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COLD WAR SPACES November 19, 2017 to April 29, 2018

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COLD WAR SPACES November 19, 2017 to April 29, 2018 COLD WAR SPACES November 19, 2017 to April 29, 2018 All works belong to The Wende Museum’s permanent Acollection, unless noted. WENDE MUSEUM OF THE COLD WAR INTRODUCTION Political power relations, economic systems, and cultural ideas impact the way we experience and structure our environment. The Cold War, with its strict division between “East” and “West,” is a prime example. The “Iron Curtain” that cut through Europe from the late 1940s to the early 1990s, most powerfully symbolized by the Berlin Wall (erected in 1961), not only separated two political and military power blocs but also divided two economic structures, two types of social organization, and two cultural belief systems. These differences played out in the spatial organization of everyday life. Whereas in the capitalist world public space is dominated by commercial signs and symbols, socialist public space is dictated by political iconography. The concept of private space has a different meaning in a society where everyone might be reporting on everyone else to the secret police. And while in Western advertisements men and women are mostly seen in an environment of leisure and consumption, people in socialist visual culture are predominantly depicted as producers leading a fulfilling life at the workplace in support of society. The Cold War also shaped its own secret spaces, such as prisons and gulags, where political opponents and cultural dissidents were sequestered, or military bases and weapons factories that were omitted from regional and national maps. The heavily militarized borders between “East” and “West” functioned as barriers between two irreconcilable ideologies. Each side aimed to block the infectious influence of the other by all means. The Cold War even extended beyond Earth’s atmosphere, as the competition between the two power blocs resulted in the space race. However, nothing in life is unambiguous. The space competition eventually resulted in a close collaboration between the superpowers. Public space was used not only to disseminate political messages but also to subvert official culture. And the Berlin Wall, which stood as a symbol of political division, eventually became an international symbol of hope and reconciliation when East German border guards opened the gates on November 9, 1989. This exhibition explores the spatial characteristics of Cold War–era Eastern Europe and the Soviet Union in eight sections: utopian space, public space, outer space, border space, private space, work space, secret space, and changing space. It captures some of the unique traits of divided Europe between the end of World War II and the fall of the Berlin Wall, and comments on the paradoxes of political and cultural division. 1 BORDER SPACE Where two political systems clash, there is always a fortified border that keeps them apart. In a speech from 1946, Winston Churchill used the term “Iron Curtain” to reference the increasingly impenetrable division between East and West in the emerging Cold War. From the moment it was erected in August 1961, the Berlin Wall would be the most tangible expression of this divide. While the heavily militarized and excessively monitored borders were meant to separate the two ideological camps, they also served as a passageway for people, goods, and ideas, inevitably resulting in ideological clashes and intercultural exchanges. On November 9, 1989, East German border guards opened the gates of the Berlin Wall, transforming this bulwark of division into a symbol of hope. Lothar Gericke, Cityscape with Love Couple, 1978, East Germany Berlin Wall pieces, reinforced concrete, c. 1975, East Germany Farrah Karapetian, Souvenir (Green), 2009 2 Lutz Voigtmann, Gray Town, undated, East Germany Peter Leibing, Escape of the Border Guard Conrad Schumann on August 15, 1961, c. 1990, Germany Pavel Sima,“Wallpecker” Man and Child, c. 1990, East Germany Christopher Morris, East German border guards become spectators at an official opening of a Anthony Suau, Children play inside the Wall near the Brandenburg Gate, February 1990, border crossing through the Wall at Potsdamer Platz, November 12, 1989, East Germany East Germany 3 OUTER Due to rapid scientific developments in the early Cold War, outer space for the first time in history became an object of contestation. The space race became one of the most prominent fields of competition between East and West with the successful launch of Sputnik in 1957, cosmonaut Yuri Gagarin’s orbit of the Earth in 1961, and the U.S. moon landing in 1969. While the motivation for the space race was to prove and document the superiority of one system over the other, the unintended consequence of televised travel beyond the atmosphere was a deeper sense of global unity, provided by the unique view of planet Earth seen from outer space. When word of the Sputnik craze reaches the “director of heaven” (God