FREITAG, 27. JUNI 2014
MITTWOCH, 25. JUNI 2014
Exhibition Views "Körperschriften" 100 Jahre Erster Weltkrieg at the Museum Center of Alte Berliner Garnisonfriedhof
Dyprich "Adoration" by Xenia Fink
Cut Tyvok, 2014
Monotypes "Mirror" by Marta Sforni
2014
Barbara Gerasch, Hildegrad Reisbach 1, pencil on paper, 2009
Hildegrad Reisbach 4
FREITAG, 13. JUNI 2014
FREITAG, 7. MÄRZ 2014
DIENSTAG, 4. MÄRZ 2014
Upcoming: Educational School Exchange Project / Exhibition - Bad Education
The ARE has made up its mind to research into the issue and maybe turn schools into better places - and since teachers evidently fail on that maybe artists would do better. We bring art into schools and schools to arts.
DONNERSTAG, 27. FEBRUAR 2014
The following information on the First World War prisoners is on show at the Exhibition Kriegsgeschichte-n curated by the ARE/Artistic Research Encounters in Berlin. The exhibition has been organized with the friendly support of the Lautarchiv of the Humboldt-Universität zu Berlin. Exhibition duration 8. Februar- 23. April, 2014. The materials on the Georgian prisoners presented on the blog and in the exhibition are on public show for the first time after the WWI since they were classified as secret data. We're very thankful to HU Lautarchiv for cooperation and to Dr. Britta Lange for letting us know about the existence of these data and for providing us with the necessary information and materials.
File #633
Personal Data:
Camp for military prisoners: Wünsdorf
Date: 31.12.1916
Time: 13 p.m.
Diameter of the record: 27 cm
Kind of recording: folk song
Tatarian from Simbirsk
Name (in Lat.) Kerim Muhammedof
First name
Born when (approximate age): 1892
Born where: Tschumbali
Which big city is in the
neighbourhood of the birthplace?: Simbirsk
Canton: Gurumischeski
County: Simbirsk, Tschumbali
Place of living between ages
7 till 20 years: Kazan
What kind of school education? Tatarian secondary school (Mittelscule)
Where did he go to school? Kazan
Place of living from age 20: Muksha, Goubernia Pensa)
Which place does his father
come from? Tschumbali
Which place does his mother
come from? Nijni Novgorod
Which tribe does he belong to? Tatar
What other languages does he speak? Russian
Is he literate? Yes, he can read and write Tatarian and Russian
Does he play in the camp any
instruments from his homeland? No
Does he sing or play modern
European music? No
Religion:
Profession: Peasant (Landman)
Character of the voice:
- Judgement of the specialist
(assistant):
- Judgement of the
superintendent (comissar):
- Judgement of the technician:
DIENSTAG, 18. FEBRUAR 2014
Exhibition Cycle 100 JAHRE ERSTER WELTKRIEG Kriegsgeschichte(n) Work-in-Progress
The Molla Nasreddin Stories
By L. Fürstenow-Khositashvili
The stories of Molla Nasreddin are funny anecdotes and jokes of Turkish origin: witty, wise with subtle humour and pedagogic subtext. The one narrated by Awtandil Nalekrishvili, one of the many Georgian war prisoners kept in a German military camp in Mannheim in the year 1916 is no exception. The anecdote narrated by him is as funny as ever - nobody laughs though: neither now when one hears it almost one hundred years after its recording nor at the time it was narrated by a prisoner of war under coercion and recorded in a military camp.
