The exhibition "Made in Germany: Art and Identity in a Global Nation" and the accompanying lecture by artist Hito Steyerl explore the complex and evolving nature of German national identity in the post-war era, particularly in light of migration, reunification, and globalization.
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welcome everybody I'm am Sarah Gant BL
I'm the Elizabeth and John Moore's cabat
director of the Harvard art museums and
it's just so lovely to have you all
here Harvard University is located on
the traditional and ancestral lands of
the Massachusetts the original
inhabitants of what is known as Boston
and Cambridge we pay respect to the
people of the Massachusetts tribe past
and present and honor the land itself
which remains sacred to the
Massachusetts people this evening we're
celebrating madeen Germany art and
identity in a global Nation on view
until January 5th this timely exhibition
for foregrounds artists from diverse
backgrounds whose work reflect the and
shape conceptions of national identity
and I hope you'll visit the exhibition
after this
evening's program support for the
program is provided by generous funders
both past and present noted here on the
screen and this event is part of art
Thursdays a university-wide initiative
supported by the Harvard University
committee on the Arts it is now my great
pleasure to welcome Lynette Roth curator
of the exhibition and the damler curator
of the Bush risener Museum to the podium
the exhibition we are about to open made
in Germany art and identity in a global
Nation initially originated from an
examination of the identity of our own
museum the bush Risinger Museum one of
the three constituent museums that make
up the Harvard art museums founded in
1903 as the Germanic Museum the bush
Risinger has continually reinvented
itself over the course of its more than
120 year history including changing its
name after the second world war the bush
Risinger thus offers us a unique
position as a museum devoted primarily
to the german-speaking countries in
Europe from which to examine the role of
Art and national
identity taking a fresh look at German
art after 1980 the exhibition made in
Germany features artists from different
generations and diverse backgrounds
whose work complicates Notions of German
identity especially the idea of ethnic
and cultural
homogeneity in fact although it may
surprise many Americans Germany is
second only to the United States in uh
as a destination for immigrants from
around the world a fact that sustains
the country's uh preeminent role as an
economic and Industrial superpower and
and hence um also our play in the title
of the exhibition on the um merchandise
Mark made in Germany uh which we
typically uh use um to denote the
country's reputation in manufacturing
commercial and Industrial
design as the exhibition makes clear
German national identity has been shaped
in the post-war period primarily by
labor migration following the Second
World War
the unification of East and West Germany in
in
1990 and the influx of Asylum Seekers to
the country since
2015 the question mark in the show's
title underscores that our project asks
and this is very important it's asking
us we're we're we're putting uh the
question uh to you um to all of us uh to
think through it asks us rather than
offers ready answ aners to uh who or
what represents Germany
today race migration labor history and
memory are at the Forefront of this
inquiry into German identity the 23
artists in the exhibition and you can
see the names here on the screen address
issues of German history and identity in
a wide range of media film video
photography painting print making
drawing collage and as we'll hear tonight
tonight
installation I would like to extend a
special welcome tonight to artist Henri
nman our guest speaker and also to negot
schomers although I didn't actually see
negot uh just yet um whose work
commuters uh which alludes to the
housing and Refugee crisis is on view in
the stairwell on this
level the exhibition is not organized
chronologically but as a series of CAS
studies which like eens Skin's World
receivers concrete radios um like those
seen here create dialogues across time
and space we encounter for example candida
candida
hur's documentation of the Turkish
population in Germany as a slide
projection as well as cha biller Meyers
2019 film this makes me want to predict
the past which features two young
Turkish German women facing the
realities of racial violence that P
persist in Germany to this
day like Billy or Meer artist T returns
to the archives in her research and
ready-made series on Vietnamese contract
workers to the German Democratic
Republic as seen here in Untitled
everything or
nothing Hy's 1998 documentary film de
the Center layers archival images
interview fragments protest footage and
soundtracks from different historical
periods to link modern-day violence
against foreign laborers non-whites and
non-christians to pre-20th Century
hostility toward migrants in
Germany the works on view Focus
attention on racial ethnic or religious
diversity as in Nevan alod Do's portrait
series best friends but also on
marginalized groups at the very edges of
German Society such as the Aging the
economically disadvantaged and the
unhoused as in scher's conceptual ready
made or Mark brandenburg's intricate graphite
graphite
drawings just as identity is constructed
and reconstructed over time the artworks
on view in our exhibition have often
been made and remade over an extended
period of time early Roo's extensive
lepell or accordion Book houseb House
book details generations of migration
through two homes in the rural former East
East
Germany Hans hak's poster via alas FK we
all are the people which was first
conceived of in
2003 has been reissued for our
exhibition and is available for free to
further disseminate the the message by
displaying it in your schools workplace
places homes and
neighborhoods as part of our
reconsideration of our own museum
identity in the 21st century our
exhibition was also conceived around
recent acquisitions to the bush Risinger
Museum and we do have a few wonderful
loans to the show but the majority of
the exhibition is comprised of recent
acquisitions to the museum and I would
like to thank here our many generous
donors of artwork among tonight Ann and
Graham Gund who gave us Karin vaso's
Monumental painting of what the artist
has called our Collective Global everyday
everyday
life our German Friends of the Bush
Risinger Museum supported not only the
exhibition but helped us make important
additions to our collection a reality
including Katarina Zing's large-scale
screen print on aluminum deuts deutcher
Germany becomes more German support
report like this makes possible our
investment in new artists New Media and new
ideas the aim of Maiden Germany is to
contribute to wide ranging debates on
diversity nationalism and social change
in the face of migration and
globalization by Framing discussions on
racial violence right-wing populism and
ethnically defined national identity
issues that are resonating of course not
only in Germany but also in the United States
States
today when Zing's deutan Vier debuted as
an artwork in public space in
1992 it was in direct response to the
rise in nationalist sentiment and racial
violence throughout what was then a
recently unified
Germany more than 30 years later the
artwork and its message feel just as
poignant in the face of right-wing
electoral gains in Germany and as we
find our ourselves in the midst of our
own election season in this
country in 1992 the Monumental artwork
led to public outcry but also to intense
public debates in the press and in
person the following year the work was
postered all over the newly established
Berlin Capital an initial newspaper
article reporting on deuts verer asked the
question what can our art
do as a University Art Museum and a
vibrant cultural Community here in
Boston but also in connection with
artists Scholars curators students and
writers from around the world we think
art can do quite a lot
indeed our conversations and the leadup
to this project began several years ago
online and on our Instagram at Bush Hall
and have continued in our catalog for
this exhibition and I am so pleased that
several of of our catalog contributors
and colleagues whose interdisciplinary
work complic complicates Notions of
German identity are also here with us
tonight as we continue to explore
narratives around Nation race gender and
identity and art we look forward to
doing so with you this fall in our
Galleries and as part of a wide array of
public programs which will include
Gallery talks tours a film program and
events in partnership with the GU inst insute
insute
Boston I would like now to add my
sincere thanks to Sarah's to our
supporters lenders collaborators and
everyone uh who made this exhibition
