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East German history

I&#;ve posted a few times over the years about a trip I made with my partner to Leipzig in East Germany back in , and I disclose that the now-defunct territory retains a kind of fascination for me. My rather banal judgement then and now is that the country, though marked by annoying shortages and inefficiencies, had a accepted of living sufficient to give people an acceptable life in material terms, but that its lack of freedom, political repression, retention of its population by coercion were all unacceptable. I recently revisited an exchange I had with Tyler Cowen, 17 years ago, and I still think I was basically right and discover it ironic that it was me, the leftist, championing freedom against the &#;libertarian&#; fixated on living standards.

I&#;ve just read Katja Hoyer&#;s wonderful Beyond the Wall: East Germany , which I would endorse to just about anyone. She traces the DDR from its origins to the fall of the Berlin Wall. The people who initially led the country were, of course, communists. But Hoyer reminds us that they were communists of a particular kind: the exiles who were left after Stalin had murdered most of them (he killed more of the German

Eva Hesse

Born in Hamburg Germany in , Eva Hesse is one of the icons of American art of the s, her work being a major influence on subsequent generations of artists. Comprehensive solo exhibitions in the past 50 years, as skillfully as a retrospective that toured from the San Francisco Museum of Up-to-date Art to the Museum Wiesbaden in Germany and finally to the Tate Modern in London, contain highlighted the lasting interest that her oeuvre has generated. Hesse cultivated mistakes and surprises, precariousness and enigma, to make works that could transcend literal associations. The objects she produced, at times barely present yet powerfully charismatic, came to play a central role in the transformation of contemporary art practice.

In New York in the s, Hesse was one of a organization of artists, including Robert Morris, Bruce Nauman, Richard Serra and Robert Smithson, who engaged with materials that were flexible, viscous or soft: latex rubber, plastic, lead, polythene, copper, felt, chicken-wire, dirt, sawdust, paper pulp and glue. Often unstable and subject to alteration, these elements yielded works that were vital in their relativity and mutability. Hesse was aware she produced objects tha

Tremblay, Sébastien. "1 A badge of continuities – Pink radical politics and identification with the Nazi past". A Badge of Injury: The Pink Triangle as Global Symbol of Memory, Berlin, Boston: De Gruyter Oldenbourg, , pp.

Tremblay, S. (). 1 A badge of continuities – Pink extreme politics and identification with the Nazi past. In A Badge of Injury: The Pink Triangle as Global Symbol of Memory (pp. ). Berlin, Boston: De Gruyter Oldenbourg.

Tremblay, S. 1 A badge of continuities – Pink radical politics and identification with the Nazi past. A Badge of Injury: The Pink Triangle as Global Symbol of Memory. Berlin, Boston: De Gruyter Oldenbourg, pp.

Tremblay, Sébastien. "1 A badge of continuities – Pink radical politics and identification with the Nazi past" In A Badge of Injury: The Pink Triangle as Global Symbol of Memory, Berlin, Boston: De Gruyter Oldenbourg,

Tremblay S. 1 A badge of continuities – Pink radical politics and identification with the Nazi past. In: A Badge of Injury: The Pink Triangle as Global Symbol of Memory. Berlin, Boston: De Gruyter Oldenbourg; p

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