more detailed informations here: Audio (5:27 min.) Text by Juliana Bischoff
How do historical crises shape the present? Spanning the building, the works narrate stories of devaluation, displacement, and social inequalities.
Suspended in the rotunda are Julian Irlinger'sKites (2025), made from devalued "Papiermark" notes from the hyperinflation era. They recall a photograph from the 1920s showing children making kites from worthless money, a symbol of the collapse of economic systems.
Not far away, two clocks tick in different time zones - one from Friedberg, Hesse, the other from Chicago, Illinois. James Gregory Atkinson'sCET/CST (2021) points to the lived reality of African American US soldiers in Germany and their experience of double dicrimination.
A nervous flickering light leads into the next room: Philippe Parreno'sFlickering Lights (Marianne Brandt) (2018) stages a Bauhaus lamp as a pulsating object. It references Marianne Brandt, ine of the few women in a leadership role at the Bauhaus, whise career was interrupted by National Socialism.
In unexpected places, Petrit Halilaj'sSeveral birds fly away when they understand it (2013) appears. Overpainted bird drawings from the former Natural History Museum in Pristina allude to the transformation of the collection following the foundation of Kosovo as a state.
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Julian Irlinger, Kites, 2025
Courtesy the artist and Galerie Thomas Schulte, Berlin
(Image) James Gregory Atkinson, CET/ CST, 2021
Courtesy of the artist
Philippe Parreno, Flickering Lights (Marianne Brandt), 2018
Courtesy the artist and Esther Schipper, Berlin/Paris/Seoul
Petrit Halilaj, Several birds fly away when they understand it, 2013
© Petrit Halilaj
more detailed informations here: Audio (5:27 min.)
Text by Juliana Bischoff
How do historical crises shape the present? Spanning the building, the works narrate stories of devaluation, displacement, and social inequalities.
Suspended in the rotunda are Julian Irlinger's Kites (2025), made from devalued "Papiermark" notes from the hyperinflation era. They recall a photograph from the 1920s showing children making kites from worthless money, a symbol of the collapse of economic systems.
Not far away, two clocks tick in different time zones - one from Friedberg, Hesse, the other from Chicago, Illinois. James Gregory Atkinson's CET/CST (2021) points to the lived reality of African American US soldiers in Germany and their experience of double dicrimination.
A nervous flickering light leads into the next room: Philippe Parreno's Flickering Lights (Marianne Brandt) (2018) stages a Bauhaus lamp as a pulsating object. It references Marianne Brandt, ine of the few women in a leadership role at the Bauhaus, whise career was interrupted by National Socialism.
In unexpected places, Petrit Halilaj's Several birds fly away when they understand it (2013) appears. Overpainted bird drawings from the former Natural History Museum in Pristina allude to the transformation of the collection following the foundation of Kosovo as a state.
Further artworks from this exhibition
Introduction of the exhibition
It's Just a Matter of Time
Tony Cokes, Adrian Piper, Ayşe Erkmen
Outdoor
Shilpa Gupta
Room 1
Max Beckmann, Lena Henke, Nancy Lupo, Heidi Bucher, Martin Kippenberger, Rachel Whiteread
Room 2
Cildo Meireles, Wisrah Celestino, Kai Althoff, Kandis Williams
Transition Room 2 to Room 3
Felix Gonzalez-Torres, George Tony Stoll, Manfred Paul, Julia Phillips, Shilpa Gupta
Room 3
Cornelia Schleime, Marianne Berenhaut, Christo, Rosemarie Trockel, Latifa Echakhch
Room 4