Deutsches Historisches Museum - Verf�hrung Freiheit. Kunst in Europa seit 1945 - Blog

Encountering problems and fixing them during an exhibition in the making is something probably every curator knows. But what to do when the curator of the exhibition cannot be there? The answer to this question is how we met Lizzie Calligas. She is one of the many and crucial helping hands of our Thessaloniki exhibition.

Since artistic director Denys Zacharopoulos could not be there for the installation of the exhibition, Lizzie, as a close friend, took approximately 700 pictures in order to show them to him. Every night she visited him and came back in the morning with his notes to pass them on to curators Maro and Alexios.

But Lizzie herself is also an artist and so naturally we had a few questions for her.  

Dear all,

we hope all of you had lovely holidays with family and friends and an equally lovely New Year’s Eve.

Our past year was filled with excitement, new friendships, exhibitions ending and new ones opening, lots of work but also lots of fun and we hope it was the same for you.

What all happened? 

‘Good things come to those who wait’ – our exhibition app is finally and officially in the stores!

It took us a while, but after all this is our first exhibition application for smartphones and there are definitely things you only learn during the process of developing. Anyway are we smarter now, have an app and it’s free!

There is an iPhone version as well as an Android version. 

Bankers on the telephone, bankers shouting, hurried footsteps, and the rustling of clothing: these are the background sounds you would normally expect to hear at the world’s stock markets. For those not at the scene of the action, the rising and falling of stock prices occurs in silence—followed on a ticker.

The Norwegian artist Svein Flygari Johansen, on the other hand, discovered a very individual soundtrack: the Altaelva River.  

The British artists (and twins) Jane and Louis Wilson took their large-format photographs at the former East German state security remand detention centre in Berlin-Hohenschönhausen in 1997. The building, which is now the Berlin-Hohenschönhausen Memorial, was mainly used to intern political prisoners, dissidents, and people wanting to emigrate.

With their title, Stasi City, the artists point to the infrastructural character of this prison. At the point of their imprisonment there, many prisoners did not even know where they were, or whether they were even still in Berlin.