The voice recording is in surprisingly good condition, one hears every word. It was meant to be made as good as possible. The leading German and Austrian scientists of the time: mostly ethnographers, anthropologists and linguists were set to create “the world archive” as they put it with the use of the advanced technology of the time: phonograms, gramophones, wax plates, voice recording media. The idea behind was to use the unique opportunity offered by the First World War -namely the German military camps as a living laboratory to research the human material detained there – the war prisoners. The “living museum” in a military camp offered unprecedented opportunities to research the languages, dialects, traditions of the various nationalities assembled in the camps in the proximity of the leading Universities of Austria and Germany. Research was made with precision and meticulous attention to detail. Sadly enough it was not only scientific ardour that inspired the researchers but also the perspective of presenting themselves as the summit of the culture nations' scientific elite. Apart from strictly scientific purposes the research strived to assemble knowledge about the future subjects of the empire for the sake of which the war was on and in the service of which science stood.
Military propaganda and ideological indoctrination of prisoners were common in the camps as well as meticulous procedures of taking bodily measurements of the detainees with the aim of classifying the human material according to racial characteristics. The soldiers from the French and English colonies used as cannon fodder were classified as the so-called “naturfolker” (nature folks standing on the lower stage of development as compared to the civilised European culture nations). The exotic “nature folks” presented by the Austrian and German propaganda as “man eaters” (Menschenfresser) were claimed to threat the entire existence of the European civilisation.
The muslim prisoners acquired particular status in the camps: special treatment, ritual washing facilities, possibility of practicing their religion. The authorities went as far as inspiring the captive muslims to lead Jihad against their colonisers. Provisional mosques were erected in camps to create the illusion of fair treatment of the muslim war prisoners although, as the representative of HU Lautarchiv stated, the conditions for religious practice were not satisfactory and the prisoners used to complain. The Halbmond lager presumably received its name (half-moon camp) from the mosque that was built there. The first mosque ever erected in Germany in 1915 was built in a military camp.
The prisoners from the-then Russian Empire – Georgians, Armenians, Tatars, those from the Baltic region were kept mostly in the Wünsdorf near Berlin, and in Weinberg lager. It's hard to estimate how many of these were detained there and what was their further destiny. The prisoners were presented as exotic and were for years the focus of interest for both public at large that came from Berlin to just gaze, for the scientists to conduct voice recordings, make three-dimensional bodily casts of the detainees and, last but not least, for German propaganda filmmakers.
The German colonial film company established in 1917 made a number of films using under coercion detainees from the colonies to play in propaganda films during the period of WWI. The films intended to boost the war spirit among the population. The fact that the actors were war prisoners in German camps and that the films themselves were made in the camps was never revealed to ordinary viewers.
The material about the First World War prisoners in the German camps is up to now almost 100 years after the war is very little known to German public, to say nothing of the public of the countries involved – the home countries of the prisoners. It has been the sincere belief and the aim of the ARE/Artistic Research Encounters while organising the exhibition cycle 100th Anniversary of the First World War to make this information available for public and to initiate a discourse about the events and the facts. Since most of the names, personal data of the detainees whose voices are recorded, are known - it might be possible to trace down, or in some way find out more about their destinies. It's common knowledge that, although the military camps praised themselves on fair treatment of their captives, the truth is that many prisoners never survived the camps because of diseases. Yet finding out information about at least one of the many prisoners would make the mission of this work-in progress project fulfilled. Up to now the private destinies of the majority of the captives are still an unresolved mystery.
Georgian, Armenian, Tatarian, Indian to name but a few – the languages spoken in military camps still speak to us thanks to the phonographic recordings. Maybe we ever find out more about those speaking.
The exhibitions cycle 100th Anniversary of the First World War/ Kriegsgeschichte(n) (War His-Story-Ies) is curated by the ARE/Artistic Research Encounters. The project is a Work-in-Progress show in the unique ambience of the exhibition space at the Alte Berliner Garnisonfriedhof – one of the oldest military cemeteries in the heart of Berlin. The project is realised with the friendly support of the Lautarchiv of the Humboldt-Universität zu Berlin. The Vienna University is in the process of preparing a special edition of recordings of the Caucasian songs recorded in military camps. We are very thankful to researcher and expert on the issue, Dr. Britta Lange for letting us know about the existence of the archive and for providing us with the necessary information. For more on the exhibition and the project, please, see the web-pages:
www.georgiatoday.ge
and
http://artisticresearchencounters.blogspot.de
www.georgiatoday.ge
and
http://artisticresearchencounters.blogspot.de
The logic of the archive mostly runs contrary to that of the outside world, all the more so with the archives which the outside world knows so little about.
