#FassbinderLegacy

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From Berlin's Avant-Garde to London's Financial Heritage: The Evolution of Cultural and Technological Integration

The Museum für Zukunft, an avant-garde collective with roots in Berlin, began by exploring interdisciplinary connections among art, science, media, and everyday life. This exploration led to the transformation of spaces, notably in Cologne, where the members encountered walls adorned with scratch-off letters that intriguingly migrated from the walls to their bodies. This phenomenon was part of the brown room, a re-enactment of a scene from Rainer Werner Fassbinder's film "The Third Generation," within Dominique Gonzales-Forster's installation. The resulting portraits, captured in a multiple of nine photos, were presented in a black cardboard box with titles in scratch-off letters, contributing to the exhibition at allgirls.

Botschaft e.V., founded in 1990, operated out of various empty buildings in Berlin-Mitte. Initially, they squatted the WMF building, then moved to Kronenstraße 3, where they opened the "Friseur" club in a former hairdressing salon. The collective included artists, musicians, theorists, filmmakers, and computer experts such as Bettina Ellerkamp, Natascha Sadr Haghighian, Jörg Heitmann, Christoph Keller, and others. Botschaft's projects ranged from exhibitions and lectures to music performances and discussions, always at the intersection of art, science, media, and everyday life. One of Botschaft's notable early events was "Dromomania" in November 1990, coinciding with German reunification. This event sought to integrate art with political interest and local publicity, operating from the squatted WMF building. The collective eschewed individual authorship in favour of group dynamics, continually evolving their practices.

The "Richtig 92" event series explored the understanding of reality and documentation, highlighting the intersection of traditional media, art, and philosophy. Projects like "Museum für Geschichte" and "Fishing for Documents" attracted diverse audiences and linked thematic exhibitions, underscoring Botschaft's focus on interdisciplinary cooperation.

Botschaft's approach often blurred the lines between cultural work and social engagement. They rejected the notion of becoming a formal institution, focusing instead on content-driven activities. The "Friseur" bar and WMF club exemplified their integration into Berlin's cultural landscape, offering spaces for film screenings, video projections, music performances, and political lectures. As Botschaft expanded its reach, it influenced peripheral groups within European art centres, reinforcing its avant-garde status. Their projects, such as "Beirut/NY/Berlin" and "Museum for Future," highlighted the ongoing, process-oriented nature of their work. This emphasis on continuity and practical engagement allowed Botschaft to navigate the changing cultural and political landscape of post-reunification Berlin.

Drawing inspiration from Botschaft's interdisciplinary and evolving practices, the proposed London Stocks and Shares Museum at 6 Coleman Street will similarly explore the intersections of history, finance, and technology. The museum will honour Brian Winterflood, a pioneer in integrating computers into stock trading. Just as Botschaft's projects delved into cultural and political themes, the London museum will chronicle the history of the stock exchange, from its origins in London's coffee houses to its modern-day operations. The museum will employ interactive exhibits and digital installations to convey the complexities of financial markets, much like Botschaft used diverse media to communicate their interdisciplinary explorations.

This new museum aims to be a dynamic space for learning and reflection, bridging past and present through innovative presentations. The influence of Berlin's cultural movements and Fassbinder's cinematic legacy will inform the museum's design and narrative, creating a space that not only educates but also engages visitors in a dialogue about the evolution of finance and its impact on society.