Current
The series of (mostly) peaceful revolutions that took down the Berlin Wall effectively ended state socialism in Eastern Europe, and brought not just a political but also a material transformation. Countless people who lived through socialism discarded the household and consumer items they had lived with and loved or hated for many years, as they finally had access to higher-standard goods. This exhibition presents the metamorphosis of household and consumer goods from objects of everyday life to items in a museum collection, by way of flea markets, and invites contemporary artists to position them in the here and now.
Proving that photography is no more “objective” than any other medium, two photographers with the same mission offer very different views of East Germany. Through reports published by Stern, unpublished photographs, and documents and photos from the Stasi archives (both photographers were closely monitored by the East German secret police), this exhibition highlights Thomas Hoepker and Harald Schmitt’s very different approaches to East German life, culture, and society.
Since January of 2020, artist Regina Mamou has spent her time as part of the Wende's residency program investigating the relationship between the Soviet Union and the Middle East and North Africa, partnering with the museum's collections department to identify important artwork and archival materials that demonstrate transnational perspectives. While her residency is ongoing, the installation Common Fantasy/Gemeinsame Fantasie is presented in a separate context with artist Lara Salmon as part of the collective Research for the Bermuda Triangle. On view now in the Wende Museum’s original East German Guardhouse, located in the sculpture garden.
Since 1998, Roemers has conducted "photographic archeological research" on the physical remains of the Cold War. Visually, he seeks out stillness in the remains of military infrastructure that is slowly and steadily being overtaken by nature. Traveling through former "enemy territory," Roemers explores these deserted military installations through his medium-format camera, finding rusting tanks and destroyed monuments. Descending into underground bunkers, he captures a still present sense of paranoia and hyper-alertness. On both sides of the Iron Curtain he finds enormous amounts of nuclear shelters, air force bases, shooting ranges, rocket launch pads, border fences, and radar stations, all built with a shared sense of fear.