Solveig Koebernick is 2005-2007 Michalke Curatorial Intern at the Busch-Reisinger Museum, Harvard University Art Museums. She worked as a free curator and art expert for several companies and municipal institutions in East Germany and is a Ph.D. candidate in art history. During her art history studies at the university of Leipzig she used intensively Berlin's museums and did research for her dissertation in Berlin's libraries and archives.

What brought you to Harvard?

Curiosity about how American museums collect, exhibit and teach art . In particular, my interest is in how the Busch-Reisinger Museum presents German art and art from other German speaking countries. I first saw the Busch-Reisinger Museum in 2004. I was intrigued by the scope and quality of the its collection and the educational concept of the Harvard University Art Museums in general. Accordingly, I applied for the internship because I wanted to gain some real insight by meeting and talking with the people who run such a fascinating museum.

What strikes you as different about Cambridge as compared to Berlin?

Berlin and Cambridge are two different worlds : Social life in Berlin, in particular, the art world, is much broader and diverse. Also, Berlin is more heterogeneous in terms of people who live and work there. Cambridge, on the other hand, is really dominanted by Harvard and the MIT and the students and research scholars that these institutions attract. It has a much more manageable, almost 'family-like' size whereas Berlin is a real metropolis. However, and despite its small size, Cambridge is a surprisingly international city . Also, I met many people who study or work here in Cambridge and also lived or studied in Berlin. It seems that there is something like an invisible tie between these two cities.

How different do you find the museum world in the US?

Both Germany and America have great museums with unique collections. But what German museums could take on from the US in particular is the professional and highly developed fundraising system in US museums. This should not substitute the traditional public subsidy system in Germany, but a professional fundraising focus could certainly become a second pillar for financing German museums and art projects of all kinds. It seems to me that a lot of German museums are still uncomfortable with talking about money. However, one should not look at fundraising in terms of begging for money. Rather, fundraising should be regarded as allowing two equal partners to create a win-win situations, where both museum and sponsors form a profitable symbiosis. Also, the educational system within museums is very different in the US: even if I can only talk about Harvard art museums, I have the impression that they take their interns very seriously. They really look at the internship as an essential step towards a position as a curator. Every intern has the opportunity to take full responsibility for her or his own project, for example an exhibition or a specific research project. Also, the interns actively take part in weekly intern seminars where they learn about the museum's mission, structure and working processes.

What do you miss most about Berlin?

The young contemporary gallery scene. The possibility to stop by in one of the galleries in the Auguststrasse, or Fasanenstrasse, the chance to see young art, to meet one of the artists or the opportunity to meet other people in the galleries. Berlin is the European art center at the moment. So when you are interested in European contemporary art you're really bound to go to Berlin.

Do you have any secret tips about art in Berlin?

By the 3-day 'Museumspass' and you can visit more than 70 museums for an unbeatable price. Another secret: try to get one of the last minute tickets at Berlin's concert halls and theaters. There are much cheaper than normal price tickets. And always show your student ID. That helps to save a lot of money!