the piece, but Hitlerhe refused in a resounding speech: ‘I will never give up the queen’s head. It’s a masterpiece a jewel, a real treasure ». After the war, it was exhibited in various Berlin museums until its back to the Neues Museum in October 2009 after the rehabilitation of the building.
Precisely around that time a new episode was experienced in the claims by the Egyptian authorities, although Berlin argues that the piece arrived in the country legally and that its condition is too fragile to transport it. However, Zahi Hawass once again asked for the return of the iconic bust, after information was published in Germany and the US about a supposed “secret document” that ensured that Borchardt “deceived” the Egyptians at the beginning of the last century about the truth of the transfer of the bust out of the country of the Nile.
Priam’s Treasury, the last Trojan war
Heinrich Schliemann was an intelligent German merchant who decided to retire from business and pursue his passion, archeology, and his obsession, find troy. He did it in 1873 in the now Turkish province of Çanakkale, just 4.8 kilometers from the Dardanelles Strait (northwest of the country). During that decade he found thousands of remains from the city’s more than 4,000 years of history. Among all of them, a very special one, known as Priam’s Treasure, composed of more than eight thousand pieces between weapons, gold rings, diadems and chalices.
Much of what this amateur archaeologist discovered in Troy stayed in Turkey, but some went to Berlin. In World War II, after victoriously entering Berlin, the Red Army troops they took the treasure as spoils of war and the treasure ended up in the Pushkin Museum in Moscow.
Disputed by Russia, Greece, Turkey and Germany, the last campaign was launched in 2008 by the Turkish government taking advantage of the inauguration of the Trojan Museum, for the 20th anniversary of the declaration of the ruins as a cultural heritage of humanity by Unesco. The authorities relaunched the conversations with museums around the world who possess Turkish archaeological pieces in an attempt to repatriate them back to their country of origin.
He «Treasure of the Quimbayas» It is a set of gold and tumbaga objects that were part of the trousseau of two tombs of this pre-Columbian culture. It was gifted by the Colombian Government to the Spanish Crown in 1982 and today it is part of the collections of the Museum of America in Madrid, in which it is exhibited permanently.
The problem in this case hardened when, in 2017, the Constitutional Court of Colombia determined that this flow should be reversed with the 122 pieces of gold, silver and copper alloys found in Spain. It was at the request of Colombian citizens in a process started in 2006, eleven years earlier.
And here comes the Ministry of Culture and Sports to explain its position. The first, Spain did not plunder the Treasury from Colombia, This arrived completely legally and thanks to the generosity of the Colombian people and Government in republican times, at the initiative of its president Carlos Holguín. for the role of our country in the arbitration award on the borders between Colombia and Venezuela.
In this regard, from Culture they also explain that “international claims for the restitution of plundered property, such as the Nazi plunder or similar situations with which it has been compared They are the product of illegal acts committed by different countries and institutions». In other words, it would be false for a repatriation to be a repair for an illegal act of plunder, because it was a gift from the Colombian Government.
Recently, in a new book by university professor Pablo Gamboa Hinestrosa, he asks for the Treasury to be returned, which «Means for Colombia what the bust of Nefertiti, in the Egyptian Museum in Berlin, means for Egypt; what the Parthenon friezes in the British Museum mean to Greece; or what the sculpture of La dama de Elche, found in 1897, the most remarkable work of Iberian art, could have meant to the Spanish before the French returned it in 1936 ».
The Spanish Government, for its part, has a web page where it dismantles the accusations regarding its actions with the Treasury. “The ten most frequent mistakes about the Treasury,” is called the page.
The Istar Gate it was originally one of the 8 monumental gates (14 meters high by 10 wide) of the inner wall of Babylon. The name of Ishtar receives it from the goddess of the same name to whom it was consecrated. It was built in 575 BC. C. by Nebuchadnezzar II on the north side of town. It is made up of numerous glazed bricks, most of which are blue in color due to lapis lazuli. The latter are arranged by drawing the silhouette of dragons, bulls, lions and mythological beings.
