The text by Sebastian Cichocki describes an “Earth Museum in the Suburbs”, where a young boy named S.R. (Robert Smithson) collects natural objects according to his own system. The story takes place towards the end of World War II, which for the young boy is happening »as if on another planet«. Antje Majewski presents four sections of collections within her own Museum in the Garage. Each section has its origin in a different type of museum. Common to these objects is that their value cannot be translated into one of merchandise: they are priceless. Their value stems from their relationship to constructions of memory and history. They consist of shells, snails, bones and stones, old clay pots and shards, and small animal figurines made out of plastic. All remain connected to the human hands that held them and whose shadows they still carry.
Objects in the preserved studio apartment of the Berlin artist Jeanne Mammen (1890 – 1976), which, since her death, has been maintained in its almost original state by the Jeanne-Mammen-Society (a non-profit organization). One enters the private space of a female artist who started her artwork in the early 20th century, and made a living with the art she created in this space. These are the rooms where Jeanne Mammen, who had been a successful painter and graphic artist in the 1920s, also lived through and survived the times of the National Socialist Regime, which led to a disruption in her career. Out of conviction she discontinued her work for journals and magazines, such as »Simplicissimus«, which had adopted the officially sanctioned cultural policies, and she declared to be »busy otherwise«. Having expressed her protest in this way, meant the loss of her main source of income. From 1933 until 1945 she also did not participate in exhibitions. From then on the studio apartment became her fortress and her cocoon.
Life and work become inseparable, when looking at the objects Jeanne Mammen surrounded herself with. She collected many things, like stones, shells and other interesting objects, which resemble those in Antje Majewski’s studio today like twins. To match these objects is also an homage to a fellow female painter, an ancestor… The objects owned by Jeanne Mammen were held in the hand of the museum custodian, whereas Antje Majewski’s objects are held in the hand of the painter. The Doubles serve as Twins in this section.