Impressive energy and high speed.
Why the Friedrich Christian Flick Collection came to Berlin.

On January 09, 2003 the Stiftung Preußischer Kulturbesitz, die Staatlichen Museen zu Berlin and Friedrich Christian Flick signed a contract which brought the Friedrich Christian Flick Collection for a minimum of seven years to Berlin as of 2004.The same day the involved parties announced the decision at a press conference which attracted great attention, nationally and internationally.

Christina Weiss, minister for education at the chancellery, Klaus Wowereit, the mayor, Klaus-Dieter Lehmann, president of the Stiftung Preußischer Kulturbesitz at that time and Peter-Klaus Schuster, former director of the Stiftung Preußischer Kulturbesitz emphasized in their statements the importance of the collection for Berlin.
The signing was precede by several encounters. But after the Rieckhallen, a former shipping company building next to the Hamburger Bahnhof proved to be the perfect location, the crucial points of contract became soon quite clear:
Friedrich Christian Flick place the collection at disposal at no charge and accepts the full building costs on the amount of approximately 7, 5 million Euro. The Hamburger Bahnhof bears the operating expenses. Curator of the first show in fall 2004 will be Eugen Blume, chief curator of the Hamburger Bahnhof, together with his curatorial department.

Retrospective three reasons took Friedrich Christian Flick to the decision to present his collection in Berlin: ”The impressive energy and the high speed of the interested parties pursuing the project. The ideal determining factors of the Hamburger Bahnhof and of course the pleasure that the collection will find a public setting after years in the storage.”

Friedrich Christian Flick sees his collection as a perfect addition to the collection Marx and Marzona and their works by Beuys, Pop-art or Arte Povera. Flick: the combination of the three collections, combined with the Picasso-Matisse-Klee-collection Berggruen, will provide Berlin a special position in the range of the cultural capitals worldwide.

Particularly Friedrich Christian Flick thinks that Berlin is the ideal location for the collection. Flick: “Berlin is not settled yet. Insofar is the art I´m collecting comparable with this city. Both are disrupted, scarred, less beautiful then interesting, full of contradictions but intensive.”