The world’s biggest country, in a magazine. Since 1956.
The Wende has three exhibits running through the end of April 2018:
Photography exhibition by Nathan Farb, based on a trip he took in 1977 to Novosibirsk as a host of the American exhibition Photography USA, part of a cultural exchange program under President Carter’s administration. Farb photographed a number of visitors to this exhibition. He used a Polaroid camera and gave them the resulting photo. However, unknown to his subjects and to the Soviet authorities, Farb kept a negative of each Polaroid. He managed to smuggle the negatives out of the country with a diplomatic pouch at the US Embassy. The portraits show a diversity of people. Some are dressed according to Western trends of the late 1970s; others are wearing more traditional clothing. In this series, Farb gave the Cold War enemy a human face.
Political power relations, economic structures, and cultural ideas impact the way we experience, envision, and structure our environment. The Cold War, with its strict division between ‘East’ and ‘West’ both in physical and ideological terms, is a case in point. To a certain extent, Cold War history can be read as a history of spatial relations. This exhibition explores the spatial characteristics of Cold War era Eastern Europe and the Soviet Union in ten sections: public space; private space; work space; border space; secret space; ideological space; alternative space; outer space; shared space; and changing space.
“Vessel of Change” is a video installation by artist and filmmaker Bill Ferehawk, who also edited The Wende Museum documentary “Collecting Fragments”, and multimedia designer David Hartwell. Ferehawk and Hartwell developed their video for the museum, which playfully reinterprets the Malta Summit of December 1989 between Presidents George Bush Sr. and Mikhail Gorbachev, symbolically sealing the end of the Cold War. The summit took place on a ship in wild waters in front of the harbor of Marsaxlokk. In this case, the museum becomes the ship that metaphorically anchors the end of the Cold War in Los Angeles.