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Calendar: Germany

Events in Art and Archaeology

Goshka Macuga: <EM>Now this, is this the end … the end of the beginning or the beginning of the end?</EM>
Goshka Macuga: Now this, is this the end … the end of the beginning or the beginning of the end?
Goshka Macuga: Now this, is this the end … the end of the beginning or the beginning of the end?
BERLIN, GERMANY  •  Schinkel Pavillon e.V.  •  9 July - 18 September 2016
 

Inside the octagon of Schinkel Pavillon sits a talking android of male appearance. It is a hybrid between machine and doll, resembling a human being in physiognomy and behaviour. Through what it directs towards the entering audience in its speech, it links social realities and fictions. It is a speech about the beginning and end of human existence, a plea to be humane and at the same time to overcome being human. In its statements it revolves around the human being in its extremes between creation, love, peace, unity – faith – fear, aggression, and total destruction through terror and war, as well as global collapse.

In the second part of her double-exhibition at Schinkel Pavillon, ‘Now this, is this the end…the end of the beginning or the beginning of the end? (Part 2)’, Goshka Macuga focuses on the relationship between human beings and technology. The android with the title “To the Son of Man Who Ate the Scroll“ (2016) works as an interface between a narrative of artificiality and the human perspective. The artist prioritises in her work the generation of knowledge through language, rhetoric and intellectual exchange as a tool of human cognition. In both exhibitions, the overcoming of the human body through work on artificial memory and artificial intelligence is a topic that the artist negotiates and puts up for discussion. The first part of the exhibition implied – among reflections on beginning and end – also the course of time as a factor as well as materiality within the production of knowledge and within knowledge engineering. While in the first part Macuga focused on the organisation, operability and loss of knowledge, now the production of cognition is emphasised.

Goshka Macuga was born 1967 in Warsaw and lives and works in London.



Schinkel Pavillon e.V. Website


Contact: Schinkel Pavillon e.V.
Oberwallstraße 1
10117 Berlin
Tel: (49) 30 2088 64 44

Thomas Struth: Tokamak Asdex Upgrade Interior 2. Max Planck IPP, Garching 2009© Thomas Struth
Thomas Struth: Tokamak Asdex Upgrade Interior 2. Max Planck IPP, Garching 2009
© Thomas Struth
Thomas Struth: Nature & Politics
BERLIN, GERMANY  •  Berliner Martin-Gropius-Bau  •  11 June - 18 September 2016
 

The exhibition features approximately 37 large-format photographs from the years 2005 through 2016.

Industrial production plants, research laboratories and operating rooms, but also everyday architecture or theme parks: Thomas Struth’s pictures of the last few years explore how human ambition and imagination become spatial, objective reality.



Berlin Festival 2016 Website


Contact: Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7 | Corner Stresemannstr. 110
10963 Berlin
Tel: (49) 30 254 86-0

Events in Pop Culture and Cinema

Focus Königgrätz
BERLIN, GERMANY  •  Deutsches Historisches Museum  •  30 June - 31 December 2016
 
 

150 years ago, on 3 July 1866, Germany’s future was decided in the Battle of Königgrätz. The victory of the Prussian army over Austria established Prussian hegemony in the German states. The Deutsches Historisches Museum is devoting a temporary presentation within the Permanent Exhibition to this important event in German history with a number of objects from the museum’s own collections that can be seen for the first time.

The painting The Battle of Königgrätz on 3 July 1866 by Georg Bleibtreu from around 1869 forms the centrepiece of the exhibition. In addition, two laurel wreaths as well as such contemporary objects as a uniform worn at the Battle of Königgrätz, a diary, a field post letter and examples of the new Prussian weapons technology are shown. A media station that demonstrates the course of events on 3 July 1866 and a time beam on the floor help to reconstruct the political developments before and after the battle.



Deutsches Historisches Museum Website


Contact: Deutsches Historisches Museum
Unter den Linden 2
10117 Berlin
Tel: (49) 30 203 04 751

<EM>Relics of the Cold War: Photographs by Martin Roemers</EM>
Relics of the Cold War: Photographs by Martin Roemers
Relics of the Cold War: Photographs by Martin Roemers
BERLIN, GERMANY  •  Deutsches Historisches Museum  •  4 March - 14 August 2016
 

What is left of the Cold War? World Press Photo Award-winning Dutch photographer Martin Roemers documents the structural and topographic relics of the conflict between East and West in Europe. The solo exhibition  comprises photographs taken between 1998 and 2009 in ten European countries: Russia, Poland, the Czech Republic, Ukraine, Latvia and Lithuania from the former Eastern bloc; Great Britain, the Netherlands and Belgium from the West, and finally both parts of once-divided Germany. Martin Roemers' photographs take us to abandoned army bases and bunker complexes, military training areas, technical installations, monitoring facilities and military cemeteries.

The exhibition sets the Relics of the Cold War series in its historical context. Themed sections examine the arms race in the nuclear age, the defensive measures and preparations for the eventuality of a third world war, the role of technology, the rise of the intelligence services and the instrumentalisation of history in public commemoration. They reveal that the Cold War was both a confrontation between two systems and a system in itself: one that has left similar, once functional remains on both sides of the Iron Curtain.



Deutsches Historisches Museum Website


Contact: Zeughaus and Exhibition Hall
Unter den Linden 2
10117 Berlin
Tel: (49) 30 20304-0



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