Carolin

Comic von Tessa Astre

2015 zieht Carolin zunächst für ihr Kunststudium nach Dresden und später weiter nach Düsseldorf. Bei Besuchen in ihrer Heimatstadt beobachtet sie, wie sich Chemnitz verändert.

In 2015, Carolin moved first to Dresden and then to Düsseldorf to study art. She regularly visits Chemnitz and observes how it changes.

I consider Chemnitz my hometown. I really enjoyed living here, and if I’d had the chance to study art here, I probably wouldn’t have left. At 17, even before finishing school, I applied to Dresden – and got in.

Back then, I was already afraid of leaving and would have liked to stay in Chemnitz a little longer. When I first arrived in Dresden, it felt like an extended school trip – endless parties! But then I realized: this is my new life now. And there are a few other things to add to that.

Thanks to a scholarship, I ended up in a small town in the Sauerland. The mentality there was completely different. Like in many small towns, there weren’t many young people around. That was the first time I truly felt lonely. I’m someone who needs a large social network. Many of my fellow students eventually moved on from there. And so did I.

… To Düsseldorf! That’s where I joined Katharina Grosse’s class. The city itself is a stronghold of the bourgeoisie.

Perhaps a few ideals from my home also come into play here. I don’t want to make art for the sake of money; I feel there is a higher moral standard.

But of course, both are important. If I don’t have any money, I won’t be an artist for long.

I tried not to talk about “the East.” I didn’t want to make any distinctions or imply that it mattered. But I think it’s good when people can learn from each other and pool their knowledge.

When I visit my hometown, I often hear people say: “I still haven’t managed to get out of Chemnitz!” And I always reply: “You don’t have to move away to get out.”

I attended an exhibition opening featuring works by Carsten Nicolai. During the tour, it was mentioned that his early works were not on display because they were too “Eastern.” I found that very judgmental. Such an unreflective attitude. As if one first had to justify that art also existed in the GDR.

I often feel like I’m playing the role of a complainer. But what I’m really asking myself is: How can I spark curiosity about the East?

“The East is only identified with problems.” / „All together! The show in Berlin – are you in?“ / “The fall of the wall only brought problems.”

And then there’s this whole thing about racism. That really bothers me! I left Chemnitz in 2015, and whenever I go back to visit, I notice it’s getting more and more aggressive.

Back then, I often hitchhiked between Dresden and Chemnitz. I was standing in a parking lot in Chemnitz. “First tell me whether you march with PEGIDA. Otherwise I won’t give you a ride.”

That is so strange. And evil. These demonstrations have blocked a diverse dialogue with Saxony.
[corner left: Reference to: Käthe Kollwitz, „The Widow“ II, sheet 5 from the series „War“, 1922]

Finanzierung / Sponsoring

Ein Projekt im Rahmen der Kulturhauptstadt Europas Chemnitz 2025. Diese Maßnahme wird mitfinanziert durch Steuermittel auf der Grundlage des vom Sächsischen Landtag beschlossenen Haushaltes und durch Bundesmittel der Beauftragten der Bundesregierung für Kultur und Medien.

Mit freundlicher Unterstützung des Finnland-Instituts, Berlin / With the kind support of the Finnland Institut, Berlin

Wir danken unseren Sponsoren Volksbank Chemnitz, sowie der Deutschen Telekom!