The term „Zerreissprobe“ has been chosen by the curator team of the Neue Nationalgalerie In Berlin for the Retrospective of „Art between politics and society“ in the years 1945-2000. In this time period after the 2nd World War until the other „fin du siècle“ the politics of creating a new world order, the cold war and the liberalization of societies had profound impacts on art as well. The positioning of art in the dynamic context and conflicts of these decades is quite well reflected in the title of the exhibition. The English title „extreme tension“ suggests somehow that these years were rather extreme compared to ?, probably today? Although on the territory of Ukraine we witness a hot war rather than a cold war initiated by Putin‘s Russian imperial illusions. The cited work of Günter Brus „Zerreissprobe“ is translated as „stress test“. And maybe, this translation characterizes the post war period even better as these years are a forerunner of what happened after 2000. We continue to be put to tests in politics and societal developments. Accomplishments from the last century are put to crude tests again. Solidarity of people and nations are under pressure to demonstrate their reliability under extreme tension or stress. Art throughout the 5 decades of the last century was a precursor of stress tests for politicians and challenged society in its basic understandings. The comments on the notice board next to the exhibition show the themes of tension in the 2020s. Tensions in families and partnerships, often more extreme around christmas trees, have taken center stage for younger visitors of the exhibition. Sociological research has observed such trends and coined this societal phenomenon „individualization“. Art embedded in society seems to be part of that evolution as well. Art movements are less visible as collective movements. Artists appear more individualistic or ideosyncratic nowadays, just less inclined to be part of a defining larger group. If artists are no longer avantgarde but rather followers of societal trends, the whole „raison d‘être“ of art changes as well. We are likely to witness yet another „ Zerreissprobe“. Cuts to art and culture budgets constitute an additional „ Zerreissprobe“ in the original sense of the word and of art between politics and society in 2024/2025. 
Art Physics
Art is a matter of perspectives. In physics the change of perspectives and even theories about perspectives using optical instruments or illusions enlightens our understanding of the universe. 2D or 3D perspectives by V. Vasarely add yet another dimension through the oppositional hanging facing the Hollow Mirror Objects (convex and concave) by A. Luther (see images below). The curators succeeded in putting both art works with their incorporation of physical principles in an enriching dialogue. Art speaks to us in many languages. In more general terms, there is an underexploited aspect of exposing art. Rather than focusing on a single artist or school of artists in particular, exhibitions may focus on the interrelationships and new ways of combining or communicating images. This is human intelligence. Artificial intelligence will do this without prejudice and my own private collection of images of art works as a similar fountain of innovation as well. (Image Exhibition Neue Nationalgalerie Berlin 2024-12). 
Films of Stills
The exhibition of multimedia artist Nan Goldin at the Neue Nationalgalerie (New National Gallery) in Berlin presents a retrospective of her work using slideshows of stills including soundtracks (Image below). The topics and narratives range from autobiographical work on own traumatic experiences to works entitled „memory lost“. The sequences of stills are a form to deal with trauma through art like overcoming the suicide of a family member. Drug or sexual dependency enter the stills and it becomes clear that stillness is part of the coping mechanism she employs. It is hard to watch, sit still and endure the films of stills. However, there is a kind of therapeutic experience to be gained in coping with trauma through art. The installation in several tents increases the reclusive atmosphere and entering the still rooms invites is, somehow including a warning of what kind of chilling experience we are up to throughout the exhibition. The almost therapeutic experience needs to be handled with care and a visit with friends or family is highly recommended in my view. Community and communication are key to coping with these experiences and even still images contribute to building resilience. 
Conducter Careers
The careers of conductors during the 1930s and 1940s have been propelled by joining the NSDAP on Germany. Even if not too outspoken as conductors on Nazi discriminatory policies many openings arose only due to banning Jewish conductors and musicians from performing in public. The acceptance of vacancies due to such restrictions advanced the careers of Karl Böhm as well as Herbert von Karajan. A theatre play Böhm at the Deutsches Theater in Berlin takes up this topic and puts the professional career in perspective of an anti-humanist leadership style. Karajan has also come into critic, because of his role in selecting musicians who were conform to the prevailing Nazi-antisemitism. It is important to work on these biographies and their implications for hundreds of lives of other musicians. Many careers have been destroyed due to these two prominent conductors ready to do almost anything to advance their careers. It puts their interpretation of music in a different light knowing about their instrumentalist approach to music, their own careers and the disrespectful Nazi doctrines. Image New Berlin Philharmonic, View from Kunstgewerbemuseum 2020. 
