Introduction to a Legendary Artwork
Anyone who was in Berlin in the summer of 1995 will probably remember it for the rest of their life: the Reichstag, the seat of the German Parliament, disappeared. Not blown up, not torn down, but completely wrapped in silver fabric and bound with thick ropes, almost like a gift. A crazy idea? Perhaps. But also one that has made history.
The Masterminds Behind the Project
Behind this spectacular campaign were two artists who repeatedly surprised the world with their short-lived mega artworks: Christo and Jeanne-Claude. Their vision of a packaged Reichstag was great, brave – and it took 23 years to plan.
A Special Anniversary Year
2025 is a real anniversary for fans of Christo and Jeanne-Claude. Berlin marks the 30th anniversary of the "packaged Reichstag" with a light installation projected from June 9th to 22nd onto the west facade of the Reichstag building. Other cities around the world appreciate the work of the couple: Paris is reminiscent of the wrapping of the Pont Neuf, which took place 40 years ago, while New York was the 20th anniversary of "The Gates", an installation in Central Park with thousands of gates, on which fabric panels were lit with the fabric panel. And above all, both artists would have become 90 this year: they were born on the same day, June 13, 1935.
The Artists’ Background
Christo was born in Bulgaria and later fled from the Communist East to Western Europe, first to Prague, then to Vienna, Geneva, and finally to Paris. There he met Jeanne-Claude in 1958 – she was French with roots in Morocco. The two became an unbeatable team. Christo was the artist, Jeanne-Claude the organizer, which both saw as the same partner, and later officially signed all projects together.
The Specialty of Christo and Jeanne-Claude
Their specialty was huge, spectacular art installations in public spaces. They wrapped bridges, buildings, or entire coastal strips, stretched gigantic curtains by valleys or kilometers long. None of this was permanent, all self-financed, without advertisers or sponsors; the money for the projects was generated only by selling drawings, collages, and designs.
Wrapping the Reichstag: A Long Waiting Time for Approval
The idea of wrapping the Reichstag in Berlin was born in 1971 – in the middle of the Cold War. At that time, the Reichstag was right next to the Berlin Wall. It was a symbolic building, but was not really used. The headquarters of the then Federal Republic of Germany was still in Bonn, and the Bundestag (the German Parliament) only moved in 1999 with its characteristic glass dome, which was redesigned by the architect Norman Foster. Christo and Jeanne-Claude were nevertheless fascinated by the symbolism and the historical role of the building. Again and again, this place was the scene of significant moments in the history of Germany, during the German Reich, the Weimar Republic, the "Third Reich" of Nazis, and the Second World War, the division of Germany after the war, and later reunification.
The Realization of the Project
But a work of art like this required permission – and that took a long time. It was not until 1994, after more than 20 years of discussion, that the Bundestag finally gave its approval after a strong debate. And this paved the way to one of the most impressive art projects of the century. After all, the Reichstag in June 1995 was completely packaged in over 100,000 square meters of silver fabric and 16 kilometers of rope. The packaging lasted several days and was followed worldwide.
A Silver Dream in the Middle of Berlin
The packed Reichstag appeared soft, shimmering, mysterious, like a work of art in the middle of clouds. From June 24 to July 7, 1995, over 5 million people came to Berlin to watch this spectacle with their own eyes. It was like a huge public festival: people were on the grass, took picnic, took photos, and discussed them. Many people who later experienced the work said they never looked at the Reichstag as intensely as in these two weeks.
The Meaning Behind the Wrapping
On the contrary, Christo and Jeanne-Claude did not set off to hide a building. They wanted to have a new experience for it. The packaging removed everything superficially. They could no longer see the details, only the shape, the silhouette, the volume. And above all, this artwork was also short-lived. After two weeks, the magic was over, the fabric was broken down, and there was no trace. Only memories. For the artist couple, this ephemeral was a central part of their work. "The beauty is in comparison," they often said. You should enjoy the moment because you know that it will be over soon.
A Political Symbol or Not
Although the Reichstag is a political symbol, the artwork itself should not be political. Christo and Jeanne-Claude did not want to dictate an opinion. They wanted their art to be an open space for thoughts, feelings, and interpretations. Nevertheless, many people saw wrapping as a strong political symbol: for changes, for reconciliation, for a fresh start. This had a special effect, especially in reunified Germany.
The Legacy Lives On
Jeanne-Claude died in 2009, and Christo in 2020, but their art lives on in photos, memories, exhibitions, and now also in a special anniversary year. The packaging of the Reichstag was not only a masterpiece of logistics and aesthetics, it was also a moment of collective fascination. It showed what art can achieve in public spaces. It can surprise, connect, challenge. And it can just surprise people. Or, as Christo once said: "Our works are not one of them – and at the same time to everyone."
