You enter into a metal labyrinth. Inside it, you follow the sequence of pictures arranged likewise frames of a film. Camera film. They tell the day-by-day life of a slaughterhouse in the Deutsche Demokratische Republik. The More You go ahead the more bloody the picture become. The hero is a pig. Or many a lot of pigs.

Them doom is already determined. slaughter, Blood, Flesh. Guts of dead animals, arms of Human being alive. The pigs, or fetus of pigs, become little by little, Sausages In a dirty and bloody scenario. At the end, in the core of labyrinth the irreversible death. Two pigs embraced which look like the two “Amanti di Pompei“, are killed. Down, a wall (Berlin, Wall, GDR… mhmhmhmh seems to me a quote of something else) which exudes blood.

No exit way. The route is ended. You just have to go back, to pick up the thread of Ariadne, to find the way out.
That was for me the most impressive art-work of the temporary exhibitions at the Berlinesche Museum in Berlin, entitled: the Shuttered society, art photography in the Gdr 1949-1989. The labyrinth is an idea of the Postdam artist Jörg Knöfel, who died in Berlin last year. He was born in Postdam. He used a classical genre in GDR photography: the portrait of the worker. In this case The workers of a slaughterhouse in berlin between 1986-1989. The normal working routing clashes against the brutality of the industry slaughter. In some way, we have to live. we have to survive, people seems to tell you.

Second amazing art-work: Absurd Berlin Diary 1964 (Tagebuch exhibits in Kassell Documenta III) by the Venitian Emilio Vedova.
And here again: do not forget the Wall which divided Kreuzberg from Fredrischian, or Mitte from Charlottenbourgh, or Wedding form Shoneberg. The Absuder diary is a collection of several abstract paintings, arranged in a huge room as a tridimensional book (the ones that child use in the kindergarten).

And noting a picture of the Hotel Europa (named also the Winterpalais, took place in Leningrad 1986, from the series Russiesche Nach), or the skyline of the Greyland in West Berlin in 1987, by Peter Oehlmann.

Or the sculpture of Ulrlich Baerhr entitled Kinderfreund (Friend of the Children) is clearly (and ironically) referred to Adolph Hitler. The artwork was made in 1976: How not to think about Him, the masterpiece of Maurizio Cattelan of 2001? How not to suppose a kind of veiled inspiration of the italian artist?

Wall, socialism, nazism. Depicted by chaos, workers and nazi leaders. the end of this amazing route is the Hercules concept experimented by Lutz Dammbeck (Lipsia) originally in 1977, lately in 2012.

The result today at Berlinesche Galerie is a sequence of photographic studies of portrait of antifascist people, assembled (sewed) with statues inspired by the fairly tales of the Brother Grimm.