We humans have been describing who we are in stories for thousands of years. But whether these are correct always depends on who is telling them.
In the exhibition “Nation, Narration, Narcosis” at the Hamburger Bahnhof, myths about Southeast Asia are now being renegotiated in impressive paintings, sculptures and films. It starts with the fact that “Southeast Asia” does not even exist as a single region.
The collective term for the linguistically, religiously and culturally diverse area has only existed since the Japanese occupation in World War II (from 1941). “In fact, Southeast Asia is perhaps the most diverse region in the world,” says curator Anna-Catharina Gebbers (51), who conceived the show together with colleagues from Indonesia, Thailand and Singapore.
The title of the exhibition comes from the multimedia artwork “Critical Dictionary of Southeast Asia” by Ho Tzu Nyen (45). The letter N stands for nation, narration and a certain narcosis, which means, for example, that colonial powers rule the oppressed cultures from outside.
Works by Asian artists such as the Thai filmmaker Apichatpong Weerasethakul (Golden Palme von Cannes 2010) and other creatives such as Marina Abramovic (75) or Joseph Beuys (1921-1986) tell of German global power thinking, the Vietnam War or the degradation of women. From Hannah Höch’s (1889-1978) collages to Sung Tieu’s (34) eerie video-sound work “No Gods No Masters” and Bruce Nauman’s (80) funny sticky-item art “Body Pressure”, the exhibition promotes new perspectives .
The story of the Berlin Secession artist Tina Haim-Wentscher (1887-1974), for example, is interesting. She moved from Constantinople to Lützowplatz and finally fled to Asia from the Nazis. In her colorful work “Dye”, artist Kawita Vatanajyankur (34) draws attention to production conditions in textile factories.
Meanwhile, many works deal with the ancient epic Ramayana. And Natasha Tontey (32) tells of a legend in Sulawesi, according to which people came into being through divine tapping on volcanic rock.
One of the strengths of the show is that these stones lead directly to Joseph Beuys’ massive basalt installation “The End of the 20th Century”. Numerous cross-connections and parallels lead back and forth through the house.
“There is always something that connects people, but at the same time counter-narratives that are hidden,” says curator Gebbers. “This is about understanding oneself as a whole human community.”
Until July 3, Invalidenstraße 50-51, 14/7 euros, ☎ 266 42 42 42, information and tickets