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BERLIN: "What New York was in the '80s. Berlin is now," says Nadja Vancauwenberghe, the French editor in chief of an English-language magazine in Berlin: Exberliner. "That's the cliché." And she shakes her head and smiles.
"The reality," Maurice Frank, the Exberliner's publisher, chimes in, "is that rents here are a third of what they are in Paris or London."
The two of them are trying to explain why Berlin has emerged as the creative capital of Europe, if not the world. "It's cool, it's cheap, it's international," Vancauwenberghe says.
"But it's kind of a feedback loop at this point," Frank adds. In other words, the people who are immigrating now are not drawn by Berlin, but rather by the cliché, the mystique that has grown with immigration - and they are finding it in the city's vast expatriate population.
"The reality," Maurice Frank, the Exberliner's publisher, chimes in, "is that rents here are a third of what they are in Paris or London."
The two of them are trying to explain why Berlin has emerged as the creative capital of Europe, if not the world. "It's cool, it's cheap, it's international," Vancauwenberghe says.
"But it's kind of a feedback loop at this point," Frank adds. In other words, the people who are immigrating now are not drawn by Berlin, but rather by the cliché, the mystique that has grown with immigration - and they are finding it in the city's vast expatriate population.
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According to Robert Goff, of Goff + Rosenthal, one of the first New York galleries to open a Berlin branch, "the low rents have made Berlin the art-production capital of Europe. At least half of the young artists I meet in New York are seriously thinking about moving to Berlin to work."
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