possible I also want to take this
opportunity to acknowledge the
incredible team here at the Harvard art
museums I want to thank our incredible
exhibition designer mateline
Albright our registar Francine Flynn and
the division of academic and public
programs especially tyana Fincher who
worked tirelessly on all the program including
including
tonight's thank you also to our skilled
Digital Imaging Communications and
marketing teams especially John Connelly
and Tara metal and the editor of our
beautiful catalog Sarah Kushner and
designers Angela Lorenzo and Adam sharkowski
sharkowski
the Myriad challenges of the
exhibition's installation and you'll
understand what I mean once you've seen
the show we're skillfully managed by our
expert exhibition present production
team under the leadership of Karen
GA and our conservators especially
Angela changen Tatiana Cole and Nicole
Leo and finally I extremely grateful to
my own curatorial team staff assistant
Marvin Smith and Senior curatorial
assistant Bridget hin who really kept
everything impeccably on track and we
couldn't have done it without you and of
course I am ever grateful to my
co-curator co-curator of the exhibition
Peter Murphy Stefan engelhorn curatorial
fellow in the bush Risinger Museum congratulations
congratulations
Peter I couldn't have done it without [Applause]
you
sorry Peter always says I don't get
sentimental but here I am so um and now
I am very pleased to turn over the
podium to our our special guest tonight
berlin-based East German born artist henrique
henrique
nowman in video works and installations
of Furniture and Design objects from the
1980s and 1990s she has examined the
transformation of the German Democratic
Republic that marked her formative years
namely the introduction of consumer
capitalism to the former socialist East
and the rise of Neo-Nazi
extremism nowman is a 20 2425 fellow at
the Berlin artistic research program and
her installation ostel from
209 is prominently featured in our
exhibition made in Germany we look
forward to hearing more about her work
and her artistic practice tonight in her
lecture performance entitled
oifc please join me in welcoming to the
[Applause] [Music]
orifices oifc to describe what has
happened in East Germany since 1990
this medical term translates
as the process by which cells become
bone or by which bones heal after
fractures ma uses the term to describe
the hardening of differences between
East and West Germany in the last 35
years ossification is a good word for
that as it has Aussie in it the word
used for East Germans why West Germans
were called
vessie Stefan ma diagnosis of horific
follows the fractures of the 1990s the
transformation phas is over and the
inequalities have become permanent not
just in terms of politics income and
wealth but in every aspect of
life when in 2018 I did my first Museum
show at Museum of TC menion clach I
divided East and West Germany as carpet
cutouts it provoked emotional reactions
how a young artist could talk about
Germany as a still divided
country while in fact the map was
popping up every time there was a report
about wealth and income
inequality or the result of Elections
like this one showing the outcome of the
European elections in May of this
year I learned about the term o
ification just this year but in my work
I had often made a connection between
bones and East
like in my 2019 work oste which is on
display in the show at the bush rising
or today I used the cartoonish Stone Age
aesthetic to speak about the afterlife
of the gdr the former German Democratic
Republic as something that seems as
distant as the Stone Age but with its
ruins and Bones still lying
around in my practice my research leads
to the development of a visual language
for the work in this case I combined
bones and prehistoric symbols with gdr
school materials on Marxism and objects
of 1990s
consumerism in the installation the
whole Space is rotated by
90° as a spatial translation of how it
must feel when suddenly a political system
system
collapses and people have to navigate a
new and confusing
environment the term oi refers to a
nostalgic longing for an East German
past where the afterlife of the gdr is
not dominated by the contrast of stazy
dictatorship and political opposition
but by the memories and of and objects
of everyday life in socialist East
Germany although there are some gdr
memorabilia here and there the main
material of the work is not ostalgic it
consists of cheap West German consumer
products from the 1990s which make up
the world of my postsocialist
OST in between you might find hints of a
western perspective on East Germany like
this phone which is inspired by the
cartoon phone of The Flintstones but in
my work it speaks to the West German
view of East German living standards
people lived so prehistorically they
didn't even have real
telephones a walk through the exhibition
invites us to become archa
archaeologists ourselves eles digging up
references and myths about East and
West in the same year I installed the
work in cets formerly Kar right behind
the gigantic Monument to K Mar by the
Soviet skyer left
carille the work opened a dialogue not
only with the monument but also with the
city center of cets which had been the
scene of a violent knife attack the year
before leading to mass anti-immigrant
demonstrations in the city
this made cets a symbol for the
mobilization potential of far-right
extremist groups but interestingly it
also gave chamness the edge over other
German competitors to become the
European capital of culture
2025 during the installation of my work
the mayor of cets Barbara Lut held a
joint press conference with the prime
minister of Saxony
mishma and promised a development plan
for the embattled city center
while I was away on a break with my team
they ended up sitting in my
installation and the local press used my
prehistoric oste Furniture as a backdrop
for their coverage turning my work once
again into a witness to politics in real
time this month Michelle ketma of the
Christian democrats was featured on the
liberal Democrats campaign posters for
the September State elections in Saxony
the poster reads 63 years after the war
was built no government with Communists
so that 1989 wasn't in
vain the poster shows Mich ketma kissing
former left party politician Zara
vagen the aesthetic of the poster refers
to the famous mural on the Berlin Wall
of Soviet leader Lenard Lenard brf and
East German leader erish hanika engaged
in a socialist brother kiss
Sarah Vann is probably the most talked
about politician in Germany this year
she was born in 1969 in the East German
city of yena where decades later the
Neo-Nazi terrorist National Socialist
underground NSU would
form as a socialist system slowly
collapsed in 1989 she joined the still
ruling socialist un Unity party S as a
20-year-old she viewed the peaceful
Revolution of 89 as a counterrevolution
and sought to reform
socialism since the 1990s she had
established herself as a left opposition
figure in Parliament while within the
party she was known for her communist
views and stalinist
sentiments last year she left the left
party which led to a split of the party
in Parliament her new found party bu
sarag bsv started a new political
movement in Germany that could be
described as conservative left with a
huge following in East
Germany adopting far-right positions on
migrations and identity politics
combined with the Marxist leninist
fundamentalism and Nostalgia for the gdr
she became most notorious for a position
against supplying arms to Ukraine and
appeasing Russia to secure
peace while the so-called horseshoe
Theory the extremism theory is a very
bad political model that distorts the
political reality
by equating fascist with anti-fascist
sentiments and is often used to
discredit left activities while allowing
right forces to flourish it seems that
Sarah Vann has set out to show that this
model actually exists and that she knows
how to play
it having long studied the Horseshoe
model in the context of German politics
I was curious to see how this
understanding of the political spectrum
is being used in the United States an
emblematic use of of the Horseshoe
theory is President Trump's statement
after the dead deadly Charlesville rally
that there were very fine people on both
sides in my first US solo show at scure
Center in 2022 the horo in relation to
politics was a threat woven throughout
the show our press picture shows Russian
president Boris yelin playing Hors shoes
with President George HW Bush on the
White House lawn in
1992 I recreated a meme from Northwest
MCM H called the HHO theory of chair
design and function with each political
position represented by a particular
chair I started looking for these chairs
on eBay and on the streets of New York
City in the exhibition titled
re-education the Horseshoe theory of
chairs marked the center of the space
