Actually, the Dead Are Not Dead. Una forma de ser. | Introduction

Actually, the Dead Are Not Dead. Una forma de ser. | Introduction

The exhibition explores the interplay between celebration and political expression, rooted in the context of marginalized communities. Drawing inspiration from the Bergen Assembly 2019, this exhibition examines how festivities serve as platforms for social emancipation and self-determination, particularly within the Rom*nja, Flamenco, and Bohemian cultures since the 19th century. By interweaving historical and contemporary works, the exhibition highlights the transformative power of communal gatherings, where joy, rebellion, and artistic innovation intertwine. Una forma de ser invites visitors to reflect on the significance of togetherness, creativity, and resilience in the face of adversity.

Why should you watch this?

Una forma de ser offers a deeper understanding of the vital connections between celebration and social justice within marginalized communities. In a time when the world has faced unprecedented challenges like social distancing, the insights from an expert guide can illuminate the historical context and contemporary relevance of the works on display. These tours foster a greater appreciation for how communal gatherings can serve as acts of resistance and self-assertion, encouraging critical reflection on our own experiences of connection and separation. Additionally, the guided tour provides a unique opportunity to engage with the complexities of identity and representation that the exhibition addresses, enriching the viewer’s experience and sparking meaningful conversations about the role of art in shaping our understanding of community and resilience in today’s society.
Maya Schweizer – Voices

Maya Schweizer – Voices

Human perception of time often resembles a collage — fragmented and layered, shaped by memory and experience. Berlin-based artist Maya Schweizer captures this complexity through her unique language of short film. In her work, everyday spaces become carriers of memory, interweaving found footage, situational observations, and soundscapes to create immersive, multifaceted narratives. Schweizer’s art subtly explores the intricacies of cultural identity and the role individuals play as political actors, encouraging deeper reflection on how we engage with our surroundings and their embedded histories. In her solo exhibition Stimmen (Voices) at the Museum Villa Stuck, composed of 10 films spanning the past 14 years, Schweizer gives voice to those who have disappeared, recounting stories of violence, memory, and loss, particularly within the context of German history and Munich’s past. By blending personal and collective histories, her work oscillates between documentation and staged reality, using urban spaces as laboratories for examining overlapping historical layers. As viewers dive into the culture of remembrance, Schweizer uncovers new and often unsettling depths of human memory, sparking a reflection on the invisible ties between people, places, and their histories.

Why should you watch this?

Maya Schweizer’s exhibition illuminates pressing issues of collective memory, identity, and the power dynamics embedded in our urban environments. In an age where historical narratives are constantly contested and reshaped, Schweizer’s work offers a profound reflection on how personal and societal histories intersect, particularly in divided or marginalized spaces. Her exploration of everyday locations — spaces that might seem mundane — invites viewers to question how memory is inscribed into these environments, often highlighting forgotten or overlooked stories. With rising global tensions surrounding borders, migration, and the politics of identity, Schweizer’s art becomes a timely and poignant commentary on how we perceive and interact with both physical and symbolic boundaries. A guided tour offers a deeper understanding of these complex themes, fostering critical engagement with the socio-political narratives that shape our contemporary world.