Museum Abteiberg

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March 11 – Jun 10, 2018



Henrike Naumann brings together a contemporary historical archeology of the legacies of
postmodernism in Germany. Why is it easier to find a wavy mirror today than a straight one? What makes the ubiquity of copied postmodern designs what it is, and why is it so common in German everyday life? What social effects did the post-1990 postmodern construction boom have on the lives of people in what was once East Germany? Is it possible to radicalize yourself through furniture? And how was it with the Expo 2000 in Hanover, whose senior organizer – former President of the Treuhand Agency – had been tasked with reprivatizing East German enterprises just a few years before? The year 2000 is commonly considered the endpoint of postmodernity. The location of this exhibition speaks for itself: Museum Abteiberg, opened in 1982, was one of postmodern architecture’s first

Naumann takes the millenium year as a starting point for a look at the 1990s in East and West Germany and the after-effects of postmodern design on German society. Based on her reflections, the Abteiberg Museum’s large, temporary exhibition space is transformed into a curious “German Pavilion” – an excavation site in which the ruins of postmodernism are exposed. In constant dialogue with
Hollein’s architecture, Naumann’s exhibition architecture dazzles the space between museum, trade fair stand, concept store, living room and ruin. Expo 2000 and Terror 2000, Treuhand and Love Parade, former Chancellor Gerhard Schröder and techno DJ Dr. Motte, Generation Golf and German furniture retailer Möbel Höffner – a German-German pavilion filled with 100 objects and pieces of furniture selected subjectively and emotionally: from the artist’s archive and the living rooms of Mönchengladbach. Information about the artist: