Sasse, Elke & Pannen, Stefan  Where is the Wall? [Online]
"While there's still time, I would like to make a grand journey across Eastern Europe. To Russia, Poland, Hungary, Czechoslovakia, the former East Germany, and back to Belgium." (Akerman, in Anderson, 2009)
"The building's dazzling public lobby, surrounded by several tiers, was once the center of social life in East Berlin with thousands of sparkling lamps filling the open space of the lobby's grand staircase. Many Berliners recall attending a play in one of the theaters or dancing the night away in the underground disco, others seeing their first rock concert, or being married. Later, thousands of citizens demonstrated against the planned demolition and hoped the building would be protected against historical censorship, but alas, one day, twenty years after the fall of the Berlin wall, the Palace completely disappeared." (Artstudio Reynolds, 2011a)
"The film starts with an off-screen dialogue between a young couple, ready to embark on a romantic adventure. What happens next? Provost will tell their story by using nothing but stock footage exterior shots of a Boeing plane, flying towards a sunset." [Moving Stories, 2012]
"Berliners have chosen to leave traces of the worst of themselves in their architecture and landscape. They have understood what a largely amnesiac America has not: reform relies on memory." [Epstein, in Steidl, 2012]
"A millimeter this way or that can make all the difference. The transient quality of light and atmosphere. The passing stray cat, the discarded soda can, the random interplay of people moving through the scene. All these variables give the image its uniqueness. But what’s equally important, I think, is not the individual photograph, but the gradual accretion of images made over an extended period of time by a particular photographer." (Rose, 2011)
"Memory has to belong to people and not the government" (Norman, in Tulca Festival, 2011)
From top: How long is now; Mit Sicherheit keine Freiheit; Die Grenze verläuft nicht zwischen oben und unten, sondern zwischen dir und mir; and When you're strange
"l show Lenin to my contemporaries. And the 21st century to Lenin. Who will explain it to him?" (Herz, 2009: 78)
"I am searching for images, I am exploring the life in our globalised, capitalist world, am enquiring after memories and current views of utopia... Our journey takes us through contemporary everyday life, high-tech zones, and desolate industrial areas in the East and the West. A change of locale engenders a change of references and perspectives, Prage is not Zurich, Dresden is not Rome." (Herz, in Museum Ludwig, 2012)
"Memory is endlessly creative, and at one level it functions just as imagination does... endlessly rewriting the self." (Fernyhough, 2012)Memories are constructed when needed "according to the demands of the present" claims Fernyhough (2010). And as a result they are "soberingly fragile" (Fernyhough, 2010). He argues that memories are "nifty multimedia collages of how things were" which are mental reconstructions and are "shaped by how things are now" (Fernyhough, 2012).
"If the experimental conditions are set up correctly, it turns out to be rather simple to give people memories for events that never actually happened. These recollections can often be very vivid... [Kim Wade at the University of Warwick] colluded with the parents of her student participants to get photos from the undergraduates' childhoods, and to ascertain whether certain events, such as a ride in a hot-air balloon, had ever happened. She then doctored some of the images to show the participant's childhood face in one of these never-experienced contexts, such as the basket of a hot-air balloon in flight. Two weeks after they were shown the pictures, about half of the participants 'remembered' the childhood balloon ride, producing some strikingly vivid descriptions, and many showed surprise when they heard that the event had never occurred. In the realms of memory, the fact that it is vivid doesn't guarantee that it really happened." (Fernyhough, 2012)
"The photographs that fascinate me the most are the photographs that were posed, where they created some odd tableau vivant for the camera. It's almost as if in some strange way the soldiers were reenacting the essence of the war on a very private level. I guess that's the sick reading of it."
"This is a memory of my sophomore year of 1989, the year when I almost got killed. I don’t feel lucky for my survival, but a strong feeling of sadness for myself, because of my inability to do something in the face of death. Twenty years have passed. Mother’s hair has turned gray; beloved ones have dried up the tears. Glorious as forever on this first street of China, silence prevails. Silence, forgetting and deliberate covering, people’s memory turns into a vacuum. The bygones twisted into a blurred picture, true memory gone, illusion remains. That memory makes us more helpless as the time passes by. Remaining silent in the face of reality is a testimony of our hypocrisy and weakness. The living still live in the question of the dead. The sun always rises the next morning and the four seasons remain alternate. The innocent died on the side of the world, while the guilty are at large on the other side of the world. This is the reality that has not yet changed throughout the history." [Liu, 2012]Liu, Wei  Unforgettable Memory. [Online]
"While the television tower filmed in Fernsehturm owes its continued survival to its suitability for adaptation to tourism, the government building whose windows provide the screen for Palast was demolished a few years after Dean made her film. Similarly, although the Kodak factory in France continued to make X-ray film for a short time after it stopped 16mm production, its premises were demolished in December 2007 to make way for new industries." (Manchester, 2009)Manchester, Elizabeth (2009) Kodak (2006) [Online]