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For many an archive is an unknown, if not enigmatic place. Frequently used metaphors, such as treasure trove, labyrinth or cultural memory, underscore this emphasis. A special issue of the Journal der Künste is dedictated to the Archives at the Akademie der Künste. Members, researchers and staff tell stories about documents and pieces in the collections in an attempt to make archival work more transparent. The overlying questions are: What is preserved in an archive? And how do these surviving objects shape our perception of what remains of their makers?

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In 1996 the British supermarket chain Tesco took over "Máj", an old-fashioned department store in Prague. In 2009 it was renamed "My". Although both words are pronounced the same, the new name nevertheless opened another field of association. In English "my" refers to an individual; in Czech it means "we". Starting out from this semantic differentiation, Stephanie Kiwitt (Ellen Auerbach Fellow 2016), set off on a photographic search for clues in the streets of Prague.

Relying on materials from international archives, the author documents what "normal" citizens actually did, endorsed and saw. The images and eyewitness accounts reveal far-reaching complicity among perpetrators and followers: here the destructive rage and triumphant jeers of an unbridled mob; there the cowardly curiosity of onlookers. This publication unmistakably shows how 9 November 1938 became the testing ground and starting point of the Holocaust – right before everyone's eyes.

Excerpts from the unpublished diaries illuminate the artistic selfunderstanding and personal thoughts of the young Wieland Förster from his time as a master student to membership at the Deutsche Akademie der Künste (GDR). A document on walking with one's head held high in difficult times. The excerpts are supplemented by an interview with the artist, an essay by Hannes Schwenger and a contribution from Michael Krejsa on the Wieland Förster Archive.

Paul Holz (1883–1938) was one of the most exceptional German illustrators of the 20th century. Nevertheless, he was denounced as "degenerate" after 1933 and has only gained increasing appreciation since 1990. To commemorate of the 80th anniversary of his death, the catalogue presents all works in the possession of Kunstforum Ostdeutsche Galerie in Regensburg, as well as outstanding drawings from the Akademie der Künste, whose art collection is home to the most extensive collection of works by Paul Holz.

At the start of the 1920s, Eduard Erdmann (1896–1958) made a name for himself as a pianist and composer. The present volume is dedicated to his compositional oeuvre, his personality and his contacts to artists in Berlin in the 1920s, such as Ernst Krenek and Hans Jürgen von der Wense. An edition on his correspondence with Artur Schnabel and essays about Erdmann's ties to Riga complete this overview of the artist.

In his essay Structures of Response, Austrian art historian Helmut Draxler examines Adrian Piper's transformation of Minimalism. Her artistic approach has become internationally known through works that critically examine social identities and their representation in media images.

Werner Grünzweig, who has published numerous books about Artur Schnabel (1882–1951), presents the first biography of Schnabel in German with this volume. It honours Schnabel as a performer, composer and theorist. His concert activity, records, publications and lectures have changed our concert life up to the present day.

The Journal der Künste 7 with contributions of: Moshe Zimmermann, Micha Ullman and Matthias Flügge, Francis Kéré, Mathias Greffrath, Kathrin Röggla, Michael Ruetz, Christian Bommarius, László F. Földényi, Karin Sander, Eran Schaerf, Helmut Draxler, Christina Weiss, and much more.

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Winter Service, "Haferkakao" (oat cocoa), Baltic Sea Week and Tanning Cream! In the 1950s, design and advertising content were as varied as the product range of the planned economy was manageable. Twelve more motifs from the poster collection of the Akademie der Künste with short texts by Matthias Biskupek offer insights into the world of GDR advertising graphics.

The "Deutsche Gesellschaft für Ton und Bild" (Degeto) was founded in 1929 to promote cultural films. The character of Degeto changed profoundly at the end of the 1950s when the ARD turned it into a central instrument of film acquisition for its television programming. Rolf Aurich, author and editor at the Filmmuseum Berlin, reviews the first three decades of Degeto's history.

The book is the first to document in text and image all the well-known buildings designed by Hans Scharoun, including his early work in East Prussia. Photographs specially taken by Carsten Krohn, historical photographs and plans from the Hans-Scharoun-Archiv at the Akademie provide a new perspective on this expressive, organic architecture.

This richly illustrated publication presents the special events of the JUNGE AKADEMIE in 2017, including many encounters with Akademie members and new partners. Under the rubric "RetroProSpekt MODERNE", Akademie fellows examined Modernism less as a style fixed in time than as an artistic position. They raised questions about what remains unfulfilled in Modernism, about sustainability and necessary reforms.

As part of the Berlin Fellowship awarded by the Akademie der Künste in Berlin, Dénes Krusovszky (Literature Fellow) and Benjamin Stölzel (Visual Arts Fellow) got to know each other in spring 2017. The poems in this book by Dénes Krusovszky were written as a reaction to selected sculptures by Benjamin Stölzel.

Journal der Künste 6 offers several artists' contributions: a photo series on Silvia Bovenschen; a carte blanche by Monika Rinck; the continuation of the experimental dialogue between Kathrin Röggla and Manos Tsangaris; a story about someone who fled from Syria by Senthuran Varatharajah; a stay in Berlin by Fiston Mwanza Mujila; acoustic poetry, intuitive culture of listening and a contribution on Heinrich Mann and the Akademie from the archive, and much more.

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An extensively illustrated book is published about the set and costume designer Martin Rupprecht's life's work for the stage, which also includes his freelance artwork for the first time. Essays by scholars and Rupprecht's companions reflect his oeuvre and its developments.
Texts by Martin Rupprecht, Julia Burde, Stephan Dörschel, Michael Hampe, Volker Hassemer, Werner Heegewaldt, Nele Hertling, Gerald Köhler, Peter W. Marx, Sabine Sterken, Christoph Tannert, Matthias Zwarg.

The Reader for this season's main topic at the Akademie compiles text essays by curators and protagonists, who introduce the artistic developments of the West Berlin music label FMP and its unique concert events as a dynamic art and music scene in Eastern Europe after 1968, and as an expression of a multifaceted counterculture in Poland, the GDR, Czechoslovakia, the Soviet Union and Hungary.

Journal der Künste 5 will be available in German and English now, providing an overview of the focus of the future programme and information about new acquisitions and finds from the Akademie's archives. With contributions on the Underground and Improvisation and Abfallprodukte der Liebe projects or the Wo kommen wir hin interdisciplinary research project, as well as the lecture My Inner Europe (Cette Europe qui est en moi) by Alain Mabanckou, and the lecture on the Valeska Gert Visiting Professorship by Lia Rodrigues, and much more.

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