where visitors could sit down and get a
sense of what it might feel like to sit
in a fascist chair at male chauvinist
recliner or a communist bench by
visiting the show it was possible to
switch between a wide range of Oppo
opposing political positions in a matter of
of
seconds back in the 1990s in East
Germany Sara vnes married the publicist R
R
Nea on the 5th of May 1997 the birthday
of K marks they split in
2013 in March 2022
R Maya Who by then had become a follower
of the so-called reberger movement the
fractured conspiratorial group of
revisionists who don't believe that
Germany exists and want to restore the
German R traveled to Russia as the
self-proclaimed alternative chancellor
of Germany with the goal of conducting
peace negotiations directly with
Putin he was not the only one who tried
to convince P Putin personally to enter
into diplomatic
negotiations to end the war against
Ukraine former German Chancellor gadder
a close friend of Putin and a board
member of the northstream 2 pipeline
2022 the trip was publicized on the
social media account of his wife South
Korean Economist San scha Kim the
photograph shows her in a hotel room
overlooking the Kremlin in the pose of a
mad praying for
peace as if peace or War were a matter
of hopes and prayers rather than the
result of policies driven by economic
interests the norst stre 2 gas pipeline
between Russia and Germany was a project
started under sha it was halted after
Russia's F Invasion and after an
underwater explosive attack in September
2022 the project which would have cut
off countries like Ukraine from the gas
trade making inv vulnerable to Russian
aggression was seen as highly
controversial by Germany's Eastern European
European
Neighbors in 2006 the Polish defense
minister even compared nordstream 2 to
the 1939 Molotov ribbon trop PCT the
alliance between the Nazis and the
Soviets that led to devastating
consequences for
Poland long before Sha's dealings with
Putin another pipeline project with the
cheerful name of DBA meaning friendship
had been built in the 1970s to transport
gas from the Soviet Union to its brother
countries the various sections of the
pipeline were built by groups from
different countries the section leading
through Ukraine was built by workers
from socialist East
Germany on his way through Ukraine the
pipeline passed by the city of Ivano
frankis the former drba workers in East
Germany perhaps more than many others
represent a group of people with person
ties to the former Soviet Union and a
strong sense of the bonds between East
Germany and present day Russia having
literally welded the countries
together but as usual Russia is seen as
the only true successor to the Soviet
Union by Ukraine is forgotten or seen as
a mere Transit
area so when I was invited to
participate participate in the 2023 KF
bayen in Ukraine last year I was
particularly excited to be able to
produce a new work in Ivano frankis
where the trba had been built by East German
German
Workers it embodies the complexity of
German Ukrainian relations in the midst
of a war fueled by fossil greed and a
failed understanding of post Soviet Ukrainian
Ukrainian
history in the famous drama theater iano
frankis I worked with Victor abuk and o
panas two young actors who had rehearsed
and performed in the bunker under the
Soviet era modern his theater building
during the first month of the war the
sound came from percussionist sanif
ivashenko whose driving beats are the
soundtrack for a number of Ukrainian
soldiers in combat the performance
breathe was about
mobilization and what what and what it
means for every male Ukrainian artist
actor and musician to become a potential
Soldier the actors were chain mail armor
as well as boots and pants from their
theater roles and remarks All Quiet on
the Western
Front while Victor was something I had
brought with me from Germany a Wilder
worker I grew up in East Germany between
the city of twio and the small village
of schneer a part of the so-called as
Burger the or
mountains this small small part of the
atab burger was witnessed to an
interesting episode in the last week's
of the second world war leading up to Germany's
Germany's
surrender for some reason the American
and Soviet forces had forgotten to
occupy the small area so for several
weeks there was a self-organized basic
Democratic Socialist Council system
where the inhabitants tried to organize
themselves and started their own denazification
denazification
efforts the Jewish author Stefan Heim
who left his hometown of kets for
Czechoslovakia in 1933 after the Rak fire
fire
immigrated to the United States in 1935
and returned to Germany in 1943 as an
American war correspondant wrote about
this in his book
schwartzenberg during lockdown in 2020 I
rented all Pastor colored rooms of a
hotel and cabinets to film my work
Evolution cabinets the title is a
reference to the far right terror group
Revolution cabinets that had formed the
same year I wanted to speak of
revolutionary traditions and cets not as
something surprising but rather as a
tradition an evolutionary development of disruptive
disruptive
sentiment the hotel which I discovered
by chance during the installation of my
work o embodies the disperate and
sometimes unbelievable social structure of
of
Chets when I checked in after arriving
in the city in the middle of the night I
was shocked to find out that the hotel
shares the address in the building with
a notorious store
of the Neo-Nazi clothing brand T Diner
named prik after the Norwegian terrorist
anas prik the West ger German owner of
the building didn't see any
responsibility to whom he was renting
his property and the pastor carard hotel
which hasn't been renovated since the
1990s invites people to sleep in this
haunted house if the tragic history and
present of cets could be a
building that's what it would look like
in each of the past colored rooms I
staged a different chapter of chin
revolutionary past this is a Vesta from
the video about schwarzenberg in
1945 in which the actor D Langer dressed
in a Soviet uniform divides the
territory by moving the Hotel
Beds when the Americans occupied the
schaten region the Soviets were eager to
trade West Berlin for access to the
region they had information that the
Americans didn't have that the mountains
were full of
uranium in order not to draw too much
attention to this they code name the
substance this
mood from 1947 to 1990 parts of the
Soviet Union's demand for Uranium came
from my home region and were used for
the production of nuclear weapons this
information was kept from the citizens
of the gdr exposing the people living
and working in the area to dangerous
health and environmental consequences
without their consent or even knowledge
to this day former workers are likely to
die prematurely to
cancer although the work was hazardous
and dangerous the closure of the mine in
1991 after you the unification of
Germany and the Takeover of the East
German economy by West German companies
led to widespread protest by former
miners who found themselves out of work
from one day to the
next during social socialism the VIS
mood was a Prestige project with a large
large collection of art commissioned by
the company the picture on the left is a
painting by my grandfather Carin yakob
since we are still working on his list
of works I don't know if he also made
art for the VIS mood this painting shows
Co miners from his hometown of Tio in
1971 the vismut art collection is a
never-ending source of Fascination for
me this painting by K from 1962 is
called Alish Aron working
honestly what is exciting is that in
recent years there has been more
interested interest in seeing the works
researching them and organizing
exhibitions of with mood art thanks to a
better understanding of how important it
is to look at State commissioned art to
get a full understanding of life in the
gdr and the depictions of nature
dominated by human technology and
exploitation would lead to forms that
left behind the limitations of socialist
realism and allowed for expressions of
more abstract qualities such as this one
the pyramids of the 20th century by
1985 the knowledge of the Uranian Minds
in my home area made me wonder if the
secrecy surrounding them but also the
toxicity of the radiation could be a
reason to understand the social and
political developments that happened
here after
1989 not only the part of the atber and
Saxony had these uranium reserves also
on the check side of the Border you
could find these
mines and interestingly a 2018
wastewaters waste water study found that
East German cities as well as Czech and
Slovak cities in regions with former
uranium mines were also the cities with
the most Crystal Mathews in all of
Europe Crystal math was also a driving
force for the Nazis during World War II
under the name pervitin which help s
helped soldiers stay awake for long
periods of time and lose their fear in
