BERLIN'S JEWISH MUSEUM OPENS: THE Jüdisches Museum Berlin finally opens its doors this week with the exhibition “Zwei Jahrtausende Deutsch-Jüdische Geschichte,” (Two thousand years of German-Jewish history). Curator Ken Gorbey has assembled over 3,900 objects, among them a decree from the Vatican's collection that refers to Jewish settlers in Cologne in the time of the Roman Empire. To mark the institution’s inauguration, Die Zeit has published a front-page commentary by editor Michael Naumann, formerly Chancellor Gerhard Schröder's adviser on cultural affairs and a key figure in the 1999 debates surrounding Peter Eisenman's controversial design for a Holocaust memorial in Berlin. Also featured is an extensive interview with its architect, Daniel Libeskind, in which he ponders the building's popularity (over 350,000 people have visited the empty “zig-zag” building in the past three years) and considers the power of architecture to shape the experience of history. Klaus Harpprecht, for his part, pays homage to Michael Blumenthal, the museum's director, in “A Magician of Reason.” Blumenthal, the former US secretary of the treasury, was forced to leave Germany in 1939. In a more recent take on history, Berlin's Tagesspiegel features comments by three former directors who shaped the new museum: Vera Bendt, who began the Judaica collection at the Berliner Stadtmuseum in 1979; Amnon Barzel, who headed the collection from 1994-1997; and Tom Freudenheim, acting director from 1997-1999. Lastly, the first review, by Katja Blomberg, has already appeared in the Frankfurter Allgemeine Zeitung online (FAZ.NET).

ARS ELECTRONICA: FAZ has also prepared a special report to cover the 22nd Ars Electronica conference in Linz (, which ran from September 1-6, featuring an overview by Artforum critic Sabine B. Vogel considering its attempts to forge links among art, technology, and society. She also presents works by this year's Prix Ars Electronica finalists. German artist Carsten Nicolai and Slovenian artist Marko Peljhan were awarded the “Golden Nica” for their installation polar, which beat out both bump by the Austrian group association.creation and Remain in Light by the Japanese artist Haruki Nishijima. For those who are still wondering what “media art” might be, an array of answers are provided by the field's top representatives: director of Linz's OK-Centrum für Zeitgenössische Gegenwartskunst, Martin Sturm; artistic codirector of Ars Electronica Christine Schöpf; Austrian media artist Richard Kriesche; and the director of the Ars Electronica Center and Festival, Gerfried Stocker. In the Süddeutsche Zeitung, Uwe Mattheis reconsiders this year's theme, “Takeover. Who will make the art of tomorrow?” and reflects upon the role of media art in relation to the historical avant-garde, artistic creativity, and the market (Read article). Also this week, Libération’s Marie Lechner addresses the debate between Gerfried Stocker and Peter Weibel, the former festival director and current head of ZKM (Zentrum für Kunst und Medientechnologie), who criticizes the festival’s increasing links with commerce and industry (Read article).

BOSCH AT BOIJMANS: The opening of the Hieronymus Bosch exhibition at Rotterdam's Museum Boijmans Van Beuningen has garnered an impressive set of reviews across Europe, partly because the show includes works not only by Bosch and his contemporaries but also by living artists, including Robert Gober, Pipilotti Rist, William Kentridge, and Mariko Mori. NRC Handelsblad's Bas Heijne links the late-Medieval painter's work to the drama of human consciousness. In France, Le Monde's Geneviève Breerette considers the role of contemporary works in the exhibition while Libération's Elisabeth Lebovici adds an interview with Jos Koldeweij, who curated the show with Paul Vandenbroeck and Bernard Vermet. Süddeutsche Zeitung's Hans Jakob Meier offers up a historical overview while the FAZ's Till Borchert calls for a reconsideration of the Bosch chronology and studio works in his article. The exhibition continues until November 11.