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The Burrow. Homage to Kafka ¬
June 12 – September 25, 2022
„I have arranged the dwelling and it seems well done. This is the sentence Franz Kafka has put at the beginning of his story from 1923/24. In the course of his short story, which has remained a fragment, Kafka takes us on a journey through a system of cave-like passages and places. These sometimes act as places of refuge or they appear as potential sites of danger. „The burrow“ can thus be a place of retreat or a threat at the same time.
The exhibition aims to depict precisely this interplay. It wants to take into account the ambiguity and the different attributions of spaces: school can be perceived as an environment of education, but also of subordination or rebuke; a soccer stadium as a place of ecstasy, or of negative emotional outbursts, even up to violence; the uterus as a shell that nourishes us for nine months, warms us, lets us mature, but then releases us into the cold world in an all the more brutal way.
The artistically staged spaces in the exhibition not only want to evoke a spectrum of emotional states between cosiness and anxiety. They are also supposed to invite us to reflect on central social questions: How do we live together? And in what ways can spaces, places and sites contribute to genuine encounters? Against the background of increasing medialisation, the exhibition also wants to encourage us to think about categories of analogue and digital.
With Kafka’s narrative, we can thus take up questions relevant to society as a whole and perhaps also pose them in a completely new way. The answers will vary greatly due to our individual experiences. It is the exciting question of whether we perceive the spaces we create for ourselves – including the social or political ones – as oppressive or comfortable that leads us back to Kafka’s narrative introduction – and thus directly into his cave-like labyrinth.
Ai weiwei / Darron Almond / Thomas Demand / Eva Hocke / Grégoire Korganow / Christop & Sebastian Mügge / Gregor Schneider / Paul ‚Valentin / Thomas Rentmeister