Berlin, Germany - 15 July 2016
1. Wide of "Das Gespraech" (The Talk) by Reinhard Stangl (1987)
2. Various close shots of "Das Gespraech" (The Talk) by Reinhard Stangl (1987)
3. Various wide shots of exhibition
4. Wide of "Figure" by Mark Lammert (1988)
5. Close tilt up of "Figure" by Mark Lammert (1988)
6. Setup shot of Hans-Hendrik Grimmling, Artist featured in exhibition, standing in front of his work "Die umerziehung der voegel" (The Reeducation of the Bird, 1977) ( Editors please note: the plaster is the result of a minor, unrelated accident at home).
7. Close of Grimmling
8. Various close shots of "Die umerziehung der voegel" (The Reeducation of the Bird, 1977)
9. SOUNDBITE (German) Hans-Hendrik Grimmling, Artist featured in exhibition:
"I was not allowed to travel, not even in the Eastern Bloc. My exhibitions were closed down. The seal around me was getting very close, very present. The flow of information stopped. I had a lot of invitations to go to France, but I was not allowed. The feeling of tightness was getting very close and schizophrenic. It was like an infection in us all. And as an artist you are always looking for ways the get healthy and whole again."
Berlin, Germany - 13 August 1976
10. Pan left along metal barrier on top of wall to East Berlin
11. Wide of red writing on wall, reading: "SUPERMACHTE RAUS AUS DEUTSCHLAND"
12. Close of sign, reading: "You are leaving the American sector." pull out
13. Mid of soldiers behind metal fence
14. Pan right from people to wall and barrier
15. Wide of children playing behind wall, pull out
Berlin, Germany - 15 July 2016
16. Various of remnants of the Berlin Wall standing outside the Martin Gropius Bau Museum where exhibit is taking place
17. Wide of "Der Zugriff" (Access) by Helge Leiberg (1990)
18. Various close shots of "Der Zugriff" (Access) by Helge Leiberg (1990)
19. Close tilt down of "Mann mit Koffer" (Man with Suitcase) by Trak Wendisch (1983)
20. SOUNDBITE (German) Christoph Tannert, Co-Curator of Exhibit:
"Of course, many of the artists just painted still life pictures and landscapes and stayed out of politics. But on the other side, there were the subculture artists that used a very clear language, either against the aesthetic norms of the artists union, with art that used crazy forms and expressive touches or by using realism and depicting themes that were considered taboo."
21. Wide of "Der Buerokrat" (The Bureaucrat) by Frank Maasdorf (1980)
22. Close of "Der Buerokrat" (The Bureaucrat) by Frank Maasdorf (1980)
23. Various pan shots of "Der Buerokrat" (The Bureaucrat) by Frank Maasdorf (1980)
24. Wide of "Ohne titel" (No Title) by A.R. Penck (1974)
25. Various close shots of "Ohne titel" (No Title) by A.R. Penck (1974)
26. SOUNDBITE (German) Eugen Blume, Co-Curator of Exhibit:
"When you walk through the exhibition you will not see many works that are obviously political. Most of them are using symbolism and are more concerned with existential questions as with the politics of the GDR. That is what distinguishes the quality of this art, that is concerned with the state of the soul."
27. Wide of woman looking at various paintings
28. Close of "Weisse Bildnis" (White portrait) by Strawlade (1984)
29. Wide of "Animateur - Auch ein Kunstleben - Arschloch" by Hans Scheib (1986)
30. Various of "Animateur - Auch ein Kunstleben - Arschloch" by Hans Scheib (1986)
31. SOUNDBITE (German) Hans-Hendrik Grimmling, Artist featured in exhibition:
"Life continues. Is something wasted in us? Can we use that experience when starting something new today? I think so. I think that even though the time was horrible (Note: Grimmling uses an expletive here) I cannot pretend it did not happen. I think that I get the force in my pictures from that time."
32. Pull out of "Der ewige Soldat" (The Eternal Solider) by Peter Herrmann (1969-1970)
33. Wide of "Der ewige Soldat" (The Eternal Solider) by Peter Herrmann (1969-1970)
34. Close of "Der ewige Soldat" (The Eternal Solider) by Peter Herrmann (1969-1970)
LEAD IN:
An exhibition tracing dissident art created when East Germany was under Soviet rule is opening in Berlin.
The exhibition 'Voices of Dissent: Art in the GDR 1976-1989' traces the subtle - and sometimes obvious - ways artists tried to show their opposition to the Communist state.
STORY-LINE:
It was a time of the Berlin Wall, constant state surveillance and a suffocating lack of democracy.
The German Democratic Republic (GDR) was established in Soviet-occupied parts of Germany after the Second World War and continued until after the fall of the Berlin Wall.
Most parts of a citizens' life were controlled by the state and the communist party – and art was no exception.
Artists were required to create works which suited the ideology of the communist system, preferably with motives that showed the heroism of the working class.
But a number of artists in the GDR refused to conform and created pieces which ignored the required propaganda, or was even blatantly opposed to the regime.
An exhibition showcasing the works by leading oppositional artists is now opening in Berlin.
Hans-Hendrik Grimmling is one such dissident artist included in the exhibit.
After refusing to adapt his paintings to state standards and participating in several artist actions, he came to the attention of the secret police - the Stasi.
"I was not allowed to travel, not even in the Eastern Bloc. My exhibitions were closed down," says Grimmling.
"The seal around me was getting very close, very present. The flow of information stopped. I had a lot of invitations to go to France, but I was not allowed. The feeling of tightness was getting very close and schizophrenic. It was like an infection in us all. And as an artist you are always looking for ways the get healthy and whole again."
Art played an important role in the GDR.
Social realist paintings depicting the glory of the state, the heroism of workers and the enlightenment of the leaders hung in every state building.
Many artists made a good living creating such pictures, others stayed apolitical and kept their head down, some challenged the regime and its artistic norms.
"Of course, many of the artists just painted still life pictures and landscapes and stayed out of politics," explains co-curator Christoph Tannert.
"But on the other side, there were the subculture artists that used a very clear language, either against the aesthetic norms of the artists union, with art that used crazy forms and expressive touches or by using realism and depicting themes that were considered taboo."
The German Democratic Republic (GDR) was established in Soviet-occupied parts of Germany in 1959.
The state was modeled on the Soviet Union with an all-powerful politburo and secret police.
Showing signs of dissent was not easy.
Many dissident artists had to spend time in jail, others were forbidden to travel outside their home cities and most were under constant surveillance.
Instead of creating obviously dissenting art, many painted pictures with codes and hints, or focused on the inner life of the citizens, instead of the politics of the state.
"When you walk through the exhibition you will not see many works that are obviously political," says co-curator, Eugen Blume.
"Most of them are using symbolism and are more concerned with existential questions as with the politics of the GDR. That is what distinguishes the quality of this art, that is concerned with the state of the soul."
Grimmling was finally allowed to emigate to West Germany in 1986 under a program where the west paid to have dissidents released and deported.
He says he still carries his time behind the 'Iron Curtain' with him.
"Life continues. Is something wasted in us? Can we use that experience when starting something new today? I think so," says Grimmling.
"I think that even though the time was horrible I cannot pretend it did not happen. I think that I get the force in my pictures from that time."
The 'Voices of Dissent: Art in the GDR 1976-1989', opens 16 July at the Martin Gropius Bau Museum in Berlin and runs till 26 September.
