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        "@value": "Teresa Häußler",
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        "@value": "The project addresses the political dimensions of exhibition design, leading through\r\ntwo exhibitions designed by architect Egon Eiermann. It explores the entanglement of\r\ndesign and politics, National Socialism and forms of representation.\r\n\r\n\"Disparate Precedents of Display\" looks at the way space affects visitors, exposing exhibition design as a genuinely political practice, building on and inheriting from the past – from past exhibitions, influential exhibition designers and conventions of display rooted in disparate political systems. \r\nTwo exhibitions, commissioned by the German state, serve as case studies. “Gebt mir vier Jahre Zeit” was a National Socialist propaganda show staged in Berlin in 1937. It celebrated the transformation of all sectors of society under National Socialist rule since the implementation of Adolf Hitlers 4-year-plan. Twenty-one years later, the Federal Republic of Germany commissioned the same architect to design the German Pavilion at the Expo ‘58 in Brussels. At the World‘s Fair the young successor state had its first opportunity to present the cultural, economic and political parameters of a now democratic Germany on an international scale. Both shows can be described as representations of state power and political narratives – one in the name of war and one in the name of humanity. Significant contributor to both exhibitions was Egon Eiermann in his role as exhibition architect.\r\n\r\nPerformance: Anna K. Seidel\r\nOutside Eye: Caroline Kapp, Manon Haase\r\nGraphic Design: Mona Mayer\r\nSingle line font EE_7475: Barbara Acevedo Strange, Moritz Appich\r\nCoding: Frank Bublitz\r\nVoice: Liv Rahel Schwenk\r\nRecording: Florian Wulff\r\nVideo documentation: Mustafa Emin Büyükcoşkun\r\nPhotography: Lizzy Ellbrück\r\nEditorial support: Joyce Moore\r\nCopyediting: George MacBeth\r\n\r\nSpecial Thanks to\r\nCéline Condorelli, Hanne König, Sami Khatib, Lioudmila Voropai,\r\nJulian Warner, Thomas Rustemeyer, Constanze Fischbeck,\r\nSusanne Kriemann, Hans D. Christ und Iris Dressler, Judith Milz,\r\nChristian Becker (Stadtarchiv Oranienburg), Mechthild Ebert (saai),\r\nJanina Capelle, Lydia Kähny, Daniel Lythgoe, Tjark Schönfeld,\r\nAlexander Knoppik, Lena Breitmoser, Sören Göbel, Jule Köpke, Arthur Schuman,\r\nJana Barthel and Danny Klein.\r\n\r\nFunded by\r\nFonds Darstellende Künste (Rechercheförderung)\r\nRosa Luxemburg Stiftung Baden Württemberg",
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        "@value": "Das Projekt befasst sich mit den politischen Dimensionen der Ausstellungsgestaltung und führt durch zwei vom Architekten Egon Eiermann gestaltete Ausstellungen. Es erforscht die Verschränkung von Design und Politik, Nationalsozialismus und Formen der Repräsentation.\r\n\r\n\"Disparate Precedents of Display\" untersucht die Art und Weise, wie der Raum auf die Besucher wirkt, und stellt Ausstellungsdesign als eine genuin politische Praxis dar, die auf der Vergangenheit aufbaut und von ihr erbt - von vergangenen Ausstellungen, einflussreichen Ausstellungsgestalter*innen und Konventionen der Präsentation, die in unterschiedlichen politischen Systemen wurzeln. \r\nZwei Ausstellungen, die vom deutschen Staat in Auftrag gegeben wurden, dienen als Fallstudien. \"Gebt mir vier Jahre Zeit\" war eine nationalsozialistische Propagandaschau, die 1937 in Berlin stattfand. Sie feierte die Umgestaltung aller Bereiche der Gesellschaft unter der nationalsozialistischen Herrschaft seit der Umsetzung von Adolf Hitlers Vierjahresplan. Einundzwanzig Jahre später beauftragte die Bundesrepublik Deutschland denselben Architekten mit der Gestaltung des deutschen Pavillons auf der Expo '58 in Brüssel. Auf der Weltausstellung hatte der junge Nachfolgestaat zum ersten Mal die Gelegenheit, die kulturellen, wirtschaftlichen und politischen Parameter des nunmehr demokratischen Deutschlands auf internationaler Ebene zu präsentieren. Beide Ausstellungen lassen sich als Repräsentationen staatlicher Macht und politischer Narrative beschreiben - die eine im Namen des Krieges, die andere im Namen der Humanität. Maßgeblich beteiligt an beiden Ausstellungen war Egon Eiermann als Ausstellungsarchitekt.\r\n\r\nPerformance: Anna K. Seidel\r\nOutside Eye: Caroline Kapp, Manon Haase\r\nGraphikdesign: Mona Mayer\r\nSingle line font EE_7475: Barbara Acevedo Strange, Moritz Appich\r\nCoding: Frank Bublitz\r\nStimme: Liv Rahel Schwenk\r\nAufzeichnung: Florian Wulff\r\nVideo Dokumentation: Mustafa Emin Büyükcoşkun\r\nPhotographien: Lizzy Ellbrück\r\nEditorial support: Joyce Moore\r\nCopyediting: George MacBeth\r\n\r\nSpecial Thanks to\r\nCéline Condorelli, Hanne König, Sami Khatib, Lioudmila Voropai,\r\nJulian Warner, Thomas Rustemeyer, Constanze Fischbeck,\r\nSusanne Kriemann, Hans D. Christ und Iris Dressler, Judith Milz,\r\nChristian Becker (Stadtarchiv Oranienburg), Mechthild Ebert (saai),\r\nJanina Capelle, Lydia Kähny, Daniel Lythgoe, Tjark Schönfeld,\r\nAlexander Knoppik, Lena Breitmoser, Sören Göbel, Jule Köpke, Arthur Schuman,\r\nJana Barthel and Danny Klein.\r\n\r\nGefördert von\r\nFonds Darstellende Künste (Rechercheförderung)\r\nRosa Luxemburg Stiftung Baden Württemberg \r\n",
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