combat it makes me wonder if the 1950s
in Germany were not only a cown from
world domination and genocidal violence
War a large part of my practice res
revolves around the question of why this
dark era of German history is not only
desirable to Germans today but how it
can become a kind of Escape strategy
into the past into a time when things
were supposedly better made more sense
and gave the individual a greater
purpose in life this image is from my
Facebook research on the Riceberg
movement which I started in
2013 the homemade shirt of an East
German Riceberg reads the biggest
traitors of the German people are our
politicians since 19 1990 until today no peace
peace
treaties the signing of the unification
agreement between East and West Germany
in the banquet hall of the gron prin and
P in Berlin is one of the events used by
the Riceberg movement to question the
existence of
Germany according to their logic a peace
treaty should have been negotiated as
established in the basic law of
1949 therefore the German R still exists
for them they see themselves as
threatened indigenous people in an
occupied country and they are
stockpiling weapons in anticipation of
their struggle for
existence Riceberg Booker bangard from
the southern town of schwetzingen
embodies for me everything that makes a
critical analysis this analysis of the
movement very difficult because the
Aesthetics can seem strange and out
thereare they were often not seen as
dangerous by working as a druid for
children's birthdays he was Al part of a
Neo-Nazi Terror Network and stored
weapons in his home in 2017 when working
on my film D his Facebook profile was
still online I was able to see
everything he shared with the world
which became the basis for this
work understanding how I can talk about
this ideology from the perspective of
the people themselves with the material
they share by using their artistic tools
and aesthetic language
I have always been particularly
interested in methods that I know from
my work in theater and film mood boards
model sketches this gives me an access
to a world that is otherwise politically and
and
ideologically very foreign to me I was
intrigued when I found this Montage on
his side a mood board for a building
project he was planning the erection of
a cultic Stonehenge like formation next
to the city's Christian Cemetery
I was even more fascinated when I
realized that he had built a model of
the proposed Stonehenge with little
rocks and carefully crafted figures with
my background in stage design for
theater model building was something I
continued to do in film School even
though it was pretty old school by then
as well as for my art
installations seeing this model of the
Neo-Nazi Druid made me wonder could this
be an entry point into this disturbing
and violent ideology
so I looked at the floor of the coron
pron p on in Lyon where the unification
treaty was signed in
1990 what if I created my own Stonehenge
there a cultic site as well as an
emergency government in order to
understand the mindset of the rice
Burger I also built a model my stonee
would consist of pieces of furniture
cupboards and chairs to talk about
radicalization in our living rooms and
declaring a home a sovereign state
the work materialized during the Berlin
H Salon in
2017 while in 2013 when I first began
researching the phenomenon it was still
considered a niche issue since then it
had gained it has gained traction across
Germany with Terror arrests in 2017 a
growing following during the pandemic an
attempt to storm the Rack in 2020 and
the infamous Infamous planned overthrow
of the government in 2022 under the
leadership of Prince
Royce when I was invited this year to
develop an exhibition inside the German
bundestag I immediately knew that I
wanted to respond to the different
attempts by farite groups to take over
the German government the exhibition
space is in the Maria Elizabeth lud's
House overlooking thei River and the
RAR in the year 2020 during a massive
protest against lockdown lockdown
policies Riceberg tried to enter the
rack after rumors spread that President
Trump was in Berlin to help
them to enter the exhibition titled
inight meaning internal security each
visitor must pass through an
airport-like Security check while this
is a common procedure in government
buildings at the entrance to an art
exhibition it makes visitors feel as if
they themselves are security
threat and the artworks too have a
heightened sense of uncertainty and
imminent danger like the sniper chair
which I constructed in 2017 from a m
Brer bous designer chair with a Philip
Stark alessie lemon squeezer as a rifle
scope pointing at the rice tech
building in an interesting way the works
make a lot of sense in the parliament
buildings all German postmodern
architecture furnished with modernist
bow house Classics turning the chairs in
the for years of the parliament
into unfinished
weapons the exhibition space is divided
by reconstructed section of the Berlin
Wall the so-called Hinterland M whereas
in previous exhibitions I had used the
exhibition Wars to create the fiction of
a divided Germany through Furniture and
Design I was now able to use the actual
division of Bin I created a space for D
on the right and my 2019 work t x on the
left while the work on the iceberger
usually allows for a more detached view
of radical French movement the work t x
deals with the so-called honeyby Network
and the attempted overthrow of the
German government by a group of
policemen soldiers lawyers judges and
other civil servants showing this work
in the bundestag really felt like
bringing it
home all of the objects and the work R
are the result of my obsessive online
Research into the Riceberg movement I
looked at hundreds of photos and videos
archived interiors and homemade objects
I created a visual language to talk
about this conspiracy
theory at the center of the work is a
homemade Viking
helmet I had seen it on a social media
profile from my hometown of twio in
2013 Viking horns had been drilled into
a helmet that belonged to the former
East German military the naal of folks
Army and for I was amazed by the asml of
German history con to construct an East German
German
identity where things that shouldn't
Belong Together suddenly do and help to
understand the disperate view of history
as well as the violent production of identity
identity
interestingly the image of a Germanic
hero wearing a Viking helmet which the
felish movement had pushed during the
Nazi era as an iconic and historically
accurate image turned out to be a
fantasy of Vagner costume
designers on January 6
2021 my phone exploded with messages
people were sending me photos and asking
me how did you know this was going to
happen the aesthetic of my work from
2017 was a mirror of the aesthetic of
the capital stormers in Washington
DC at that time I had not been to the
United States my work as I understood it
had looked at German history from
endless Ang
I didn't think it could be applied to
context outside of Germany but suddenly
it seemed not only possible but perhaps
necessary because maybe there isn't a
language to talk about these things
yet so for my show at scure Center in
2022 I decided to produce an entirely
new body of work dealing with the
fractures of American politics using the
tools I had acquired over a decade by
looking at German French farite movements
movements
I was particularly interested in the
role that furniture played during the
storming of the capital how it was used
as a weapon to break in and Destroy but
also as shield and
protection with which members of
Congress barricaded themselves in their
offices the pieces of furniture became
witnesses to this historic moment but
also physical
participants for my show in scupture
Center I collected furniture on the
streets of New York City and in
secondhand stores to recreate the
so-called Federal style not with
expensive government Furniture but with
furniture that came directly from
people's homes to emphasize the
political structure as something made up
of the sum of the people I arranged
these pieces of furniture in the shape
of the capital building in DC to create
a monument to what happened on January
6th the individual pieces of furniture
hold rustic weapons and farming tools
highlighting the tensions between
Metropolitan policymaking and the
perceived injustices to rural
working-class citizens that Trump has
been able to weaponize while being part
of the establishment
himself to talk about the fragility of
the American democratic
robustness when I had the show in New
York it was even mentioned in the cets
tabloids on the front page of the CET
Morgan post
it reads New York is stunned sexon art against
against
Trump as well as the brilliant headline
that could be translated as this Twi
hour beats up Trump in the German
version the verb for mbbl is a play on
words with a double meaning of to
