Karl Alexander Schickhardt

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	<title>Karl Alexander Schickhardt</title>
	<link>https://karlalexanderschickhardt.info</link>
	<description>Karl Alexander Schickhardt</description>
	<pubDate>Wed, 11 Oct 2023 19:28:33 +0000</pubDate>
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		<title>home</title>
				
		<link>https://karlalexanderschickhardt.info/home</link>

		<pubDate>Wed, 05 Jul 2023 10:57:53 +0000</pubDate>

		<dc:creator>Karl Alexander Schickhardt</dc:creator>

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	&#38;nbsp; NewsSelected WorksAbout DE / EN 
Contact
Institut für Semi-Analytische Geschichtsforschung


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		<title>news</title>
				
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		<pubDate>Wed, 05 Jul 2023 11:05:07 +0000</pubDate>

		<dc:creator>Karl Alexander Schickhardt</dc:creator>

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	23.08.2025
Graduation I Berlin University of the Arts
k.A. Schickhardt graduated from the Berlin University of the Arts in the summer of 2025 with a Meisterschüler degree from the Object–Sculpture class of Prof. Manfred Pernice. The three-day exhibition “past todays pain” took place during the annual open campus. Photographs by Kiera Bahl document both the exhibition and its preparation.For further information, and to access the exhibition flyer in German, Japanese, and English, visit: rareappearance.blogspot.com


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11.11.2025
City Works - Station Heads

The first City Works exhibition was held on October 4.-6. at the Aktionshaus in Berlin. For the first edition, Karl Alexander Schickhardt invited Noeul Kim, a painter currently studying at the Academy of Fine Arts Leipzig (HgB). 
At the same time, the IsfAG released the first volume of Station Heads, a magazine focussing on the thematic area of contemporary figuration.
Station Heads features works from Noeul Kim, Hans Jurisch Barragán, Hinako Suda, Kota Arai, Lukas Zerran, Sangyi Lee and Karl Alexander Schickhardt, as well as an essay written Thomas Düllo.&#38;nbsp;Limited to 30 pieces.&#38;nbsp;


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	29.06.2024
Exhibition - Chambre Dürrenmatt
Karl Alexander Schickhardt is a part of the current exhibition at Haus Kunst Mitte, following a work scholarship in Neuchâtel, Switzerland in 2023.&#38;nbsp;
Two project-related photographs and a drawing will be shown, as the exhibition is a part of the ongoing project of the Berlin University of the Arts and the Centre Dürrenmatt Neuchâtel. Please click here for more information about the works. On view from 28.06.24 until the 02.08.24.
 Opening hours and more information can be found on the following website.&#38;nbsp;HAUS KUNST MITTE


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	28.08.2023
IMG020823, I WA M OTO, Schoenberg &#38;amp; O.S. - The forgotten Wunderkind (15)Blog entry 15 is published now.
 
Head over to rareappearance.blogspot.com for more information about the life of Mari Iwamoto, Arnold Schoenbergs lesser known in/./ventions, Ernst Strouhal, the&#38;nbsp;Savage Mind, a rare picture of the Asakura Museum of Sculpture through the lens of YBS and more. 
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05.07.2023

	Galerie Neu - Heatwave: a screeningMalbo International will be on view at Galerie Neu, as a part of their current exhibition Heatwave: a screening. 45 video works by 31 artists are shown daily. To check which work is currently being played, you can call Galerie Neu under the following number.&#38;nbsp;
030 28575 
Heatwave is on view until 12.08.2023.&#38;nbsp;I would like to thank Manfred Pernice for proposing my work, Jonas Kuck &#38;amp; Lukas Zerrahn, Galerie Neu, Ludovica Parenti, PY Koller for setting up my first installment of MI while i was in Tokyo and all the other artists involved. 
To get more Information about Malbo International, visit this article on Rare Appearance.