MONTAG, 17. FEBRUAR 2014
Ausstellungsreihe - 100 JAHRE ERSTER WELTKRIEG
Kriegsgeschicnte(n)
Ausstellungsreihe - 100 JAHRE ERSTER WELTKRIEG
curated by ARE/Artstic Research Encounters
with friendly support of the
Lautarchiv of the Humboldt-Universität zu Berlin
recordings of speech and songs by prisoners of war from German camps of the WWI
made available by Lautarchiv of the Humboldt-Universität zu Berlin
Duration: 8th February-23rd April, 2014
Visiting by previous appointment:
030 9789 38 97
0151 211 83 73 1
Participating Artists:
Dieter Appelt
Ariel Reichmann
NatHalie Braun Barends
Thomas Bratzke
The following information on the First World War prisoners is on show at the Exhibition Kriegsgeschichte-n curated by the ARE/Artistic Research Encounters in Berlin. The exhibition has been organized with the friendly support of the Lautarchiv of the Humboldt-Universität zu Berlin. Exhibition duration 8. Februar- 23. April, 2014. The materials on the Georgian prisoners presented on the blog and in the exhibition are on public show for the first time after the WWI since they were classified as secret data. We're very thankful to HU Lautarchiv for cooperation and to Dr. Britta Lange for letting us know about the existence of these data and for providing us with the necessary information and materials.
File #678
Personal Data:
Place - military camp for war prisoners: Wünsdorf
Date: 5.1.1917
Time: 2 h. 15 min.
Diameter of the record: 27 cm
Kind of recording: recording of singing
I song 3 performed by (Gajan Singh and Badan Singh) II song 1 and 2 spoken (Gajan Singh)
Name written in mother language: (Indian script)
Name (in Lat.) II Badan Singh I Gajan Singh (pk677)
First name
Born when (approximate age): 23 years old
Born where: Khairpur
Which big city is in the
neighbourhood of the birthplace? :
Canton Patiala
County
Place of living in the first
6 years : Khairpur
Place of living from age
7 till 20: 18 years, 9 Bhopal Juf (Zuf? couldn't make out the writing), Faizabad
What kind of school education? Regiment school
Where did he go to school? Vaizabad
Place of living from age 20: Faizabad
Which place does his father
come from? Khairpur
Which place does his mother
come from? Rakhtramundan
Which tribe does he belong to? Sikh
Which language as
mother tongue? Panjabi
Which other languages
does he speak? Hindostani
Can he read? Which alphabets? Guruchi, Nagari
Can he write? Which alphabets? Guruchi, Nagari
Does he play in the camp any
instruments from his homeland? No
Does he sing or play modern
European music? --------
Religion: Sikh
Profession: Peasant (Landmann)
Character of the voice:
- Judgement of the specialist
(assistant):
- Judgement of the
superintendent (commissar): soft (weihe, couldn't make out the handwriting further) voice
signed (gez.) Wilh. Doegen
3. Judgement of the technitian:
SONNTAG, 16. FEBRUAR 2014
ინფორმაცია პირველი მსოფლიო ომის ტყვეებზე გერმანულ ბანაკებში, რომელიც ზემოაღნიშნულ გამოფენასთან “Kriegsgeschichte(n)” დაკავშირებით საჯაროდ იფინება Alte Berliner Garnisonfriedhof-ის საგამოფენო სივრცეში. პროექტ 100 JAHRE ERSTER WELTKRIEG “Kriegsgeschichte (n)” კურატორობას ახორციელებს ARE/Artistic Research Encounter
The following information on the First World War prisoners is on show at the Exhibition Kriegsgeschichte-n curated by the ARE/Artistic Research Encounters in Berlin. The exhibition has been organized with the friendly support of the Lautarchiv of the Humboldt-Universität zu Berlin. Exhibition duration 8. Februar- 23. April, 2014. The materials on the Georgian prisoners presented on the blog and in the exhibition are on public show for the first time after the WWI since they were classified as secret data. We're very thankful to HU Lautarchiv for cooperation and to Dr. Britta Lange for letting us know about the existence of these data and for providing us with the necessary information and materials.
