Exhibition Review: "Made in Germany? Art and Identity in a Global Nation" by Jasmin Jin
In today’s increasingly globalized world, where borders seem to blur and cultures intertwine, the concept of national identity grows ever more complex. The exhibition Made in Germany? Art and Identity in a Global Nation confronts this complexity head-on, exploring what it means to be “German” in the modern era. Curated by Lynette Roth, this ambitious show brings together a diverse array of artists who examine the intersection of migration, history, and identity in postwar and contemporary Germany.
The exhibition immediately sets the tone by acknowledging Germany's deep-rooted history of migration and cultural exchange, revealing that this narrative is not new, but part of the country’s ongoing evolution. Roth’s curatorial focus is clear: the story of modern Germany cannot be told without considering the lives and contributions of migrants who have shaped its society for decades.
Migration as Foundation of Identity
The postwar period in Germany is central to the exhibition’s exploration of identity. After World War II, West Germany’s economic recovery was largely driven by the labor of guest workers, particularly from Turkey. Candida Höfer’s photography series Türken in Deutschland (1979) is one of the key pieces in this section, offering a visual testament to the presence and contributions of Turkish immigrants. Her work moves beyond documentation, creating a narrative about belonging and exclusion that continues to resonate today. Through Höfer’s lens, we see both the visibility and marginalization of these communities, whose labor built much of modern Germany, yet whose integration into society was fraught with difficulty.
East Germany had its own unique history with migrant labor, particularly through contracts with Vietnam. This experience is poignantly referenced in works like Sung Tieu’s Multiboy (2021), which critiques the rigid social structures that excluded these workers from full participation in society. Such works challenge viewers to reconsider what it means to be a part of a nation when the contributions of certain groups are systematically erased or downplayed.
Reunification and Its Aftermath
The fall of the Berlin Wall in 1989 and the reunification of East and West Germany in 1990 mark another critical moment in the redefinition of German identity. The exhibition effectively transitions into this period, showcasing artists who grapple with the cultural and social effects of reunification. It was a time of celebration, but also of uncertainty, as the division between East and West Germans persisted in the national consciousness.
Katharina Sieverding’s provocative piece Deutschland wird deutscher (Germany Becomes More German, 1992) is a powerful reflection of the tensions that arose during this time. The bold visual overlay of knives on the artist’s face, paired with the charged statement "Germany Becomes More German," critiques the rise of nationalist sentiments following reunification. It forces viewers to confront the dangers of exclusionary thinking in defining what it means to be German, especially in a country that is rapidly becoming more diverse.
Immigration in the 21st Century
In the final section of the exhibition, the focus shifts to the present day, examining how Germany has continued to evolve as a destination for immigrants and refugees. The influx of refugees from war-torn regions like Syria and Afghanistan has sparked new debates around identity, inclusion, and what it means to belong.
Hans Haacke’s Wir (alle) sind das Volk (We [All] Are the People, 2003/24) offers a hopeful and inclusive response to these challenges. The work reclaims the slogan “We Are the People,” originally used in protests against the GDR, from far-right groups who later co-opted it. Haacke’s installation, printed in multiple languages, calls for unity and diversity, reminding viewers that the phrase should belong to everyone, regardless of background. By distributing posters of the artwork for visitors to take, the exhibition encourages active participation, pushing the boundaries between art and activism.
A Fluid and Ongoing Conversation
Made in Germany? Art and Identity in a Global Nation is not just an exhibition about Germany; it’s a reflection of broader global trends where migration reshapes national identities. Roth’s careful curation weaves together historical and contemporary narratives, showing that German identity—like that of many nations—is fluid, continuously redefined by its people, their movements, and their stories.
Ultimately, the exhibition leaves us with more questions than answers. Who gets to define national identity? How do we navigate the tensions between inclusion and exclusion, visibility and invisibility? In today’s polarized world, these questions feel particularly urgent. As the exhibition suggests, the answer to “Who is German?” remains open-ended, inviting continued reflection and dialogue.
For anyone interested in how art can shape and reflect national identity, Made in Germany? is an essential exhibition. It challenges us to rethink the traditional narratives we hold about borders, belonging, and identity in an increasingly interconnected world.