In 1987, Berlin—that is to say in this schizophrenic city, West Berlin and East Berlin—will celebrate the 750th anniversary of its founding. Among the activities planned for the western half of the city is a “Skulpturenboulevard” that will supply the Kurfürstendamm (Berlin’s Fifth Avenue) with “contemporary” sculpture. The artists who have been invited to participate in this project are from West Berlin, or rather do most of their work there: Frank Dornseif, Josef Erben, Edward and Nancy Reddin Kienholz, Brigitte and Martin Matschinsky-Denninghoff, Olaf Metzel, George Rickey, Rolf Szymanski,

Since the early ’70s the Hamburg-based filmmaker Heinz Emigholz has been producing films based on inflexible, predetermined structural concepts. His Schenec-Tady 1 bis 3 (Schenec-Tady 1 to 3, 1975) is a “Landschaftsfilm” (landscape film), a quick-fire sequence of single shots taken by a camera mounted at a set point in the landscape and programmed to turn on its axis. The “naturalness” of the landscape is translated into a series of signs that thematize the artificiality of a representation. Normalsatz (Standard rate, 1981) places this theme into a social context, reducing language and the