File #776
File #776
Personal Data
Place - military camp
for war prisoners: Münster
for war prisoners: Münster
Date: 23.3.1917
Time: 6 h. 30 min.
Diameter of
the record: 27 cm
Kind of recording: language recording
Tale of Tischevson Georgian
Name (in Lat.): Gegelia
First name: Awtondil
Born when (approximate age): 23 years old
Born where: Salchino
Which big city is in the
neighbourhood of the birthplace? : Kutais
Canton: Senaki Senak (written in handwriting gub?)
County: Kutaiser gurt.
Place of living in the first
6 years : in the village
Place of living from age
6 till 20: in different cities
What kind of school education? Village school
Place of living from age 20: In the village and partially in the Russian military service
Which place does his father
come from? Mingrelian
Which place does his mother
come from? Mingrelian
Which tribe does he belong to? Mingreler
Which language as
mother tongue? mingrelian
Which other languages
does he speak? georgian russian
Can he read? yes
Which languages? Georgian Russian
Can he write? Yes
Which languages? “ “
Does he play in the camp any
instrument from his homeland? No
Does he sing or play modern
European music? has listened to lots of European styles
Religion: orthodox Profession: Kandmann
Character of the voice:
- Judgement of the specialist very good diction, reads excellently, singing worse(assistant):
- Judgement of thesuperintendent (comissar): strong voice with good conconance – accent not. (gez.) Wilh. Doegen
FREITAG, 14. FEBRUAR 2014
100 JAHRE ERSTER WELTKRIEG Kriegsgeschichte(n)
ფაილი 633
პირადი მონაცემები:
ბანაკი ვიუნსდორფი (Wünsdorf)
თარიღი: 31.12.1916
ფირფიტის დიამეტრი: 27 სმ
დრო: 1/ლი საათი
აუდიოჩანაწერის ხასიათი: ხალხურისიმღერა
თათარი სიმბირსკიდან
სახელი ლათ. Kerim Muhammedof
დაბადებული 1892 წ.
დაბადების ადგილი: Tschumbali, ჩუმბალი
ახლომდებარე დიდი ქალაქი: სიმბირსკი
ოლქი: Gurumischeski
გუბერნია: სიმბირსკი, Tschumbali
სად ცხოვრობდა 7 დან 20 წლამდე - კაზანში
საშუალო განათლება - თათრული საშუალო სკოლა (Mittelschule)
სად დადიოდა სკოლაში - კაზანში
20 წლიდან ცხოვრობდა - მუკშაში, გუბერნია პენზა (Muksha gouv. Pensa)
მამა დაბადებულია - ჩუმბალში
დედა დაბადებულია - ნიჯნი ნოვგოროდში
ეთნიკური წარმომავლობა - თათარი
რა ენაზე ლაპარაკობს კიდევ - რუსულად
წერა-კითხვა შეუძლია - დიახ, თათრულად, რუსულად
უკრავს თუ არა ბანაკში რაიმე ინსტრუმენტს სამშობლოდან? არა
თუ მღერის თანამედროვე ევროპულ სიმღერებს / ევროპულ მუსიკაზე? არა
პროფესია / მიწათმოქმედი, გლეხი
ინფორმაცია პირველი მსოფლიო ომის ტყვეებზე გერმანულ ბანაკებში, რომელიც ზემოაღნიშნულ გამოფენასთან “Kriegsgeschichte(n)” დაკავშირებით საჯაროდ იფინება Alte Berliner Garnisonfriedhof-ის საგამოფენო სივრცეში. პროექტ 100 JAHRE ERSTER WELTKRIEG “Kriegsgeschichte (n)” კურატორობას ახორციელებს ARE/Artistic Research Encounter.
