From a life course perspective it is not easy to define a colloquial term like career criminal. A person who has been convicted for a single crime and has served his/her sentence should be allowed full integration into society. Even a repeated offender should not be stigmatized or labeled as career criminal. However, this is exactly what the NS-state did (traveling exhibition across Germany and Austria: „Die Verleugneten“). These persons were subject to targeted charges for criminal offenses they „might“ commit eventually. The term „community alien“ or „asocial“ were also used to refer to persons that did not fit into the dominant Nazi doctrine of „Volk“. It took 75 years until these persons could receive a recognition and a recompense for their unfounded discrimination and incarceration. In concentration camps the so-called asocial or career criminals were at the highest risk of further prosecution and death. Great that the stumbling Stones include these victims as well, as a way to remember these crimes against humanity. Beware of definitions of social groups which are based on totalitarian ideologies. 
Zerreissprobe
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). 
Cumulative Mandates
Since 2010 and with 18 volumes the documentation of perpetrators assistants free riders during the Nazi rule in Germany has been valuable and reliable source of information (Kugelberg Verlag). The book series defines the perpetrators as the persons excuting crimes themselves or were in command of those who committed the crimes or gave orders to do so. It is not surprising to find evidence of many crimes, but rather that it took such a long time until the documents were published and the descendants were confronted with the facts and the difficult heritage. There are still many who undertake all efforts to deny the facts or try to minimize the guilt of perpetrators. With the real dangers of new right-wing extremism on the rise across Europe and even beyond, it becomes more important to uncover the strategies and biographies of the perpetrators. Certainly the members of the SS were executives and in command of atrocities, so-called NSDAP party officials were also mostly convinced followers of Nazi doctrines and instrumental in the implementation of crimes. Additionally, several professions (line soldiers or medical doctors) were key in the process to ensure the power of the totalitarian regime until the final days. Some persons were cumulating roles and became thereby inescapable spiders in a web of control and crimes. The lessons for today consist in hindering excessive cumulation of mandates, political, professional, military and in other work or civil society related functions. Distribution of power is one form to safeguard the survival of democratic structures. 
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.
Air Concept
Well yes, this is the latest fart in design and architecture. The Berlin International University of Applied Sciences composed an exhibition on “Air Architectures” which takes air seriously. The international group of 7th semester students took Air Architecture seriously and developed their ideas in the context of a curated exhibition. Nice semester project.
Air is a fundamental precondition for humans to (co-)exist. The biology of air (breathing) or the chemistry of air (fine particle matter) have been studied extensively. The physics of air flows in cities receive more attention as well in architecture. Interior design has yet a lot to contribute in the age of heat pumps and air conditioning.
Let’s think architecture from the perspective of air and air flow. Depending on our cultural background we might have very different associations with air. Indian or Chinese practices like yoga or Tai Chi teach us to take air more seriously than Western practices. Most architecture in cold countries of the northern hemisphere aim to keep air to the outside of buildings. Yet, the percentage of humidity of air is a serious concern of architecture as well. Air flow and quality then becomes a key issue of construction and architecture, somehow through the back door.
Maybe in approaching architecture we might think first of what is or has been the architect’s concept of air or aerodynamics. 100 years after the death of Gustave Eiffel and the Olympic Games in Paris, we still gain from thinking about air (not only air pollution) and its dynamics. Looking forward to the next generation of air architects.
(Image: Exhibition, Air architectures, at Berlin International, University of Applied Sciences 2024-12) 
Chinny Trait
In evolutionary biology there is still a discussion about the functional explanation of why humanoids developed a chin. A recent paper by Meyer-Rochow adds a new functional explanation for the evolution of the chin to the literature. Across cultures and sufficiently distant populations of humans, similar patterns of the use of the chin have been observed. In comparison to other species under the superfamily “Hominoidea”, our bites are only of minor strength and apes, Orang Utans have not developed a chin quite like us, homo sapiens. Origins of the chin as “weapon” in fighting and broader social selectivity remain hypotheses without sufficient proof of evidence.
In addition to the functional explanations of easier “mastication” or formation of words, chins might serve as an additional part of the body to hold items to the chest. This function, of holding tools or stuff could have been an advantage for our ancestors and became a favoured trait. During the pandemic our chins became a supporting or hindering reason in the struggle to wear masks for extended periods of time (see image below).
Nowadays, we ask ourselves about the social selectivity into becoming a violin player with this important function of the jaw and chin to hold the instrument. A rival hypothesis is, of course, that holding things with our mouth, like needles or screws, in sewing or handicrafts could eventually make the chin disappear. The bipedalism of hominids, freed our hands for other tasks and the evolution of a chin could similarly reinforce the efficient use of our hands.
Novel use cases for the chin, like holding your smartphone while typing on a keyboard or while opening doors, might enhance the chinny trait of hominids.
Over hundred of thousands of years the interaction of the bio->psycho->social (BPS) spheres of life may have interesting traits for us down (or up) the evolutionary line.
(Image: European parliament, Brussels 2020-7-23 address by Ursula von der Leyen in “masked assembly”).
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.
