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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.The exhibition is dedicated to one of the most enigmatic, mysterious, and controversial philosophers of the USSR and his famous anthology of polemical texts, The Crisis of Ugliness, which criticizes the art of the 20th century. The retrospective showcases never presented before archive documents, Lifshitz’s texts, and artworks in ten interiors, each representing a milestone in the development of modernism or Lifshitz’s thought: 10 rooms – 10 stages of Soviet history – 10 knots in Lifshitz’s biography. The project is the first large-scale analysis attempt of the tense relationship between so-called progressive art and politics in the XX-XXI century.The exhibition delves deep into the captivating world of shells and snails as seen through the lenses of iconic modern photographers like Edward Weston and Imogen Cunningham. This pioneering showcase assembles a rich tapestry of images, tracing humanity’s longstanding fascination with these natural forms—from their mathematical elegance to their cosmic symbolism. Grounded in Alfred Ehrhardt’s seminal works, including his influential books “Muscheln und Schnecken” and “Geprägte Form,” the exhibition also highlights the intersection of art and science, featuring innovative techniques like X-ray photography and the New Objectivity movement. Beyond mere visual appeal, the show offers an exploration of cultural significance, inviting viewers to reflect on the beauty and complexity of these “structural forms in nature,” culminating in the screening of Ehrhardt’s award-winning film “Tanz der Muscheln.”Sergiy Bratkov (b. 1960) is renowned for his radically unsettling and striking photographs that, beneath their vivid surface, present an unflinching report on societal conditions. Like other members of the “Kharkiv School of Photography,” his work over the past 30 years has focused on social photography. In spring 2022, the Ukrainian artist, who had been living in Moscow since 2004, emigrated to Berlin. His recent work, previously centered on outdated Soviet-era clichés and the brash new capitalism of post-Soviet Ukraine, has now been sharply refocused by the brutal realities of the ongoing war. In this exhibition, Bratkov presents new cycles of images and videos created since Russia’s invasion of Ukraine. The once ironic observer has transformed into a reflective analyst, confronting the horrors of war in his former homeland. His new works grapple with this trauma while resisting the pull of hopelessness.The exhibition Heart of a Dog: Adventures of a Banned Book. A Monstrous Story delves into the provocative themes of banned literature, spotlighting the cultural ripples caused by censorship. Through a compelling blend of visual art and literary references, this showcase invites visitors to reflect on the power of words and the resilience of artistic expression. By intertwining the narrative of Mikhail Bulgakov’s infamous novella with contemporary artistic interpretations, the exhibition not only celebrates the defiance against oppression but also fosters a dialogue on freedom and creativity in our modern world.
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excoursio

Spoken Language / Estonian

Tartu Art Museum Arts | Culture | Music
18+

Museum Choreography

Muuseumi Koreograafia
Estonia Tartu 2018 53

This innovative exhibition reimagines the traditional museum experience through the lens of dance and choreography, inviting audiences to become active participants in the artistic dialogue. It foregrounds the unpredictable interplay between viewer movement and static artworks, showcasing how personal histories, cultural contexts, and physical presence transform the museum into a living, dynamic space. By exploring the nuances of how we look at and engage with art, the exhibition challenges visitors to reflect on their own movement and interactions within the gallery. This exhibition is a thought-provoking exploration of the embodied experience of art, making the viewer an integral part of the creative narrative.

Why should you watch this?

In today’s rapidly evolving cultural landscape, this exhibition stands out by positioning dance and choreography as vital means of understanding and engaging with art in the museum context. By centering the audience’s experience, it reflects our collective need for connection and interaction in spaces that often feel static and distant. In an era where individual perspectives and cultural backgrounds shape our understanding of art, this exhibition invites viewers to reclaim their role, reminding us that museums are not just repositories of art but vibrant environments shaped by human presence and movement. As the act of looking becomes more layered and complex in our digital world, this exhibition challenges us to reconsider our relationship with art, encouraging a deeper engagement that resonates well beyond the gallery walls.

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