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		<title>aboutde</title>
				
		<link>https://karlalexanderschickhardt.info/aboutde</link>

		<pubDate>Fri, 07 Jul 2023 09:14:20 +0000</pubDate>

		<dc:creator>Karl Alexander Schickhardt</dc:creator>

		<guid isPermaLink="true">https://karlalexanderschickhardt.info/aboutde</guid>

		<description>
	Karl Alexander Schickhardt (*1995, Berlin) studierte Bildende Kunst an der Universität der Künste Berlin in der Klasse „Objekt-Bild-Hauerei" von Manfred Pernice und schloss sein Studium 2025 mit Auszeichnung als Meisterschüler* ab. 2022 lernte er bei Motohiro Tomii und Azby Brown an der Musashino Kunsthochschule in Tokio, Japan. 
Die Arbeit von Schickhardt zeigt, was geschieht, wenn andere Disziplinen – wie Malerei oder Komposition&#38;nbsp; – mit produktiver Klarheit auf zentrale Fragen der Bildhauerei zielen, und folgt einer zugewandten, musealen Praxis, in der private Erinnerung und nationale / kollektive Geschichte die Wahrnehmung der Künstlichkeit der Werke intensivieren. Klassische Figuration ist eingebettet, zwischen den Modernismen die sie umgeben. Die entstehenden Konstellationen und Ausstellungen sind  hochgradig persönlich und&#38;nbsp;zugleich tief psychologisch, bleiben jedoch offen – sie verweigern eine Privatisierung von Zugang oder Sprache. Dort, wo die Arbeiten „glauben zu sein“, zeigen sie, was genau dann entsteht, wenn Psyche und historische Welt aufeinandertreffen.&#38;nbsp;

Auf
seinem Blog (rareappearance.blogspot.com) gibt es in unregelmäßigen Abständen formfreie Texte
zu Kunst//Geschichte, Verweise auf andere Künstler*innen sowie ergänzende Informationen zu
seinen Arbeiten und seinem Archiv auf YouTube.

Ausstellungen:
2025 -  &#38;nbsp; Chambre Dürrenmatt - CDN  -&#38;nbsp;Neuchâtel, CH
2024&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; City Works w/ Noeul Kim - Aktionshaus - Berlin, DE &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Heatwave: a screening&#38;nbsp;- Galerie Neu - Berlin, DE&#38;nbsp;
2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Malbo / Classepernice in Kooperation mit dem Skulpturenmuseum Glaskasten Marl - Marie10 - Berlin, DE
2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Narikiri No Ato De - (なりきりのあとで) - Fuchu Art Museum Citizen's Gallery - Tokio, JP

	
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Decamp Volume 4 - Sound Archive Exhibition Series in cooperation with Sangyi Lee - Stuttgart, DE
2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;DDDD Group Exhibition - 탈영역우정국 (Post Territory Ujeongguk) - Seoul, KOR


</description>
		
	</item>
		
		
	<item>
		<title>abouten</title>
				
		<link>https://karlalexanderschickhardt.info/abouten</link>

		<pubDate>Fri, 07 Jul 2023 10:16:56 +0000</pubDate>

		<dc:creator>Karl Alexander Schickhardt</dc:creator>

		<guid isPermaLink="true">https://karlalexanderschickhardt.info/abouten</guid>

		<description>(1995, Berlin) studied Fine Arts and Sculpture at the Berlin University of the Arts in the class of Manfred Pernice, graduating in 2025 with distinction, earning a Meisterschüler degree. In 2022, he studied with Motohiro Tomii and Azby Brown at Musashino Art University in Tokyo, Japan.
The works of Schickhardt reveal what happens when other disciplines — such as painting, composition, or the humanities — aim with productive clarity, to the central questions of sculpture and fine arts. Classical methods are situated amongst by the modernisms that surround them, following an attentive, museal approach, where the presence of private memory and national history heightens the perception of (artifice in) the works on display.