furnish and to beat
up they even placed what I would call a
viral ad next to my work advertising a so-called
so-called
GLE Hugo which could be translated as
junkyard Hugo who specializes in estate
liquidation and
hoarders I was amazed at the audacity to
use my work to advertise such a
service in many ways it makes a lot of
sense because the circulation of objects
from people's homes into my work has
made me deal with grle hugos quite a lot
and in a way my work is also a practice
of making sense of these remnants of
society at the same time it also points
to the thorny issue of the material
reality of having a large scale
installation practice in an era of
diminishing affordable studio and Stor
storage space while at the same time the
public is hungry for a physical
experience with objects in the exhibition
exhibition
space my work on us politics are
currently secured in a storage facility
in Pennsylvania
sent the rent every month fearing that
if I miss it once the works will be
auctioned off on one of my favorite TV
shows Storage
Wars where someone would break open the
lock and start bidding on the collection
of federal sty tables and Bone
chairs I had originally planned to
install the work about January 6 in
Washington DC on Election Day this
November after the assassination attempt
on Trump I understood that while it
would be conceptually very interesting
to show the work on Election Day it
would also be a day of uncertainty for a
lot of people especially in DC and
incidentally the furniture had already
witnessed a historical moment when it
was in storage in Pennsylvania on July 13
13
2024 two days after the assassination
attempt Trump named JD van as his
running made for the 2024 presidential
election J Vance grew up in Middleton
Ohio in the 1990s his childhood
described in his 2016 Memoir hillbilly
allery was marked by the struggles of
his family who had moved from Kentucky
to the rust Bel which was rapidly
rusting away in the
1990s at the same time I grew up in a
completely different place in a small
town near siko where the ruins of
socialism were still all around us this
is me on the right as a background
dancer for David Hasselhoff in the make
of the TV show mini playback show that
our teachers organized at our school
while we kids are performing the song of
a musical icon of the fall of the wall
behind us there was still the Soviet
mural about the unity of the Socialist
brother states with a shining red Soviet
star and a DF of Peace flying towards
it at the same time in the East German
Town of yena in toindia this photo of a
Teenage be chaper was taken she would
later become a founding member of the
Neo-Nazi Terror cell National Socialist underground
underground
NSU the existence of the terror Network
and its culpability for nine racist
murders became known in 2011 when be
chaper tried to burn down their Hideout
and S Von born after her comrades U
Bernard and U mlos had killed themselves
after a failed bank
robbery at that moment I was just a
kilometer away visiting my grandmother
who had lived in Vice born for as long
as I could
remember the house the terrorists chose
as The Hideout was part of the shocking
estate built for the city in 1926 by
Jewish entrepreneur zimon shocken he
died in a car accident in
1929 before the Nazis came to power his
brother publisher Simon shocken left
Germany in 1934 and later became known
as the founder of the Israeli new paper haret
haret
a few weeks later after police had
secured all the evidence from the house
my mother and I went inside to look for
remains we were able to Savage a piece
of carpet and a piece of burnt text textured
textured
wallpaper these materials became the
reference for my diploma work triangular
stories from 2012 in which I found my
own language to speak about the NSU as a
phenomenon that began with teenagers in
the postsocialist 1990s in East Germany
while I see reasons for the mass
radicalization of the 1990s and the lack
of democratization efforts in the
specific history of the gdr in the
mobilization through existing West
German Neo-Nazi structures as well as in
Contin continuities from the Third Reich
the Decay and deindustrialization of the
East German economy served as a backdrop
to all this and enabled its
acceleration this is what connects
places like TKA or cets with places like
Middleton Ohio a rapid
deindustrialization of places that were
prosperous in the 20th century and
needed a lot of workers who suddenly
found themselves without work and often
without purpose it's naive to see this
as the only reason people develop racist
or xenophobic beliefs but it's also
important to keep this in mind when
trying to understand the political
developments in the decades that
followed at a time when labor was still
in high demand in cinet in the late
1950s gdr my grandfather KL hins was
commissioned to paint a mural for the
city council of karad entitled The
mechanization of
Agriculture he had just graduated from
the Art Academy in Dron it was his first
big commission and it would also be his
first failed attempt to nail official
socialist realist
art he had painted the farmers and
workers with all the Insignia of
socialist realism with head scares and
bundles of
spikes but what followed was a [ __ ]
storm in the regional newspaper claiming
that the work wasn't really socialist
realist because the workers faces didn't
look happy and had hard edges that were
more reminiscent of the war Tor faces of
German expressionist painter car
hoer letters from readers also
complained that the workers were wearing
the wrong workware and using the wrong
tools one angry reader wrote it seems
obvious that the artist himself has
never worked a day in his
life abstract geometric shaves that my
grandfather had placed behind the
scenery had to be altered to resemble
actual building
materials the formalism debate had
arrived in rural East
Germany as a family we were unaware of
this moral until a film production
company contacted us in 2017 asking to
use the moral for director Florian F
hanko donos Mark's film V owner aor work
without author the movie about painter
Gad Risha also wanted to show the
artist's life in socialist East
Germany at that point Richa had not yet
claimed authorship of his work Le in the
hug Museum and my grandfather had
studied at the same time as him at the
Dron Art
Academy during the chapter of the movie
that takes place in the third R the
young visits the defamatory degenerate
art exhibition with his aunt this scene
was filmed in the former Berlin Studio
of Nazi sculptor ano
pra today it is called K house DM and in
2021 I staged my exhibition Ein the rice
Bon collapsing rice buildings a play of
words on the post industrial band Anon
the noon which consisted of original
Nazi furniture from the house de in
Munich mixed with Furniture found on
eBay for the movie My Grandfather's
mural was recreated in the studio by
Scenic painters after drawing the
outlines of the figures everything was
colored according to the original
painting but what struck me was was that
they fixed the painting by making the
faces true socialist
realist the critics and kak would have loved
loved
it in the movie The MOA is covered with
white paint after g f to West
Germany the faces in my grandfather's
paintings always look like family
members their hands look like my
grandfathers my grandmother's my uncles
my mother's hands and as I get older
also like my hands when I saw all the
family members being painted over I
cried in the darkness of the movie theater
theater
back in cets I wanted to find out why I
had never seen this moral of my
grandfather the building now houses the
international Chamber of Commerce in the
archive I got the information that the
painting had been covered up in the year
2002 a wall was built in front
preserving the mural behind
it today you wouldn't know that behind
that wall is a painting from the late
1950s my lifetime goal is is to tear
down this
wall and have it restored someday but
this is an ambitious and expensive
undering undertaking in a city with few
resources for public art and an
uncertain political
future so when I got invited by sash
Kimu one of the curators of the KY of
bay to participate in this year's pen
Bal en cinet I was looking for
alternative ideas on how to make the
painting come alive again this September
I will be working with the line dancers
of Cambo to recreate the painting as a
dance performance using costumes in
inspired by my grandfather's figures as
well as the line dancer's clothing
cowboy hats and Boots my interpretation
of the mechanization of Agriculture with
East German dancers dancing to Western Country
Country
Music the performance will take place in
the 1970s modernist City Hall across
from the K Marx
Monument earlier this year K marks
witnessed the widespread Farmers
protests roads were blocked throughout
Germany and
Europe Farmers protested the elimination
