The artist, born in Halle in 1964, would have liked to become the museum director. One of the reasons was probably the contents of a floor chamber in the parents' house.
Old newspapers, magazines and other things were stored in it. Traces of early, intensive reading of these publications can be found in Moritz Götze's work to this day (e.g. Zeppelins). He is now quite a museum director himself: In his former home in Halle he has brought together countless things to create a "local history museum". In addition to pimple caps, juice bottles and Indian toys, the shelves also contain briquettes and bread rolls. Moritz Götze draws from this reservoir in his works of art.
In Magdeburg, almost exclusively new works can be seen that were created in the immediate preparation of the exhibition. His “picture room” contains around 60 paintings and enamels. He found pre-pictures in the voluminous “Bildersaal Deutscher Geschichte”, a volume that was published in 1890 and is still popular today, which often portrays German history in pictures in a heroic and pathetic manner. Götze's Dresden grandparents had given him a copy of the book decades ago.
After dealing with the socialist realism of GDR painting, the artist, who lives in Halle, turned to another historical topic with the Magdeburg exhibition. However, according to his statement, this ends for him. His goal is not to illustrate German history anew, but to present his artistic point of view, resulting from numerous visual suggestions and image ideas. Stylistically, he opposes the national attitude with a radically different view based on elements of pop art and comics. Some of the large-format paintings seem cleared out compared to the originals, while Moritz Götze has added alienating elements to others. In this way he succeeds in 'unmasking' the illusion as an illusion. In the spirit of Pop Art, he makes use of what is available and gives it back to the viewer, slightly or heavily modified, sometimes in the style of a 'fairytale uncle', for others as an ironic commentator or critical observer.
The most impressive works include the large enamel portraits of Luther, Bismarck, Emperor Barbarossa and other heroes of the German past. With them, history takes place in the crown, on the collar or in the beard.
Another group of works refers to the region's past in medals and details. These include a Fürst Pückler order, one for Bach, Nietzsche, Walter von der Vogelweide and many others. The historical permanent staff has seldom been dealt with so imaginatively and colourfully.