Armin Chodzinski, Sven Kalden, Michaela Schweiger, Binelde Hyrcan, Johanna Kandl, Thomas Ravens, Ingeborg Lockemann, Anna Jermolaewa, Stefan Panhans, Gunter Reski, Heidrun Holzfeind, Roswitha von den Driesch and Jens-Uwe Dyffort, Timm Ulrichs, Simon Mullan a. o.
The exhibition project revolves around the concept of value as an economic, social and technological construction: What has value for us and how can values arise?
Can strategies of economic action be taken up and models of counter-economies and value creation be developed? How do unpredictable events affect value schemes?
The exhibition will present projects that deal with contemporary economic value systems and seek to explore the possibilities for human decision-making within these systems.
At the end of the year, Schloss Biesdorf is showing a retrospective of the important contemporary Spanish artist Gustavo. A characteristic feature of his painting are the colourful whimsical figures he captures on canvas in absurd and comical situations.
30 years after the fall of the Berlin Wall, photographer Sophie Kirchner, born in 1984 in East Berlin, asked East Germans to show her what they had bought with their welcome money. She visited them at home and asked them to remember what they were thinking back then. Above all, she says, it was a very personal attempt to talk to contemporary witnesses of those transformative years.
For us children of the Wende – I was also born in East Germany in 1984 – two narratives collide when talking about the Wende: the eloquent narrative about the successful reunification and the stroke of luck.
Reunification and the stroke of luck of the Peaceful Revolution, which we know from the media and history books, on the one hand. And the taciturn complaints about an "Anschluss" or the "appropriation" of a vanished, vaguely missed state that we know from the rare comments of our parents.
But two feelings also collide: namely, on the one hand, the feeling of being uprooted, of being different. And on the other hand, the feeling of having been fortunate: the happiness of freedom – a privilege to which we are particularly sensitive because we know that nothing can be taken for granted.
Sophie Kirchner's photo series "Dreams from Paper" is therefore not simply an inventory of the longings and hardships of East Germans. It is a dialogical work that succeeds in making the act of the act of remembering itself visible, if you will, legible. On the one hand, she stages the objects. On the other, she portrays their owners at the very moment when the memory of the the memory of the Wende era is particularly present through the long conversation with the photographer.
Excerpt from "When the D-Mark fell from the sky" by Christian Gesellmann