On his blog (rareappearance.blogspot.com), he
publishes free-form texts on art//history, references to other artists as well as additional information
about his work and his archive on YouTube in irregular intervals.

					
Exhibitions:
2025.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;(upcoming) Chambre Dürrenmat - CDN Center - Neuchâtel, Switzerland
2024&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; City Works w/ Noeul Kim - Aktionshaus - Berlin, DE
2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Heatwave: a screening&#38;nbsp;- Galerie Neu - Berlin, DE&#38;nbsp;
2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Malbo / Classepernice in cooperation with Skulpturenmuseum Glaskasten Marl - Marie10 - Berlin, DE
2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Narikiri No Ato De - (なりきりのあとで) - Fuchu Art Museum Citizen's Gallery - Tokyo, JP

	
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Decamp Volume 4 - Sound Archive Exhibition Series in cooperation with Sangyi Lee - Stuttgart, DE
2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;DDDD Group Exhibition - 탈영역우정국 (Post Territory Ujeongguk) - Seoul, KOR


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		<title>selectedworks</title>
				
		<link>https://karlalexanderschickhardt.info/selectedworks</link>

		<pubDate>Tue, 11 Jul 2023 08:37:00 +0000</pubDate>

		<dc:creator>Karl Alexander Schickhardt</dc:creator>

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&#60;img width="3840" height="5760" width_o="3840" height_o="5760" data-src="https://freight.cargo.site/t/original/i/c862fe22b993b943229d026db1d09cec1b0c57122d2b6742c08f3cf6038ef9f1/a4.jpg" data-mid="242245576" border="0"  src="https://freight.cargo.site/w/1000/i/c862fe22b993b943229d026db1d09cec1b0c57122d2b6742c08f3cf6038ef9f1/a4.jpg" /&#62;


Portrait eines Bildhauers&#38;nbsp; / Portrait of a sculptor &#38;nbsp; (2025) 
Plaster castca. 25 × 20 × 35 cmEdition of 2 (not identical)

Cast of Wilhelm Lehmbruck ; high-quality model plaster. Painted.


&#60;img width="3448" height="4592" width_o="3448" height_o="4592" data-src="https://freight.cargo.site/t/original/i/70887861b089bd19b8e584802c798046dc9119f76cc6993cc6f62d836bf6f544/aoi_web.jpg" data-mid="242206760" border="0" data-scale="32" src="https://freight.cargo.site/w/1000/i/70887861b089bd19b8e584802c798046dc9119f76cc6993cc6f62d836bf6f544/aoi_web.jpg" /&#62;
&#60;img width="3448" height="4592" width_o="3448" height_o="4592" data-src="https://freight.cargo.site/t/original/i/095cca197b3e9f684f95cb6a55b2298e62294d726c094957efb503f2cab9cdc0/aoi_web2.jpg" data-mid="242206761" border="0"  src="https://freight.cargo.site/w/1000/i/095cca197b3e9f684f95cb6a55b2298e62294d726c094957efb503f2cab9cdc0/aoi_web2.jpg" /&#62;

aoi&#38;nbsp; (2025) 
Plywood, Scrap wood, MDF, Acrylic paint, metal bracketca. 23 x 23 x 58 cm


	&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/2998815ac94fe509db916e0207d0275fc8a7968dbf295f04019e3ee380f8c550/_H4A8242l.jpg" data-mid="241186014" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/2998815ac94fe509db916e0207d0275fc8a7968dbf295f04019e3ee380f8c550/_H4A8242l.jpg" /&#62;C.P.E, studio &#38;amp; akita&#38;nbsp; (2025) 
Scrap wood, plywood, MDF,&#38;nbsp;Furniture fittingsca. 24 x 24 x 60 cm


