{"id":2341,"date":"2018-07-17T16:33:03","date_gmt":"2018-07-17T16:33:03","guid":{"rendered":"http:\/\/www.stefanieseidl.com\/berlinweeklycom\/?p=2341"},"modified":"2020-03-03T13:23:27","modified_gmt":"2020-03-03T13:23:27","slug":"week-118","status":"publish","type":"post","link":"http:\/\/www.berlin-weekly.com\/?p=2341","title":{"rendered":"Window 118"},"content":{"rendered":"

 <\/h2>\n

\"final<\/a><\/p>\n

\n
\u201aColette\u2018 by Sonya Sch\u00f6nb<\/a>erger <\/a><\/strong><\/div>\n
(Material: zerbrochenes Geschirr aus Porzellan und Keramik aus der ehemaligen DDR, Gips)<\/div>\n
 <\/div>\n
<\/b>Die Installation ‚Colette\u2019 von Sonya Sch\u00f6nberger thematisiert die  zum Teil qualitativ hochwertigen Hinterlassenschaften der DDR. Viele dieser Gebrauchsgegenst\u00e4nde  wurden nach dem Fall der Mauer durch als modern erachtete Westprodukte ausgetauscht, wodurch ihnen  Minderwertigkeit und Wertlosigkeit zugeschrieben wurden.  <\/p>\n

The installation ‚Colette‘ by Sonya Sch\u00f6nberger addresses the sometimes high-quality everyday items of the GDR. After the fall of the wall many of these commodities were replaced by other western products, considered more modern while the GDR products were devalued. (\u201aColette‘, 2013, ceramics, porcelain, plaster, 6 objects)<\/p>\n

\u201aColette‘ is dedicated to the artist Colette Urban.<\/p>\n<\/div>\n<\/div>\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"

  \u201aColette\u2018 by Sonya Sch\u00f6nberger  (Material: zerbrochenes Geschirr aus Porzellan und Keramik aus der ehemaligen DDR, Gips)   Die Installation ‚Colette\u2019 von Sonya Sch\u00f6nberger thematisiert die  zum Teil qualitativ hochwertigen Hinterlassenschaften der DDR. Viele dieser Gebrauchsgegenst\u00e4nde  wurden nach dem Fall der Mauer durch als modern erachtete Westprodukte ausgetauscht, wodurch ihnen  Minderwertigkeit und Wertlosigkeit zugeschrieben wurden.   The installation … <\/p>\n

\u201eWindow 118\u201c<\/span> weiterlesen<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-2341","post","type-post","status-publish","format-standard","hentry","category-weekly-window"],"_links":{"self":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/2341","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2341"}],"version-history":[{"count":4,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/2341\/revisions"}],"predecessor-version":[{"id":2812,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/2341\/revisions\/2812"}],"wp:attachment":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2341"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2341"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2341"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}