depicted as a stamp-collecting bureaucrat) in the form of children’s Christmas wish lists, he sends Santa Claus on an undercover mission to earth to learn more about the mysterious beeping object in the sky and its potential threat to the fairy tale of heaven. This atheist parable about scientific rationalism triumphing over religion was screened for East German Young Pioneer groups, framed by historical discussions of space exploration. Excerpts from Sharp Left Behind the Moon, directed by Günter Rätz, 1959, East Germany, Produced at the DEFA (Deutsche Film Aktien-Gesellschaft) Studio for Animated Films in Dresden Initially, the Soviet Union took the lead in the so-called space race in 1961 as the first country to send a man – Yuri Gagarin – to orbit the Earth in outer space. However, eight years later the United States landed a manned spacecraft on the Moon. This humorous Soviet poster, printed one year after Neil Armstrong and Buzz Aldrin’s Moon expedition with Apollo 11, expresses confidence that the Soviet Union would catch up quickly. That never happened. Veneamin Briskin and Valentin Viktorov, I am Walking on the Moon!, 1970, Soviet Union Alexander Grigorevich Vaganov, To the Twenty-First Century M. Manuilov and A. Klemetyev, Circus, 1953, Soviet Union in Peace and Consent, 1991, Soviet Union 4 Gagarin was the first man to orbit the Earth in outer space, with his Vostok spacecraft on April 12, 1961. This sculpture bust of a young Gagarin was found at a Soviet military compound in East Germany. Launched on October 4, 1957, Sputnik 1 was the first satellite to orbit Earth, and its successful mission truly kicked off the space race. It broadcast radio signals and was tracked by radio operators all over the world before its battery died 21 days after launch. Sputnik 1 was destroyed while reentering Earth’s atmosphere on January 4, 1958. Anonymous, Yuri Gagarin, undated, Soviet Union Lukashevich was one of the stage designers for Mikhail Karyukov and Alexander Kozyr’s 1959 science-fiction movie The Sky Calls (Nebo Zovyot). Two of these works are designs for the film sets, the other five are painted after the original designs. The Sky Calls was released between two pivotal moments in the Space Race: the launch of Sputnik I (1957) and Yuri Gagarin’s historic space flight (1961). In this movie, Soviet and American spaceships are racing to reach the planet Mars, although the plans are thrown off track when the US team, desperate to reach the red planet first, sets out on their voyage prematurely and under-prepared. The Americans become stranded and need to be rescued by the Soviets. Out of fuel due to the unexpected rescue mission, both US and Soviet teams are stranded on an asteroid, where they are eventually saved by a self-sacrificing Soviet cosmonaut. In the end, the astronauts return to Earth and the film advocates for greater cooperation between the superpowers. This Soviet film was dubbed and re-released in East Germany in 1960; two years later, young Francis Ford Coppola directed and edited a re-dubbed American version of this film titled Battle Beyond the Sun that removed all references to the Soviet Union and to anti-American propaganda. Georgi Lukashevich, Seven scenes from The Sky Calls, 1957-1960, Soviet Union 5 Lunokhod 2 Model, 1970s, Soviet Union Lunokhod Moon rover battery-operated toy, 1960s, Soviet Union, collection of Eve Lichtgarn Sputnik music box, undated, Soviet Union In August 1960, Belka (“Squirrel”) and Strelka Hammer and sickle with Sputnik and female figurine, c. 1987, (“Little Arrow”) were Soviet Union, collection of Eve Lichtgarn the first dogs that safely returned from an expedition into outer space. Their predecessor Laika (“Barker”), who was sent into space in 1957, didn’t survive her space travels. Rocket vessel with space dogs Belka and Strelka, 1960s, Soviet Union Symbolic wall hanging, undated, collection of Eve Lichtgarn 6 Floral and space-themed plate, undated, Soviet Union Laika - First Traveler to Space, undated, Soviet Union Female cosmonauts wall relief, undated, collection of Eve Lichtgarn 7 PUBLIC While the streets and squares in the Western world are in large part dominated by billboards, advertisements, and commercial signs, the public realm in Eastern Europe and the Soviet Union was largely a political environment where socialist symbols and party slogans were continually reinforced. These spaces were designed for collective experiences like parades and political celebrations, to unite citizens under the banner of state socialism. Public monuments celebrated historical and contemporary socialist figures worthy of admiration and imitation. However, public space was also the arena of uncontrolled and uncontrollable encounters and social interaction, where people exchanged ideas, used the streets to their own ends, and appropriated, sometimes with wit and irony, the political symbols and structures around them. Ernst Thälmann was the leader of the Communist Party of Germany (KPD) between 1925 and 1933, when he was arrested by the Gestapo.
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