The remains of the original gate were discovered in Babylon during the German archaeological campaigns from 1902 to 1914. Most were moved to Germany, where the gate was rebuilt in the Pergamon Museum in Berlin in 1930. There are pieces also in museums in Istanbul , New York, Detroit, Boston … As with Greece and the Parthenon, to use the classic example, Iraq continues to claim this wonder of ancient Babylon.
Large European museums such as the British Museum in London, the Anthropological Museum in Vienna or the Quai Branly in Paris hold tens of thousands of pieces “imported” in colonial times. Should they return to their countries of origin?
The president of Mexico, Andrés Manuel López Obrador, wants to temporarily recover several pre-Hispanic archaeological pieces found in Europe to commemorate in 2021 the 200 years of the Mexico’s independence, a political process that was consummated in 1821 after a civil war that ended the Viceroyalty of New Spain. To achieve that goal, his wife, Beatriz Gutiérrez Müller, has made a tour of the continent this week in which he has met with various European leaders in an attempt
When everything goes according to plan for Sharjah, it will soon be able to shed its unofficial nickname “the unknown emirate”. Then it should be called “the previously unknown and now the third most famous sheikdom after Dubai and Abu Dhabi”, especially since the United Arab Emirates consist of a total of seven emirates, four of which are much less known than Sharjah, namely Ajman, Fujairah, Ra’s al- Chaima and Umm al-Qaiwain.
If you have a driver and ask him where Dubai ends and Sharjah begins, he’ll probably point to an inconspicuous bridge after about ten minutes and say, “Here. Sharjah begins after this bridge! ”Then you drive under the bridge and you won’t feel a big difference on the other side.
But soon the streets get narrower, you can tell that the buildings are meaningfully related to each other and were not just pounded out of the ground with dramatic gestures. You see shops instead of flagship stores, yes, you even see people walking on sidewalks, pedestrians!
Sharjah City, it turns out, is, in contrast to the centers of the two better-known emirates, a city that actually functions as such.
Differences to Dubai and Abu Dhabi
So it’s more traditional than Dubai and Abu Dhabi. This also means that alcohol is not even sold in the hotels in Sharjah. There are also no night clubs and bars, no indoor ski slopes, no dinosaur roller coasters and no houses that are anywhere near as high as the one next door in Dubai.
An important thing in common with Dubai and Abu Dhabi, however, is the precarious situation in terms of human rights and laws (see below). Tourists too have to fear draconian penalties in the United Arab Emirates for things that are fundamental rights in Europe. Staying here can be dangerous, especially for homosexuals, women and unmarried people.
What makes Sharjah different from the better-known Emirates is that cultural tradition is maintained here with a view to the future. You can afford museums on topics such as art, history, calligraphy and Islamic civilization, 17 in number, which in the Persian Gulf give the best overview of the time before the oil boom.
Sharjah also holds an annual book fair, the third largest in the world. In 2019, Unesco even named the city the “World Book Capital”.
However, the event did not bring the hoped-for popularity, but international protests, because Hitler’s “Mein Kampf” and other anti-Semitic hate texts were also presented at the fair. Travelers should not be blinded by Sharjah’s cultural flair.
The only luxury hotel in the emirate
Other regular events are the Sharjah Biennale, the largest exhibition of contemporary art in the Arab world, and the Architecture Triennial. Most recently she dealt with urbanism.
It fits well that Sharjah is currently making a few urban planning corrections and tearing down ugly houses in order to build the new Heart of Sharjah district in the center. Interestingly, the idea behind the new buildings will be even older than those that were previously demolished.
Architecturally, it should go back at least to the 1950s, i.e. to the era before oil was found in the Emirates and the region became rich. The Heart of Sharjah is comparable to the reconstruction of the Berlin City Palace: At first glance, it is a historical shell that is to be used for exhibitions and restaurants.
The heart of the project has so far been the hotel “Al-Bait” (“the home”). The emirate’s only luxury hotel was built around four existing historic houses, one of which was the residence of a pearl merchant and another of Sharjah’s first post office.
