The Museum für Kunst und Gewerbe, in addition to being fun to say, is a museum of art and design very much like the V&A (right down to their use of initials with the ampersand). I’ll admit it wasn’t on my initial list of museums to visit since I could go to the V&A any time for free and this seemed like more of the same, but we were forced to book our flight back to London for 9:30 at night because all the earlier flights were too expensive, meaning we had a whole day to kill in Hamburg after checking out of our hotel at the latest possible time (noon. I was watching Frauen Tausch, the German version of Wife Swap, all morning, whilst eating lemon gugelhupf. Don’t judge), and as it was the coldest day of our trip yet, there was no way I was spending all of it outside. So walking around a big ol’ warm museum for a good few hours was starting to look awfully appealing.
Admission to MK&G is €12, or €8 with the Hamburg Card. However, this includes all special exhibits, which works out much better financially than the V&A, which is free but charges anything from £10-£24 for exhibitions, though I have to say that the V&A’s temporary exhibitions seem to be of a much higher calibre generally. At least almost everything here had English translations, except for a few of the temporary exhibitions (including the one I was most excited to see, of course). The gallery immediately in front of us when we entered the museum was a special exhibition on Greek vases (this one did have English labels. Shame I’m not more interested in ancient history) but after that we were a bit confused about which way to go, as we couldn’t actually see any other galleries. Turned out we had to exit the Greek vase gallery from the back of the space, which led to galleries branching out in two directions.
Marcus really enjoys taking photos of silly-looking lions (of which there were many), so he was happy enough, but I wasn’t super interested in most of the Baroque stuff or the Christianity gallery (except for some creepy religious imagery with a skeleton, as seen above), and the exciting sounding hall of mirrors was just a fancy reception room. It wasn’t until we got up to the Modernity and Art Nouveau galleries on the first floor that things started to improve.
And boy, did things improve. Robots! These were actually full-body costumes that a husband and wife dance team created in (believe it or not) 1919-1924. Considering Karel Capek didn’t even introduce the word robot (which had been coined by his brother) to the world until 1920, these were remarkably modern looking, and frankly, awesome! Sadly, their creators committed suicide due to financial hardship in 1924, so the world never got to see what else they were capable of producing.
I normally really like looking at clothing, but the stuff here was fairly run-of-the mill, so instead I’m going to show you this sweet sad little lion dog, above (I have kind of a soft spot for lion dogs), and the set of knight figures from the Art Nouveau section.
The special exhibition I was keenest on seeing (the one that didn’t have any English in it, as I mentioned above) was “Therefore, Vote!” which contained posters for Germany’s first democratic elections in 1919. Fortunately, they were such a bold graphic medium that you didn’t have to be able to read them to understand the messages they were conveying. There’s something really visually appealing about propaganda posters, even grim ones with skulls and dire warnings about the Bolsheviks, which I realise is obviously intentional.
Also upstairs was an exhibition on social design, which I think featured students’ plans for remaking Hamburg (it was hard to tell as nothing here was in English either), and “Pure Luxury” which explored the art of lacquer, though the actual preserved beetles that had been lacquered made me feel sick. The rather hilarious tapestry in one of the other galleries featuring a girl and a blue bowl made up for it though.
The second floor is also home to the far-more-fabulous-than-the-hall-of-mirrors Spiegel Canteen, which is the actual 1969 canteen of the former Spiegel Publishing House. Sadly, you can’t actually go into the room unless you rent it out, so all hopes of having a cheeky franzbrotchen and tea in there were smashed.
After viewing the photography and furniture sections, we headed back to the ground floor to see the medieval and ancient galleries, which we had missed when we were initially down there (you had to pick whether to go to Baroque or Medieval, as the two don’t intersect or lead into each other), and I’m happy we made the effort to see them, because the Wunderkammer room had some interesting artefacts in it, as you might expect from the name. Love a Wunderkammer!
I also liked the creepy disembodied eyes in the Egyptian gallery, and the ceramics part of the musical instruments room (poor ceramic boar head). This museum felt nearly as large as the V&A (though maybe had less on each topic, as the photography section was teeny, and most of the galleries seemed to be smaller than their V&A equivalent), and we were pretty tired from walking around, so we were grateful there were comfy seats scattered around, especially the sofa, below. The general tiredness is also why this post is less in-depth than many of my posts, and more me just pointing out things I liked. I couldn’t be bothered to read much at this point in the trip. Sorry.
There were definitely many cool things in here (those robot costumes, the best!), and I think €8 was certainly a reasonable price for all we saw. I’m glad we came because it was a nice respite from the cold, and even though it was similar in many ways to the V&A, the few galleries that were specifically on German art and design made it different enough that it was worth our while. Apparently, the MK&G used to have a lot more so-called “degenerate art” until the 1930s when the Nazis decided to destroy it all, so it’s sad to think about all the things we were missing out on, but I’m glad at least some of it still survives. 3/5.