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FINALLY — Postrevolutionary Art in the 4th Reich
[ENDLICH — Postrevolutionäre Kunst im IV. Reich]
NGBK | Lapidarium | Hallesches Ufer 78
December 3, 1990 to January 4, 1991

ENDLICH Ausstellungskatalog, designed by Dietmar KirvesMarx, Engels and Lenin are dead. Socialist devotional objects with a list of these three heads can be found at the jumble sale. Alive are the Old Fritz, Bismarck, Hitler and Kohl. That's what 31 untamed artists from East and West and North and South think. One and some have been given a meaningful name or given themselves: Paula Underrock, Charly Banana, Sigi Heil, Ernst Kahl, Muffel, Wixfried Schüttelheimer, Funny van Dannen. All thirty-one cheer united: "Finally post-revolutionary art in the IV Reich." They heat up at this discovery artfully and lustfully dissolute and not at all lapidary in the unheated Lapidarium, the domicile of the state conservator for environmentally endangered and endangering Prussian original monument heroes from the time before the beginning of the III Reich..

Dietmar Kirves: Schlüsselkasten 1990Just to the left of the entrance to the two consecration halls with the stone warriors, monarchs and war angels, there's a large main key box by Dietmar Kirves. Since the world can only be spun without limits, personalities who have spun the yarn of history or are still spinning it have hung the duplicate keys to their own personal spinning room there. So everyone, but really everyone, can bravely join in the spinning and finally has the choice between very different spinners: Tarzan, Hohnecker, Kaufmich, Eichmann, Luther, Batman, Wagner, Thatcher, Theresa or Bush. - I would choose Bush, because he has deposited in the master key box an old Berlin pass-through key with two beards: a lock pick for the Second and the Third World. If all of Europe continues to be spun over by Kaufmich in such a uniform and egalitarian way, Bush's bones will allow us to enter the good old, ideologically stable time, where an enemy is still a real enemy and even a good friend is better not to be trusted.

Between Auguste Victoria in marble and King Friedrich Wilhelm III, the Bitterfeld herpes king celebrates German unity in acrylic on canvas and farts with the fat Berolina: "Such a day, as beautiful as today." However, Schüttelheimer's naked Hitler, who is shown on a video in the pump hall with military music, inflatable rubber mania and with the help of a black-red-gold rope simultaneously striving for suspended rights and presentable erection, he cannot lead to the national climax even through this shout of joy. The pious butcher Dr. Goltz steals the show from him. He advertises with his Madonna press bag. In this bag, everyone who is poor and not German is processed. Fodder for the technologically flawless, immaculate fight against overpopulation and hunger throughout the world. Because of its intimate, childlike aesthetics, this advertisement would fit very well today between the Christmas market stalls at the Gedächtniskirche. The delicious confectioner's picture of reunification by Georgy Bretschneider could have a very different effect on tourists from all over the world than the Madonna's press bag, among cotton candy, gingerbread hearts and mulled wine. They would recognize: What doesn't belong together simply has to stick together.

Dietmar Kirves: Achtung Zukunft 1990Devotional objects? 13 icons of Adolf Hitler's birth, ordeal and resurrection are on display in the Lapidarium, as well as rather cute model crematoria and star singers from Auschwitz and a fresh-faced German boy all alone on the deserted death strip shouting "Germany, Germany, Germany" and even waving a black-red-gold waving element merrily. Display cases show what has ended up on the garbage heap of history as a result of this shouting: an educational pamphlet about the FDGB's Revision Commission, the ABCs of the Schutzpolizist, plastic glass coasters, a purple neckerchief for civilian defenders, instructions for building makeshift furniture and growing tobacco by the "Bauernfreund", series "Wir helfen uns selbst". Nix there, workers and farmer friends, now you will be helped until you no longer know yourself and it is no use at all that there an incorrigible artist in front of a fist-banging lapidary goddess has erected a construction site sign with shoveling worker. Germans no longer shovel thoughtfully by hand as they did in Anno Tobak. And piles of sand with the word "past" on them no longer exist. And that's why Dietmar Kirves' additional sign "Attention to the Future" is spot on, if you read it correctly. Have respect for the beautiful, new, totally styled future. The main key for this horror cabinet to German history we press into the hand of one or the other or the future Erich. First of all, they are on the safe side and have the right perspective: Germany-Germany was a pure capitalist conspiracy and before he or she has not voted properly, although there is no election at all anymore, no one gets in there into the creepy lapidarium of the national conservator. - I find.

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