	&#60;img width="5232" height="3840" width_o="5232" height_o="3840" data-src="https://freight.cargo.site/t/original/i/7667d7313f5650cb3812b3e918d6e0b3ffa4660e06b8590ea6caa9069a4d8d10/proibito_2.jpg" data-mid="241185690" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/7667d7313f5650cb3812b3e918d6e0b3ffa4660e06b8590ea6caa9069a4d8d10/proibito_2.jpg" /&#62;proibito&#38;nbsp; (2025) 
Inkjetprint on semi-glossy paper, refined aluminium frameca. 42 x 59,4 cm&#38;nbsp;
	

	&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/9aea10f29bd06060556ca10d06515ed57c6d9790638156424d5ca4508a96a344/Elastic-Menu_big_ncontrast.jpg" data-mid="221086980" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/9aea10f29bd06060556ca10d06515ed57c6d9790638156424d5ca4508a96a344/Elastic-Menu_big_ncontrast.jpg" /&#62;

Elastic menu&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;( 2024)

Inkjet print on matte paper29,7 cm x 42 cm


&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/be11b902d470c181118854cc4c4393b76c54a4445490f43cf66c7f27e14289b4/t3.jpg" data-mid="216524145" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/be11b902d470c181118854cc4c4393b76c54a4445490f43cf66c7f27e14289b4/t3.jpg" /&#62;
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terminal (2024)
C-Print on glossy and matte paper
18 x 24, 24 x 30 cm


	&#60;img width="2406" height="1597" width_o="2406" height_o="1597" data-src="https://freight.cargo.site/t/original/i/936605f19541d957749ff13bdadb29e587fc59dc4626db303c3b1797d53f8b0c/VuB1-2.png" data-mid="190672692" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/936605f19541d957749ff13bdadb29e587fc59dc4626db303c3b1797d53f8b0c/VuB1-2.png" /&#62;
VuB_915-807-000 (2023)

Acrylic, Tape &#38;amp; Stamp on Paper
10,5 x 14,8 cm
Radefeld ; Nakano&#38;nbsp;


	DEVuB_915-807-000 ist die erste Arbeit in der Serie TU /7/7d/ welche sich auf die Semi-Re/-Produzierbarkeit und die Herkunft der Werke als Nebenprodukte des Alltäglichen Handelns, Fragmente der globalisierten Techniken oder der Produktion selbst konzentriert. Diese Serie und „spezielle“ Objekte werden auf rareappearance.blogspot.com und in Geschichte+, Schickhardts Abschlussarbeit, die im Jahr 2025 fertiggestellt werden soll, weiter besprochen.ENVuB_915-807-000 is the first work in the series TU /7/7d/ focusing on semi-re/-producibility and the work's origin as byproducts of everyday life, fragments of the globalized process, or production itself. This series and „special“ objects or objects „in particular// will be further discussed on rareappearance.blogspot.com and in History+, Schickhardt’s graduation work set to be finished in 2025.


	&#38;nbsp;&#38;nbsp;
Malbo International (2023)

Single-channel video07:51 (Standard Version)
Berlin; Marl (Online)

	
DE&#38;nbsp;

					
Die Arbeit entstand im Rahmen der Klassenausstellung „Malbo“ in Kooperation mit dem
Skulpturenmuseum Glaskasten in Marl. Als Ausgangspunkt eines Themenkomplexes und zugleich
als ein Modell repräsentiert Marl die kulturelle und urbane Entwicklung der (Nach-) Kriegszeit in
Westdeutschland.

						
„Malbo International“, als semi- informative Videoarbeit transformiert, vergleicht und zeigt
historische Momente. Archivmaterial, Landkarten, Zeitungsausschnitte, Found-Footage ... alles, was
Informationsstrukturen enthält, wird benutzt. Auf der Grundlage von Gegensätzen passiert das
nicht. Die ausgewählten Dokumente zeigen zeitgenössische Problematiken, arbeiten die Stadt als
deren Abbild heraus, halten Grenzen und Einzugsgebiete sowie deren unsichtbaren
Pendlerschicksale fest. Oder sie bewahren vor dem Vergessen. Eine neue historische Aufgabe.