ფაილი 490
პირადი მონაცემები
ბანაკი მანჰაიმი
თარიღი> 2. 11. 1916
დრო> 10 ს. 5 წუთი
ფირფიტის დიამეტრი / 27 სმ
საუბრის აუდიოჩანაწერი
ქართული ანეკდოტი მოლა ნასრედდინზე, 1/ლი ნაწილი
სახელი / ლათინურად Nalekrishvili (ნალექრიშვილი)
SAMSTAG, 8. FEBRUAR 2014
Ausstellungsreihe - 100 JAHRE ERSTER WELTKRIEG/ Kriegsgeschichte(n)
Eröffnung
7 Februar, 2014
Alte Berliner Garnisonfriedhof
Kleine Rosenthalierstr. 3
10119 Berlin
Ausstellungsdauer:
8 Februar - 23 April, 2014
7 Februar, 2014
Alte Berliner Garnisonfriedhof
Kleine Rosenthalierstr. 3
10119 Berlin
Ausstellungsdauer:
8 Februar - 23 April, 2014
MITTWOCH, 5. FEBRUAR 2014
DIENSTAG, 4. FEBRUAR 2014
Kriegsgeschicnte(n)
Kriegsgeschicnte(n)
In diesem Projekt es geht uns um Geschichte(n) – im Sinne des historischen Geschehens und der persönlichen Schicksalsgeschichten von Menschen, die in die umfassende Geschichte von Ersten Weltkriegs einbezogen waren. Es geht um die Ge-schicht-en mit der enormen Anzahl von unterliegenden, scheinbar unbedeutenden Schichten von Ereignissen, Fakten, Dokumenten die die menschliche Existenz verschleiern. Es geht um die Mechanismen der medialen Codierungen, Speicherungen, Übertragungen der Geschichte-n sowie um die Prozesse deren Instrumentalisierung.
Die Ausstellung thematisiert die Prozesse der Übertragung, der Speicherung und der Sichtbar – Hörbarmachung den Spuren menschlicher Existenz. Das gesprochene Wort und die Schriftsprache als eine der ältesten Speichermedien per se sind hier von besonderer Bedeutung.
Auf Schallplatten gespeicherte Aufnahmen menschlicher Sprache - Volkslieder, Gedichte, Geschichten, die von Häftlingen in Kriegsgefangenenlagern weit entfernt von der Heimat, in Deutschland, während des ersten Weltkriegs gesprochen wurden, sind die einzigen für uns gebliebenen Existenzspuren der Menschen, von denen wir nur die Stimmen hören.
Was wissen wir sonst über diese Menschen, ausser noch dazu gehörige knappe biografische Daten aus die so genannte Personal Bogen? Die Spuren Ihrer Existenz, die nach einhundert Jahren dank der neuen Medien immer noch hörbar sind, lösen nicht die die Rätsel der einzelnen Schicksale. Trotz der überraschend guten Qualität der in der HU Lautarchiv aufgehobenen Tonaufnahmen bleibt die Anonymität der zu uns durch die Zeiten sprechenden Menschen spürbar und gleichermaßen befremdend. Wie die Wissenschaftlerin Dr. Britta Lange betont: „Alle biografischen Daten der Person dienten der Verortung Ihrer Sprache und Ihres Dialekts … Die Identität selbst jedoch – verbürgt durch Ihren Namen - blieb für diese Form der linguistischen und anthropologischen Fragen uninteressant und damit ungenannt.“
Unser Vorhaben ist es auch, die Mechanismen der Präsentation dieser historischen Dokumente im Ausstellungskontext zu untersuchen. Ob die künstlerische Recherche unser Geschichtsverständnis durch die ästhetische Wahrnehmung erweitert? Die gegenwärtige Praxis des Präsentierens im Ausstellungskontext: die Praxis von öffentlich Sichtbar – Hörbar - machung: gibt sie uns eine Möglichkeit, die Geschichte und die erzählten Ge-schicht-en sowie die dahinter stehenden Menschenschicksale zum entschleiern oder auch nicht?
