The work of contemporary artists is a dynamic combination of materials, methods, concepts, and subjects that challenge traditional boundaries and defy easy definition. It has a heritage of artistic vanguardsand seeks different forms of expression. The end of the contribution of contemporary witnesses, who played a major part in developing the German culture of remembrance and supported it through their appearances in schools and memorial centres, is currently the focus of concerned debate. But for home designers and interior decorating professionals, the terms modern and contemporary refer to two distinct design styles. Its author, the Munich-based doctor and Nazi supporter Johanna Haarer, made only minor alterations to the postwar editions that continued to be issued until the late 1980s. The Art of Remembrance Naturally nostalgic people have high self-esteem and are less prone to depression. Contemporary art is the art of the present, produced by living artists in the twenty-first century. Located on the site of the former Nazi Party headquarters near Königsplatz, which served as an arena for militaristic propaganda rallies, the museum is surrounded by the city’s haunting past. ‘Fostering a culture of remembrance is crucial to the future of our democracies,’ write Schafhausen and Bischoff in the accompanying exhibition literature. Installed alongside the Munich Documentation Centre’s permanent display of artefacts, Jung’s drawings highlight the difficulty of keeping remembrance alive but, as with so many of the works in ‘Tell me about yesterday tomorrow’, they also underscore the role contemporary art can play in ensuring such historic atrocities are never forgotten and, crucially, never repeated. Dagara Dakin is a freelance writer and curator based in Paris. Read the full magazin here. Art as a Place of Remembrance. DD: Was this the first time you have participated in the SUD triennial? Kent Monkman, The Deluge, 2019, acrylic on canvas, 3 × 2.6 m. Courtesy: the artist and Documentation Centre for the History of National Socialism, Munich; photograph: Orla Connolly. One of the questions I asked myself was whether it might not be necessary, and useful, to have a newspaper dedicated to the memory of Cameroon, which points up its history via its great people. Inaugurated in 2015, 60 years after the end of World War II, Munich’s Documentation Centre for the History of National Socialism serves as a locus of remembrance in a city long known as the ‘capital of repressed memory’. Courtesy: the artist and Documentation Centre for the History of National Socialism, Munich. "Contemporary Art and Memory" is the first accessible survey book to explore the subject of memory as it appears in its many guises in contemporary art. Looking at both personal and public memory, Gibbons explores art as autobiography, the memory as trace, the role of the archive, revisionist memory and postmemory, as well as the absence of memory in oblivion. In an ancient account of painting’s origins, a woman traces the shadow of her departing lover on the wall in an act that anticipates future grief and commemoration. Things happened quite naturally and it was out of pure passion that I embraced this work. Dagara Dakin: What would you say is the inspiration behind your artistic calling? It is based on abstract expressionism. It generally defines art produced after the Modern Art movement to the present day. In villages and towns throughout Europe, small groups of people have always tried to find meaning in the relationship between sites of memory, where commemoration happens, and collective remembrance. In 2017, he won the ADKV-Art Cologne Award for Art Criticism. The pillars were intended to form part of a monument to Benito Mussolini in ‘Germania’, Adolf Hitler’s planned rebuilding of Berlin as the capital of his new world order – a project overseen by architect Albert Speer. Practicing art gives me a sense of freedom, pleasure, and above all spiritual wealth. In my opinion, this could be one way of paying homage to these people who have made our country what it is. Here the artist tells Dagara Dakin more about the two works he exhibited at the SUD triennial. Aside from this,
I exhibited work during the third edition of SUD on the theme of metamorphosis, but this was in the Off program together with the artist Salifou Lindou, with whom I had done an academic internship as part of my bachelor’s in visual arts, specializing in drawing and painting. Jean David Nkot: As the saying goes, we don’t choose art; art chooses us. In 2018, the German government included in its coalition agreement a pledge to recognize these forgotten victims and, earlier this year, parliament passed a corresponding bill calling on the government to increase public awareness and to secure all victims a place within the culture of state remembrance. The Nazis classified individuals as ‘Asozial’ (antisocials) or ‘Berufsverbrecher’ (career criminals) on an often-arbitrary basis, applying these labels equally to prostitutes, LGBTQ+ people, the homeless, petty criminals, social misfits, those who were allegedly ‘workshy’ and those guilty of serious crimes. November 30, 2015. "Contemporary Art and Memory" is the first accessible survey book to explore the subject of memory as it appears in its many guises in contemporary art. According to the German Culture Council, members of this heterogeneous group – who, for decades, were not officially recognized as victims of National Socialism – account for an estimated 70,000 of those imprisoned in concentration camps. Contemporary Art and Memory: Images of Recollection and Remembrance [Gibbons, Joan] on Amazon.com. I’ve been a professional artist for four years but I’ve been part of this milieu for seventeen years now, and this was the first time I’ve been selected for an event of this size. Inaugurated in 2015, 60 years after the end of World War II, Munich’s Documentation Centre for the History of National Socialism serves as a locus of remembrance in a city long known as the ‘capital of … But this year was the first time I’m featuring in the official selection. Jean David Nkot’s work examines the human condition and its place in a dehumanizing period. 3. All of which pushed me toward this work, which allowed me to exteriorize things I had in my heart. The distinctive feature of this work is the highlighting of fragments of this address, which speaks of the human dimension, the theme of the triennial. The means or instrumentsto make the works of contemporary art are changing and new technologies are used day by day. As the war progressed, however, construction on Germania (for which 40,000 homes had been demolished) gradually came to a standstill and the columns were never brought to Berlin. By Dagara Dakin. Kito Nedo lives in Berlin where he works as contributing editor for frieze and as freelance journalist for several magazines and newspapers. ‘It creates awareness not only of the historical conditions that have led to exclusion, degradation and destruction, but also of our responsibility for ensuring that these processes – created and influenced by people – do not repeat themselves.’ Installing a contemporary art exhibition within a permanent museum display designed to foster an engagement with history engenders certain risks – for instance, that one or the other might appear damaged or exploited. Jean David Nkot’s work examines the human condition and its place in a dehumanizing period. Courtesy: the artist and Documentation Centre for the History of National Socialism, Munich. All Rights Reserved. Is this event different from the dominant definition of contemporary art meaning, however, revolves around the of. 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