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bernhard-schipper · 1 month
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'Monumente sollen stehen oder nichts - Ernst-Thälmann-Schacht’ Digital Collage, 375 x 375 mm, 2024 Fine Art Pigment Print under Acrylic Glass, Black Aluminium Art Box
With a few exceptions, the history of the places in the GDR that honor the communist workers' leader Ernst Thälmann is a history of cultural appropriation. The Ernst-Thälmann-Schacht (Vitzthumschacht) in Hübitz in the Mansfelder Land is in the immediate vicinity of the Otto-Brosowski-Schacht (Paulschacht). The mine was named after the communist Otto Brosowski from Gerbstedt, whose wife hid the Krivoy Rog flag from the Nazis. Thälmann himself also visited the miners in the Mansfeld region during the global economic crisis.
The Mansfelder Land with its copper mining since around 1200 and the mining company named after it (1852 – 1995) plays an important role in the history of Germany and especially the GDR for economic independence. The Mansfeld Combine, which was responsible for copper mining and was very large given its importance, was actually a strong driver of innovation in the GDR with consumer goods production, development for the Soviet space program and even a powerful computer in competition with the state-owned Robotron Combine. In 1979, the Mansfeld Combine began alignment work for the discovered copper slate deposits near Spremberg in the Sorbian settlement area.
Mansfeld's copper mining had such an impact that even the most important writer in the GDR, Franz Fühmann, decided to work in the mining industry in 1974 so that he could write his magnum opus and failed. His novel fragment “In the Mountain” is the document of this failure. Franz Fühmann often stayed in Upper Lusatia and in particular with fellow writers based in Wuischke on the north side of the Mountain Czorneboh (Slavic for Black God).
These loosely connected strands form the framework for the series “50 Years of Neue Sorbische Kunst,” also because they make it possible to include the work series “Black God” and “Monuments Should Stay or Nothing.”
Franz Fühmann is the connecting element in the narrative of the artist collective 'Neue Sorbische Kunst', which has been active since 1974. What we know so far is that the collective met in 1973 at the 'X. Weltfestspiele der Jugend und Studenten' and came together on New Year's Eve 1973/74 in a previously unknown location at the foot of the Mountain Czorneboh in the first hours of January 1st 1974 founding the 'Neue Sorbische Kunst'.
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bismarckczorneboh · 6 months
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'mmmmmmmake Bismarck Čornobóhgreatagainnnnnnn'
2021/2023
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dustdbugger · 8 years
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Because of today #NSKState #NSKStateLipsk #Laibach #OneVision #queen
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bismarckczorneboh · 3 years
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Genau 30 Jahre nach dem ersten Teil der Reihe "Monumente Sollen Stehen Oder Nichts" - welche den Umgang der Stadt Bautzen mit Wieland Försters 'Ernst Thälmann Denkmal' künstlerisch thematisierte - wird es Zeit für eine Fortsetzung.
Im Jahr 2021 geht es um das 1904 auf dem Czorneboh errichtete - und 1950 zerstörte - Bismarck-Denkmal von Anton Schwarz.
Der Hauptausschuss des Bautzener Stadtrates hatte vor kurzem ohne Gegenstimme und mit nur zwei Enthaltungen beschlossen, dass der AfD-nahe Verein Bautzener Liedertafel das Denkmal wieder aufbauen - und der Stadt schenken darf.
'Von Thälmann zu Bismarck 1991 — 2021'. Dieser Untertitel visualisiert wie sich die Stadt Bautzen innerhalb von dreißig Jahren kulturpolitisch zurück entwickelt hat.
Exactly 30 years after the first part of the series "Monuments Should Stay Or Nothing" - which artistically addressed the city of Bautzen's handling of Wieland Förster's 'Ernst Thälmann Monument' - it is time for a sequel.
In 2021 it's about the Bismarck monument by Anton Schwarz, which was erected on the Czorneboh in 1904 - and destroyed in 1950.
The main committee of the Bautzen city council recently decided without a dissenting vote and with only two abstentions that the AfD-affiliated Bautzener Liedertafel association could rebuild the monument - and donate it to the city.
'From Thälmann to Bismarck 1991 - 2021'. This subtitle visualizes how the city of Bautzen has developed backwards in terms of cultural policy within thirty years.
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