Die entsprechenden Kunstwerke von Dieter Appelt, Ariel Reichmann und NatHalie Braun Barends tematisieren die Fragen der Abwesenheit und Präsenz, Verschleierung, Anonymität, Verscwinden und Auslöschen, wie auch die Möglichkeiten der in Erinnerungbleiben.
Kriegsgeschichte-n
Ob persönliche Geschichten oder Geschichte im Ganzen - ihr wahrer Sinn und ihre Bedeutung sind immer woanders zu suchen und bleiben oft verborgen. Was unser Projekt betrifft - es ist nur ein Versuch, die Fakten und Archivdokumente öffentlich zu präsentieren. Vielleicht sind das Dokumente, die bis jetzt noch nicht das Licht des Tages erblickt haben, vielleicht sind sie auch schon bekannt, das ist nicht so wichtig. Wichtig sind die Sichtbarmachung und das Wiederentdecken der Spuren der Vergangenheit. So dass die Geschichten, die längst vergessen sind, wieder zu Erinnerung gebracht werden, weil es ohne die scheinbar unbedeutenden persönlichen Geschichten die allgemeine Geschichte der Menschheit nie gegeben hätte und weniger wert wäre. Es geht um die Schicksalsgeschichten, die von der umfassenden Geschichte des Ersten Weltkrieges verursacht sind. Es geht um Schicksalsgeschichten einzelner Menschen, die mit der Geschichte des gesamten Ersten Weltkriegs verwoben sind und die sich ohne Krieg ganz anders entwickelt hätte und geschrieben werden konnte.
Es geht um die Spuren, die die Geschichte(n) hinterlassen haben: dieindexikalisch-photographischen, sprachlichen, schriftlichen sowie um ihre Kopien und ihre Bedeutung für die heutigen Betrachter. Und es geht letztendlich um jene unsagbaren Spuren – mit Präsenz, Tod und Verschwinden verbundenen, die einen Kriegszustand immer begleiten und die der Auswahl dieses Ausstellungsortes eine besondere Bedeutung verleihen.
Der Alte Berliner Garnisonfriedhof, ein Offiziersfriedhof der größten Garnison Preußens, ist der Ort par excellence, wo die unsagbaren, massenhaften, von Tod und Leben erzählenden Kriegsgeschichten zu Geschichte wurden.
Man kann nur hoffen, dass dieses Unsagbare, Unaussprechliche durch Kunst wahrgenommen werden kann. Die Arbeiten von Dieter Appelt und Ariel Reichmann thematisieren die Fotografie als indexikalisches Medium, wo die Spuren von Licht und Schatten hinterlassen sind. Die Metamorphosen des Daseins: Präsenz und Vergehen in ihrem finalen Stadium von Leuchten, Erleuchten, Schein und Erscheinung sind die Hauptthema von Dieter Appelts Arbeit. Schein und Scheinbarkeit in ihrem Zusammenspiel meisterhaft ins Spiel gesetzt durch fotografisches Medium entsprechen der Thematik von menschlicher Existenz und dem Verlöschen, Auslöschen und Verschwinden. Was auch das Thema von Ariel Reichmans Arbeit “Eines Tages wir alle verschwinden” ist.