						
Aber was bleibt am Ende? Was soll ich mit Kairo, Marl und Seoul anfangen? Städte werden gebaut,
dokumentiert, umstrukturiert, eingegliedert und zerstört. Lippe-Seiten, Suezkanal und Han-Fluss.
Gleichzeitig und überall gleich - „Hängende Kirche“ oder hängen gelassene Einwohner. Verfolgung
sowieso. Ob Kopten oder Bibelforscher. Die Dimensionen sind anders, ja, aber jungfräulicher
Boden bleibt jungfräulicher Boden.

						
Und mir bleibt sowieso nichts anderes übrig wenn ich noch nie da war. Aber ich kenne zumindest
die Einkaufspassagen... ein paar Geschäfte können sich gerade noch halten und ich kann mir
vorstellen wie es hier mal war. Die Zeit, als die Region noch Hoffnungsträger war. Marl zieht mich
trotzdem durch die erschreckende Komplexität der Weltgeschichte. Anfangen könnte ich bei den
Brukterern.

					
						EN

The work was created as part of the "Malbo" class exhibition in cooperation with the Glaskasten
Sculpture Museum in Marl. As the starting point of a complex and a model, Marl represents the
cultural and urban development of postwar West Germany.

						
„Malbo International“, a prime example of a semi-informative video work, transforms and
compares historical moments. Archive material, maps, newspaper clippings, found footage...
everything that contains informative structures is being used but this usage doesn't have to be based
on opposites. These documents show contemporary problems - protect against oblivion or work for
the city as its image, fix borders or catchment areas, and also contain all invisible commuter fates. A
new historical duty.

						
But what remains at the end? What to do with Cairo, Marl or Seoul? Cities are built, documented,
restructured, incorporated and destroyed. Lippe-Seiten or Suez Canal and the Han River. At the
same time and everywhere the same - “Hanging Church” or the residents who were let down.
Persecution anyway. Whether Copts or Bible Students. The dimensions are different, yes, but virgin
land is still virgin land.

						
And I have no choice anyway if I've never been there. But at least I know the shopping arcades... a
few shops can still hold up, and I can imagine what it was like here. The time when the region was
still a new hope. Nevertheless, Marl pulls me through the frightening complexity of world history. I
could start with the Bructeri.

					
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		<title>contact</title>
				
		<link>https://karlalexanderschickhardt.info/contact-1</link>

		<pubDate>Mon, 21 Aug 2023 19:47:19 +0000</pubDate>

		<dc:creator>Karl Alexander Schickhardt</dc:creator>

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	contact[at]rareappearance.eu
	
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		<title>imprint</title>
				
		<link>https://karlalexanderschickhardt.info/imprint</link>

		<pubDate>Tue, 11 Jul 2023 08:41:40 +0000</pubDate>

		<dc:creator>Karl Alexander Schickhardt</dc:creator>

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	Imprint:&#38;nbsp;
Karl Alexander Schickhardtc/o Kiera BahlScharnhorststraße 2410115
 Berlin


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		<title>ISX</title>
				
		<link>https://karlalexanderschickhardt.info/ISX</link>

		<pubDate>Wed, 11 Oct 2023 19:28:33 +0000</pubDate>

		<dc:creator>Karl Alexander Schickhardt</dc:creator>

		<guid isPermaLink="true">https://karlalexanderschickhardt.info/ISX</guid>

		<description>

	
&#60;img width="855" height="548" width_o="855" height_o="548" data-src="https://freight.cargo.site/t/original/i/e503905fa44b596523a65b96f9e071b41c94a76e902fe9513726faaf275b6509/111023_ISX.png" data-mid="193413954" border="0" data-scale="34" src="https://freight.cargo.site/w/855/i/e503905fa44b596523a65b96f9e071b41c94a76e902fe9513726faaf275b6509/111023_ISX.png" /&#62;


DE - english below

Aufgrund unseres Forschungsgegenstandes, der kulturellen Entstehung von Central Europe,&#38;nbsp; möchten wir im Vorfeld einige Grenzen ziehen und Positionen deutlich machen.


