Continuity of Practice versus Change in Circumstance: GDR Visual Culture and the East German Artist. An Examination of the Work of Via and Pina Lewandowsky

2000 ◽  
pp. 57-66
Keyword(s):  
Visual Culture ◽  
East German

“Socialist Realist” Critiques of Neoliberal “Shock Therapy”

2019 ◽  
pp. 431-451
Author(s):  
April A. Eisman
Keyword(s):  
Visual Culture ◽  
East Germany ◽  
Shock Therapy ◽  
Socialist Realism ◽  
Neoliberal Capitalism ◽  
Works Of Art ◽  
German Art ◽  
Socialist Realist ◽  
East German ◽  
Insight Into

This article focuses on the East German artistic response to the 1973 putsch in Chile, an event now recognized as foundational in the development of neoliberalism. Outraged and saddened, artists in East Germany responded to the putsch with thousands of works of art. These works disrupt Western expectations for East German art, which was far more modern and complex than the term “socialist realism” might suggest. They also offer insight into the horrors of the putsch and remind us that there have been—and can once again be—alternatives to neoliberal capitalism. In addition to creating prints, paintings, and sculptures, East German artists organized solidarity events to raise money for Chile and spearheaded a book project with artists from sixteen communist and capitalist countries to document the event and losses suffered. This article ultimately shows that communist visual culture can serve as a model for art as an activist practice.

scholarly journals From Private Photography to Mass Circulation: The Queering of East German Visual Culture, 1968–1989

2015 ◽  
Vol 48 (3) ◽  
pp. 405-423 ◽  
Author(s):  
Josie McLellan
Keyword(s):  
Visual Culture ◽  
Interest Group ◽  
Coming Out ◽  
Male Homosexuality ◽  
East Berlin ◽  
Gay Male ◽  
East German ◽  
Mass Circulation ◽  
Part Feature ◽  
The Church

AbstractThis article describes how a particular kind of queer figure moved from private photography into the mainstream of East German visual culture. It begins with a set of private photographs from the late 1960s from the collection of Heino Hilger, a regular, with his friends, at the East Berlin bar Burgfrieden. The photographs show how dressing in drag and the act of photography were important ways of constituting a gay male subculture. After the decriminalization of sex between men in 1968, the gay scene became bolder and more political in East Germany. The subversion of gender norms was central to the activism of groups such as the Homosexual Interest Group Berlin (HIB) and Gays in the Church. The visibility of the queer figure culminated in the late 1980s, when parts of the film Coming Out were filmed in Burgfrieden and when the popular monthly Das Magazin published a three-part feature on male homosexuality. What all these cultural artifacts and events had in common was not just a critique of the heterosexual norm, but also a queering of the boundaries between masculinity and femininity.

Values and intergroup perceptions of East Germans and West Germans in 1998 1This research was supported by a grant from the German Research Society (We 1106/3-1).

1999 ◽  
Vol 58 (4) ◽  
pp. 263-272
Author(s):  
Jörg Doll ◽  
Michael Dick
Keyword(s):  
Research Society ◽  
Frame Of Reference ◽  
Control Group ◽  
Perceived Similarity ◽  
The West ◽  
Need For Uniqueness ◽  
German Research ◽  
East German ◽  
Experimental Group ◽  
East West

The studies reported here focus on similarities and dissimilarities between the terminal value hierarchies ( Rokeach, 1973 ) ascribed to different groups ( Schwartz & Struch, 1990 ). In Study 1, n = 65 East Germans and n = 110 West Germans mutually assess the respective ingroup and outgroup. In this intra-German comparison the West Germans, with a mean intraindividual correlation of rho = 0.609, perceive a significantly greater East-West similarity between the group-related value hierarchies than the East Germans, with a mean rho = 0.400. Study 2 gives East German subjects either a Swiss (n = 58) or Polish (n = 59) frame of reference in the comparison between the categories German and East German. Whereas the Swiss frame of reference should arouse a need for uniqueness, the Polish frame of reference should arouse a need for similarity. In accordance with expectations, the Swiss frame of reference significantly reduces the correlative similarity between German and East German from a mean rho = 0.703 in a control group (n = 59) to a mean rho = 0.518 in the experimental group. Contrary to expectations, the Polish frame of reference does not lead to an increase in perceived similarity (mean rho = 0.712).

Approaches to Dance (2): Influences

2011 ◽  
Vol 29 (2) ◽  
pp. 246-250 ◽  
Author(s):  
Marion Kant
Keyword(s):  
The Political ◽  
Dance Studies ◽  
Historical Approach ◽  
Comic Opera ◽  
Artistic Activity ◽  
Humboldt University ◽  
East German ◽  
And Performance ◽  
Weimar Culture ◽  
Intellectual Formation

This statement is an attempt to reflect on my intellectual formation and how certain influences, both from home (a place suspended between Germany with the remnants of its Weimar culture and Britain as the place of exile) and from subsequent experiences, led me to adopt an historical approach to dance studies and to emphasise the context in which artistic activity unfolds. My education at Berlin's Humboldt University and the Comic Opera shaped my perspectives on theatre and performance. The East German milieu in general forced me to confront the immediate past and think about the political and ideological legacies of the cultures in which I grew up.

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