of tax breaks for agriculture in East
Germany farri forces took over the
protest movement in many
cities the protest also Mark the rise of
a AI generated images used to promote
the protest and mobilize people
memes on East German social media sites
Drew connections to The Peasants War of
1524 attempting to incite violence and
create a climate of
fear I was curious about this new form
of artificial realist painting which the
art historian Roland Meer described with
the term platform realism it follows the
tradition of socialist realism but with
the artist absent and replaced by a
machine faride meme producers close to
the alternativa for Germany party IFD
are using the tool for their purposes
advertising with images of strong blonde
Farmers ready to
protest blonde families and crops that
look like like they came straight out of
a 1930s Nazi exhibition to montages of
gallows with a traffic light being
killed by hanging and left by the road
for people to see the traffic light is a
reference to the current German
government consisting of the social
Democrats red the Liberals yellow and the
the
greens as Germany has a proportional
representations parties usually form
coalitions according to their election
results to be able to govern leading to
lengthy debates and often unpopular
compromises the meme speaks to the
current climate in Germany where Federal
and local politicians are threatened
with death on a daily
basis following the calls for protests
across the country
country reconstructions of the meme be
began to
appear always next to roads where people
passed by with their
cars all the remote places in Germany
suddenly United by a certain violent
symbol with handcrafted colorful traffic
lights and The Gallows now already
standing by the roads ready for future
use a visual reminder of the current
brutalization of political dialogue in
Germany but also Testament to The
Haunting power of AI generated art and public
public
sculpture earlier this year I took this
picture in the countryside of Saxony
where someone had hand painted a quote
by Hoffman F Fallas author of the German
national anthem on a Timber framed house
the greatest Crook in all the land is
and will always be the
informant the text written in a
handwriting reminiscent of the posters
as socialist parade
reminds people of the importance of not
snitching to remain resilient against
the political system seen as the enemy a
snitch could also easily end up on one
of the prepared roadside
Gallows in the 1990s when asked about
the growing problem of neo-nazis the
West German president of Saxony from the
Christian democrats CDU said that Saxony
is immune to rideing
extremism but why immune because it has
so many
antibodies in Saxony Hitler's ndrp party
made its first big electorial gains in
1929 tripling its vote unfortunately
Saxony has always been the avanguard of
farri extremist movements in
Germany I'm preparing this lecture on
the 1st of September
2024 on the day of the elections in
Saxony exactly 85 years after the start
of World War II
in a few moments I will know the results
with a dark future glooming for my
family and
friends the Christian democrats not only
ignored the problem for decades but also
presented themselves as the only viable
alternative to the rise of fascism the
infamous Bavarian politician France
Josef Strauss said in
1987 re from that CSU
of to the right of the Christian
democrats they can only be the
wall I think even back then that wall
had already
[Applause] [Music]
[Music] [Applause]
thank you so much henrika um and now we would like to turn it over to um
would like to turn it over to um questions uh from the audience uh sure
questions uh from the audience uh sure we all need a second to sort of take in
we all need a second to sort of take in what was uh an incredible tour to force
what was uh an incredible tour to force through German history uh art politics
through German history uh art politics uh I think um Henri's lecture tonight is
uh I think um Henri's lecture tonight is really exemplary of also um the kind of
really exemplary of also um the kind of work um that we are trying to do at the
work um that we are trying to do at the bush Risinger Museum uh also for um our
bush Risinger Museum uh also for um our audiences here um to show also the
audiences here um to show also the interconnectedness um also across
interconnectedness um also across generations and um Henri's work uh
generations and um Henri's work uh embodies that uh in so many ways
embodies that uh in so many ways um are there
um are there any any questions we have U mic phones
any any questions we have U mic phones um
um available and I would ask um
available and I would ask um enri come
here hello thank you for that beautiful
hello thank you for that beautiful lecture I would find it very hard to
lecture I would find it very hard to separate between your work as we see it
separate between your work as we see it and experience it in person or even over
and experience it in person or even over pictures and your narration the thought
pictures and your narration the thought process and the rhetoric and logic that
process and the rhetoric and logic that went into making the pieces so I was
went into making the pieces so I was wondering how you would differentiate or
wondering how you would differentiate or how you do differentiate between an
how you do differentiate between an artist talk and a
artist talk and a performance
performance lecture
lecture and yes especially in this
and yes especially in this work yeah thank you for that question um
work yeah thank you for that question um yeah so so the work I've done in the
yeah so so the work I've done in the last 12 years was mostly like large
last 12 years was mostly like large scale installations like the one that is
scale installations like the one that is here on you and but I had always found
here on you and but I had always found the talking about my work is very
the talking about my work is very important while I'm still a living
important while I'm still a living artist I want to talk and also to listen
artist I want to talk and also to listen how people see the works and and and and
how people see the works and and and and also yeah because it's also I don't know
also yeah because it's also I don't know maybe for in some regards also a
maybe for in some regards also a different approach or something that
different approach or something that that um that needs some yeah like like
that um that needs some yeah like like tools how to to read it or how also how
tools how to to read it or how also how to maybe um sort it into an art
to maybe um sort it into an art historical uh context because I because
historical uh context because I because my background is is was first in stage
my background is is was first in stage and costume design for theater and then
and costume design for theater and then scenography for film and TV and then
scenography for film and TV and then with my diploma work about the NSU and
with my diploma work about the NSU and sow was my first art installation so I
sow was my first art installation so I so I ended up in the doing doing art
so I ended up in the doing doing art after like yeah like different um Roots
after like yeah like different um Roots I took and and so so my work was Al was
I took and and so so my work was Al was never informed by relating to art
never informed by relating to art history or you need to know art history
history or you need to know art history to understand my work but it was more
to understand my work but it was more that I was interested in politics and
that I was interested in politics and also to comment on that or also to as an
also to comment on that or also to as an artist lend a certain aesthetic language
artist lend a certain aesthetic language to processes in society where there's a
to processes in society where there's a lack of language or where words don't
lack of language or where words don't really help and and so um yeah so so it
really help and and so um yeah so so it was always for me important to to speak
was always for me important to to speak about my work and to answer questions
about my work and to answer questions because I I felt that that my work could
because I I felt that that my work could be like read in a very in in different
be like read in a very in in different ways and um and yeah so so talking was
ways and um and yeah so so talking was always important um and and in recent
always important um and and in recent years um maybe also it started in a
years um maybe also it started in a pandemic that that because before I was
pandemic that that because before I was always like every day I found a new
always like every day I found a new chair on the street I was constantly
chair on the street I was constantly like hoarding things and and I also
like hoarding things and and I also thought I could only think think if I
