The title is a synthesis of fragments of ideas, derived from a serious of lectures in the Deutschen Schauspielhaus, Hamburg 2000. 
As reaction to the millennium changeover a view into the future was tried and a reaction was offered to the so-called end of the grossen erzaehlungen (famous stories). This again was derived from the end of socialism and the possibility connected with that, the so-called 'different' suspected in the other system each. 
One thesis was that in the public consciousness now only small pragmatic lectures are asked for, which function in short term.  On the other hand reduction of ability to form symbols was mourned. 

Shortstories on the Heide sets off from a shortterm attention, takes for granted the focussing view of the car driver, who can only watch in the 3 seconds at the traffic light. 
With  Heide is meant a place outside a fictional border, there where everything is still possible, there where it is also dangerous because the known ruled do not apply there. So-to-say the place of art. The question is where is this place and how does the border reveal itself. 
When there is no collective all common border any longer, but small networks of agreements wind around one another, then we cannot speak of a public problem in which art could interfere, respectively this border also would be a private one, respectively agreement immanent invention, result of shortterm will and thinking. Shortstories on the Heide 
wants to start off from this feeling of time 

Claudia Hoffmann, without title, 2001
concrete, wood, color, iron sheet-metal 

Sonja Jakuschewa, love letters, 2001 
hommage à Rainer M. Rilke,
130 x  93 cm, Acryl / Lw.
Foto: S. Jakuschewa 

Llaura I. Sünner, axes, 2001
concealed plywood sheets

Elke Suhr, like mad, from the serious habit, 2000 
installation 
computer print on white material, altered wooden table on pedestal, 
enery saving bulb Osram 

'Directly in front of me is a picture of my father exhibitet, over there on the wall. It shows the Kreml 1923,  which my father drove into 1923 with his 2. wife, my mother. There I was born, in this house on the left. This picture could stand somewhat as an example for works with which Heinrich Vogeler wanted to also demonstrate to other people outside the revolutionary movement the beginning of the Sovjetunion after the revolution of 1917, and by that also his own vision, that through this new political structure a new society will be established there. 

Shortly after,1925, my parents returned to germany and until Hitler came we were in Berlin. And then I came to Moscow with my parents and ever since have become a witness of time of the very difficult  and complicated, contradictive development in the Sowjetunion...'