Entering the dimly lit exhibition space for “Germany – Memories of a Nation” feels exciting, as does being greeted by a video installation of the fall of the Berlin Wall, people on the street celebrating, driving in old trabants and waving blissfully at the camera. Germany is united again! Yet, celebrations are accompanied by a somewhat gloomy quote from Georg Baselitz, whose Eagle unpretentiously finds its space in the corner: “What I could never escape was Germany, and being German.” What is one to expect?
The somewhat confusing messages at the entrance are soon replaced by a celebratory mood with the following displays. Muted green and blue walls accentuating the old nation’s wealth with paintings by Hans Holbein the Younger and softly lit vitrines inhabited by ancient maps, precious coins, beakers and tankards all allude to the great history of the Holy Roman Empire and the many cities it contained. They used to be German – but are no longer. It is only through the objects themselves that the complexity of “German” identity is implied, one that does not necessarily correspond with either historical or contemporary national boundaries.
The objects on display are often rather splendid choices, and really do show the best of German culture: a Gutenberg Bible, Dürer’s magnificent prints, Bauhaus designs and post-war works by Anselm Kiefer and Gerhard Richter. It is obvious from the display and its presentation that this is a celebration of a culture looking to reinvent itself, perfectly executed after Erich Hobsbawm’s “Invention of Tradition.” Encapsulated in this aim seems to be a need to emphasise that Germany is more than what happened between 1938 and 1945, or even between 1914 and 1989. The miniscule part of the exhibition that deals with the First and Second World War and the country’s East-West division seems unnecessarily cut short, although the replica of the entrance gate to Buchenau is well placed in a harshly lit corner, evoking the bleak horrors of the concentration camps.
In light of the fact that more recent history tends to be at the forefront of people’s minds, the exhibition tackles the last 70 years of Germany’s history like it was just a little glimpse in its greatness. And while this may have been done purposefully so to show “what else there is,” it seems ignorant at the worst, or as a diminishment of what happened at the best. In reference to the exhibition title, we are shown quite clearly what “Germany” wants to remember and, more strikingly, what it doesn’t. In a sense, this marks the exhibition as authentic- why remember all the horror if there is also a more glorious history to commemorate? But it also raises questions of historical responsibility, which remain unanswered here.
An exhibition spanning over 600 years inevitably requires abbreviation. But where to abbreviate in this context is crucial, and I am unsure whether the resulting overview of objects does “the German powerhouse” justice.
Julia Secklehner is a PhD student at the Courtauld Institute working on national identities in caricature in interwar Central Europe.
“Germany – Memories of a Nation” is at the British Museum until 25 January 2015.