The German art collective known as the Center for Political Beauty (CPB) doesn’t mess around. In a strange twist, the group has sued Berlin’s interior minister for defamation after he publicly criticized them for moving a Berlin Wall memorial without authorization, RBB has reported. The 1971 memorial consists of seven white crosses bearing the names of people killed attempting to escape across the Berlin Wall from East Germany. Minister Frank Henkel had called the CPB “thieves” and described their actions as “despicable” attempts to gain attention. His words were echoed by several other German politicians.
The activists have since returned the crosses and defended their actions as a temporary artwork intended to protest the EU’s immigration policy, which has made it difficult for asylum seekers to legally and safely enter the continent. CPB had moved them from their location near the Reichstag to sections along the EU border, as well as, the North African settlement of Melilla. “The wall dead have fled in an act of solidarity with their brothers and sisters across the external borders of the European Union,” they wrote on their website. “30,000 deaths in the EU’s external borders in the past 25 years and the ongoing military blockade of the continent were too much for their dead calm.”
In an email to Hyperallergic, CPB member Phillip Ruch explained why they decided to sue the minister: “It is about freedom of art, but also that he held certain information away from the public, trying to discredit our project as a whole!” On its Facebook, the group describes itself as a think tank linking “interventional art, politics, and human rights” in an attempt “to gain the attention of digital media in order to protect human lives.” Their many previous projects have included the creation of a sculpture of the letters of the U.N. made of 16,744 shoes to highlight the entity’s “betrayal” of the victims of Srebrenica and the offering of a €25,000 (~$31,000) reward to send a famous German weapons dealer to prison.
This week, news outlets flock to TikTok, New York Times staff strikes, the problem with the phrase “late-term abortion,” and was the North Pole once a forest?
The 11,000-year-old wall relief discovered in Southeastern Turkey may reflect humans’ changing roles in the natural world during the Neolithic Revolution.
The Brazilian artist asked the museum to remove his work from a show about the Black experience, calling the institution a “White man’s theater.”
In an era of fast fashion and sweatshop exploitation, the artist demonstrates how far an industry will go to keep workers out of the picture.
This adventurous theater festival returns in person with 36 artists and companies from nine countries performing at different venues across the city.
Both Don Ed Hardy and Laurie Steelink refuse to adhere to traditional artistic hierarchies, an attitude they have shared throughout their 30-year friendship.
It took over 37 hours to pull 1,900 miles of glass filament to create the garment, now on view at the Toledo Museum of Art.
Learn more about the New York-based, globally linked program and its upcoming discussions on art and society in the time of AI and data governance.
An insidious racism is at play in interviewer Henri Renaud’s attempt to groom Thelonious Monk for public consumption on French television.
The last few years at the museum have not been without controversy, and Decatur will inherit a record of workforce struggles.
The program, along with recently announced visiting critics, will provide long term funding, promote access, and safeguard experimentation for future students of color.
Refugees of the Moria camp in Lesvos, Greece are behind the camera in the film Nothing About Us Without Us.
Helen Molesworth’s true-crime sensation marginalizes the artist’s life and legacy.