Barbara Lubich, Svea Duwe

It is a success story that an interdisciplinary group interested in culture was able to transform the Festspielhaus HELLERAU - after a long phase of external military use as a National Socialist police school and subsequently as a Soviet barracks and sports hall - back into a place of art production and securing it for interdisciplinary art and social dialogue in the long term.

With the exhibition ZOOM 90-06, Svea Duwe & Barbara Lubich are once again focussing on the period from '89 onwards and taking a closer look at works by Claudia WANDA Reichardt, Hanne Wandtke, Penelope Wehrli and Carsten Ludwig, which were conceived in direct interaction with the specific location of the Festspielhaus HELLERAU. In the combination of walk-in room and video installations, Duwe & Lubich focus on a time of upheaval in which the eventful history of the Festspielhaus is inscribed, which also reflects the history of Germany as a whole after 1911.

The exhibition is open on all event days starting one hour before the first event.

Part 1: UMBRUCH - audio-video and spatial installation (foyer)

The Festspielhaus as a monument in a state of decay: Part 1 recalls the early 1990s and lets five people have their say about the "how" of a new beginning.

With: Detlev Schneider, Carsten Ludwig, Michael Faßhauer, Kai Kaden, Hans-Joachim Meyer, Fabian Zimmermann.

Part 2: FIRE & FLAME - audio-video and spatial installation (Ecksalon West)

It was Wanda (Claudia Reichardt) who resonated with the zeitgeist in her associative curatorial practice and created the 1996 art festival with invited artists. Penelope Wehrli developed the "Herzstrahl" and Hanne Wandtke the "Feuerwehrballett". The artists involved and the journalist Gabriele Gorgas share their perspective.

Part 3: CARSTEN LUDWIG (Salon West)

Like few others, theatre director Carsten Ludwig wove the layers of the Festspielhaus' past Hellerau into poetically provocative productions that took up the entire Festspielhaus site. They were called "The Snake", "The Obelisk", "A Month in Dachau" and "Schubert Echo". Amateurs and professionals performed in choral formations, singing, cooking or reciting. All theatrical means were used. The film portrait traces Carsten Ludwig's work, which began in the GDR era and culminated in the 1990s.