thought I could only think think if I have a chair in my hand and and also
have a chair in my hand and and also just speak if I have a vase that would
just speak if I have a vase that would formulate my thought and and so produ I
formulate my thought and and so produ I was constantly producing basically or or
was constantly producing basically or or repurposing things and and I think when
repurposing things and and I think when everything shut down so not only the
everything shut down so not only the museums where I was working but also the
museums where I was working but also the the thrift stores where I was uh
the thrift stores where I was uh producing and and and and suddenly I was
producing and and and and suddenly I was say how am I going to survive without
say how am I going to survive without material or without um and and then I
material or without um and and then I realized uh that it's also possible to
realized uh that it's also possible to talk about furniture without actually
talk about furniture without actually having a truck that brings it from one
having a truck that brings it from one city to the next but uh that it can be
city to the next but uh that it can be also very interesting to spend an hour
also very interesting to spend an hour talking about a certain chair and what
talking about a certain chair and what it means and and and this is when I
it means and and and this is when I started doing online lectures and really
started doing online lectures and really got into that um and yeah and currently
got into that um and yeah and currently um as lyette mentioned I'm a fellow at
um as lyette mentioned I'm a fellow at the program for artistic resarch in
the program for artistic resarch in Berlin so for two years I can now
Berlin so for two years I can now develop um a new method of working where
develop um a new method of working where I'm now also really closing the first
I'm now also really closing the first chapter of my practice um and develop a
chapter of my practice um and develop a new uh method of working and that will
new uh method of working and that will also lead to new works that I don't know
also lead to new works that I don't know now how they will look like which is
now how they will look like which is also exciting uh thing and and and I
also exciting uh thing and and and I think because I'm yeah like uh now so
think because I'm yeah like uh now so much researching this this format of the
much researching this this format of the lecture that yeah like scientists used
lecture that yeah like scientists used to while they're writing their books for
to while they're writing their books for years like constantly get out of the uh
years like constantly get out of the uh uh room to to also put their thoughts or
uh room to to also put their thoughts or ideas to discussion with an audience or
ideas to discussion with an audience or some is a format that I'm now exploring
some is a format that I'm now exploring more and more because also I realized
more and more because also I realized that in an hour I can put a lot of
that in an hour I can put a lot of thoughts that would take ages to build
thoughts that would take ages to build in an installation and and also to yeah
in an installation and and also to yeah to to to explore different formats of
to to to explore different formats of connection but also communication and um
connection but also communication and um yeah and give dep give depth to the
yeah and give dep give depth to the works I have done so I don't know if
works I have done so I don't know if this answers the question if this is now
this answers the question if this is now a work that I'm speaking here I don't
a work that I'm speaking here I don't know I think it it does it it makes it
know I think it it does it it makes it seem like the art is actually performing
seem like the art is actually performing I didn't really see you as performing
I didn't really see you as performing but but you were making the art perform
but but you were making the art perform or take on on a different character the
or take on on a different character the Persona you were lending it by
Persona you were lending it by activating it through the thought
activating it through the thought process that obviously went into
process that obviously went into building
building them I mean to to Gathering the
them I mean to to Gathering the materials and what yeah yeah a colleague
materials and what yeah yeah a colleague um just recently said to me that she
um just recently said to me that she finds it fascinating that somehow I
finds it fascinating that somehow I managed to um have a distance to my work
managed to um have a distance to my work that I'm speaking about it like it was
that I'm speaking about it like it was from someone else and I feel also now
from someone else and I feel also now going going through my work and uh
going going through my work and uh sometimes I feel like I'm in this like
sometimes I feel like I'm in this like very wild uh artwork of this crazy
very wild uh artwork of this crazy artist that had done collected all this
artist that had done collected all this furniture and has all this like written
furniture and has all this like written Concepts and and so yeah in a weird way
Concepts and and so yeah in a weird way like the works I have done I can also
like the works I have done I can also look at them like someone who's very
look at them like someone who's very excited to find them and think like what
excited to find them and think like what why and so so I think this is um yeah
why and so so I think this is um yeah something I like to do also with this
something I like to do also with this lectures of really like taking a step
lectures of really like taking a step back and thinking okay what's here
back and thinking okay what's here what's interesting and what could be
what's interesting and what could be like what I could do with that material
you hi um it's not a question uh it's more like a few words I want to say
more like a few words I want to say because I'm a tourist from Germany and
because I'm a tourist from Germany and it's a coincidence that I came here to
it's a coincidence that I came here to this event and I come from sexy even
this event and I come from sexy even from the at Burger I don't believe in
from the at Burger I don't believe in coincidence okay then maybe it was uh
coincidence okay then maybe it was uh like a win of fate and uh um at the
like a win of fate and uh um at the state elections of sexy this month uh my
state elections of sexy this month uh my friends and I we worked uh hard to
friends and I we worked uh hard to educate the people at the conference out
educate the people at the conference out of sexon because they tend to uh elect
of sexon because they tend to uh elect farri party like the uh off day and it
farri party like the uh off day and it was very hard to do this educational
was very hard to do this educational work because we got threatened we got uh
work because we got threatened we got uh talk against uh hardened opinions and um
talk against uh hardened opinions and um when this even started there was the
when this even started there was the question what can art do this is what
question what can art do this is what can art do it reaches uh spaces beyond
can art do it reaches uh spaces beyond words and uh yeah for me this so
words and uh yeah for me this so amazing to see this in uh Boston and uh
amazing to see this in uh Boston and uh to be here it's so crazy and yeah so I
to be here it's so crazy and yeah so I on behalf to all my fellow sex young
on behalf to all my fellow sex young people thank you for your work this is
people thank you for your work this is thank
you wow thank you very much usually when someone says this is not a question more
someone says this is not a question more a statement I'm like ah but this was
a statement I'm like ah but this was amazing thank you so much and thank you
amazing thank you so much and thank you for fate for bringing you here thank
you hi um just maybe follow on that to see it in
see it in Boston do you have any expectations or
Boston do you have any expectations or hopes even as to how the American
hopes even as to how the American audience here will uh respond or react
audience here will uh respond or react to when they see your installation in
to when they see your installation in the
gallery I I think by now I have learned to also let a bit go of my exper so to
to also let a bit go of my exper so to trust the process and the um and also
trust the process and the um and also the museum how it's being mediated and
the museum how it's being mediated and all these things which is also very
all these things which is also very great here um but also I the good thing
great here um but also I the good thing about working with furniture is that is
