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Journal of Cross-Cultural Image Studies Revue D REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS-CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE Publication details, including open access policy and instructions for contributors: http://imaginations.csj.ualberta.ca New Research on East Germany Editorial Team: Brent Ryan Bellamy, Daniel Laforest, Andriko Lozowy, REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES Tara Milbrandt, Carrie Smith-Prei, Sheena Wilson NEW RESEARCH ON EAST GERMANY ISSUE 8-1 MAY 21, 2017 May 21, 2017 To cite this article: To link to this article: Eisman, April A. “Whose East German Art is This? The Politics of Reception After http://dx.doi.org/10.17742/IMAGE.GDR.8-1.6 1989.” Imaginations 8:1 (2017): Web (date accessed) 78–99. DOI: 10.17742/IMAGE.GDR.8-1.6 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 4.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions. WHOSE EAST GERMAN ART IS THIS? THE POLITICS OF RECEPTION AFTER 1989 APRIL A. EISMAN Abstract1 | Beginning with an overview of painting in East Germany, this article examines the German-German Bilderstreit (image battle) of the long 1990s and two major art exhibitions in the new millenium, Kunst in der DDR (Art in the GDR, 2003) and Abschied von Ikarus (Farewell to Icarus, 2012-13). It ultimately argues that the history of East German art has been rewritten since unification in ways that reflect Western expectations and desires more than socialist realities, and shows how art historians, scholars of the German Democratic Republic (GDR, or East Germany), and those seeking alternatives to the neoliberal present can benefit from a less biased view. Résumé1 | Commençant par un résumé de la peinture en Allemagne de l’Est, cet essai examine la bataille de l’image allemande-allemande dans des longues années 1990 et deux grandes expositions d’art dans le nouveau millénaire, Kunst in der DDR (L’Art en la RDA, 2003) et Abschied von Ikarus (Adieu à Icarus. 2012-13). Il fait valoir en fin de compte que l’histoire de l’art est-allemand a été réécrit depuis l’unification d’une manière qui reflète les attentes et désirs occidentales plus des réalités socialistes, et montre comment les historiens de l’art, les chercheurs de la RDA, et ceux qui cherchent des alternatives au présent néolibéraux peuvent bénéficier d’une perspective moins préjugé. DOI : http://dx.doi.org/10.17742/ IMAGE.GDR.8-1.6 APRIL A. EISMAN ast German studies today is thriving in English-lan- more biased than scholarship on either side of the Wall in algalerie in Berlin. This highly praised exhibition marks a guage scholarship. From history to cultural studies the 1980s.7 high point in East German art’s reception after 1989/90, but and especially film, scholars have shown us the com- it also inadvertently opened the door to a significant rewrit- Eplexity of East German society, which was not just a top- In this article, I show how our current understanding of art ing of East German art that reached its culmination in the down repressive system but also a place where culture played created in the German Democratic Republic (GDR, or East 2012 Abschied von Ikarus (Farewell to Icarus) exhibition in an important if contested role in the making of the socialist Germany) is quite different from what it was thirty years Weimar. I consider how both of these exhibitions presented person.2 This scholarship, which started primarily in the ago and argue that it has been rewritten to fulfill Western East German art before explaining why the rewriting of this field of literature in the 1970s and 1980s, expanded into his- expectations. Although some changes to the narrative have art matters for both art historians and scholars of the GDR. tory, film, and material culture in the wake of the Cold War.3 expanded our understanding, others have significantly dis- But the visual fine arts—including painting, graphics, and torted our view of East Germany, thus depriving us of an al- sculpture as well as performance and installation art—have ternative perspective from which to understand the capitalist Art in East Germany been almost completely overlooked.4 In English-language West. Such distortions also deny us a source for alternatives scholarship, for example, not a single monograph has been to the neoliberal present. I begin by looking briefly at the In Anglophone scholarship, East German art is virtually published on painting despite its centrality in the East Ger- development of art in East Germany, focusing on painting, unknown, the