You have to imagine the “Al-Bait” as a collection of one- and two-story buildings with narrow alleys in between, a cream-colored mini-medina with 53 rooms and suites that is ideally suited to get lost. You are constantly standing in front of some kind of door that opens to magical inner courtyards, sometimes to a historical bazaar that no longer belongs to the hotel, or to another already completed part of the “Heart of Sharjah”.
Sharjah recalls the past
Outside the hotel, Mohammed has taken on the task of showing visitors the area. He is in his early 30s, comes from Egypt and actually wanted to be a footballer.
That didn’t work out, instead he went to Dubai to find his fortune in the tourism industry. But because he didn’t like Dubai after a short time, he looked for it in Sharjah. “Has more heart here,” he says, “is calmer.”
He is currently standing on the promenade in front of the hotel and is pointing to a dramatic building on the other side of the bank, whose architectural style has an oriental-Wilhelmine effect: “This is the dish!”
And where does the next emirate begin? “Do you see the hotel over there?” Asks Mohammed, pointing to a massive structure about two kilometers away. “Ajman begins shortly afterwards,” the smallest of the seven emirates.
Shortly before that, in the “101 Café”, which sells Indian street food right on the waterfront, it is very busy, as is the “Arabian Tea House”, a restaurant serving Arabic specialties, across the street.
“The skyscraper up here,” says Mohammed, “will soon be demolished.” The apartment blocks behind it would also disappear. “If you come back in five years, everything will be ready. Nice old, but new. ”Mohammed is happy.
While Dubai and Abu Dhabi are orienting themselves towards a future that one does not know if it will ever come, Sharjah focuses on a past that is long gone. The third most famous emirate has found its niche in the market.
Tips and information
Getting there: Usually a flight to Dubai, from the airport it is ten minutes by taxi to Sharjah.
Accommodation: “Al Bait Sharjah” (ghmhotels.com), double room with breakfast from 180 euros; “Four Points by Sheraton” (marriott.de), double room with breakfast from 60 euros (as of April 2020)
Safety: The human rights situation in the United Arab Emirates is critical and tourists can also face jail. You should inform yourself well in advance (Auswaertiges-amt.de), extramarital sex (also rape victims are threatened with persecution), pregnancy without marriage, drugs, alcohol, homosexuality, public tenderness, criticism of Islam, taking photos (also via mobile phone) are punishable. for example of public buildings, ports, palaces, bridges and more.
Information desk: visitsharjah.com
This article was first published in April 2020.
Participation in the trip was supported by “Al-Bait Sharjah”. You can find our standards of transparency and journalistic independence at axelspringer.de/unabhaengigkeit.
Each copy of IWC’s pilot’s watch had to go through a 44-day test program for “Navigator Wrist Watches” before delivery.
In vogue today, just acceptable tomorrow and out of fashion the day after tomorrow: In our fast-moving times, this rule applies to many products. Things are completely different with real classics. In the case of Haute Horlogerie, a look at the date of birth helps. Wristwatches that have been successfully asserting themselves on the market for decades have on the one hand an apparently remarkable charisma and on the other hand they definitely have a flair of something special.
Compared to stocks, wristwatches don’t deliver a dividend. At least not in hard cash. But the value of having a conspicuous companion on your wrist every day should not be underestimated. Therefore, higher acquisition costs also pay off, because over the years or decades a return on investment is definitely beckoning. For some of the classics that we will be introducing this week and next, prices have doubled over the past 25 years.
The “Mark 11” pilot watch from IWC (* 1948)
From 1948 the pilot’s wristwatch took to the skies. Not only military pilots entrusted their precious time to the legendary “Mark 11” from IWC, but also captains of civil airlines. The Schaffhausen manufacturer IWC incorporated its relevant experience into the design of the movement and case. This also included magnetic field protection for the 89 caliber. In addition, each copy had to go through a 44-day test program for “Navigator Wrist Watches” before delivery.
No wonder that the Mark 11, discontinued in 1984, became an expensive cult watch. In 1996 its successor made its debut with the automatic caliber 889 from sister company Jaeger-LeCoultre. In steel, around 2000 euros were due for this. Because 36 millimeters are not for everyone, the legendary pilot’s watch has grown over the years. At the beginning of 2016, the Mark XVIII, which had grown to 40 millimeters, was launched with a stainless steel shell, non-magnetic soft iron inner case and reliable automatic caliber Eta 2892-A2 for 4490 euros.