MONTAG, 3. FEBRUAR 2014
Exhibition Cycle 100 Jahre erster Weltkrieg
Kriegsgeschichte-n
Starting with the opening on February 7th 2014 the whole project is supposed to be accompanyied by a series of exhibitions that will take place in the office and in the Lapidarium of the Alte Berliner Garnisonfriedhof as an ongoing process and a space for meeting, exchange, observation and commemoration. The visitors will be invited to leave their notes, impressions and experiences upon visiting the exhibition and the cemetery in written or any other form (drawing, photograph, etc.). These will be collected and put into a special archive. The curatorial reference of the ARE has been the project of 4. berlin biennale in 2006 curated by Maurizio Cattellan, Massimiliano Gioni and Ali Subbotnik. At the 4. berlin biennale „of mice and men“ that analysed human condition, it was among others an audio installation by Susan Philipsz installed on the cemetery territory.This time referring to the human condition during the World War I a sound installation will be arranged for the interior of the cemetery office used as commemoration space. It is supposed to play in loop the digitalised sound recordings of the prosoners speaking their native language. The rocordings were made in the several military camps in Germany during the First World War. The recordings and the documents providing data on the indentities of the prisoners recorded have been kindly provided to us by the Lautarchiv of the Humboldt-Universität zu Berlin. Exact conditions on how, for which purposes the recordings were made or what happened to the prisoners afterwards are not known. It was supposedly the intention of the interrogaters who prepared and conducted the speaking - singing sessions with prisoners in the First World War and made the recordings in German camps to use them for the purposes of (among others) teaching of the Georgian language.
It is one of the aims of the exhibition and of the project to present to public and to discuss, as well as to allow the visitors to analyze and re-think history, to commemorate. If the installation helps to find out more about the prisoners - their further destiny and the details of their detention it would be all the better for all involved. These audio materials are unique and to our knowledge never presented in public before. The cycle of exhibitions curated by the ARE with the kind support of the Lautarchiv of the Humboldt University Berlin in cooperation with Förderverein Alte Berliner Garnisonfriedhof will be opened on Feb. 7, 2014.
We are very grateful to Dr. Britta Lange for letting us know about the existence of these recordings and documents in the HU Lautarchiv and to Sarah Grossert from the archive staff for the insightful conversation on the subject and the support.
ARE/Artistic Research Encounters
Opening: 7th February 2014
19-21 pm
Duration 7.2.-23.4, 2014
Kleine Rosenthalerstr. 3, Berlin
030 9789 38 97
FREITAG, 31. JANUAR 2014
Artistic Research Encounters mit freundlicher Unterstützung
des
Lautarchivs der Humboldt-Universität zu Berlin
und
Förderverein Alte Berliner Garnisonfriedhof e.V.
Eröffnung: 7. Februar, 2014, 18-20 Uhr
Kleine Rosenthalerstr. 3, 10119 Berlin
AUSSTELLUNGSREIHE
100 JAHRE ERSTER WELTKRIEG
Kriegsgeschichte(n)
Originaltonaufnahmen und Archivdokumenten von
erste Weltkrieg
über Georgische Kriegsgefangene in Deutschland
erste Weltkrieg
über Georgische Kriegsgefangene in Deutschland
Teilnehmende Künstler:
Dieter Appelt
Ariel Reichmann
Thomas Bratzke
DONNERSTAG, 30. JANUAR 2014
100 Jahre erster Weltkrieg
Ausstellung
Geschichten
und
Geschichte
Artistic Research Encounters in Zusammenarbeit mit
Lautarchiv der Humboldt-Universität zu Berlin und Förderverein Alte Berliner Garnisonfriedhof e.V.
Eröffnung: 7. Februar, 2014, 18-20 Uhr, Kleine Rosenthalerstr. 3, 10119 Berlin
Dokumente und Tonaufnahmen von Kriegsgefangene in Deutsche Lager
Teilnehmende Künstler
Dieter Appelt
Ariel Reichmann
Thomas Bratzke
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