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In the work of the German artist Hans Jürgen Syberberg (b. 1935) it is possible to notice a certain change, which took place in the early 1990s. Thus he gradually abandoned the medium of film turning instead to the site-specific art of installation. On the other hand, the change manifested itself also in the role and in the character of the musical dimension of his work. The paper is an attempt to understand this change of his work taking into consideration the artist's memories formed during the childhood spent in Pomerania in the period of both National Socialism and the communist German Democratic Republic, as well as the political ocurrences after 1989, when Syberberg, as a former refugee, could finally return to his birthplace.

Hans Jürgen Syberberg, postsocialism, site specific art, installation

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