Henrike Naumann, Die Monotonie des Yeah Yeah Yeah, 2020

Henrike Naumann

Henrike Naumann reflects socio-political problems on the level of interior design and domestic space and explores antagonistic political beliefs through the ambivalent aesthetics of personal taste. In her immersive installations she arranges furniture and home decor into scenographic spaces interspersed with video and sound work. Growing up in Eastern Germany, Naumann experienced extreme-right ideology as a predominant youth culture in the ’90s. Therefore, she is interested in the mechanisms of radicalisation and how they are linked to personal experience. Although rooted in her experiences in Germany, Naumann’s work has addressed the global connectivity of youth cultures and their role in the process of cultural othering.

Clemens Villinger is a research associate at the GESIS Leibniz Institute for the Social Sciences. In his dissertation, submitted to the Max Weber College at the University of Erfurt, he investigates the role of everyday consumption in the lifeworlds of East Germans of before, during and after 1989/90. His main areas of work include the history of everyday life and consumption as well as research on the history of knowledge and capitalism. In addition to his work, he devotes himself to the relationship between contemporary art and historiography. Most recently published: Die lange Geschichte der »Wende«


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