result in part of the Cold War era’s polariza- man art world.5 In Germany, by comparison, the visual fine the most prestigious visual arts medium, in order to estab- tion—and politicization—of the visual arts, which were di- arts have been the focus of numerous studies and several lish a baseline for understanding the history that has been vided roughly in two since the late 1940s: abstract vs. realist, large exhibitions. Much of the German scholarship written subsequently rewritten. I then turn to the German-German good vs. bad, Art vs. non-Art. According to these binaries, after unification, however, is permeated by lingering Cold Bilderstreit (image battle) of the long 1990s, a series of vehe- East Germany did not create art, merely political propagan- War-era stereotypes and contemporary political agendas.6 A ment debates in the German press about what role East Ger- da and kitsch. It is a stereotype that, despite the passage of similar tendency can be seen in most areas of East German man art and artists should play in the new Germany. These more than a quarter century since the end of the Cold War, studies, but it has been challenged by scholars, often work- debates offer insight into the larger issues at stake and the remains largely unexamined and therefore dominant in the ing outside of Germany, who take a more nuanced approach actors involved, and thus allow us to better understand the minds of most Anglophone academics who, if asked to de- (Port 15). In art history, by comparison, such correctives are more recent rewriting. I then argue that the Bilderstreit en- scribe “East German art,” would probably mention the term rare, so although one might assume that greater access to tered a new, quieter—and therefore more insidious—phase “Socialist Realism” and imagine paintings of Communist archival material after the fall of the Berlin Wall has led to a in the new millennium, a shift that began in 2003 withKunst leaders or happy workers portrayed with an almost photo- deeper understanding of the art scene and the mechanisms in der DDR, eine Retrospektive (Art in the GDR, a Retro- graphic realism. While such images were created through- at work, the reality is that much of what is written today is spective), a blockbuster exhibition held at the Neue Nation- out the forty-year history of the GDR, they reached their ISSUE 8-2, 2017 ∙ 79 WHOSE EAST GERMAN ART IS THIS? THE POLITICS OF RECEPTION AFTER 1989 with a political commitment to communism (Lüdecke). His cludes East Germany’s best-known artists today, they were influence can be seen in the flattened space and simplifed not the only ones working in a modernist style but rather the forms visible in paintings by Willi Sitte [Fig. 2] and Harald first of several generations. Metzkes, among others.8 In the 1970s, their students emerged with works that looked By the mid-1960s, artists in Leipzig—and, in particular, not only at the Expressionist tradition but also at Neue Sach- Bernhard Heisig, Wolfgang Mattheuer, and Werner Tübke, lichkeit and Surrealism. Arno Rink, for example, responded along with Willi Sitte from neighboring Halle—had devel- to the 1973 putsch in Chile with a Daliesque painting about oped a uniquely East German style of contemporary art the Spanish Civil War, Spanien 1938 (Spain 1938) that was that would come to represent the GDR in the more relaxed cultural atmosphere of the Honecker era in the 1970s and 1980s. Paintings such as Heisig’s Der Weihnachtstraum des unbelehrbaren Soldaten (The Christmas Dream of the Un- teachable Soldier, 1964) [Fig. 6]—multivalent works that reflect a commitment to the modernist tradition—would official apex in 1953 with works such as Otto Nagel’sJunger Maurer von der Stalinallee (Young Bricklayer from Stalinal- lee, 1953) [Fig. 1]. exhibited to great praise at both the district and national In the wake of Stalin’s death and the workers’ revolt in June levels (Feist 223). By the 1980s, a third generation of art- 1953, East German artistic policy loosened, and visual art- ists was creating large, Neoexpressionist canvases not un- ists began to experiment openly with modernist styles in the like those of their Neue Wilde (new Fauves) counterparts in vein of Pablo Picasso and Fernand Léger. In fact, there was West Germany, and both installation and performance art a multi-issue discussion of Picasso as a possible role model were gaining in popularity and were even recognized by the for East German artists in these years in Bildende Kunst, the official art world.
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