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Plans to rebuild Berlin Wall for art project blocked

German authorities said Friday they were blocking a proposal to rebuild part of the Berlin Wall for a massive film-art project in the German capital.

Plans to rebuild Berlin Wall for art project blocked
Tourists at the Berlin Wall. Photo: DPA

Citing security concerns and fire risks, Berlin city authorities said they would not grant a building permit to the “DAU” project by Russian filmmaker Ilya Khrzhanovsky, DPA reported.

The plan had been to erect 900 concrete wall slabs, each 3.6 metres tall at a city block on Unter den Linden boulevard, for the €6.6 million event.

The walled-in “city within a city” was meant to have its own visa checks, and visitors to the parallel world have had to apply online for entrance permits.

But the project sparked controversy, with critics labelling it a stunt hurtful to people who lived in communist East Germany.

Sabine Weissler, the councillor in charge of the Berlin district concerned, said there had not been sufficient time to obtain views from residents who could be affected by the project.

“It has not been possible for the organization to guarantee that the event would be carried out safely,” she added. Building applications for such a major undertaking should be filed a year before construction is due to begin, she noted.

The organizers had only put in their application at the beginning of August for a project to be launched on October 12th before ending with a ritualistic tearing down of the wall on November 9th, the day of the historic event in 1989.

As we reported in August, the aim was not to create “a Disney GDR” (German Democratic Republic), according to Thomas Oberender, director of culture festival Berliner Festspiele which was to host the mega-event.

“It is not a film premiere but a mixture of social experiment, artistic experiment and… an impressive form of world-building,” he had told a Berlin press conference.

The aim, said organizers, is to spark “a political and social debate about freedom and totalitarianism, surveillance, co-existence and national identity”.

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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