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The Walls of Utopia and the Fall of the Wall in Berlin : The German Art Dispute and its Implications for the Cultural Reunification of Korea in Berlin as the Theatre of the Cold War

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2016, 47(), pp.141-212
  • DOI : 10.17527/JASA.47.0.05
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : May 31, 2016

Eckhart J. Gillen 1

1독일 포츠담대

Accredited

ABSTRACT

This text explains the special situation in Germany in contrast to the Korean history through the position and role of the divided city Berlin within the divided country and the divided art scene there. The fact that the Western Allies were controlling West-Berlin in the middle of East Germany (GDR) played a key role in the process of unification. West berlin was a bridgehead far in the East. To learn about the deep split between the political, economic, ideological, and cultural differences the Cold War enclave of West Berlin was the ideal place. It was the best place for watching the development of art in East and West. West-Berlin was the laboratory for new experiments like Fluxus, Happening and German Pop. In East-Berlin, cut off from events in the international art world, many artists were proud of their anachronistic status and developed their own art practices. For artists in the East the yardstick is after all that of truth and morality. In the West the artist feels responsible for his art work not for the system he lives in, or the truth of the state ideology and the morality of the society. West Berlin was the ideal floodgate between two concepts of Germany. The article reflects the differences and the common aspects of the art scenes in West- and East-Berlin starting with 1945 until 1990.

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