about working with furniture is that is something that everybody can relate to
something that everybody can relate to in some way and and um and then when
in some way and and um and then when there's also some uh yeah confusion like
there's also some uh yeah confusion like I've yeah I I hope it draws people in
I've yeah I I hope it draws people in and wants them to know more because for
and wants them to know more because for me even though my work is so research
me even though my work is so research heavy it's always about having an
heavy it's always about having an initial like communication with a
initial like communication with a visitor even though the person knows
visitor even though the person knows nothing about the context or about the
nothing about the context or about the background but rather something happens
background but rather something happens so for me a good work is like an iceberg
so for me a good work is like an iceberg where you see only the tip looking out
where you see only the tip looking out and this is like maybe the initial
and this is like maybe the initial reaction you have to a work but then the
reaction you have to a work but then the more you want to know there there stuff
more you want to know there there stuff lying beneath and and the more you want
lying beneath and and the more you want to know the more that you will also find
to know the more that you will also find and um and so yeah I I hope that it uh
and um and so yeah I I hope that it uh that it creates interest in in in the
that it creates interest in in in the history of East Germany and the present
history of East Germany and the present of East Germany but also that it's not
of East Germany but also that it's not like a one-dimensional thing but that
like a one-dimensional thing but that it's um tricky and complicated and and
it's um tricky and complicated and and and that this like that this feeling
and that this like that this feeling that maybe everyone knows of coming from
that maybe everyone knows of coming from a certain place and calling it your home
a certain place and calling it your home but then also being like very like
but then also being like very like having this like
having this like very uh complicated relationship to it
very uh complicated relationship to it where you feel a sense of belonging but
where you feel a sense of belonging but at the same time you really don't want
at the same time you really don't want to belong and and it's bad but it's also
to belong and and it's bad but it's also home and and I think this um this like
home and and I think this um this like complex feeling is something that I that
complex feeling is something that I that yeah we maybe share and um yeah and can
yeah we maybe share and um yeah and can lead to interesting um discussions yeah
lead to interesting um discussions yeah thank you I think it's the home and the
thank you I think it's the home and the strangeness of the home and the
strangeness of the home and the disorientation of the home that's really
disorientation of the home that's really it's really attractive thank you very
it's really attractive thank you very much thank you thank
much thank you thank [Music]
[Music] you I thank you so much for that uh that
you I thank you so much for that uh that wonderful talk um I I was curious and
wonderful talk um I I was curious and would like to know a little bit more
would like to know a little bit more about uh how you've managed to work with
about uh how you've managed to work with so many different kinds of of host sites
so many different kinds of of host sites so from the Reich Stog to Arnold breer's
so from the Reich Stog to Arnold breer's former Studio to the uh the furniture
former Studio to the uh the furniture Stonehenge um to me it seemed it would
Stonehenge um to me it seemed it would be sort of incredible if an American
be sort of incredible if an American Artist were able to get into similar
Artist were able to get into similar kinds of institutions in this country
kinds of institutions in this country and you've just said you don't believe
and you've just said you don't believe in fate may maybe maybe it just all
in fate may maybe maybe it just all worked out but I wonder if you might be
worked out but I wonder if you might be able to tell us about how some of those
able to tell us about how some of those uh projects came together a little bit
uh projects came together a little bit more
more specifically yeah thank you that that's
specifically yeah thank you that that's a very uh good question because um I
a very uh good question because um I think I'm I'm I'm generally very open
think I'm I'm I'm generally very open and curious and and I also approach
and curious and and I also approach everything is interesting in the same
everything is interesting in the same way no matter what institution or if
way no matter what institution or if it's like a like the back door of the
it's like a like the back door of the tror club in Berlin where had one of my
tror club in Berlin where had one of my first shows and and but um I think there
first shows and and but um I think there like
like uh yeah this this curios for for for
uh yeah this this curios for for for people and places uh is something that
people and places uh is something that then also comes back that the people
then also comes back that the people come to me and tell me when there's like
come to me and tell me when there's like something where they think it could be
something where they think it could be interesting and then um and it's often
interesting and then um and it's often also not big institutions but just
also not big institutions but just people who have a key to something
people who have a key to something interesting and so yeah I get a lot of
interesting and so yeah I get a lot of like very nice messages with like uh you
like very nice messages with like uh you have to go to this street and look at
have to go to this street and look at this building also I get offered a lot
this building also I get offered a lot of furniture which now I have to like
of furniture which now I have to like politely
politely decline but also like every week I get a
decline but also like every week I get a photo from someone from a hotel room
photo from someone from a hotel room where there's traveling sleeping in a
where there's traveling sleeping in a room and had to think of my work and and
room and had to think of my work and and so yeah I think this like constant
so yeah I think this like constant communication and openness or something
communication and openness or something that also comes back but I'm also
that also comes back but I'm also persistent like when I really think it
persistent like when I really think it could be good then I'm also like not
could be good then I'm also like not giving up so easily or for example uh D
giving up so easily or for example uh D shuna the director of Kos dalm she
shuna the director of Kos dalm she called me but for something else it was
called me but for something else it was about a jury or something but I thought
about a jury or something but I thought ah she probably wants me to do a show
ah she probably wants me to do a show there but she didn't and then she called
there but she didn't and then she called me and I said yes let's do it and she
me and I said yes let's do it and she was like no
was like no I we're not doing Contemporary Art and I
I we're not doing Contemporary Art and I was like yeah it would be really great
was like yeah it would be really great and was like yeah it's true and then we
and was like yeah it's true and then we did it but it was really like um yeah so
did it but it was really like um yeah so it's yeah fate I guess fate and
it's yeah fate I guess fate and persistence
yeah well I think I think I'd say it was fate fate too that brought us together
fate fate too that brought us together Henri and uh thank you so much please
Henri and uh thank you so much please join me again in thanking henrika nman
join me again in thanking henrika nman thank you
thank you [Applause]
[Applause]
and um I just want to point out that the exhibition on level three is open uh and
exhibition on level three is open uh and please uh enjoy uh the first look um at
please uh enjoy uh the first look um at the show and also at henrik's uh OST the
the show and also at henrik's uh OST the galleries are open until 9 o'cl and join
galleries are open until 9 o'cl and join us again here at the Harvard art museums
us again here at the Harvard art museums for a full range of programming uh
for a full range of programming uh through January 5th and uh thank you
through January 5th and uh thank you again for coming out uh tonight have a
again for coming out uh tonight have a great night
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