Wir vom iS-AG stellen uns gegen jeden ideologischen Missbrauch von Geschichte, gegen obsessive Lesarten unserer Instituts-Arbeit und gegen jede Transformationen unserer psychologischen Ausgrabungen - wir betreiben Forschung ; keine Kulturpolitik. Auf unserem Banner steht weder Wer wir wirklich sind Oder Wo wir herkommen&#38;nbsp; - wenn überhaupt ist es Wer wir vermutlich nicht sind aber warum es trotzdem wichtig ist darüber zu reden.


Gibt es sie, die unproblematischer Geschichte, so unspektakulär sie auch ist? Der Blick in die Langhäuser und hinter täuschende ; situative Erscheinungsformen von Protagonisten und Protagonistinnen. Auch wenn die Antworten sich nicht dem Narrativ der Besseren fügen, auch wenn es zu unspektakulär wird - Keine Geschichte ist zu einfach, kein Rückblick zweitrangig. Als Kind zweier Länder erinnere ich mich noch bis heute ; wie ein Fossil standen die letzten Reste des Stahlgerüsts noch auf der Spreeinsel, ein anderes mal stecke ich 1€ in die Prix Express Bahnhofsmodellanlage auf dem Frankfurter Hauptbahnhof und lasse den Güterzug rollen. Aus dem Fenster meines Kinderzimmers überblicke ich das ganze Allianz-Stadion in Mariendorf, der „Speerwerfer“ von Karl Möbius ist seit meiner Kindheit eine vertraute Figur, Tag und Nacht sehe ich ihn wie er über die Anlage wacht.&#38;nbsp;


Wir forschen weder für die Nation noch für ein Volk, trotzdem zu Künstlern im Dienste des Staates. Es mag sein, dass bestimmte Themenbereiche den historischen Missbrauch vorerst möglich machten und wiiir glauben, dass eine [vermeintliche] Komplexität, niemals die menschlichen Fragen aushebeln kann. Jedoch brauchen wir eine transparente Schau in die Vergangenheit, die Suche nach Motiven, nicht nach Ideen. postvölkisch ; post-historisch und semi-informativ


	EN
Due to our research subject, the cultural emergence of Central Europe, we would like to draw some boundaries in advance and make our positions clear.
We at iS-AG stand against any ideological misuse of history, against obsessive readings of our institute's work and against any transformations of our psychological excavations - we conduct research; no cultural policy. Our banner doesn't say Who we really are or Where do we come from?&#38;nbsp;- if anything it's who we probably aren't but why it's still important to talk about it.Is there an unproblematic history? No matter how unspectacular it is. The view into the longhouses and behind deceptive ; situational manifestations of protagonists. Even if the answers don't fit the narrative of the better ones, even if it becomes too unspectacular - no story is too simple, no review is secondary.&#38;nbsp;As a child of two countries, I still remember it today; The last remnants of the steel frame are still standing on the Spree island like a fossil. Another day I am inserting €1 into the Prix Express station model at Frankfurt Central Station and let the freight train roll. From the window of my childhood room I can see the entire Allianz Stadium in Mariendorf, the „Speerwerfer“ by Karl Möbius has been a familiar figure since my childhood, I see him day and night watching over the facility.
We do research neither for the nation nor for a people, but nevertheless on artists in the service of the state.

It may be that certain historical fields made historical abuse possible in the first place and we believe that [alleged] complexity can never eliminate questions of humanity. However, we need a transparent look into the past, the search for motives, not ideas. post-völkisch; post-historical and semi-informative


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