The manufacturer is currently equipping the reference IW410101, which is available for 4550 euros, with the 35111. Its rotor tensions the mainspring in both directions of rotation. The Sellita SW 300-1 serves as the basis.
Conclusion: traditional cult watch that continues to remind of airy cockpits and adventures high in the air.
The Reverso by Jaeger-LeCoultre (* 1931)
When the going gets tough, the resistant metal side moves upwards with a simple twist.
Colonialists playing polo in India complained to César de Trey that the crystal glasses on their wristwatches broke all too easily. The Swiss watch dealer tackled the problem together with Jacques-David LeCoultre, Edmond Jaeger and the French engineer René Alfred Chauvet. The latter created a reversible case that debuted in 1931. When the going gets tough, the resistant metal side moves upwards with a simple twist.
Since its rebirth in 1983, Jaeger-LeCoultre has produced countless versions of the Reverso. The classic still has a closed and a glazed side, only time hands and a mechanical interior. Twenty years ago, men valued the steel “Reverso Grand Taille” with a hand-wound form movement for around 3200 euros.
If you don’t like it too big, today the “Reverso Classic Medium Small Second” made of the same case material can be strapped to your wrist. Equipped with a reliable manufacture automatic, the investment for the reference 243.85.20 is 6100 euros. Conclusion: The motto “If you have time for someone, don’t look at the clock!” Is very easy to follow with the “Reverso”.
The Max Bill von Junghans (* 1962)
Clear and factual
Max Bill called the design a “product form”.
The philosophy of the architect, sculptor and product designer Max Bill, “to create the useful, the modest in a beautiful way”, was expressed in a series of four wristwatch dials in the early 1960s. The order came from Junghans in Schramberg. The publicist and university professor also influenced the design of the housing.
These clearly and objectively designed timepieces demonstrated what Max Bill called “product form”. In 1962 they went to specialist dealers for around 75 marks. The comeback of these design icons almost 20 years ago turned out to be a real stroke of luck. The steel hand-wound model with a diameter of 34 millimeters and the Eta caliber 2801-2 was available for around 250 euros at the time.
Since then, “Max Bill by Junghans” has been an integral part of the collection. The unchanged version with Eta hand-wound movement and domed Plexiglas currently costs 625 euros. In addition to the classic bright dial, versions in gray or blue are also available.
Conclusion: traditional name, puristic design and robust mechanics for remarkably little money.
The Lange 1 by A. Lange & Söhne (* 1994)
The multi-award-winning watch built a bridge between tradition and innovation.
After a compulsory break of around 50 years, A. Lange & Söhne started up again in 1991. In 1994 the new old noble manufacturer in Dresden presented its first modern collection. The multiple award-winning Lange 1 bridged the gap between tradition and innovation. The former represent a three-quarter plate, hand-engraved balance cock and jewels set in gold chatons. A double barrel, power reserve indicator and 72 hours of autonomy stand for innovation. In addition, there is the patented big date display, which gives the asymmetrically designed dial a special charm.
Anyone who acquired a Lange 1 in the early years can be happy. The yellow gold version equipped with the Glashütte hand-wound caliber L901.0 was available in 1996 for the equivalent of 13,800 euros. The newly developed hand-wound caliber L121.1, which can only be recognized when looking through the transparent back, has been ticking away in this German classic since 2015. The successful dial architecture and 38.5 millimeter case diameter, however, have remained the same. The price for the reference 191,039 in yellow, red or white gold is currently around 32,000 euros.
Conclusion: Saxon watchmaking for people with a great sense of time and a desire for craftsmanship.
More: Time is money column (13): Classic watch as an investment.
EA global pandemic, a world-changing choice: The “literary world” wanted to know what that means for writing. An international survey among writers.
What to write about in these highly political times – and how? We wanted to know what politically thinking writers are currently doing. July Zeh, Salman Rushdie, Viktor Erofejew, Ingo Schulze, TC Boyle and many more answered.