Palast der Republik
Thomas Demand: Fotoecke
2009, c-print / diasec, 180 x 198 cm
Demand found the source photograph for “Fotoecke” in a reportage in “Der Spiegel”, where it illustrated a story about a political prison in Gera. According to the story, the guards poisoned the political prisoners by photographing them repeatedly from the front while exposing them from the back to strong radiation from an X-ray camera. These accusations only emerged a decade after the prison closed, when it was revealed that the former prisoners in Gera suffered from a higher than average rate of leukemia.
Neša Paripović: N.P. 77
1977, video, without sound, 22:35 min, courtesy Trajkovic Collection, Belgrad
A camera follows the artist Neša Paripović on a walk through Belgrade in the summer. Walking swiftly and without being perturbed by obstacles or boundaries he explores the city from a park on its fringes through the suburbs and centre and back to the outskirts. Paripović climbs over fences, scales walls and slides down drainpipes on his seemingly single-minded path always leading straight ahead without any deflection or deviation.
A project by Gabriele Dolff-Bonekämper
Last summer, the probably most famous furniture of the reunification era was found in a storage room in Pankow: tables and chairs from the central Round Table. Table tops and chairs, stacked and piled up, dusty, full of cobwebs. Over the years, this storage construction solidified into a sculpture, “Sturzlage”, which will now be transferred to Haus der Berliner Festspiele. It will refresh our memory of the Round Table as the most important place of negotiation during the year of the turnaround.
Die Wand der Wende. Alles knorke! /
The Great Historic Wimmelpicture
Bahro, Bohley, Wolf, Kohl, Reagan, Stalin, Honecker, Belafonte ... it’s teeming with icons of the turning 80s and more recent people whom the artist and illustrator Felix Grütsch, who lives in Vienna, gathers on a painting because (as we have been assured) there is no wall left in Berlin. A snapshot of the fall of the Berlin Wall as a pop-like affirmative mural that links the protagonists, situations, and motivations that shaped this brief moment of collective redemption in a collage-like and associative way.