Victim Perpetrator
Research on the Shoa and the Nazi crimes has a clear cut separation into millions of victims and millions of perpetrators. There is only a very small group of persons who risked their lives in their attributed or chosen role of perpetrators and saved lives. Most of those persons received recognition later, some decades later. The vast majority of persons were oblivious to their prior roles and some even tried to defend them themselves through a variant of victim blaming in recurrent attempts to reduce their guilt. Another frequent excuse is to recur to a perpetrator’s own experience as a victim of abuse or tough childhood. In a static perspective this might work, but the learning and reflection ability of humans apply to all persons irrespective of age, if they show the willingness to do so. victimization is powerful tool to justify a role as perpetrator later on. Criminal courts assisted by psychologists statements accept guilt reduction. After all those considerations the basic classification into victim or perpetrator remains a valid differentiation, only very few cases allow for a more nuanced assessment of the case. (image extract of Rachel Baes MRBAB Brussels) 
Question Tomorrow
« Tomorrow is the question ». This is the imprint on the 8 table tennis tables in the Martin Gropius Bau 2024. As part of the Contemporary art exhibition by the artist Rirkrit Tiravanija, the tables are very busy throughout the day and invite people to meet, play and greet. If tomorrow is the question, today is the answer. Is it? Maybe the answer is the day after tomorrow? Time appears to be the answer and the question. Such questions touch on basic philosophical questions about our relationship to and concept of time. Future orientation or even the belief in life after death touch upon basic religious beliefs. Intergenerational transmission is useless if there is no tomorrow or concept of tomorrow. Sustainability is most relevant if we are convinced there will be a tomorrow. Fatalists or warmongers rate today so much more than tomorrow that everything is subordinated to the urgency of now. Not easy to strike the right balance between „for now“ and „for tomorrow“. Simple financial discounting of benefits which accrue only tomorrow do not solve the urgency issue of behavioral concerns. My personal discounted value of ice cream tomorrow might be superior to ice cream now, but it is based on the tacit assumption that the shop still exists tomorrow or any other time in the future. The exhibition invites people not only to play table tennis but also to discuss the question of tomorrow across language barriers and across tables and cultures. 
Sociology in Art
Sociologists study and teach a lot about social capital. James Coleman and Pierre Bourdieu each have coined social capital as a major foundation of societies. Therefore, the exhibition of the artist Rirkrit Tiravanija “happiness is not always fun” in the Martin Gropius Bau (Image below) is interesting beyond a justification art for art’s sake.
What does Tiravanija tell us about happiness and social capital we did not know before? The artist went to a Chicago based art school, hence, it is likely that he has been confronted with the concept of “social capital” by Chicago sociologist James Coleman. The Berlin exhibition of Tiravanija can be walked along and experienced through the lens of the creation of social capital as a form of art. Art raises awareness to the importance of social capital for the ways we live together and form communities. The Berlin exhibition, meeting place or play ground is worth multiple visits as the participatory experience changes each time. In each of the rooms we reflect on our cultural practices like sports, music, printing or cooking as forms to create community. Each time we take home a little bit of social capital as well. “Happiness is not always fun”, but for sure You’ll have many happy moments throughout the visit of the exhibition. The guided tour by curator Yasmil Raymond (2024-12-19) added yet another little bit of spice to the exhibits. For a few moments we felt like a strong link between Chicago and Berlin, just like those sociologists in Berlin who studied and continue to study James Colemen’s foundations of social theory.
Famous Neighbors
Sometimes people believe they can catch a bit of fame, if they live in a prominent neighborhood. Next to a famous person or the glamor surrounding such a place is inspiring. In Berlin the honor or fame is transmitted for example with the street names of composers. Everybody knows Johann Sebastian Bach and around Christmas time many of his compositions will be performed again. Directly next to Bach street we find Flotow street. It needs a bit of info about music and music history to identify the honor for Flotow to appear next to Bach. Well, Berlin you are „wunderbar“. You have made my day just on one of the first few days of the direct train connection between Paris and Berlin started. We grow together in small steps. 
Kids Space
Political claims to reserve more space for kids in cities have a tough time. Kindergardens or child care in general are scarce and the lobby for kids is often limited in time and extent, since it is the parents that usually are the ones to advocate while their children are small. Jointly parents and children of young age experience the tough atmosphere to find, preserve or extend the space for kids.
The Gropius Bau in Berlin has opened up an exhibition space reserved to children 3+ as part of an art project “BauBau” designed by Kertin Brätsch 2024. A colorful room and installations as “loose parts” are the starting point to delve into a real/fantastic world were kids reign. There are a few so-called “playworkers”, who accompany the endeavours, if need be. At the end of the day the room was still in pretty good shape I would say assuming that “children set the tone and decide what happens in this place”. Safe and supportive environments for children are scarce and parents are always challenges in their attention to watch out for risks of all sorts in public city spaces.
Even if the “play space” is free of charge, it takes parents or kindergarden managers to reserve the space.
An early experience of a museum from the inside is likely to have lasting effects on children and the parents. They might have fond memories of a museum as an exciting space also for them. It constitutes a nice continuation of the outdoor “radical playground” project during summer 2024.
String Quartets
There is a plural form of Quartet. Philip Glass has composed a piece for 3 string quartets. Thanks to the Kronos Quartet performing and celebrating in Brussels, modern compositions are continuously added to the repertoire written for and performed by string quartets. Contrary to received wisdom the tradition of string quartets is still alive and kicking. At Bozar (Brussels) the marathon performance of 27 quartets, not all at once, but spread over a day and several locations, afforded a great free-of-charge opportunity to wipe off the dust from the sometimes rather introverted form of string quartets. Despite the high share of young musicians who performed well at the occasion, the afternoon focused more on new compositions. Concerning the audience, however, there is still an older age bias in listeners, more the standard Bozar clientele so far.
The afternoon reminded me on listening CDs entitled: “I don’t like classic music, but this one I do”. Many people came for art exhibitions at Bozar, but then (re-)discovered on the sideline the atmosphere of chamber music at this occasion. Closing the age and social gap in classical music is quite a challenge. It is surely more like a marathon than just a few sprints here and there. The new format at Bozar in cooperation with the Kronos Fifty for the Future Marathon will sooner or later find extended audiences beyond the happy few this time. I would recommend listening to string quartet music more often until the “Transcranial direct current stimulation (tDCS)” will be the new hype. 