immigrants-to-germany

"[Coming back to life was not hard] You know what's hard? Getting from Syria to Germany: There are some amazing people coming through that border. This amazing 16-year-old girl, Nujeen Mustafa, she's our kind of people."

"Count us, because we count too. This should not be just another meeting where we make grand statements and then move on...You can and should do more, to ensure that people with disabilities, are included in all aspects of your work – we can’t wait any longer."

"The most exciting part! The kids were crying around me and I felt like a crazy person because I was the only one who was smiling the whole time. Sometimes it’s good to be too young to be aware of what’s going on around you. Maybe I was too young to realise [the danger]."

"You feel like you’re in a constant test. With terror attacks happening in Europe (such as in Berlin and Ansbach last year, and recent attacks in London and Manchester) it puts even more pressure on refugees. You feel guilty until proven innocent. It pushes the button for us to work harder and prove that we think it’s wrong, too."

"For me, it meant not being able to go to school, hang out with friends or go to the cinema. It was almost like house arrest. Having a disability in Syria often means that you are hidden away. You confront shame, discrimination and physical barriers. You are someone who is pitied."

"I feel like Merkel is under pressure because some people are bad ambassadors of the refugees, and they are not representing a good image of us. What I would like to say is that she is doing good for the EU and for Germany: Germany is getting better from the love from refugees. She’s doing good, and I hope she keeps us."

"Eventually, I'd like one monitor at the North Pole, one at the South, and two at the equator, big monitors switching images back and forth."

"Ira Schneider's 1974/2006 Manhattan is an Island was one example (of the surprises)... On 23 monitors mounted on unusually tall pedestals of varying heights, suggesting skyscrapers and evoking Manhattan, Schneider presented black-and-white video footage of people moving about he city, capturing the ceaseless intensity of life on the sidewalks and streets."

"Ira Schneider was a pioneer of video in the late 1960s and early 1970s. In his work with video installation and single-channel tapes, he explored the manipulation of time, interactivity and simultaneity as formal and conceptual devices. A participant in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in 1969, he created several important early multi-channel video installations, including Manhattan is an Island and, with Frank Gillette..."

"In an effort to put different video artworks into separate categories, authors have come up with various solutions. Already in 1976 Ira Schneider and Beryl Korot observed three basic approaches to the video image: video in which the artist/performer is subject; video in which the environment is subject; and video in which the abstract synthesized image is subject."

"The most important thing was the notion of information presentation and the notion of the integration of the audience into the information. One sees oneself exiting form the elevator. If one stands there for 8 seconds, one sees oneself entering the gallery from the elevator again. Now at the same time one is apt to be seeing oneself standing there watching Wipe Cycle. You can watch yourself live watching yourself 8 seconds ago, watching yourself 16 seconds ago, eventually feeling free enough to interact with this matrix realizing one's own potential as an actor."